Previous Secrets001 Intro to InDesign Secrets| 00:00 | David Blatner > Hi, I'm David Blatner.
| | 00:01 | Anne-Marie Concepcion > And
I'm Anne-Marie Concepcion.
| | 00:04 | David > We're the cohorts of InDesignSecrets.com,
the world's number one resource for InDesign users.
| | 00:09 | We've been doing our InDesign Secrets
podcast together via Skype for the past five years.
| | 00:13 | Anne-Marie > It's a fun free podcast
where we talk about all things InDesign.
| | 00:17 | David > So our friends at lynda.com said hey,
wouldn't it be cool to see those tips too,
| | 00:21 | not just hear them?
| | 00:22 | Anne-Marie > So you can have fun
and be more productive in your work.
| | 00:25 | David > We're going to show you some of
our favorite InDesign tips and tricks.
| | 00:29 | Anne-Marie > Like how to speed up your layout by
copying text formatting from one place to another.
| | 00:34 | Working with Photoshop to get great
effects in a fraction of the time.
| | 00:37 | David > Making interactive elements like
multistate buttons that they said couldn't be done.
| | 00:42 | Plus much much more!
| | 00:44 | Anne-Marie > lynda.com will
release a couple each month.
| | 00:46 | So keep checking back to see what
new goodies we've cooked up for you!
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| 002 The hidden "auto-expand text" feature| 00:00 | Anne-Marie Concepcion > Ladies and
gentlemen, has this ever happened to you?
| | 00:03 | You're innocently typing?
| | 00:05 | Let's say here I am, I
want to enter the word "the."
| | 00:09 | I type T and then I get
distracted and I type EH.
| | 00:13 | And then I type a space and go on,
and then I realize that it has been
| | 00:19 | misspelled but I don't realize it
until 50,000 copies have been distributed.
| | 00:23 | Wouldn't it be nice if you could have
like a little correction following you
| | 00:26 | along, correcting your
commonly misspelled words as you type?
| | 00:30 | Actually, you can in InDesign.
| | 00:32 | For many versions, at least since CS2,
has had an autocorrect feature that for
| | 00:37 | some reason has never been turned on.
| | 00:39 | You have to know that it exists
and that you need to turn it on.
| | 00:43 | So to turn on autocorrection on a PC,
go under the Edit menu > Preferences.
| | 00:49 | If you're on a Mac go under the InDesign menu.
| | 00:51 | And choose Autocorrect.
| | 00:53 | Turn on Enable Autocorrect. Click OK. The end.
| | 00:57 | Now you can type TEH and a period or a
space or any kind of character that tells
| | 01:03 | InDesign I'm done writing this word.
| | 01:06 | I'm not actually beginning
a word that starts with TEH.
| | 01:09 | And it will Autocorrect it.
| | 01:10 | Not just matches that word, but that
whole list that you might have seen briefly.
| | 01:13 | Such as if I type separate with an E
instead of an A, a very common misspelling.
| | 01:19 | It corrects it as you go.
| | 01:20 | It does not automatically correct all the
existing misspellings, in case you're wondering.
| | 01:25 | Now just turning on Autocorrect
doesn't have it search throughout the entire
| | 01:29 | document and fix all those misspellings.
| | 01:32 | It's only the ones that you
enter by hand from then on.
| | 01:35 | It also does not apply to any text
files that you place or import or paste into
| | 01:41 | the InDesign document.
| | 01:42 | Only the ones that you actually type.
| | 01:44 | Let's take another look at that preference.
| | 01:47 | I'm going to press Control+K on my PC
or if you're in a Mac press Command+K and
| | 01:54 | we will go right to Autocorrect.
| | 01:56 | So noticed it has the complete list
of all the words that are part of its
| | 02:01 | Autocorrect database and
what they're going to change to.
| | 02:05 | This is really nice.
| | 02:06 | Like I know Word has an Autocorrect feature,
but I've never been able to see the list.
| | 02:10 | And you can select these
items and actually remove them.
| | 02:13 | "This is how I like to spell accommodate!"
| | 02:16 | Okay fine, remove it.
| | 02:17 | You can also edit them
and you can enter our own.
| | 02:20 | So if for some very unusual reason
InDesign did not include your commonly
| | 02:26 | misspelled words in this list of
hundreds, then go ahead and add it yourself.
| | 02:30 | But what I really like is the ability to
use Autocorrect for automatic text expansion.
| | 02:37 | Basically it's looking to see which you
enter as a pattern and then it changes
| | 02:41 | it to something else.
| | 02:42 | So let's say that you work at
say the University of Illinois
| | 02:46 | at Urbana-Champaign.
| | 02:48 | And that's a mouthful to
have to always type out.
| | 02:51 | You might want add that to Autocorrect.
| | 02:53 | So I'm going to click Add.
| | 02:56 | And then in the Correction is where you
would enter what you want to expand to.
| | 03:01 | So in other words here I would
enter or paste in University of Illinois
| | 03:07 | at Urbana-Champaign.
| | 03:11 | Notice you can't retain any formatting.
| | 03:14 | Also there's a limit of 64 characters
and you can not put in multiple lines.
| | 03:19 | If you try to type a return
it'll get converted into space.
| | 03:22 | Those are the roles for the Correction field.
| | 03:25 | For the Misspelled Word field you
can't have any kind of spaces at all.
| | 03:29 | This is actually going to be your code,
your shorthand, so you should not need
| | 03:32 | to worry about that.
| | 03:34 | In the Misspelled Word is where you say--
just pretend it doesn't say Misspelled Word.
| | 03:37 | Think shorthand.
| | 03:38 | So what would you like to be
shorthand for this long thing?
| | 03:41 | Maybe the initials.
| | 03:42 | I'm going to just say UIC.
| | 03:44 | It's okay if your pattern for your
shorthand actually exists in many other
| | 03:49 | words, because remember InDesign will
not actually do the correction unless your
| | 03:55 | pattern is the start of the word and
then you end with a word ending character,
| | 04:00 | like a space or a semicolon or a period.
| | 04:03 | So I'm just going to add that one. Click OK.
| | 04:06 | And let's try it out.
| | 04:07 | Let me hit Return here.
| | 04:09 | And let's go right here.
| | 04:13 | So for years Cortes always wanted to
attend UIC, but never could pass the exam.
| | 04:27 | There, isn't that cool?
| | 04:27 | In case you're wondering, your
autocorrections are saved in a special XML
| | 04:34 | file on your hard drive.
| | 04:36 | On a Mac, it's in Library/
Adobe/InDesign, your version.
| | 04:40 | Wherever you save like all your saved
find/change queries and things like that.
| | 04:44 | On a PC it's a little more difficult to locate.
| | 04:47 | But if you can find My Settings in
Roaming/Adobe/InDesign you'll see
| | 04:52 | Autocorrect right here.
| | 04:55 | And you won't see anything until you've
actually added something to Autocorrect.
| | 04:58 | Once you do, then you'll see it in your
own folder and then you can use this and
| | 05:02 | you can actually edit the XML.
| | 05:04 | Just follow along with the existing
structure to add your own words really
| | 05:08 | fast and also it's a way to kind of sneak
in characters that normally are not allowed.
| | 05:13 | We have more about that in AutoCorrect
article on our blog, InDesignSecrets.com.
| | 05:18 | But a lot of people want to know where
is the Autocorrect list stored, and it's
| | 05:22 | generated here as soon as
you add even just one pair.
| | 05:25 | So it's pretty big so it's the entire list.
| | 05:27 | Also Autocorrect is a sticky setting.
| | 05:30 | It is a setting that once you turn it on
then it's on for all of your documents.
| | 05:34 | So you don't need to worry about turning
and with no documents open to make into
| | 05:38 | an application preference
and all that kind of hoo-ha.
| | 05:40 | As soon as you turn it on, it stays on.
| | 05:42 | And if it freaks you out, just remember to
go turn it off right there in Preferences.
| | 05:46 | Autocorrect, InDesign's secret
built-in auto-expand feature.
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| 003 Letting InDesign do the math for you| 00:00 | David Blatner > So my art director told
me to move this image over by 1 cm, but
| | 00:05 | the ruler up here is set to points.
| | 00:07 | Geez well, I know that there are 72
points per inch, and I know there's 2.54
| | 00:11 | cm per inch, so I could do the calculation
if I wanted to, but that would be insane!
| | 00:18 | I don't need to do that.
| | 00:19 | I have a computer for me and
InDesign itself can do the math.
| | 00:23 | This is a really important point.
| | 00:24 | It's a great way to get efficient in InDesign.
| | 00:27 | Let InDesign do the math for you.
| | 00:29 | In this case, I want to move this
over to the right one centimeter.
| | 00:33 | So I'm going to go up to the x-field of
the Control panel and I'm going to say +1CM.
| | 00:39 | That's all I need to do, +1CM.
| | 00:41 | Notice I'm mixing and matching
points and centimeters. That's okay.
| | 00:45 | You can mix your measurements up
if you want to, not a big deal.
| | 00:48 | AS soon as I hit Return or Enter it
moves it over 1 cm. So this is great.
| | 00:53 | I can do addition, subtraction,
multiplication, or division in any field in
| | 00:59 | InDesign that has a number.
| | 01:00 | The Control panel, any
other panel, any dialog box.
| | 01:03 | If I see a number I can do math there.
| | 01:06 | Let me show you another example.
| | 01:07 | I want this image to be a
third as high as it currently is.
| | 01:11 | So I'm going to go up to the H field,
the height field, and I'm going to
| | 01:15 | say divided by three.
| | 01:16 | Divide is the slash character there.
| | 01:18 | So as soon as I hit Return or Enter,
it divides it by three for me, does the
| | 01:23 | calculation, and I get something
exactly a third as high as it was.
| | 01:27 | This is fun, so let's try another one.
| | 01:29 | How about I want to change the
width to 70% of what it is currently?
| | 01:34 | So I'll go up here to the
Width field and say times .7.
| | 01:38 | Times is the asterisk character, the Shift+8.
| | 01:41 | We have *.7, .7 is 70%. Same thing.
| | 01:46 | Now I can hit Return or Enter and
now it's exactly 70% of what it was.
| | 01:50 | Now I'm going to take this math thing
one step farther and do it with fractions.
| | 01:54 | For example, let's say my printer said that
I want to move this over a 16th of an inch.
| | 01:59 | You know, a lot of printers still work
in 16ths of inches and 32nds of an inch
| | 02:03 | and crazy stuff like that.
| | 02:04 | I could never figure out how to
convert that into decimal, so I need to let
| | 02:08 | InDesign do the math for me.
| | 02:10 | To do this, I'm going to have
to do it in a two-step process.
| | 02:13 | I'm going to go to the X field and
select all of that and cut it the clipboard
| | 02:18 | with the Command+X, Control+X on Windows.
| | 02:20 | Now I'm going to do the fraction
part, with one divided by 16 inch.
| | 02:25 | Inch could be IN and or it
could be with the double quote mark.
| | 02:29 | So there's my 1/16 of an inch and
I'm going to press Shift and Enter to
| | 02:33 | actually make InDesign do that
calculation, but keep the field selected up
| | 02:38 | there in the Control panel.
| | 02:40 | Now I'll press the right arrow key
to move to the end of it, press plus,
| | 02:44 | and then do a Command+V or Control+V
on Windows to type in the value that
| | 02:49 | was originally there.
| | 02:50 | When I press Return or Enter it moves
it back plus that 1/16th of an inch.
| | 02:55 | So I know that's not visually a lot
different than it was but you get the idea.
| | 02:59 | It's 1/16the of an inch more over than it was.
| | 03:03 | Look, we all bought computers so we
didn't have to do these kinds of tedious
| | 03:06 | calculations anymore.
| | 03:08 | Take advantage of InDesign's math
skills so you'll have more time to do
| | 03:12 | what humans do best: design.
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| 004 The indispensible Quick Apply feature| 00:00 | David Blatner> You want to get
more efficient in InDesign right?
| | 00:03 | After all, that's why
you're watching these videos.
| | 00:05 | So I'm going to let you in on a secret
feature that will help speed you up no
| | 00:09 | matter what you do in InDesign.
| | 00:10 | For example, let's say you want
to apply a paragraph style to this paragraph here.
| | 00:15 | I'll place my cursor in here so it's flashing.
| | 00:17 | And I want to apply a paragraph style.
| | 00:19 | So normally I would go to a panel
or a menu or something like that.
| | 00:23 | And I don't want to do that.
| | 00:24 | I want to keep my hands on the keyboard.
| | 00:26 | The best way to stay efficient in
InDesign is to keep your hands on the keyboard.
| | 00:31 | So to do this, I'm going to
bring up the Quick Apply menu.
| | 00:34 | And you get that by pressing Command+
Return on the Mac or Control+Enter on Windows.
| | 00:40 | And what you see is the
Quick Apply menu appears.
| | 00:43 | And you can place this any way you want.
| | 00:44 | I'm going to move it up to the upper right
corner here, so it's a little bit out of the way.
| | 00:48 | And it'll remember that so the next time
I bring it up it'll be in the same place.
| | 00:51 | So it gives me a list.
| | 00:53 | It gives me a list of all the
character styles, the paragraph styles and
| | 00:57 | more and more and more.
| | 00:58 | These are all menu items.
| | 00:59 | We will get to that in just a moment.
| | 01:01 | But the important thing is it starts
off with a blank flashing field here.
| | 01:06 | And I can type in the first few
characters of my paragraph style name.
| | 01:10 | This one's called section number.
| | 01:12 | And you can see that as soon as I type
SECT it guesses oh, you probably mean
| | 01:17 | section blurb or section head.
| | 01:19 | In this case it's section blurb.
| | 01:21 | So because it's highlighted all I need
to do is press Return or Enter and you
| | 01:25 | can that immediately it applies
that paragraph style to that text.
| | 01:30 | Now let's try it with a character style.
| | 01:32 | I'll select some text here and to apply a
character style to it, I'll bring up Quick Apply.
| | 01:37 | Command+Return or Control+Enter.
| | 01:39 | And I'll type BOL and you can
see that there's a character style.
| | 01:43 | This has already been created in my document.
| | 01:45 | There is a character style called bold
and I go ahead and press Enter or Return
| | 01:49 | and it applies a character style.
| | 01:51 | So very very easy and we keep our
hands on the keyboards so we're not
| | 01:55 | constantly going up to the panels or
the menus or something like that, which is
| | 01:59 | great, but it slows you down.
| | 02:01 | Hands on the keyboard is fast.
| | 02:03 | Now I want to check my spelling and I
would check my spelling using InDesign's
| | 02:07 | dynamic spelling feature.
| | 02:09 | And I'll bet you don't know the keyboard
shortcut for turning on and off dynamic spelling.
| | 02:14 | That's because by default there isn't one.
| | 02:17 | So I'm when he is Quick Apply to do it for me.
| | 02:19 | Keep my hands on the keyboard.
| | 02:21 | Command+Return or Control+Enter.
| | 02:23 | Then I'll just type DYN.
| | 02:25 | Just need to type as much as it needs
to guess what you're trying to get to.
| | 02:29 | In this case there's dynamic spelling.
| | 02:31 | So I press Enter and it is exactly the
same thing as going up to the menu and
| | 02:37 | choosing Dynamic Spelling from there.
| | 02:39 | You see it's turned on now.
| | 02:41 | Now when you do that, you can see
that any misspelled words get this
| | 02:44 | little highlight under it.
| | 02:45 | Let's go ahead and fix that.
| | 02:46 | I'll right-click on it and
choose the proper word for it.
| | 02:49 | There we go and now that goes away.
| | 02:51 | This one is probably spelled that it
thinks it's wrong because it doesn't
| | 02:54 | know what that word is.
| | 02:55 | And now maybe I want to
turn off Dynamic Spelling.
| | 02:58 | I'll do the same thing,
Command+Return or Control+Return.
| | 03:01 | Brings up Quick Apply.
| | 03:02 | You'll see that whatever you
typed last is still typed up there.
| | 03:06 | It's saved there, so I don't even need to do
anything else other then hit Return or Enter.
| | 03:10 | And it turns that off.
| | 03:12 | So if you're not the kind of person
that can remember lots of keyboard
| | 03:14 | shortcuts, Quick Apply is your friend,
because you can get to any menu item
| | 03:18 | even, if it's hidden in some random panel menu.
| | 03:22 | Any menu item.
| | 03:23 | All you need to do is use Quick Apply
and type a few letters of the name and
| | 03:27 | then hit Enter and it works perfectly.
| | 03:29 | Let me show you a couple other tricks
to Quick Apply that I find invaluable.
| | 03:33 | First, I'll bring up the Quick Apply
menu and I'm going to type blurb, And
| | 03:39 | notice that you don't have to
type SECT, like section blurb.
| | 03:42 | Just type some part of it and it does
its best to match whatever you type to
| | 03:47 | the paragraph style, character style
menu item, or whatever that you have in
this list.
| | 03:52 | So it guessed right away
that I meant section blurb.
| | 03:55 | Now let' s say I want to
edit this paragraph style.
| | 03:58 | I don't have to go to the
paragraph styles panel menu to edit.
| | 04:01 | I can simply press Command+Return or
Ctrl+Enter again once it's selected here,
| | 04:06 | pressing the same keyboard
shortcut that opened Quick Apply.
| | 04:10 | Pressing it again opens up the
Paragraph Style Options dialog box.
| | 04:14 | So this is kind of a fast way to edit
a paragraph style or a character style
| | 04:18 | without having to have my panels open.
| | 04:20 | So I can come over here and let's say
I'll change this to be 13 points instead.
| | 04:25 | Hit OK and that now you see that it's updated.
| | 04:28 | So that's one trick. Here is another track.
| | 04:30 | I'm going to open Quick
Apply and I'm going to type C:.
| | 04:33 | C: means filter this down, only show
me the character styles in the list.
| | 04:41 | So that's a pretty fast way to
get only the character styles.
| | 04:44 | Or p: shows me all the paragraph styles.
| | 04:48 | So that's a nice fast way to filter those down.
| | 04:51 | So where do you learn
that code, the p: and so on?
| | 04:54 | It's in this little pop-up menu.
| | 04:57 | Inside the pop-up menu you can see that
you can filter out exactly what you want
| | 05:01 | Quick Apply to show you.
| | 05:02 | Paragraph styles is p: and
character styles is c:, and so on.
| | 05:07 | If you don't want a Quick Apply to show
you character styles at all, just select
| | 05:10 | it and now it will not show you
any character styles in the here.
| | 05:15 | Even if I type bold, you will see
that it won't show up as a character
| | 05:18 | style like it did before.
| | 05:20 | Quick Apply might not seem that
exciting at first, but if you force yourself to
| | 05:24 | use it a few times you're going to
find yourself absolutely hooked on it.
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| 005 Customizing the Links panel| 00:00 | Anne-Marie Concepcion> There are lots of places in
InDesign where there are hidden features and most
| | 00:04 | users never discover them, even
though they've been added versions ago.
| | 00:08 | For me, one of those kinds of
features is the ability to really customize the Links panel.
| | 00:12 | They've completely rebuilt the
Links panel and how it works in CS4.
| | 00:17 | If you click it, you'll see that it
automatically opens up this part at the
| | 00:20 | bottom called Link Info.
| | 00:22 | When you select an image or placed
elements in your InDesign file, the link to
| | 00:27 | that image is highlighted in the top
part of the links panel and then underneath
| | 00:31 | that you see a lot more information
called Link Info, all about that link.
| | 00:35 | So if you scroll down here you can
see, for example, what is the actual
| | 00:39 | resolution and what is the
effective resolution, after you scaled it.
| | 00:43 | Apparently this thing was
scaled much smaller so now it's 1181.
| | 00:45 | It's a pretty big file, and so on.
| | 00:48 | You know, the problem with this to me
is that I hate this part down here and
| | 00:53 | I'll almost always click the
little disclosure triangle to hide it.
| | 00:56 | I don't want to see it.
| | 00:57 | But now how do I get that information?
| | 00:59 | I have to keep clicking down here.
| | 01:00 | Well, you can completely customize
this top part of the Links panel, what I
| | 01:04 | called the main part with all the
interesting information from the bottom part.
| | 01:09 | So that you never have to look down here.
| | 01:11 | You just have to look in the main area.
| | 01:13 | And I do that on my production
machines with all of my documents.
| | 01:17 | Let me show you how easy it is to do that.
| | 01:19 | First of all, I'm going to detach the
Links panel from the dock so that it's a
| | 01:22 | little easier to see.
| | 01:24 | And widen this out bit.
| | 01:25 | We have all this room to play with over here.
| | 01:28 | Go to the Links panel menu, down to Panel
Options, and you see here there's two columns.
| | 01:35 | One says Show Column and Show in Link Info.
| | 01:38 | So Show Column means this top
area, what I call the main area.
| | 01:43 | Show in Link Info was this bottom
area that we have currently hidden.
| | 01:47 | What we want to do is show, for example,
resolution and effective resolution up
| | 01:52 | here in the top area.
| | 01:53 | So scroll down here to wherever
you find that and there it is.
| | 01:56 | Actual PPI and Effective PPI and say
I want to see that in the columns.
| | 02:01 | You can add other things to the columns as well.
| | 02:03 | Like for example you might
want if something is RGB or CMYK.
| | 02:08 | You might want to know if you've scaled it.
| | 02:09 | This is great to be able to see
that at a glance whether something has
| | 02:12 | been scaled or not.
| | 02:15 | As you scroll down here you'll see
lots of things you can add, but remember
| | 02:18 | they're going to add a column, so
you don't want this thing taking up a
| | 02:21 | 21-inch wide monitors.
| | 02:23 | So be judicious and just select the
things that you really want to see often.
| | 02:27 | Remember, you can always
turn on Show in Link Info.
| | 02:30 | You can always expand this bottom
part to see other bits of information.
| | 02:34 | But let me scroll down here
and see if anything else pops up.
| | 02:37 | Oh yeah, what about things
like the folder that it was in?
| | 02:41 | So if you want to know what folder did I
pull this from, that would be folder zero.
| | 02:46 | If you want to know what was the
parent of the folder that pulled it from,
| | 02:49 | that was folder one.
| | 02:50 | This I use all the time.
| | 02:52 | I show folders, your own folder one,
because I often will place images from the
| | 02:56 | links folder of other projects.
| | 02:59 | If I just showed folder zero, I
would just see a column that said links
| | 03:02 | links links links links.
| | 03:04 | But if I said folder one as well,
I'd I see links, annual report, links,
| | 03:10 | brochure, and so on.
| | 03:11 | So I know where I'm
actually pulling those images from.
| | 03:15 | I think that's good enough for now.
| | 03:16 | Let's just click OK.
| | 03:18 | And there they appear.
| | 03:19 | Now this information can be
sorted by any one of these fields.
| | 03:24 | For example, this is the resolution.
| | 03:26 | So if I click, I can sort by resolution
and see all the 72 PPI images, all the
| | 03:32 | way to the top, or if I want to do
it the other way I just click again.
| | 03:36 | And it shows them to me in descending order.
| | 03:38 | And I really don't care
what they original came in as.
| | 03:40 | I want to see what they are now before I
export it I can click in the effective resolution.
| | 03:45 | This is the scale and I can see
some things were really scaled small.
| | 03:50 | And sometimes like for this one here
-- let me bring this out, see if I can
| | 03:55 | see more information.
| | 03:56 | This one was not scaled proportionally.
| | 03:59 | One dimension was 6% and the
other dimension was 6.1%! Horrors!
| | 04:04 | Of course we don't want
anything like that happening.
| | 04:06 | So you can get a lot of
information just by looking up here.
| | 04:08 | A couple other cool features that may
not be obvious once you have added these
| | 04:12 | elements to the columns area, is that
you can drag-and-drop the headers if you
| | 04:17 | want to change the order.
| | 04:18 | So if you're mostly interested in the
scaling amount you could drag that over so
| | 04:24 | that the scale appears
even before the page number.
| | 04:26 | And as you can see I can
also drag the column orders.
| | 04:30 | You can even drag the column
in front of the very first one.
| | 04:34 | So for example if I want to see what
is the color type of all these images.
| | 04:38 | All these appear to be RGB so it's not
that interesting, but a lot of people
| | 04:43 | don't realize you can put things
right in front of even the name.
| | 04:45 | Let me move that back.
| | 04:48 | I like that, so I'm going to put this
back in the dock and then when I click it,
| | 04:54 | it pops open. They all await.
| | 04:55 | One last thing I want to mention to you
is that all your work will be for naught
| | 04:59 | if you forget to save
this in a custom workspace.
| | 05:02 | Because you have now customized
one of the default workspaces.
| | 05:07 | And it's okay if you go to
another workspace and come back here.
| | 05:10 | If you go to let's say Essentials.
| | 05:12 | Or let's say Book.
| | 05:17 | You go to Links you see that your
changes weren't saved in the Book workspace,
| | 05:21 | but if you go to Advanced
and open it up, they are there.
| | 05:25 | Until you choose Reset Advanced.
| | 05:29 | And I don't to want to do it
because it's going to erase my work.
| | 05:31 | It's going to reset it
back to the factory Advanced.
| | 05:34 | So my customizations will
still be in the Links panel.
| | 05:38 | Even after I switch back to Advanced.
| | 05:39 | Even if I quit out of the program and
start it up again tomorrow it'll still be
| | 05:43 | here, because it's been saved in a
file on my computer as Anne-Marie's
| | 05:49 | customizations to Advanced.
| | 05:51 | But as soon as I choose Reset Advanced
then it would delete that file and it
| | 05:55 | resets it back to the factory Advanced.
| | 05:57 | So what you need to do is choose New Workspace.
| | 06:00 | I don't want this to be open is
part of my workspace, so I'll go here.
| | 06:03 | New Workspace.
| | 06:04 | We'll call this Enhanced Links.
| | 06:08 | Click OK and now even if I mess around,
like let's come over here and come over
| | 06:14 | here and we go to Essentials, we go to Advanced.
| | 06:21 | Remember Advanced had it here.
| | 06:22 | And we choose Reset Advanced.
| | 06:26 | Now they're gone.
| | 06:28 | If I go to Enhanced Links--
Oops, let's reset Enhanced Links.
| | 06:34 | Yay, they're still there.
| | 06:37 | Because I saved it with the custom workspace.
| | 06:39 | So take a moment right now, move over
to InDesign, open up the Links panel, go
| | 06:45 | to Panel Options, add these
customizations and save it in a custom workspace and
| | 06:50 | you'll be a happier person for it.
| | Collapse this transcript |
| 006 Magically building graphs with the Chartwell font| 00:00 | Anne-Marie Concepcion > Do you ever wish
that InDesign had a little charting function?
| | 00:04 | You know something kind of like
Illustrator but simpler, where you can easily
| | 00:08 | whip up bar charts or a
pie or something like that?
| | 00:12 | So here's a workaround for that.
| | 00:14 | So I'm not going to show you a hidden charting
function in InDesign, though I would love to.
| | 00:18 | Instead, I'm going to show you a way that
you can use a typeface to create charts.
| | 00:24 | The typeface is called Chartwell and
it's really cool how you can use it.
| | 00:28 | So let me show you.
| | 00:29 | I've created a text frame in InDesign
and let's say that my client has given me
| | 00:33 | the statistics that they want a pie
chart and they want to show 30% did X, 45%
| | 00:40 | did Y, and 25% did Z.
Right, that adds up to 100.
| | 00:43 | So all you need to do is you type out
those numbers, the actual numbers, no
| | 00:48 | spaces, use a plus symbol in between
each one, and then turn on Ligatures, which
| | 00:55 | should be on by default.
| | 00:56 | But I've turned them off in the
meantime while I was playing around with this.
| | 01:00 | So Ligatures should be on.
| | 01:01 | Then as soon as you change the
typeface for these numbers to Chartwell,
| | 01:05 | watch what happens.
| | 01:06 | So I'll come up here and choose
Chartwell and I'll make sure to choose the pie.
| | 01:15 | Big deal, you know, so it's a circle.
| | 01:16 | Let's undo and instead before we do
that let's change the color. So Swatches.
| | 01:22 | We'll make the color of 25 red and the
color of 45 green and the color of 30
| | 01:30 | we'll make it this pretty orange.
| | 01:32 | Let's try that again.
| | 01:34 | Select these, make sure Ligatures is
turned on, and change it to Chartwell, Pies.
| | 01:42 | There you have it.
| | 01:43 | So you can actually make this larger.
| | 01:44 | It's actual characters, but it
has actually made a pie chart.
| | 01:48 | Now what if the client says, you
know what I got the numbers wrong.
| | 01:51 | Or I need to add another
section to that pie chart.
| | 01:53 | Well, you just have to adjust the numbers.
| | 01:55 | Now you can do that in one of two ways.
| | 01:56 | Now you could select this pie chart,
and then turn off Ligatures, and there are
| | 02:01 | our numbers and you can edit them that way.
| | 02:04 | Or because we have this wonderful
thing called the Story Editor in InDesign,
| | 02:09 | you can just go to the Story Editor for
that story that contains the Chartwell numbers.
| | 02:15 | Edit > Edit in Story Editor.
| | 02:17 | Or remember you don't see
formatting in Story Editor.
| | 02:19 | So here, we can say, instead
of 25, we want to be 15 plus 10.
| | 02:27 | And we're going to color
the 10 blue. There you go.
| | 02:34 | Now if you wanted to manipulate this
chart, like you want to make it 3D or
| | 02:37 | something like that, you going to have
to convert the font to outlines and then
| | 02:41 | you can take the pieces apart.
| | 02:42 | They'll all come through as anchored graphics.
| | 02:44 | But just in itself being able to
quickly whip together a pie chart is so fun!
| | 02:48 | Let me show you an example of
the ways you can speed that up.
| | 02:52 | Down here in this text frame I
have the numbers already set up.
| | 02:56 | And they're colored because in the
Paragraph Style panel, I created a paragraph
| | 03:00 | style called Make a Pie.
| | 03:02 | Now to show you the numbers I
duplicated it and turned off Ligatures.
| | 03:06 | But let me show you how it's set up.
| | 03:09 | I created nested styles so that the
first number gets colored 100% of the
| | 03:17 | color I called pie green and that character
style gets applied through the first plus symbol.
| | 03:22 | So I've created character styles for
each one of these colors and then in the
| | 03:28 | paragraph style called Make a Pie I
used nested styles to automatically step
| | 03:32 | through all those colors.
| | 03:33 | So for example if I took out this one
then all the other colors increment.
| | 03:38 | If I say, oh that should be,
let's put that back at 33.
| | 03:41 | Now let's turn on Ligatures
so just choose Make a Pie.
| | 03:44 | This one has Ligatures turned on.
| | 03:45 | And there's my pie chart.
| | 03:47 | Another cool thing you can do with
Chartwell Pies-- See there's three variations
| | 03:52 | of Chartwell, Bars, Lines, and Pies.
| | 03:54 | We'll look at Bars and Lines in a second.
| | 03:56 | If for a pie chart only, you can add a
letter at the end, which will put a hole
| | 04:02 | in the middle of this, turning this into
a ring chart as opposed to a pie chart.
| | 04:06 | If I said +a, it makes a
little tiny circle. Hard to see.
| | 04:11 | I'm going to color that a black. And 30.
| | 04:15 | Nah, we don't want 35% of black.
| | 04:18 | We want it 100% of black.
| | 04:20 | So let me go back here.
| | 04:25 | Or let's actually jump to M.
It makes it a little larger.
| | 04:28 | Or if you said capital A, it makes it
even larger, all the way capital Z. So
| | 04:33 | from little A to capital Z,
smaller and larger circles.
| | 04:37 | Let's actually change the color here
to Paper for that capital A. And now we
| | 04:42 | have a little ring chart. Pretty neat, huh?
| | 04:45 | And again if the client says, oh you
know one of these numbers is different,
| | 04:49 | then all you need to do is go to the
-- you don't even need to select it.
| | 04:52 | Just go to the Story Editor
and change the numbers up here.
| | 04:55 | It's something I've never seen
before, but it works really well.
| | 04:58 | You know, this font will not work now
in some programs like Microsoft Word.
| | 05:02 | It can't figure out what you are supposed to do.
| | 05:04 | But in InDesign, Illustrator,
and Photoshop, it works great.
| | 05:08 | Remember, it's always the Ligatures
that turn it from the existing numbers with
| | 05:13 | plus symbols into the actual chart.
| | 05:15 | So here, I have some numbers written out.
| | 05:18 | And I've assigned the font
style Bars to a Chartwell's Bars.
| | 05:23 | But Ligatures is turned off.
| | 05:24 | So you can see the numbers.
| | 05:25 | I'll come over here and turn on Ligatures.
| | 05:28 | And that is what the bar
chart looks like. So let's undo.
| | 05:31 | 50, 130, 450, 200, and Ligatures, there it is.
| | 05:37 | Now if you want, I'm going to go up to
Story Editor, you can put little cap on
| | 05:41 | the end by ending it with the equal symbol.
| | 05:44 | And then I'm going to close this equal
symbol so you can see it a little better.
| | 05:48 | We'll color that black as well.
| | 05:49 | So, you don't have to use a
stacked bar chart like I've done here.
| | 05:54 | What you could do would be to create on
one line say 50, the next line say 130,
| | 05:58 | the next line say 450, select
them all, and turn them into bars.
| | 06:03 | Like let's go ahead and do that.
| | 06:04 | I'm just getting rid of the
plus symbols and turning them into
| | 06:08 | separate paragraphs.
| | 06:09 | So then you can have a legend on the
left showing the different amounts of
| | 06:12 | things and then on the end of each one
of these, you can add a little cap, you
| | 06:16 | know you'd color it black.
| | 06:18 | Actually, I should just
copy and paste this one right.
| | 06:20 | It's already colored black, I'll just
paste it there, and there and there, and
| | 06:25 | make a nice little bar chart for yourself.
| | 06:27 | And just change the leading to
change the spacing of the bars.
| | 06:29 | Very flexible in that way.
| | 06:31 | The last one that we have down
here is called Chartwell Lines.
| | 06:36 | So let's take a look.
| | 06:37 | This one I've already turned on
Ligatures and I'll open up Story Editor.
| | 06:41 | Lines should be called area chart.
| | 06:43 | It's an area chart.
| | 06:44 | It fills in according to the numbers.
| | 06:46 | You can have as long of a string of
numbers as you want and then you just add
| | 06:49 | plus symbols after that.
| | 06:50 | So it starts out 25, 5, 100, 45, and so on.
| | 06:55 | If you want to adjust something,
like let's say it's not a hundred.
| | 06:57 | It's more like 95, I'll select the number 100,
replace with 95, and it reduces a little bit.
| | 07:05 | So though I'm not able to show you a
charting function in InDesign, al you need
| | 07:09 | to do is get yourself the Chartwell
font and you can have all sorts of fun
| | 07:13 | playing with Ligatures turned on and
off to make all sorts of fun charts.
| | 07:17 | Now I've queued up to the
designer's website here.
| | 07:21 | It's TKType.com, and he's
designed a couple typefaces.
| | 07:25 | Otari's just a regular typeface.
| | 07:27 | I thought it was another
really neat one like this.
| | 07:28 | But this Chartwell is just amazing.
| | 07:30 | I mean he's got instructions here.
| | 07:32 | They're $20 per font for bars, pies, and lines,
or buy all three for $50. So check it out.
| | 07:39 | It's a fun way to make
charts with a font in InDesign.
| | Collapse this transcript |
| 007 Using the Eyedropper tool to pick up character or paragraph attributes| 00:00 | I wish I had a dollar for each time
someone said they wanted a way to copy text
| | 00:04 | formatting from one
place to another in InDesign.
| | 00:07 | Well, it turns out that you
can actually do this already.
| | 00:10 | You just need to know where to look,
plus a couple of little secrets.
| | 00:14 | The key to copying text formatting is
using the Eyedropper tool down here at the
| | 00:19 | bottom of the Tool panel.
| | 00:21 | The Eyedropper tool is a very
powerful tool, but with that power comes
| | 00:24 | great responsibility.
| | 00:26 | You must understand how it works or
you're going to get yourself in trouble.
| | 00:30 | The main thing you want to watch out
for when using the Eyedropper tool is
| | 00:33 | whether or not anything is
selected on your page when you use it.
| | 00:37 | Right now nothing is selected.
| | 00:39 | So if I click to pick up some formatting,
it won't affect anything on my page.
| | 00:44 | If something were selected, well,
whatever I pick up, it will apply it to what's
| | 00:49 | selected immediately and
that can cause some problems.
| | 00:52 | If something were selected on my page,
like a text frame or a graphic frame, when
| | 00:56 | I'd use the Eyedropper tool, it will
apply any formatting I pick up to that
| | 01:00 | object and that can be good or it could
be a problem depending on what I want.
| | 01:05 | But at least you need to be aware of it.
| | 01:07 | In this case, like I said, nothing is
selected so I am going to go ahead and
| | 01:11 | click on this word Hansel.
| | 01:13 | It picks up that blue color and you'll
notice that the Eyedropper cursor changed
| | 01:17 | from white to black indicating that it
has sucked up some of the formatting.
| | 01:22 | It's copied the formatting.
| | 01:23 | Now, I can come over to the word
Petal and drag over those letters.
| | 01:29 | When I let go, it colors that word.
| | 01:32 | It takes the same formatting from the
first word, the one I clicked on, and it
| | 01:35 | places it on that new word.
| | 01:37 | I am going to press the T key and
select some of this text in this text frame,
| | 01:42 | because I want to apply some formatting
to that text with the Eyedropper tool.
| | 01:47 | So once again I am aware that text is
selected, so when I use the Eyedropper
| | 01:51 | tool it will apply it to this text.
| | 01:53 | I will switch back to the Eyedropper
tool and click on this bold text down here.
| | 01:58 | As soon as I click on that, it not only
loads up the Eyedropper cursor, so you
| | 02:02 | will see that the cursor changes.
| | 02:04 | It applies that formatting
to whatever was selected.
| | 02:07 | Now even though that's still selected,
I can keep using my Eyedropper tool.
| | 02:11 | For example, I can drag over some
words here and it applies that formatting,
| | 02:16 | that bold text, to the text that I highlighted
and I can keep doing this as much as I want.
| | 02:20 | I will double-click on this and drag over here.
| | 02:23 | That's a faster way to apply text
formatting to more than one word if you want.
| | 02:27 | And I can come over here and double-click on
this word and apply it and you get the idea.
| | 02:32 | As long as I keep double-keeping or dragging
over text, it will apply that same formatting.
| | 02:37 | The Eyedropper tool is not
limited to a single text frame either.
| | 02:41 | For example, I want to take the
formatting from this head and drop it over here
| | 02:45 | on the word Contents.
| | 02:46 | So while the Eyedropper tool is still
selected, I am going to hold down the
| | 02:50 | Option or the Alt key and you'll see
that while that Option or the Alt key is
| | 02:54 | held down, the Eyedropper tool
reverts back to a white Eyedropper cursor.
| | 02:58 | That means I can resample
something and I will click on the heading.
| | 03:02 | Now I've copied that formatting from
the heading and I'll come over to the
| | 03:06 | Contents word and click on it. And it
applies that formatting to that word even
| | 03:11 | though it's a whole separate text frame.
| | 03:13 | I will admit that the Eyedropper tool
does take some getting used to, but
| | 03:17 | man oh man, it lets you
format a whole of text quickly.
| | Collapse this transcript |
| 008 Selecting through and into objects using cmd-click and Select Above/Below| 00:00 | David: In a complex layout, one of the most
frustrating roadblocks is not being able to
| | 00:04 | select something on your page.
| | 00:07 | For example, I want to select this
text frame, so I click on it but I don't
| | 00:10 | select the frame at all. I select
the graphic frame that's sitting on top
| | 00:14 | of that text frame.
| | 00:15 | This graphic frame is the one
that has the map of California in it.
| | 00:18 | So how do I select through that
frame to get the text frame underneath?
| | 00:22 | Simple. Just Command+Click on
the Mac or Ctrl+Click on Windows.
| | 00:27 | When I do that, I select through
the object to the object underneath.
| | 00:31 | InDesign is full of selection tricks
like that and it really behooves you to
| | 00:35 | learn a few of these if you're going
to be working in InDesign very much.
| | 00:38 | Here's another one.
| | 00:39 | I want to select inside this group.
I click on it once and I can see that it's a
| | 00:43 | group because of the dashed line around it.
| | 00:46 | Let me zoom in to 200% by
pressing Command+2 or Ctrl+2 on Windows.
| | 00:49 | See that dashed line?
| | 00:51 | That's definitely a group that
contains multiple text frames.
| | 00:54 | How do I select one frame inside of that group?
| | 00:57 | Well, in InDesign CS5 I can simply double-click.
| | 01:00 | The double-click goes into the group and
selects the next object down in that group.
| | 01:05 | In this case, we can see that there's
another group that was part of the bigger group.
| | 01:09 | This group has two frames in it.
| | 01:10 | So I will double-click again and you can
see that now I have selected one frame,
| | 01:15 | the one that says California, inside that group.
| | 01:18 | If I double-click a third time, InDesign
switches to the Type tool and places the
| | 01:22 | cursor inside that word,
because it's a text frame.
| | 01:26 | Now I can actually select this text
very easily and edit it all I want to.
| | 01:30 | But what if I want to move up the
group, like select the object itself?
| | 01:35 | That's where the Escape key comes in.
| | 01:37 | Press Escape once and you select
the frame that holds that text.
| | 01:42 | Press Escape again and you move up to
the group that holds that text frame.
| | 01:46 | If I press Escape key a third time, it
selects the top group, the one that holds
| | 01:51 | all of those objects.
| | 01:52 | If you're using an older version of
InDesign, then forget those double-clicks
| | 01:56 | and Escapes and instead focus
up here in the Control panel.
| | 02:00 | The Control panel actually gives you
buttons for selecting inside of a group.
| | 02:03 | For example, this button
here means select the content.
| | 02:07 | that means go down into the group.
| | 02:09 | That selects the first frame inside the group.
| | 02:12 | Now I can move among the various
objects in the group by the Selecting Next and
| | 02:16 | Select Previous buttons.
| | 02:18 | There is the next one, there's the next one.
| | 02:20 | Well, I can see there are
only two objects in here.
| | 02:22 | There's that group.
| | 02:23 | So I will go down into that
group and then select that one.
| | 02:26 | You get the point. When you click,
you move into or around your group.
| | 02:31 | Select the Container to move up the group.
| | 02:34 | Let's zoom out to fit the whole page in
the window again with the Command+0 or
| | 02:38 | Ctrl+0 on Windows, and I want to show
you one other very important feature in
| | 02:43 | InDesign CS5 that lets you select
objects, and that is the Layers panel.
| | 02:48 | Most people don't think about the
Layers panel as being a place that you select
| | 02:52 | objects, but it turns out
to be extremely helpful.
| | 02:54 | I am going to open the Layers panel
by clicking on this little tile there
| | 02:58 | and then I'm going to focus on this little
twist-down triangle next to the layer name.
| | 03:02 | When I click on that in InDesign CS5 I can
see all of the objects and groups on that layer.
| | 03:08 | Not only that, but it also
shows me what is selected.
| | 03:11 | See that little blue box?
| | 03:13 | That indicates that items
are selected on that layer.
| | 03:16 | If I want to select a different object
on that layer, just find the object and
| | 03:20 | click on that little box next to it.
| | 03:21 | For example, if I want to go back and
find this text frame again where it says
| | 03:26 | Our vacation was fantastic, I'll come
over to Layers panel, scan down it until I
| | 03:30 | see something that looks right, and then
click on the little box next to it. There we go!
| | 03:35 | I have selected it.
| | 03:36 | By the way, here is a secret
tip about the Layers panel.
| | 03:38 | If you have an object that you're going
to be selecting a lot, you probably want
| | 03:42 | to name it something special and you can
do that by clicking on it, pausing, and
| | 03:46 | then clicking again.
| | 03:47 | Click, pause, click. That's the trick.
| | 03:50 | That highlights the name and now we can
change it to something else like I will
| | 03:54 | put it in all caps, SELECT ME. There we go!
| | 03:59 | Hit Enter or Return and now you can see
that it really is highlighted there, and
| | 04:03 | I can always get back to it quickly.
| | 04:05 | Obviously, that didn't change
the text on the page at all.
| | 04:07 | That just gave it a name so it's
more obvious in the Layers panel.
| | 04:11 | Now the last selection tip I want to
point out about the Layers panel is it's
| | 04:14 | really a good idea to set things on
separate layer so that you can hide them and
| | 04:18 | lock them and so on.
| | 04:20 | Let me show you what I mean.
| | 04:21 | There are three images down here at the
bottom of my layer and I am going to put
| | 04:24 | those on a different layer.
| | 04:26 | I can do that by creating a new layer.
| | 04:28 | I'll click on the New Layer button.
| | 04:29 | Drag that down below Layer 1.
| | 04:31 | I just drag that down until I saw
that little black bar, that moved it below
| | 04:35 | Layer 1 and then I can
select these three objects.
| | 04:38 | In this case note that I am not
selecting them on the page, I'm simply selecting
| | 04:42 | them inside the Layers panel and I
am moving those down under Layer 2.
| | 04:46 | I will open that twisty triangle there
and you can see that now those images are
| | 04:50 | on Layer 2 instead of Layer 1.
| | 04:53 | I never actually had to select the
images on the page at all to do that.
| | 04:57 | But the great thing about having these
images on their own layer is that I can
| | 05:00 | hide that layer or lock it.
| | 05:02 | For example, I can click on that little
eyeball icon there and they just disappear.
| | 05:06 | I will turn it back on again and they reappear.
| | 05:08 | Or I will click in the lockbox and
you can see that they're all now locked.
| | 05:12 | If I try clicking on one of those
images, it simply will not be selected.
| | 05:16 | That's a great way to control what can
and cannot be selected in your document.
| | 05:21 | I can even lock a single object.
| | 05:23 | I will select this map of California, go back
to the Layers panel, and click on that lockbox.
| | 05:28 | Now if I try and select
that text frame, it's easy.
| | 05:31 | I simply click and because the map of
California is locked, it's not selectable
| | 05:36 | and I click right through it.
| | 05:38 | Selecting an object on your page should
be really simple, but when layouts get
| | 05:42 | complicated, knowing all these
tricks really comes in handy.
| | Collapse this transcript |
| 009 Some great tips and tricks for the Swatches panel | 00:00 | Anne-Marie: These Swatches panel in InDesign
is the source from whence all good things come.
| | 00:06 | It's probably the panel that I use most
often in InDesign and I want to show you
| | 00:10 | some cool little tips and tricks that
you can do with this panel to make it
| | 00:14 | easier for you to work in
your various InDesign files.
| | 00:17 | I think the number one thing that
especially new user should know is never use
| | 00:21 | the registration color.
| | 00:23 | We don't know why Adobe persists
and leaving it in the Swatches panel.
| | 00:27 | I don't think that I've ever used if the
registration color once and the problem
| | 00:32 | is that if you do use the
registration color, it's almost impossible to
| | 00:35 | distinguish from black.
| | 00:37 | If I selected this text and I color
it registration, can you tell me what's
| | 00:42 | black and was registration?
| | 00:44 | But if we send this to print and they
do a color separation, then this text
| | 00:48 | comes out at 100% of the four process
colors which would make for some very
| | 00:52 | strange looking text.
| | 00:54 | The registration color is only supposed
to be used for things that should be at
| | 00:58 | 100% on each individual plate, usually
things like crop marks and registration
| | 01:03 | marks, stuff that's outside of a live page area.
| | 01:06 | So if you cannot delete registration,
which is true, you see the pencil with the
| | 01:11 | slash, you can at least move it to
the bottom. Did you know that you can
| | 01:15 | rearrange these swatches? Yes.
| | 01:17 | So get it out of the way, move it away
from black at least, so that you don't
| | 01:21 | accidentally select it.
| | 01:23 | I am going to select all this and make
sure that it's black again, there we go.
| | 01:27 | By the way, any changes that I make to
the Swatches panel while a document is
| | 01:31 | open only apply to that document.
| | 01:34 | If I jump to a different document,
you'll see the registration color is
| | 01:38 | right back up at the top.
| | 01:39 | So if you want to make changes to the
Swatches panel that will be in effect for
| | 01:44 | every new document you create from now
on, then make changes to the Swatches
| | 01:48 | panel with no documents open at all.
| | 01:52 | So I am going to close these two
documents. I am not going to save any
| | 01:54 | changes and I'll close this big honking
thing and now we have the default Swatches panel.
| | 02:02 | Any changes that you make to the
Swatches panel with no documents open, then
| | 02:06 | become the new defaults for the
swatches in the application itself.
| | 02:11 | It still will not change for any
existing documents, but for new documents that
| | 02:15 | will be the new starting set of
swatches and that's a good thing.
| | 02:18 | So here are some, I think, common
changes you should make to the Swatches panel
| | 02:22 | with no documents open.
| | 02:23 | Number one, you already know.
| | 02:25 | Move registration down to the bottom.
| | 02:27 | get it out of the way.
| | 02:28 | Number two, get rid of the
colors that you would never use.
| | 02:31 | Why are they even there taking up brain cells?
| | 02:35 | How often do you need to
fill something with 100% cyan? Maybe never.
| | 02:39 | So I would select this color and delete it.
| | 02:42 | I would do the same thing
for 100% Magenta and Yellow.
| | 02:47 | I actually do use these colors,
| | 02:49 | red, green and blue, just to quickly
fill things to see what they look like.
| | 02:52 | So I am going to go ahead and leave it in.
| | 02:54 | In addition to these existing colors, a
color that you might want to add would
| | 02:59 | be, say, your corporate colors.
| | 03:00 | So for example, if you use a particular
color, say a Pantone color, in a lot of
| | 03:05 | your corporate pieces and you're
constantly doing two color work where you are
| | 03:08 | filling things with a shade of your
corporate color, for example, then go ahead
| | 03:12 | and add that to your default Swatches panel.
| | 03:14 | So I'm going to go to Color Type Spot
and we are going to jump to Pantone and
| | 03:21 | we will just type in say good old 286.
| | 03:24 | And we will add that. You know while
you're here you can add in any other colors
| | 03:28 | that you like to play with. Maybe you
are kind of tired of red, green and blue
| | 03:32 | and you'd like to have some neutrals
or you would like to have some nice pink
| | 03:36 | and lavender and go ahead and add them.
It's not going to cost you anything.
| | 03:40 | Now let me show you an
even easier way to add colors.
| | 03:43 | Let's say that in my work I
constantly use the same colors in a variety
| | 03:48 | of InDesign documents.
| | 03:49 | Now those colors I have already
painstakingly spec-ed in the Swatches panel
| | 03:54 | for various documents.
| | 03:55 | Why don't I just use colors from there?
| | 03:58 | So you can actually save certain custom
colors from your InDesign documents and
| | 04:03 | then reuse them in other documents.
| | 04:05 | So let me open one of these
documents like this explore brochure.
| | 04:10 | So we have some nice looking colors here.
| | 04:12 | Let's say that I often use these four colors.
| | 04:16 | These are all custom CMYK colors.
| | 04:18 | I would like to add these to my
default swatches, so that they're there with
| | 04:22 | every time that I create a new document.
| | 04:24 | So you select the swatches that you want
and if you wanted like one up here, you
| | 04:28 | didn't want the ones in between, you
would hold down the Ctrl key on a PC or the
| | 04:32 | Command key on a Mac.
I actually don't want that.
| | 04:35 | So, I just want these.
| | 04:36 | Then go to the Swatches panel
menu and choose Save Swatches.
| | 04:41 | These get saved in a file format
called Adobe Swatch Exchange, as you can see
| | 04:46 | down here, and they are initially
called by the name of the document that you
| | 04:50 | extracted them from, but I could
call it our favorite desert colors.
| | 04:57 | So those are kind of deserty
and then we will close this guy.
| | 05:03 | Now in any new document or in any
existing document for that matter, you
| | 05:09 | can always go to the Swatches panel and
then choose Load Swatches and select the ASE.
| | 05:14 | Now this is an actual standalone
file that you could put on a server for
| | 05:18 | everybody in the workgroup
to load whenever they need it.
| | 05:20 | You can email it to your freelancers,
you can include it with packages.
| | 05:24 | I mean you could even post it on
craigslist or eBay and maybe make a few
| | 05:28 | bucks from it, why not?
| | 05:29 | I am going to choose Open and the colors
are added automatically to my Swatches panel.
| | 05:34 | Another way to get Swatches that
already exist in other InDesign documents is
| | 05:39 | by picking and choosing them from the
Add New Color Swatch dialog box and in
| | 05:45 | some ways it's even better, because
when you say something is ASE, you have no
| | 05:49 | clue what colors are
coming in when you load them.
| | 05:51 | You might forget, what are my desert
colors? Maybe there's a thousand colors in
| | 05:55 | there and you just wanted a couple.
| | 05:57 | If you want to actually pick and choose
the colors from within this document or
| | 06:00 | from within the Swatches panel itself,
because we don't have the document open,
| | 06:04 | go to the Swatches panel menu, choose
New Color Swatch, and under Color Mode, go
| | 06:11 | all the way to the bottom
and choose Other Library.
| | 06:14 | You can see I have already done this
before, because it's remembering I choose
| | 06:18 | California history book.
| | 06:20 | But you choose Other Library and then
you can choose any InDesign document
| | 06:24 | that you'd like, and it gets added as though
it was on its own standalone Pantone library.
| | 06:31 | So I could say well, I want this color and
I like this gold and that's about it. Nice, huh?
| | 06:42 | Now this is getting a little messy.
| | 06:44 | I am going to rearrange this
and in fact, there's one last tip
| | 06:47 | I want to tell you about to
help organize your Swatches panel.
| | 06:50 | A lot of users say isn't there a way we
can group these, put them into folders,
| | 06:55 | so that I can have you know, these are
the colors that we are using for the Fall
| | 06:58 | catalog, these are the ones we are going
to use for the Winter catalog or colors
| | 07:02 | by different my two main
clients, something like that?
| | 07:05 | And unfortunately, not yet.
| | 07:07 | We keep hoping with every new version, but no.
| | 07:09 | There is a kind of a workaround though
that you could use that's kind of neat.
| | 07:13 | Go to the Swatches panel menu, choose
New Color Swatch, give it any color that
| | 07:17 | you would like. I would like
to use often just pure white.
| | 07:20 | So I am just dragging everything over
to the left and then turn off Name with
| | 07:24 | Color Value and instead type in
something that looks like a divisor. It's like
| | 07:29 | a series of hyphens.
| | 07:31 | And then click Add and you see what got added.
| | 07:36 | Actually, it was a little too long so
we have dot dot dot. so let me make one a little
| | 07:42 | bit shorter, let's say
like that, Add. That's better.
| | 07:46 | And then whenever you do that then it
says the next color will be the same thing
| | 07:49 | only with word copy, but
I don't want the word copy.
| | 07:52 | I want to make another divisor.
| | 07:53 | It can't be the exact same number of
hyphens so I can just remove one, click Add
| | 07:59 | again or I can even do something like
---Fall Colors and then we are going to
| | 08:09 | delete that. And you know what I am
going to enter here right? Winter Colors and
| | 08:18 | because we can rearrange by dragging
and dropping these color swatches, we can
| | 08:22 | make our own little organization.
| | 08:24 | So I might say here are the Winter
colors. We will say it's blue and this blue
| | 08:29 | and then the fall colors will go above
there and the fall colors will be that
| | 08:34 | one and that one and I think the yellow
one as well. Maybe I am going to rename
| | 08:44 | this color and we will call it Don't Use These.
| | 08:52 | Guess which color I am going to
put underneath there? And so on.
| | 08:56 | So I am going to delete that one, delete
that one and we will keep our corporate
| | 09:01 | color up here, and there.
| | 09:03 | Now we have our favorite colors that we
use all the time up here and then here
| | 09:07 | is the Falls colors for those projects,
the Winter colors for those projects, and
| | 09:11 | Don't Use These, because we
can't get rid of registration.
| | 09:13 | Now every time that I create a new
document, those colors are available to me.
| | 09:18 | But if I open up an existing document,
I don't need to worry about my changes
| | 09:24 | affecting it, because colors are saved
with a document that they are edited in.
| | 09:28 | So whether you need to edit the
swatches in the current document or you want to
| | 09:33 | create a swatch set that will work with
all your existing document from now till
| | 09:37 | the end of time, now you know.
| | Collapse this transcript |
| 010 Saving down for backward compatibility with INX and IDML| 00:00 | Anne-Marie Concepcion: We InDesign users don't
live in a vacuum. We're usually not the only person who
| | 00:06 | needs to work on a layout file.
| | 00:08 | Often that layout file needs to
circulate with their clients or coworkers or
| | 00:12 | vendors, freelancers and they might
not be using the same exact version of
| | 00:17 | InDesign that we are. And that causes
a lot of angst and consternation because
| | 00:22 | unlike Photoshop or Illustrator or even
Microsoft Word, InDesign does not have
| | 00:27 | an actual menu command that
says save to an earlier version.
| | 00:31 | So that's what I want to talk about in
this video, how to share your files with
| | 00:35 | people who use earlier versions of InDesign.
| | 00:38 | Right now I'm running InDesign CS5.5,
as you can see from the splash screen.
| | 00:43 | Now I am going to open up a document
that's this is the latest version as
| | 00:46 | I'm recording this.
| | 00:48 | File > Open. I am going to go to
the Desktop and open up a file
| | 00:52 | called goldengate.indd.
| | 00:55 | So it's missing some linked images.
| | 00:58 | That's not a big deal.
| | 00:58 | But the file itself opens up fine.
| | 01:00 | Now I am going to close this and
we're going to open it up with the earlier
| | 01:04 | version of InDesign, InDesign CS5.
| | 01:07 | You can tell that we are in
5 because it says CS5 here.
| | 01:11 | We are going to try and open up that
same file that InDesign CS5.5 just opened.
| | 01:16 | And after a little bit of thinking it
puts up this strange dialog box called
| | 01:20 | Missing Plug-ins and this is the
dialog box that you'll get regardless of the
| | 01:24 | version that you're using to
open up a later version indd file.
| | 01:29 | If you're using CS3 and you try to
open up a CS4 or CS5 file, you're going
| | 01:34 | to get a dialog box.
| | 01:34 | It doesn't say "you're using the wrong
version, dummy." You are going to get a
| | 01:38 | dialog box that says Missing Plug-ins
with different kinds of Plug-ins listed
| | 01:42 | here, which I think is a mistake
because I get e-mails all the time from people
| | 01:46 | saying, "How did I lose a plug-in
do I have a virus? I need a plug-in.
| | 01:50 | How can I replace this plug-in,
do I need to reinstall the program?"
| | 01:53 | No, all this is saying is that a later
version of InDesign has a plug-in that
| | 01:58 | ships with the program, because InDesign
is essentially a bunch of plug-ins that
| | 02:03 | work together as a team.
| | 02:04 | And here is one of the new ones
that your version doesn't have.
| | 02:07 | So if you see this, the chances are 95%
that it's not an issue of a missing plug-in.
| | 02:13 | It's that the version that you're
trying to open is a later version.
| | 02:17 | Unlike Photoshop or Illustrator or Word,
an InDesign file is like a database and
| | 02:22 | with every new version
that InDesign comes out with,
| | 02:25 | it's like a new kind of database.
| | 02:27 | So a later version can open up an
earlier version without a problem.
| | 02:32 | It will just go ahead and convert it and
it will say converted when it opens it up.
| | 02:36 | But it doesn't go the other way around.
| | 02:38 | If I am in InDesign CS5.5 and I need
to share this goldengate.indd file with
| | 02:45 | somebody who has version 5 what can I do?
| | 02:48 | You can't go to File>Save as earlier
version, which I really think they should.
| | 02:53 | Instead, you need to
export it to a certain format.
| | 02:55 | You will want to export it to the format
called IDML, for InDesign Markup Language.
| | 03:01 | Now this is kind of like an
interchange format that they introduced with CS4.
| | 03:07 | But unlike its earlier predecessor, INX,
which was actually called an interchange
| | 03:12 | format, the IDML format is
human readable XML files.
| | 03:17 | And that means that when we export to
IDML from 5.5, not only will InDesign CS5
| | 03:23 | be able to open this up, but also InDesign
CS4 will be able to open up the same IDML file.
| | 03:30 | We don't have to go through the
rigmarole of opening up the IDML in CS5 and then
| | 03:34 | exporting that out to IDML so CS4 can open it up.
| | 03:37 | That's what we used to have to do with INX.
| | 03:39 | So thank heavens, InDesign
team switched to IDML back in CS4.
| | 03:44 | I've already exported this file to IDML and
we'll go ahead and open it up in InDesign CS5.
| | 03:50 | We get the same message
about missing links to images.
| | 03:54 | Now when you export to IDML, the
export does not include image previews.
| | 03:59 | So if you do have missing images,
when the person with the earlier version
| | 04:03 | InDesign opens it up they'll just see
gray placeholder boxes for those images.
| | 04:08 | So that's something to keep in mind.
| | 04:10 | You need to send along the images
along with the IDML file, kind of like
| | 04:14 | making a little package.
| | 04:16 | It opens a copy of that IDML file as an
untitled document and any CS5.5 specific
| | 04:22 | features aren't supported of course
in CS5. It doesn't know about them.
| | 04:26 | But everything else comes through decently.
| | 04:28 | You will have a rewrap of text
because with every version of InDesign, even
| | 04:33 | the dot releases like 55, they tweak the text
engine a little bit so you need to expect that.
| | 04:39 | I want to show you something very
interesting here on the Desktop with this
| | 04:42 | IDML file that's sitting here.
We can actually peek inside it.
| | 04:46 | If I drag and drop it to something like
TextWrangler that shows the contents of
| | 04:51 | archives you can see that here's the
goldengate.IDML file and inside here we
| | 04:56 | have all sorts of things like the
master spreads. These are all XML files that
| | 05:00 | you can sort of make out yourself and
in fact these are completely editable.
| | 05:04 | If we made changes here and saved it
and then opened up the IDML file we might
| | 05:09 | get a different result. We could change
colors, we could change fonts, we could
| | 05:12 | even change text and stories. Look at this.
| | 05:15 | Every single text frame was
exported to an XML story file.
| | 05:19 | So if I go, let me find a one that's kind of
long, I am looking at this little guy here.
| | 05:23 | Here is the intro text here, so I
could actually change this if I wanted to.
| | 05:26 | So in other words the InDesign
team has opened up the InDesign file
| | 05:30 | specifications so that scriptures and
plug-in developers and other automation
| | 05:34 | specialists can actually create an
InDesign file just by knowing how to put
| | 05:39 | together all these
component files of the IDML file.
| | 05:42 | That makes InDesign much more
flexible and powerful as we go on to future
| | 05:46 | versions and for people who are were just
using InDesign to actually create layouts,
| | 05:50 | that means it makes it a lot
easier to share layouts with people with
| | 05:53 | different versions.
| | Collapse this transcript |
| 011 Using the INX and IDML formats to fix problems| 00:00 | David Blatner: Sometimes things go wrong
with your document. You know, weird things.
| | 00:04 | Suddenly you can't delete a color
swatch or maybe Find Change can't find stuff
| | 00:08 | that you know is there, or may be
your file keeps crashing unexpectedly.
| | 00:12 | If you really believe that it's
your file and not InDesign that's the
| | 00:15 | problem, you probably want to clean
out the gunk by using an export feature
| | 00:19 | called IDML or INX.
| | 00:22 | Here is what you do.
| | 00:23 | You go to the File menu and choose
Export and then here in the Save as type
| | 00:27 | pop-up menu, or what's called the
Format menu on the Mac, you'd choose
| | 00:30 | InDesign Markup (IDML).
| | 00:32 | Now if you are using an older version
of InDesign, InDesign let's say CS2 or
| | 00:36 | CS3, you'll be using the INX files.
| | 00:38 | It's called the InDesign Interchange Format INX.
| | 00:41 | But here in the new versions of
InDesign, it's InDesign Markup IDML.
| | 00:46 | Once you save that, you click the Save button
and I am just saving this out to my Desktop.
| | 00:50 | So I'll switch back to my Desktop and
you'll see that there is my InDesign file.
| | 00:55 | It's my InDesign file with a new
extension, IDML, and the IDML format or INX if
| | 01:02 | you chose that that is the entire
InDesign file kind of encapsulated into this
| | 01:07 | little tiny package.
| | 01:09 | And when I say tiny, I mean tiny.
| | 01:11 | The original InDesign file was almost 5
MB and this IDML file, if I hover over
| | 01:17 | this, will tell me that it's
only 189K. That's much smaller.
| | 01:22 | So we took everything that was inside
the InDesign document, the storied, the
| | 01:26 | layout, all of that stuff and not the
images, it just remembers the links to the
| | 01:30 | images but not the images
of the thumbnails themselves.
| | 01:33 | It remembers all of that.
| | 01:34 | It exports all of that into this tiny IDML file.
| | 01:38 | Now one of the things that's cool about
this IDML file or INX, whatever you are
| | 01:42 | using, is that you can
actually send this to somebody else.
| | 01:45 | I could e-mail this to a colleague, they
could open that file, and they would get
| | 01:50 | exactly the same stories,
exactly the same layout.
| | 01:53 | If they're having images, it would re-
link properly and they would actually get
| | 01:57 | exact the same file, but it was a much
smaller file that I had to send them.
| | 02:01 | So that's kind of a cool feature,
kind of as a side note about IDML or INX.
| | 02:06 | And actually, since I am off on this
tangent already, I might as well go even
| | 02:09 | further and tell you another cool thing
about IDML and INX files and that is you
| | 02:14 | can open them in a text editor.
| | 02:16 | INX, you can just open in any text
editor. You know, Windows Notepad or Text
| | 02:20 | Wrangler on the Mac or whatever.
| | 02:22 | IDML files are actually zipped archives
that you need to unzip in order to get inside.
| | 02:27 | So I am going to go ahead
and do that here on this one.
| | 02:29 | I'll just select it and rename this
instead of .idml, I'll call it .zip.
| | 02:34 | That's all. And it warns me are you
sure you want to do that, yes I am sure I
| | 02:38 | want to do it and I'll double-click on it.
| | 02:40 | In Windows it's really easy because
you just double-click on the file and it
| | 02:43 | opens and you can see inside of it.
| | 02:45 | On the Mac, you would have to open that
zip file using a program like BetterZIP
| | 02:49 | or Springy or something like that.
| | 02:52 | The built in unzip feature on the Mac
does not work. You need a utility even one
| | 02:56 | of those little free utilities
or something, low-cost utilities.
| | 02:59 | Anyway, here we have a zip file and we
can look inside of it and we can see here
| | 03:03 | are all the spreads, here is all the
stories. These are all just XML files.
| | 03:08 | In fact I can scroll down here and grab
this big one 13K and drag it out to my
| | 03:12 | Desktop and that unzips it.
| | 03:14 | Now I can open it in some program.
| | 03:17 | I'll just open this in WordPad and
you can see that this is what's inside.
| | 03:21 | Now don't get freaked out here.
| | 03:23 | I know it's geeky, but it's kind of
interesting that you can see that this
| | 03:26 | is the InDesign file.
| | 03:28 | Here is all the text that was inside
that InDesign file and granted you will
| | 03:32 | probably never need to do this, but if
you're a propeller head or you know, an
| | 03:36 | InDesign geek, you are going to love
this because it allows you to do all kinds
| | 03:40 | of amazing stuff to your InDesign
files that you never thought you could do.
| | 03:44 | Anyway, I am going to put this away
and move on to what we are supposed to be
| | 03:47 | talking about here. Let's go ahead and
close that and I'm going to change this
| | 03:51 | zip file back to IDML, because what
we're really trying to do here, yes I can
| | 03:57 | change that, is clean out
that InDesign file, right?
| | 04:00 | There was some kind of corruption in
the InDesign file. We exported as IDML and
| | 04:05 | now we're going to reopen that IDML in InDesign.
| | 04:09 | You simply double-click on it, or
choose File > Open from within InDesign either
| | 04:13 | way and InDesign opens the IDML file
and it reconstitutes it so that you get
| | 04:19 | exactly the same file as the original,
but it's now this new untitled document.
| | 04:25 | In most cases this untitled document has
cleared out all of those weird document
| | 04:29 | corruption problems that you were noticing.
| | 04:31 | You know, most people don't know that
technically InDesign's native files are
| | 04:35 | databases and exporting and then
opening that INX or IDML file is like a deep
| | 04:40 | clean of that database, clearing out
all the nooks and crannies that sometimes
| | 04:44 | get gunked up as you work.
| | Collapse this transcript |
| 012 InDesign's Easter eggs| 00:00 | David Blatner: Okay, it's time for me to let you
in on some of InDesign's deepest darkest secrets.
| | 00:05 | Yes that's right, I'm talking about Easter eggs.
| | 00:08 | Easter eggs are those little wacky
undocumented features that the software
| | 00:11 | engineers sometimes sneak into a
program without telling anyone.
| | 00:14 | Well InDesign has some really great
ones. You've got know about these.
| | 00:18 | Now if you used to use QuarkXPress, you
may remember an old angry Martian that
| | 00:23 | would come out and delete things off your page.
| | 00:25 | And you know, now that most of us use
InDesign we cannot miss that old alien a little bit.
| | 00:30 | So fortunately the good people
at Adobe added in an alien for us.
| | 00:34 | And you can find them
inside the Print dialog box.
| | 00:37 | I'll choose Print from the File menu
and I'm going to be doing a little secret
| | 00:41 | trick here to bring the
alien forth. Here's what you do.
| | 00:44 | You go to the Save Preset
button and you add a new preset.
| | 00:48 | Doesn't matter what the settings are in
this dialog box. You just create a new
| | 00:51 | preset called Friendly Alien, right.
| | 00:55 | QuarkXpress had the angry killing
alien. This one is a friendly alien and I
| | 01:00 | click OK and now as long as Friendly
Alien is chosen up here in the Print
| | 01:04 | Preset pop-up menu I can come over
here and click once in this little area in
| | 01:09 | the lower left corner.
| | 01:10 | That's all you need to do. Click
that little P page and all of a sudden
| | 01:14 | here's our Friendly Alien and he is
friendly too, he likes to say hello.
| | 01:21 | Okay, so that's a totally useless feature.
I admit it, it's a Friendly Alien, but
| | 01:25 | it's just fun to know that it's there, isn't it?
| | 01:27 | Alright, let me show you another
Easter egg in InDesign. This one is
| | 01:31 | actually somewhat useful.
| | 01:32 | I am going to click Cancel mnd I am
going to go to the Stroke panel and inside
| | 01:36 | the Stroke panel and inside the Stroke
panel I am going to choose Stroke Styles
| | 01:39 | from the Stroke panel menu and when I do
this it gives me an option to create my
| | 01:43 | own custom stroke styles.
| | 01:45 | In this case I am going to create a
new one and I'm going to call it Feet.
| | 01:49 | That's all I need to do, just call it
Feet. Click OK, click OK and now I'll
| | 01:54 | go draw something with the Bezier
Pen tool, something like that. It doesn't
| | 01:57 | really matter what.
| | 01:58 | And I'm going to select that and
change it to a much thicker stroke, maybe at
| | 02:03 | big 30 pt stroke and change the Type
to my new custom stroke style that I
| | 02:08 | created called Feet.
| | 02:10 | And there they are, there is the Feet.
Zoom in on this so you can see it
| | 02:13 | a little bit better.
| | 02:14 | There is the little feet walking across my page.
| | 02:16 | So maybe you need a feet stroke.
That's how you get it. Who knew, right?
| | 02:20 | We can do a couple of more in here too.
| | 02:22 | We'll go back to stroke styles, click
New, and I can change another one Woof.
| | 02:27 | In this case I don't see any change
in the dialog box. All I need to do is
| | 02:31 | change the name and I'll get the effect minute.
| | 02:33 | I am going to click Add, so I can add
that one and start off with a new one and
| | 02:37 | this one is going to be
called Lights, there we go.
| | 02:40 | Need two different ones and you can get
a little indication here that something
| | 02:44 | special is going to happen when I choose those.
| | 02:46 | I'll select that stroke and I'll
change it to the Woof and you can see that
| | 02:51 | instead of human feet we have
canine feat. Now isn't that cute?
| | 02:55 | And now we'll do one last
one. Change it to lights.
| | 02:58 | This one I really like for
your holiday letter or something.
| | 03:00 | You want some holiday
lights on there? There you go.
| | 03:02 | Holiday lights inside of InDesign.
| | 03:05 | Now the last Easter egg in InDesign that
you have to know about is the butterfly
| | 03:09 | Easter egg and if you've been using
InDesign for a long time you may remember
| | 03:13 | that the old icons for InDesign that
Adobe used to use was the butterfly.
| | 03:18 | And some of us are sad because
there are no butterflies anymore.
| | 03:20 | But wait, there are butterflies. They are
in there. You just need to know where to look.
| | 03:25 | To find them you go to the InDesign menu
and choose About InDesign or on Windows
| | 03:29 | you choose About InDesign from the
Help menu. Either way you get this page of
| | 03:34 | credits with all these people who
worked on InDesign, which is kind of cool.
| | 03:37 | You can see even more by clicking on Credits
down here, but we are not going to do that.
| | 03:41 | Instead, while this little splash
screen is open we are going to type the word
| | 03:46 | butterfly, B-U-T-T-E-R-F-L-Y.
| | 03:51 | There you go. There are InDesign's
butterflies inside this little window here
| | 03:55 | and they're flying around in this
beautiful pastoral scene. Isn't that lovely?
| | 04:00 | It actually gets better here because--
or worse depending on how you look at it.
| | 04:03 | You can actually click on these
and pin them right into place.
| | 04:08 | So that's-- some people
like that kind of thing. Don't worry.
| | 04:12 | It's doesn't hurt them really. You can unpin
them by clicking on them again and they'll unpin.
| | 04:17 | But if you do a bunch of these
sometimes you get an even better effect. I am
| | 04:21 | going to keep clicking, keep clicking,
keep clicking, and it's kind of a game
| | 04:25 | here to see how many you can click.
| | 04:26 | If you can get a bunch-- oops I undid
by accident- if you can get a bunch of
| | 04:29 | these pinned, you'll see a
little friend come out to greet you.
| | 04:33 | There we go, there is our friend, the friendly
alien, coming out and freeing the butterflies.
| | 04:39 | So there you go.
| | 04:39 | That's the final Easter egg that I
wanted to show you today. And then when you're
| | 04:43 | done with that, when you're ready to
put the butterflies away, just press the
| | 04:46 | Escape key and that makes it go away.
| | 04:49 | Granted, these Easter eggs may seem
like they're completely superfluous and
| | 04:52 | useless, but after a long day
thinking about hyphenation or footnotes,
| | 04:56 | these puppies are just the ticket for
remembering your sense of humor.
| | Collapse this transcript |
| 013 Three cool GREP styles everyone can use| 00:00 | Anne-Marie Concepcion: One of the most powerful and
underutilized features of Adobe InDesign is GREP styles.
| | 00:06 | I want to show you three cool
GREP styles that everyone can do.
| | 00:10 | This is really cool stuff.
| | 00:12 | Let me show you. For example, you may
have seen the word grep in Find Change,
| | 00:17 | which it's been around in Find Change
since I think CS2 or CS3, and GREP Find
| | 00:22 | Change lets you find text based on a pattern.
| | 00:25 | So instead of just a straight text you
can actually say find any digits that's
| | 00:30 | repeated a bunch of times or that you
know falls at the beginning or end of a
| | 00:34 | paragraph that kind of thing.
| | 00:36 | And with the GREP Find Change you
cannot just find text based on that matching
| | 00:41 | pattern, but then you can change it.
| | 00:43 | You can add characters before or after,
you can flip around parts of it, like you
| | 00:47 | can changed cents to dollars or put the
last name in front of a first name, and
| | 00:51 | of course you can find based on
format or change the format of found text.
| | 00:56 | So that kind of GREP is slightly
different than what I want to talk about,
| | 01:00 | which is GREP Styles.
| | 01:01 | Now GREP styles were added in CS4 and
the GREP style lets you embed that Find what,
| | 01:06 | that pattern within a paragraph style.
| | 01:09 | It does not let you change what is found,
but it does let you apply a character style.
| | 01:15 | So it's kind of like a hybrid between
Find/Change GREP and a nested style, Or maybe
| | 01:21 | you can think of it a nested
style that's more intelligent.
| | 01:23 | So let's take an example of the first
very cool GREP Style that you can do.
| | 01:29 | Here we have a paragraph. This one
that starts with in a matter of weeks
| | 01:32 | and this is a paragraph from a Hansel & Petal
plant catalog. The company name is Hansel & Petal.
| | 01:38 | And let's say that every time Hansel &
Petal is mentioned we want it to be bold.
| | 01:43 | You could go to Find/Change and make it
bold but then you would also have to say
| | 01:48 | every time that Hansel & Petal
lowercase or let's say it's also uppercase
| | 01:52 | sometimes, so let's say we'll just add
it right here, Hansel&Petal, and sometimes
| | 01:59 | it is also separated by spaces. Hansel & Petal.
| | 02:06 | Well that's a lot of Find/Changes that
you'd have to do constantly and every
| | 02:09 | time you edited something or before you
send it to press or before you export it
| | 02:13 | a PDF for the website, you'd have to
always do the same Find/Change and look for
| | 02:17 | these and apply the bold style.
| | 02:19 | Instead what you could do would be
to edit the body style so that these
| | 02:23 | automatically become bold.
| | 02:24 | I am just going to double click, body,
and go down to GREP Style and I want to
| | 02:29 | add a new GREP style.
| | 02:31 | You just need two things with the GREP style.
| | 02:33 | You need to know what is the name of
the character style that you are going to
| | 02:37 | apply to the found text, that's this
drop-down menu here, and if you forgot to
| | 02:40 | create a character style, you have
this wonderful little feature that let's
| | 02:44 | you create one on the fly right here without
having to back out of all these dialog boxes.
| | 02:48 | But I did think about it first, so I want to
make something bold. And then to the pattern.
| | 02:54 | Now it only suggests in a one or more
digits. I don't know why it's there.
| | 02:58 | It should just be blank in my opinion.
| | 02:59 | But what we want to do is we want to
apply the bold style to every time somebody
| | 03:03 | rights Hansel & Petal and you
can do that just by typing it in.
| | 03:07 | No GREP code necessary,
check this out. Hansel&Petal.
| | 03:09 | Now as soon as you type it doesn't
automatically happen. You have to click in
| | 03:14 | the gray area to make it go into effect.
| | 03:17 | So that worked on that one but it
didn't work on this one or this one.
| | 03:21 | So you think okay, fine, well
I know how to do it now. I'll just add a
| | 03:23 | new GREP style because there is no
limit to the number of GREP Styles you can
| | 03:26 | add to a paragraph style. Well there
probably is. Maybe there's a million that
| | 03:30 | you can, but I haven't tested it myself.
| | 03:32 | But instead of actually creating you
know another GREP style that says well if
| | 03:35 | they're uppercase and another one that
says if there is space, you can combine them.
| | 03:39 | You can be more efficient and
save electrons by just editing this one and
| | 03:43 | creating what we call an Or statement.
| | 03:45 | So if the text says this or it starts
with a capital H and a capital P, so the
| | 03:51 | Or character is this pipe, it's called.
| | 03:54 | It's the vertical line and
it's the character in your keyboard right
| | 03:58 | above the backslash.
| | 03:59 | So it's Shift+Backslash.
| | 04:01 | Let's do another one, Hansel & Petal.
| | 04:05 | So even though we are doing a GREP
style, we're not using any particular GREP
| | 04:10 | code, just straight text.
| | 04:12 | So didn't I tell you? It's a
cool GREP code that anyone can do.
| | 04:16 | Click in the gray area and notice
that they all become bold automatically.
| | 04:19 | So now you don't have to worry about it.
| | 04:21 | Whether the text is existing or you're
typing it on the fly or you're flowing
| | 04:26 | it into a document, as soon as you apply
this paragraph style called body, all of
| | 04:30 | these instances will become bold or of
course you know you could've applied any
| | 04:34 | other kind of character style to any
other kind of pattern that you're looking for.
| | 04:37 | So keep that in mind. Here's an easy one
for anybody, that anybody can use a GREP
| | 04:41 | style based on matching text and
variations of that separated by this pipe.
| | 04:46 | Let's look at another example. I am
going to zoom out and go up here to this
| | 04:50 | paragraph. Let's zoom in a bit.
| | 04:52 | Here we have an example of a
paragraph with a fraction in it.
| | 04:57 | And normally when I see this fraction
I would want to select it and apply the
| | 05:01 | Fraction character style.
| | 05:03 | But what a pain, right.
| | 05:04 | Can't we just make the Fraction
style part of the paragraph definition?
| | 05:08 | So this paragraph style is Section Blurb.
If I come down here to Section Blurb
| | 05:12 | and under open type features I
turn on Fractions, watch what happens.
| | 05:18 | It does apply the formatting correctly
to this two thirds, but look what has
| | 05:22 | happened to the other punctuation.
| | 05:24 | This comma moved up, this period moved up.
| | 05:27 | Some OpenType fonts are not as smart as others.
| | 05:30 | And when you turn on use fraction
glyphs for the paragraph style it applies
| | 05:36 | the Fraction style to anything it
thinks could be a numerator, like periods
| | 05:41 | and commas and so on.
| | 05:42 | So instead you're supposed to apply the
fraction one by one to the actual fractions.
| | 05:46 | Oh, that's pain.
| | 05:47 | So let's turn that off and instead
we're going to go right to GREP Style, and
| | 05:52 | it's still using the Hansel & Petal but
we're going to add another one here and
| | 05:56 | we're going to apply the style
called Fraction to a fraction.
| | 06:00 | I am just going to do a
very simple fraction here.
| | 06:02 | So we want one or more numbers, right.
That's what that means. The slash indeed
| | 06:07 | means any digits and the plus symbol
means one and more times followed by a
| | 06:11 | slash and then the same thing, one
and more numbers, right. So that's \d+.
| | 06:18 | Click in the gray area. I have preview
box turned on and we can see that two
| | 06:22 | thirds is now formatted correctly, but
the commas and periods have stayed in place.
| | 06:26 | So that's two GREP styles that anyone
can use and now let's do another one.
| | 06:30 | This one is lot of fun.
| | 06:32 | This one can search for anything in
between quotes and apply a character style
| | 06:36 | to the entire phrase including the quotes.
| | 06:38 | That can come in handy lots
of times. Let's test it out.
| | 06:41 | Let's say many plants cannot compete
well in a border. We'll surround that with
| | 06:47 | quotes and now we're going to edit
section blurb again and down here under GREP
| | 06:53 | Style I'm going to add a new GREP style
that applies the style let's say italic to�
| | 06:59 | And now how do you say
anything in between quotes?
| | 07:02 | Well luckily you can just start out by
saying opening quotes. It doesn't make any
| | 07:05 | difference if it's curly or straight.
And then any character is .+?", right.
| | 07:12 | Click in the gray area. Tada!
| | 07:15 | So we can type stuff and quotes. So
let's say soil type, freshness of the
| | 07:19 | water, or we can just go ahead and
add quotes anywhere that we want and it
| | 07:24 | automatically gets that character style
applied because we added it as a GREP Style.
| | 07:29 | So it's just been a few minutes and now
you know three cool GREP styles that you
| | 07:33 | can start applying to your projects today.
| | Collapse this transcript |
| 014 A field guide to special characters| 00:00 | Anne-Marie Concepcion: When you're working
closely with text, as I am here zoomed way in, if you've
| | 00:05 | turned on Hidden Characters which you
do from under the Type menu-- right now it
| | 00:09 | says Hide Hidden Characters because I
am showing them-- you might be flummoxed a
| | 00:13 | bit by some of the weird special
characters or hidden characters that appear.
| | 00:17 | I mean we all know what this little
dot is, right. That's a single space.
| | 00:21 | So if I typed another one
we'd see two dots in a row.
| | 00:24 | And if I added a tab, I'll just press the Tab
key, we see the double chevrons. That's normal.
| | 00:30 | But what about some of these other
characters that like we can even see in this
| | 00:33 | one little bit of text.
| | 00:34 | For example this guy here.
| | 00:37 | What the heck is this thing? A little
arrow kind of thing pointed up with some
| | 00:41 | dots above it and if you're not sure if
that's an actual character that somebody
| | 00:44 | just happened to color blue or not,
you can always just hide the special
| | 00:49 | characters that is signifying something
and then show the Hidden Characters again.
| | 00:54 | Then we have another instance of here
is a hyphen with a little squiggle above
| | 00:59 | it, a tilde, and then here is
another hyphen without one.
| | 01:03 | Is that supposed to mean something?
| | 01:05 | Hey actually, yes it does.
| | 01:06 | In fact there are a slew of the
hidden characters or special characters or
| | 01:11 | symbols that may appear in your InDesign
document that you might wonder what could these mean.
| | 01:16 | So I am going to go through a few of
the more interesting ones and then I'll
| | 01:20 | show a guide that you can download
that I put together for you that has the
| | 01:24 | complete list of all of these
special characters and what they mean.
| | 01:28 | The first thing is you want to make
sure and zoom in closely so you can what
| | 01:32 | these look like and then it will also
help you to view what's happening when you
| | 01:36 | zoom out by pressing Command+Zero or Ctrl+Zero.
| | 01:39 | By going to the View menu and going
down to Extras and choosing Hide Frame Edges,
| | 01:44 | because some of these special
characters run right up to the edge of a
| | 01:48 | frame, and then also View >
Grids & Guides > Hide Guides.
| | 01:54 | So now we can see all these
and I am going to zoom in a bit.
| | 01:57 | This in case you are
wondering is actually an index marker.
| | 02:01 | Somebody clicked in front of the word Mission
Dolores and they added it to the Index panel.
| | 02:08 | This tilde above the hyphen means that it
was automatically hyphenated by InDesign.
| | 02:13 | Hyphenation has been turned on for this
paragraph and when InDesign decides it
| | 02:18 | needs to hyphenated it will go ahead and
do so but that little symbol means that
| | 02:22 | it's an automatic one.
| | 02:24 | So if I deleted some keys so that the
word Missionization was on one line then
| | 02:30 | the hyphen disappears.
| | 02:32 | And that is different from this hyphen
down here which is actually a hard hyphen.
| | 02:36 | Let's delete a couple of words before
it and scroll over and you can see that
| | 02:42 | somebody actually typed in neighborly-
Mission. And so if the word doesn't needs
| | 02:46 | to break there you'll still see the hard hyphen.
| | 02:49 | So that's a hard hyphen and an automatic hyphen.
| | 02:52 | There's a third kind of hyphen
called a discretionary hyphen.
| | 02:57 | So say that for example I didn't want
the word eventually to break here, which
| | 03:02 | is how it's going to break according to
InDesign's automatic hyphenation. I want
| | 03:07 | it to break right here between the n
and the t. I could go up to the Type menu,
| | 03:11 | go down to Insert Special Character >
Hyphens and Dashes and enter a Discretionary
| | 03:18 | Hyphen or press the keyboard shortcut.
| | 03:22 | So what this means is InDesign ignores
your own hyphenation dictionary and only
| | 03:27 | break the word right here right,
where I put the Discretionary Hyphen in.
| | 03:31 | It's called Discretionary, because if
it doesn't hyphenate at the end of the
| | 03:35 | line, if it doesn't need to
break, then it doesn't appear.
| | 03:38 | And there is no white space added by this.
| | 03:40 | If I add Hide Hidden Characters, you see
that you can't even tell that there was
| | 03:45 | a hyphen here. Different than this
hyphen which will always be there.
| | 03:47 | So I am going to go ahead and Show
Hidden Characters again and we'll see if we
| | 03:54 | can force that word to hyphenate. Let's zoom out.
| | 03:56 | And I don't think we are going to
be able to get this guy to hyphenate.
| | 03:58 | But in case you see this strange little
blue hyphen inside of a word, then that's
| | 04:10 | probably what it is, is a Discretionary Hyphen.
| | 04:14 | Since I am zoomed out we can see
another kind of strange character.
| | 04:17 | It looks like a little hourglass and this
actually means that there is a note here.
| | 04:22 | If someone is working inside the type
and they wanted to add a nonprinting note
| | 04:26 | for one of their colleagues to read
they could go to Type > Notes and choose New
| | 04:31 | Note and then if I click the top half
of this the Note panel appears and it tells
| | 04:36 | me that contents of the note.
Please add which region of Spain here.
| | 04:40 | Let's zoom out a bit. There's another
weird one down here. Let's see right here.
| | 04:48 | So you might look at this
and say oh I know what that is.
| | 04:50 | That means that it's misspelled.
| | 04:52 | That's the Dynamic Spell Check.
| | 04:53 | But if we go to the Edit menu, go
down to Spelling, you can see there's no
| | 04:57 | checkmark next to Dynamic Spelling.
| | 04:59 | It's not turned on.
| | 05:00 | The other clue is that there is this
large arrow to the left of it and if we zoom
| | 05:04 | in even more closely, you can
see that there are some dots here.
| | 05:08 | So what is all this?
| | 05:09 | This is actually an
instance of conditional text.
| | 05:12 | If you go to the Window menu down to
Type & Tables and choose Conditional Text,
| | 05:17 | you can see that there is actually a
condition that's visible here and that we
| | 05:22 | could choose instead a different
condition, which means it's not even there, so
| | 05:28 | somebody didn't add the Spanish condition yet.
| | 05:31 | This indicates the presence of
conditional text and then this little red line,
| | 05:35 | the squiggle, is the
indicator for this kind of condition.
| | 05:40 | You'll see even more interesting stuff
if you click inside your story and then
| | 05:44 | go to the Edit menu and choose Edit
in Story Editor, where a lot of these
| | 05:49 | settings look completely different.
| | 05:51 | For example here is the conditional
text that we see in eyeball instead.
| | 05:58 | Here is a hyperlink. Now this is
kind of hard to tell. You may have just
| | 06:02 | thought it was a color, but actually
this is a hyperlink and in the InDesign
| | 06:06 | when you are in the Layout View,
hovering over hyperlink doesn't change your
| | 06:09 | cursor to anything.
| | 06:10 | It's only if you export it to PDF
including hyperlinks that in the PDF in
| | 06:15 | Reader or Acrobat then your cursor will
change to a pointing finger indicating
| | 06:19 | this is an actual link.
| | 06:21 | So to quickly locate links inside your
InDesign document, you could either look
| | 06:26 | at the Hyperlinks panel or you could
open up the story in the Story Editor and
| | 06:30 | then these indicators
indicate that it's a hyperlink.
| | 06:34 | Market Street in the early days
apparently was marked off with XML tags.
| | 06:39 | This indicator means that
there is an in-line graphic.
| | 06:41 | Here is a note that we just looked at
in Layout View where they appeared in-line.
| | 06:47 | Here is the Index Marker that looks
like a something from a totem pole right
| | 06:50 | before Mission Dolores.
| | 06:52 | So you not only have to become familiar
with what these hidden characters look
| | 06:56 | like in the Layout View
but also in Story Editor.
| | 06:59 | That's the only way that you're
really going to be in control of what's
| | 07:03 | happening with your text is knowing like
what these special symbols mean in both views.
| | 07:08 | And that's where this guide will come in handy.
| | 07:11 | I went through all of the different
special characters and took screenshots
| | 07:14 | of them all and I made a PDF that
indicates a different kind of hyphens and
| | 07:20 | line breaks and also what things look like in
the Story Editor as opposed to the Layout View.
| | 07:27 | And you can download those from either
lynda.com or if you go to our website at
| | 07:32 | indesignsecrets.com go to the
Resources section and choose LINK, SITES and
| | 07:38 | RESOURCES and I'll have a link to
the InDesign secrets guide to special
| | 07:42 | characters there as well.
| | 07:44 | So now you an idea of the scope and
breadth of all the different kinds of hidden
| | 07:50 | characters that and InDesign file can contain.
| | 07:53 | Each one has a specific kind of
information that you need to know about.
| | 07:57 | So become familiar with these and use
our guide when you need some extra help.
| | Collapse this transcript |
| 015 Trashing the application preferences to solve weird behaviors| 00:00 | David Blatner: Have you ever launched InDesign
and found a whole panel is just blank or maybe
| | 00:05 | it has no buttons in it or some
other really weird problem affecting the
| | 00:08 | program? Well the first thing that you
should do is quit and restart InDesign.
| | 00:13 | But if that doesn't clear up your
problem, the solution is almost always do we
| | 00:17 | build your preferences files.
| | 00:19 | Let me show you two ways to do that.
| | 00:21 | First, I'll quit out of InDesign.
I don't need to save this particular file and
| | 00:26 | I'm going to re-launch InDesign.
| | 00:28 | In this case I am going to do that by
just double-clicking on the application
| | 00:31 | file here in this folder and as soon as
I launch it, I'm going to hold down all
| | 00:35 | my modifier keys on the keyboard.
| | 00:38 | That means on the Mac I hold down Command,
Option, Control, and Shift and on Windows
| | 00:43 | I would hold down Ctrl, Alt and Shift.
| | 00:46 | Hold them all down
immediately after launching the program.
| | 00:49 | And if you hold it down fast enough
you will see this dialog box appear.
| | 00:54 | Do you want to delete the
InDesign Preference files?
| | 00:57 | In this case I say yes I do.
| | 00:59 | Now if you didn't hold those modifier
keys down fast enough you won't see that
| | 01:03 | dialog box and InDesign will launch normally.
| | 01:05 | So just go ahead and quit and try it again,
holding those keys down a little bit faster.
| | 01:10 | In this case I know that InDesign
has deleted those preference files and
| | 01:13 | started me off with brand-new fresh
ones with no preference corruption or
| | 01:18 | anything like that in there.
| | 01:19 | But there's a problem.
| | 01:20 | The problem is I've lost all my
preferences that I had set up.
| | 01:24 | For example, normally when I first
launch InDesign I set up a few preferences
| | 01:28 | that I want to be the defaults in the program.
| | 01:30 | For example here on the Mac I
like turning on the application frame
| | 01:34 | and maximizing that.
| | 01:35 | You don't need to do that on
Windows because there's always a maximized
| | 01:38 | application frame in Windows, but
here on the Mac I like turning that on.
| | 01:42 | Also I'll go to my Preferences dialog
box and I'll do things like turn on my
| | 01:46 | Apply Leading to Entire Paragraphs.
| | 01:48 | That's just a preference that I like
having turned on all the time, so I make
| | 01:52 | that change while no documents are
open, therefore it will change all
| | 01:56 | subsequent documents.
| | 01:57 | But those kinds of preferences are
exactly the kinds of things that get lost when
| | 02:00 | you rebuild preferences.
| | 02:01 | So here's what I am going to do.
| | 02:03 | I set up the preference just the way
I like them, then quit InDesign-- very
| | 02:07 | important to quit InDesign because
InDesign only writes those preferences to
| | 02:11 | disk when you quit InDesign.
| | 02:13 | So I quit. Now I am going to
go find those preferences files.
| | 02:15 | I'll show you how to do this on
both Mac and Windows, Mac first.
| | 02:19 | Here I'll open up new folder and
then inside my user folder I'll open the
| | 02:23 | library and then inside Preferences
folder here I'll find the Adobe InDesign
| | 02:28 | preferences. So I'll open that up then
I'll see my Version folder. Depending on
| | 02:32 | what version of InDesign you're running
you'll see a different number here, but
| | 02:35 | I'll open that up and depending on
what language you're using you'll find a
| | 02:39 | different named folder here.
| | 02:40 | This is the US English folder. I'll
open that up and finally we find the
| | 02:46 | InDesign defaults file.
| | 02:48 | That's where those preferences were saved into.
| | 02:51 | You'll also find some other files in here.
| | 02:53 | For example your shortcuts sets or your
custom workspaces but the one I really
| | 02:58 | care about right now is InDesign Defaults.
| | 03:00 | I am going to take this and I'm going
to duplicate it out onto my Desktop.
| | 03:04 | You can save a copy anywhere, onto a
thumb drive or a server or any other folder,
| | 03:09 | just as long as you have a duplicate
of your preferences file with all those
| | 03:12 | settings just the way you want.
| | 03:14 | That way in the future if I ever have
some kind of problem and I want to delete
| | 03:18 | those preferences, I can just come in
here, grab that, throw them away, and then
| | 03:23 | duplicate my nice clean one back in here.
| | 03:27 | When I restart InDesign it will start off
with the preferences just the way I had them.
| | 03:31 | When I restart InDesign it'll start up with
the preferences just the way I wanted them.
| | 03:36 | Now let me show you where those
hidden files are on the Windows side.
| | 03:40 | Windows Vista and Windows 7
hides InDesign's preferences files.
| | 03:44 | They are in a hidden folder called AppData.
| | 03:46 | So in order to see that you must first
go to the Organize menu and choose Folder
| | 03:51 | and Search Options. Inside this dialog
box you can choose View an then turn on
| | 03:57 | Show hidden files, folders and drives.
| | 03:59 | Without that you'll never find
the AppData folder. There it is.
| | 04:03 | So I'll double-click on AppData, double-
click on Roaming and keep going inside
| | 04:08 | Adobe and then InDesign and then
inside your version number. Remember the
| | 04:13 | version changes depending on which
version of InDesign you use. Inside there,
| | 04:18 | there is a language folder. This is
my US English language and here is my
| | 04:22 | InDesign preferences file
called InDesign Defaults.
| | 04:25 | I can back that file up by
copying it into another folder.
| | 04:29 | In this case I'll simply right click and drag
it onto my Desktop and then choose Copy Here.
| | 04:34 | Now that copy has all of
my clean preferences in it.
| | 04:39 | It's easy to forget that InDesign has always
hidden support files running behind the scenes.
| | 04:44 | But these files are often the key to
troubleshooting whenever things go wrong.
| | Collapse this transcript |
| 016 Aligning numbered lists by decimal points| 00:00 | David Blatner: I thought this numbered list
look pretty good, but Anne-Marie told me otherwise.
| | 00:04 | She wants all of these
little decimal points to line up.
| | 00:07 | Can you do that in InDesign?
| | 00:09 | Sure, but it's not at all
obvious how to do it. Let me show you.
| | 00:13 | First, let me go ahead and zoom in here
and now I'm going to open my Paragraph
| | 00:17 | Styles panel because all of these
are set up as a paragraph style.
| | 00:21 | In fact it's called the numbered list
paragraph style and you too it should be using
| | 00:25 | paragraph styles. Make sure that
whenever you make a list, make it as a paragraph
| | 00:28 | style. Much easier to edit later.
| | 00:30 | So I'll right-click on numbered list
and I'll choose Edit and we can see that
| | 00:34 | the dialog box opens up over here.
| | 00:36 | I'll click on Bullets and Numbering and
now I am going to focus down here at the
| | 00:39 | bottom of the dialog box in the
Bullet or Number Position area.
| | 00:43 | The obvious thing to do is to change
the Alignment pop-up menu to Right.
| | 00:47 | That should make all of those will
right aligned and align up all those
| | 00:51 | decimal points, right?
| | 00:52 | But even though the Preview checkbox
is turned on, you can see that nothing
| | 00:56 | happened at all. Why?
| | 00:58 | Well the key is the Left Indent feature.
| | 01:01 | It's set to zero picas.
| | 01:03 | That means that its right up against
the left edge of the text frame and
| | 01:07 | InDesign has a rule: you cannot
push anything outside the text frame.
| | 01:12 | Well technically you can. In some
situations you can get it out there.
| | 01:15 | But in this situation with a
numbered list you cannot do it.
| | 01:19 | It will not let you push those
numbers outside the text frame.
| | 01:22 | So what we need to do is
increase the Left Indent number.
| | 01:25 | Let's bump this up to let's say to 2 picas.
| | 01:29 | Press Tab and you can see that
because the Preview checkbox is turned on,
| | 01:32 | it updates automatically in the
background and look at that. All the decimal
| | 01:36 | points are aligned.
| | 01:37 | It pushed the Left Indent in 2 picas
and that gave those numbers room to move
| | 01:43 | back, to be right aligned.
| | 01:45 | Notice that InDesign also
added a tab here at three picas.
| | 01:48 | That's why all of these words are
lined up exactly at the 3 pica mark.
| | 01:54 | But there's a problem.
| | 01:55 | When we get down here to a
paragraph that has more than one line, it's
| | 01:59 | not indenting properly. What is going on?
| | 02:02 | Well, the Left Indent was set to 2 picas
and then the Tab brought us over to the
| | 02:07 | 3 pica mark, but then the other
lines reverted back to the 2 pica mark.
| | 02:12 | So what we really need to do is create
a hanging indent and a hanging indent
| | 02:16 | is created in InDesign when you have a
positive Left Indent and a negative First Line Indent.
| | 02:23 | So what I am going to do is bump this
Left Indent up to 3 picas and then bring
| | 02:28 | the First Line Indent to -1 pica.
| | 02:32 | So there we go, that positive Left
Indent and a negative First Line Indent gives
| | 02:36 | me enough space so that all the decimal
points are lined, but also sets it up so
| | 02:41 | that the multi-line paragraphs indent properly.
| | 02:44 | By the way, you'll also notice that
when you do set up a hanging indent, the tab
| | 02:48 | position field blanks out.
| | 02:50 | It doesn't need the tab anymore, because
it knows that you're using a hanging indent.
| | 02:55 | You'd think that Adobe would just make
the Right Align numbers feature work the
| | 02:58 | way you'd expect, without all this extra dialing
in of the numbers and stuff. But no such luck.
| | 03:03 | And until they get it figured out
you're just going to need to take the extra
| | 03:06 | minute or two to get
these all lined up correctly.
| | Collapse this transcript |
| 017 Running a script| 00:00 | Anne-Marie Concepcion: You know it always
shocks me when InDesign can't do everything.
| | 00:03 | You know, when there are features
missing, because by this time you think of it
| | 00:07 | would have come up with every single
feature and added it to the program, but
| | 00:11 | the good thing is that
InDesign is very scriptable.
| | 00:14 | It's very easy to add scripts, sort
of like little mini programs that add
| | 00:20 | the features that for some reason the InDesign
engineers didn't add to the program itself.
| | 00:25 | The scripts community is very rich in
InDesign and what I want to show you in
| | 00:29 | this video is how you might locate scripts and
then how you install them and how you use them.
| | 00:34 | It's surprising to me that so few
InDesign users who depend on it for their
| | 00:38 | daily living, don't even know that there
are free scripts that come with the program.
| | 00:42 | So let's take this one example.
| | 00:44 | Here we have a document
with two different tables.
| | 00:46 | Now say that I heard from the client
and they say "you know what, we want this
| | 00:48 | to be one table." So like well how can I
select these two tables and make them into one?
| | 00:54 | I mean there is no Merge Tables.
| | 00:56 | There is just a Merge Cells command.
| | 00:58 | You think "oh man, I am going to have
to figure out how to do this and add
| | 01:00 | empty rows and copy and paste," but
actually there is a Merge Tables script
| | 01:06 | around and I read about it some
place and I know that it's here in this
| | 01:11 | website in-tools.com.
| | 01:12 | INtools is a company that makes free
and commercial scripts and plug-ins for
| | 01:17 | Adobe InDesign, and in their scripts
page, they have one called Table Merger.
| | 01:23 | This is a simple script which merges two tables.
| | 01:26 | But before I go ahead and download that,
let's talk a little bit about where
| | 01:29 | you might find the script in InDesign
and then we'll go ahead and install that
| | 01:33 | Table Merger script.
| | 01:34 | So in InDesign-- and we
are in CS 5.5 right now.
| | 01:39 | In 5.5, and I believe in 5 as well, the
Scripts panel is hiding down here in Utilities.
| | 01:46 | You choose Scripts.
| | 01:47 | In earlier versions of InDesign you'll
find it under Window > Automation and then
| | 01:52 | there will be fly out that says Scripts
Automation, but here we're in Utilities.
| | 01:56 | So you open up Scripts and I am
just going to drag this panel out so we
| | 02:00 | can concentrate on it.
| | 02:01 | Here's two folders, Application and User,
and what that means is there are scripts
| | 02:06 | that are installed at the application
level so anybody who logs on to this
| | 02:10 | computer can use them, or there are
scripts that are private only to the current
| | 02:14 | user and right now that folder is
empty. I don't have anything installed.
| | 02:19 | But in Applications, there are always
going to be some free sample scripts
| | 02:23 | is what they call it.
| | 02:24 | Now I am on a Macintosh so
there are two flavors of scripts.
| | 02:28 | One is AppleScript which is Mac only; the
other one is JavaScript which is by platform.
| | 02:33 | So the same JavaScript scripts can be run
on both Mac computer and a Windows computer.
| | 02:38 | Now if I were on Windows, I'd see samples,
but it would say JavaScript and VBScript.
| | 02:43 | VBScript is Windows only.
| | 02:45 | Essentially the scripts are the same
so in AppleScript, AddGuides, AddPoints,
| | 02:50 | AdjustLayout, in JavaScript,
AddGuides, AddPoints, AdjustLayout.
| | 02:54 | And actually these are here to help
people who want to learn how to script
| | 02:57 | practice some essential concept
because InDesign does ship with a PDF about
| | 03:01 | how to script InDesign.
| | 03:02 | But I'm not teaching you how to actually script.
| | 03:05 | What's interesting is that a lot of
these object lesson scripts actually do very
| | 03:09 | useful things and to run a script all
you need to do is double-click something.
| | 03:13 | So like for example, if I make a
selection, let me just drag out a little square
| | 03:17 | here and I have it selected and then I
choose for example CropMarks, I get a
| | 03:23 | little dialog box that says where do
you want me to put the CropMarks, should I
| | 03:26 | include Registration Marks?
| | 03:28 | Where should I draw the marks around
each object or just the entire selection?
| | 03:32 | I'll say the Selection and it made
little crop marks around my selection.
| | 03:36 | So there are all sorts of
interesting things that these scripts can do.
| | 03:39 | Unfortunately, I'm not
finding Merge Tables here, right?
| | 03:43 | So there's no Merge Tables script here,
but I did hear about that one that was
| | 03:48 | offered for free at the in-tools.com website.
| | 03:51 | Now the question is how do I get
that script into my Scripts panel?
| | 03:55 | It's actually really simple.
| | 03:57 | You don't have to quit InDesign and
by the way the instructions that I am
| | 04:00 | showing you here on the Mac also
work exactly the same in Windows.
| | 04:03 | In fact it's a lot easier if you start
up the program and open up your Scripts
| | 04:07 | panel, because if you right-click on the
folder that you want your new script to
| | 04:12 | go into, it will bring you right to it
in the OS. So on a Mac it will bring you
| | 04:17 | to that folder in the Finder and on
Windows it will bring you to that folder
| | 04:20 | in Windows Explorer.
| | 04:21 | So let's say that I want to install
that script and have it available for
| | 04:26 | anybody who uses this computer.
| | 04:28 | That means I want to install it in the
Application area and I'll go ahead and
| | 04:31 | install it inside the Samples folder.
| | 04:33 | So I am just going to right click on the
Samples folder and choose Reveal in Finder.
| | 04:37 | It opens up a window in the Finder
that shows me exactly where that is.
| | 04:42 | There is the AppleScript and JavaScript.
| | 04:43 | And if I go to the left, you can see that
actually we are in the Adobe InDesign CS
| | 04:48 | 5.5 Application folder and inside
there, there is a Scripts folder.
| | 04:53 | So I could do this myself actually
just in the Finder. I don't have to always
| | 04:57 | right-click from that folder.
| | 04:59 | Inside there, there is another folder
called Scripts panel and then that is
| | 05:02 | where you want to install your scripts,
inside the Scripts panel folder. Same on
| | 05:07 | Windows and the Macintosh.
| | 05:09 | You don't have to use the Samples folder.
| | 05:11 | You can create your own folder.
| | 05:12 | In fact I think I will. I am just going
to select this and then go to New Folder
| | 05:16 | and I'll call this my scripts.
| | 05:18 | Now this is the folder that I
want to install the script in.
| | 05:22 | So I am going to now go back that web site and
download the script Table Merger. It is a zip file.
| | 05:29 | I am going to go ahead and say yes,
open it up with StuffIt Expander.
| | 05:34 | Now I need to find out where
that file got downloaded to.
| | 05:37 | If I didn't have my Downloads window open,
I could have opened it from Firefox's
| | 05:41 | Tools menu. There's Downloads.
| | 05:42 | There is the Tables, Show in Finder,
there it is, and we've already unzipped it.
| | 05:47 | So I am just going to move this over to the
Desktop and we'll take a look. This is .jsx.
| | 05:53 | That stands for a JavaScript script and a
JavaScript script is simply a text file.
| | 05:59 | Now you could open it with, you know,
the actual program that Adobe ships with
| | 06:03 | every installation of the Creative
Suite, called The ExtendScript Toolkit.
| | 06:07 | It's a special program
just for writing JavaScript.
| | 06:10 | But I want to show you that I can even open
it in TextEdit, that it's a simple text file.
| | 06:14 | It's all it is, just a
text file that ends with .jsx.
| | 06:18 | Now I want to put this scripts into the
my scripts folder, so I'll just drag and
| | 06:22 | drop it right in there.
| | 06:23 | Now when we go back to InDesign, notice
that it automatically added my scripts
| | 06:29 | as soon as I created that folder and
inside there is a Merge Tables JavaScript.
| | 06:33 | So now I am just going to select my
two tables. Just drag across both of them
| | 06:39 | and double-click MergeTables.jsx.
| | 06:40 | Merge Below or Merge Beside. I
want to merge it below, there it goes.
| | 06:46 | Now I actually experimented with this
script first before I demoed it, because I
| | 06:49 | wasn't sure if it would be smart enough
to merge two tables that were separated
| | 06:52 | by a paragraph and that's what
you need to do a lot of times.
| | 06:55 | You need to experiment with the
script, especially the ones that are free,
| | 06:59 | because they don't often
come with documentation.
| | 07:02 | Now the ones on this website, if you
remember in-tools.com, actually does
| | 07:07 | come with documentation.
| | 07:08 | So I could have read more about it, but
sometimes some scripts require selection
| | 07:12 | and you don't know some scripts don't
work if you have something selected.
| | 07:15 | Other places that you might find
scripts, other than just you know on
| | 07:18 | developer's websites, will be in any
form having to deal with the InDesign or
| | 07:23 | a web site like on our own indesignsecrets.
com web site. We talk about scripts all
| | 07:28 | the time and some of them we add to
this Resources page, Plug-ins and Scripts,
| | 07:33 | but you can download them and then you
would install it just as I showed you.
| | 07:37 | A lot of times some of the best scripts
aren't even sold or listed as a script.
| | 07:41 | Scripters, who are very handy with
scripting, would just go ahead and type out a
| | 07:46 | script in a form post or
in a comment in a blog.
| | 07:49 | Like for example here's
one on our website where people were
| | 07:54 | mentioning to us that in InDesign CS5
when you export a facing pages document to
| | 07:59 | an interactive PDF, it
always has spreads turned on.
| | 08:02 | There's no control in the Export
Interactive PDF to split that up into single
| | 08:07 | pages and somebody said "how do I make
a single page interactive PDF from a
| | 08:11 | Facing Pages document, is it possible?"
| | 08:13 | 62 people are vitally interested in
this question and if I scroll down a bit,
| | 08:18 | you will see that a couple of
scripters took a whack at it, right.
| | 08:20 | So here's one that adds
comments and all sorts of stuff.
| | 08:24 | Now what do you do with something like this?
| | 08:25 | It's actually quite simple.
| | 08:26 | Remember how I showed you how that
JavaScript is simply a text file.
| | 08:30 | All you need to do is select the text,
get every bit of it, copy it to the
| | 08:34 | clipboard, start up any text editor
that you might have running like
| | 08:38 | TextEdit on the Mac.
| | 08:40 | Make sure that you are working in
Plaintext mode. You don't want to have RTF or
| | 08:44 | styling enabled, and then paste what you have.
| | 08:47 | Then you just save that file.
| | 08:49 | I'll save this on my Desktop as
splitspread and then you want to add the jsx
| | 08:55 | extension. Otherwise InDesign
won't recognize it as a script.
| | 08:58 | It might be that you better
say yes, Use .jsx. All right!
| | 09:02 | So let's find that in the Finder, here it is.
| | 09:06 | I'll copy that to my Clipboard and go
back to that same folder, my scripts, and
| | 09:12 | I'll paste it in there.
| | 09:15 | And now when we go back to InDesign,
there it is, ready to use whenever I want
| | 09:20 | to automatically split a spread
when I am creating an interactive PDF.
| | 09:24 | So make sure and check out the rich
community of scripters and all of the cool
| | 09:29 | free and low-cost commercial
scripts that are out there for InDesign.
| | Collapse this transcript |
| 018 When text disappears from a text frame| 00:00 | Anne-Marie Concepcion: I want to call
this video "The case of the disappearing text!"
| | 00:04 | Really, one of the most common and
frequently asked questions that David and I
| | 00:09 | get on InDesignSecrets is
"how come I can't see my text?"
| | 00:13 | Here is an actual reenactment of a
typical file that a client sent us.
| | 00:18 | I am going to scroll down here
through this document and everything
| | 00:21 | looks hunky-dory, right?
| | 00:23 | And then suddenly, where is the text?
| | 00:27 | What happened to the text?
| | 00:29 | Why isn't it showing up?
| | 00:31 | So they say that they've tried everything.
| | 00:33 | It used to show and now it doesn't show.
| | 00:35 | They don't know want they
did to make it not show.
| | 00:38 | So I'm going to take you through
these diagnostic steps of detective
| | 00:42 | InDesign Secrets because seriously
this happens so often it's ridiculous.
| | 00:47 | The first thing that I look at when
somebody says "I can't see the rest of the
| | 00:51 | text," my first suspect is a hidden character.
| | 00:54 | The hidden character called break, one
of those break characters, under here
| | 00:59 | Type > Insert Break Character.
| | 01:01 | Because it is all too easy to just
tap on the Enter key, to lean on it while
| | 01:05 | you're reaching for a pen or something
and enter a column break or a frame break
| | 01:09 | or a page break or like an odd page
break when you have no odd pages, because for
| | 01:13 | some reason you've just
numbered all your pages even.
| | 01:16 | So I go to where the text ends, zoom
in really closely with the Command+Plus or
| | 01:21 | Ctrl+Plus, turn on Hidden Characters if
they are not already showing, which they are
| | 01:26 | as you could see from the from the
pilcrow here, and I do not see the telltale
| | 01:30 | symbol which is let me go ahead and
press the Enter key here and then jump this
| | 01:38 | down. I am going to come back here to
Golden and then there it is right there.
| | 01:41 | This tiny little speck. Do
you see how easy it is to miss?
| | 01:44 | Often when you import documents like
from Microsoft Word, if you forget to turn
| | 01:49 | off Include Page Breaks, then those
get converted to frame breaks or even
| | 01:53 | actual page breaks.
| | 01:55 | So you place it into a set of threaded
frames, but you don't see the rest of the
| | 01:59 | text because it's jumping or trying to jump.
| | 02:02 | However as you can see,
that is not the issue here.
| | 02:05 | There is nothing following this.
| | 02:09 | So the next thing is I wonder if
there actually is text following this.
| | 02:13 | How can you see text that
doesn't appear inside the text frame?
| | 02:17 | Go to the Edit menu and
choose Edit in Story Editor.
| | 02:20 | The Story Editor window will show you
all the text regardless of formatting or
| | 02:25 | jumping or what have you. And aha!
| | 02:28 | So the client was not lying.
There actually is text there.
| | 02:32 | I can already see that it's
overset, so that's the issue.
| | 02:35 | If I didn't see this overset, if I just
saw the rest of the text, you know what
| | 02:38 | I would suspect? That somebody selected
the text and changed the Fill Color to
| | 02:43 | Paper or something like that so we
couldn't see that text was actually there.
| | 02:46 | But that's not the case here, as you can see
if I select the text and look at Swatches.
| | 02:51 | It's actually filled with a color.
| | 02:52 | That's the subhead style and then this
text body no indent is filled with black.
| | 02:57 | So that's not the problem. Hmm!
| | 02:59 | Now that I know the text is definitely
there and there is a lot of text, then I
| | 03:05 | know that the problem probably has to
do with something right here with maybe
| | 03:10 | with this one paragraph.
| | 03:11 | So let me see if I select this
paragraph and cut it what happens. Aha!
| | 03:17 | A whole pile of text ended up and
then the problem is solved, right?
| | 03:22 | Well, actually not quite, because there
is probably supposed to still be text here.
| | 03:28 | Let's again take a look in the Edit >
Story Editor and again there's overset text
| | 03:36 | and again we see subhead is the culprit.
| | 03:41 | There is something
happening with the subhead style.
| | 03:44 | So another thing I might check would be
to select some of this text and then go
| | 03:49 | to the Control panel menu to see if
No Break is turned on. I've found that
| | 03:53 | sometimes people will accidentally
select a whole swath of text or like a
| | 03:57 | multi-line paragraph and turn on No
Break and then InDesign can't figure out
| | 04:01 | where to break it, right?
| | 04:02 | It's not allowed to break it so it just
gives up over sets everything, starting
| | 04:06 | with that paragraph. But I don't see a
checkmark here so it's something else
| | 04:11 | having to do with subhead itself.
| | 04:12 | Now it has nothing to do with
camera icon. It has to do with
| | 04:16 | a cross-reference or hyperlink.
| | 04:18 | So let's go to Paragraph
Styles and investigate subhead.
| | 04:22 | And my first suspect when I'm looking
at paragraph style that's been a bad boy
| | 04:27 | is to go to the Keep Options because
sometimes the person won't have set the
| | 04:31 | Keep Options like everything
is kept with everything else.
| | 04:34 | It's actually impossible for InDesign
to show everything, but no that's not the
| | 04:38 | case here. Keep Lines
Together, All Lines in Paragraph.
| | 04:41 | That's pretty normal for a subhead.
| | 04:44 | I'm looking at Start Paragraph, which
is also another prime suspect. Sometimes
| | 04:48 | people will set the Start Paragraph to
start On the Next Even Page and there is
| | 04:52 | No Even Pages, but no
it says Start Anywhere. Hmm!
| | 04:57 | Let's take another look. Let's try Hyphenation.
| | 04:59 | Maybe there are crazy hyphenation rules.
| | 05:02 | If you disallow Hyphenation and then
you add really long word, older versions of
| | 05:06 | InDesign would just refuse to break the
word and then would overset from then on.
| | 05:11 | I noticed since version 5 or so that
it'll go ahead and break it up even at what
| | 05:15 | it considers to be logical
syllables, so that's usually not the issues.
| | 05:20 | Let's keep looking.
| | 05:21 | Let's try Indents and Spacing.
| | 05:24 | The problem is here. Do you see it?
| | 05:26 | Right here, Right Indent.
| | 05:29 | Somehow the user set the Subhead Style
to have a Right Indent of 30 pikas and
| | 05:35 | this is exactly what
happened with this user's file.
| | 05:38 | Apparently, when the design was first
created, the subheads extended the entire
| | 05:42 | page width and they wanted them
indented from the right by this huge amount.
| | 05:47 | Then they redesigned the file and put
them into narrower columns, but they
| | 05:51 | forgot to change the right indent.
| | 05:52 | So if I change the Right Indent from
30 to say 0, let's see if that fixes the
| | 05:57 | problem, and yes it does. Everything
comes back including when the subhead was
| | 06:02 | used in these sidebars.
| | 06:05 | Another case solved by
the team at InDesign Secrets.
| | 06:11 | If this ever happens to you, you have
disappearing text, just make sure to
| | 06:15 | investigate all of the likely suspects.
| | Collapse this transcript |
| 019 Preview and Presentation modes (changing color, etc.)| 00:00 | David Blatner: All these guides and frame
edges and stuff are great when you're working, but
| | 00:04 | they're distracting when you
just want to see the design.
| | 00:07 | After all you wouldn't want to show
this to your client or art director, right?
| | 00:11 | Fortunately InDesign has two other
display modes that let you hide all that
| | 00:14 | stuff and focus on the design itself.
| | 00:16 | You can find those at the bottom of the
Tool panel at this little flyout menu
| | 00:20 | that when you click on, you see Normal,
Preview, Bleed, Slug and Presentation.
| | 00:25 | Bleed and Slug are pretty
much the same as Preview.
| | 00:28 | They just show you stuff that's in the
bleed guides or within the slug guides.
| | 00:32 | I don't find those very useful at all.
| | 00:33 | So I am going to focus on
Preview mode and Presentation mode.
| | 00:36 | Preview mode hides
everything that's nonprinting.
| | 00:39 | The guides disappear, the edges of
frames disappear, anything that's hanging off
| | 00:44 | onto the pasteboard disappears. We
can focus just on the design itself.
| | 00:47 | So this is a terrific thing.
| | 00:49 | Now there is a shortcut for going in and
out of Preview mode which is the W key.
| | 00:53 | Press W and you are out. Press W
again and you are back in to Preview mode.
| | 00:57 | So that's typically the way you'd want
to get there and while you're in Preview
| | 01:00 | mode, you can actually keep working.
| | 01:02 | So I can for example, select these
objects and move them around on my page.
| | 01:06 | Let me undo that, but you get the idea.
I can keep working even though all
| | 01:10 | of those nonprinting objects are hidden.
| | 01:12 | Now the one thing that I do want to
point out about Preview mode is while you
| | 01:15 | are in Preview mode and you are moving
your cursor around, you'll notice that
| | 01:19 | these objects keep highlighting.
| | 01:21 | This was a new feature in InDesign
CS5 and I have to tell you that a lot
| | 01:25 | of people hate this.
| | 01:27 | People who like working in Preview
mode often hate the fact that as you move
| | 01:31 | your cursor around, those objects
highlight on the page. I don't know why.
| | 01:35 | I don't find it that annoying, but
some people just go berserk about this.
| | 01:38 | So fortunately, in InDesign
CS5.5, Adobe added a preference.
| | 01:43 | You can turn that
highlighting off, thank goodness!
| | 01:46 | So here's how you do it.
| | 01:47 | We are going to go to
the Preferences dialog box.
| | 01:49 | On the Mac it's under the InDesign menu.
| | 01:51 | On Windows, it's under the Help menu
and we'll jump right to the Interface pane
| | 01:55 | of the Preferences dialog box.
| | 01:56 | There it is, there's our new preference,
Highlight Object Under the Selection tool.
| | 02:01 | If I turn that off, now as I move my
cursor around the page nothing highlights.
| | 02:05 | Now I should point out there's one other
item in the Preferences dialog box that
| | 02:08 | has to do with the Preview feature.
| | 02:10 | Let me just jump back there with Command+
K or Ctrl+K on Windows and I'm going to
| | 02:14 | look inside the Guides & Pasteboard pane.
| | 02:18 | In here, there's a pop-up
menu called Preview Background.
| | 02:21 | In Preview Background lets me change that
Preview Color from Light Gray to something else.
| | 02:26 | We could change it to pretty much
any color we want, but you know I
| | 02:29 | ordinarily don't do that.
| | 02:30 | I think light gray is a
pretty good neutral color.
| | 02:33 | So I am going to stick with Light Gray.
| | 02:35 | Besides, if I want to show this with
let's say a black background or a white
| | 02:38 | background, I would rather use the
other display mode, Presentation mode.
| | 02:43 | Presentation mode is like Preview
mode, but it goes one step further.
| | 02:46 | It actually hides InDesign itself.
| | 02:48 | So we really focus on the page.
| | 02:50 | Let me show you what I mean.
| | 02:51 | I'll jump into Presentation mode by
pressing Shift+W. Instead of just W, it's
| | 02:56 | Shift+W on Mac or Windows and you can
see that InDesign hides everything except
| | 03:01 | for the spread itself.
| | 03:02 | The menus disappear, the panels
disappear, even the Pasteboard disappears.
| | 03:06 | It's just the design itself and this
is a great way to show my document to a
| | 03:10 | client or an art director or just get
an idea of what the document is going to
| | 03:13 | look like without all the
clutter of panels and menus and so on.
| | 03:17 | I can even navigate through my document
by clicking to move to the next spread
| | 03:20 | or Shift+clicking to move back again.
| | 03:23 | Now I happen to like that really dark
black border around my page, but if you'd
| | 03:27 | rather have a white background or a
gray background, you can get that.
| | 03:30 | You just have to know this super-secret
tip, that is you press the W key to get a
| | 03:35 | white background in Presentation mode
or the G key to get a gray background.
| | 03:40 | But I'd rather have the black background.
| | 03:42 | So I'll press B. B goes
out to the black background.
| | 03:46 | Now I should point out that you can not
work while you are in Presentation mode
| | 03:49 | like you can in Preview mode.
| | 03:50 | This is just for
displaying your page on the screen.
| | 03:53 | So I am going to jump out of Presentation mode
by pressing Shift+W and now I can keep working.
| | 03:58 | Preview and Presentation modes are
always just a keyboard shortcut away.
| | 04:01 | Get in the habit of switching in and
out of these modes as you work so you'll
| | 04:05 | always have a good sense of
what your design really looks like.
| | Collapse this transcript |
| 020 Using multiple windows for comparisons| 00:00 | David Blatner: When you want to get a better
view of something in the real world, you don't
| | 00:04 | just sit still and stare at it harder.
No, you get up and look at it from
| | 00:08 | different perspectives.
| | 00:09 | Well, you can do that with InDesign too.
| | 00:11 | The trick is the New Window feature.
| | 00:14 | Here's how it works.
| | 00:15 | I'll go to the Window menu, go down to
the Arrange menu, and choose New Window.
| | 00:20 | Now I am looking at the same document,
this HanselandPetal catalog, in two
| | 00:24 | different windows side by side.
| | 00:26 | What's great about this is I can
have different views in each window.
| | 00:30 | For example the one here on the
right which is currently selected I can
| | 00:33 | change into Preview mode. I'll press W
to go into Preview mode and I can see
| | 00:39 | that looks pretty good.
| | 00:40 | That's what the design looks like with
all the guides hidden and all the stuff
| | 00:43 | on the Pasteboard hidden and so on.
| | 00:44 | The one on the left here
still shows me all the guides.
| | 00:47 | I can also go over here. I'll click on
the window on the left and I'll zoom in.
| | 00:51 | I can change my
magnification from one side or the other.
| | 00:55 | This way I could have a zoomed-in view in
one window and a zoomed-out view in another.
| | 00:59 | The New Window feature also solves a
problem that we've had for years with
| | 01:03 | InDesign and that is how do I change the
color of something without seeing the selection?
| | 01:08 | For example, I want to change the color
of this word Shrubs, but I can't see the
| | 01:12 | color I am applying because it's reversed.
| | 01:15 | It's reversed out because of the selection.
| | 01:16 | For example, I'll go over here and choose
from the Swatches menu this yellow color.
| | 01:21 | Well, I can see that it looks blue here
and I know that I did not select blue, right?
| | 01:25 | Well, that's okay.
| | 01:26 | Then I look at the window on the right and
we can see that I could see it in yellow.
| | 01:30 | Let's go ahead and zoom in here so
we'll be able to see this better, there we go.
| | 01:34 | Shrubs is yellow over
here and reversed over here.
| | 01:38 | So I can change this to any color I want,
maybe green, and even though I can't
| | 01:42 | see what it looks like on the
left, I can in my new window.
| | 01:45 | Here is another New Window.
| | 01:47 | I'll close the Swatches panel here.
| | 01:49 | I am going to just scroll that up, pan
up here, pan up here, so we can match
| | 01:53 | the two more or less.
| | 01:55 | And I am going to put this side,
this window on the left into CMYK view.
| | 02:00 | Right now it's in RGB view, but if I change
this to Proof Colors, it changes it into CMYK view.
| | 02:06 | And I'll also press W over here so I
can hide all those guides and we can see
| | 02:11 | now we have an RGB view on the
right and a CMYK view on the left.
| | 02:15 | This gives me a way to compare and
contrast what it would look like if I
| | 02:19 | exported this as a SWF or an interactive
PDF over here or if I exported this out
| | 02:24 | to print on the left.
| | 02:26 | Of course, I don't have to
stop with just two windows.
| | 02:29 | I could open up another new
window and another and another.
| | 02:32 | I am going to open a third window
like this and that looks pretty ugly.
| | 02:35 | I can't really see what I want to see.
| | 02:37 | So I am going to go to
the application bar up here.
| | 02:40 | If you don't see an application bar,
you can grab it out of the Window menu by
| | 02:44 | turning on and off Application Bar,
but in this case I have it opened already
| | 02:48 | and I'm going to use this little
Arrange Documents pop-up menu and you can see
| | 02:52 | that this lets you arrange
your documents in various ways.
| | 02:56 | In this case I am going to
choose three 3-Up like that.
| | 02:59 | SO I can see that I've got one large one on
the left and two smaller ones on the right.
| | 03:03 | I am going to go down here to the
lower right and zoom back so I can see a
| | 03:07 | whole bunch of my document all at one time.
| | 03:09 | In this window up here, I'll go
into Fit Spread in Window with a
| | 03:13 | Command+Option+0 or Ctrl+Alt+0 to fit
that into the window and then over here on
| | 03:18 | the left, I'll just bring this to a
100% view to view my document at that size.
| | 03:23 | Most InDesign users have to force
themselves to use New Window a few times
| | 03:27 | before they find themselves reaching
for spontaneously, but when you want a
| | 03:31 | better perspective on your document
it's a great tool to have at your disposal.
| | Collapse this transcript |
| 021 Putting images on a stroke| 00:00 | Anne-Marie Concepcion: I think everybody who
uses InDesign knows how to make a stroke.
| | 00:04 | I made this one with the Pen tool just
by dragging up and down and making pretty
| | 00:10 | little curve and of course you can
also just go to the Line tool and actually
| | 00:13 | any frame that you create is
surrounded with the stroke.
| | 00:16 | Now the thing is that you may know how
to put text on a stroke, but you may not
| | 00:20 | realize that you can
also put images on a stroke.
| | 00:23 | So to put text on a stroke, like let's
say we want the text to follow this path
| | 00:28 | right here, you would go to the Type
tool and choose Type on a Path and click an
| | 00:32 | insertion point and then you could add text.
| | 00:38 | You could also take a stroke and you
can make it a little bit more graphic by
| | 00:43 | going to the Strokes panel and
choosing a different type of stroke.
| | 00:47 | So you could choose one of these guys
and let's actually make this larger so
| | 00:50 | we can see it better.
| | 00:51 | You can change the Gap Color, the Start
and the End Color, but you can't really
| | 00:56 | put a graphic along the stroke.
| | 00:58 | We have the ability to add text on a
stroke and to make the stroke itself in our
| | 01:02 | graphic, but how can we
have a graphic on a stroke?
| | 01:04 | Well, if you know how to actually
anchor a graphic in the text flow that also
| | 01:09 | works with Text in the Path.
| | 01:11 | If you had a text frame, let's move
up a bit, and you've filled it with some
| | 01:16 | placeholder text and then we grabbed
a graphic like let's say one of these
| | 01:21 | guys and we select it and copy it to the
clipboard and click an insertion point and paste,
| | 01:29 | then it comes in as graphic in the text flow.
| | 01:32 | And now it acts like a graphic in
that you can select it with the Selection
| | 01:35 | tool and do things like resize it or
replace it with a different picture, but it
| | 01:38 | also acts like a character.
| | 01:41 | You can select it with the Type tool
and change its baseline for example. Move
| | 01:45 | it up and down the baseline.
| | 01:48 | So let's to the same thing, except
that we will add these images to the path.
| | 01:53 | So let's say this one right here. Let's
get rid of these guys and move this one
| | 01:57 | up and let's make this fish swim along
here. So we are going to first deselect
| | 02:03 | it and then click on it with the Type
on a Path tool to accept something along
| | 02:08 | the path. So first you have to sort of
like activate the path and then you need
| | 02:12 | to get your graphic in there.
| | 02:13 | So you can cut and paste it in there or
if you're using CS5.5, you can actually
| | 02:20 | use this little guy, this blue
square. Just hold down the Shift key and
| | 02:24 | drag-and-drop them right onto the path.
| | 02:27 | That makes it into an in-line graphic.
| | 02:29 | Now it's just one, but all we need to do
is double-click and select it, copy it,
| | 02:36 | click, oh yeah the space, and then paste.
I am just pressing Command+V or Ctrl+V
| | 02:40 | over and over again.
| | 02:41 | Now we have our fishes swimming on the path.
| | 02:44 | So with all these graphics on the path,
we can still select it all with our Type
| | 02:49 | tool and do things like
kern it out and kern it in.
| | 02:52 | I am pressing Option+Right Arrow or Alt
+Right Arrow to space them out, space
| | 02:57 | them in and so on, and if you wanted
replace this graphic with another graphic,
| | 03:01 | we don't have symbols unfortunately,
but of course you could always go to the
| | 03:04 | Links panel and replace the fish with
something else and then automatically all
| | 03:09 | these graphics would update.
| | 03:10 | Let's look at another example.
| | 03:11 | Here we have the picture of David, our
friend David, my partner in InDesign Secrets.
| | 03:16 | I got his picture inside of a frame
that's circular and what we want to do is
| | 03:20 | surround David with
little Davids on the outside.
| | 03:23 | So I am going to Option+drag a copy of
that and make it smaller by scaling it
| | 03:29 | down and then remember every
frame edge is a path or stroke.
| | 03:33 | We are going to make the circle
be able to accept this picture.
| | 03:37 | First we have to select it and then
click it with the Type on a Path tool.
| | 03:41 | Let me see the Plus symbol and that
means it's ready to go and then we will --
| | 03:47 | let's zoom in a bit so we can see a
little bit better what we are doing here.
| | 03:49 | We are going to Shift+drag this guy
right onto here, there he is, anchored, and
| | 03:56 | I am double-clicking to switch the Type
tool, select it, it looks a little scary
| | 03:59 | that way, and then paste,
paste, paste, paste, paste.
| | 04:04 | David's surrounded by multiple Davids,
even overset Davids, and then I am going
| | 04:09 | to select them all by clicking insider
here and pressing Command+A or Ctrl+A
| | 04:12 | and let's bring them tighter together
so we can fit more of the little Davids,
| | 04:16 | there we go. Or we can-- I am holding
down Option+Right Arrow or Alt+Right
| | 04:21 | Arrow to kern them out.
| | 04:23 | He looks a little evil, doesn't he, the
evil Davids surrounding the good David?
| | 04:26 | Now this is Type on a Path still, even
though they are images, so you can still
| | 04:30 | select this and then go to Type > Type
on a Path and go to Options and with
| | 04:35 | Preview turned on we can say let's flip them.
| | 04:38 | I knew that was going to be bad.
I just want to do that on purpose.
| | 04:40 | Okay, so I'll turn off Flip so it doesn't flip.
| | 04:43 | You can change the alignment.
| | 04:45 | Right now he's aligned on the baseline,
but if we said align on the Descender,
| | 04:49 | it didn't do much right there. Let's try
Center. Well because these are -- there you go.
| | 04:53 | So the center of the graphic is
aligned and the spacing just moves it up or
| | 04:57 | down, but actually what I prefer for
spacing is to let's select all these and
| | 05:02 | then go to the Baseline
Shift and shift them up.
| | 05:05 | You know this reminds me of like those
overhead views of synchronized swimming.
| | 05:10 | So that's how you put
graphics on a path in InDesign.
| | 05:13 | It's not something you need to
switch to an illustration program for.
| | 05:16 | Just combine the two features of Type
on a Path and anchored graphics and you
| | 05:21 | can have lots of fun.
| | Collapse this transcript |
| 022 Making your own motion path| 00:00 | Anne-Marie Concepcion: If you're like me, one of
the first things that you did when you opened up
| | 00:03 | InDesign CS5, the one that came out
with all the cool new animation features,
| | 00:08 | was to open up anyone of your documents,
select an object and have it start
| | 00:12 | whipping around the page
which is a lot of fun to do.
| | 00:14 | But what I want to show you is
that you are not limited to the
| | 00:17 | built-in animations.
| | 00:18 | All these animations, the paths that
the objects move along, are completely
| | 00:23 | editable to you in InDesign.
| | 00:25 | In fact you can create your own paths
with InDesign tools or from Illustrator.
| | 00:30 | So let's see how that works.
| | 00:32 | First I am going to select this text
frame that says Golden Gate and then from
| | 00:35 | the Animation panel I am going to
choose one of the presets, just a real simple one.
| | 00:39 | Let's try Fly in from Left.
| | 00:42 | So that adds a green line that shows
us the motion path, so this green thing
| | 00:46 | is the motion path, and you'll see a little
proxy animate showing you how this is going to work.
| | 00:50 | If you want to see how Golden Gate
animates, then you click the little icon at
| | 00:54 | the bottom that says Preview Spread and
I've enlarged my Preview panels to see
| | 00:58 | more of the page. But click the little
triangle at the bottom and you can watch
| | 01:02 | it over and over again to your heart's content.
| | 01:04 | Now let's say well, you know I like how
this looks and this will look cool when
| | 01:08 | I export this document to SWF, but I
would rather have Golden Gate fly in from
| | 01:12 | the left and go all the way
over here. So how do you do that?
| | 01:15 | Well, all you need to do
is edit the motion path.
| | 01:19 | I'm going to drag the text frame over
to the right where I want it to end.
| | 01:23 | The motion path comes along for the ride.
| | 01:25 | Now what I want to do is I
want to lengthen the motion path
| | 01:28 | so it starts over here off the page.
And you do that by selecting it with the
| | 01:32 | Direct Selection tool.
| | 01:34 | If you click on the motion path, it
turns into just a regular line and then I
| | 01:38 | can select the leftmost endpoint
and hold down the Shift key to keep it
| | 01:42 | straight and drag it all the way to the left.
| | 01:44 | When I click off of it and then
deselect and click on the animation again, you
| | 01:49 | can see that there is the motion path.
| | 01:51 | Now because I made it longer, I
want the animation to last longer.
| | 01:55 | So I am going to go to Animation and
change the duration, let's say from one
| | 01:59 | second to three seconds, and
let's see what this looks like.
| | 02:02 | Yeah that's pretty cool.
| | 02:06 | I want to do it one more time.
| | 02:07 | I feel like kind of a programmer or something.
| | 02:10 | Now say that I like that, but I would
actually like it to sort of like move up
| | 02:14 | and down as it went? Can you do that?
| | 02:16 | Yeah, I mean you are not limited to
just lengthening these motion paths.
| | 02:20 | These are actual paths.
| | 02:21 | So anything that you can do to a
path in InDesign, you can do to one of
| | 02:25 | these motion paths.
| | 02:26 | I'll select it with the Selection tool
and I'm going to switch to the Pen tool,
| | 02:31 | which is hiding right here, and let's
zoom it a bit so we can see a little
| | 02:35 | better what we are doing and
let me add a couple points.
| | 02:39 | Here I am adding a point and then
dragging to make it a curve and then this guy,
| | 02:43 | I'll switch, I am holding down the
Option or Alt key to use the Change Direction
| | 02:48 | Point tool and then I'll
make that a curve as well.
| | 02:51 | That looks pretty cool.
| | 02:52 | Let's see how this looks.
| | 02:54 | I am going to go to the Preview panel
and choose Preview Spread again. Wooo!
| | 03:00 | That looks like a lot of fun.
| | 03:01 | So you can edit the paths here in InDesign,
the ones that come with the animation presets.
| | 03:06 | You can create your own path with the
Pen tool or you can create a path in
| | 03:11 | any other program that creates Bezier paths,
you know, vector paths, and copy and paste them.
| | 03:17 | So for example, say that you have an
illustration that's part of a brochure or a
| | 03:22 | logo and you'd like an element in your
print document to follow that same path
| | 03:26 | that's using the artwork.
| | 03:28 | So here we have a very stark brochure.
| | 03:30 | Now it's just a path that
drew by hand, just as an example.
| | 03:33 | But you isolate it in that program
here in Illustrator and you copy it to the
| | 03:38 | clipboard, jump back to InDesign ,and paste
it in and it comes in as an editable path.
| | 03:44 | Now let's actually get this out
of the way. Let's start again.
| | 03:48 | I am going to select this existing
animated object and I am going to remove the
| | 03:52 | animation by opening up the Animation
panel and clicking the little trashcan
| | 03:56 | item at the bottom. And then we want this
to be the motion path and I am going to
| | 04:01 | just go like right here.
| | 04:03 | To make any path that you draw into a
motion path, you select that path in
| | 04:08 | InDesign and then Shift+click to select
the object it's going to be animated on.
| | 04:13 | When you have both items selected,
then you'll see this icon wakes up at the
| | 04:16 | bottom of the Animation panel
called Convert to Motion Path.
| | 04:20 | Select that and you can see
that it became the motion path.
| | 04:23 | It automatically starts at the
left and then goes to the right.
| | 04:27 | You can reverse this path if you
wanted to with any of the Path commands
| | 04:31 | from the Object menu.
| | 04:32 | We are going to actually leave this as is.
| | 04:35 | I am sort of moving this around so we
can see the entire path as we animate.
| | 04:39 | So let's go to preview and preview this spread.
| | 04:42 | That moved a little too fast. Let's
lengthen this out a bit, Duration 3, and
| | 04:51 | preview again and there it goes.
| | 04:55 | So let's say that this was showed
like a little ocean here and this was the
| | 04:59 | Golden Gate moving over a bridge,
over the ocean, you can use your
| | 05:03 | imagination, but you can see that you
are not limited to what the motion paths
| | 05:08 | that are listed here in the Animation panel.
You can create any kind of path that you want.
| | 05:12 | If you want to reuse this path again,
all you need to do with it selected is to
| | 05:16 | go to the Animation panel menu and
choose Save and we can call this the bridge
| | 05:22 | path and from now on in any document
that you open on this computer in InDesign,
| | 05:27 | if you go to the Animation panel, all
of your custom paths that you saved will
| | 05:31 | appear at the top of this list.
| | 05:33 | So the next time that you're working
with animation paths in InDesign, don't
| | 05:37 | forget that you can use the Direct
Selection tool and the Pen tool to make the
| | 05:40 | path do exactly what you want.
| | Collapse this transcript |
| 023 Copying objects between Illustrator and InDesign| 00:00 | David Blatner: Don't let my friend and fellow
lynda.com author Morty Golding hear me say this,
| | 00:04 | but I actually think
Illustrator is pretty darn cool.
| | 00:08 | You know he and I have a running
argument over which is better, InDesign or
| | 00:11 | Illustrator, but we both really know the truth.
| | 00:14 | Both programs are better.
| | 00:16 | The key is to use the
right tool at the right time.
| | 00:19 | For example this map of California here,
I would never want to create that in
| | 00:23 | InDesign. That'd be crazy.
| | 00:25 | So I created it in
Illustrator and placed it into InDesign.
| | 00:29 | Now when I wanted to bring this into
InDesign, I actually had two choices.
| | 00:33 | I could place it, meaning go to
the File menu and choose Place.
| | 00:36 | That way I can place an AI file or a
PDF file from Illustrator. Or I could have
| | 00:41 | copied and pasted it into InDesign.
| | 00:44 | The fact that InDesign and Illustrator
that you copy and paste vector artwork
| | 00:49 | back and forth is extremely powerful, but
you have to be very careful when you do it.
| | 00:53 | Let me zoom in on this so
we can see what's going on.
| | 00:56 | This graphic has some special
Illustrator effects applied to it.
| | 00:59 | It has Gradient Mesh.
| | 01:01 | It has the Illustrator Extrude effect
applied to it and those are the kind of
| | 01:05 | things that you want to
generally place, not paste, into InDesign.
| | 01:10 | Anytime you have a special effect
that you really want to maintain the high
| | 01:13 | quality, placing is the better option.
| | 01:15 | In fact, I would even generalize that
more and say that anytime you have a
| | 01:19 | graphic that you're not going to be
editing specifically in InDesign, you want
| | 01:23 | to place it, not paste it. But there
are times that copy and paste turn out
| | 01:28 | to be really useful.
| | 01:29 | For example, I want to do something special
with the outline of this map in this document.
| | 01:33 | So first I'm going to Option+double-
click on the Mac or Alt+double-click on
| | 01:37 | Windows and that's the same thing as
going to the Edit menu and choosing Edit
| | 01:40 | Original and Edit Original opens
this file, this graphic, in its original
| | 01:45 | application, in this case Adobe Illustrator.
| | 01:47 | Let's zoom in on this and you can see
it's the same graphic, but in illustrator.
| | 01:52 | Now I want just the outline of this
graphic in InDesign to do something special with.
| | 01:56 | So I'm not going to use the Selection
tool, the black arrow tool. I am going to
| | 02:00 | use the white Direct
Selection tool to select the outline.
| | 02:03 | I'll Option+click on the outline and
that forces Illustrator to select all of
| | 02:08 | the points on the outline itself.
| | 02:10 | Now I'll press Command+C or Ctrl+C on
Windows, switch back to InDesign, pan over
| | 02:15 | here a little bit by holding down the
Option+Spacebar or Alt+Spacebar so I see a
| | 02:18 | different part of my document
and then I am going to paste.
| | 02:21 | It's Command+V or Ctrl+V. Now you will
notice that this map is much larger than
| | 02:25 | it was before and that is because that
graphic, that Adobe Illustrator file,
| | 02:29 | had been placed and then
resized smaller in InDesign.
| | 02:33 | So I am going to get the same sizing
here by coming up here to the Control panel
| | 02:38 | and saying let's make this about 40%.
| | 02:40 | I'll drag it into position.
| | 02:42 | Now the great thing about copying and
pasting from Illustrator to InDesign is
| | 02:46 | you can edit this in InDesign.
That is this is a real vector outline.
| | 02:51 | In fact if I press the A key to switch
to the Direct Selection tool, you can see
| | 02:55 | all the same points on the
path that you saw in Illustrator.
| | 03:00 | It's exactly the same thing.
| | 03:01 | So what kind of things might want to do?
| | 03:03 | Well, for example you might want to
change the Fill Color. I'll make that None.
| | 03:07 | Or you might want to change the Stroke
Color. I'll make it black and make it a
| | 03:10 | little bit thicker. And I can change
the Stroke Style and so on and so on.
| | 03:14 | I can even come over to the Effects
panel and change this to something
| | 03:17 | like Overlay so I can get a really
interesting effect burned right into
| | 03:21 | the background images.
| | 03:22 | That's the kind of thing that'd be
really tedious to do if you had to open it
| | 03:25 | in Illustrator or make the changes, bring
it back into InDesign with Place, and so on.
| | 03:29 | Copy and paste is just much more
efficient in this case, again because we're
| | 03:32 | actually editing it in InDesign.
| | 03:34 | Let me show you one other example.
| | 03:36 | Over here I'd like to do something
fancy with this California title.
| | 03:39 | So I am going to select that.
| | 03:41 | I'll copy it to clipboard
and come back to Illustrator.
| | 03:44 | I will create a new document
in Illustrator and paste it.
| | 03:48 | Now it doesn't look like anything came
over here because it was white text from
| | 03:52 | InDesign placed into Illustrator so
it's white on white. You can't see it very well.
| | 03:56 | Why don't I change the color to
something different so you will be able
| | 03:59 | to see it? Here we go.
| | 04:00 | Now I am going to apply a special
effect. How about one of these Warp effects
| | 04:04 | like Arc Lower from the Warp Options dialog box?
| | 04:07 | I will click OK and that looks pretty
good, very interesting, and now I want to
| | 04:11 | get us back into InDesign.
| | 04:13 | So I have two choices.
| | 04:14 | I could save it out as a PDF or an AI
file and then place it into InDesign or I
| | 04:18 | could copy and paste.
| | 04:20 | Because I am going to be doing some
additional editing to this graphic when I
| | 04:23 | get it into InDesign, I'm going to
choose the copy and paste feature, so
| | 04:27 | Command+C or Ctrl+C on Windows,
switch back to InDesign, and paste.
| | 04:32 | Now I will use the Selection
tool to position it where I want it.
| | 04:35 | Go ahead and delete that original
California word there. It looks good and I can
| | 04:41 | change this anywhere I want.
| | 04:43 | If I don't like that green, I'll
change the fill to something else like the
| | 04:46 | original Paper Color. Maybe I'll put a
little stroke around it. How about a nice
| | 04:49 | thin half-point stroke? There we go.
| | 04:50 | I could even put a Drop
Shadow behind if I want to.
| | 04:54 | In fact I could make this even crazier
by going in and filling each one of these
| | 04:58 | with a graphic or more text or whatever.
They're just frames just like any other
| | 05:02 | ordinary frame in InDesign.
| | 05:04 | Now before you start copying and
pasting vectors from InDesign to Illustrator
| | 05:07 | or Illustrator to InDesign, there are a
couple things that you need to watch out for.
| | 05:11 | They are in the Preferences
dialog boxes of the two programs.
| | 05:14 | So I am going to press Command+K or
Ctrl+K on Windows and I am going to jump
| | 05:18 | over to the Clipboard Handling
pane, way down here at the bottom.
| | 05:22 | In order to get your vector artwork
from Illustrator into InDesign and maintain
| | 05:26 | the editable outlines, you must have
Prefer PDF When Pasting turned off.
| | 05:31 | It normally is off by default, so it's
usually not a big deal, but make sure
| | 05:34 | that's off or else it will not be
editable in InDesign. Let me click OK.
| | 05:38 | I'll switch back to Illustrator
here and open Preferences here too.
| | 05:42 | Same thing. Command+K or Ctrl+K on
Windows will bring up the Preferences
| | 05:45 | dialog box and I am going to go down
here to File Handling & Clipboard pane
| | 05:50 | of the Preferences dialog box and
the key here in Illustrator is you must
| | 05:54 | have AICB turned on or else you
cannot get the editable outlines from
| | 06:00 | Illustrator into InDesign. That's important.
| | 06:02 | I normally turn off the PDF option if
I am just going between Illustrator and
| | 06:06 | InDesign. I'll just leave
that off and just focus on AICB.
| | 06:10 | Illustrator does give you the option of
preserving the appearance and overprints
| | 06:13 | or just preserving the paths.
| | 06:16 | Ordinarily, when I am just moving the
outlines between Illustrator and InDesign
| | 06:20 | and back again, I just want the
paths. I don't really want any special
| | 06:23 | formatting, the Fill and
Stroke and Effects and so on.
| | 06:26 | So I leave this set to Preserve Paths.
| | 06:28 | It's just a little bit
more safe in my experience.
| | 06:31 | Anyway those are the preferences that
you need to watch out for or else it may
| | 06:34 | not work on your system.
| | 06:36 | Now personally, I wish about a quarter
of Illustrator's features were just built
| | 06:40 | into InDesign, especially useful ones
like warping or extruding text, but until
| | 06:44 | that day comes, the best solution is to
use both programs hand-in-hand and copy
| | 06:50 | or place, depending on
which one makes the most sense.
| | Collapse this transcript |
| 024 Using layer comps in Photoshop files to show alternates in InDesign| 00:00 | David Blatner: You know that Photoshop and
InDesign work well together, but you might not know
| | 00:04 | how well they work together.
| | 00:06 | Let me show you what I mean.
| | 00:07 | You are in Photoshop and you are editing
this file, but maybe you don't know how
| | 00:11 | it's going to be placed on your InDesign
page yet, or maybe you don't know which
| | 00:14 | flower that you want to
highlight on the cover of your magazine.
| | 00:17 | You have options and you want to keep
those options open as long as you can.
| | 00:21 | The best way to keep your options open in
Photoshop is to put everything on layers.
| | 00:26 | If we look in the Layers panel here
in Photoshop, you can see that I have
| | 00:30 | flowers on this layer, I've got this
other kind of crazy cactus thing on
| | 00:33 | another layer, you have circles like
spotlights, all kinds of stuff each on its own layer.
| | 00:39 | Because it's not flattened I keep my
options open so I can change my mind later.
| | 00:44 | Now Photoshop has another kind of layer
feature built into it. It's called layer comps.
| | 00:49 | Most Photoshop users don't know about it,
because they didn't put it inside the
| | 00:53 | Layer panel. Instead they put it in
a separate panel called Layer Comps.
| | 00:57 | But layer comps are really easy. All
layer comps do is they remember which of
| | 01:03 | your layers are turned on,
which ones are turned off,
| | 01:05 | they remember what effects you've
applied or maybe where you've put things on
| | 01:09 | the layer, and it's totally
easy to make a layer comp.
| | 01:12 | You just set up your layers the way you
want and then come down here and click
| | 01:15 | the New Layer Comp button.
| | 01:17 | That's all. It saves a layer comp.
| | 01:19 | And I've created four
layer comps in this document.
| | 01:21 | This first one, which is basically
what we are looking at, the Succulent and
| | 01:25 | Highlights one over here, which has a
different kind of cactus effect and a
| | 01:29 | different highlight effect.
| | 01:30 | Here's one with flowers and those
kind of crazy spotlight effect, and
| | 01:34 | finally one with a different background color,
and we've got this glowing dynamic effect.
| | 01:40 | Some people like that kind of thing.
| | 01:41 | Now what's great is all of
these are inside this Photoshop file.
| | 01:46 | Now let's go back to InDesign
and see what it looks like here.
| | 01:49 | Here's the InDesign layout with the
same image, the same Photoshop file that's
| | 01:53 | been placed on page one, and we are
going to change our mind. Let's say we don't
| | 01:58 | want this flower after all. We want a
different flower. So I am going to select
| | 02:02 | that image, then I'll go to the Object
menu and choose Object Layer Options.
| | 02:07 | Here is a list of all of the
different layers inside that Photoshop file.
| | 02:12 | Now this would be true whether I have
a PSD file, a native Photoshop file, or
| | 02:17 | a native AI file from Illustrator, or even a
PDF file if that PDF file had layers in it.
| | 02:23 | It will actually even work if I have
placed an InDesign file into another
| | 02:27 | InDesign file. That Object Layer
Options dialog box can show me all the layers
| | 02:32 | inside any of those files.
| | 02:34 | But in this case, we are working with
this Photoshop file and we can see all the
| | 02:37 | layers inside this PSD file, and
I can turn those layers on or off.
| | 02:42 | For example, here's that Flowers layer.
If I click on the little Eyeball icon
| | 02:46 | and make sure the Preview checkbox is
turned on inside this dialog box, it will
| | 02:51 | actually take out that flower.
| | 02:53 | Depending on the size of your PSD file
or your placed file it may take a little
| | 02:58 | bit longer or shorter for small files,
but in this case it's a pretty big file
| | 03:02 | so it takes a little bit of time to update.
| | 03:04 | But you can see that when it does
update the preview the flowers are gone and
| | 03:08 | the highlight is just still there.
| | 03:10 | The ability to turn on and off layers is
great, but what I think is even better
| | 03:14 | is the fact that InDesign can see all
those layer comps that we created in
| | 03:19 | Photoshop, and they all show up
here in the Layer Comp pop-up menu.
| | 03:22 | Here is the layer comp that we started
with, Flowers and Highlights, but I could
| | 03:26 | change this to Succulent and Highlights,
and after a few moments of processing,
| | 03:30 | we'll see a completely different image.
| | 03:32 | The cactus is there, plus
the highlights around it.
| | 03:35 | They are different highlights you'll notice.
| | 03:37 | We could choose a different one as
well. Maybe we really like that
| | 03:41 | flowers that are glowing.
| | 03:43 | So I can choose that one, it processes
through, and it shows up on my InDesign page.
| | 03:50 | Now I'll click OK and I can
continue working on my InDesign file.
| | 03:55 | What's great about layers and layers
comps is I can keep all these different
| | 03:58 | options in a single Photoshop file, so
I don't have to keep track of lots of
| | 04:02 | different files on disk.
| | 04:03 | Plus, each layer comp only adds a
little bit to the file size, so it doesn't
| | 04:08 | take a lot of extra space to save them,
and I hope you'll forgive this terrible
| | 04:12 | pun, but this kind of integration
across the Creative Suite products is why I
| | 04:16 | call it the Creative Sweet!
| | Collapse this transcript |
| 025 Adding custom HTML tags to EPUB/HTML exports| 00:00 | Anne-Marie Concepcion: One of the neat
new features in InDesign CS5.5 is the
| | 00:04 | ability to map your paragraph styles
and character styles to CSS styles.
| | 00:10 | And that goes into effect when you
export a document to EPUB or HTML.
| | 00:15 | And let me show you why that might
be useful, with a very simple example.
| | 00:21 | We have a one-page document that has
just text and the text has been styled
| | 00:26 | with paragraph styles.
| | 00:28 | We have First and then body. Most of
these paragraphs are styled with body.
| | 00:32 | We have a pull quote that's been styled with
pull quote, some bullets, and some other text.
| | 00:37 | What we are going to do is we are going
to export this to EPUB without mapping
| | 00:42 | any styles first and see what it looks like.
| | 00:45 | And then we will try mapping one of
the styles to a certain CSS rule that we
| | 00:50 | will talk about and see how it looks
differently and then I think you'll
| | 00:53 | understand why this is such a
fantastic feature for people who are creating
| | 00:57 | EPUBSs and HTML files out
of their InDesign documents.
| | 01:01 | Let's start out by making a default EPUB.
| | 01:04 | I will go up to the File menu. Choose Export.
| | 01:08 | You want to choose EPUB, Mapstyles.epub, Save.
| | 01:12 | We are going to use all the default
settings for General, Image, and Contents.
| | 01:18 | I am just turning off Include
Embeddable Fonts, the only different thing, and
| | 01:21 | then click OK and it opens
up in Adobe Digital Editions.
| | 01:26 | I happen to be using the
1.8 preview version of ADE.
| | 01:31 | You could see that it did a passable job.
| | 01:33 | We have all of our text, we have the
first-line indent in our body, and in the
| | 01:38 | very first paragraph we have no indent.
| | 01:40 | We have some sort of indentation in
the pull quote and we have the bullets.
| | 01:45 | Now let's say though that I have
created a specific cascading style sheet
| | 01:50 | that I want my EPUB to use, rather than the
one that's automatically generated by InDesign.
| | 01:56 | I want to attach it to an external style sheet.
| | 01:59 | Now this one I've barely customized at all.
| | 02:02 | Actually, it's just a straight cut
and paste from the one that InDesign
| | 02:06 | generated for that specific EPUB.
| | 02:08 | You can see that it adds
a whole lot of dreck here.
| | 02:11 | If you were actually doing this for
something for publication or you are doing a
| | 02:14 | series of books, you would spend a
lot of time in making sure that these
| | 02:18 | cascading style sheet definitions were
exactly what you wanted and didn't have
| | 02:21 | all the extra attributes
that didn't need to here.
| | 02:24 | But the one thing that's different
about this custom.css file is that I added a
| | 02:29 | definition for blockquote.
| | 02:32 | I want that pull quote to actually be
in a different font face. I want it to be
| | 02:36 | Helvetica or Sans Serif.
| | 02:38 | And I want there to be a left vertical
border to the left of the pull quote.
| | 02:42 | This is not something that InDesign can do.
| | 02:45 | So what I will need to do now in
InDesign is, for the pull quote paragraph
| | 02:50 | style, I needed to
substitute the blockquote CSS style.
| | 02:55 | I don't want to make a pull
quote definition in my CSS file.
| | 02:59 | So, first you create an external custom
CSS files. It's not required but this
| | 03:04 | is normally the way you are
going to use this feature.
| | 03:06 | And then we are going to go back to InDesign.
| | 03:09 | We are going to export the same thing,
only we are going to use that custom CSS
| | 03:13 | file. But how will it know that instead
of exporting pull quotes, it's supposed
| | 03:19 | to export blockquote for here?
| | 03:22 | That is where the mapping comes into play.
| | 03:24 | I can just edit the style pull quote,
go all the way down to the bottom here,
| | 03:29 | and under Export Tagging I can map the style
pull quote to any one of these other CSS styles.
| | 03:37 | Now it can be just a plain paragraph,
it can be one of these header styles, or
| | 03:42 | I can swipe over here and type in anything
from my CSS that I want, any tag that I'd like.
| | 03:47 | Now notice though, when it's automatic,
you see that it's saying that it's
| | 03:51 | automatically going to export to a P
or paragraph tag, and then all of the
| | 03:56 | settings for pull quote will be embedded in a
class definition with all of these settings.
| | 04:02 | As soon as I change it to something
else, like if I say blockquote, and then
| | 04:06 | click in this white area down here
then all of those individual settings for
| | 04:11 | those attributes for pull quote are removed.
| | 04:13 | It's just going to use the default
setting for blockquote or if I have added a
| | 04:18 | specific attributes for blockquote in
my external CSS, like I just showed you,
| | 04:22 | then it will use that.
| | 04:22 | So you can do that for lots of your
paragraph styles is you can map them to a
| | 04:28 | CSS tag that has already been set up
for you, perhaps by your web developer or
| | 04:33 | web designer or yourself if you're into that.
| | 04:36 | So let's just see how it works.
| | 04:37 | I will click OK and now we'll go ahead
and export out to EPUB again. I am going
| | 04:41 | to call Mapstyles2 and then in the
Content area we don't want it to just use
| | 04:49 | it's own CSS. I actually want it to use
that CSS file that I just showed you,
| | 04:53 | that had my special settings for the blockquote.
| | 04:56 | So I will choose my custom.css. It's
going to take a copy of this and embed it
| | 05:03 | in my EPUB, and then I will
click OK and there you go.
| | 05:07 | It opened up in ADE and now you see
these are my own settings, that's using
| | 05:11 | Helvetica or Sans Serif fonts, a
little larger, and I have my vertical line.
| | 05:16 | So that's just one small example of when
you might want to use the very cool Map
| | 05:22 | Styles to CSS Tags feature in InDesign CS5.5.
| | 05:25 | It gives you more control over the
output in your EPUB and HTML files.
| | Collapse this transcript |
| 026 Tracking down type issues with the composition highlighter| 00:00 | Anne-Marie Concepcion: Now I know that
all of you know what this is, the problem here:
| | 00:05 | the dreaded pinking.
| | 00:07 | This is the kind of highlighting called
Composition Highlighting that InDesign
| | 00:12 | will add when you open up a document
that uses a typeface that you don't have
| | 00:16 | available to you on your computer.
| | 00:18 | The Composition Highlighting
means that it is substituting a
| | 00:22 | different typeface.
| | 00:23 | It's a fake typeface.
| | 00:24 | If you click inside here, you can see
that it's supposed to be Avenir (85 Heavy)
| | 00:29 | but we don't have that.
That's why it's in brackets.
| | 00:32 | There are actually many other types
of highlighting that InDesign can do to
| | 00:37 | other text situations and
they aren't turned on by default.
| | 00:41 | They can come in very handy though
if you turn them on in diagnosing
| | 00:45 | problem child files.
| | 00:47 | Like is this type here... let's zoom in a bit.
| | 00:50 | Is this my eyes or is this
type really tracked in a lot?
| | 00:54 | Like this right here. Or what is the
difference between these two instances of
| | 01:00 | the number 530 and other weirdnesses.
| | 01:05 | So let's see how you can do that.
| | 01:06 | First of all to turn on the other
composition highlightings, they are not turned
| | 01:10 | on by default, go to Preferences.
| | 01:12 | On the Mac, that would be under the
InDesign menu > Preferences and on the PC,
| | 01:17 | that last item under the Edit menu.
| | 01:19 | We want to go to Composition, so
there is Composition Highlighting and
| | 01:24 | Substituted Fonts is turned on by default.
| | 01:26 | So it's just highlighting substituted fonts.
| | 01:29 | Let's turn on let's turn on all the
other ones, Keep Violations, H&J Violations,
| | 01:34 | Custom Tracking and Kerning, and
Substituted Glyphs. And Keep Violations are if
| | 01:40 | you have set up keep settings like keep
the subhead with the next two lines of
| | 01:45 | the follow paragraph, it's something
you can set up in your paragraph style
| | 01:49 | options or just for the paragraph.
| | 01:51 | If for some reason InDesign has to
violate your keep settings, then it
| | 01:56 | will highlight that,
if you turn on this composition highlighting.
| | 02:00 | Same thing with H&J Violations.
| | 02:02 | If you set up certain settings for
your hyphenation and justification and
| | 02:06 | for whatever reason InDesign has to
add another hyphen or has to violate
| | 02:11 | your settings for how much word
spacing there can be in a line, it will
| | 02:15 | highlight that as well.
| | 02:16 | If somebody has kerned or tracked
characters in or out, on top of anything else,
| | 02:22 | then it will automatically highlight
custom tracking and kerning and finally, if
| | 02:27 | you have turned on some kind of
alternate for certain glyphs, then it will
| | 02:31 | highlight the substituted glyphs.
| | 02:33 | So with all these turned down, let's
see what we can see in our document.
| | 02:37 | Whoa! I suggest you that you try this with
your documents especially, if you're having
| | 02:41 | other people work on them because
its an eye opener, let me tell you.
| | 02:45 | Now, most of these things are
innocuous, other than of course the dreaded
| | 02:49 | pinking. You never want to see that.
| | 02:51 | But some of them definitely point to
problems that you might not even realize
| | 02:55 | the problems until you make a
PDF or until you print it out.
| | 02:58 | What we are looking at are the yellow lines here.
| | 03:01 | You can see that they are sort of
like different shades of yellow. I am not
| | 03:03 | talking about the orange
by the number. We will get to that in a second.
| | 03:07 | But the yellow
highlighting points to H&J violations.
| | 03:11 | So let's zoom in on this a bit.
| | 03:13 | If I go to the Paragraph and go
down to Justification, usually these
| | 03:20 | problems are when for whatever
reason because of the way that the type
| | 03:24 | paragraph composer is working, it
cannot fit the Word Spacing or Letter Spacing
| | 03:29 | or Glyph Scaling within your minimum and
maximum settings. Then it's going to highlight this.
| | 03:35 | So for example, this line is probably
exceeding the maximum amount of word
| | 03:40 | spacing and letter spacing.
| | 03:42 | You can see for yourself, it's kind of airy.
| | 03:44 | So it highlights it in
this medium shade of yellow.
| | 03:47 | The darker the shade of yellow,
the more the violation is.
| | 03:51 | So the ones that are the paler shade of yellow
mean these are very close to what you had set.
| | 03:57 | This is medium and then
this is papa bear amount.
| | 03:59 | This one for some reason, it looks to
me like the word spacing is really wide.
| | 04:04 | So let's click OK and zoom out again
and then you can better judge the areas
| | 04:10 | that InDesign is having problems with.
And if this were really important to
| | 04:14 | you, if you do not see any this yellow,
then you would have to edit the text to
| | 04:19 | get it to work right.
| | 04:20 | The dark orange is
indicating Substituted Glyphs.
| | 04:25 | Let's come back up here. Substituted
Glyphs. I wish they would put like little patches of
| | 04:29 | the color next to these.
| | 04:31 | That's orange. Let's zoom in here.
| | 04:35 | Now Substituted Glyphs is not
as bad as Substituted Fonts.
| | 04:38 | Alright, it usually means that you
wanted InDesign to automatically substitute
| | 04:42 | the normal glyph for the special kind of
glyph, and it nearly always occurs with
| | 04:46 | OpenType fonts because those are the
typefaces that have lots of alternative
| | 04:50 | glyphs that you can use.
| | 04:52 | So in this example, the reason that it's
highlighting this in orange is because
| | 04:56 | if we go to the OpenType menu, you
can see that it's using Proportional Oldstyle
| | 05:01 | for these numbers.
| | 05:03 | So it is substituting the normal
numbers. This is the default figure style.
| | 05:07 | It's substituting the Proportional
Oldstyle numbers for these normal numbers.
| | 05:11 | If I click here and come up to the same
menu, those are in the Default Figure Style.
| | 05:17 | You will always see them around every
instance of ligatures as well, because
| | 05:22 | we have Ligatures turned on.
| | 05:24 | If I select this paragraph and I come
up here and I turn off Ligatures,
| | 05:31 | then that markup disappears and these
turn into individual characters again.
| | 05:35 | But of course we like Ligatures because
they look better and they read better.
| | 05:38 | So I will turn it back on.
| | 05:41 | You will also see it if you make a word
all caps like here, TOUR INFO. So this
| | 05:48 | was typed as a capital T and then a
lowercase "our" is being highlighted because
| | 05:53 | if you look up here it's
been set to be all caps.
| | 05:55 | Same thing for small caps.
| | 05:57 | You will see the small caps
automatically highlighted and that's a really nice
| | 06:01 | trick for you to be able to quickly tell
if somebody is using small caps because
| | 06:05 | some of those small caps look like
full caps. So just turn on Composition
| | 06:09 | Highlighting or Substituted Glyphs
and you can spot them right away.
| | 06:13 | Then one to worry about is this green.
| | 06:16 | The green is, if we come up here to
Composition, it's the Custom Tracking/Kerning.
| | 06:21 | And often, more often than I care to
admit, I opened up documents that I've
| | 06:26 | worked on in the past and turned on
Composition Highlighting for that and I see
| | 06:30 | huge patches of green like
mold growing on my document.
| | 06:35 | And what this means is that I was
trying to get things to fit or to break right
| | 06:39 | and instead of doing it correctly by
editing the text or by editing the H&J
| | 06:43 | settings, I was just swiping over text
and kerning it in and kerning it out.
| | 06:48 | So, actually here because we are not
seeing any green, this text really isn't
| | 06:52 | tracked in or out at all.
| | 06:54 | That was just a trick on
my eye, but this actually is.
| | 06:57 | Apparently, someone had selected this
text to get it to fit inside this box.
| | 07:02 | So just clicking inside this text shows you
that this text was actually kerned in or out.
| | 07:08 | And you can go through an entire
document and scroll through it and look to see now,
| | 07:12 | like for example say that I
selected these paragraphs and I want to kern
| | 07:16 | them in, say -50, then they
automatically get highlighted.
| | 07:20 | So you can see it even as you work.
| | 07:24 | Now if you're keeping score, you may
have noticed, let me jump back to the
| | 07:28 | Preferences with Command or Ctrl+K,
in Composition Highlighting we are not
| | 07:34 | seeing the problem with the Keep Violations.
| | 07:38 | And that's because really
they are rarer than a unicorn.
| | 07:41 | It's is very, very seldom that
InDesign is not going to be able to adhere to
| | 07:46 | the keep settings that you do. The
worst that can happen is that it shows a
| | 07:50 | overset symbol or it pushes the text to the
next frame, when you don't want it to push there.
| | 07:54 | So it's really hard, in fact it is impossible for
me to come up with a situation, that would show
| | 07:58 | you keep violations.
| | 08:00 | But H&J Violations, Custom Tracking/
Kerning, and Substituted Glyphs are all
| | 08:05 | fantastic diagnostic tools for you to
highlight in your documents when you're
| | 08:09 | trying to figure out
what's happening with the type.
| | Collapse this transcript |
| 027 Managing your InDesign panels| 00:00 | David Blatner: Look you're never going to get a
finish in InDesign, unless you master its panels.
| | 00:04 | There are after all quite a lot of them.
| | 00:07 | This is only about a half of InDesign
panels that I've open right now and I can
| | 00:11 | barely see my document in the middle there.
| | 00:14 | Now I know some people who keep all
the panels open at the same time, on
| | 00:17 | a separate monitor.
| | 00:18 | But I personally think that's kind of a crazy.
| | 00:20 | I would rather manage my panels better,
so I don't have to have them open all
| | 00:25 | the time, and a key to managing your
panels is InDesign's Workspace feature
| | 00:30 | and you could find that feature under the
Window menu up here in the Workspace submenu.
| | 00:34 | Each of these Advanced, Book,
Essentials and so on that have the brackets []
| | 00:38 | around them, are workspaces that
Adobe ships with InDesign and you can use
| | 00:43 | those if you want, or you can choose them out of
the Application bar here where it says Advanced.
| | 00:47 | You can choose Advanced, Book, Essentials.
| | 00:49 | Here they don't have the brackets []
around them but it's the same thing, they
| | 00:52 | are workspaces that Adobe has created for you.
| | 00:55 | Normally, when you launch InDesign you
have the Essentials workspace setup for
| | 00:59 | you, that doesn't show you many panels at all.
| | 01:01 | So the first thing I do is I always
switch to the Advanced panel, like here.
| | 01:05 | Now when you first launch InDesign,
it starts you off with the Essentials
| | 01:09 | workspace, which I think is kind of
dumb because it has very few panels visible
| | 01:13 | and even some menu items are missing.
| | 01:15 | So I always switch to the Advanced workspace.
| | 01:18 | But now here I went beyond advanced
and I started opening panels, and moving
| | 01:22 | panels around, and I've
made quite a mess of things.
| | 01:25 | So I like to go back to the
original state of the Advanced panel.
| | 01:28 | To do that, I choose Reset Advanced.
| | 01:32 | That takes me back to the original advanced
workspace, the way Adobe meant for it to look.
| | 01:36 | Now I'm not suggesting that you use
Advanced just the way Adobe ships it.
| | 01:40 | I'm suggesting that you start with Advanced
and then customize it, to the way that you work.
| | 01:45 | The more you customize InDesign,
the more efficient you're going to be.
| | 01:48 | So for example, if you never use the
Gradient panel, well, take it right out.
| | 01:53 | Just drag it right out of here and put it away.
| | 01:56 | Just close it by clicking
on that little Close button.
| | 01:58 | Here's a few other things that I changed,
when I'm setting up my copy of InDesign.
| | 02:02 | First of all, I really liked having
the Character Styles and the Paragraph
| | 02:05 | Styles in the same group.
| | 02:07 | So I drag the Character Style up, until
I see a highlight in this panel group.
| | 02:12 | See how it has as blue highlight around it.
| | 02:15 | Now they're in the same group.
| | 02:17 | When I open one, I can see the other
panel opening behind it in this little tab,
| | 02:21 | and I can move back and forth.
| | 02:23 | I also like taking this whole group and
moving it by dragging this little dotted
| | 02:26 | line up here, dragging
that at up to the very top.
| | 02:30 | And when I do that it shows up at the
top, and the reason I do that is because
| | 02:34 | first of all oftentimes my Paragraph
Styles panel is very long and secondly, I
| | 02:39 | use the Paragraph Styles
and Character Styles a lot.
| | 02:42 | So I like having them at the top of the list.
| | 02:44 | It's easier for my eye to get to it.
| | 02:46 | But you could do it anyway you want.
| | 02:47 | Next I open other panels that I commonly
use, for example, I'll go to the Window
| | 02:51 | menu, come down to
Utilities, and choose Scripts.
| | 02:55 | I happen to use scripts a lot, so I want
that panel available to me at all times.
| | 02:59 | I'm going to drag this little tab
right out of this panel group, and drag
| | 03:03 | it over into my doc.
| | 03:04 | I'll wait until I see that little blue
line, and when I let go you'll see that
| | 03:08 | it creates a new panel group
and puts the panel in there.
| | 03:11 | Now I'll close this panel group,
because I don't use those very often.
| | 03:13 | Let me show you a couple of other
tricks to help you manage your panels.
| | 03:17 | First I'll open the Align panel.
| | 03:19 | That opens up this panel group
with both Align and Pathfinder.
| | 03:23 | I can separate these two panels by
dragging one tab right out of the group.
| | 03:28 | And now I can combine them in a different way.
| | 03:30 | I'm going to grab this little tab at the
top, drag it down, until I see a blue line.
| | 03:36 | If I go too far, the blue line goes
away and they simply snap next to each
| | 03:40 | other, but if I see that little blue
line at the bottom and the bottom panel
| | 03:44 | kind of fades out little bit.
| | 03:46 | When I let go of the mouse button,
these become two panels that act as one.
| | 03:51 | As I drag the tab around, they both move around.
| | 03:54 | If I Collapse to Icons,
they both Collapse to Icons.
| | 03:57 | So I find that very handy, in some
situations to have panels that will always
| | 04:01 | open and close together in that configuration.
| | 04:04 | I'll go ahead and close that, and I'm
going to go ahead and close his Paragraph
| | 04:07 | Styles panel as well by clicking on
the Panel Name over here in the dock.
| | 04:11 | And now I like maximizing my screen real estate.
| | 04:14 | I like to have as much room as possible
to focus on the document, not the panels.
| | 04:19 | So I'm going to place my cursor over the
left edge of this doc, and I'm going to
| | 04:24 | drag it over to the right, and you can
see as I'm dragging, the panel names get
| | 04:29 | smaller until they get truncated.
| | 04:31 | And then if I keep dragging, they
clip down all the way to just icons.
| | 04:36 | This is the way I like
working with my panels in InDesign.
| | 04:39 | I'm going to maximize the screen real
estate for my document, and minimize the
| | 04:43 | amount of space at the panels take up.
| | 04:45 | After all, I know that this is the Pages
Panel icon, so I don't have to see the name.
| | 04:49 | I know this is the Layers icon.
| | 04:51 | I don't need to see the name and so on
and I like that I can simply click on
| | 04:55 | that icon to open and close it.
| | 04:57 | Okay, now here's the important part.
| | 04:59 | Once you set up your panels just the
way you want them, don't forget to save
| | 05:03 | your own custom workspace.
| | 05:05 | I'll come up her to the Window menu,
choose Workspace and then choose New Workspace.
| | 05:10 | I'm going to give it a name, just call
this David's Workspace, there you go,
| | 05:15 | and then I'll click Ok.
| | 05:16 | And suddenly up here in that
Application menu, there's my workspace and in the
| | 05:21 | Window Workspace submenu, there's my workspace.
| | 05:24 | So I can always get back to it.
| | 05:26 | I encourage you to make not
just one workspace but several.
| | 05:29 | Make one perhaps, that's just for
working on Print Documents and a different one
| | 05:33 | that's for Interactive Documents.
| | 05:35 | Whatever you want, remember what I like
to call Blatner's first rule of publishing.
| | 05:39 | Take the time now to set things up right
and you'll save so much more time later
| | 05:44 | when you're laying out your pages.
| | Collapse this transcript |
| 028 Creating running heads using variables| 00:00 | David Blatner: I'm laying out a book here
and I want to add running headers that show the
| | 00:03 | reader what section they are in.
| | 00:05 | Actually in this case, they're going to
be running footers, but you get the idea.
| | 00:09 | There are several ways to do this, but
I want to show you my favorite method
| | 00:12 | using text variables.
| | 00:14 | In this case I want to use my subheads,
these orange subheads, and I want to
| | 00:18 | grab that text and put it
down into my footer down here.
| | 00:23 | That footer is on the master page, so I
can open my master page by opening the
| | 00:27 | Pages panel, double-clicking on the
Master, I'll close the Pages panel, and
| | 00:31 | let's go ahead and just zoom in
here, so we can see this better.
| | 00:34 | And I'm going to put it inside this
text frame. I'll double-click to switch to
| | 00:38 | the Type tool and put the cursor there, and
now it's time to go insert that text variable.
| | 00:42 | I'll select the Type menu, I'll select
Text Variables, come over here to Insert
| | 00:48 | Variable, and you can see that there
is already a Running Header variable in
| | 00:53 | here, but the problem is InDesign has
no idea what paragraph style this Running
| | 00:57 | Header should grab, so it's pretty useless.
| | 00:59 | Instead I'm going to come up here and choose
Define, so I can define my own text variable.
| | 01:05 | I'm going to click the New button
and give it a name, call it my footer
| | 01:09 | variable, you can call it anything you
want, and I'm going to tell it the Type
| | 01:13 | is going to be Running Header (Paragraph
Style). That is, it's going to look for
| | 01:17 | something that has a paragraph style on my page.
| | 01:20 | What paragraph style should I look for?
| | 01:22 | Well, I can choose that from the
Style pop-up menu. I happen to know
| | 01:25 | it's called Subhead.
| | 01:27 | Now there maybe more than one subhead
on a page, so InDesign lets me choose the
| | 01:30 | first or the last on the page. It's up to you.
| | 01:33 | You can also add Text Before or Text
After if you want to, I'll leave those
| | 01:38 | blank, and you can Delete End Punctuation.
| | 01:41 | I really like this, because sometimes
people put in headings that have a colon
| | 01:45 | at the end or a period
or an exclamation point
| | 01:48 | or something like that, and I may
want to strip that out. That's what this
| | 01:51 | checkbox lets me do, just strip those out.
| | 01:53 | I can also choose to change the case.
| | 01:55 | For example, if it's all in uppercase,
I could change it to title case or
| | 02:00 | something like that.
| | 02:01 | In this case I'm going to leave it alone.
I'll click OK and I'm going to insert
| | 02:05 | that variable into this text frame.
| | 02:07 | Because my text cursor was flashing
in the text frame when I opened this
| | 02:11 | dialog box, I could choose the Insert
button, but instead I'm going to click
| | 02:15 | the Done button, go back to the
Type menu, and insert it from the Text
| | 02:18 | Variables pop-up menu.
| | 02:20 | It doesn't really matter how you do it.
I just wanted to show you that here in
| | 02:23 | this pop-up menu my new variable is listed.
| | 02:27 | Here on the master page all I see is
the name of the variable, but if I zoom
| | 02:32 | back a little bit, go to Page 3, and
you can see that the subhead, Arrival of
| | 02:37 | Europeans and early settlement, has been
pulled down here to the footer. There's
| | 02:42 | our new footer and it matches exactly.
| | 02:45 | Now the great thing about variables is
that if the header changes, the variable
| | 02:49 | will change as well.
| | 02:50 | For example, I'm going to change the
capitalization here to Settlement and
| | 02:54 | I'm going to add an S at the end,
and you'll see that I can update the
| | 02:58 | variable automatically.
| | 02:59 | Now here is the trick to updating
these variables. It won't update while it's
| | 03:04 | still on the page, but if I hide
it and then bring it back, it does.
| | 03:08 | In this case I'm just going to use my
shortcut for the grabber hand, move down
| | 03:12 | just a little bit, and then move back
and it's updated. Isn't that crazy?
| | 03:17 | Simply hide it and show it again
and as soon as InDesign has to redraw
| | 03:20 | that footer it updates.
| | 03:22 | I'm going to jump back to Fit Spread
in Window with a Command+Option+0 or
| | 03:26 | Ctrl+Alt+0 on Windows, and let's
see what the next spread looks like.
| | 03:30 | Here there's no subheads at all, so
what is the InDesign going to put down
| | 03:34 | here in the footer?
| | 03:35 | Well here's how it works.
| | 03:37 | InDesign looks on the page that has the variable.
| | 03:39 | If it cannot find any paragraph styles that
match that variable it'll go to the previous page.
| | 03:44 | If it can't find any there, it'll go
to the previous page, and it keeps going back
| | 03:48 | until it finds a paragraph
that has that style applied to it.
| | 03:52 | In this case it went back to that
original one, so it uses the very same footer
| | 03:57 | as it did on the previous spread.
| | 03:58 | Let's go to the next page.
| | 04:00 | In this case, there's no subhead on
the page that has a variable on this
| | 04:03 | right-hand page, but there
is one on the left-hand page.
| | 04:07 | So InDesign should grab this one that
says "The gold rush," and bring it down
| | 04:11 | here into the footer, let's see if it works. There
it is, "The gold rush," so it's working perfectly.
| | 04:18 | Of course text variables can't do
everything that you might want in a header.
| | 04:22 | For example, you can't make a header
break across two lines, like if this
| | 04:27 | subtitle were really long and you
needed it to break across two lines down here
| | 04:30 | in the footer. It can't do that.
| | 04:32 | You also can't grab any text
formatting that was in the original subhead.
| | 04:36 | For example, let's say that the word
"gold "was italic in the subhead. There is no
| | 04:40 | way to grab that italic and bring
it down here into this text variable;
| | 04:43 | just can't do that.
| | 04:45 | If you need these kinds of advanced
features check out a commercial plug-in
| | 04:49 | called power headers. It's from in-tools.com.
That's in with a dash and then tools.com.
| | 04:55 | But most of the time for most people
InDesign's own Text Variables feature does the job.
| | Collapse this transcript |
| 029 Live Caption tips and tricks| 00:00 | Anne-Marie Concepcion: Live Captions are
one of my favorite new features in CS5,
| | 00:04 | but I find that they are
kind tedious to set up and use.
| | 00:07 | So I want to show you a bunch of
really neat features that hopefully will
| | 00:10 | motivate you to use the Live
Caption feature set for all your projects.
| | 00:16 | Let me back up a little bit and
explain what a Live Caption is.
| | 00:19 | I'm just going to go over it briefly.
| | 00:21 | If you want to learn more about Live
Captions in depth, then you need to watch
| | 00:26 | InDesign CS5 Essentials or the new
features in CS5, which have a number of
| | 00:31 | videos that discuss Live Captions.
| | 00:33 | But essentially you start out with a
placed image and you create a Live Caption
| | 00:40 | by selecting the image, going up to the
Object menu, going down to Captions, and
| | 00:45 | choose Generate Live Caption.
| | 00:47 | It's going to actually create a
text frame that contains metadata about
| | 00:51 | the selected image.
| | 00:52 | Now if you're wondering what metadata
is it going to put in there, then you
| | 00:56 | check Caption Setup first.
| | 00:58 | So if you go to Caption Setup, it's going to
use your most recently used piece of metadata.
| | 01:04 | Now the default one is Name.
| | 01:06 | So it's going to create a text frame with Name.
| | 01:08 | It's going to put in a text frame
below the image, offset by 1 point, without
| | 01:13 | any kind of paragraph style attached to it.
| | 01:15 | So that was Caption Setup.
| | 01:17 | Now if I go back up here, Objects >
Captions > Generate Live Caption, you could see
| | 01:21 | that it created that.
| | 01:23 | That's not really that useful.
| | 01:25 | Well though actually I have talked to
| | 01:26 | clients who said, "isn't there a way that
I can show the filename for every image
| | 01:29 | in a document?", and there you go.
| | 01:30 | Now to see all of the metadata that
could possibly be associated with an image,
| | 01:36 | the best way is to open up the Links
panel, right-click on the image, and
| | 01:40 | choose Reveal in Bridge.
| | 01:42 | Though you can reveal this in Mini
Bridge, that's one of the new panels in CS5,
| | 01:47 | unfortunately Mini Bridge does not
show metadata and you can't edit the
| | 01:51 | metadata, which is on my
feature request list for CS6 or CS7.
| | 01:56 | In the meantime, we need to go to Bridge.
| | 01:58 | What should happen is Bridge should
open if it wasn't already running, it
| | 02:02 | should highlight the image, and then
over here on the right in Metadata you
| | 02:06 | can scroll through here and view and
edit. Any field with a pencil in it, you
| | 02:11 | can edit the metadata.
| | 02:12 | What I'd like to do in InDesign instead
of always having to jump over to Bridge
| | 02:16 | to check out to see if my images have
metadata in the first place is to modify
| | 02:20 | the Links panel so that it shows
all the metadata in the top section.
| | 02:25 | You can scroll through here and see some
metadata, but there is all other fields
| | 02:29 | that it isn't showing by default.
| | 02:31 | So I've already done that and I've
saved it as a custom workspace, which is the
| | 02:35 | only way to save your modifications to panels.
| | 02:39 | And of course I called it Link Metadata.
And now when I open up the Links panel,
| | 02:43 | it opens up really wide and it shows
me if there is anything entered in the
| | 02:47 | Description field, the Author field, the
Copyright field, and some other fields.
| | 02:51 | So I really like that and
that's a cool tip right there.
| | 02:53 | There is another little interesting
factoid about Live Captions, is that they
| | 02:58 | are not really tied to the
image that you generated them from.
| | 03:01 | If I drag this caption away, you can
see it says No intersecting link, because
| | 03:06 | the caption frame needs to actually
touch the image in order to know what is the
| | 03:12 | metadata that it should be pulling.
| | 03:14 | But I can also drag it down here,
let's zoom out a bit, and I haven't
| | 03:18 | touched this image.
| | 03:19 | Any part of that text frame can touch it.
| | 03:21 | I can actually of course
resize the frame if I wanted to.
| | 03:25 | So in fact, I could actually keep this
out in the pasteboard if I wanted to,
| | 03:29 | and then just Option+Drag them in as
necessary, or if I have one already set up
| | 03:33 | here, I can just Option or Alt+Drag
and add another name Live Caption here.
| | 03:39 | Now let's take that a little further
and let me show you. It might be easier to
| | 03:43 | understand with an actual
document with a bunch of images in it.
| | 03:46 | So if you want to take a peek at my
Link Metadata Links panel you can see
| | 03:51 | that we have a bunch of images, but
actually only a couple of them have
| | 03:54 | description fields.
| | 03:57 | I showed you how you can put the Live
Caption out in the pasteboard or you can
| | 04:00 | Option or Alt+Drag it, but a little
more advanced is to create a library.
| | 04:05 | If you go under the File menu and go
to New > Library, you can create a library
| | 04:11 | just for your Live Captions, and I've
already done that here. Let me detach it.
| | 04:16 | All I did was create a Live Caption like
the one that had the filename and then
| | 04:20 | I dragged and dropped it right over here.
| | 04:23 | And then I named it Filename.
| | 04:24 | So if I double-click this, you can see
that I just gave it a name here so I can
| | 04:28 | quickly identify it here.
| | 04:30 | Let's create another one so
you can see how this is done.
| | 04:32 | I'm going to select this image, go
up here to Captions > Caption Setup.
| | 04:37 | This time let's do one for description.
| | 04:45 | The Description field is often where
the photo editor or the photographer will
| | 04:50 | enter a caption for the image.
| | 04:51 | If it's a panel shot, group of people
sitting on a panel, that'll have all the
| | 04:56 | names for all the people listed there and so on.
| | 04:58 | You can do this in Bridge like I showed
you or image-by-image in Photoshop or in
| | 05:02 | Lightroom or other programs.
| | 05:05 | But we don't want the actual text,
filename, to appear before there.
| | 05:08 | We just want a description.
| | 05:10 | While you're here you can also say
like should it be associated with the
| | 05:14 | paragraph style, and I actually do
have a caption paragraph style, so I would
| | 05:19 | like it formatted with the Caption style.
| | 05:23 | Now that I have set it up, I create one
and then I'm just going to drag it off
| | 05:28 | here and put it right over here,
and we're going to call it Caption.
| | 05:36 | And I think these are a little easier
to deal with if we change the look of the
| | 05:39 | Library from Thumbnail View, because we
can't see anything in Thumbnail View, to
| | 05:43 | List View, and leave.
| | 05:47 | Now let's go ahead, we want to add a
caption and a photographer credit to this image.
| | 05:53 | So let's pull Photographer Name out,
and I'm going to rotate this 90 degrees,
| | 06:02 | and move it over here.
Let's zoom in a bit, like that.
| | 06:11 | Doesn't have quite the formatting that I
want, so I'm going to click inside here
| | 06:15 | and make sure that it is wide enough.
| | 06:21 | Come on, there we go.
| | 06:23 | Sometimes you really have
to futz through these things.
| | 06:27 | It's probably because this image
has a text wrap on it, there we go.
| | 06:29 | All right, so it says Photographer Nigel French.
| | 06:34 | Now Photographer was not part of that
metadata, but I added Photographer as a
| | 06:38 | preceding text before it adds the metadata.
| | 06:41 | Now let's add another Live Caption to
the same image, and that's another tip.
| | 06:45 | A lot of people think that only one Live
Caption can be associated with an image
| | 06:48 | but you can have multiple ones.
| | 06:50 | It's just that normally you have to
keep going back to Caption Setup to change
| | 06:54 | which metadata it's going to pull.
| | 06:56 | If you have already created library items for
them, then you don't have to worry about that.
| | 07:00 | So for example, I could say Filename,
and as long as I move it up a bit, Nigel
| | 07:08 | French added under Filename I guess.
Or we could say Caption. Let's bring the
| | 07:14 | Caption out, and that's pretty wide text frame.
| | 07:20 | My caption should be like this.
| | 07:22 | Now the problem here is that Live
Captions can only fit in one line.
| | 07:27 | They are like a variable.
| | 07:28 | So if you are ever going to have to
make a narrow frame, or you have a multiple-
| | 07:32 | line piece of metadata, which often
happens with the Description field, then
| | 07:36 | what you're going to need to do is
convert this to a static caption, so that you
| | 07:39 | can see all the text. And that's easy
to do from the Object menu or you can do
| | 07:43 | it from the right-click menu.
| | 07:45 | Convert to Static Caption, and there it is.
| | 07:47 | Now it's already using our Caption
style because remember I set that, when we
| | 07:51 | first created the Live Caption.
| | 07:53 | So there you have it.
| | 07:54 | A whole bunch of tips related to using
Live Captions in a smart and automated
| | 07:59 | way for all of your projects.
| | 08:01 | Try it out.
| | Collapse this transcript |
| 030 Making professional drop caps| 00:00 | Adding a decorative first or
second cap to some of your
| | 00:04 | most important paragraphs in your
document adds a bit of class, but you are not
| | 00:09 | limited to just turning on
the Drop Cap checkbox or not.
| | 00:13 | There are some finessing and some
tricks that you can use to make your work
| | 00:16 | look really special.
| | 00:17 | What I want to do in this video is
take you from the very beginning of how to
| | 00:21 | use a drop cap all the way to some more
advanced tricks in about five minutes.
| | 00:25 | So let's get started.
| | 00:26 | Here we have a few paragraphs in a
story and there are no drop caps at all.
| | 00:31 | So for people who've never used a drop cap,
the best way to do this is to click
| | 00:35 | inside the paragraph where you want a drop
cap and edit the paragraph style, all right?
| | 00:39 | You could go to the Paragraph Formatting
section of the Control panel and add
| | 00:45 | drop cap. This field says how many
lines should it drop and this field is how
| | 00:49 | many characters should drop, but
it's always bad to do that kind of local
| | 00:53 | formatting, better to just edit the style.
| | 00:55 | So this style is called body first.
That's normally what you want. You don't
| | 01:00 | want to do this for every single
paragraph; you want to do it for the first
| | 01:04 | paragraph in the body following like a
subhead or title. So you make a special
| | 01:08 | paragraph style just for that first paragraph.
| | 01:10 | And now we are going to double-click
that paragraph style, and with Preview
| | 01:14 | turned on, we can see the effects of our
changes here under Drop Caps and Nested Styles.
| | 01:19 | Up here is the Drop Cap area.
| | 01:21 | Let's just make a drop cap that
goes 3 lines down and is 1 character.
| | 01:26 | That's all, nice and easy.
| | 01:28 | So we added a little bit of
interest to this paragraph.
| | 01:31 | Now we can make it a little bit more
interesting, as you see in this section,
| | 01:36 | because here in body first 1, what I did
was in addition to adding a drop cap, I
| | 01:43 | also specified a character style
that called on a different font.
| | 01:47 | So the character for the drop cap
does not have to match the rest of
| | 01:51 | the paragraph style.
| | 01:52 | If you forgot to make a drop cap
character style to specify here, you can always
| | 01:58 | choose a New Character Style and
go ahead and create it on the fly.
| | 02:02 | Now I have already gone ahead and created it.
| | 02:04 | I'll drop cap different fonts and if you
want to experiment with different fonts,
| | 02:08 | which unfortunately really
can't do in that dialog box.
| | 02:12 | First you have to assign the character
style then come here and start fiddling
| | 02:16 | around with the character style itself.
| | 02:18 | Turn on Preview, dropcap-diff font, go to Basic
Character Formats and choose a different typeface.
| | 02:23 | So this one is Mona Lisa, that's
kind of elegant, but maybe I am more of a
| | 02:29 | Hobo kind of person.
| | 02:30 | I always like to use Hobo instead of Comic
Sans because Comic Sans has enough haters.
| | 02:36 | So there is Hobo or maybe you want
something a little bit more interesting.
| | 02:39 | Let's try Gill Sans Ultra Bold. All
sorts of fun stuff you can do if you create a
| | 02:45 | character style and then
specify that character style.
| | 02:48 | Of course you can also change some other
things, like as you saw, I've changed the
| | 02:52 | character color as well.
| | 02:55 | Now down here, you have a couple of
more examples. Let's look at this one.
| | 03:01 | Close you and come over here,
so we can concentrate on this.
| | 03:05 | What I have done here is I have taken
the drop cap, and then I selected it, and I
| | 03:10 | made it larger. I just increased the
Type Size from the normal 9.5 to 18 points.
| | 03:19 | So when you make a drop cap larger,
it actually grows above the text frame.
| | 03:23 | So it's still dropping only three lines,
we look at the Paragraph Settings, still
| | 03:27 | dropping only three lines, but we
made it larger than the text size.
| | 03:32 | So that's kind of an interesting effect
that you can see starting out of the story.
| | 03:36 | Let me turn on Preview Mode. That looks good.
| | 03:40 | Now one thing that's bothering me a
little bit is that I would like this left
| | 03:43 | bar to be aligned with
the left edge of this text.
| | 03:48 | Let me switch back to Normal mode and
let's open up the Paragraph Style panel
| | 03:55 | and see what's happening here.
| | 03:55 | This is the paragraph style, here is
body first 2 for version 2, and if we go
| | 04:02 | down to Drop Caps and Nested Styles,
you can see that I do have Align Left Edge on.
| | 04:08 | So if I turn that off what
happens is it nudges it over a little bit.
| | 04:13 | So if you have a drop cap that's not
quite touching the left edge and it really
| | 04:17 | depends on the type designer what
kind of side bearings they added to the
| | 04:21 | character, you can turn on Align Left
Edge and InDesign will look for the exact
| | 04:26 | left edge and align it.
| | 04:27 | So it does a good job.
| | 04:28 | I want the other left edge aligned, this one.
| | 04:31 | So how can you do that?
| | 04:32 | Well the only way to do that is just
this old desktop publishing trick of
| | 04:36 | having to kern this in, kern it to the
left to sort of nudge it to the left, and
| | 04:42 | you can't kern the very first character left
unless there is another character before it, right?
| | 04:48 | Because kerning is reducing
the space between two characters.
| | 04:53 | So we're going to have to add a second
character in front of the L so we can
| | 04:57 | kern it in and we want that character
to be invisible obviously, so we are
| | 05:01 | going to add a space.
| | 05:02 | We want to actually have two
characters dropping, but the space, we are going
| | 05:09 | to click right in front of the L and
we will add a space, just like that, and
| | 05:14 | now we'll kern it in.
| | 05:15 | I will just use my Option or Alt+Left
arrow, and there we go. That's close enough.
| | 05:24 | Now that trick has been around forever.
| | 05:26 | Again you use space and then another
character and make sure and set the number
| | 05:31 | of characters that drop to two.
| | 05:32 | And over here I have the same, the
original one that's sort of moved over a
| | 05:37 | little bit to the right.
| | 05:38 | I want to show what happens if, for
example, we use a different character like
| | 05:42 | say a Q. Now the Q actually
gets smaller, did you notice that?
| | 05:47 | The Q has been scaled down a bit and
that's because in the paragraph style
| | 05:53 | under Drop Caps and Nested Styles, we
have turned on Scale for Descenders.
| | 05:57 | That's not turned on by default.
| | 05:59 | This is how it normally looks.
| | 06:01 | So if you are adding a character, some
capital letters have long descenders, like
| | 06:06 | a fancy R might have a little leg
flying out here, and you don't like how it
| | 06:11 | pinches on the text, then you might
want to try turning on Scale for Descenders
| | 06:15 | and it will automatically in the
paragraph style, whenever a capital letter has
| | 06:20 | a descender, it'll scale it to better fit.
| | 06:23 | It doesn't always do quite a
perfect job, but it does go a long way
| | 06:25 | toward making it work.
| | 06:29 | And now let's look at the question that
I hear a lot, which is how can I get the
| | 06:34 | text to align with the edge of a drop cap?
| | 06:37 | And here it's using our old--let
me change the definition for this
| | 06:41 | character style here.
| | 06:43 | Let's try Mona Lisa. So I've switched the
font back to something more interesting.
| | 06:53 | The only way that you can get the text
here to wrap around the edge of this A,
| | 06:58 | rather than the straight edge of the
bearing, is to separate it out into its own
| | 07:04 | text frame, and then anchor the text
frame in the text and then set this text
| | 07:10 | frame to wrap, hand-edit the wrap.
| | 07:12 | I can't believe that it's 2011, or it's maybe
2012 when you are watching this, and they
| | 07:17 | still haven't figured that away to
let users do this automatically.
| | 07:21 | I can't think of any publishing program
that will automatically wrap along the
| | 07:26 | character shape rather than
the box containing the character.
| | 07:29 | But let me show you how it's done.
| | 07:30 | First, you need to separate out that character
into its own text frame, as I have done here.
| | 07:35 | Of course you want to get rid
of that capital A in the text.
| | 07:39 | The next thing you need to do is you want
to anchor this text frame in the text flow.
| | 07:45 | You want it to be the first character
here. So I am just going to move this over
| | 07:48 | here and get it into
position where I want it to be.
| | 07:51 | This is how I'd like it to appear and
now I'm going to create a custom anchor
| | 07:55 | by dragging and dropping this cool little
blue box here, which is only in CS5.5 or later.
| | 08:01 | If you have an earlier version you are
going to have to cut this and then paste
| | 08:04 | with your Type tool.
| | 08:05 | Now you might think, okay, she is
going to anchor it right here, but actually
| | 08:09 | I'm not going to put it right in front
of the very first word in the paragraph,
| | 08:12 | because that is a glitch in InDesign.
| | 08:15 | If I want this text to wrap around an
anchored object, the first line will not wrap.
| | 08:21 | So the answer is to do an end run and
anchor it right before the first line.
| | 08:27 | So now the first line becomes the
second line and so it will wrap correctly.
| | 08:31 | And so it anchored it there and it's a
custom anchor so it's going to go ahead
| | 08:34 | and flow with the text.
| | 08:36 | Now I need to actually turn on Text Wrap.
So I'll come up here, under Text Wrap,
| | 08:40 | and turn on the Text Wrap. So now all
the text wraps around here and here is
| | 08:45 | another weirdness that I have just
gotten used to with InDesign, is that it
| | 08:49 | always puts the line underneath.
It pushes that away as well.
| | 08:52 | So the first thing you want to do is
come up here, making sure that this chain
| | 08:57 | thing is broken because we are
going to edit just one of these fields.
| | 09:01 | We don't want all the
fields to edit at the same time.
| | 09:03 | We are going to go to the Bottom
Offset. We are going to enter a negative
| | 09:07 | amount so that this line moves over.
| | 09:10 | So let's just go ahead and
enter like -6 points, p6.
| | 09:15 | Let's zoom in a bit and see what's happening.
| | 09:18 | We can close these panels here.
| | 09:21 | This very light blue line, I wish they would
put it in a different color, is the wrap border.
| | 09:26 | So we've inset that 6 points and
so this is allowed to move over.
| | 09:31 | And now we're going to start editing
the wrap boundary of the rest of it.
| | 09:35 | So use the Direct Selection tool to do that.
| | 09:38 | When you switch to the Direct
Selection tool and you have an object that has
| | 09:42 | wrap, these are actually the wrap edges.
| | 09:45 | So all I need to do is drag this point
over and you can see now it's actually
| | 09:49 | starting to wrap--oops! I
actually dragged too many things.
| | 09:52 | I just want this guy here.
| | 09:54 | I don't want to change
actual frame. I don't need to.
| | 09:57 | I just want to change the wrap.
| | 10:00 | And then this is coming a little too
close. If you can see that triangular little
| | 10:03 | point there, let me move
that out a bit, there we go.
| | 10:06 | So it does take a little bit of work but
it is possible to do and the good thing
| | 10:10 | about this method, let's zoom in a bit,
is that, again, because it's anchored it
| | 10:14 | will flow with the text and because I
didn't need to turn into a graphic or
| | 10:19 | outline at all, I can still edit the
character, change it, but then of course I
| | 10:23 | will have to rewrap with
my Direct Selection tool.
| | 10:25 | But there you have it, from the very
beginning of how to do a drop cap, to all
| | 10:31 | sorts of fun things that you can do
to fancy it up and really make your document stand out.
| | Collapse this transcript |
| 031 Making two-state buttons in interactive documents| 00:01 | InDesign's buttons are really
helpful when creating interactive PDF or SWF
| | 00:05 | files, but InDesign's
buttons have a peculiar limitation.
| | 00:08 | They're only one state, that means a
single click can only do one thing, like
| | 00:13 | make a picture up here.
| | 00:14 | For example, let me zoom in here on
this upper right corner, and I can see that
| | 00:18 | this is a button--see the little icon there;
| | 00:21 | this is a button that's going
to make this picture appear.
| | 00:25 | But what if I want to second click on this
to make the picture disappear? Can I do that?
| | 00:30 | Sure, but it takes a little trick.
| | 00:32 | The trick is you need two buttons that
look like a single button. Here's what you do.
| | 00:37 | First, I'm going to switch my workspace
over to my Interactive workspace so that
| | 00:41 | I can see my Buttons and Animations
panel, and I can open my Buttons panel, and
| | 00:45 | I'll show you that this
bottom plays an animation.
| | 00:50 | The animation is this icon over here.
| | 00:53 | I'll click on that, open the Animation
panel, and you can see that it's set to
| | 00:56 | fly in from top, that's all it does.
| | 00:59 | Click the Button and it runs
the animation to fly in from top.
| | 01:02 | Let's go back to my Buttons panel
and I'm going to grab this button and
| | 01:07 | duplicate it by holding down the
Option or Alt key and dragging it down here.
| | 01:12 | Now in my duplicate, I'm going to change
the color just a little bit by changing
| | 01:16 | its tint, just so you can see
that it's two separate frames.
| | 01:19 | Now I'm going to change the color of this.
| | 01:21 | I'll just change the Tint a little
bit here so you can see that it is two
| | 01:24 | different buttons, two different objects.
| | 01:26 | I'll change the name of this duplicate
button here in the Buttons panel, I'm
| | 01:30 | going to call this hide artwork;
| | 01:32 | you call it anything you want.
| | 01:34 | And I'm going to give it an action and
the action is going to be in Animation
| | 01:38 | action, but instead of playing that
animation, I'm going to choose Reverse the
| | 01:42 | animation, same animation but do it in reverse.
| | 01:46 | Now there are a couple of other
problems I need to solve here.
| | 01:49 | One is that this button will be
visible when I don't want it to be visible.
| | 01:53 | I don't want it be able to see
both buttons at the same time.
| | 01:56 | I want this one to be hidden until I need it.
| | 01:58 | So I'm going to turn on the Hidden
Until Triggered check box down at the
| | 02:02 | bottom of the Buttons panel, that way
when I first see this page that button
| | 02:06 | will not be visible.
| | 02:08 | Okay, but if it's not
visible how do make it visible.
| | 02:11 | The trick there is to use
another action on these buttons.
| | 02:16 | I'll go back to my original button and
I'm going to add a new action which is a
| | 02:20 | Show/Hide Buttons action.
| | 02:23 | So when I click on this button
it will do two different things.
| | 02:26 | It'll start the animation playing and then
it's going to hide and show various buttons.
| | 02:32 | All the buttons on this page show up
here in this list, so I can scroll through
| | 02:36 | here and then we can see there's my
show artwork and here's my hide artwork,
| | 02:41 | they're all like there in the list.
| | 02:42 | So when I click on the Show Artwork
button, I want it to show the Hide Artwork
| | 02:49 | button and I want it to hide itself.
| | 02:53 | I'll click on the Show Artwork item here in
the list and I'll just click on the Hide icon.
| | 02:58 | You can do it either way, click on
here and then click the button or just
| | 03:02 | click in the little icon there. The
eyeball with a slash through it means hide
| | 03:06 | this object, the X means ignore it,
don't do anything to it, and the eyeball
| | 03:10 | icon means show this.
| | 03:11 | You get the idea, when I click on this
button it's going to play the animation,
| | 03:16 | hide itself and show this button.
| | 03:20 | Now I'm going to select this
object, and I'll add my new action the
| | 03:23 | Show/Hide Buttons action, and I'm
going to say when I click on this button I
| | 03:27 | want it to hide itself so I'll click
twice on this little icon here to make
| | 03:32 | it hide that button, and I'll zoom
up here, and I want it to show the Show
| | 03:36 | Artwork button. Does that makes sense?
| | 03:38 | You might need to watch this movie a
couple of times until it kind of sinks in.
| | 03:42 | The last thing I'm going to do is drag
the second button on top of the first so
| | 03:47 | that they align perfectly.
| | 03:49 | And finally, we're going to try it out.
| | 03:51 | We'll open up the Preview panel. I've
made it larger so I can see the page
| | 03:55 | a little bit better, and then I'm
going to click on the Play button in the
| | 03:59 | lower-right corner.
| | 04:01 | After a moment of rendering it shows
me the final result inside this panel
| | 04:05 | and we can try it out.
| | 04:07 | I'll click on the button and
in comes the image, looks great.
| | 04:10 | Click again and out it flies.
| | 04:13 | It looks like a two-state button;
| | 04:14 | a single button that does two different
things, but you know the secret now, it's
| | 04:19 | actually two different buttons.
| | 04:22 | You can even use the same technique to make
a button that both plays and pauses a movie.
| | 04:26 | For example, down here I've created one,
when I click on it, it starts the movie
| | 04:31 | playing, changes the button, when I
click again it pauses it, and when I click a
| | 04:40 | third time it resumes.
| | 04:46 | It's three different actions, three
different buttons, but they all appear to
| | 04:50 | be a single button.
| | 04:52 | It's tricky but I'm sure you can figure it out.
| | 04:55 | Remember, never say you can't do
something in InDesign, it's always just a
| | 04:59 | question of finding the right
workaround to get the job done.
| | Collapse this transcript |
| 032 Moving pages from one document to another| 00:00 | I need to move a few pages from this
document over to this new untitled document.
| | 00:05 | For many folks, this seemingly
simple task is anything but simple.
| | 00:09 | Fortunately, InDesign makes
it easier than you might think.
| | 00:12 | There are two ways to accomplish this task;
| | 00:15 | drag and drop or move pages.
| | 00:17 | I am going to show you both of them.
| | 00:19 | To drag and drop, I need to
have these as two separate windows.
| | 00:22 | I'm going to drag the tab of the original
window down here, so that I can see both windows.
| | 00:27 | Now I'll open the Pages panel, select
the pages that I want to move, in this
| | 00:32 | case the spread of page 2 and 3, and then
drag those over on top of the other window.
| | 00:38 | When I let go, InDesign shows me the
Insert Pages dialog box, and lets me choose
| | 00:44 | exactly where I want these pages to land.
| | 00:47 | I'll click OK and you can see that
immediately, two pages show up here at the
| | 00:52 | end of the document.
| | 00:53 | Let me double-click on that to jump to those
pages, and we can see here's the two pages.
| | 00:58 | Now I do notice a little change between the two.
| | 01:01 | There shouldn't be changes,
but sometimes there are.
| | 01:04 | In order to show you that, I'm
going to go up to the Application bar and
| | 01:08 | consolidate all of these windows
together, so you can see this one, and this
| | 01:11 | one, back and forth.
| | 01:13 | Do you see the difference? That's right.
| | 01:15 | In this new untitled document, some of
the text frames are overset, and they
| | 01:19 | weren't in the original.
| | 01:21 | Usually, when you see overset text
like this, it is an indication that this
| | 01:25 | text is aligned to a baseline grid, and the
grid is different between these two documents.
| | 01:30 | Let's check that out.
| | 01:31 | Let me go back to the original catalog,
and I'll look in my Preferences dialog box,
| | 01:37 | and I can see that this one is set to
start at 0 from the top margin with an
| | 01:42 | increment every 11 points.
| | 01:45 | I'll cancel that and come to my new
document, open the same Preferences panel,
| | 01:49 | and we can see that indeed, this is different.
| | 01:52 | I'll change it to the same settings;
| | 01:54 | 0 start, top margin, and
increment every 11 points;
| | 01:58 | click OK, and voila!
| | 02:00 | All of the text frames
are now no longer overset.
| | 02:03 | Now let me show you
another way to move pages around.
| | 02:06 | I'll come back to the catalog, double-
click the spread that I want to move, and
| | 02:10 | then use the Move Pages feature
to move them to my other document.
| | 02:14 | You can find Move Pages
in three different places.
| | 02:17 | Under Layout menu, you can choose
Pages > Move Pages, or in the Pages panel
| | 02:22 | flyout menu, you can choose Move Pages.
| | 02:24 | But my favorite place to find this is
simply by right-clicking or Ctrl+Clicking
| | 02:28 | with a one button mouse on
the pages that I want to move;
| | 02:32 | right-click, Move Pages, it even lets me
specify which pages I want to move, and
| | 02:37 | where do I want to move them to.
| | 02:39 | In this case, I don't want to move
them into the current document, I want to
| | 02:43 | move them into my new untitled document,
and I'm going to move them not after
| | 02:47 | page 1, but to the end of the document.
| | 02:50 | Finally, I can choose whether I want to
delete the pages in this document after
| | 02:53 | I move them to the new document.
| | 02:55 | I won't do that, I'll just click OK.
| | 02:58 | Now it doesn't look like anything
changed, but if I go back to Untitled-1,
| | 03:01 | you'll see that my new pages are here.
| | 03:03 | I'll double-click on them to jump to
those pages and everything looks great.
| | 03:08 | There, it wasn't so hard to
move those pages after all, was it?
| | 03:12 | Everything is easier
once you know where to look.
| | Collapse this transcript |
| 033 Wrapping bulleted text around a curve| 00:00 | Here is an interesting situation.
| | 00:02 | Let's say that you are formatting some text as
a bulleted list, like I have here on the right.
| | 00:10 | And it looks pretty nice.
| | 00:11 | I'm using Automatic Bullets in InDesign
with a special bullet character as the bullet.
| | 00:18 | Now let's say that you want this bulleted
text to wrap around a curve, like this guy.
| | 00:24 | If I select this object and I go to
Text Wrap, and I say we just want a normal
| | 00:31 | square text wrap, wrap around the
bounding box, then when I select this object
| | 00:38 | with the Selection tool, and we drag
it to the right, and turn on wrap around
| | 00:46 | bounding box, then the bullets behave normally.
| | 00:49 | They just move over.
| | 00:50 | Well, actually we're getting a
little issue here with the hanging indent.
| | 00:54 | So that's actually a problem.
| | 00:56 | But even more so, is what happens
when you want it to wrap around a curve.
| | 01:01 | So if I said wrap around the shape of
this curve, now even the space between the
| | 01:06 | bullet and the first line of text
changes, let alone losing the hanging indent.
| | 01:11 | So here it was with the bounding box,
at least there the space remained the
| | 01:15 | same, and now it's all really messed up.
| | 01:18 | So I know a lot of people, when they
want to have this effect, they just decide
| | 01:23 | to change their mind, and they go
after a different effect. Or if they really
| | 01:27 | want this, they do it by hand by adding
forced line breaks, and using spaces to
| | 01:34 | get things to sort of align.
| | 01:35 | But there is actually a way to do this
in InDesign, and I've already done it,
| | 01:39 | as an example here.
| | 01:40 | On this page, if we look at it in
Preview Mode, you can see that this text wraps
| | 01:45 | around the curve, and the
space is about the same.
| | 01:48 | It needs a little bit of finessing,
but we are almost all the way there.
| | 01:52 | So how is this done?
| | 01:54 | Let's do it to this example right here.
| | 01:57 | There are two things that you need to do.
| | 01:59 | First, the character that goes in
between the bullet, and the first character of
| | 02:05 | the first line needs to be an Em or an En Space.
| | 02:09 | It needs to be a flexible space.
| | 02:10 | It can't just be a tab.
| | 02:12 | So select all the text here, and then
go to the Bullets and Numbering dialog
| | 02:16 | box, and here's a quick way to get there;
if it's not part of the style, which
| | 02:21 | this isn't part of the style.
| | 02:22 | Go up to the Bulleted List button in
the Control panel, and then hold down the
| | 02:26 | Option or the Alt key, and click, and it's
a quick shortcut right to that dialog box.
| | 02:32 | If you forget that, you have to go to
the Control Panel menu over here, and then
| | 02:36 | choose Bullets and Numbering from there.
| | 02:38 | So this field right here, the default,
is to add a tab after the bullet, but
| | 02:42 | instead of a tab, we want to
add an Em Space or an En Space.
| | 02:48 | So here is an Em Space, and I have
Preview turned on, so we can see what
| | 02:52 | happens, or if we want to say an En Space,
right from this little triangle right there.
| | 02:58 | Let's leave it at En space for now.
| | 03:00 | We're going to come back here to
fiddle around with the bullet and
| | 03:03 | numbering position.
| | 03:04 | The other thing that you want to do is
though we do want this to wrap around
| | 03:10 | this curve, the problem is that we lose the
hanging indents when it wraps around the curve.
| | 03:15 | So we actually need to change the shape
of this text frame and you can do that.
| | 03:19 | I'm going to lock this guy, so
we don't accidentally mess him up.
| | 03:23 | I am just going to go to Object > Lock.
| | 03:25 | You can do that by creating a curve
yourself that follows the curve of the path
| | 03:31 | that you want to wrap around.
| | 03:33 | So what I'm doing is I'm trying to
get it to match the wrap that I want.
| | 03:37 | We're not going to actually keep this
ellipse on the page, so you can fiddle
| | 03:42 | with it as much as you can.
| | 03:43 | It makes no difference if it
has a stroke as this one does.
| | 03:47 | And then what we're going to do--see
this part of the curve where it overlaps
| | 03:51 | the rectangular text frame? We're
going to cut that out, so that we can have a
| | 03:55 | curve on the side of this frame.
| | 03:57 | That's how this one works.
| | 03:59 | See? There is a curve on
the side of the frame.
| | 04:02 | You can do this yourself with the Pen
tool, and the Direct Selection tool,
| | 04:05 | but it's a lot easier to just drag a
curve on top, and then select both that
| | 04:10 | curve, and the frame.
| | 04:11 | Make sure the frame is below it, by the way.
| | 04:15 | And then, in your Pathfinder panel which
is open here, but if it's not open, you
| | 04:19 | can find it from Object &
Layout flyout menu > Pathfinder.
| | 04:23 | What we're going to do is subtract
the shape of the uppermost object from the
| | 04:28 | one selected behind it.
| | 04:30 | So Subtract is this icon right here in
the Pathfinder panel, and now we've
| | 04:37 | sort of bitten out the shape and you
can see that we're getting a little
| | 04:41 | closer to what we want.
| | 04:42 | Now it's simply a matter of selecting
all the text, and then going up to the
| | 04:46 | Bullets and Numbering dialog box, and
experimenting with changing the left
| | 04:51 | indent and first line indent.
| | 04:53 | So for example, if I made the first
line indent, let's make the left indent a
| | 04:57 | little bit more, and make sure that
Preview is turned on so you can see what's
| | 05:02 | happening, and then maybe--there we go.
| | 05:09 | That looks pretty good right there.
| | 05:12 | I'll just leave it like that, 1p10,
1p10, this is the most we can do.
| | 05:16 | You can see now at least we have the
same amount of space from bullet to the
| | 05:20 | first letter, and the hanging indent is
still being maintained. So it's two steps:
| | 05:25 | change the space between the bullet,
and the first line of text from a hard
| | 05:30 | tab to an Em Space or an En Space, some
kind of variable space, and the second
| | 05:35 | one is to change the shape of the
frame containing the bullets, so that its
| | 05:40 | curve matches the wrap of the object that
you want to appear to be pushing into the text.
| | 05:46 | And then finally, with a little
experimenting with the Offset measures for the
| | 05:50 | first line indent, you arrive at a
solution that's pretty elegant, and a lot
| | 05:55 | simpler than doing all this by hand.
| | Collapse this transcript |
| 034 Importing a custom dictionary| 00:00 | So you may not know that lynda.com
recording studios are actually in California,
| | 00:05 | and I live in Chicago.
| | 00:07 | It's always so cool to come to
California and I have come so often to record
| | 00:11 | videos at lynda.com, or to do seminars,
or visit friends in San Francisco and Napa
| | 00:16 | Valley, that I've become quite
interested in the history of California.
| | 00:21 | So I came across this document that I
was reading in InDesign, that had the
| | 00:25 | early history of San Francisco and
a couple of things caught my eye.
| | 00:30 | For example, The first Europeans,
including the David Blatner clan;
| | 00:34 | obviously this is not completely 100%
historically accurate portrayal of this.
| | 00:39 | No, obviously I put that in here,
| | 00:41 | because what I want to show you is
that there is a problem with this document
| | 00:46 | that I will teach you how to solve in the video.
| | 00:48 | And the problem is that there
are a ton of words that are not in
| | 00:52 | InDesign's default dictionary.
| | 00:54 | If I go to the Edit menu, go down to
Spelling and turn on Dynamic Spelling,
| | 01:00 | which is my favorite way to check
spelling in an InDesign document, I get this
| | 01:04 | Microsoft Word-like squiggles under
words that it does not recognize, so let me
| | 01:08 | click here and zoom in.
| | 01:10 | You get a little red squiggle when
it doesn't recognize the word in a
| | 01:14 | dictionary, so if I right-click it says,
well, this should be Halon, or Hollow,
| | 01:18 | or Halloween, or Hullo;
obviously it shouldn't be.
| | 01:21 | I need to add this to the dictionary.
| | 01:23 | Now if I just had one or two words,
I can just right-click and choose Add
| | 01:28 | this word to the dictionary, but,
in this article there are lots of unrecognized words.
| | 01:35 | They may be spelled perfectly
correctly but they are just unrecognized.
| | 01:38 | And if I know that I am going to be
doing a project, for example, working on
| | 01:43 | a book about California history, that these
words are going to be repeated very often.
| | 01:48 | What I'd like to do, is to
permanently add them to InDesign's dictionary.
| | 01:53 | I mean, frankly I am surprised that
Adobe still has not added Blatner to its
| | 01:59 | default dictionary for InDesign. I mean, I
can't believe it, this is Mr. InDesign!
| | 02:03 | All right, so what we are going to
do is add these words to InDesign's
| | 02:08 | dictionary by creating a new custom dictionary.
| | 02:12 | It's so simple to do.
| | 02:14 | First of all, you need to have a word
list, a list of words that you want to
| | 02:18 | add to the dictionary.
| | 02:19 | Now what you could do, is just create a
text frame and then copy and paste these
| | 02:24 | words, right out here.
| | 02:25 | Here's Mojave and I am going to hit
Return, and Ohlone, copy that, paste and so on.
| | 02:32 | You can get all those words out.
| | 02:34 | And then all you need to do is go to File >
Export, and export it as a Text Only file.
| | 02:40 | So call it new-words.txt, for example,
because I just did this, or you could
| | 02:45 | just create it in Microsoft Word and
save it as a Text Only file, it needs to
| | 02:49 | be a text only file.
| | 02:50 | By the way you could also just export this
whole thing as a text file and bring that in.
| | 02:55 | It doesn't have to be all nice
and neat with one word per line.
| | 02:58 | It could be paragraphs, and even if a
lot of words are duplicated, like if I
| | 03:02 | actually did the whole thing, when
and the we already know are in the
| | 03:06 | dictionary, InDesign just ignores
those, so don't worry about it.
| | 03:09 | But we will be careful about it and
we will just go ahead and create a word
| | 03:12 | list. In fact, I already did. I have
it open right here, so here is a list of
| | 03:17 | the words that I copied and pasted over,
and I included Blatner and then my name
| | 03:22 | with and without the accent mark.
| | 03:24 | So once you have your word list, you
can then go back to InDesign and add it as
| | 03:30 | a custom dictionary that it will use
from then on for every document that you
| | 03:34 | create, not just this current one.
| | 03:36 | It's a two-step process.
| | 03:38 | Well I guess three steps, including
creating the word list, all right, but you've
| | 03:42 | got the word list, then it's a two-step process.
| | 03:44 | In InDesign, go to the Preferences,
which on a Mac is here under the InDesign
| | 03:48 | menu, on the PC it's the last item
under Edit, and go to the Dictionary entry.
| | 03:55 | The Dictionary is where
you manage your dictionaries.
| | 03:58 | Now there is a default one, that comes
with InDesign, it's listed right here and
| | 04:02 | it's stored on your hard drive.
| | 04:03 | You can add multiple dictionaries, so
you can either add one, if somebody in
| | 04:07 | your work group has already gone through
these steps, you can click Add and then
| | 04:11 | just point to where they have
created their custom dictionary.
| | 04:14 | If you've never done this before, you
first need to create the custom dictionary
| | 04:18 | with this New User Dictionary button.
| | 04:20 | So I click Create, and then you save
the User Dictionary wherever you want.
| | 04:23 | Now I would rename this because the
naming can get confusing because they use the term
| | 04:28 | user dictionary in lots of different places.
| | 04:30 | So I would call this something like
California terms or something like that.
| | 04:34 | I will just call it California.
| | 04:35 | The UDC is the extension for an
InDesign dictionary, so don't change that.
| | 04:40 | If you have a work group you could
save this on the server and then everybody
| | 04:44 | else could go to their
preferences and link to it.
| | 04:46 | But anyway let's go on.
| | 04:48 | We've created our custom dictionary,
and now the second step or third step, but,
| | 04:52 | who is counting, is to actually
import those words into the dictionary.
| | 04:56 | It would make sense if we could do it in
that dialog box but of course we can't.
| | 05:00 | Instead you need to go to the back to
the Spelling flyout menu, which is under
| | 05:04 | the Edit menu, and choose User Dictionary here.
| | 05:09 | In earlier versions of InDesign I
believe this is just called Dictionary.
| | 05:13 | This opens up the User Dictionary and this is
where we would actually import the word list.
| | 05:18 | Now the User Dictionary is the one
that we are using right now, if you click
| | 05:22 | here, you will see the custom
dictionary that you created.
| | 05:24 | So look for the one that ends with
UDC and choose that. You need to choose
| | 05:28 | the Target Dictionary first, if you want to
import that word list into the Target Dictionary.
| | 05:33 | You could import the word list into
the User Dictionary, but then you really
| | 05:37 | couldn't share that with anybody.
| | 05:38 | So put it into this stand-alone User
Dictionary, come down here to Import, and
| | 05:43 | before I do that actually I am going to
turn on Case Sensitive, because a lot of
| | 05:47 | those words were capitalized, and I want
InDesign to flag in case I enter a word
| | 05:52 | from that word list that's not
capitalized, I want it to flag it as a
| | 05:55 | capitalization error.
| | 05:56 | So I am turning it on first.
| | 05:58 | If you are going to do this, you need to
turn this on before you import the words.
| | 06:03 | So I click Import and
then I locate that word list.
| | 06:05 | So here's my word list and I am
going to choose to add it to the
| | 06:10 | dictionary, that's the default.
| | 06:11 | If you have an existing custom
dictionary and you've really messed things up,
| | 06:15 | you can choose to replace it if you'd
like, to replace the existing word list
| | 06:19 | with the ones that you are bringing in.
| | 06:21 | But this is also nice because as you
come up with more words, you can create
| | 06:25 | more word lists and keep adding
them to the same custom dictionary.
| | 06:28 | So that was real fast as you saw.
| | 06:30 | I have brought over both formats of
Concepcion because either one can be kind
| | 06:34 | of spelled correctly, and now we
will click Done, and did you see that as
| | 06:38 | soon as I did that, that all of squiggles disappeared?
Except for the ones that I forgot to add.
| | 06:44 | Right, so there is Asis hasn't been
added. I don't really need to add 70s
| | 06:48 | or 80s, and there is a couple other
words, but that is how simple it is to
| | 06:53 | create a custom dictionary.
| | 06:54 | Three steps; create the word list,
create the new dictionary and preferences and
| | 06:59 | then go to Edit > User
Dictionary and import the word list.
| | 07:02 | It's a little bit of work but it saves
so much time, it's definitely worth it.
| | Collapse this transcript |
| 035 Changing document orientation and page size| 00:00 | We have a file here that looks
pretty good except for one thing.
| | 00:04 | It's Portrait; taller than it is wide,
and we need a version which is Landscape;
| | 00:08 | wider than it is tall.
| | 00:10 | Fortunately, InDesign gives us a few
tools that let us convert a file.
| | 00:15 | The main way to convert from Landscape
to Portrait, or vice versa, is to go to the
| | 00:18 | File menu, choose Document Setup
and then choose a different Orientation.
| | 00:23 | I will set this to Landscape and click OK.
| | 00:26 | As you can see, almost nothing changed
except that the page behind the scenes rotated.
| | 00:30 | I will zoom back here so that you can
see that page rotated and everything
| | 00:35 | else stayed the same.
| | 00:36 | So that technique doesn't
really give us any benefit at all.
| | 00:39 | It just rotates the page,
everything else we would have to do manually.
| | 00:43 | So I am going to Undo that with the
Command+Z or Ctrl+Z on Windows and I'm going
| | 00:47 | to use a slightly different technique.
| | 00:49 | I am going to use the Page tool.
| | 00:51 | The Page tool here in the Tool panel
was a new InDesign CS5, and it's a great
| | 00:57 | tool for adjusting your page itself.
| | 00:59 | One of the best part about this, is we
can change things one page at a time.
| | 01:03 | You simply select the Page tool, click
on the page you want to edit, and then
| | 01:08 | you have the Orientation feature up here.
| | 01:10 | Before I click on Landscape however,
I'm going to change the reference point on
| | 01:15 | the left side of the Control Panel.
| | 01:17 | This lets you control where the page
objects will end up on the final page.
| | 01:22 | Right now it's set to Center, so the
page objects will be centered in the page.
| | 01:27 | If I set it to the upper-left corner,
that means set the upper-left corner of
| | 01:31 | the page objects to the new
upper-left corner of the page.
| | 01:35 | In this case, I am going to leave
it set to Center and rotate the page.
| | 01:39 | You can see that everything is
centered on the page and well that's one step
| | 01:43 | better than using the
Document Setup dialog box I guess.
| | 01:46 | But I want to go even further, I want InDesign
to start moving the objects on my page for me.
| | 01:51 | To do that I'll Undo, Command+Z or
Ctrl+Z on Windows, and turn on the
| | 01:55 | Layout Adjustment feature.
| | 01:58 | When you have the Page tool selected, you
can do that right from the Control Panel.
| | 02:02 | If you're using an earlier version of
InDesign or you don't have the Page tool
| | 02:05 | selected, you can also do that by
going to the Layout menu, choosing Layout
| | 02:09 | Adjustment, and turning on the
Enable Layout Adjustment check box.
| | 02:13 | Either way, you're telling InDesign to
not just change the page but change the
| | 02:18 | page and the objects on
the page. Let's try it out.
| | 02:22 | Set this to Landscape and you can
see that things got moved all over.
| | 02:27 | InDesign is trying to be helpful by
moving objects as the guides move.
| | 02:32 | The Layout Adjustment feature is all
about guides, it's watching the guides, so
| | 02:37 | any object that is connected to a guide,
that is literally touching the guide;
| | 02:41 | will move when that guide moves.
| | 02:43 | Here the large image at the background was
changed to the new size of the bleed guides.
| | 02:49 | Any other object that's floating, that
is, not touching the side of a page or
| | 02:53 | page guide or ruler guide, is simply moved
proportionally along with the rest of the page.
| | 02:59 | So we can see that the logo up here was
sort of centered and this was moved up a
| | 03:04 | little bit, and so on.
| | 03:05 | I want to control where those objects are
going to go a little bit more precisely.
| | 03:09 | So I am going to go ahead and Undo that,
choose my Selection tool, and select a
| | 03:14 | few of these objects.
| | 03:15 | For example, I want all of these objects
to move as a single logo. So I am going
| | 03:20 | to select them by Shift+Clicking with
the Selection tool, grab that one as well,
| | 03:25 | and pressing Command+G or Ctrl+G on
Windows to group them as a single object.
| | 03:29 | Anything that's grouped will
always move as a single group.
| | 03:33 | I also want with this circular frame
to always be up near that upper-left
| | 03:38 | corner of the page.
| | 03:39 | So I want to use what web
designers like calling Liquid Layout.
| | 03:43 | I want to snap this to one of the edges.
| | 03:46 | To do that, I am going to create a new
frame with the Frame tool, and I am going to
| | 03:49 | zoom in to 400% here, so I can see
what I am doing a little bit better by
| | 03:53 | pressing Command+4 or Ctrl+4 on Windows,
and I'm going to add my dummy frame
| | 03:58 | right next to this margin guide.
| | 03:59 | As long as it's touching the guide it
will move with that guide, remember.
| | 04:04 | Now I'll choose that Selection tool
again and select both that frame and this
| | 04:08 | circular frame and group them,
Command+G or Ctrl+G on Windows.
| | 04:13 | Because they are grouped,
they will all move together.
| | 04:15 | So when the guide moves, this little
dummy frame will move, and when that moves,
| | 04:19 | the circle will move.
| | 04:20 | They will all stay on the
left edge up near the top.
| | 04:24 | Let's try it out, switch to my Page tool,
select the page, make sure our Layout
| | 04:30 | Adjustment is turned on, and then
go ahead and click on the Landscape
| | 04:34 | orientation, and you can see that now
this stayed in the upper-left corner and
| | 04:39 | the logo all stayed together,
it didn't spread out at all.
| | 04:43 | Now some things we're simply going to
have to change by hand. There is no way to
| | 04:46 | tell this graphic to get
bigger than it currently is.
| | 04:49 | So I'll go ahead and select this
graphic frame. I'm going to stretch this out a
| | 04:54 | little bit, all the way out to our
guide here, and then I'm going to make this
| | 04:59 | larger by clicking on the Fill
Frame Proportionally feature.
| | 05:02 | That fills the whole frame with that image.
| | 05:04 | I will move this over a little bit so we
can see the flowers a little bit more, and
| | 05:09 | that's looking pretty good.
| | 05:10 | Now lets look at page 2.
| | 05:11 | I will double-click on page 2 to
jump to it and now I want to make this
| | 05:15 | one Landscape as well.
| | 05:18 | Once again, I will use my Page tool,
click on the page, and then set it to
| | 05:22 | Landscape, and we will see that
it just does not look good at all.
| | 05:26 | This is not going to be at an optimal situation.
| | 05:28 | So let's undo that and try out another
trick having to do with Layout Adjustment,
| | 05:33 | and that is using guides on the page.
| | 05:36 | If I drag out a guide and snap it to
the top of this text frame, and drag out
| | 05:40 | another guide and snap it to the bottom
of the image, then InDesign will try and
| | 05:44 | keep those guides proportional on the page.
| | 05:48 | And because the frames are touching
the guides, it will try to keep those
| | 05:52 | proportionally apart as well, because
I don't want that text story to overlap
| | 05:56 | that image like it was.
| | 05:57 | I am also going to use that Liquid
Layout trick again here by making a little
| | 06:02 | dummy frame and grouping that to this
image, so that as that dummy frame moves,
| | 06:08 | the image will move as well.
| | 06:09 | That way, it will move a little
bit further over to this side.
| | 06:13 | Okay let's try it out, Page tool,
page, click, and that's looking much
| | 06:17 | better. There we go.
| | 06:18 | Let me click off that with the
Selection tool so we can see there is now space
| | 06:22 | between the text frame and the graphic.
| | 06:24 | Also, this image moved along with that
dummy frame, I just think it's a little
| | 06:28 | bit more proportional on the page, I like that.
| | 06:31 | Ultimately, Layout Adjustment is rarely
perfect. You almost always have to go in
| | 06:35 | and make tweaks to get
the final result you want.
| | 06:38 | However, it saves so much time that
you'd be crazy not to give Layout Adjustment
| | 06:41 | a try when resizing and
reconfiguring your documents.
| | Collapse this transcript |
| 036 Numbering instead of using auto page numbers| 00:01 | InDesign has a page numbering feature
which is great most of the time, but
| | 00:04 | sometimes you need more control or
you want the numbering feature to do
| | 00:08 | something that it wasn't really designed to do.
| | 00:10 | For example, let's say on these pages
we didn't want it to go 1, 2, 3, 4, and
| | 00:15 | so on, we wanted it to be 1A on the
left page and 1B on the right page, and then
| | 00:21 | 2A and 2B and so on.
| | 00:23 | Can you do that in InDesign?
| | 00:24 | Well, not with the page numbering
feature, but you can with a different
| | 00:28 | automatic numbering feature in InDesign.
| | 00:30 | That's right, the automatic paragraph numbering.
| | 00:33 | Let me show you how to do it.
| | 00:35 | Because this is page numbering, I'm
going to do it on the Master page.
| | 00:38 | So I'll press Command+J or Ctrl+J on
Windows to open the Go to Page dialog box.
| | 00:44 | Press A, press OK, and now here we
are on Master page A, that's where
| | 00:48 | we're going to put this.
| | 00:49 | And I'll select the Type tool, draw
out a little text frame here, and I'm going
| | 00:54 | to put my numbering in there.
| | 00:56 | Let's go ahead and zoom into 400%, so
we can see that better with a Command+4
| | 01:01 | or Ctrl+4 on Windows, and I'm going to put
my automatic number inside this text frame.
| | 01:06 | So I'm going to hold down the Option
key or the Alt key on Windows, and click on
| | 01:10 | the Numbered List button here in the
Control panel, that forces the Bullets and
| | 01:15 | Numbering dialog box to open;
| | 01:16 | little shortcut to that dialog box.
| | 01:18 | And I'll turn on my List Type
and set it to Numbers. There we go.
| | 01:22 | I'm going to make this a numbered list.
| | 01:24 | I don't need the period
| | 01:26 | and the Tab in the Number field there,
I just want the number itself, and I
| | 01:31 | want it to be 1, 2, 3 and so on, but I want
it to be 1A, 2A, and so on, on the left-hand pages.
| | 01:38 | So I'm going to type the letter A in here.
| | 01:40 | So in this case, when I see my
numbering, it's going to be number A on
| | 01:44 | the left-hand page.
| | 01:46 | I could go ahead and turn
Preview on and nothing happens.
| | 01:49 | In fact, I'm going to go ahead and
click OK and still nothing happens. Why?
| | 01:54 | Because I need to have at least one
character on this paragraph in order for the
| | 01:59 | numbered list to show up.
| | 02:00 | I'll just press a Spacebar and you can see,
there it is, there is my 1A from the numbered list.
| | 02:06 | I'm going to make that a little bit
bigger, but of course you can't select a
| | 02:09 | numbered list, there's nothing to select,
it's an automatic numbering, but I can
| | 02:13 | select that little
invisible space that I just typed.
| | 02:17 | So I'll select that.
| | 02:18 | I'm going to make this bold, and you
can see that anything that I apply to that
| | 02:22 | space also gets applied to the
numbering, so that's convenient.
| | 02:25 | I'll also make this a little bit larger;
| | 02:27 | I'll bump this up about 36 points. Okay.
| | 02:30 | That is looking pretty good, a
pretty good page number there.
| | 02:33 | But there's one more thing that I need
to do to this numbered list before it's
| | 02:37 | going to work properly.
| | 02:38 | So I'll go to the Control panel,
switch back to the Paragraph Formatting, and
| | 02:42 | then Option or Alt+Click on that button
again, but there's one more thing I need
| | 02:46 | to do if this is going to work correctly.
| | 02:48 | So I'm going to go back to the
Paragraph Formatting mode of the Control panel,
| | 02:52 | Option or Alt+Click on that Numbered
List button, brings up the dialog box
| | 02:56 | again, and here I have to choose List.
| | 02:59 | Lists are essential whenever you have a
numbered list that goes across multiple
| | 03:04 | text frames, when those text frames are
not threaded together, you have to use a
| | 03:08 | List, otherwise you'll just get 1,
1, 1, 1, 1, it will never increment.
| | 03:12 | You have to use a List to make
them increment, 1, 2, 3, and so on.
| | 03:15 | So I'm going to make a new list from
this pop-up menu by choosing New List from
| | 03:19 | the menu there, and I'm going to say
this is my left page list. All right,
| | 03:24 | you can see here's the trick,
Continue Numbers across Stories. All right,
| | 03:28 | Click OK, and that's all I really
need to do for now, so I'll click OK.
| | 03:33 | I'm going to jump back to Fit
Spread in Window with a Command+Option+0 or
| | 03:37 | Ctrl+Alt+0 on Windows, and I'm going
to use the Selection tool to Option or
| | 03:42 | Alt+Shift+Drag this over to the
right-hand page, and then I'll do a
| | 03:47 | Command+Shift+R or Ctrl+Shift+R
to make it right-aligned.
| | 03:51 | That's looking a little bit better.
| | 03:52 | And you can see that even though
it's two separate text frames, they are
| | 03:56 | incrementing the number from 1 to 2,
because they're both set to that list.
| | 04:01 | But what we're trying to do
is have it say 1A and then 1B.
| | 04:05 | So I'm going to double-click
inside here and change the numbered list.
| | 04:10 | I'll Option or Alt+Click on the Numbered
List and I'm going to change this to B,
| | 04:14 | because this is supposed to be B on
this side, and I need to create a New List.
| | 04:19 | This is going to be the right page list.
| | 04:23 | Click OK, click OK, and now we're set.
| | 04:26 | On the Master page we have
it set up to do 1A and 1B.
| | 04:29 | Let's go try it out on a real page.
| | 04:33 | Command or Ctrl+J, press
2, click OK. Excellent!
| | 04:38 | 1A and 1B right here on the pages,
that's just what we wanted.
| | 04:42 | Let's go try the next spread
and see if it's still working.
| | 04:46 | Uh-oh, it still says 1A and 1B, and on
the next spread it still says 1A and 1B.
| | 04:52 | I'm just using the Option or Alt+Page
Down to move from one spread to the next.
| | 04:57 | This is an interesting problem when
you're doing numbered list on the Master page.
| | 05:02 | It turns out that numbered lists never
update when they're on a Master page.
| | 05:07 | Because these are Master page items, you
can tell that they are because there's
| | 05:10 | a dotted line around them,
they never get updated.
| | 05:13 | However, if you override that
Master page item, suddenly it kicks in;
| | 05:19 | suddenly InDesign knows, oh,
I better increment that by 1.
| | 05:22 | So for example, I'll go in here.
| | 05:24 | Let's go back to where we
were originally, here we go.
| | 05:27 | On this page I'm going to Command+Shift
+Click or Ctrl+Shift+Click on Windows,
| | 05:32 | that overrides it, brings it
on to the document page itself.
| | 05:35 | Command+Shift+Click. Excellent!
| | 05:37 | Then go to the next spread.
| | 05:39 | Command+Shift+Click and Command+Shift+
Click and you can see what's happening, as
| | 05:43 | I'm overriding those things,
the numbers are incrementing.
| | 05:46 | Go to the next spread and Command+Shift+Click
or Ctrl+Shift+Click all the way along the way.
| | 05:52 | So it's a little bit tedious here,
but you get the effect that you want.
| | 05:57 | We're getting A on the left and B on
the right, and a same page number on both.
| | 06:02 | There are so many other cool things
that you can do using paragraph numbering
| | 06:05 | instead of the automatic page numbering.
| | 06:07 | For example, let's say you
want to make numbered tickets.
| | 06:10 | You could set up a whole bunch of
tickets, maybe 10 on a single page, and use
| | 06:14 | automatic numbering to increment the
numbers on those tickets one at a time.
| | 06:18 | Just let your imagination go wild
and have fun coming up with your own
| | 06:21 | numbering tricks.
| | Collapse this transcript |
| 037 Setting story order with the Articles panel| 00:00 | Let's make an EPUB.
| | 00:02 | I have a two page InDesign document here,
a work of art, with some just kind of
| | 00:07 | placeholder, images, and text,
let's zoom in here a bit.
| | 00:13 | Let's just say that we want to
export this document out to EPUB.
| | 00:16 | We want to make a little nice eBook
that we can put on an iPad or distribute
| | 00:20 | it on our web site.
| | 00:21 | This story continues on page 2,
there it is, continued from page 1.
| | 00:25 | Then we have Another Story all about
California and the Golden Gate Bridge and
| | 00:30 | this is a starred story.
| | 00:31 | People always show how to create EPUBs
with really long text heavy books, so you
| | 00:37 | can make EPUBs out of anything.
| | 00:39 | The problem is the order that
these stories are exported in.
| | 00:43 | How does InDesign figure out which
story to put first and then next, the
| | 00:48 | pictures and the text?
| | 00:50 | The problem with busy documents like
this, with many objects in different
| | 00:54 | alignments, is that by default, InDesign
exports stories to EPUB and to HTML for
| | 01:01 | that matter, in order of left to right
and top to bottom actually, page by page
| | 01:06 | according to the bounding box of the object.
| | 01:10 | You don't have to try and figure this
out before you export, why not just export
| | 01:14 | and see what happens.
| | 01:16 | So we are going to go directly up to
File > Export, and under Format choose EPUB.
| | 01:24 | Now, I am using InDesign CS5.5, and this
is a specific location where EPUB is in
| | 01:31 | this version of the software.
| | 01:32 | In earlier versions it's not in this
Export dropdown menu, it's elsewhere in the
| | 01:38 | program, but I'm going to show
you a feature that is 5.5 specific.
| | 01:43 | If you haven't upgraded yet,
just sit back and watch the magic.
| | 01:47 | I'm going to export this out to the
Desktop, and we're going to accept the
| | 01:51 | default settings, specifically take a
look here under Ordering, it's going to be
| | 01:56 | Based on Page Layout;
| | 01:58 | in other words, based on the page geometry,
where things are located on the X and Y axis.
| | 02:04 | For Image we will leave
everything at the default;
| | 02:06 | for Contents everything at the
default except, we don't need to Include
| | 02:10 | Embeddable Fonts, and I will just say OK.
| | 02:14 | So it opens up in Adobe Digital Editions,
which is the default reader for EPUBs
| | 02:19 | on most computers, it's a free utility
from Adobe, and really not the best, not
| | 02:24 | the most up to date, but it's fine for
rough proofing, especially for seeing if
| | 02:27 | things appeared in the right order.
| | 02:30 | I'm maximizing the window and I'm
going to reduce the size of the type a bit
| | 02:34 | by clicking on this icon up here, Decrease
Text Size, so we can see more in the window.
| | 02:40 | First of all, My favorite dog
| | 02:42 | was the first thing that appeared, then the
byline, then the headline, that is just wrong.
| | 02:46 | Zoey's picture appeared inline, which
is exactly what I wanted, but then we have
| | 02:52 | the entire story and then this
picture of the Golden Gate Bridge.
| | 02:57 | The Golden Gate Bridge is supposed to
be part of this other story, and this
| | 03:01 | dog picture is supposed to be up here with
Zoey, so things are all kind of messed up.
| | 03:05 | And that is because of the page layout order.
| | 03:08 | Now, remember it goes left to right,
top to bottom, starting from the first
| | 03:12 | page, and I'm going to get out of
Preview mode so we can see what's happening
| | 03:16 | a little bit better.
| | 03:17 | Starting from left to right, the very
first thing that InDesign encounters,
| | 03:21 | other than these empty frames, which
when you export from page layout it
| | 03:25 | ignores, is this frame right here.
| | 03:28 | Another thing that's ignored when you
export to EPUB are any special attributes
| | 03:32 | that we have applied to a text frame.
| | 03:34 | So the rotation is ignored, the
background color is ignored, it just takes this
| | 03:38 | text along with its formatting and
makes that the very first thing in the EPUB.
| | 03:43 | The next thing that it comes across
is the byline, that's why the byline
| | 03:46 | appeared above the headline.
| | 03:49 | But the headline and the story are
exactly the same from the left edge, then it
| | 03:54 | defaulted to top to bottom, and so
the next thing that appeared was the
| | 03:57 | headline and then the story.
| | 03:58 | Zoey appeared within the story,
because Zoey is anchored in the story.
| | 04:03 | I am going to go to View > Extras >
Show Text Threads, so you can see that this
| | 04:08 | entire group, including her
caption, is anchored right here.
| | 04:11 | So that's why it
appeared within the story flow.
| | 04:14 | Then there is the frame
that says continued on page 2.
| | 04:17 | What happened next after continued on page 2?
| | 04:20 | The next thing was the Golden Gate Bridge.
| | 04:23 | So we go down to page 2 and you can
see it happening, right now you are
| | 04:26 | following along, the Golden Gate
Bridge is the very first thing from the left
| | 04:30 | edge of the page, so that appeared next.
| | 04:33 | The little star was ignored, because
it has no content, no text, no image, so
| | 04:39 | that's ignored when you
export based on page layout.
| | 04:43 | And then the large picture and then
the headline, so then the large picture
| | 04:46 | appeared next, and then
this headline in the story.
| | 04:50 | If you want to export this document
in the correct order, you could either
| | 04:55 | tediously manipulate, move things around,
get them in the right order yourself,
| | 05:00 | like for example, move this over to
the right, move that over to the right,
| | 05:03 | move that to the left, or you could
use this cool feature called the Articles
| | 05:08 | panel in InDesign CS5.
| | 05:10 | I am going to go to the Window menu,
choose Articles, all you do is create
| | 05:15 | articles and drag and drop
frames over. It is so simple.
| | 05:18 | Let's start by dragging over the
very first thing that we want to appear,
| | 05:22 | which is My dog, Zoey.
| | 05:24 | I want the headline to be the first thing.
| | 05:25 | So we bring that over.
| | 05:28 | Because we don't have an article yet,
it's prompting us, oh, you want to
| | 05:31 | create a new article, so I am going to call
this Main story, and it brings over that text frame.
| | 05:37 | Then I want the byline, and I can
just drag and drop that right there.
| | 05:42 | Then I want the Main story, and I
am going to bring that over there.
| | 05:47 | I know that this entire group
is anchored within that story.
| | 05:50 | Unfortunately, we don't have any
visual clue that there is a nested or
| | 05:55 | anchored frame in here.
| | 05:56 | I would really love to see
that in the next version.
| | 05:59 | Anything that you don't
drag over does not get included.
| | 06:02 | If we don't want My favorite dog to
be exported, then we just don't drag it over.
| | 06:07 | Same thing for the jump lines, we don't
need to bring over continued on and so on.
| | 06:12 | You don't need to bring over every
single frame in a threaded story, just the
| | 06:15 | first frame is fine.
| | 06:17 | And we do want to bring this picture
over, because it's part of that story.
| | 06:22 | Now let's start a new article.
| | 06:24 | I am just going to click the New Article
button down here and we'll call it Second story.
| | 06:31 | And because I still had doggy beach
highlighted, then it automatically added it here.
| | 06:36 | That's another feature of the Articles
panel that you can have the same item
| | 06:39 | appear in multiple locations.
| | 06:41 | So it's like copying and pasting
without actually having to do it here.
| | 06:44 | I am going to select that and delete it.
| | 06:46 | Now, I'm deleting it from the Articles
panel by clicking on the trashcan, that
| | 06:50 | just means remove from the Articles
panel, don't delete it in the layout.
| | 06:55 | I'm just going to bring this
frame over, and this picture.
| | 07:01 | And what's cool is that if I do want this star
to be included, I can bring that over as well.
| | 07:06 | I think I will put it right above there, and
when I export it, this is going to be rasterized.
| | 07:11 | that's a great feature of the Articles panel.
| | 07:14 | Now let's go ahead and
export our story once more.
| | 07:17 | I will go to Export with Command or Ctrl+E,
let's replace our existing EPUB.
| | 07:22 | We are going to use the exact same
settings as the first time, except for right here.
| | 07:28 | Under Ordering we are going to change
to Same as Articles panel, which only
| | 07:31 | becomes enabled when you have added at
least one item to the Articles panel by
| | 07:35 | the way, and then click OK.
| | 07:39 | And let's reduce the size so
we can see a couple of pages.
| | 07:41 | There we go, the headline, the byline,
the story, there is the ending beach
| | 07:46 | picture, and then there's our
rasterized image, and the other story.
| | 07:51 | With the Articles panel in CS5.5 it
is so much easier to manage the export
| | 07:56 | order of all these elements in the
busy layout, without having to completely
| | 08:00 | redo the layout itself.
| | 08:02 | I love it!
| | Collapse this transcript |
| 038 Updating a linked table without losing formatting| 00:00 | One of the holy grails of InDesign is
being able to place something that a
| | 00:06 | coworker creates in Excel, a
spreadsheet, and then placing that in InDesign,
| | 00:12 | where it comes in as a table, applying
beautiful InDesign formatting to it with
| | 00:17 | paragraph styles, and then when the
coworker updates the Excel spreadsheet and
| | 00:24 | lets you know, hey, we have changed
some of the data. Then you could come over
| | 00:28 | here and update this in InDesign
without losing any of that formatting that
| | 00:33 | took you so long to do.
| | 00:35 | First of all, when you place a
text file, it doesn't become linked.
| | 00:40 | So if I open up the Links
panel, there's nothing here.
| | 00:44 | So even if my esteemed colleague said, I
updated that Excel file that you placed,
| | 00:49 | there is nothing to update here.
| | 00:52 | You would actually have to place it from
scratch and then reapply all your formatting.
| | 00:56 | First thing you want to do to make this
work is you want to turn on the option
| | 01:01 | to create links when placing
documents and spreadsheets.
| | 01:05 | It's not turned on by default because
just think of how crazy making it would be
| | 01:09 | if every time you place a Word
document and made a link and whenever somebody
| | 01:12 | updated that Word document on the
other side of the company, suddenly you had
| | 01:16 | out of date text, it could get chaotic.
| | 01:18 | So it's turned off by default.
| | 01:20 | So you want to go to Preferences, which
on the Mac is under InDesign, the name,
| | 01:25 | and on the PC, it is the
last item under the Edit menu.
| | 01:28 | Go down to File Handling.
| | 01:31 | You want to turn on under Links, Create
Links When Placing Text and Spreadsheet
| | 01:36 | Files, turn that on.
| | 01:39 | Now let's go to a Link page and we'll
go ahead and place that spreadsheet.
| | 01:44 | So I go to File > Place, here is a spreadsheet.
| | 01:49 | I am going to turn on Show Import
Options, because I want to make sure that it
| | 01:53 | comes in as just a regular basic table,
Unformatted Table, Basic Table, and
| | 02:03 | there it is in all of its glory. All right!
| | 02:04 | That's exactly what we brought
in and it comes in as a link.
| | 02:08 | Now say that we apply some formatting to it.
| | 02:11 | I am just going to come over here and
select the entire table, I will go to
| | 02:15 | Table Options > Alternating Fills,
and I'll give it an Alternating Pattern
| | 02:21 | of, let's say, Blue 20% with None,
and let's take all this text and make it
| | 02:29 | bold, just like that.
| | 02:33 | Now it's linked, and I go over to Excel,
and I make a change like I will change
| | 02:39 | Jackson to Jefferson and save my change.
| | 02:46 | When in InDesign, I see that that Excel
file is out of date, it's been modified.
| | 02:51 | So I can update it, double-click to update.
| | 02:53 | You'll always get this alert if you
have done anything at all to the contents;
| | 02:57 | either the formatting or
the text of the spreadsheet.
| | 03:01 | You're going to lose those edits when
you update the link. Are you sure? Yes, go
| | 03:05 | ahead, and there you go,
so now it says Jefferson.
| | 03:08 | You will get an even better result
though if you create a table style and apply
| | 03:13 | this table style when you bring it in.
| | 03:15 | I have already created table
style, this is what it looks like.
| | 03:20 | I am going to take this and delete it,
and then we will place it again, the same
| | 03:25 | spreadsheet, but this time I'm going
to apply the Table Style called Doctor
| | 03:30 | Table, and I have already
created and bring it over.
| | 03:36 | Now Table Style cannot maintain the
same geometry, so we can't save like the
| | 03:40 | width of a column, but you can always
resize it after you bring it in of course.
| | 03:45 | I am holding down the Shift key, so as I
resize it, they all resize in proportion.
| | 03:50 | The one thing that whenever you apply
Table Style that you always have to redo
| | 03:54 | because for some reason this can't be
saved, is you have to reapply the header
| | 03:59 | row. Converting the first row or how or
many rows you want to a header row, you
| | 04:03 | have to keep doing that, so I
select it, Convert Row > To Header.
| | 04:07 | Once you do that, then it does take on
the formatting of whatever you specified
| | 04:11 | for your styles for header text.
| | 04:16 | Go back to the Excel file and we
will change, let's say the word James to
| | 04:20 | Douglas, and save our change, come back
to InDesign, update the link, and I'll
| | 04:28 | just say Ok, and there it is, Douglas. I
will just select this, re-convert it to
| | 04:35 | header row, and we are done.
| | 04:38 | If you want to create links to the
spreadsheets that you bring in, so that
| | 04:43 | when people change the data in that
spreadsheet, you can just immediately
| | 04:47 | update it in InDesign without losing
any of your formatting, those are the
| | 04:51 | steps that you need to do.
| | 04:52 | First you have to turn on that option,
in Preferences, under File Handling,
| | 04:57 | and second you should use a Table Style,
rather than manual formatting, for more
| | 05:02 | consistent results.
| | 05:03 | Just one thing is, don't forget to
turn this off when you're done working
| | 05:07 | with that spreadsheet.
| | 05:08 | You can turn it off and it's not going
to lose the link, it will still be linked.
| | 05:12 | Now at least you won't have to worry
about accidentally linking to all the other
| | 05:16 | text files that you bring in.
| | Collapse this transcript |
| 039 Creating electronic sticky notes| 00:00 | Okay in this movie, I'm going to show you
--oh, actually hold on just one second,
| | 00:04 | I have to write a note to Anne-Marie
here in this file that we're working on,
| | 00:08 | before I go on here.
| | 00:10 | I could use the Notes panel, of course,
to write a little note to her, but that
| | 00:14 | only adds notes inside of a
text story and it's really subtle.
| | 00:17 | She might not see the
note when she opens the file.
| | 00:20 | Let me show you a couple of
other ways that I could add notes.
| | 00:22 | I could go to the File menu and go
down to a Document Setup, and I want to
| | 00:27 | change the slug amount.
| | 00:29 | Now the Slug doesn't show up here, because
to get that I need to turn on More Options.
| | 00:33 | So I'll turn More Options on.
| | 00:35 | There's my Slug amount and I'm going to say I
want a slug at the top for maybe just 1 inch.
| | 00:41 | Click OK, and you can see that
it adds this blue line up here.
| | 00:45 | Now this is a good area to add
notes to people, especially if you want
| | 00:49 | those notes to print out.
| | 00:50 | It's also a great way to add things
like the name of the file, or other stuff,
| | 00:55 | for example, I might come over here and
just make a text frame that says, This
| | 00:59 | file was last saved. When was it saved?
| | 01:03 | I'll go to Type > Text Variables >
Insert a Variable, and in this case, I'm
| | 01:08 | going to be doing this as the
Modification Date, when it was last saved.
| | 01:13 | So you can see that this
was last saved back in July.
| | 01:15 | So that's one way to add a note.
| | 01:17 | And like I said, this will actually
print out as long as the Print dialog box is
| | 01:22 | set up to print to your bleeds and slugs.
| | 01:24 | But in this case, I really
want to add a note to Anne-Marie
| | 01:27 | that's really just right in your face,
that you can't miss, right here on the page.
| | 01:31 | I'm going to make another text frame here.
| | 01:34 | I'm just going to drag it out and
I'm going to fill this with some color.
| | 01:38 | I'll hit the Escape key to jump back
to the Selection tool, and it changes the
| | 01:42 | Control Panel, so that I
can fill this with some color.
| | 01:45 | I'm going to fill this
with yellow, say 20% yellow.
| | 01:49 | That looks kind of like a Post-it note,
which is kind of what I'm trying to get,
| | 01:52 | and we better move this onto a different layer.
| | 01:54 | Right now it's down at the wrong layer.
| | 01:56 | I'm going to create a new layer and I'm
going to double-click on it and call it,
| | 02:00 | my notes layer, and I'm going to move
that up to the top. That has to be the top
| | 02:05 | or else my note might get lost.
| | 02:07 | So I'll drag this little proxy icon
up to the Notes layer. There we go.
| | 02:11 | It's always going to be on top now.
| | 02:14 | I want these notes to be visible on screen
but I don't necessarily want them to print out.
| | 02:20 | So I can do a couple of
things to make them nonprinting.
| | 02:23 | One is, to go to the Window menu and
I'll go down here to the Output submenu
| | 02:27 | and choose Attributes.
| | 02:29 | It's the Attributes panel that
gives me the Nonprinting check box.
| | 02:34 | So when I turn that check box on for
this object, it will not print out.
| | 02:38 | It'll be visible on screen but it won't print.
| | 02:40 | Also I'll go to the Window menu,
choose Text Wrap, and I'm going to make sure
| | 02:46 | the Text Wrap is turned off here.
| | 02:48 | It is turned off, and that way this
object will not print and it will not force
| | 02:53 | any changes on my page.
| | 02:55 | It won't cause any text to
wrap and cause problems that way.
| | 02:59 | So this is kind of like a non-object.
| | 03:01 | Not printing, not affecting text, just
on screen, and I like that because it's a
| | 03:06 | great way to add a note.
| | 03:07 | So now I'll go back to my Type
tool and I'll add my note in here.
| | 03:12 | I'm going to say Anne-
Marie, isn't this page cool!
| | 03:19 | I can make this bigger if I want.
| | 03:21 | Use some keyboard shortcuts to make that larger.
| | 03:23 | I can center it in here.
| | 03:25 | I'm going to center this vertically as well,
by pressing Command+B or Ctrl+B on Windows,
| | 03:29 | open Text Frame Options, and set this
to vertically center in the text frame.
| | 03:35 | That looks like a little
Post-it note that I added to my page.
| | 03:39 | I could even give it a drop shadow.
| | 03:42 | Now we really have a note that
could put anywhere on my page.
| | 03:45 | It will not print out, it will not
affect the text, but it's a note that
| | 03:48 | Anne-Marie absolutely cannot miss.
| | 03:51 | Now if I were making a lot of notes
like this in my document, I might not want
| | 03:55 | to turn on nonprinting for
each and every one of them.
| | 03:59 | So instead I would go to my Notes layer,
double-click on it, so it opens a Layer
| | 04:03 | Options dialog box, and I would
turn off the Print Layer check box.
| | 04:07 | When this is turned off
anything on that layer will not print.
| | 04:12 | It's as though that nonprinting
check box is turned on by default, and you'll
| | 04:15 | see that the layer shows up in
italics here in the Layers panel.
| | 04:19 | That's another indication
that that's a nonprinting layer.
| | 04:23 | I'll go ahead and close these panels and
I want to look at my page one more time.
| | 04:29 | Looks pretty good, but what if I
want to see what my page looks like
| | 04:32 | without those notes?
| | 04:33 | Can I hide that note?
| | 04:34 | Well, it's on the layers.
| | 04:36 | So I could hide the layer if I want.
| | 04:37 | But even better, if I'm simply go into
Preview mode, press the W key, the notes disappear.
| | 04:45 | Press W again and all that stuff comes back.
| | Collapse this transcript |
| 040 Moving master page items to the top layer for visibility| 00:00 | If you look at this document, you'll
see that at the bottom of each page,
| | 00:04 | there's a little page number and a
header or footer or whatever you want to call
| | 00:08 | it, that has the name of the
section that we're currently reading.
| | 00:11 | Let's go to the next page or the
next spread by pressing Alt+Page Down or
| | 00:15 | Option+Page Down on Windows. And we can
see that over here on the left, there is
| | 00:18 | the page number and the footer and
over here on the right, there is nothing.
| | 00:23 | This is a real problem.
| | 00:24 | Well we can tell that
it's behind this green frame.
| | 00:28 | So I'll go ahead and select that frame
and we're going to try and send it to the
| | 00:31 | back, by going to the Object menu,
choosing Arrange and choosing Send to Back.
| | 00:37 | But it's grayed out. Why?
| | 00:39 | Because it's already at the back of this layer.
| | 00:43 | The answer is it's a master page
item and it's on the wrong layer.
| | 00:47 | Let's go take a look.
| | 00:48 | First I'm going to the master page
by opening the Pages panel and I'll
| | 00:52 | double-click on my Master
page A, so we can get to that.
| | 00:56 | Then I'm going to zoom in on this, so we
can see it a little bit better. There we go.
| | 01:00 | There's my master page text frame, and
I'll open my Layers panel and I can see
| | 01:05 | that this is currently on a layer called text.
| | 01:08 | Text is sitting right in the middle of
a bunch of different layers, captions,
| | 01:12 | pictures, rows and so on.
| | 01:13 | That's the problem right there.
| | 01:16 | Whenever you have stuff on a master page,
you should probably put it on its own layer.
| | 01:21 | Not one of the layers that you're
already using for something else.
| | 01:25 | So I'm going to go ahead and create a
new layer by Alt+Clicking on the New
| | 01:29 | Layer button or Option+Clicking on the Mac,
and I'm going to call this my master page items.
| | 01:35 | You can call it anything you want, I'll
click OK and I'm going to drag this to
| | 01:39 | the top of the list.
| | 01:41 | I'll press Ctrl+A or Command+A on the
Mac, in order to select everything on this
| | 01:46 | master page, and I'm going to drag
that little proxy icon in the Layers panel
| | 01:50 | up to my new layer.
| | 01:52 | Now all of those items on this master
page are on the master page items layer.
| | 01:57 | Therefore I should be
able to see that page number.
| | 02:00 | Let's check it out.
| | 02:01 | I'm going to press Command+J
or Ctrl+J on Windows.
| | 02:04 | I'll press page 5, which is the page
we're having trouble with there, and when I
| | 02:08 | hit Enter, we'll see there is my green
frame and there's my page number and
| | 02:13 | footer on top of it.
| | 02:15 | It's on a higher layer and therefore
it's going to sit on top of everything else
| | 02:19 | in the document including that green frame.
| | 02:21 | Now of course, sometimes you have
things on master pages that you want
| | 02:24 | behind everything else.
| | 02:26 | You want it to be like a background image,
and that you would create a new layer
| | 02:29 | and put it at the bottom of the
Layers panel, and put the stuff on there.
| | 02:33 | In this case, it's a page number and
a footer, so we want it on the top.
| | 02:38 | I know that using layers doesn't come
naturally to most people, but when it
| | 02:41 | comes to controlling the Z order, that is,
which object is on top of which, there
| | 02:46 | is nothing better than the Layers panel.
| | Collapse this transcript |
| 041 Five guide tricks that will impress your coworkers| 00:00 | Do you want to be seen as the
coolest InDesign geek in your office?
| | 00:05 | Let me show you a few very cool tricks
that you can do with the most prosaic of
| | 00:10 | features in the program, Ruler Guides.
| | 00:13 | You know that when you drag down a
guide, take a look at the Control panel
| | 00:17 | at the measurements.
| | 00:18 | The Y field, it's saying .3937 inches
at this points, or if I bring down a
| | 00:24 | little bit .4097 inches.
| | 00:26 | When was the last time that you needed that
exact measure for your guideline? Who needs that?
| | 00:31 | Normally, you need the ruler guides
to appear at a regular increments in
| | 00:36 | whatever measuring system that you're
using, and the answer there is simply to
| | 00:39 | hold down the Shift key. It says .375.
| | 00:43 | I go up, it says .25.
| | 00:44 | I go up it says .1597 inches and that is
only because I have smart guides turned down.
| | 00:51 | So watch as I drag down past this
Golden Gate text frame, .375.
| | 00:57 | Now it says .5, .625, .75, .8284.
| | 01:04 | Why is it there?
| | 01:05 | Because that's the exact center
of the Golden Gate text frame.
| | 01:09 | You'll find if you use this trick
of Shift+Dragging a ruler guide, that
| | 01:14 | occasionally you get the correct
increment, but sometimes it will go weirdo.
| | 01:18 | If you're using an older version of
the InDesign, this trick still works, but
| | 01:21 | you don't have to worry about the Smart
Guide measurements getting in your way,
| | 01:25 | and if that bugs you, you
can always go to Preferences.
| | 01:28 | I'm just pressing Command+K or Ctrl+K
to jump to Preferences, go down to Guides
| | 01:32 | & Pasteboard, and turn these off.
| | 01:35 | I think it's a big sacrifice to turn
these off just to get the cool ruler guide
| | 01:39 | increment trick working, but now if I
Shift+Drag, you'll never see those weird
| | 01:44 | amounts appearing in the Y
field up there in the Control panel.
| | 01:47 | So that's how it works for horizontal
ruler guides, and of course, it works the
| | 01:51 | same for vertical ruler guides.
| | 01:54 | Nice and clean and you just release the
mouse button before you release the Shift key.
| | 01:58 | Now if you zoom in, and let me hide the
Baseline Grid, then the increments--I'll
| | 02:06 | hold down the Shift key,
the increments are finer.
| | 02:10 | Let's change this measuring
system to Picas, and try that way.
| | 02:16 | So now it's 9.7, 9.8, 9.9, 10.1, some
single point increments, or as if I came
| | 02:22 | out this way and started Shift+Dragging,
then it's in 1pica, 2pica, 3pica.
| | 02:28 | So if you need to find
your increments just zoom in.
| | 02:30 | Let's say that you are really closely zoomed
in, and you're dragging down a ruler guide.
| | 02:36 | Now you probably know that if you
release of ruler guide over a page, it's going
| | 02:41 | to turn into just a page guide.
| | 02:42 | So if I keep it right here and then I
zoom out, it only went across this one page.
| | 02:49 | It didn't extend into the next page.
| | 02:52 | But what if you're zoomed in and you really
want a guideline to be across the entire spread.
| | 02:59 | All you need to do is hold down the
Command key and the guideline will turn
| | 03:03 | into a spread guide.
| | 03:05 | Let's zoom out and there you see that
it moves all the way across this spread.
| | 03:09 | A lot of times people ask me, is
there any way to add a single ruler guide
| | 03:14 | without having to actually drag it?
| | 03:16 | Well there's no keyboard shortcut but
you can double-click in the ruler and it
| | 03:20 | will put a ruler guide where you double-click.
| | 03:22 | If I double-click up here, say at
54, it adds a ruler guide at 54.
| | 03:28 | I can do it in the left-hand
side too, it adds one right there.
| | 03:32 | Now it might add it at strange little
increments, so if you wanted to make sure
| | 03:36 | that the ruler guides that you're
adding are at even increments, then just use
| | 03:41 | a same trick of Shift+Double-click and will
always put it at the nearest tick on the ruler.
| | 03:47 | Something that I often run into myself
is that I'll drag out some guidelines,
| | 03:52 | and for whatever reason, I need to know
the distance between the two guidelines.
| | 03:57 | What I use to do was to drag out of
frame and try to get it to align exactly
| | 04:02 | right and then I look up here at the
height or the width of the frame, but then,
| | 04:05 | I learned this cool trick.
| | 04:07 | If you go to the Window menu and open up
the Info panel, and then you select two
| | 04:13 | or more guides, the Info panel will
tell you the distance between them.
| | 04:16 | So you just click on one guide, because
remember guides are just like objects on
| | 04:20 | an InDesign page, and then
Shift+Click on another one.
| | 04:24 | We see here under Height, these
two guides are exactly 20p5.456.
| | 04:29 | So for whatever reason, if I needed to
make a frame that size or picture that
| | 04:33 | size, I know exactly the
amount of space that I need.
| | 04:37 | If you select more than one guide,
like I'm Shift dragging across all three
| | 04:40 | guides, it'll tell you the distance
from the topmost to the bottommost, or if
| | 04:44 | you're doing it on vertical ruler
guide, from the left or the right.
| | 04:48 | Look at the entire spread.
| | 04:50 | In more current versions of InDesign,
it's really easy to delete all the guides.
| | 04:55 | I'm at the current
spread that you're looking at.
| | 04:58 | Just go to the View menu, go down to
Grids & Guides, and there's a command,
| | 05:02 | Delete All Guides on Spread. I'm going to undo.
| | 05:05 | Now that was just added I
think a couple of versions ago.
| | 05:08 | If you've an earlier version, or even
if you forget that it's up there in the
| | 05:11 | View menu, the old command still works.
| | 05:14 | Let me click to deselect and now the
guides are just there like normal guides.
| | 05:18 | If you press Command+Option+G or Ctrl+
Alt+G, that selects all the guides on
| | 05:25 | the spread.
| | 05:27 | Now that they're selected you can just
tap the Delete or Backspace key and that
| | 05:30 | gets rid of them as well.
| | 05:33 | Another one that people want to know is,
how to quickly add more guides at a
| | 05:37 | certain increments, so like if you have
a guide here and you want to add a whole
| | 05:41 | bunch more there, say a half-inch apart
from this one, what's the best way to do that?
| | 05:46 | There are all such different ways but my
favorite way is to select the first one
| | 05:50 | and then go to the Edit menu
and choose Step and Repeat.
| | 05:55 | So the last time I did this, I was
actually creating 5 that are separated by 3
| | 05:59 | picas, or half an inch, but if I want
to do something else, I can say let's
| | 06:04 | separate these by 4 picas and I
want you to make 7 of these. Click OK.
| | 06:11 | So there you have it, 5 cool guide
tricks, plus 1 bonus one to impress
| | 06:16 | your coworkers.
| | Collapse this transcript |
| 042 Letting InDesign add the diacritics| 00:00 | You know I like to think that
I know a lot about InDesign.
| | 00:04 | There are actually quite a bunch of things
that I don't know, and one of those things
| | 00:08 | is how to add all the
different kinds of diacritics.
| | 00:12 | If I'm typing my last name, which has a
diacritic, I know how to do that one.
| | 00:16 | Concepcion has an accent over the O.
| | 00:20 | I already know that I can select that O and
press Option+E on my Mac keyboard and then
| | 00:25 | an O, and it goes and does that.
| | 00:28 | But what about a word like this down here?
| | 00:31 | It's some kind of French word.
| | 00:33 | I know there is a bunch accents on
it, but I don't know where they go.
| | 00:37 | I could go to the Glyphs panel.
| | 00:38 | The Glyphs panel has every single glyph, or
character along with every diacritic possible
| | 00:44 | in this panel, and you can scroll
through here and you could find the diacritic.
| | 00:49 | So if I'm looking for an E with an accent
that goes the wrong way, and then I could
| | 00:55 | go ahead and enter it from here.
| | 00:56 | But what if I'm doing 20 different French
words with all sorts of different diacritics,
| | 01:01 | and what if I don't know the glyph that I'm
looking for? What if I don't know what is
| | 01:04 | the proper diacritic?
| | 01:06 | Let me show you this cool trick that InDesign
will add the proper diacritics to words for you.
| | 01:13 | The first step is to turn
on dynamic spell check.
| | 01:16 | It won't work unless you do that.
| | 01:18 | So go to the Edit menu, go down to
Spelling > Dynamic Spelling.
| | 01:24 | Dynamic Spelling flags any words in the text
that it doesn't recognize in its dictionary,
| | 01:29 | without you having to run a spell check.
| | 01:32 | So you can see that here,
this word is not recognized.
| | 01:36 | Now if I right-click it, it suggests a
bunch of words but they're all in English.
| | 01:41 | This is a French word, and that's
because we are using the English dictionary.
| | 01:45 | We're using the English dictionary because that's the
default when I installed InDesign on this machine.
| | 01:51 | I need to switch to French.
| | 01:53 | So I'm going to select this word and I'm
going to switch the dictionary to French.
| | 01:58 | You can see we have lots of different
languages to choose from, and if it works right, then
| | 02:05 | you'll see that it's still not recognized
in that target dictionary, and now I can
| | 02:09 | right-click and a-ha! Now it's suggesting all
of the correct spellings in French with the
| | 02:16 | proper diacritics, and I happen to
know that it's this one that I want.
| | 02:20 | So it went ahead and entered the right-facing
accent and the wrong-facing accent for me.
| | 02:27 | Here is another example.
| | 02:29 | Here's a web site from Norway with a lot of
interesting little diacritics on the letters.
| | 02:37 | Like look at this little ad for Facebook.
| | 02:38 | I'm guessing it says, like us on Facebook, but we
don't really have to worry about translating it.
| | 02:43 | Say that the client says we want you
to add this language to our brochure.
| | 02:48 | I took a screenshot and I
pasted it into this document.
| | 02:53 | So let's say that we want to write
this with the correct diacritics.
| | 02:57 | Here's what you do.
| | 02:58 | If you're working from a sample, just
write it in English, with just the letters.
| | 03:02 | Don't worry about the diacritics, Besok oss
pa, and I'm not going to worry about Facebook
| | 03:07 | but I'll write it out any way.
| | 03:10 | These three words should be in Norwegian.
| | 03:13 | So I'm going to select all three
and change the language to Norwegian.
| | 03:18 | There's a couple here.
| | 03:19 | I'll try the first one, and it's
saying that the first word is misspelled.
| | 03:24 | Let's zoom in a bit here.
| | 03:25 | What we want it to do is to give us
the O with that slash through it.
| | 03:30 | I'm going to right-click and there it is.
| | 03:34 | So we got that entered.
| | 03:35 | Now there supposed to be something over the
A here, but it's saying that it's correctly
| | 03:41 | spelled, and this might happen to you that
there is a version of the word without the
| | 03:46 | diacritic that is correctly spelled.
| | 03:47 | So you can sometimes force InDesign to flag
it as incorrect, like if I add an E, and now
| | 03:54 | if I right-click on here, a-ha! It's
saying did you mean to write this word?
| | 03:59 | There we go, you see both PA without the
diacritic and with the diacritics are correct, and I
| | 04:03 | want the one with the diacritic.
| | 04:04 | So there's my little trick of letting
InDesign add the diacritics for you by simply
| | 04:10 | changing the language of the word that needs
a diacritics to the correct language and then
| | 04:14 | right-clicking and getting the correct
spelling with the diacritics, courtesy of InDesign
| | 04:19 | and its wonderful dictionaries.
| | 04:21 |
| | Collapse this transcript |
| 043 Using single-cell table cells for custom paragraph formatting| 00:00 | One of the most requested features in
InDesign is the ability to put a colored box around
| | 00:05 | or behind a paragraph.
| | 00:07 | You can't really do it yet but there are some
good ways to fake it, and my favorite technique
| | 00:12 | is called the one-celled table.
| | 00:14 | Let me show you how it works.
| | 00:15 | I'm going to zoom in on this text here, because I
want to put a colored box behind this paragraph.
| | 00:21 | To do that, I need to switch to the Type tool,
press the T key, and then select the paragraph.
| | 00:28 | Note that I'm selecting the paragraph, but
not the invisible carriage return at the end.
| | 00:33 | I can see that carriage return there, that
little invisible character, because I've turned
| | 00:37 | on the hidden characters at
the bottom of the Type menu.
| | 00:41 | Without that turned on, it's really hard
to tell where the paragraph really ends.
| | 00:45 | Now that I've selected the paragraph, I'm
going to come up to the Table menu and choose
| | 00:49 | Convert Text to Table.
| | 00:51 | It's going to turn this one
paragraph into a one-celled table.
| | 00:55 | I'm going to the leave the column and row
separators just the way they are and click OK.
| | 01:01 | Now in this case, it broke my carriage
return to the next line because there's an extra
| | 01:06 | space right at the end of that paragraph.
| | 01:08 | So I'm going to press the
Delete key and remove that.
| | 01:11 | That looks much better.
| | 01:13 | It put that paragraph into a table and it
seems to have broken this down to a separate
| | 01:17 | line and I think the reason is that there
appears to be a little space at the end that
| | 01:22 | I didn't capture.
| | 01:24 | So I'm going to delete that by brisk pressing
the forward Delete key and yep, that worked.
| | 01:28 | Now we have a paragraph inside a single-cell table
and it takes up just the right amount of space.
| | 01:36 | Now these tables by default have
a stroke around them but no fill.
| | 01:40 | But that's okay we can turn that around by
giving it a fill and taking the stroke away.
| | 01:46 | To do that, I'm going to click inside
that cell and then press the Escape key.
| | 01:51 | Little secret trick, when you're inside of a cell in
a table, hitting Escape selects the cell itself.
| | 01:57 | So now I can make sure that all four sides of
the table are selected up here in the Control
| | 02:02 | Panel and I'm going to set the stroke to None.
| | 02:06 | Now I'm going to come up here and fill
it with some color, maybe 20% magenta.
| | 02:12 | It's highlighted right now,
| | 02:13 | so I can't see the final effect, but as soon
as I click outside of the table, you can see
| | 02:17 | that it looks just fine.
| | 02:19 | As a story reflows, as text is added and
removed, the table will move with it.
| | 02:24 | It's anchored in place.
| | 02:26 | Even better, as I add some text here, I'll
just add some random text, you'll see that
| | 02:32 | the table gets longer.
| | 02:34 | If I remove that text, the table gets smaller.
| | 02:37 | It's the table that's creating that
background color, and therefore it is always going to
| | 02:42 | be behind that paragraph.
| | 02:44 | Now what's not so great about this trick is
that table cells inside InDesign cannot
| | 02:49 | break across multiple pages.
| | 02:51 | The whole cell always has to
stay together on the page.
| | 02:55 | Let me show you a couple other
instances of how you can use this.
| | 02:59 | Navigate over to the left side page here,
and I'm going to put these two paragraphs
| | 03:04 | inside a single cell.
| | 03:05 | To do that, I select both of these paragraphs
but not the final carriage return, go to Table >
| | 03:11 | Convert Text to Table and this time I'm
going to pause for a moment and not just click
| | 03:16 | OK because we have two different
paragraphs that we want in a single cell.
| | 03:21 | I need to change the Row Separator.
| | 03:23 | The Row Separator is set
to Paragraph right now.
| | 03:26 | So if I clicked OK, I would get two rows.
| | 03:28 | One for this paragraph and
one for this paragraph.
| | 03:31 | That might be okay, depending on what I'm
kind of do, but I want to show you a trick
| | 03:34 | so that you truly get a single cell.
| | 03:37 | Instead of using Paragraph, you could
choose Tab or Comma, but there might be a tab or
| | 03:42 | comma in there somewhere, so
don't want to take a chance.
| | 03:45 | I'm simply going to select that paragraph
and replace it with some character that I'm
| | 03:50 | sure does not show up anywhere and
you can pick pretty much anything.
| | 03:53 | I'll just going to use a square bracket here.
| | 03:55 | You can use a curly bracket or some special
character, it doesn't really matter, just
| | 03:59 | something that you know does
not show up in this paragraph.
| | 04:02 | Click OK and it turns it into a single-
celled table, two paragraphs in the same cell.
| | 04:10 | In this case, I'm going to leave that cell
stroked and not filled because I want to show
| | 04:13 | you one more trick down here.
| | 04:15 | I want to put a special effect next
of this paragraph. I select it,
| | 04:21 | I do the old routine of
converting it into a single-cell table.
| | 04:26 | Instead of having it colored behind or
stroked all way around, I want a stroke just on the
| | 04:31 | left side of this.
| | 04:34 | So to do that, I click inside, press the
Escape key, come up here and I'm going to turn off
| | 04:39 | the Stroke on all four sides,
and I'm going to turn it on.
| | 04:44 | If you just click on those lines to control which
ones you're affecting, and I don't want this
| | 04:49 | next thing to affect all those lines,
I only wanted to affect the left line.
| | 04:53 | I'm going to do a nice thick
stroke right along that left edge.
| | 04:58 | So now I have a stroke along the left edge,
but the text is bumping up against it.
| | 05:04 | That's okay, I can click inside the cell, go back
to the Table menu and choose Cell Options > Text.
| | 05:11 | Here I'm going to unlock this little chain
icon button there so I can change the cell
| | 05:16 | inset separately, and I'm going to set
the left inset larger, maybe 1 pica.
| | 05:23 | That way, it moves it a little
bit farther away from that line.
| | 05:27 | Let's go ahead and jump back to fit spread in
window with the Command+Option+0 or Ctrl+Alt+0
| | 05:32 | and press the W key to go into Preview Mode
and you can see the effects that we've created.
| | 05:37 | First, a single paragraph that has a colored
box behind it; second, we did two paragraphs
| | 05:44 | that have a stroke around them; and third,
we have a single paragraph that has a line
| | 05:49 | that can expand or contract depending
on how much text is in that paragraph.
| | 05:55 | Single-celled tables like these are proof
that sometimes when you're trying to achieve
| | 05:58 | a particular effect in InDesign,
you need to think outside the box.
| | 06:02 |
| | Collapse this transcript |
| 044 Formatting fractions correctly| 00:00 | Nobody likes dealing with fractions in text but
typesetting fractions doesn't have to be a pain.
| | 00:06 | I created a plug-in, part of my Blatner Tools
Suite, that automates formatting fractions.
| | 00:11 | But I am just going to show you how you can
do it manually in InDesign using the tools
| | 00:15 | you already have.
| | 00:17 | The key to making fractions easy in
InDesign is having the right font.
| | 00:21 | Some fonts have fractions built right into them, so
it's easy to swap out a fake fraction for a real one.
| | 00:27 | I am going to double-click on this to switch
to the Type tool and then I can select that
| | 00:31 | fraction and I can see that
this font is Chaparral Pro.
| | 00:35 | Chaparral Pro is one of Adobe's Pro OpenType fonts,
which has lots of fraction functionality built into it.
| | 00:43 | So to turn this fake fraction into a real
fraction, I will go to the right side of the
| | 00:47 | Control Panel, all the way over here to the
Control Panel menu, choose the OpenType submenu,
| | 00:54 | and then choose Fractions.
| | 00:56 | That's all it takes and it looks much better.
| | 00:59 | So this is great.
| | 01:01 | Really easy, unless you happen to have about
500 of these fonts throughout your document,
| | 01:05 | you would not want to
choose that menu 500 times.
| | 01:08 | So let me show you a trick to how you can turn these
fractions into good looking fractions really quickly.
| | 01:13 | Let me undo this with a Command+Z or Ctrl+Z
on Windows, and instead, I am going to go
| | 01:18 | to the Paragraph Styles panel, double-click
on the Paragraph Style and I am going to build
| | 01:23 | a GREP Style into this paragraph style.
| | 01:27 | GREP Style is not that hard, it's not
going to hurt, and here is how it woks.
| | 01:32 | First, I am going to click on New GREP Style.
| | 01:35 | That creates a new rule.
| | 01:37 | Now the basic idea of GREP Styles is that
it's going to search for a particular pattern
| | 01:41 | and text, and the pattern we're looking for
is a fraction, something that looks like a
| | 01:45 | fraction, and it's going to apply a
character style to whatever it finds.
| | 01:50 | What character style do you want it to apply?
Well that's what we choose right here.
| | 01:54 | I will click on None and I will choose a
character style from this pop-up menu.
| | 01:58 | We don't have a fraction style yet, so I
will choose New Character Style and I am going
| | 02:02 | to call it fraction.
| | 02:05 | All this character style is going to do is
apply the OpenType feature called Fractions,
| | 02:10 | just like pulling it out of that OpenType menu.
| | 02:13 | I will click OK and now we need to type
the GREP code for finding a fraction.
| | 02:18 | Here is how it works.
| | 02:20 | Click on this code down here to highlight
it and then type this code, \d+, it actually
| | 02:27 | already typed that for me, followed by a slash and
then do the same thing again; \d+, just simple as that.
| | 02:35 | That code really means find one or more digits
followed by a slash, followed by one or more digits.
| | 02:41 | That wasn't that hard, was it, because that's
exactly what we're looking for; one or more
| | 02:44 | digits, followed by a slash,
followed by one or more digits.
| | 02:48 | When I click OK, you will see that every fraction in
this paragraph style gets turned into a real fraction.
| | 02:56 | I see one problem here that's really bugging
me, and that is, some of these fractions have
| | 03:00 | spaces before them between the
main number and the fraction.
| | 03:04 | I am going to get really geeky here
with GREP Styles to get rid of that space.
| | 03:08 | I will go back to my GREP Style pane, I am
going to create a new GREP Style and this
| | 03:13 | GREP Style is going to apply a new
character style called Disappear.
| | 03:18 | I like using the disappear character style
whenever I want something to disappear in
| | 03:23 | my text, in this case, I
want that space to go away.
| | 03:26 | And in order to make the text disappear, I
change the size to about 1 point, I change
| | 03:31 | the color to None, so it really disappears
no matter what it is, and I usually go in
| | 03:35 | here and change the
Horizontal Scale to maybe 1%.
| | 03:39 | I am going to apply that Disappear style to
anything that is a space, of course it can't
| | 03:44 | just be any space, because
all my spaces would disappear.
| | 03:47 | I want it to be a space, so I just removed
that code there and I just typed a space,
| | 03:53 | and it only has to be a space
that's followed by a fraction.
| | 03:57 | Here's how we do that.
| | 03:58 | I am going to go out to my @ sign pop-up menu,
I am going to scroll down here to Match, and
| | 04:04 | then I am going to choose Positive Lookahead.
| | 04:07 | Again, that sounds scary, but all it really means is,
look for a space that's followed by something.
| | 04:14 | It needs to come after that equal.
| | 04:16 | What is it looking for? Well, I need to specify
a fraction, right? So I am going to grab that
| | 04:20 | text up here, copy it, come down here,
and paste it, and now I am done.
| | 04:26 | It's going to apply the Disappear character style
to every space that's followed by a fraction.
| | 04:32 | Let's try it out.
| | 04:32 | I will click out here to make it take effect,
I will click OK and we can see that all those
| | 04:38 | spaces disappeared before the fraction.
| | 04:41 | Of course, this space disappeared as well,
so I think I made a little mistake there,
| | 04:45 | I better fix that.
| | 04:46 | Let's go back and say this is
going to be a edit to the GREP Style.
| | 04:52 | I need to change this, so it's a space that's
followed by a fraction and comes after a number.
| | 04:59 | So I better go in here and say this is going
to be a Match > Positive Lookbehind, so look
| | 05:05 | behind a space, and it has to be a
number which is that \d, let's try that.
| | 05:11 | Click OK, ah! Now that's much better.
| | 05:14 | If the space comes after a number and is
followed by a fraction, the space disappears, but,
| | 05:19 | if it's just a number, a fraction with
outer number before it, the space stays.
| | 05:24 | Now as I said earlier, some fonts have
fractions built in and some fonts don't.
| | 05:29 | So what happens if I have to change my font?
I will change this section blurb paragraph
| | 05:33 | style to something else like Times, and all
of a sudden, we'll see that this doesn't have
| | 05:38 | fractions built into it.
| | 05:40 | Now we're going to have to build those
fractions manually in this kind of font.
| | 05:45 | I am going to show you a way using
character styles so it's repeatable and easy.
| | 05:49 | I am going to create one character style for
my numerator and a different character style
| | 05:53 | for the denominator.
| | 05:54 | Let's start with a numerator.
| | 05:56 | First, I am going to create a character style
by Option or Alt+Clicking on this button and
| | 06:01 | I am going to say this is my numerator.
| | 06:05 | I could change the size of this manually,
but instead, I prefer to change it based on
| | 06:10 | the horizontal and vertical scale.
| | 06:12 | That's because as the text around it gets
bigger or smaller, the fraction will get bigger
| | 06:17 | or smaller too because
it's all based on the scale.
| | 06:20 | I usually like my fractions a
little bit wider than they are tall.
| | 06:24 | So I will set this to a Horizontal Scale of 70 and
a Vertical of 60, but it's completely up to you.
| | 06:30 | Use your judgment based
on what font you're using.
| | 06:32 | I will set this Baseline Shift of let's say 4.
| | 06:37 | I also like giving the numerator and the
denominator a stroke, just a little stroke.
| | 06:41 | In fact, I am going to set this to black and
just a tenth of a point here, just to give
| | 06:46 | it a little bit of weight.
| | 06:47 | That way it will match the text
around it a little bit better.
| | 06:50 | I will click OK and then
apply that to the text.
| | 06:54 | Now we'll do the denominator.
| | 06:56 | I will select the 2, create a new style, I
am going to base this on the numerator, but
| | 07:03 | I am going to call it denominator.
| | 07:07 | This is going to be slightly different because
of course it will not have a baseline shift.
| | 07:12 | There we go! I have set the numerator and the
denominator and I've applied it to the text.
| | 07:16 | Now I need to change this middle character
from a regular slash to a true fraction bar.
| | 07:22 | Let me zoom in here so we can
really see what's going on.
| | 07:24 | I am going to press Command+4, or Ctrl+4 on
Windows to go to 400% and I am going to type
| | 07:29 | Option+Shift+1 or Alt+Shift+1 on Windows to
get a fraction slash, not the regular slash.
| | 07:36 | Now that took a lot of work, creating those
character styles and applying it to one fraction
| | 07:41 | but the good news is, once I have them, it's
easy to apply those using GREP Styles or manually,
| | 07:46 | simply by selecting the text
and applying the character style.
| | 07:49 | There is my numerator, there is my
denominator, and there is my fraction bar.
| | 07:54 | Now if you have to use these non-OpenType
fonts, or fonts that don't have fractions
| | 07:59 | built into them and you have a lot of fractions,
I really would recommend using Blatner Tools
| | 08:04 | at blatnertools.com.
| | 08:05 | But for most people, if you don't have too
many fractions, these manual techniques will
| | 08:10 | really be all you need.
| | 08:11 |
| | Collapse this transcript |
| 045 Fixing unwanted hyperlinks in an imported Word file| 00:00 | So it's a normal day here in Anne-Marie land,
I am working on a project for a client.
| | 00:05 | They have sent me their Word
file which I have on my Desktop.
| | 00:08 | So I will go to File > Place and grab it and
I will turn on Show Import Options because
| | 00:16 | I want to make sure that I want to bring in
the styles, because this was written by somebody
| | 00:20 | that I trust and they
know how to do styles right.
| | 00:23 | So I click and place it and aah! What is
this horrible blue stuff? When I zoom in, I can
| | 00:29 | see that these are actually links.
| | 00:32 | I get this request from people all the time.
| | 00:36 | How can I prevent InDesign from importing
all of these links in Word files? And that's
| | 00:42 | from the people who know what they're doing.
| | 00:44 | People who are new to InDesign are
like, why is some of my text blue?
| | 00:49 | And that's because when you bring in a Word file
with styles, it also brings in any of the hyperlinks.
| | 00:56 | And Word, by default, will convert any kind
of URL that you enter into a hyperlink on
| | 01:01 | the fly, same thing for email address, it's a
feature, not a bug, and very few Word users
| | 01:07 | know how to turn that off.
| | 01:08 | I will show you how to turn that off, so you can
tell your Word using colleagues in a little bit.
| | 01:12 | But first, let's say that you've
already placed it into InDesign.
| | 01:16 | How do you quickly get
rid of these hyperlinks?
| | 01:17 | There are actually two things you need to do.
| | 01:20 | You need to get rid of the hyperlink and
then you need to get rid of the styling because
| | 01:25 | whenever Word automatically creates a hyperlink, it
also creates a character style for that hyperlink.
| | 01:31 | So if I click inside here, now the
Word list, don't worry about that.
| | 01:34 | It's just a hyperlink cell
that we need to get rid of.
| | 01:36 | The Word list is actually
this bulleted list down here.
| | 01:41 | But getting rid of the style is not going to
help until we actually get rid of the link.
| | 01:44 | So let's do that.
| | 01:46 | All hyperlinks are listed in
the Hyperlinks panel in InDesign.
| | 01:50 | Go to the Window menu, down to
Interactive, and choose Hyperlinks.
| | 01:55 | If you click on a hyperlink, it will
become highlighted in the Hyperlinks panel.
| | 02:00 | See that's the Mail To link.
| | 02:04 | Here's one that the savvy Word user
actually selected text and turn into a hyperlink.
| | 02:08 | So they did this on purpose.
| | 02:10 | By clicking it, you can see that
they are linking to a blog post.
| | 02:14 | They don't come in as named hyperlinks,
ones coming in from Word all just come in with
| | 02:18 | the name Hyperlink or
Hyperlink 1, 2, 3 and so on.
| | 02:21 | So if you've already created your own hyperlinks,
in the document, those will be listed along
| | 02:27 | with this and you should be able to easily
tell the Word ones from your own because the
| | 02:31 | Word ones have this generic name.
| | 02:33 | To get rid of a hyperlink, just
select it and then press the Delete key.
| | 02:37 | All it does is it gets rid of the
hyperlinkedness, it doesn't really get rid of the text.
| | 02:41 | So I click Yes and it's no longer a hyperlink.
| | 02:44 | In fact, let's click here mrankin, his email
address, delete the hyperlink and now it's
| | 02:51 | no longer a hyperlink, nothing gets
highlighted but the formatting remains, that character
| | 02:56 | style that I showed you.
| | 02:57 | We will get rid of that in a minute.
| | 02:59 | If you know that all these hyperlinks are
from Word, you can Shift+Click all of them,
| | 03:04 | here just the two that are left,
and get rid of them all at once.
| | 03:08 | So now the hyperlinks are gone, now we
need to get rid of that character style.
| | 03:14 | So just find the character style called Hyperlink,
choose Delete Style, and then replace it with None.
| | 03:21 | You don't want to retain that formatting.
| | 03:23 | So we will turn off Preserve
Formatting. There you go!
| | 03:27 | There's one little surprise that the hyperlinks left
for you that you should probably delete as well.
| | 03:32 | If you go to the Swatches panel, you will
see at the very bottom it brought in this
| | 03:35 | Word RGB blue color, which is what it
used in that character style definition.
| | 03:41 | So you might want to select that and delete that
swatch as well, so you don't use it by accident.
| | 03:45 | Now let's jump over to Microsoft
Word where I have this document open.
| | 03:48 | Now I am using the Mac version of Word,
but this will work in Mac or PC versions.
| | 03:53 | Now before I get rid of the hyperlinks
though, I want to show you how they came to be.
| | 03:58 | So if I just click here in the text
and I start typing a URL like lynda.com,
| | 04:03 | as soon as I type a space, it turns
into a hyperlink, and you can see it when I
| | 04:08 | hover over there.
| | 04:10 | So it is a feature not a bug, so don't blame
your Word using colleagues too much, because
| | 04:14 | it's really hard to turn off and a lot of
people don't even realize it can be turned off.
| | 04:18 | But if you go to the Tools menu, down to
AutoCorrect and this also available in Preferences,
| | 04:24 | in both Mac and PC, it's under the Tools menu.
| | 04:26 | Go to AutoCorrect, and in AutoFormat as You
Type, you want to turn off replace as you
| | 04:33 | type Internet and network paths with hyperlinks,
and then click OK and now I can type lynda.com,
| | 04:41 | http://lynda.com, space, and it just
stays as regular text.
| | 04:48 | So turning off that Tools preference, that
AutoCorrect as You Type doesn't fix existing
| | 04:53 | hyperlinks, but from now on, it fixes them.
| | 04:56 | And you can make that change as an application
default in Word as well so that they are not
| | 05:00 | constantly creating hyperlinks when
they don't really want them there.
| | 05:04 | You can still swipe over an existing URL,
right-click, and add a hyperlink if you wanted
| | 05:10 | to, just entering the URL right up
here, but it won't do it automatically.
| | 05:15 | And then to quickly get rid of all the
hyperlinks in a Word file before you even bring it into
| | 05:19 | InDesign, this is what I usually do, just
go to the Edit menu, choose Select All and
| | 05:25 | then press Command+6 on the
Macintosh or Ctrl+6 on a PC.
| | 05:32 | Boom! Clears out all the hyperlink stuff,
let's save this, and in a new document, I will
| | 05:40 | place that same file, same settings,
and there's no horrible blueness.
| | 05:47 | So that's how you clear up hyperlinks that
come from Microsoft Word files, both from within
| | 05:52 | InDesign and in Word before that
ever sees the light of day in InDesign.
| | 05:57 |
| | Collapse this transcript |
| 046 Inline graphic tricks with invisible paragraphs| 00:00 | Here's a cool trick that can come in
handy in lots of different situations, but
| | 00:05 | most recently I found it comes in very
handy when I'm working with EPUBs, and
| | 00:10 | that is, how to get a graphic, like this
picture of David, to appear in the text
| | 00:17 | flow, like this little mini-bio of
him, when I export to EPUB, without me
| | 00:22 | actually having to make it float
in between these two paragraphs.
| | 00:26 | In the words, I don't want to mess up
my print design, but when I export it to
| | 00:30 | EPUB, I want it to look like
how I want it to look in the EPUB.
| | 00:34 | So if we just take this example how it
looks right now, it's just a picture of
| | 00:39 | David on the left and the text on the
right, and we export this to EPUB by going
| | 00:44 | to File > Export, on the Desktop,
invisible.epub, choose EPUB.
| | 00:50 | We are going to accept all the existing
defaults and I'm replacing the existing
| | 00:56 | invisible.epub that was there before.
| | 00:58 | Let me just accept these defaults, Image,
Contents, click OK, see what it looks like.
| | 01:04 | So you see, the picture appears at
the top because we are exporting by a
| | 01:08 | layout order, so the first thing in
the layout, reading left to right, is a
| | 01:11 | picture and then David, but actually
I want his picture to be in between
| | 01:16 | these two paragraphs.
| | 01:17 | I don't want it to be at the top, I
want it to be right over here in between
| | 01:20 | these two paragraphs.
| | 01:21 | Now what I could do is make an empty carriage
return and paste it in here as an inline
| | 01:27 | graphic, but that would mean that I'm
completely messing up my print document.
| | 01:31 | This is going to overset, you know
because it's got this big honking picture in
| | 01:35 | the middle of it, and so on.
| | 01:37 | So let's try another method which
might be anchoring the graphic within the
| | 01:41 | text. So if I just drag this little
anchor graphic icon or if I was using an
| | 01:46 | earlier version of InDesign, I would
cut and paste it, and then set up as a
| | 01:50 | custom anchored graphic so it stayed there.
| | 01:52 | Now when I export EPUB, replacing
the existing one, almost but not quite.
| | 01:58 | I mean it is in between the two
paragraphs, but it's pushing the first line over.
| | 02:02 | That's not quite what I want, and if
I had done the same thing as the last
| | 02:06 | character of the previous paragraph,
then it would have changed the leading of
| | 02:10 | this paragraph because this picture
would have been inline and pushed this text
| | 02:13 | up. So that's not what we want either.
| | 02:15 | What we really want is we want his
picture to be by itself in a paragraph,
| | 02:19 | in between these two paragraphs, but we don't
want to have to add an extra empty return here.
| | 02:24 | So how's that done?
| | 02:25 | With the incredible, invisible paragraph.
So let's start again, and take this,
| | 02:29 | I am going to cut it and paste it
so that it's no longer anchored.
| | 02:33 | We are going to temporarily add a
carriage return in between these two paragraphs.
| | 02:39 | Then what we do is we are going
to make this almost invisible.
| | 02:44 | All you need to do is re-size that
carriage return to the smallest possible size
| | 02:50 | that InDesign can handle,
which is .1 of a point.
| | 02:57 | There is actually a paragraph return there.
| | 02:59 | It's kind of hard to see. If we look at
it in Edit > Edit in Story Editor, you
| | 03:05 | can see it clear as day.
| | 03:07 | So that might help you.
| | 03:08 | What I usually do is--I am going to undo this.
| | 03:11 | I'm going to go ahead in and anchor it
to this carriage return. Let's drag and
| | 03:17 | drop it right there, then I'm going to
select the carriage return and then make it small.
| | 03:23 | And actually I did it the smart way--
is I created a paragraph style called
| | 03:26 | image and we look at the settings for
image, you can see that the Size is .1
| | 03:34 | and the Leading is 0.
| | 03:38 | So let's apply that.
| | 03:40 | So he jumped up but that was only
because that's where he was before we actually
| | 03:44 | inserted that return.
| | 03:45 | So I guess it's .1 of a paragraph in here.
| | 03:49 | I suppose it could be detectable to a
surgeon's eyes, but to most people reading
| | 03:53 | this, you can't see that there is
actually another paragraph in between here.
| | 03:56 | In other words, we were able to do this
without messing around with our print layout.
| | 04:00 | Let's export this to EPUB and there it is.
| | 04:08 | He is sitting there in between the two
paragraphs exactly how I wanted him and I
| | 04:13 | was able to do that without
messing up my print layout.
| | 04:16 | The incredible, invisible paragraph;
very handy in all sorts of situations.
| | Collapse this transcript |
| 047 Ensuring the first line of every chapter starts in the same spot| 00:00 | Here's a chapter opener for this book.
| | 00:02 | You can see that there's a chapter number,
the title, and the first line starts right here.
| | 00:08 | Now I am going to jump forward a couple
of spreads by pressing Option+Page Down
| | 00:12 | or Alt+Page Down, and we can see
the second chapter starts here.
| | 00:15 | There is a chapter number, the
title, and the first line of the first
| | 00:18 | paragraph starts down here.
| | 00:21 | There it's not the same as here,
they have actually moved. Why?
| | 00:25 | Because this chapter title
has two lines instead of one.
| | 00:28 | Now that might not bother you, but many
designers want the first line of every
| | 00:33 | chapter to show up at exactly the
same place vertically on the page.
| | 00:37 | Now you could accomplish that by
creating two or more text frames on the page I
| | 00:41 | suppose, but that might cause
problems later if the text reflows.
| | 00:45 | So instead, I am going to show you
trick that I learned from Rufus Deuchler,
| | 00:49 | good friend and colleague.
| | 00:50 | He is now at Adobe as one
of their Senior Evangelists.
| | 00:53 | And this is a great use of the
lock to baseline grid feature.
| | 00:58 | Here's how it works.
| | 00:59 | Normally, the baseline grid takes up
the entire column but what we're going to
| | 01:03 | do is start the baseline grid exactly
where we want it to show up on the page.
| | 01:08 | To do that, I am going to open the
Preferences dialog box by pressing
| | 01:12 | Command+K or Ctrl+K on Windows. I am
going to jump to the Grids pane of the
| | 01:17 | Preferences dialog box, and I'm going
to tell the baseline grid to start 24
| | 01:22 | picas down on the page.
| | 01:23 | I actually don't care what the
increment is for this particular trick, but
| | 01:27 | normally you'd want increment
to match the leading on the page.
| | 01:31 | But like I said, in this case I
am going to leave it to set to 18.
| | 01:34 | Click OK, and now I need to tell
InDesign to start this first line at
| | 01:39 | that baseline grid.
| | 01:41 | Because I've used paragraph styles
throughout this document, it's really easy.
| | 01:44 | I simply open the Paragraph Styles panel,
I will double-click on this to place
| | 01:48 | the cursor inside that paragraph, and
that highlights it in the Paragraph Styles
| | 01:53 | panel, just a quick way for me to
figure out what style I was using on that
| | 01:57 | paragraph, and I can see this body first.
| | 01:59 | So I will all double-click on that,
I'll jump over to the Indents and
| | 02:03 | Spacing pane, and I'm going to say
Align to Grid should be set to not All
| | 02:07 | Lines but First Line Only.
| | 02:10 | That is, the first line of this
paragraph is going to be aligned to the grid and
| | 02:15 | the grid starts at 24 picas down, right?
| | 02:19 | Click OK, so I know that that first
line is going to be exactly 24 picas down
| | 02:24 | from the top of the page.
| | 02:26 | Now when I go back to that chapter 1, I
can see that it too is at 24 picas down.
| | 02:31 | In fact, let me switch back to the
Selection tool and pull down a Ruler Guide
| | 02:35 | and I am going to drop it down right to
24 picas, and we can see that it aligns
| | 02:40 | right up at the baseline.
| | 02:42 | Now no matter how many lines there are in the
title, it'll still line up in the right place.
| | 02:48 | So here, as I add a few words, you can
see that the first paragraph starts at
| | 02:52 | exactly the same place.
| | 02:53 | I have to admit that I don't usually
like using the lock to baseline grid
| | 02:57 | feature, but it can certainly be
really helpful in situations like this one.
| | Collapse this transcript |
| 048 Specifying an exact amount of space between objects| 00:00 | InDesign offers incredible precision
when it comes to placing objects on your
| | 00:04 | page, but there's one aspect
of a layout that is still a pain.
| | 00:07 | It's hard to position one object in
exact distance away from another one.
| | 00:12 | I know that sounds crazy, but it's true.
| | 00:13 | Fortunately, there are a couple ways to do it.
| | 00:16 | I'm going to show you two.
| | 00:18 | The first is using math. That's right.
| | 00:20 | We're going to do math in InDesign.
| | 00:22 | It's not too hard, don't worry.
| | 00:23 | I'm going to zoom in here so we can see
this a little bit better and I want to
| | 00:28 | put exactly 1 centimeter of space
between these two objects; that text frame
| | 00:31 | and this graphic frame.
| | 00:33 | To do that, I'm first going to select
the text frame, go up to the Control
| | 00:37 | panel, and set the reference point to
be any of these points along the bottom
| | 00:41 | part of the Reference Point Icon.
| | 00:44 | When I do that, the Y value in the
Control panel reflects the bottom of that
| | 00:49 | text frame, where that bottom is.
| | 00:51 | So I can select that value
and copy it to the clipboard.
| | 00:54 | Now I'm going to move this graphic
frame up by first selecting it, going back
| | 00:59 | to the Control panel, and choosing any of
the top points in that Reference Point Icon.
| | 01:04 | I choose one of the top points, because
I want to tell InDesign where the top of
| | 01:07 | that frame should be.
| | 01:09 | I want it to be not this crazy value in
the Y field here. I'm going to delete that.
| | 01:14 | Instead, I want it to be wherever the
bottom of this text frame is, which is
| | 01:17 | whatever is on the clipboard, right?
| | 01:19 | So I press Command+V or Ctrl+V on Windows.
| | 01:22 | That pastes in the value that I just took out
for the other one, and then I'm going to say +1cm.
| | 01:29 | I'm doing math inside the field there.
| | 01:31 | When I hit Return or Enter, it does
the math for me and figures out that this
| | 01:35 | should be exactly this position in
order for there to be 1 centimeter of space
| | 01:39 | between these objects.
| | 01:41 | So that's great, but if I had to do
math every time I wanted to position two
| | 01:45 | objects, I would just give up.
| | 01:46 | So instead I'm going to show you a
much easier way using the Align panel.
| | 01:51 | To get the Align panel, I'll go to the
Window menu, choose Object & Layout, and
| | 01:56 | then choose Align, and move this over to
the side so we can see it a bit better.
| | 02:01 | Now I'm going to select the two
objects that I'm trying to control;
| | 02:05 | in this case, this text frame
and this other graphic down here.
| | 02:08 | Once again, I want to put 1
centimeter of space between them.
| | 02:11 | Of course, it seems strange to use the
Align panel in order to control space,
| | 02:14 | but that is what we're going to do.
| | 02:16 | We're not using any of the align
features at top here or even this middle
| | 02:20 | section, the Distribute Objects.
| | 02:21 | We're going to be using the
Distribute Spacing section.
| | 02:24 | Now you might not have a Distribution
Spacing section or you might not be seeing
| | 02:28 | one on your copy of InDesign. That's okay.
| | 02:31 | If you don't see it, choose Show
Options from the panel flyout menu.
| | 02:35 | Sometimes it's hidden, like that, but
if you choose Show Options, it shows up.
| | 02:39 | It's a great feature to have open.
| | 02:41 | I don't know why Adobe
sometimes hides it like that.
| | 02:44 | To control the spacing, you have to
turn on the Use Spacing check box and then
| | 02:48 | you type in the value that you want.
| | 02:50 | How much space you want between those objects?
| | 02:52 | I want 1 centimeter, so I'll just type
in 1 cm, and then finally, click on the
| | 02:57 | Distribute vertical spacing
here, and voila! It's done.
| | 03:01 | We now have exactly 1 centimeter of
space between the text frame and the graphic.
| | 03:06 | The thing that's kind of cool about
Distribute Spacing is you can use this
| | 03:09 | over and over again.
| | 03:11 | So for example, let's just grab this
image and drag it down randomly down here.
| | 03:15 | If I want to set this to be the same
thing, 1 centimeter away from that, simply
| | 03:18 | select that, and that, and click on the
button one more time and it just snaps
| | 03:22 | to 1 centimeter away.
| | 03:24 | This controls the spacing between those objects.
| | 03:27 | I'm going to pan down here to show you
one other trick having to do with spacing.
| | 03:33 | Sometimes you need to control not
the spacing between two objects but the
| | 03:36 | spacing between an object and
the first baseline of a text frame.
| | 03:40 | For example, in this catalog, my art
director may have told me that I need a
| | 03:45 | space between the bottom of this
graphic and the first baseline and the first
| | 03:49 | line of text here to be exactly
5 millimeters. Can I do that? Sure!
| | 03:54 | I'm not going to use math and I'm
not going to use the Align panel.
| | 03:58 | I'm going to use a secret trick.
| | 03:59 | First, I'm going to snap the text
frame to the graphic frame, just drag it
| | 04:03 | up until the top of the text frame
is in exactly the same place as the
| | 04:07 | bottom of the graphic frame.
| | 04:08 | Then I'm going to go to the Object
menu and choose Text Frame Options.
| | 04:13 | I'll choose Baseline Options and this
lets me choose the First Baseline Offset.
| | 04:18 | First Baseline Offset is another way
of saying, where do you want that first
| | 04:22 | baseline, the first line of text, to
be from the top of the text frame.
| | 04:26 | Ordinarily, it's set to Ascent, but
we're going to change it to Fixed.
| | 04:30 | Fixed is great because we can specify
exactly how far down from the top of the
| | 04:34 | text frame we want that line to be.
| | 04:37 | How far do we want it?
| | 04:38 | Well, the art director said 5
millimeters, so I'll type that right into that
| | 04:42 | field, press OK, so now we know
that that first baseline is exactly 5
| | 04:46 | millimeters from the top of the text
frame and the top of the text frame is
| | 04:50 | exactly lined up with the bottom of the graphic.
| | 04:53 | So we've achieved the goal.
| | 04:54 | The baseline is exactly
where the art director wanted it.
| | 04:56 | Of course, InDesign does have one
tool in the Tool panel that seems like it
| | 05:00 | should let you control
the space between objects.
| | 05:02 | It's called the Gap tool.
| | 05:04 | Unfortunately, even though that lets
you control the gap between objects,
| | 05:08 | there's no way to set it to a specific distance.
| | 05:10 | It's all just fuzzy, drag
it until it looks right.
| | 05:13 | I'm really hoping that Adobe is going
to change that in some future version.
| | Collapse this transcript |
| 049 Fixing last lines that are too short| 00:00 | If you're a careful typesetter, one
thing that really drives you buggy are
| | 00:06 | runts, and runts are distinguished
from widows and orphans because what they
| | 00:11 | refer to is a short, final line in a paragraph.
| | 00:15 | Well, I guess you'd call
it a too short final line.
| | 00:17 | Obviously, there's always going to be a
short final line in a paragraph whether
| | 00:21 | it's fully justified
like this or left-justified.
| | 00:23 | This--it really depends on your taste
and your house style, but that this might
| | 00:29 | be considered too short.
| | 00:30 | Even though it's two words, it's very short;
| | 00:32 | two small words, or even a single
full word that is the last bit as often
| | 00:39 | considered a runt by some people.
| | 00:40 | And this is almost always considered a
runt which is a hyphenated, like a half
| | 00:45 | of a word, as the last line
of a paragraph. All right!
| | 00:49 | So that's what we mean by runts.
| | 00:51 | Widows and orphans are like the one
single entire line of a paragraph that falls
| | 00:55 | by itself at the bottom or the top of a column.
| | 00:58 | So what are some ways that we can
use to stop the runts to prevent them?
| | 01:03 | Let me show you a couple of manual
ways and then also a really cool automated
| | 01:07 | way that you can use.
| | 01:09 | So the manual ways I think most people
use are to select two or three words at
| | 01:14 | the end of a paragraph and to apply
the No Break style to that selection.
| | 01:20 | No Break prevents the selection from breaking.
| | 01:23 | And because InDesign uses the
Paragraph Composer as the default typesetting
| | 01:28 | engine, it's going to recast the
entire paragraph in order to keep my
| | 01:34 | selection together.
| | 01:35 | It might re-break some lines above or below.
| | 01:38 | We don't know if this is
going to bring it up or down.
| | 01:41 | It's really up to the paragraph composer.
| | 01:43 | So it's a much better way than actually kerning
this text in, which you might be wanting to do.
| | 01:48 | Don't ever do that. Instead
just select it and choose No Break.
| | 01:51 | So No Break is available from under the
Control panel menu, on the right choose No Break;
| | 01:56 | or if you have the Character
panel open for some bizarre reason, it
| | 02:00 | appears there as well. All right,
| | 02:01 | so it recasts the entire paragraph so
that the lines don't look too spaced-in or
| | 02:06 | spaced-out, but these three words were
brought up to the previous line. Let me undo.
| | 02:12 | A faster way to locate the No Break
command, because this is kind of a pain,
| | 02:18 | always going up here, is by pressing
Command+Return or Ctrl+Enter on a PC
| | 02:24 | keyboard, which opens up Quick Apply.
| | 02:27 | In Quick Apply, you can just type the
words no break, like n-o, and here it's
| | 02:32 | already coming up because I've
created a character style called no break.
| | 02:35 | If I continue typing you see that it
comes up as the menu command, No Break.
| | 02:39 | So it's a faster way often to just
use the keyboard to apply the No Break
| | 02:44 | command rather than having to mouse over
to the Control panel. I'm going to undo.
| | 02:49 | And so you saw that I've already
created a character style called no break.
| | 02:53 | If I edit this style, you'll see that
the only thing it does is apply the No
| | 02:58 | Break command to the selection.
| | 03:00 | So I don't have to worry about it
changing the font size or the leading or the
| | 03:04 | color or the typeface of the selection.
| | 03:06 | All it does is apply No Break.
| | 03:08 | And that's often a better way to
do this because it's easy to find.
| | 03:11 | You can search for this character style.
| | 03:13 | Now this problem over here, I would
actually--instead of selecting this and
| | 03:19 | saying No Break because I don't want it
to hyphenate, the problem here is that
| | 03:22 | somebody accidentally
messed up the paragraph style.
| | 03:25 | Let me go to the Paragraph Style panel
and edit the body style, or actually, I
| | 03:32 | don't want to edit the entire style;
| | 03:33 | I just want to edit it for this one paragraph.
| | 03:36 | I'm going to come up over here
and come down to hyphenation.
| | 03:39 | For this one paragraph somebody--okay,
it was me, just to show you, left
| | 03:44 | Hyphenate Last Word enabled.
| | 03:45 | I believe that InDesign added this
feature in CS4, or could have been CS5, and
| | 03:51 | they had turned on by default so that
if there was a last long word, it would
| | 03:56 | go ahead and hyphenate and seriously,
nobody likes to see this because it's
| | 03:59 | just jarring to see.
| | 04:00 | So you should turn this off so that the
last word will never hyphenate in a paragraph.
| | 04:05 | And you might also want to turn off
Hyphenate Capitalized Words which was turned
| | 04:09 | on for this paragraph as well.
| | 04:11 | You never have to worry about the
last line looking too spaced-out or too
| | 04:15 | tight because remember, the
paragraph composer will always recast the
| | 04:19 | paragraph to make sure that the white
space in between the words is equalized
| | 04:23 | throughout the entire paragraph.
| | 04:24 | I love that about InDesign. All right,
| | 04:26 | So that was one way by applying No Break.
| | 04:29 | Another way is to use the Nonbreaking Space.
| | 04:33 | So here in this paragraph, I can
actually--it might be a little easier in the
| | 04:38 | Story Editor to select this. I'm going
to go up to the Story Editor, and the
| | 04:43 | space in between rapidly and up to, I
could select that space and then replace
| | 04:49 | it with a Nonbreaking Space, and then
it brought up the word up and so I'd have
| | 04:57 | the same thing and add that
Nonbreaking Space between the last two words.
| | 05:02 | And then as soon as I close this,
then you see it's fixed, and this is the
| | 05:06 | hidden character for a Nonbreaking Space.
| | 05:08 | Some people prefer this way, because if
you use the no break character style or
| | 05:13 | No Break command as local
formatting, you can't see it.
| | 05:17 | You can't tell that that's the reason
that these words are falling where they
| | 05:21 | are unless you add like a yellow
highlight to your character style for no break
| | 05:25 | and then remove that at the end.
| | 05:26 | There are all sorts of tricks.
| | 05:28 | So a lot of people prefer to
just add this kind of thing.
| | 05:31 | And there are a couple scripts out
there that will automatically search for the
| | 05:35 | last couple words in your paragraphs
and replace the spaces between them with
| | 05:39 | this Nonbreaking Space.
| | 05:40 | And I'm going to undo because I want to
show you another way, an automated way.
| | 05:44 | Okay, so that's two ways: manually
apply No Break or add Nonbreaking Spaces in
| | 05:50 | between the last two or three words.
| | 05:52 | The last way that I want to
show you is with a GREP style.
| | 05:55 | So I'm going to edit my body style.
| | 05:57 | That's what these paragraphs are all using.
| | 05:59 | And I've already entered the GREP style
here but it's not in effect yet because
| | 06:03 | I preceded it with this asterisk.
| | 06:05 | This is a little trick for people who
are into GREP styles that you can add a
| | 06:09 | GREP style but not have it work by
simply preceding it with an Asterisk.
| | 06:13 | It's sort of like commenting it out.
| | 06:16 | So if I remove the asterisk, let me
tell you what this does before I click in
| | 06:21 | the gray area to make it go into effect.
| | 06:23 | It's going to apply my character style
called no break to text that fits this pattern.
| | 06:29 | What the heck is this pattern?
| | 06:31 | It's not looking for number 10.
| | 06:33 | What it's looking for is
the end of the paragraph;
| | 06:35 | that's what that symbol means, the
dollar bill sign, it's looking for a
| | 06:39 | location, the end of the paragraph.
| | 06:41 | The ten characters preceding the end of
the paragraph, it's going to apply the
| | 06:45 | no break style to it.
| | 06:47 | So if I click in the gray area, you
can see that it immediately fixed both
| | 06:51 | of these instances.
| | 06:52 | Let me click OK and show you.
| | 06:55 | Because the word Mission with the
period was fewer than ten characters, it went
| | 06:59 | ahead and applied no break to all that.
| | 07:02 | In fact, if you open up Character
Styles and click here, you can see down here
| | 07:06 | that as part of the paragraph style, it
has applied this GREP style of no break
| | 07:11 | to this character, this character,
this character, all the way up to until we
| | 07:15 | get ten spaces out, and then
there's nothing counted here.
| | 07:18 | So Periods and spaces and punctuation
are all counted as part of that ten.
| | 07:23 | The same thing for down here.
| | 07:24 | So it got up to ten and then the word
just hyphenated, which is perfectly fine.
| | 07:28 | Now perhaps ten is too much or too
little for you. You can always go to that
| | 07:32 | paragraph style and edit it and say,
it's okay if there are--let's make this 7
| | 07:40 | and see what happens.
| | 07:41 | So here Mission stayed by itself
because it is more than seven characters, but
| | 07:47 | up to became--got the previous word
hyphenated, so that you'd have more than
| | 07:51 | seven characters in the
last line. So there you go!
| | 07:54 | Just use period, open curly bracket,
the number of characters, close curly
| | 07:58 | bracket, and the dollar bill sign.
| | 08:00 | And if you want to play around with
this without having it go into effect, use
| | 08:04 | my trick of adding an asterisk as the
very first character and now we have the
| | 08:08 | GREP style saved but it's
not actually in effect yet.
| | 08:11 | So three ways to stop the runts
and make your type look much better.
| | Collapse this transcript |
| 050 Creating web graphics from your InDesign artwork| 00:00 | InDesign has a lot of wonderful features,
but you know what feature it's missing and
| | 00:05 | I really wish it had? Where is the
Save for Web? There's no Save for Web.
| | 00:09 | Haven't you ever created a document in
InDesign and you wanted to export a piece of it out
| | 00:14 | for the web? Of course you have.
| | 00:16 | Anyway, there are other ways to skin this
cat and that's what this video is about.
| | 00:20 | Let's say we're working on a spread about
the Golden Gate Bridge and we need to get
| | 00:26 | this sidebar--I'm going to select it
and zoom in so we can take a look.
| | 00:29 | We need to get this out for our web site.
| | 00:32 | How can we do that?
| | 00:33 | Well, one way, the simplest way is
you can take a screenshot of it.
| | 00:37 | So I'm going to deselect to make sure it's
not selected, deselect, and I'll switch to
| | 00:41 | Preview mode right here, Preview.
| | 00:44 | So you want to get it clean.
| | 00:45 | You don't want any non-printing character
showing or guidelines or anything like that
| | 00:50 | because we're going to take a screenshot, and
what you see is what you get with a screenshot.
| | 00:54 | And depending on your operating system, you're
going to use a different key to get a screenshot.
| | 00:59 | I'm on a Macintosh and I can press Command+Shift+3
to take the screenshot of the entire screen,
| | 01:05 | but if I press Command+Shift+4, then I get
little a crosshairs, and this is a lot easier
| | 01:10 | for me because then I can just
surround this graphic with the crosshairs.
| | 01:14 | So let's go ahead and do that.
| | 01:16 | Everything within this shaded
area will be exported and that's it.
| | 01:20 | You don't get a lot of feedback unfortunately.
| | 01:23 | It's saved to the Desktop by default.
| | 01:24 | It has a dumb name showing the date and the
time, so I could always rename it to sidebar.
| | 01:30 | It saves it as a PNG file by default, and I
think back in Leopard or maybe it was Tiger,
| | 01:35 | it saved these as PDFs.
| | 01:38 | Actually I use a program called ScreenSnapz that
lets me save the graphic in a different format.
| | 01:45 | So if you are doing a lot of screenshots,
because you're trying to create web graphics
| | 01:49 | out of InDesign, then you should probably
invest in a dedicated screen capture program
| | 01:54 | for your OS, for your operating system.
| | 01:56 | So this is a PNG file which is perfectly fine,
and if I jump over to Firefox and we open
| | 02:03 | that up, there it is.
| | 02:05 | There is my web graphic and then I can just
send this on to my web developer or use it
| | 02:10 | in my web site and just drop it
right in there, sidebar.png.
| | 02:13 | But there are other ways to get web graphics
out of InDesign that give you a bit more control.
| | 02:18 | For example, let me zoom out a little bit
and we'll go back to Normal view. I'm going
| | 02:25 | to hide the Baseline Grid,
because it's bugging me.
| | 02:27 | You can select anything.
| | 02:28 | It can be one item or multiple items.
| | 02:31 | Here we're just selecting this, and you can export
it to JPEG; JPEG is another web graphic format.
| | 02:36 | So I've got this selected, I go to File >
Export, choose JPEG, save it on the Desktop.
| | 02:42 | I'll call it sidebar-exp to jpg.
| | 02:48 | Now it doesn't automatically make a JPEG.
| | 02:50 | You get this wonderful dialog box first where
you can say that you want to export the selection.
| | 02:54 | That's what it's assuming, so you
have to have the right selection first.
| | 02:57 | You could, if you do have anything selected, you
could export pages to JPEG if you wanted to.
| | 03:02 | You can set the Quality of the JPEG, so I
probably would like High or Maximum because
| | 03:08 | there is some small type in there.
| | 03:09 | You can set the Resolution, so let's
say 72 because we like 72 PPI images.
| | 03:15 | And the Color Space, RGB, CMYK.
| | 03:18 | For the web, you just want RGB.
| | 03:20 | Everything else you can remain the same.
| | 03:21 | So we're exporting it out. That's it.
| | 03:24 | So exporting just exports a
copy of what you have selected.
| | 03:28 | If you want to see what it looks like, jump
over to your browser, I'm going to create
| | 03:31 | another tab here, and then go to your
browser's File Open menu and open it up.
| | 03:37 | So here it is at 72.
| | 03:40 | You notice it's smaller than this one, and
that's because the screenshot software that
| | 03:45 | my Mac uses, uses a higher resolution.
| | 03:48 | If you take this JPEG at a higher resolution, then
it'll be larger because you'll have more pixels.
| | 03:55 | So let's try that.
| | 03:56 | We're going to export this back out to JPEG; only this
time we'll do it at a higher resolution, let's say 300.
| | 04:04 | So here we're going to choose 300 PPI JPEG.
| | 04:08 | Export it and then let's try this again.
| | 04:11 | Open it up our 300 guy.
| | 04:13 | There we go! That's really big.
| | 04:15 | Papa bear, baby bear, and mamma bear! So you can change
the resolution in that JPEG dialog box in InDesign.
| | 04:23 | All right, let me show you another way that
you can get this graphic out as an image.
| | 04:28 | Now this is only possible in CS5.5,
| | 04:30 | and it's because of the wonderful
new Object Export Options dialog box.
| | 04:37 | So you make a selection; it doesn't have
to be a picture, it could be anything.
| | 04:40 | It can be a text frame if you wanted, but here
we have a text frame in front of a background
| | 04:46 | frame, so we have it selected and then we go
to Object > Object Export Options and we're
| | 04:51 | going to turn on Custom Rasterization.
| | 04:53 | Here you choose not just JPEG but you could also
make it into a GIF or a PNG file if you wanted to.
| | 05:00 | And a PNG file has the full range of colors
just like a JPEG file, but it can also show
| | 05:06 | transparency if you wanted to.
| | 05:07 | So that's kind of like the
file format of the future.
| | 05:10 | But yeah, let's go ahead and
choose PNG for this image.
| | 05:13 | Here you can set the resolution.
| | 05:14 | Now you can't enter your own resolution
like we could before in the export to JPEG, but
| | 05:18 | you can choose one of these.
| | 05:20 | I think 150 is perfectly fine.
| | 05:22 | So this will export as a
graphic if we export to EPUB or HTML.
| | 05:26 | All right, you can do the same
thing say with this text frame.
| | 05:30 | If you wanted to export this text frame or
maybe say this little decoration up here,
| | 05:35 | let me Command+Shift+Click to release it
from the master page, this can also be exported
| | 05:39 | instead of this text as a graphic.
| | 05:41 | So you just select it and then go to Object > Object
Export Options and turn on Custom Rasterization.
| | 05:49 | Now notice that you'll only see the
graphic if you export it as EPUB or HTML.
| | 05:54 | The problem with exporting as EPUB is that
there is no option to export just the selection.
| | 06:00 | So you'd have to export this entire stupid
thing as an EPUB and then root through the
| | 06:04 | images folder after you
expand it and find this graphic.
| | 06:07 | So instead, the method to our madness is now
we're going to export this as a selection to HTML.
| | 06:13 | So we go to File > Export, we choose HTML from the
dropdown menu, and it's already sidebar-exp to html.html.
| | 06:22 | That's fine, so we know which one it is,
| | 06:26 | and here is the key is that we want to export
just the selection, not the entire document.
| | 06:31 | Under the Image section, make sure that this
is disabled, which is the default, to Ignore
| | 06:37 | Object Export Settings.
| | 06:39 | You want it to--and it's
kind of a backwards setting.
| | 06:42 | You want it to obey the Object Export Settings
which means leave this unchecked and now we'll
| | 06:46 | just say OK, and it automatically opened in
whatever program opens up HTML files and there
| | 06:52 | is our graphic inside there.
| | 06:54 | If I go to the Finder where it made this folder,
here is the folder containing the images that
| | 07:00 | go inside the web page.
| | 07:02 | So there's the web page and then it has
the images folder and there's our JPEG.
| | 07:07 | So even though Adobe has not yet added Save
for Web to InDesign, now you know of a bunch
| | 07:13 | of ways to get your graphics or your text
frames exported out in web-ready formats.
| | 07:20 |
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| 051 Using “No Language” to suppress unwanted hyphenation, spell-checking, and smart quotes| 00:01 | I love that InDesign has
sophisticated hyphenation algorithms built-in.
| | 00:05 | I love that it can automatically convert
dumb straight quotes to smart curly ones.
| | 00:09 | I love all of those cool built-in text
features except that sometimes I really wish I could
| | 00:14 | just turn them off for a moment.
| | 00:16 | For example, in this document I
have a URL and it's hyphenating.
| | 00:21 | I don't want a hyphen in there.
| | 00:23 | Then somebody reading this might think that
the hyphen is actually a part of the URL.
| | 00:26 | That's a disaster.
| | 00:27 | Got to get rid of that.
| | 00:29 | Also down here, just for the sake of this
demo, I've inserted some HTML code, and I
| | 00:34 | need to put quote marks in here.
| | 00:36 | But as soon as I type a quote
mark, it changes to a curly quote.
| | 00:39 | That's a disaster and it
has to be a straight quote.
| | 00:42 | Let me delete that.
| | 00:43 | So I really wish I could get
InDesign to just stop for a minute.
| | 00:47 | Don't hyphenate, don't do the
curly quotes, don't even spell-check.
| | 00:50 | Can I do that? I can, and the trick is to set up
a language that won't do any of those things.
| | 00:57 | I'm going to do it as a character style
because I'm going to be applying that same character
| | 01:01 | style to various pieces
of text in my document.
| | 01:04 | So I'll open the Character Styles panel,
I'll Option+Click or Alt+Click on the New Style
| | 01:08 | button, that forces the dialog box to open, and I'm
going to call this my don't do anything style.
| | 01:14 | You can call it anything you want.
| | 01:17 | You could call it URL if you want.
| | 01:18 | That might make more sense.
| | 01:19 | But the main thing this is going to do is it's
going to change the language of that text.
| | 01:25 | The language shows up in the Advanced
Character Formats pane of this dialog box and we can
| | 01:29 | see that there're all kinds of languages
that we can choose from in here; Danish, Czech,
| | 01:33 | Croatian, and so on.
| | 01:35 | But in this case, I want
to choose No Language.
| | 01:38 | No Language is the key to this whole trick.
| | 01:41 | No Language means don't spell-check, don't
hyphenate, don't convert quotes, don't do
| | 01:46 | any of that stuff. Let me show you.
| | 01:48 | I'll click OK, I'll select this URL, and I'm
going to click on my don't do anything style
| | 01:53 | character style, and you can
see that a couple things happen.
| | 01:57 | First, it breaks appropriately only at spaces or
periods or slashes just where I'd want it to break.
| | 02:03 | It will not hyphenate at all, so that's great.
| | 02:06 | Second, the spell-checking got turned off,
so that Dynamic Spelling that I had turned
| | 02:09 | on, this does not appear to be misspelled.
| | 02:13 | That's not a big deal, but it does save me
from the annoyance of looking at it and saying,
| | 02:17 | is that misspelled or not.
| | 02:18 | It's just a URL, not a big deal.
| | 02:20 | So that's a good thing too.
| | 02:21 | Now let's try it down here.
| | 02:23 | I'm going to select this whole HTML section,
turn on the character style, and immediately
| | 02:28 | it stops saying that it's misspelled,
which is one good thing,
| | 02:31 | and then I'm going to come
in here and type my quotes.
| | 02:34 | You can see as I'm typing them, they show
up as straight quotes, which is what I want,
| | 02:39 | not the curly quotes.
| | 02:41 | No Language is like an elegant little trick
up your sleeve for those times when you just
| | 02:45 | need to stop InDesign
from being so dang helpful.
| | 02:50 |
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| 052 Five things that should be in every new file| 00:00 | Every new InDesign document you
create should contain five things.
| | 00:03 | Well, okay, maybe not every document you create;
a shopping list, or a letter to your mom
| | 00:08 | may not need all these things, but every real
document you create, a book, magazine, brochure
| | 00:13 | or something like that,
| | 00:14 | you're going to need five things.
| | 00:15 | And I'm not going to describe exactly how to
make all of them in great detail. I'm not
| | 00:19 | going to tell you what you
should put in all of them.
| | 00:21 | I'm just going to tell you exactly what I
think that you should have in every document.
| | 00:26 | First of all, layers.
| | 00:28 | The default Layer 1 is just not enough.
| | 00:30 | You need several layers
to make this thing work.
| | 00:33 | I'm going to Option+Click or Alt+Click and
I'm going to create a layer called text.
| | 00:36 | I'm going to do another one called graphics.
| | 00:40 | Let's do another one, master page items.
| | 00:43 | All my master page items like page
numbers, and so on, are going to go on those.
| | 00:46 | Let's do another one called background images,
things like that, and I'm going to drag that
| | 00:50 | to the bottom of course,
it's background images.
| | 00:52 | Now my Layer 1, I might want to change that
to something else, like interactive documents,
| | 00:57 | so let's double-click on that and say
interactive elements, things like that.
| | 01:01 | You want to have yourself a group of layers
that you're going to be using throughout the
| | 01:06 | creation of your document.
| | 01:07 | Next thing you want is some paragraph styles.
| | 01:09 | You don't want to use the basic paragraph.
| | 01:12 | How many times do I need to tell
people this? Don't use basic paragraph.
| | 01:15 | You're going to get yourself in trouble.
| | 01:17 | Create your own default styles.
| | 01:19 | So let's go ahead and Option+
Click or Alt+Click on this.
| | 01:21 | I'm going to create a new one called default
para style, and you can call it anything you
| | 01:26 | want, but I'll make it that, and you can set this
up to whatever font you want and et cetera, et cetera.
| | 01:32 | I'm just going to click OK and now while
nothing is selected on my page, I'll click on that,
| | 01:36 | and now that becomes the default
paragraph style for all my new documents.
| | 01:40 | I usually create a couple more
paragraph styles, but you get the idea.
| | 01:44 | Make some paragraph styles that you're
going to work with in your document.
| | 01:47 | Don't rely on basic for everything.
| | 01:50 | Same thing with number
three, character styles.
| | 01:51 | We want some character styles and you don't
want to rely on local formatting for everything
| | 01:56 | like bold and italic.
| | 01:57 | You want to make character styles.
| | 01:59 | You'll be sorry if you don't.
| | 02:00 | So Option+Click or Alt+Click on that, I'm
going to make one of these called italic,
| | 02:04 | and this would be a Basic Character
Format which simply applies the italic style.
| | 02:08 | That's all it does.
| | 02:09 | Next, we'll do another one
called bold and you get the idea.
| | 02:12 | Do a few of these that you're
going to be using for your document.
| | 02:15 | There we go! We'll leave it set to that.
| | 02:17 | You do not want to select one of these
while no object is selected on your document,
| | 02:21 | otherwise that character style will be applied
to everything you create, and that would be a disaster.
| | 02:26 | So make sure that while nothing is
selected on your page, it's set to None here.
| | 02:30 | Next thing, you want some object styles.
| | 02:33 | Object Styles, same thing goes.
| | 02:35 | Don't rely on basic for everything.
| | 02:37 | Create your own graphic frame
style, your own text frame style.
| | 02:41 | You get the idea here.
| | 02:42 | I'll just create a new one that I'm going to
call my default text frame, and I will set
| | 02:48 | this up however I want to set it up.
| | 02:50 | For example, if you want it to always have a
paper background, you can create a paper
| | 02:54 | white background, et cetera, et cetera.
| | 02:56 | And then while nothing is selected, just go
ahead and drag this little icon down to your
| | 03:01 | new style and now you have a default text
frame which truly is the default for your text frames.
| | 03:07 | Number five is master pages.
| | 03:10 | Make sure you really take a moment to
create some master pages for your document.
| | 03:14 | Again, if it's just a single brochure or a
single page, a flyer or something, you may
| | 03:18 | not need master pages, but it's worth
thinking about. Do I need to set up my master page?
| | 03:23 | Or even more important, do I need to set up a series
of two or three or more master pages for my document?
| | 03:29 | For a book or a catalog, magazine, you're
probably going to want more than one master page.
| | 03:34 | And when you make your master pages, think
seriously about whether your new master pages
| | 03:38 | should be based on an
already existing master page.
| | 03:41 | So, for example, I'll hold down Ctrl+Alt on
Windows or Command+Option on Mac and click
| | 03:46 | on that, and that creates a new master page
that enforces that dialog box to open, and
| | 03:51 | then I can name it something.
| | 03:53 | It's a really good idea to name it not just
something like master, but name it like TOC,
| | 03:58 | or a sidebar, or something
descriptive so that you know what it is.
| | 04:02 | And if this is going to be based on another master,
make sure you apply that here in this pop-up menu.
| | 04:07 | Now there's lots of other things you might
want to add to your documents, bleed guides,
| | 04:11 | slug guides, special custom
color swatches, and so on. That's okay.
| | 04:16 | You can apply those as you need them.
| | 04:18 | But the last thing I really want to
encourage you to add to your documents is notes.
| | 04:23 | Leave yourself some notes.
| | 04:24 | You can put them out here on the pasteboard
if you want to, but just go ahead and leave
| | 04:27 | yourself some notes, especially if somebody
else is going to be using this document.
| | 04:32 | You want to give them an idea of how to use
the document, what kind of layers you've set
| | 04:36 | up, what kind of dials you've set up.
| | 04:38 | And so give them some notes and
make them big if you need to.
| | 04:44 | Of course, if you've taken the time to add
all of the stuff once, you can reuse it over
| | 04:48 | and over again by saving
this out as a template.
| | 04:51 | I'll go to the File menu, choose Save As, and I'm
going to save this out to my Desktop as a template.
| | 04:56 | I'll choose template from the
Save as type pop-up menu here.
| | 05:00 | I'm just going to call this My Template.indt.
| | 05:03 | There we go! Click Save and now I can use
this from now on and every time I open it,
| | 05:08 | it will open up as a new untitled document.
| | 05:11 | Now that you've added layers, paragraph styles,
character styles, object styles, and one or
| | 05:15 | more master pages, you are ready
to start laying out your pages.
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| 053 Forcing EPUB page breaks with invisible objects| 00:00 | One of the most vexing problems in creating
EPUBs is forcing a page break from InDesign.
| | 00:06 | Well, it's not vexing to force a page break.
| | 00:09 | It's just, how do you get that page
break to be honored in the EPUB?
| | 00:13 | Here is a very simple test file that has one
long story full of gibberish and you can tell
| | 00:20 | what's going to happen when somebody added
all these empty carriage returns to force
| | 00:24 | section two to start at the next page.
| | 00:27 | And if I export this to EPUB, File > Export,
we'll just put on the Desktop, format EPUB,
| | 00:35 | replacing the one that I have there now, we're
just going to go ahead and accept the default
| | 00:39 | settings for everything.
Here's what happens. Nothing.
| | 00:43 | Carriage runs are ignored, so are space runs.
| | 00:47 | If we put it to small so we can see it side
by side, what I want to see is the text starts
| | 00:52 | here and then SECTION TWO in
all caps starts at the top.
| | 00:55 | You might be saying, okay, let's just
use an actual page break character.
| | 01:00 | But no, see, that would make sense.
| | 01:03 | If I click right in front of SECTION TWO,
as you see my cursor blinking, and then I
| | 01:07 | go to Type > Insert Break Character > Frame Break, or
Page Break, let's do a Page Break. Let's try that.
| | 01:13 | We'll export this out to EPUB. I'll just press
Command+E and Ctrl+E which is the shortcut,
| | 01:19 | and we'll replace the existing one,
check it out. No, same deal.
| | 01:25 | It ignores the page break
character which is very frustrating.
| | 01:29 | Now typically, you'd have to futz around
with other settings in Export to EPUB or split
| | 01:35 | this up into two separate documents in
order to get SECTION TWO to start at the top.
| | 01:40 | And I want to show you a very
cool new way only possible in CS5.5
| | 01:45 | to force a page break
without having to split this up.
| | 01:50 | All you do is you create an empty frame. I'm
going to take this little Rectangle Frame
| | 01:55 | tool and I'm just going to put it right out
here, and then you anchor it right before
| | 02:01 | where you want the page break to be.
| | 02:03 | So I'll use the Selection tool and I'll just
drag and drop this right over here, right before.
| | 02:09 | I'm going to move this out.
| | 02:11 | Now there's nothing in here.
| | 02:12 | I didn't even fill it with white, but step
two is with that object selected, go to Object >
| | 02:17 | Object Export Options and tell it to rasterize.
| | 02:21 | Now there's nothing to rasterize,
but InDesign will still rasterize it.
| | 02:24 | It will turn it into a white JPEG and
we don't need at 300, so 72 is fine.
| | 02:29 | And then you need to turn on Custom Alignment
and Spacing because this is the command that
| | 02:34 | we're after, Insert a
Page Break after the image.
| | 02:38 | So we have not messed up our print layout,
but when we export it to EPUB, we should be
| | 02:42 | able to get a page break here.
| | 02:44 | I'll press Command+E or Ctrl+E and we'll accept all
the defaults, go to a small size. There you go!
| | 02:53 | So that's quite useful.
| | 02:55 | Now let's take a look at how this
might be applied to an actual document.
| | 02:59 | I have here california book and let's zoom out
so you can sort of see how this is set up.
| | 03:07 | This is an actual book with chapter
names, pictures, a foreword, and so on.
| | 03:14 | Now the issue here is that here's the title
page, and then the foreword, and then the chapter name.
| | 03:21 | Now the chapter name is the paragraph style,
Chapter title, and you know if you've watched
| | 03:27 | any of my other videos
or you've work with CS5.5
| | 03:30 | for a while, that you can tell InDesign to
break this document up into multiple HTML
| | 03:37 | files so that the new ones start on a new page
based on one paragraph style, Chapter names.
| | 03:43 | So if I went up to Export to EPUB, under Contents,
I could say break the document at the Paragraph
| | 03:51 | Style Chapter title.
| | 03:54 | No matter what I use for table of contents style,
though it's not going to break up anything
| | 03:59 | according to that.
| | 04:00 | They've changed that feature since version 5.
| | 04:02 | Let me show you the issue.
| | 04:04 | Let's move this to a small size.
| | 04:07 | One issue here, let me make this larger, is that
we have the foreword starting directly after this.
| | 04:13 | I'd want it to start on its own page.
| | 04:15 | Now the other chapters start fine, I mean,
there's Chapter 1, starts on its own page
| | 04:20 | because that's what InDesign allowed us to do.
| | 04:23 | But it didn't allow us to say also the
paragraph style that the foreword uses, please start
| | 04:27 | that on a new page.
| | 04:29 | So that's where we can actually use this.
| | 04:31 | Let's go ahead and remember you want to add
the invisible object that's going to force
| | 04:37 | the page break directly before
where you want the page break to be.
| | 04:41 | So we'll create this little guy here.
| | 04:44 | Now if I anchor it right in front of this,
what's going to happen is that the JPEG is
| | 04:48 | going to force this down.
| | 04:50 | So instead, I'm going to come over here and anchor
it up here as the last character in this text frame.
| | 05:00 | Now if you are clever about it, you could
maybe use some kind of flourish or something
| | 05:05 | like that that you will automatically
rasterize that you want to appear.
| | 05:07 | But otherwise, we're just going to have an
empty, very small, it can be really tiny if
| | 05:12 | you want JPEG that's going
to be in the text flow.
| | 05:15 | So remember, you need to go up to here,
Object > Export Options, Custom Rasterization, we
| | 05:21 | don't need it 300, you want a
Page Break after the image.
| | 05:26 | All right, let's go ahead and export it out
to EPUB, replace the old one, we'll accept
| | 05:32 | all the same settings as before.
| | 05:34 | Here you go! Foreword starts on its own.
| | 05:38 | Now if you are wondering technically what's
happening here, we'll take a quick peek at
| | 05:43 | the test EPUB that I did before.
| | 05:45 | So if I come over here and open up test.epub in
TextWrangler, in the actual HTML file it added a JPEG.
| | 05:54 | It converted that little frame to
JPEG and it gave it an automatic name.
| | 05:58 | But notice the paragraph style override?
| | 06:00 | If you go to template.css
| | 06:01 | and go down to paragraph style override, what
it did was it added this line of CSS code,
| | 06:08 | page-break-after: always, which all of the
EPUB readers, the major ones including iBooks honors.
| | 06:15 | So that's a really neat way in InDesign CS5.5
| | 06:18 | to force a page break whenever I need one.
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| 054 Understanding component information| 00:00 | Isn't this a beautiful document? You know
sometimes looks can be deceiving though.
| | 00:05 | Have you ever had a problem child document
that you didn't create, maybe you just got
| | 00:10 | hired and they said here, here's your file
of InDesign documents we need you to work
| | 00:15 | with, or you are a freelancer and your client
gave you an InDesign file and it just keeps
| | 00:19 | crashing, or won't print right, or there is
just something probably wrong with it.
| | 00:24 | In addition to doing the usual troubleshooting
steps like rebuilding preferences and so on,
| | 00:29 | I find it helpful to learn a little
bit about this document's history.
| | 00:34 | There is a secret dialog box that has been
around I think in every version of InDesign,
| | 00:39 | right now I am using CS6, but no matter
which version of InDesign you're using, you can
| | 00:43 | find the secret Document History dialog box.
| | 00:47 | All you need to do is hold down the Command
key if you are on a Mac or the Ctrl key if
| | 00:52 | you are on a PC, and choose About InDesign.
Now on a PC that would be here under the
| | 00:57 | Help menu, and you get a secret
Adobe InDesign Component Information.
| | 01:04 | And this stuff on the right-hand side is
really not useful at all, especially this thing
| | 01:09 | often gives people pause where it says
Missing Plug-ins: 2, that just means whoever last
| | 01:14 | used this document, had these plug-ins installed,
but it doesn't mean that this document won't
| | 01:19 | work, unless you have them installed.
This is kind of interesting though anyway.
| | 01:24 | What is more interesting is this bit up here
which tells you the exact Adobe InDesign Version
| | 01:30 | that you're using.
| | 01:31 | So I am using CS6 which is technically Version 8.0.0
because this is right when CS6 was released
| | 01:39 | is when I am recording this, and
then it has a build number of 370.
| | 01:44 | And sometimes when you're posting tech support
questions in a forum or you are on the phone
| | 01:47 | with Adobe tech-support, telling them the
build number helps them figure out, oh! You
| | 01:53 | didn't get the latest patch or oh, you know that's
why that was a known problem with that build number.
| | 01:58 | And also you know, it can help you show off a
little bit. You know, let your geek flag fly
| | 02:03 | and say, oh yes. I am using CS6, build 370.
| | 02:07 | But the most interesting and useful part of this
little dialog box is down here Document Info.
| | 02:12 | So it tells you the name of the file which
you probably already know and it tells you
| | 02:17 | down here the Document History.
| | 02:19 | So take a close look.
| | 02:21 | If anybody who's using this document, ever
had a crash in InDesign and then when they
| | 02:27 | restarted InDesign, this document opened up, you
would see Recovered File - yes, and oftentimes
| | 02:34 | when you crash with an InDesign document and
it opens up again, if you save it and you
| | 02:38 | continue using the same document,
there might be some corruption in there.
| | 02:41 | So that would give you a little clue that well,
maybe this thing you know has some corruption
| | 02:45 | from that time that it crashed, or a
Recovered MiniSave is sort of the same thing.
| | 02:51 | Was this ever converted from an older
version to the newer version? Yes.
| | 02:56 | Was it ever opened as a copy? Yes.
| | 02:58 | Some things you know have no bearing at
all if the document is giving you problems.
| | 03:03 | But let's say that one of the issues is that
the styles that are all kind of screwed up,
| | 03:07 | maybe the paragraph styles
just have so many attributes.
| | 03:11 | In my experience, that usually happens because
the document has been converted from QuarkXPress,
| | 03:15 | and it's usually not a good idea to convert
from Quark and then just continue on your
| | 03:20 | merry way. It's usually a better idea to create
a new document in InDesign that closely matches
| | 03:25 | what your design looked like in Quark.
| | 03:27 | So converting the Quark document to InDesign
is okay for non-important one-off projects,
| | 03:32 | but not really like for your
magazine or your book series.
| | 03:35 | So if this said Converted from QuarkXPress
then that would also give me a clue that maybe
| | 03:40 | at time we should take the time to actually
rebuild this correctly in InDesign, and I can
| | 03:45 | see if it was converted from
PageMaker as well, let's scroll down.
| | 03:49 | Was this ever synced in a book? Was it ever
repaginated in a book? Was it ever opened
| | 03:54 | from InDesign Interchange, that means if you
exported this document to INX or IDML to Interchange
| | 04:00 | formats and then opened it again
and saved it, this would say yes.
| | 04:04 | Then we have some interesting ones down here that are
CS6 specific, which I thought was kind of interesting.
| | 04:10 | Did they ever use the Content Dropper, Layout
Adjustment? Has this ever been exported to
| | 04:14 | EPUB or SWF? But I love this part at the very
end which is, when was this document created
| | 04:21 | and how many times has it been saved as
since then? Not saved, but saved as.
| | 04:27 | So this document was created using Macintosh
system software 10.49 in version 4.0.5, build
| | 04:36 | 688, and there is my geek flag, but version 4.0.5
is I believe CS2, and look, it was first
| | 04:44 | created Wednesday, April 23, 2008, more than
four years ago as I recorded this, then it
| | 04:50 | was saved five minutes later, and so on. We
don't have to go through everyone of these,
| | 04:54 | but look at how many times
this document was saved as.
| | 04:56 | Here is your Recovered MiniSave, let me go
all the way down to the bottom, look at this,
| | 05:04 | until finally, just now, I did a
Save As in Version 8.0.0.370.
| | 05:08 | Now if for some reason you really want to
study this in detail, you know take it with
| | 05:13 | you to a meeting or something, you could
choose Write a Log File and it will go ahead and
| | 05:18 | write this out and you can
print it out if you wanted to.
| | 05:21 | But here's the other side of the coin.
| | 05:23 | Let's say that you are the owner of this
document, and you need to hand it off, and you want to
| | 05:27 | erase this history. You don't want people
to know all this information. Why do they
| | 05:31 | need to know your business, right?
| | 05:33 | So how do you erase the Document History?
You simply export it to one of those Interchange
| | 05:37 | formats and then open it again.
| | 05:39 | So I am going to choose File > Export
and choose IDML as the File Format.
| | 05:45 | We'll save it right here on the
Desktop and then open it again.
| | 05:50 | That's a typical troubleshooting step, there is
our IDML, it opens a copy of it as an untitled
| | 05:55 | document and we'll save this on the Desktop.
| | 05:59 | We'll call it news2 and now
let's look at the Document History.
| | 06:05 | I am holding the Command key and choosing
About InDesign, on a PC that would be Ctrl,
| | 06:11 | and let's look at the history.
| | 06:13 | Ah, nice and short! It was created today and
it was saved as today, well, it was opened
| | 06:19 | from InDesign Interchange today, okay,
that's fine, but now nobody needs to know that I
| | 06:23 | created this actually four years ago and I've
been too lazy to actually create a new version.
| | 06:28 | I've just been doing
a Save As for four years.
| | 06:30 | So that's just a little interesting hidden
history of your InDesign document right there
| | 06:36 | in the Component Information screen.
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| 055 Creating running heads using section markers| 00:00 | Long documents like books need running heads.
| | 00:03 | Though those might be footers at the bottom
of the page or out in the outside margins,
| | 00:07 | but wherever you put them, you probably want
to provide a way for your reader to see where
| | 00:11 | in the document they are. For example,
what chapter or section they are reading.
| | 00:16 | There are a couple of ways to do this. I am
going to show you one of the lesser known
| | 00:19 | options called Section Markers.
| | 00:22 | In this document, I have chapters and sections
and my Section 1 is called Beginnings, and
| | 00:27 | I'd like to put that
section name in the header.
| | 00:31 | I'll scroll down here to
look at my second spread here.
| | 00:34 | Over here above the right-hand page, I'd
like to put the section name, on the left side
| | 00:39 | I have the name of the document,
the name of the book itself,
| | 00:42 | but I am going to put the
section name over here.
| | 00:45 | To do that, I need to go to the Master page,
that running head is on the Master page.
| | 00:49 | So I'll open my Pages panel and
I'll double-click on the Master page.
| | 00:54 | Now I'll select that text frame, and I'll zoom
in here with Command+2 or Ctrl+2 on Windows
| | 00:58 | to go to 200%, double-click on it to switch to the
Type tool, and enter the name of the section.
| | 01:05 | But I don't want to have to manually
type the name of the section every time.
| | 01:09 | Instead, I want to put in a marker or a symbol,
something that will change automatically for me.
| | 01:16 | To do that I am going to go to the Type menu,
choose the Insert Special Character menu and
| | 01:21 | then look inside the Markers menu.
| | 01:23 | And here, down at the bottom is
Section Marker, that's what I want.
| | 01:28 | And you'll see that all it says is Section. I'm
on the Master page, so it has no section name.
| | 01:35 | When we go back to our document page, for
example, I'll double-click on spread 2-3 to
| | 01:40 | jump to page 3 here, we can see
that this section name is in there.
| | 01:44 | Well of course it's not in there yet, because we
haven't told InDesign what the name of the section is.
| | 01:49 | To do that we have to go to the Numbering
and Sections options dialog box and there
| | 01:53 | is a little shortcut to get there.
| | 01:55 | See this little black triangle above page 1
here in the pages panel? If I double-click
| | 02:00 | that black triangle, up comes a dialog box.
| | 02:04 | Here among many other options is
a field called Section Marker.
| | 02:09 | That's where we are going to
put the name of the section.
| | 02:12 | I'll go ahead and type Beginnings here, that's
the name of this section, and then I'll click
| | 02:16 | OK and you can see that
there it is on the page.
| | 02:20 | Any page within this section is going to have
the running head that's called Beginnings.
| | 02:25 | It's as simple as that.
| | 02:27 | If I go to the next spread down, pages 4 and
5, I can see right here in the upper-right
| | 02:31 | corner of page 5 the same
thing, the same section name.
| | 02:35 | Now let's jump to the next section.
| | 02:37 | The first thing that I am going to do here
is change the layout of my Pages panel. I
| | 02:40 | am sorry this is driving me crazy.
| | 02:42 | I'm going to right-click on this Pages panel,
I am going to go down to the View Pages menu
| | 02:47 | and then I am going to choose Horizontally.
| | 02:49 | It's a little trick that if you don't know
you should, because the horizontal page layout
| | 02:55 | in InDesign is much more
efficient when you're scrolling through.
| | 02:58 | You have a lot more pages in the small
amount of real estate afforded you here.
| | 03:03 | So I am going to go down here, I am just
scrolling down to the next section start, which I happen
| | 03:07 | to know is down here on page 52, here we go, zoom
back to fit spread in window with a Command+Option+0
| | 03:13 | or Ctrl+Alt+0 on Windows, and I can
see that Section 2 starts right here.
| | 03:18 | We don't have a section start selected here;
there is no black triangle yet. To do that,
| | 03:23 | I'll right-click on this page, choose Numbering
& Section Options and then I am going to leave
| | 03:29 | the Page Numbering just the way it is here
on Automatic. I'll make sure that the style
| | 03:33 | is set to the proper numbering, we don't
want Roman numerals here in the document.
| | 03:38 | And then I'm going to type this Section Marker,
this is called Reawakening, there we go.
| | 03:43 | That's the name of this section, click OK and
you'll see that the only thing that really
| | 03:47 | changed here is I have a little
black triangle above that page now.
| | 03:50 | Let's see if it worked.
| | 03:52 | There's no running head on the chapter
openers, but on the next spread over, there is.
| | 03:57 | And if I zoom in here, we can see that
indeed it has the name of that section.
| | 04:02 | There are other ways to do page headers
such as InDesign's Text Variables feature.
| | 04:07 | But the Section Marker feature is a terrific
way to manage your document headers as long
| | 04:11 | as you're careful about how you're
managing your sections inside your Pages panel.
| | Collapse this transcript |
| 056 Making a font with InDesign using the IndyFont script| 00:00 | I have a bulleted list here, but I'm using this
plain old round boring bullet. Here let me show you.
| | 00:06 | I'll zoom in and you can see that this
bullet is not very interesting at all.
| | 00:11 | But I want something a little
bit more interesting, more spicy.
| | 00:13 | In fact, the bullet that I want to use is
this shape up here, this thing that looks
| | 00:18 | kind of like a flower.
| | 00:19 | I'd like to make that flower be my bullets.
| | 00:22 | So let's see what kind of options we have.
| | 00:24 | I'll double-click this list to switch to the
Type tool and then while the Control panel
| | 00:29 | is in the Paragraph Formatting mode, I can Option+
Click or Alt+Click on the Bulleted List button.
| | 00:35 | When you hold on the Option or the Alt key
when you click, it forces the Bullets and
| | 00:39 | Numbering dialog box to appear,
| | 00:41 | and now you can choose any of
these different kinds of bullets.
| | 00:44 | Those still aren't very interesting. That's
certainly not the flower shape I want, so
| | 00:48 | I can click the Add button.
| | 00:50 | And when you click the Add button, you
can choose almost any character you want.
| | 00:53 | But there's a catch, the character has to
be inside of a font, you can't just choose
| | 00:59 | arbitrary shapes.
| | 01:01 | And unfortunately the shape that I want, the
thing that I drew, is not in a font. Or I should
| | 01:06 | say, it's not in a font yet.
| | 01:09 | Let me show you what I mean.
| | 01:10 | I'll click Cancel, click Cancel, and I have
that character in a separate InDesign document
| | 01:16 | here, there it is.
| | 01:18 | I'll choose my Selection tool so you can see
that this is just regular frames right in
| | 01:22 | InDesign, and I want to make a font out of
that, because if I make a font out of it,
| | 01:27 | then I can use it for my bullets.
| | 01:29 | Now you might think that you have to go out
and buy font software in order to do that,
| | 01:33 | but in fact, I can do it right with inside
of InDesign, because I have a free script
| | 01:38 | that you can get too.
| | 01:40 | And that free script is called IndyFont.
| | 01:42 | You can get IndyFont from indiscripts, and
there is a commercial version which lets you
| | 01:46 | make a whole font, or a free version which
lets you make just a bullet, and a bullet is
| | 01:51 | all I care about right now,
so I am pretty happy.
| | 01:54 | Now once you download the free IndyFont,
you need to know where to put it.
| | 01:57 | I'll then go back to InDesign and I'll show you.
| | 01:59 | I'll go to the Window menu, choose
Utilities and then choose Scripts.
| | 02:05 | Then I'm going to right-click or Ctrl+Click
with one-button mouse on the User folder and
| | 02:10 | choose Reveal in Finder.
| | 02:12 | On Windows it will say Reveal in Explorer.
| | 02:14 | Now I'll open up the Scripts Panel folder. The
scripts have to go inside the Scripts Panel folder.
| | 02:20 | And I'm going to take my font from my
Downloads folder and put it into my Scripts panel.
| | 02:27 | That's all I need to do, it's ready to go.
| | 02:29 | So when I switch back to InDesign, you'll
see inside the User folder, just click on
| | 02:34 | that expanding triangle, there is my script.
The one that I just downloaded and installed.
| | 02:39 | You don't have to restart
InDesign or anything like that.
| | 02:42 | Now here's how to use the script.
| | 02:44 | First double-click on it, it
will ask you for a Font name.
| | 02:47 | I am going to call this Roux Bullet. You can
call it anything you want. Then click OK.
| | 02:55 | It creates a document for you
and lets you set up your font.
| | 02:58 | I am going to go back to my original artwork
document for a moment and copy this to the
| | 03:03 | clipboard, then come over here, go to
page 2 in the Pages panel and paste it.
| | 03:10 | That's all you need to do.
| | 03:11 | And I'll position it over here on
the left side of this green line.
| | 03:16 | Now I can stretch this, make it
bigger, do whatever I need to do here.
| | 03:20 | I want to make sure typically that the character
fits inside from the left edge, call the left
| | 03:25 | bearing, to this green line, which is the
right bearing. In fact, that's just a guide.
| | 03:31 | Now I can stretch this, make it
bigger, move it around inside here.
| | 03:35 | I've typically want to make sure that it sits in
between the left edge of the page and this green line.
| | 03:40 | If it doesn't, you can move that green line,
it's just a guide, until it's slightly to the
| | 03:46 | right of the shape.
| | 03:48 | Once you set up your shape,
you're ready to make your font.
| | 03:51 | To do that, you need to run the script again.
| | 03:53 | I'll close the Pages panel here, and then double-
click on the script, and up comes this dialog box
| | 03:58 | saying, where do you want to save the font?
| | 04:00 | I am going to save it just inside the InDesign
Fonts folder, that's the easiest, and I'll click OK.
| | 04:06 | It tells me that the font was created, click OK,
and that's all I need to do. It's ready to go.
| | 04:12 | I'll go back to my brochure document, and I
am going to zoom in here even more so you
| | 04:16 | can really see those bullets.
| | 04:18 | I'll double-click again to once again
switch to the Type tool, I'll Option+Click
| | 04:22 | or Alt+Click on the Bullets button, and I will
say Add a new character, and the new bullet
| | 04:27 | is going to be inside the font that I created
and that always starts with IF, IF for IndyFont,
| | 04:33 | in this case Roux Bullet.
| | 04:35 | When I click down here in the Font Style area,
up comes all of the characters in this font,
| | 04:40 | in this case just one.
| | 04:42 | So I can choose it, click OK and there
is my bullet, it's as simple as that.
| | 04:47 | Click OK and it added that
character as my bullet.
| | 04:51 | I'm pretty happy with that, so I am going to
go over to the Paragraph Styles panel and
| | 04:55 | from the Panel menu I am
going to choose Redefine Style.
| | 04:59 | That takes that bullet decision, that local
formatting that I applied here and applies
| | 05:03 | it to the entire Paragraph Style.
| | 05:05 | It's beautiful! It's a custom bullet using a
font that I created right within InDesign.
| | 05:11 | Remember as great as InDesign is, it's often
the add-ons like this IndyFont script that
| | 05:16 | provide the extra features that
make your workflow really fly.
| | Collapse this transcript |
| 057 Finding where that color is used| 00:00 | Do you know what the Find/Change dialog box is
missing? It's missing search for a color.
| | 00:07 | There is really no way to do a comprehensive
search throughout an entire document to find
| | 00:13 | where a particular color is used.
| | 00:15 | And you could search for text that is colored a
particular color, in Find/Change, go to Find/Change > Text.
| | 00:23 | Find Format, go down to Character Color and
then choose any character that's filled with
| | 00:28 | this particular color.
| | 00:30 | I'll switch back to Any Swatch.
| | 00:32 | You could search for an object that's filled
or stroked with a color, but you can't run
| | 00:38 | it the same time that you're searching for
text that's filled with that color. You have
| | 00:42 | to do it one at a time.
| | 00:43 | In fact, it's just as bad as the text one
actually, because you can search for an object
| | 00:48 | that's filled with the color and stroked
with that color, but you can't say and/or. They
| | 00:56 | would have to be either both be filled with
that color or then you do one search with
| | 01:00 | a Fill and then the other
search with the Stroke.
| | 01:02 | But if you fill them both in here, it would
only find objects that are both filled and
| | 01:06 | stroked with that color.
| | 01:08 | So it's very obnoxious in other words,
| | 01:11 | and I don't know why they don't include one
more tab that lets you search for wherever
| | 01:16 | colors used. Or maybe you would make more sense
to have it right in the Swatches panel itself.
| | 01:21 | A little Find/Search in this document please for
anything that's colored with a particular swatch.
| | 01:26 | That would make sense.
| | 01:27 | What is a designer to do? Well, one thing you
can do is to turn to our friend, the Separations
| | 01:33 | panel. That comes the closest to what we want.
| | 01:36 | And that works with spot colors especially.
| | 01:38 | So for example, in this document which is
supposed to be CMYK, we apparently have a
| | 01:43 | spot color someplace.
| | 01:45 | Where is that spot color used? Is it in text?
Is it a graphic? We can go to the Separations
| | 01:51 | panel, under the Window menu, go down
to Output > Separations Preview.
| | 01:55 | You have to turn the View to
Separations otherwise it won't work.
| | 01:59 | Why it's not turned on by default? Who knows,
and initially, it's all set with the eyeballs
| | 02:05 | are turned on. I was
playing around with this before.
| | 02:07 | To search for just the Pantone color, click
on the eyeball next to CMYK to turn off all
| | 02:14 | of the CMYK colors. So just the Pantone, and
now when only one color is visible in the
| | 02:21 | Separations panel then that would
look filled with black in the document.
| | 02:25 | So this word right here Roux is
apparently filled with a illegal spot color.
| | 02:30 | If I select it, you can see it's not even text.
| | 02:33 | So let's turn on all the colors again or just
turn off Separations Preview and you can see,
| | 02:39 | aha! It's part of this graphic.
| | 02:42 | If we go to the Links panel, it's an Illustrator
graphic and I could Option or Alt double-click
| | 02:47 | it to open it up in Illustrator and select
these letters here, and in the Swatches panel,
| | 02:54 | I could convert that Pantone to a CMYK color or
I could just leave it alone, and in InDesign
| | 03:02 | when I print, I could go to the Swatches panel
menu and in the Ink Manager of course, I could
| | 03:09 | just say Convert All Spots
to Process when you print.
| | 03:13 | But that is how you can search for wherever
color is used in a document is that you look
| | 03:18 | for it in the Separations Preview as long
as we're talking about a spot color.
| | 03:23 | Let's take another example.
| | 03:26 | Here's a catalog.
| | 03:28 | Here we have that same pesky spot color.
| | 03:30 | Let's search for where it's used here,
| | 03:33 | Separations, turn off CMYK, and what I usually
do is I zoom way out and then just look for
| | 03:40 | swatches of black.
| | 03:43 | And I might want to choose
Hide Guides, here we go.
| | 03:49 | Now it's very easy to see.
There is something down here.
| | 03:52 | Let's select it and zoom
in, it says Roux again.
| | 03:56 | Let's turn off Separations. Look at that, it is
actually a spot color being used in a placed PDF.
| | 04:05 | This has happened to me so many times.
| | 04:07 | So it's wonderful being able to use Separations
Preview to hunt down these pesky spot colors,
| | 04:13 | and then you can decide
what to do with them after.
| | 04:15 | But the question remains, what about if you're
looking for where another color is used? And
| | 04:20 | it might not be a spot color.
What are you supposed to do?
| | 04:22 | In this document, let's select all the unused
colors to make sure that we are not hunting
| | 04:27 | down colors that aren't even being used.
Nothing gets selected, so apparently every one of
| | 04:31 | these colors is being used.
| | 04:35 | What if I wanted to search for say wherever
this gold color is being used? The answer
| | 04:40 | is to turn it into a spot color temporarily.
| | 04:44 | Just right-click on the color, choose Swatch
Options and change the Color Type to Spot.
| | 04:50 | There we go, and now it appears as it's called
New Color Swatch in Separations Preview, and
| | 04:58 | we'll turn that off and zoom out, and I see
it's being used as rows at the top and then
| | 05:05 | also this right here.
| | 05:06 | Let's zoom in a bit, and then turn
Separations Preview off. That's where it's being used.
| | 05:13 | To go back to how it was before CMYK, right-
click on the color, choose Swatch Options and I
| | 05:19 | always right-click. I don't double-click on
it because I don't want to accidentally apply
| | 05:23 | it to something that I have
selected in my document.
| | 05:26 | When you right-click and choose Swatch Options,
then you edit the color without applying it
| | 05:31 | to anything in your document.
| | 05:34 | And change the Color Type back to Process.
| | 05:37 | Turn on Name with Color Value, so it
goes back to its old name and click OK.
| | 05:41 | These percentages here do
not change whatsoever.
| | 05:44 | I might use that technique to
hunt down this problem right here.
| | 05:48 | You see that I have two CMYK colors that are
very close, and I really don't want to have
| | 05:54 | two different CMYK colors that are very close.
| | 05:56 | This is the color I want.
| | 05:58 | What is this color? Where
is this one being used?
| | 06:00 | Instead of having to go to Find/Change and
search for where it's being used in Text or
| | 06:04 | an object, fill or stroke, I'm just going to
turn it into a spot color temporarily and
| | 06:10 | then go to my Separations Preview panel,
| | 06:15 | deselect, zoom out, and see if I can see
any telltale black splotch anywhere.
| | 06:24 | And aha! What is this down here?
| | 06:28 | I'll select it, zoom in, somebody's name.
| | 06:33 | Turn Separations off.
| | 06:36 | Look at that! See, this would be really hard
to spot in even a color proof, that these
| | 06:42 | are two somewhat different colors.
| | 06:45 | So this is the correct color.
This is the incorrect color.
| | 06:49 | What I could do is just delete this and
replace it with this one or I would just select all
| | 06:55 | of this, give it the correct color, and then
choose Select All Unused and then delete that
| | 07:03 | bad guy. There you go!
| | 07:05 | The answer for now for how to find where
color is being used, is to use a Separations Preview
| | 07:11 | panel and if it's not a spot color,
turn it into a spot color temporarily.
| | 07:17 |
| | Collapse this transcript |
| 058 Text wrapping| 00:00 | You may know already how to create a text
wrap, but did you know that you can edit that
| | 00:04 | wrap? Yes, it's a technique
discovered only by a few intrepid designers.
| | 00:08 | We are looking at a two-page spread in InDesign
CS6, though this technique is really not specific
| | 00:15 | to CS6. It can be done in basically any
version of InDesign as far as I know.
| | 00:20 | I'm going to switch back to normal editing mode so you
can see all the frames and what's happening here.
| | 00:25 | This is a nice looking spread I think,
| | 00:28 | but we want to add a little bit more interest
and so what I'd like to do is to wrap this
| | 00:35 | text against the student's legs here.
| | 00:39 | Now this will only work if the picture has
any kind of mask over here, and if I select
| | 00:45 | this picture and go and right-click and
choose Edit Original, and I had it open already,
| | 00:52 | it didn't open that fast, and you can see that
there definitely is masks already. Here is
| | 00:57 | the Layers panel.
| | 00:58 | So somebody has already gone to the trouble
of selecting the white area or whatever was
| | 01:03 | around the young model and hiding it in a
layer mask. So if I Command+click or Ctrl+click
| | 01:09 | on it, you can see the selection.
| | 01:11 | That's all you want to check is
that there is some transparency here.
| | 01:15 | So we come back here and we're going to
overlap this text frame with the legs, and right now
| | 01:23 | apparently the picture is on top of the text
frame, that makes no difference in InDesign.
| | 01:28 | Then we select the picture of the model
that's called the wrap object and go to the Text
| | 01:32 | Wrap panel which is in the Advanced Workspace.
It's right here, or you can always go to the
| | 01:38 | Window menu and choose Text Wrap.
| | 01:40 | So I am going to open it up, and we
want to wrap around the object shape.
| | 01:48 | When you choose object shape then depending
on the kind of image that it is, you will
| | 01:51 | have a bunch of different Contour Options.
| | 01:54 | So this is Detect Edges or Alpha Channel, which
in this case is the same thing, defining the
| | 02:00 | Alpha Channel meaning the transparency.
| | 02:04 | If there was a path, we could choose the path
and so on, but either Detect Edges or Alpha
| | 02:08 | Channel would work great.
| | 02:10 | I'll just leave it to Alpha Channel for now.
| | 02:12 | But let's say that you know you wanted to
adjust this a little bit. Maybe some of these
| | 02:16 | words are too tight, you want to give little
bit more room. You want to cheat something out.
| | 02:20 | Let me show you how you do that.
| | 02:21 | I am going to select his
text frame and zoom in a bit.
| | 02:24 | Now I always make a selection before I zoom in
with Command++ or Ctrl++ because that centers
| | 02:29 | the selection in the window.
| | 02:33 | So if we select the wrap object and we go to
the Text Wrap panel, there's nothing here
| | 02:39 | that says Edit Wrap or anything like that.
| | 02:41 | All we know is that it is pushing the text
away 12 points and we could edit this, let's
| | 02:48 | say 13, 14, 15, and so then you see that the
lines break differently or we could reduce it.
| | 02:53 | But to actually edit this path that the text is
wrapping to, you have to switch to the Direct
| | 03:01 | Selection tool, the white arrow, and then click
on the wrap object and you will see the line
| | 03:07 | appear that you can actually adjust.
| | 03:09 | I am going to zoom in even
more with Command++ or Ctrl++.
| | 03:14 | It's a very faint line and it's in the same
color as the layer that it's on, and these
| | 03:18 | are simply anchor points
for any kind of Bezier path.
| | 03:22 | So I could select this guy and drag the point
around. That's not affecting any text over
| | 03:28 | there, so let's find a point over here and
you can see the little cursor gets a square
| | 03:34 | next to it when it knows it's by a point, otherwise
it knows this by a subpath, but here it's by
| | 03:39 | point, so I can sort of nudge it this way
and you see that when you start dragging,
| | 03:45 | you will see the surrounding control
handles and the nearest other points.
| | 03:50 | And so if I wanted to sort of shove things
over a little bit or if I wanted to maybe
| | 03:55 | bring that comma in a bit and
then bring writers out a bit.
| | 04:01 | We are only seeing this kind of effect by
the way because the Text Paragraph Formatting
| | 04:05 | is set to Justify on both sides.
| | 04:09 | You are not going to be able to really judge
it that well if your text, let me select it
| | 04:14 | all, is set to left-aligned. You know
you don't get that big of an effect.
| | 04:19 | So we have it set to Justify.
| | 04:23 | And the other thing that you might want to
do whenever you are editing your wrap edges,
| | 04:27 | which is what we are doing right now, is
select the wrapping object, especially if you are
| | 04:31 | getting really close to it and make
sure the resolution is at high-res.
| | 04:34 | Now you can see the
bitmapping happening on this image.
| | 04:37 | So it's probably using my defaults of
just a placeholder 72 PPI preview image.
| | 04:44 | So I am going to right-click on the image
and go down to Display Performance and choose
| | 04:48 | High Quality Display, and assuming this is a high-
res image, it should sharpen up quite a bit.
| | 04:54 | There, that's a lot better.
| | 04:57 | So again, select the wrap object, and then
switch to the Direct Selection tool and you
| | 05:02 | should see the actual path.
| | 05:04 | Now you can use the Direct Selection tool to
adjust the existing paths, points and handles,
| | 05:11 | and you can switch to the Pen tool
and actually add your own points.
| | 05:14 | Notice how it looks like a plus symbol when
it's over the path and I can add in another
| | 05:19 | point if I wanted to, or I can delete a point
by hovering over an existing point, so you
| | 05:25 | get the minus symbol.
| | 05:27 | And basically anything that you can do to a
path with the Pen tool or any of its helpers,
| | 05:32 | you can do to a Text Wrap path.
| | 05:34 | Now you might think that this technique is
only good for wrapping around irregular
| | 05:38 | paths, but actually you can use this
technique anytime that you have a Text Wrap.
| | 05:41 | I am going to zoom out with Command+0 or Ctrl+0
and let's say that we want this picture, I
| | 05:47 | am going to make this even smaller
to force a wraparound this text.
| | 05:52 | So I am going to select the picture which
is going to be a wrap object, and then I'll
| | 05:56 | just click most common kind of wrap which is
wrap around the bounding box, and the text
| | 06:01 | gets pushed out of the way around
the box surrounding the picture.
| | 06:05 | It's offset right now by zero points, but
let's offset this by, let's say, 12 points because
| | 06:11 | the Chain icon is turned on and
they all get the same setting.
| | 06:15 | Now do you see the wrapping boundary
right here? And this too can be edited.
| | 06:20 | I'll switch to the Direct Selection tool and
now you see the points appear on the wrapping
| | 06:25 | object and if I wanted to, I could make it
wrap like this or I could switch to the Pen
| | 06:31 | tool and change that
corner point to a curve point.
| | 06:35 | I am holding down the Option or Alt key which
is the keyboard shortcut for change direction.
| | 06:40 | I'll just pull out a couple
handles and it's curving around this.
| | 06:45 | So you are not limited to the shape of the
wrap object in what you can do with the text
| | 06:50 | wrap boundary itself,
which I think is very cool.
| | 06:55 |
| | Collapse this transcript |
| 059 Inserting pages: Understanding the Pages panel| 00:00 | Look, I love InDesign as much as anybody,
but even I have to admit that there are some
| | 00:05 | features that are just plain
confusing or non-intuitive.
| | 00:08 | For example, take inserting pages. You
know, adding pages to your document.
| | 00:13 | This is something that almost everyone needs to
do, but it's not always obvious how to do it.
| | 00:18 | For example, in my document that I have
open right now, I want to add a new page.
| | 00:23 | So at the bottom of the Pages panel,
I'll click on the Insert Page button.
| | 00:28 | Where is that page going to be added do you
think? Will it be at the end of the document
| | 00:32 | or maybe after the pages that are visible here
in the screen? What do you think? Let's try.
| | 00:37 | I'll click the button and you'll see
that InDesign added a page after Page 23.
| | 00:42 | What the heck? Why did it do it there?
Well, let's undo and I'll show you.
| | 00:49 | Notice that when the Pages panel is open, you
can single click on a page and it highlights
| | 00:54 | very subtly, or you can single click on the
numbers underneath a spread and it'll select
| | 00:59 | both pages in the spread.
| | 01:01 | InDesign will insert pages after whatever is
selected in the Pages panel, not necessarily
| | 01:08 | what's visible on your screen, but
whatever you've clicked on in the Pages panel.
| | 01:13 | That's why it added it after page number 23.
| | 01:15 | In general, I like to insert pages not by
just clicking on that button down there, but
| | 01:21 | by Option+clicking or Alt+
clicking on that button.
| | 01:24 | When you do that, it forces InDesign
to open the Insert Pages dialog box.
| | 01:28 | And now I can tell InDesign exactly
where I want my pages to be added.
| | 01:32 | Because this is a facing pages document, one
that has a left-hand page and a right-hand
| | 01:37 | page, I like inserting or
deleting even numbers of pages.
| | 01:41 | That way a left-hand page doesn't turn
into a right-hand page and vice-versa.
| | 01:45 | So I'm going to insert two pages here and
I can say exactly where I want it to go.
| | 01:50 | In this case, I'm going to add
it to the end of my document.
| | 01:54 | Click OK and there is my new pages at the end.
| | 01:57 | Now if you don't feel like Option+clicking
or Alt+clicking on that button, you can get
| | 02:01 | that same feature from the Pages panel
flyout menu, there it is, Insert Pages or choose
| | 02:06 | the Pages menu from the Layout menu and then
choose Insert Pages. Does the same thing.
| | 02:12 | Now there are a couple other ways that you
can add pages to your document as well.
| | 02:16 | For example, you can drag one of the master
pages from the top part of the Pages panel
| | 02:20 | down to the bottom.
| | 02:22 | But when you do that, pay
attention to the cursor.
| | 02:25 | The little differences in how the cursor looks
make a big difference in what's going to happen.
| | 02:30 | For example, if I drag down over here, I'll
see a page icon and a thick black bar and
| | 02:37 | that thick black bar means
insert pages right here.
| | 02:42 | If I drag to the right of the first spread
over here, I see a similar black bar, that's
| | 02:47 | exactly the same thing, insert
the pages after that spread.
| | 02:52 | Now if I drag down here on top of one of
these pages, a different thing happens, the page
| | 02:57 | itself highlights.
| | 02:58 | In this case, it's not going to insert pages
at all, it's going to apply that master page
| | 03:04 | to this document page.
| | 03:05 | That's not what I want.
| | 03:07 | So you either want to drag out here on this
side or drag in between the spreads and you
| | 03:13 | get a slightly different effect.
| | 03:15 | You get a hand with a little arrow in it, and that
arrow is either pointing to the right or to the left.
| | 03:21 | This means insert the pages in
between these two pages of the spread.
| | 03:25 | When I let go of the mouse button, you'll see
that InDesign actually added pages in between
| | 03:30 | the pages that were already there.
| | 03:33 | The last technique I want to show you on how
to insert pages is to duplicate pages that
| | 03:37 | are already in your document.
| | 03:39 | For example, I can duplicate this first
spread by clicking on the page numbers underneath
| | 03:44 | the spread and then holding down
the Option or Alt key while I drag.
| | 03:49 | And as I drag, I'll get the same kinds of icons,
but it will duplicate that to this new position.
| | 03:55 | I'm going to drag all the way to the bottom
until it scrolls down to the very bottom, and
| | 03:59 | you can actually see that the
cursor is slightly different now.
| | 04:02 | It's a hand with a plus in it.
| | 04:04 | That means it's going to duplicate that
spread right there at the bottom of my document.
| | 04:09 | Like so many features in InDesign, it's kind
of obvious how to insert pages once you see
| | 04:13 | how it works.
| | 04:14 | So I hope that this demonstration will
help you insert pages for years to come.
| | 04:21 |
| | Collapse this transcript |
| 060 Copying paths between Illustrator and InDesign| 00:00 | InDesign has awesome tools for
creating frames and paths and stuff.
| | 00:04 | But when it comes to drawing amazing vector
shapes it pales in comparison to its older
| | 00:08 | sister Adobe Illustrator.
| | 00:10 | But the good news is that you can move vector
shapes back and forth between these two programs,
| | 00:15 | using each for what it's best at.
| | 00:17 | For example I have this big orange rectangle
here. It's kind of a plain rectangle, nothing
| | 00:22 | exciting about it, I'd like
to spice it up a little bit.
| | 00:24 | So I'm going to take that into
Illustrator and give it an effect.
| | 00:28 | To do that, I simply select it, copy it to
the clipboard with Command+C or Ctrl+C on
| | 00:33 | Windows, switch to Illustrator and Paste.
| | 00:37 | Now it looks pretty much the same as it did
in InDesign and that's good, but what I'm
| | 00:41 | really getting here is
more than I bargained for.
| | 00:44 | I can see that by going to the View menu and
choosing Outline. See how there is an extra
| | 00:49 | line around the path? That's a clipping
mask and that's a clue that something has come
| | 00:55 | along for the ride.
| | 00:56 | It sometimes happens, not always, but it sometimes
happens when you move stuff from InDesign into Illustrator.
| | 01:02 | I want to get rid of that because clipping
masks can make your life difficult down the
| | 01:06 | road, if you keep them in there.
| | 01:08 | So I am going to go back to the View menu,
choose Preview and open my Layers panel.
| | 01:13 | And inside the Layers panel we can see that
there is a Clip Group, I'll open that up and
| | 01:17 | we can see that there is
another Clip Group and another one.
| | 01:21 | It's done this partly because I have
transparency on the effect in InDesign and transparency
| | 01:25 | adds multiple levels of complexity.
| | 01:28 | But if I keep opening that, I will see that
down at the very bottom I have a path and
| | 01:34 | that path is what I'm really trying to work on.
| | 01:37 | Usually it's not quite this complex, but in
this case I had to go pretty deep to get that
| | 01:40 | path, and now I'm going to do drag that path in the
Layers panel all the way to the top of the layer.
| | 01:47 | So I now have the path and then a
whole bunch of garbage that I don't need.
| | 01:51 | So I'll just click on this Clip Group and
click the Delete Selection button and I'm
| | 01:55 | left with just the shape that
I need to add my effect to.
| | 02:00 | To apply my effect I'll go to the Effects menu
and choose Distort & Transform > Roughen.
| | 02:07 | You can choose any of these effects that you
want, but I am going to use Roughen for this
| | 02:10 | example, I'll turn on the Preview check box and
whoa! That's a little bit more than I bargained
| | 02:15 | for. I don't really want it to look like that.
| | 02:18 | Let's bring this down to maybe 1%, maybe a
little bit more detail, just get that just
| | 02:23 | the way I want, I am going to
use Smooth Corners instead.
| | 02:26 | You set effect at the way you want, click OK
and now we need to get it out of Illustrator
| | 02:31 | and into InDesign. To do that, same thing
Command+C or Ctrl+C on Windows to copy it,
| | 02:37 | come back to InDesign and paste
it with Command+V or Ctrl+V.
| | 02:42 | And you can see that I now have a shape in
InDesign that looks just the way it did in Illustrator.
| | 02:47 | Now this actually is a path.
| | 02:49 | If I switch to my Direct Select tool by
pressing the A key, you can see all of the points on
| | 02:54 | this bezier path. I could edit it further if I
wanted to here in InDesign, but I'm not going to.
| | 02:59 | I am going to switch back to my Selection
tool by pressing the V key, I am going to
| | 03:04 | delete my original rectangle, just select it and
hit the Delete key, drag this one into position.
| | 03:10 | It looks pretty good,
a little higher, there we go.
| | 03:13 | Now I am going to go back to the Effects
panel and change the Opacity just like it was on
| | 03:18 | that original object, I believe it was 50%.
| | 03:20 | There we go! Looks great.
| | 03:25 | That's just the effect I was looking for.
| | 03:27 | And that copy and paste is pretty seamless,
except for that weird clipping mask thing
| | 03:31 | that sometimes happens.
| | 03:33 | But there are situations where you
get artwork which is too complex.
| | 03:37 | For example, let me go back to Illustrator
and I am going to grab this other artwork
| | 03:41 | here, and as I drag over here you'll see there
is lots and lots of points on here, lots of
| | 03:47 | objects, lots of transparency.
This thing is really complex.
| | 03:50 | And if I grab all of that and copy it, come
back to InDesign and try and paste it, InDesign
| | 03:57 | goes, whoa! What's going on here?
| | 03:59 | This command would create too many objects,
so instead I'm going to place it as an EPS.
| | 04:05 | Not only is that an EPS, but it's
embedding it into the document.
| | 04:09 | So if I click OK I can see it, but I can't
edit it and it doesn't even show up in the
| | 04:13 | Links panel. It's not good. You
don't want to do that typically.
| | 04:16 | So I'll click Delete to get rid of that.
| | 04:19 | You have to make sure that your
objects are not too complex in Illustrator.
| | 04:23 | So in this case, I would've had to gone back to
Illustrator and simplify it before I bring it into InDesign.
| | 04:30 | Or a better solution for that artwork would
have been to simply save it as an AI or PDF
| | 04:34 | file and then use InDesign's Place feature to
place the artwork into my InDesign document.
| | 04:41 | You don't want to copy and paste vector art
between Illustrator and InDesign, unless
| | 04:45 | you really need to come in here and edit it or
change the Opacity, do some tweaking to it.
| | 04:50 | If there's some good reason or if it's not too
complex of an object, it's okay to copy and paste.
| | 04:55 | But when you get that really
complex artwork, it's better to place it.
| | 04:59 | You know Illustrator is such an important part of
my InDesign workflow, I consider it a plug-in.
| | 05:05 | Now if you want to learn more about
Illustrator and all the cool things it does, check out
| | 05:09 | the many other movies on it here at
the lynda.com online training library.
| | Collapse this transcript |
| 061 Automating Find/Change with the Find/ChangeByList script| 00:00 | You know face it, a lot of what we do in
InDesign is tedious monkey work, you know, especially
| | 00:07 | when we are having to clean up
files that other people give us.
| | 00:10 | I want to show you how there is a free
script that comes with InDesign that can save you
| | 00:15 | so much time in doing this kind of monkey
work and even if you're an old, jaded InDesign
| | 00:22 | user who knows all about this script, I think
you're going to learn couple of new tricks
| | 00:26 | that you didn't know before.
| | 00:27 | So let's start by importing a typical Word
document that an editor might give me for
| | 00:34 | formatting in my layout.
| | 00:36 | Now this layout right now is just
one-page document. It's empty.
| | 00:40 | I do have some starter
Paragraph and Character Styles.
| | 00:43 | Now we're going to go to File > Place and
find this document. I'm going to turn on Show
| | 00:52 | Import Options because we're going to remove
the Styles and Formatting, but preserve local
| | 00:59 | overrides, which is how I recommend you import
all of your Word documents unless you already
| | 01:05 | have a very slick and working style-to-style
relationship with your editors and your InDesign file.
| | 01:13 | If you can do that, then that saves a lot of time,
but most of the time that's not going to happen.
| | 01:17 | So you get rid of all the wonky Word formatting
but preserve local overrides like the occasional
| | 01:22 | bold and italics, so you
don't have to reapply those.
| | 01:25 | Click OK and we'll place it.
| | 01:28 | Now let's zoom in here and see
this beauty and all of its glory.
| | 01:33 | As you can see they helpfully tried to align
columns with multiple tabs. They did not learn
| | 01:39 | the trick about using the first-
line indent instead of tabbing.
| | 01:43 | To create a first-line indent, they're
telling us this is a very common magazine and other
| | 01:49 | publishers, for the editors to put a little
code when they say we give our designers coded
| | 01:54 | Word files or tagged Word files.
| | 01:57 | This is almost always what they are talking
about, is they say this is h1, this is a deck,
| | 02:02 | this is an h3, and so on.
| | 02:04 | So what else do we have here? We have
instances of periods with two spaces. We have a space
| | 02:11 | hyphen space instead of an en dash. We probably
have a couple of dashes instead of an em dash,
| | 02:19 | we have the almost ubiquitous single return,
you know double space in-between paragraphs.
| | 02:25 | But a few times apparently they
really wanted a lot more space, and so on.
| | 02:29 | You could of course go to Find/Change > Text,
search for a period space space, replace with
| | 02:35 | periods space, so on.
| | 02:38 | You could save these kind of queries
searching for two hyphens replacing with an em dash.
| | 02:45 | Let's do that really quick, do a search for
two hyphens, change to, and we'll go to an
| | 02:51 | Em Dash which is this funky little code here.
| | 02:54 | You can save each one of these and then run the
script; one right after the other, run each script.
| | 02:58 | But InDesign has already taken care of a lot of this
for you, in a free script called FindChangeByList.
| | 03:06 | It has a list of very common find/changes
like these two that I just showed you and
| | 03:09 | a few more that's saved in the
script, and you can easily edit it.
| | 03:14 | So first let's look at the default script.
| | 03:18 | Go to Window > Utilities in CS6, and I think 5.5.
Early versions you might see Automation,
| | 03:26 | and we'll say Script, choose Scripts, it's in
the Application Folder > Samples > JavaScript
| | 03:33 | is what I like, right here, FindChangeByList.
| | 03:36 | All you do is double-click it and would you
want to run it on the one story that I'm on
| | 03:41 | or the entire document, all the stories? Well,
we'll just say all the stories, since there
| | 03:45 | is only one anyway.
| | 03:47 | It got rid of all of the runs of returns whether
there was 1 or 3 or 2 or 4, now there are none.
| | 03:55 | It got rid of spaces in front of
paragraphs, it got rid of runs of tabs.
| | 04:01 | What else did it clean up?
Look at over here. I love this.
| | 04:05 | It found a space hyphen space pattern and
replaced it with an en dash, but it left the actual
| | 04:13 | hyphens intact, as they are meant to be, and
replaced the double hyphens with an em dash.
| | 04:22 | Pretty slick, huh? Now what exactly are its
find/changes that it's doing, and can you edit
| | 04:28 | that? Well, of course you can.
| | 04:29 | What this script does is it looks at a text
file which is buried in this little folder
| | 04:33 | here called FindChangeList.txt.
| | 04:38 | This you can open in any text
editor and edit as you see fit.
| | 04:42 | If you have another find/change that
you wanted to do, you can easily add it.
| | 04:46 | If you want to remove one of them, maybe you're
a big fan of space hyphen space, you can remove
| | 04:51 | that, so it doesn't change those to en dashes.
| | 04:53 | To see this file and to edit it, the
easiest way is just to right-click on it, so that
| | 04:58 | you see the Reveal in Finder command, or if
you're on PC, Reveal in Explorer, and choose it.
| | 05:05 | It's actually here in your InDesign folder,
inside Script, Scripts Panel, Samples, and so on.
| | 05:10 | So you could also find it in your own list.
| | 05:12 | Now you just double-click it and it should
open up in a default text editing program.
| | 05:16 | Don't let it open up in Word because that
might mess it up. Use something like the Notepad
| | 05:20 | or TextEdit, and TextEdit opens up here automatically
in plain text format. We don't want any formatting.
| | 05:29 | Now I will let you redesign your own, but
briefly let me tell you what's happening.
| | 05:33 | All these lines in the beginning that start
with a double slash are commented out, meaning
| | 05:37 | these are not part of this script.
These are like secret notes to the reader.
| | 05:42 | It explains how this script works.
| | 05:45 | It says it was designed for CS4.
| | 05:46 | I find it interesting that they never
updated it apparently. Everything that worked in CS4,
| | 05:51 | still works in CS6. So that's good.
| | 05:53 | Here is an example.
| | 05:54 | This script will do a findWhat, find two dashes,
changeTo an em dash. Remember that code that
| | 06:00 | we just looked at and changed?
| | 06:01 | And then it has the settings like it's
supposed to do includeFootnotes, includeMasterPages.
| | 06:06 | These are all these icons here, so Include
Locked Layers, Included Hidden Layers, Include
| | 06:13 | Master Pagers. That's what those are all about.
| | 06:15 | And then at the end, it
ends with a description.
| | 06:18 | So this one ends with Find all double
dashes and replace with an em dash.
| | 06:23 | They're more complicated ones. Here we go.
| | 06:25 | So this is the existing list of
everything that FindChangeByList does.
| | 06:30 | It finds all double spaces, replaces with
the single space. Finds all returns followed
| | 06:33 | by a space and replaces with a single return,
so you don't get that unwanted empty space
| | 06:39 | as the first character of a
paragraph anymore, and so on.
| | 06:43 | That's what it does.
| | 06:43 | So if you don't want it to, for example, find
the space hyphen space and change to an en dash,
| | 06:51 | Find all space hyphen space, replace with an en
dash, then simply double-click that, delete
| | 06:56 | it or cut it and save it.
| | 06:59 | Now what you might want to do though--I am
going to undo--is to duplicate your FindChangeList,
| | 07:04 | so that you can experiment with different
settings, or at least to take the default one
| | 07:08 | and save it some place. You can save it even in that
same folder just give it a slightly different name.
| | 07:14 | So if you chose FindChangeList.experiment or
mine or custom, then when you run FindChangeList
| | 07:21 | script, it won't find that. It
will only look for this one.
| | 07:24 | You can edit the script, so it finds any
FindChangeByList.txt script if you wanted to,
| | 07:30 |
but that's a little beyond what we want to do.
| | 07:32 | Let me show you a couple things that you
can actually add that you might not realize.
| | 07:37 | For example, I am going to--well what I usually
do is I just copy an existing one, either
| | 07:40 | a text or a GREP and
then I paste at the bottom.
| | 07:44 | Let's say that we want to find all instances
of lynda.com that was written with a capital
| | 07:53 | L, which actually is against their brand
guidelines, and we want to replace it with lynda.com,
| | 07:59 | which is lowercase.
| | 08:01 | Now because we're talking about cases,
we have to include case sensitive.
| | 08:06 | In Find/Change, we're talking about
this guy right here, Case Sensitive.
| | 08:10 | But Case Sensitive is not included in any of
these attributes, so we can just add it ourselves.
| | 08:16 | So I am going to click right in-between here,
and following the same pattern starting with
| | 08:21 | a lowercase and then every word is uppercase,
I'll write caseSensitive and then we want
| | 08:29 | true, right? True means on, false means
off, true and then I'll put a comma space.
| | 08:35 | So now I am following the patterns.
| | 08:37 | Oops, you see what I did?
I added the wrong one.
| | 08:39 | Well, I guess it's not going to do
any harm. Let's get it out of there.
| | 08:43 | Cut, I want to put it over here.
| | 08:46 | It makes no difference like what order
you put it in, I have found, there we go.
| | 08:50 | So now it's in the lynda.com one and we
don't need that, we'll just delete that.
| | 08:53 | I usually replace those comments with just the
word comment, so you don't have to bother with that.
| | 08:57 | So I'm saving my changes here.
| | 08:59 | And then I'll jump over to InDesign.
| | 09:01 | Now I have saved my change to the actual
FindChangeList script. Let's test it.
| | 09:06 | So I'll say lynda.com and I'll just run it again,
Document. Even more! Here's another cool trick.
| | 09:15 | You can have it format, not just find/change,
but you can apply formats, just as you can
| | 09:20 | with Find/Change. Now it gets
somewhat more complicated as we go.
| | 09:24 | But let's say that every time that lynda.com
was mentioned in the text, we want a Character
| | 09:29 | Style applied to it, let's say bold.
| | 09:32 | So how do you that?
| | 09:34 | In the changeTo, in-between these curly spaces,
this is where you add your formatting and
| | 09:39 | to apply a Character Style, you type and you
always end these with a comma after the quote,
| | 09:44 | so comma space appliedCharacterStyle:"bold,
right, it has to be exactly how it's written
| | 09:57 | in the Paragraph or Characters Style.
| | 09:58 | If you are doing a Paragraph Style, you would say
appliedParagraphStyle. That's all. Let's try it.
| | 10:06 | Save it, come back here, let's start again.
| | 10:09 | This was Lynda, right? We will run this again.
| | 10:16 | Now here's an example for this particular
document that I want you to take a look at. I saved it.
| | 10:21 | Let me go to Open Recent > FindChangeList-custom,
because I thought this is a perfect use for this.
| | 10:28 | Usually, if you are a designer and you are
running Find/Changes on a Word document, given
| | 10:33 | to you like this, you have to apply the h1
style here and then go through the Find/Change
| | 10:38 | and delete every instance of a bracket h1
closed bracket throughout the document and
| | 10:42 | you have to do that for every
so tagged "paragraph", right?
| | 10:46 | Well, FindChangeByList can do that for you.
| | 10:48 | Here's what I did, down here.
| | 10:50 | It's a regular text FindChange.
| | 10:51 | You're looking for the text string h1, you
want to change it to, now I started by saying
| | 10:57 | nothing, but it left h1 in there.
| | 10:59 | So maybe there is some another solution,
but what I did was I just replaced it with
| | 11:01 | a space and we'll fix that
right up, you'll see in a jiff.
| | 11:05 | And then I said and apply the Paragraph Style
Chapter to h1 because we don't have a style
| | 11:11 | called h1, we have one called Chapter.
| | 11:12 | And I did the same thing, deck should
be intro2 and h3 should be Subhead.
| | 11:18 | All right, so let's get these out of here
and copy them to my FindChangeList. Here we
| | 11:28 | go and save it, I am pressing
Command+S or Ctrl+S, come back here.
| | 11:33 | Let's start again, shall we?
| | 11:36 | Let's delete this, tuck you guy, tuck you
over there, we will place the Word document,
| | 11:46 | everything is set correctly.
| | 11:48 | There it is in all of its horrible glory and
now we open up the Scripts Panel and double
| | 11:53 | click FindChangeByList.jsx
with all of our customization.
| | 11:57 | It looks like I have one little error here
with Deck. I'm not quite sure, let's try and
| | 12:04 | see what that was.
| | 12:04 | Oh, I didn't put a capital D, aha! Yeah, so
it has to be exactly as it's written in the
| | 12:11 | Paragraph and Character Styles.
| | 12:12 | So I'll save, come back here, just run it
again and also before I run it again, I want
| | 12:16 | you to notice, remember how we
replaced the found codes with a space?
| | 12:21 | So now all these paragraphs start with a space?
Well, you simply run the same script again,
| | 12:26 | because remember one of its fixes is to
remove the space that starts a paragraph.
| | 12:31 | So I am going to fix it.
| | 12:33 | It fixes at this time, but not this one. We can
just hit Delete before the first one, there we go.
| | 12:37 | So there is our Deck and our
Chapter head and the Subhead.
| | 12:43 | With all the FindChangeByList, think
of how much time this can save you.
| | 12:47 | Check it out.
| | 12:48 |
| | Collapse this transcript |
| 062 Embedding images| 00:00 | Here is a nice, sweet, innocent looking layout;
an academic catalog for an art and graphic
| | 00:06 | design school. Ain't it beautiful?
| | 00:08 | Do you want to see something scary? Are you
ready? Are you sitting down? Watch, I am going
| | 00:16 | to open up the Links panel.
(gasps)
| | 00:20 | If I had a sound effect I'd put
like a Hitchcock screaming woman here.
| | 00:24 | I hate it! This is one of the things I really
hate about working with any kind of layout
| | 00:28 | program because you always have to obsess
about the state of the outside original files
| | 00:36 | that you have linked to in this InDesign file.
| | 00:39 | I hate seeing these horrible
little icons saying missing image.
| | 00:42 | And by the way, if you don't see this when
you have a missing link in your InDesign file
| | 00:46 | it's because you're not using CS6 yet.
| | 00:48 | This is actually a very cool feature from
CS6 is that it tells you which links are out
| | 00:53 | of date and which links are
missing right on the object.
| | 00:55 | You don't always have to keep
opening up the Links panel.
| | 00:59 | But I'm not really talking about you know
where the cool little stop signs are. I'm
| | 01:02 | talking about this
horrible situation in general.
| | 01:05 | Now this can happen if you have done a Save As and
you've moved your InDesign document elsewhere,
| | 01:13 | or much more frequently it happens if you
rename any of these images, or move them around
| | 01:18 | to a place were InDesign can't find them.
| | 01:21 | When you open up InDesign, it's constantly
looking for where the original files are and
| | 01:25 | if it can't find them it does this.
| | 01:28 | And you can still work, but of course if you
print or you Export to PDF, you're going to
| | 01:32 | get low-res versions of these,
just the screen previews.
| | 01:35 | So let me tell you about what I
do to avoid this whenever I can.
| | 01:41 | I embed my images before I
lose them. Check this out.
| | 01:45 | I have a version of the catalog
with all of the links embedded.
| | 01:48 | But it's just like the other catalog, but
when we open up the Links panel, ah, see? If I
| | 01:58 | could I'd play Vivaldi's Spring
from the Four Seasons here.
| | 02:01 | It's beautiful! No missing stop signs. If
I go to Normal view we don't see any ugly
| | 02:05 | stop signs on any of these.
It's the same exact catalog.
| | 02:09 | How did I end up with this? I just
selected the links and I embedded them.
| | 02:14 | You can select any link, like over here I think
we have at least--don't we have one link that
| | 02:17 | works? Yeah, the Photoshop file here.
| | 02:19 | I am going to jump to page 1.
| | 02:22 | This right here is actually--it's found.
| | 02:25 | While a link is healthy, after you place it,
all you do is you go to the Links panel menu
| | 02:31 | and with that link selected
here and you choose Embed Link.
| | 02:36 | What does that do?
| | 02:38 | It actually sucks in the entire outside
file and save it within the InDesign file.
| | 02:44 | You can imagine like the InDesign file
becomes a zip file, and anything that you embed is
| | 02:51 | completely encased in that in InDesign file.
| | 02:54 | It travels with the InDesign
file. It's like an editable PDF.
| | 02:58 | Now it does increase the size of the InDesign
file and increases the size of that image.
| | 03:04 | So if you have a catalog full of high-res images
your InDesign file is going to get pretty large.
| | 03:09 | I'm going to Undo the embedding here, I just
press Command+Z, and let's look at the comparison
| | 03:16 | of these two files; one that has links to images
and it doesn't make any difference file size
| | 03:21 | wise if the links are missing or not, and
one that has all of these links embedded.
| | 03:27 | So we'll come over here and look in my folder.
| | 03:33 | So the one that does not have anything embedded
is 9.7 megabytes, the one that has everything
| | 03:38 | embedded is 272 megabytes; about a
quarter of a gig, so it's kind of big.
| | 03:44 | Now in this kind of a document I would not
embed these high-res images, but I embed all the
| | 03:50 | time for files that we use in-house, like my
training manuals that I give to students, when
| | 03:55 | I place screenshots in them,
I'll just embed those.
| | 03:58 | Because I don't want to keep track of all
the screenshots and you know constantly have
| | 04:02 | them in a links folder and constantly make
sure they're not missing or not renamed.
| | 04:06 | I just simply save them and you know a
screenshot is only like you know a 5K or 10K.
| | 04:10 | But even so, even if I embedded all these high-res
images, what's wrong with a 270 megabyte InDesign file?
| | 04:17 | You know it's not 1993 anymore. Our
computers can handle it. Software can handle it.
| | 04:23 | Now it's not a perfect solution for everything,
of course what is? I mean one thing you're
| | 04:27 | going to lose is the ability to get automatically
updated if somebody edits this outside of InDesign.
| | 04:35 | If somebody edits the cover in Photoshop and
they change the color scheme automatically,
| | 04:40 | I am not going to know about that, because
I have this version embedded in the file.
| | 04:45 | It's not linked to any outside file.
| | 04:47 | So that's something to keep in mind.
| | 04:50 | If you've placed the same image into multiple
files and some of those files have it embedded
| | 04:54 | and some of them don't, then when you're updating
that outside file, some of your InDesign files
| | 05:00 | will get updated and some of them won't.
| | 05:03 | So the increase in file size and the fact
that you don't automatically get updated if
| | 05:07 | people are editing these outside of the
InDesign file, those are the two disadvantages.
| | 05:12 | Other than that it is a fantastic solution.
| | 05:14 | Now here is something else interesting, you
might be saying, well what if I actually do
| | 05:18 | need to edit this cover?
| | 05:20 | All you do is you unembed it. It's so simple.
Just select it and then go to the Links panel
| | 05:25 | and choose Unembed Link.
| | 05:28 | Whenever you Unembed a link, InDesign wants
to know if I can find the original files I
| | 05:33 | can just link to that, so in
other words, I can sort of undo this embed.
| | 05:38 | But if you don't have the original files,
no problem man. I can create them again.
| | 05:43 | So let's say that I can't
find the original PSD file.
| | 05:47 | Maybe I'm a freelancer and you've given this
to me and I need to edit this but you didn't
| | 05:51 | send along the original files.
| | 05:52 | How am I going to edit
that cover in Photoshop?
| | 05:56 | So when it says, do you want to link
to the original files? I'll just no.
| | 06:00 | Where do you want me to save that? Well
please save it on the Desktop, okay.
| | 06:06 | And it saves the layered
Photoshop file right on the Desktop.
| | 06:10 | It's the exact sane Photoshop file that it
used to be link to. It's not flattened or
| | 06:14 | anything like that.
| | 06:16 | You can embed basically any kind of image
file that you can place in InDesign, but you
| | 06:20 | can't embed everything.
| | 06:22 | Down here at the very bottom you can see I have a PDF
that I placed; Amazon Candle Publishing Guidelines.
| | 06:31 | And that file is 1.1 MB, it's now the
baby file, but you can embed a PDF.
| | 06:37 | However you cannot embed a
movie or another InDesign file.
| | 06:42 | I am going to go ahead and place those two
things, which I happen to have queued up,
| | 06:47 | there is an InDesign file and there is a movie and
there is the InDesign file, there's the movie.
| | 06:57 | And now if I select the movie and I want embed it,
Embed Link doesn't even appear as a choice.
| | 07:05 | Same thing for the InDesign file. If I select
the InDesign file which has a picture of an
| | 07:10 | amoeba inside it, if I select the InDesign file
and I go to Links panel menu, can't embed it.
| | 07:16 | Can I embed this guy? No.
| | 07:19 | I have to go back to the original
InDesign file and embed it within there.
| | 07:22 | So there are some things you cannot embed,
which I don't understand why you can't embed
| | 07:27 | them. What's the problem?
| | 07:29 | But for many types of documents, especially in-
house work or documents that just have things
| | 07:34 | like your logo or few graphics, graphics that
are final and that really don't need to be
| | 07:39 | edited outside of InDesign
anymore, embedding is the way to go.
| | 07:43 |
| | Collapse this transcript |
| 063 Adjusting leading inside a paragraph| 00:00 | Everybody knows that in InDesign, leading is
character formatting, not paragraph formatting.
| | 00:06 | That is, you can apply leading to a single
character and whatever character has the biggest
| | 00:10 | leading on a line of text, wins.
| | 00:13 | That's why if I double-click on this text
and change its leading, nothing happens.
| | 00:18 | You need to select some text first.
| | 00:20 | So I'll double-click on that word and it
selects the word and I'll change that, and it changes
| | 00:26 | the leading, but only for that
one line. Not the whole paragraph.
| | 00:30 | Again, whatever has the biggest leading,
wins; the whole line gets that leading.
| | 00:35 | It's kind of obnoxious because it means you have to
select the entire paragraph to change its leading.
| | 00:40 | You could quadruple-click on it if you're
that coordinated, four-clicks and then change
| | 00:45 | the leading, let's say to 20 points here,
and it affects the entire paragraph.
| | 00:50 | That's a little bit too big.
| | 00:51 | So let's change this down
to let's say 17 points.
| | 00:54 | All right, now what about this paragraph down
here? You'll often see this in magazines and
| | 00:59 | newspapers that are created in InDesign,
because all the lines in the paragraph have the same
| | 01:05 | leading, except for the last one.
| | 01:07 | There it is, that last line has the wrong
leading. Different than everything else.
| | 01:12 | But if I select all the text on that line,
you'll see that it all has the same leading,
| | 01:16 | right? So what's the problem? The
problem is the invisible paragraph return.
| | 01:21 | That is actually a character and you can see
it by going to the Type menu and choosing
| | 01:25 | Show Hidden Characters.
| | 01:27 | It's that character there, the paragraph
return, that has the wrong leading applied to it.
| | 01:32 | You can select that and see that it has
different leading than everything else.
| | 01:36 | Some of us have been complaining for years
about this problem that you can have different
| | 01:40 | leading in different parts of the
paragraph because you virtually never want that.
| | 01:44 | You almost always want all the leading
to be the same throughout a paragraph.
| | 01:47 | Fortunately, there's
something you can do about it.
| | 01:49 | And it's inside Preferences.
| | 01:51 | In Windows, you find the Preferences dialog
box under the Edit menu, but here on the Mac,
| | 01:56 | we go to the InDesign menu
and choose Preferences.
| | 01:58 | Either way, you want to choose the Type
Preferences and inside Type Preferences, turn on Apply
| | 02:05 | Leading to Entire Paragraphs.
| | 02:07 | When that's on, nothing changes in your
document until you start changing the leading.
| | 02:12 | For example, I'll click inside this paragraph
and I'll change the leading to something else,
| | 02:17 | let's say 16 points.
| | 02:19 | You'll see that immediately it changes
through the entire paragraph, even though I only
| | 02:23 | have the text cursor
flashing inside the paragraph.
| | 02:26 | That's the way I like working and I have that
preference turned on in virtually every document
| | 02:30 | I create in InDesign.
| | 02:32 | But there is one instance where I turn
that preference off. Let me show you.
| | 02:36 | I'll pan up to the top of the page here and
why don't I turn off the Hidden Characters.
| | 02:41 | They are kind of distracting.
| | 02:42 | And I can see that in this headline, it's
kind of loose, so I want to make the Leading
| | 02:46 | a little bit tighter.
| | 02:48 | So I'll go in here and click inside and why don't
we set this down to something like 60 points.
| | 02:53 | Okay, I like the way those first two lines look,
but this third line, I don't like so much.
| | 02:58 | It almost looks like it has the wrong leading.
| | 03:00 | But I know, it can't have the wrong leading,
because that preference was turned on, right?
| | 03:04 | Well, what's going on? This last line has
no ascenders, no Hs or Fs or any characters
| | 03:10 | that would reach up into the space, and the
second line has no descenders like a J or
| | 03:16 | a G that would reach down, therefore we have a
big space here that just doesn't look right.
| | 03:21 | We need to offset that by changing the
leading just for the last line of this paragraph.
| | 03:27 | To do that, I need to go back to Preferences
which you can get to by pressing Command+K
| | 03:31 | or Ctrl+K on Windows, choosing the Type pane
and I'm going to turn off that preference
| | 03:36 | that I just turned on.
| | 03:38 | When I click OK, again
notice that nothing changes.
| | 03:41 | Turning the preference on or off doesn't affect
anything in your document until you start making changes.
| | 03:46 | So I'll select this one line here
and I'll make this slightly smaller.
| | 03:51 | I just clicked in the Leading field and I'm pressing
the Down Arrow key to make that a smaller value.
| | 03:56 | I'll click off here and we can see that it
seems to have more even spacing throughout
| | 04:00 | the entire paragraph, even though it
technically has less leading on that last line.
| | 04:06 | Now after I make that change to that one heading,
I'm going to go back to the Preferences dialog
| | 04:10 | box and turn that option back on because
I want to have it on most of the time.
| | 04:16 | But I think you'll agree that this kind of fine-
tuning is the exception rather than the rule.
| | 04:20 | We're not going to do that
kind of tweaking very often.
| | 04:22 | So make sure you go back to the Preferences
dialog box and turn that option back on before
| | 04:28 | you continue working on your document.
| | Collapse this transcript |
| 064 Placing one InDesign file inside another| 00:00 | You already know that you can place PDFs into
your InDesign document, or TIFFs, or JPEGs, or
| | 00:06 | many other kinds of file formats, but I want
to talk about importing a different kind of
| | 00:10 | file; InDesign files themselves.
| | 00:13 | That's right! You can import one InDesign
file into another InDesign file, and it turns
| | 00:18 | out that that can be extremely useful.
| | 00:20 | For example, I am working on my catalog
right now and somebody else has been working on
| | 00:24 | the application form, the form that I
am going to be using in my catalog.
| | 00:29 | Well, I could ask them to export a PDF and
then import that PDF in the InDesign, or even
| | 00:35 | easier, I will just go to the File menu,
choose Place, and then choose the application.indd
| | 00:42 | file itself. That's the actual
InDesign file that they were working on.
| | 00:46 | When I click Open, I get the Place cursor,
and now I can click in the upper-left corner
| | 00:50 | and it places the page in
exactly the right place.
| | 00:53 | Now it's nice to save that intermediary step
of having to make a PDF file but even better
| | 00:59 | this is linked to the original InDesign file.
| | 01:02 | If I look in the Links panel, I can see there it is,
down at the bottom, the original InDesign file.
| | 01:07 | So if somebody makes a change, and they save
it, it will show up as modified here in my
| | 01:12 | InDesign document.
| | 01:13 | I just need to update it in the Links panel and
that change shows up in this InDesign document too.
| | 01:19 | I want to point out that this InDesign document
is not editable. It actually acts like a picture.
| | 01:24 | You can even see that because you have
the content grabber in the middle of it.
| | 01:28 | It's just as though I imported a PDF file.
| | 01:31 | I can't go in and edit the text at all.
| | 01:34 | It's just a picture, and when I export another
PDF or when I print it, it will come out looking
| | 01:39 | as though I had imported a PDF.
| | 01:41 | So very nice crisp text,
it all works beautifully.
| | 01:45 | The other cool thing about importing InDesign
documents is that I can use the Edit Original
| | 01:50 | feature. Can't do that with PDFs, but I can
come over here in the Links panel and click
| | 01:55 | on this little Pencil icon or go to
the Edit menu and choose Edit Original.
| | 02:01 | Either way, it will launch the original application,
which of course in this case is just InDesign,
| | 02:06 | so it just stays in InDesign,
and it opens that document.
| | 02:09 | There is the InDesign
document, fully editable.
| | 02:11 | For example, I can grab that logo and I'll
move it into the middle, I can select this
| | 02:15 | text and I'll center it with a Command+Shift+C
or Ctrl+Shift+C on Windows, and any other
| | 02:21 | changes I want to make I
can go ahead and make those.
| | 02:24 | So I will go ahead and save it with a Command+S
or Ctrl+S on Windows and then close the document
| | 02:28 | with a Command+W or a Ctrl+W, and I can see that
immediately it's updated in my catalog document.
| | 02:35 | I don't need to go and click Update or anything,
it's just automatically updated right here.
| | 02:40 | So it's very, very
efficient for making changes.
| | 02:42 | Now there is one other cool trick that I want
to show you and this trick involves downloading
| | 02:47 | a free add-on called LayoutZone.
| | 02:50 | You can get LayoutZone at automatication.com and
they have a very clear step-by-step instructions
| | 02:56 | on how to install it into
your copy of InDesign.
| | 02:59 | And when you have LayoutZone, you have all
kinds of cool features added to InDesign,
| | 03:03 | but one of the coolest that I think is that
you can convert imported InDesign documents
| | 03:08 | back into editable objects. Let me show you.
| | 03:12 | I've downloaded and installed LayoutZone,
so I can select this InDesign document, go
| | 03:17 | to my Edit menu and choose from a Layout Zone
menu, Convert Zone; and Convert Zone takes
| | 03:25 | any InDesign document that you have placed
and it coverts it back into original objects.
| | 03:31 | There it is. There is my table. There is my
original logo up here. Let me scroll over
| | 03:36 | so you can see it better.
| | 03:37 | I can move it around. I can
edit my text, and so on.
| | 03:41 | Isn't that amazing? Automatication has all
kinds of really cool add-ons that you should
| | 03:45 | check out, but this
LayoutZone is a must-have.
| | 03:48 | This ability to import one InDesign file into
another opens up all kinds of ways to make
| | 03:53 | your workflow more efficient whether you
work on your own or within a group of people.
| | 03:58 |
| | Collapse this transcript |
| 065 Creating bookmarks for PDFs| 00:00 | When you open up a PDF in Acrobat or in Reader,
it's a lot easier to navigate if the person
| | 00:06 | who created the PDF was
thoughtful enough to include bookmarks.
| | 00:11 | Here is the InDesign CS6 user manual for example,
which as you can see, 738 scintillating pages,
| | 00:18 | but if you open up the Bookmarks panel in
Acrobat or in Reader, you say, ah, it's a
| | 00:23 | lot easier. Here is
where they talk about Tables.
| | 00:25 | And there is a disclosure triangle, so if I
want to see all about Formatting tables,
| | 00:31 | that's one example.
| | 00:33 | Another example is in the Print & ePublishing
Conference that InDesign Secrets puts on every
| | 00:38 | year. Here is the attendee handout from
the 2012 conference in San Francisco.
| | 00:44 | You see there are 440 pages all worth of
handouts, but because there are bookmarks, it makes
| | 00:49 | it a lot easier for people
to find their way around.
| | 00:52 | So like in conference info, getting around, here
is the schedule getting around the conference.
| | 00:57 | Here is the floorplan, and so on, and then the
actual handout themselves, iPad and Android
| | 01:03 | tablet publishing with each session
has their own handout right there.
| | 01:07 | So there is another one, PDF
for iPad and tablet by David.
| | 01:11 | These bookmarks are possible to create right
in Acrobat. You can go to the Bookmarks panel
| | 01:19 | and create new ones right from the menu here,
but it's a lot easier to do them automatically
| | 01:24 | in InDesign, and you can do that.
| | 01:27 | Here is one that I created from the Roux
catalog that we've been looking at in a lot of these
| | 01:33 | InDesign Secrets videos where the person who
opens up the catalog, a perspective student,
| | 01:38 | could quickly click and it would jump
them to the page where that class was.
| | 01:42 | So this is designing a basic digital
character and here it is right here.
| | 01:47 | The bookmarks work by just bringing
you to the page, where the bookmark is.
| | 01:51 | So this is a same page, so we are not moving,
creating a Flash game is the same page, but
| | 01:56 | stop motion animation is on the next page.
| | 02:00 | Let's go ahead and create this in InDesign.
| | 02:03 | The fastest way to do it is to
create a table of contents.
| | 02:07 | Now you don't have to have a table of
contents in your document, you could put the table
| | 02:12 | of contents out on the pasteboard.
| | 02:15 | But the point about creating a table of contents
is that you have this wonderful little check box
| | 02:20 | right here, Create PDF Bookmarks.
| | 02:23 | So just go to the Layout menu, choose Table of
Contents, and you can see that I have already
| | 02:29 | done that in this document.
| | 02:31 | All you do is you drag or you chose Add for
the different styles that you want to include
| | 02:36 | in the table of contents.
| | 02:38 | Now we don't need the Address block to be a
bookmark, right? We don't need every single
| | 02:43 | paragraph styled with body to be a bookmark, but
we do want every paragraph with the paragraph
| | 02:48 | style of the drawing
department to be a bookmark.
| | 02:51 | And also we want a course name for each one of
these to be a bookmark at the second level.
| | 02:59 | So you can see that if I select this and I
turn on More Options, this one is Level 2,
| | 03:04 | so it's indented.
| | 03:05 | If we jump back here you can see that the
Level 2 bookmarks are indented from their
| | 03:11 | heading bookmark.
| | 03:13 | This gives you the little disclosure triangle.
| | 03:15 | You need to remember when you create a table of
contents other than bringing over the styles
| | 03:20 | that you want to include as a bookmark, is
that you have to turn on Create PDF Bookmarks,
| | 03:25 | otherwise it's not going to happen.
| | 03:26 | Now when you create table of contents and
you click OK, and you'll always get "do you
| | 03:31 | want to include items in overset text?" No,
I don't care about that, and it says it's
| | 03:36 | been updated successfully.
| | 03:38 | Now what is that about? Well that's because
there is already a table of contents in this
| | 03:42 | document and the table of
contents is right here.
| | 03:46 | If I deleted it, say that we didn't want a
table of contents, then we come back up here
| | 03:51 | and we say table of contents, OK.
| | 03:55 | Then it loads table of contents in the
cursor where you would place at some place.
| | 03:58 | And if you didn't want to actually use it your
document, you're just using it to force the building
| | 04:03 | of bookmarks you could drag
it out on the pasteboard.
| | 04:05 | And probably it won't look as pretty as this
if you didn't take the time to actually format
| | 04:10 | it. Don't worry about it.
| | 04:11 | Now by the way, when you turn on Create PDF
Bookmarks, it will also populate InDesign's
| | 04:17 | own Bookmarks panel.
| | 04:18 | What? You didn't know that InDesign
has a Bookmarks panel? Yes, it does.
| | 04:22 | Go to the Window menu, go down to Interactive
and choose Bookmarks, and Bookmarks has been
| | 04:27 | part of InDesign for a while now.
| | 04:29 | You will see the exact same
settings that we saw in the PDF.
| | 04:34 | It has pulled the paragraph styles that we
asked it to, and it has included the Level
| | 04:39 | 2 paragraph styles as well, the
names of the actual classes.
| | 04:42 | And notice that wherever they type the word
ANIMATION, and you can double-click this by
| | 04:48 | the way, you can double-click all these entries
in the Bookmarks panel just like you can click
| | 04:51 | the Bookmarks in a PDF; you
can use it for navigation.
| | 04:55 | So here where it says, ANIMATION, they
apparently typed it in as all caps, whereas Drawing and
| | 05:01 | Applied Arts down here, they typed it in as upper
lowercase and they are just using styles to format it.
| | 05:08 | If you wanted this to be upper and lowercase, you
can either correct it here and then regenerate
| | 05:13 | the table of contents, or you can simply
edit the bookmark itself, so we can just click
| | 05:18 | once on here, just like you are renaming a
layer and say Animation, you could even add
| | 05:25 | other terms like Animation Classes.
| | 05:27 | It doesn't have to match this exactly.
| | 05:30 | Now let's export this to PDF, and by the way,
bookmarks work either if you export to Print,
| | 05:37 | or you export to Interactive, which I thought was very
interesting, and it'll work for either kind of export.
| | 05:44 | Let's do the Interactive one for now.
| | 05:45 | I am going to save this out to the Desktop,
and I actually don't want Spreads, so I am
| | 05:50 | going to say Pages, and we'll leave
everything at the default, click OK, that's fine.
| | 05:59 | And then it opens up in Acrobat, which is
my default program for opening up PDFs.
| | 06:04 | Take a look at the
Bookmarks panel and there you go.
| | 06:07 | Animation Classes just like
what we wrote in InDesign.
| | 06:11 | So it is bringing in all of the bookmarks
from InDesign and what populated the Bookmarks
| | 06:16 | panel in InDesign was the table of contents.
| | 06:20 | Now if you ever need to update the PDF, if
you have a taken the trouble to create your
| | 06:25 | TOC, then it's not a big deal.
| | 06:28 | You can just find a table of contents and
select it, and then you can choose Update
| | 06:36 | Table of Contents, and then re-export it
remembering to include PDF bookmarks.
| | 06:41 | If you export to Print, like High Quality
Print, we will just call this print and don't
| | 06:48 | forget to turn on Bookmarks down here otherwise
they are not going to appear in the print example.
| | 06:55 | One last thing I would recommend, something
that InDesign cannot do, but if you are creating
| | 06:59 | bookmarks in your PDFs, make them easily
discoverable by going to Acrobat's Properties menu, going
| | 07:08 | to Initial View and saying that the Navigation
tab should be the Bookmarks panel and the Page.
| | 07:16 | So that when it first opens, the Bookmarks
panel automatically opens as well otherwise
| | 07:20 | a lot of people are going to miss the
beautiful work that you did in your bookmarks.
| | Collapse this transcript |
| 066 Customizing the story editor preferences| 00:00 | Often after you float in a really long
story into an InDesign document and you've
| | 00:05 | applied a lot of formatting to it, I am
zooming in here so we can see this, you need to do
| | 00:10 | some editing to it.
| | 00:11 | And sometimes it's just too much of a pain to
edit wallets in place right here in the layout.
| | 00:16 | You've short lines and the layout is constantly
shifting left and right, and you're constantly
| | 00:20 | having to drag over and find where
the new places where you need to edit.
| | 00:26 | In those cases, you want
to use the Story Editor.
| | 00:28 | A lot of people don't even know that the Story
Editor exists, and briefly it is another window,
| | 00:33 | another alternative view of the contents of a story,
and a story is the contents of a single text frame.
| | 00:39 | So here if I select all with Command+A
or Ctrl+A, that's single-story.
| | 00:44 | If I select here Command+A or Ctrl+A,
select all, that's a single story.
| | 00:49 | But in a story like this that's threaded
from frame to frame, you can see I've turned on
| | 00:53 | Show Text Threads so you can see the
story continues from frame to frame.
| | 00:57 | If I click in here with my Type tool and
choose Select All, it selects all the contents of
| | 01:02 | that story, that's a single story.
| | 01:05 | The story editor lets you edit a single
story at a time in a different window.
| | 01:09 | And why would you ever want to do that? Because
it's a lot easier to do it in a single scrolling
| | 01:14 | window, especially for a long story.
| | 01:16 | So if we go to the Edit menu and go down to
Edit in Story Editor, it opens up a window
| | 01:22 | reflecting the active story, and the active
story is the one that was selected when you
| | 01:27 | chose this command.
| | 01:29 | Anything you do in the Story Editor
immediately affects the layout; basically it's just two
| | 01:32 | different views of the same file.
| | 01:35 | But if you use the Story Editor as is, like
how it comes out of the box, then you're crazy.
| | 01:41 | Because I think that this is very difficult to
edit. Look at the typeface, it's monospaced.
| | 01:47 | The lowercase Ls like here in the word
platform, they look like the number 1.
| | 01:54 | You can't see when something is
bold or italic or bold italic.
| | 01:57 | You know it's kind of one of the points of
the Story Editor is that it just shows you
| | 02:00 | the pure text without a lot of formatting.
| | 02:03 | But you are supposed to be able to see when
something is bold or not, and because of the
| | 02:07 | typeface that Adobe chose as the default typeface
for the Story Editor, it's really hard to tell.
| | 02:13 | So I want to show you how you can edit your
Story Editor Display Preferences to make this
| | 02:17 | feature in InDesign much more useful.
| | 02:19 | I am going to close this up. We're going
to go to Preferences for the Story Editor.
| | 02:25 | So on a Mac that would be under the
InDesign menu, choose Preferences.
| | 02:29 | On Windows it's the last item under the Edit
menu, go to Preferences, find Story Editor
| | 02:35 | Display right there.
| | 02:36 | And we can see that they choose a letter
Gothic Standard 12 point as a default.
| | 02:41 | And I say don't use letter Gothic Standard,
choose something else like Minion Pro is a
| | 02:45 | great one or Myriad Pro; two free open type fonts
that come by default installed with InDesign.
| | 02:52 | I'll choose Minion Pro.
| | 02:54 | Now as soon as you choose a different font
you'll get a Preview here in this little window
| | 02:59 | that says Sphinx of black quarts judge my vow.
| | 03:04 | And it's not telling your future or anything,
this is a pangram. It's a sentence with every
| | 03:09 | character of the English language in it, so
if you're looking for a typeface where the
| | 03:15 | Gs are very legible then you can always just keep your
eyeballs right here and choose different typefaces.
| | 03:21 | You can also increase the size of the typeface.
Now this is only text display in the Story
| | 03:26 | Editor, I am not really changing
the formatting of the layout at all.
| | 03:29 | And I often will change this larger, too bad this
doesn't give you preview of the larger size.
| | 03:34 | You can change the line spacing. I leave mine at
single space but you can choose one of these.
| | 03:38 | I kind of think it's interesting how this
is written out, kind of like you know word
| | 03:43 | processor Es. Instead of leading,
they are calling it line spacing.
| | 03:47 | This is interesting. You can change the
color of the text and the background.
| | 03:51 | That's black and white by default and
it's actually a theme called Ink on Paper.
| | 03:56 | But you could choose a different theme,
how about Amber Monochrome or Terminal.
| | 04:03 | I actually know somebody who wrote an
entire book in Story Editor using this theme.
| | 04:09 | And he insists that it was much easier than
the default Ink on Paper theme because he
| | 04:15 | wasn't staring at this bright white monitor
all day. It was much easier on his eyes and
| | 04:18 | I could see his point.
| | 04:20 | But I think I would just change the background to
something that wasn't white, like may be Canary.
| | 04:26 | That's kind of nice right? It's
kind of like cream colored paper.
| | 04:30 | Now you can't save your own themes but at
least you can go head and change the text
| | 04:34 | color and the background
to whatever you'd like.
| | 04:36 | So the text color we could make it lime. That's much
easier isn't it? Okay, I am going to go back to black.
| | 04:44 | Anti-aliasing is on by default and you can
choose what kind of anti-aliasing, so this
| | 04:49 | is would be for laptop monitors or you could
choose Soft Anti-aliasing and you get a little
| | 04:53 | preview here. I'll just
leave it at the default.
| | 04:57 | But here's something I really love too and
I wish we could do this layout is that you
| | 05:00 | can change the cursor.
| | 05:02 | So it's a lot easier to find a cursor if
it's barbell for example than standard.
| | 05:07 | And you can choose whether or not
the cursor should be blinking.
| | 05:11 | This level of control I love this. Like I
said, I wish we have this in layout.
| | 05:15 | So I a going to leave my Story Editor displays
as is, and I am going to make sure my cursor
| | 05:20 | is blinking in this long story.
| | 05:23 | Go back to Edit in Story Editor which is
Command+Y or Ctrl+Y, and there you go.
| | 05:28 | You can make this window large. You can even
put it right inside the document well up here,
| | 05:33 | and now I can actually see the type a lot
easier and it's not so hard on my eyes with
| | 05:38 | the white background.
| | 05:40 | So I'll close the Story Editor
window and I'm back to my layout.
| | 05:45 | The next time that you want to edit a long
story, that's highly formatted in the Layout
| | 05:49 | view, why you don't you think about switching
to the Story Editor view, where you can see
| | 05:53 | the entire story in one long scrolling window.
| | 05:55 | And if you're going to be spending any time
in there more than a minute, be sure to go
| | 05:59 | to Story Editor Preferences and
choose a better typeface at least.
| | Collapse this transcript |
| 067 Setting the size of text exactly with this free script| 00:00 | You know what's really hard in InDesign? Setting the
size of this text so that it's exactly 60 points tall.
| | 00:07 | You would think it would be easy, right? You
think you could just choose the Type tool,
| | 00:11 | select the text, and say
make it 60 points tall.
| | 00:14 | But is it really 60
points tall? Let's find out.
| | 00:17 | I am going to use my little
measuring stick called an empty frame.
| | 00:21 | I'll grab this Rectangle Frame tool and simply
click, that forces the rectangle dialog box
| | 00:26 | to appear, and I can say give me a frame
that's exactly 60 points by 60 points.
| | 00:31 | It's a little trick for
getting a measuring stick.
| | 00:35 | I'll bring this down and zoom in to like 600%,
and I can see that this text is definitely
| | 00:41 | not 60 points tall, it just isn't.
| | 00:45 | So what did I set to 60 points? Well, I set
the slug of text to 60 points. The slug is
| | 00:52 | everything that includes the
ascenders and any descenders.
| | 00:56 | For example if I type a G in here, we can
see that the ascenders and descenders have
| | 01:00 | to be included in that 60
points and indeed, they are.
| | 01:04 | I'll move that box over and you can see that
all of that gets included in the 60 points,
| | 01:09 | but that's not what my art director said!
My art director said, I want that a to be
| | 01:13 | exactly 60 points and that's what's hard.
| | 01:17 | Fortunately, I have a script
that will make it really easy.
| | 01:20 | I wrote the script up here on our site
indesignsecrets.com, it's called Set the Size of Text Exactly.
| | 01:27 | You can read about it and download it simply
by clicking on the download it here button.
| | 01:31 | Once you download it, you need to
install it. Let me show you how.
| | 01:35 | I'll go back to InDesign, I am going to go to
the Window menu and choose Utilities > Scripts.
| | 01:41 | The Scripts panel appears and I can right-click
on the User folder and choose Reveal in Finder.
| | 01:46 | On Windows, it would say
Reveal in Windows Explorer.
| | 01:49 | I want to put the script that I downloaded
inside the Scripts panel folder, not the Scripts
| | 01:54 | folder, but the Script panel folder.
| | 01:56 | So I'll double-click on that to open it.
| | 01:59 | Here in my Downloads folder, I can see the script,
except that notice that it added a .txt at the end.
| | 02:05 | That happens sometimes, it's unfortunate.
| | 02:07 | I need to change the name and remove the .txt.
| | 02:12 | InDesign scripts must end with .jsx or .js,
but definitely not .txt. There we go.
| | 02:18 | Now I have got a script that I can drag into
my Scripts panel folder, I will go back to
| | 02:22 | InDesign and you'll see that it immediately shows up
in the Scripts panel right here in the User folder.
| | 02:29 | To run the script, first select some text. I
am going to get rid of that g, I don't want
| | 02:33 | that in there, and I am going to select that whole
word, aardvark and double-click on the script.
| | 02:39 | When I do that, it says how large
do I want the character to be.
| | 02:43 | I want it to be 60 points based on the letter a. That
is, the a is going to be exactly 60 points large.
| | 02:50 | It automatically converted this
into millimeters, but that's okay.
| | 02:54 | So I'll click OK and I'll zoom back and
we'll see that the text is in my text frame.
| | 03:01 | I better make this frame a little bit larger
now, there we go to fit the whole text and
| | 03:05 | let's check it out now. Let's see without ruler,
is this 60 points? Yes, exactly 60 points tall.
| | 03:13 | Now sure, it's not every day that you need
to set text to be an exact size, but when
| | 03:18 | you need it, you really need it.
| | 03:20 | So this script is one of the many that I keep
in my Scripts panel ready for any situation
| | 03:24 | where InDesign's features
just don't go far enough.
| | Collapse this transcript |
| 068 Using Gravity to simulate perspective| 00:00 | InDesign lets you transform text and objects in
a variety of ways including scaling, rotating,
| | 00:06 | and skewing them, but there's no way to apply
the effect of perspective to an object, like
| | 00:11 | making this text appear like it's on
a plane extending into the distance.
| | 00:16 | And Illustrator can do it, but not InDesign,
but InDesign does offer a way that you can
| | 00:21 | kind of fake it, especially if you
want to affect text. Let me show you.
| | 00:26 | To apply a fake perspective effect,
I need to put my text on a path.
| | 00:30 | So I am going to grab my Pen tool and I'm
going to click, then Shift+Click and then,
| | 00:36 | this is the weird part, click again.
| | 00:39 | So I get kind of a pseudo-
triangle effect going on here.
| | 00:43 | Now I will select my Type tool, grab all that
text with a Command+A or Ctrl+A, cut it, switch
| | 00:50 | to the type on a Path
tool and click on my path.
| | 00:54 | Finally, I'll paste with a Command+V or Ctrl+V.
It's the same text but it's on a path now,
| | 01:01 | and that allows me to apply a
pseudo-perspective effect.
| | 01:05 | To get the perspective, I will switch back
to my Selection tool, go to my Type menu and
| | 01:10 | choose from the Type on a Path menu, Options.
| | 01:14 | There's nothing in here that says perspective.
Instead, you need to remember to choose Gravity.
| | 01:20 | Gravity is the effect that gives you the look
of perspective, and I'll click OK and you can
| | 01:25 | see that the text is now looking like it's on
a plane that's going off with perspective.
| | 01:31 | But how do you control that perspective?
| | 01:33 | Well, that's what this
line out here is all about.
| | 01:36 | I am going to switch back to my Direct
Selection tool and click on a place where there is no
| | 01:40 | object so I can deselect everything, because
that makes it very easy for me to hover on
| | 01:45 | top of the end point and click and drag, and
when I click and drag you'll see that the
| | 01:50 | perspective changes.
| | 01:52 | Click and drag down and you get this really
intense effect, or click and drag up and you
| | 01:58 | get less perspective.
| | 02:00 | What's going on? Well it all has
to do with this center point.
| | 02:04 | The gravity effect means point all the
text, skew it toward that center point.
| | 02:10 | Wherever the center point is that's
where the text is going to be aiming.
| | 02:14 | So by moving this point, up or down,
I actually move the center point.
| | 02:19 | If I move it way over here to the left, you
can see that the text kind of perspectives
| | 02:26 | off to the left. If I move it to
the right, I get the opposite effect.
| | 02:31 | The key is, don't pay attention to the side
handle, just pay attention to that middle point.
| | 02:37 | Now of course when I have the effect the way I
want it, I want to get rid of this black line.
| | 02:41 | I don't want the path itself to have a thick
line on it, so I'll change the Color to None.
| | 02:46 | There we go. As I mentioned, this effect works
because each character in the text is skewed
| | 02:53 | or scaled slightly differently toward that
middle point, but that means that if you only
| | 02:59 | have a couple of characters
it's not going to work so well.
| | 03:02 | This works best when you have a bunch of text
on a path, and by the way, I do want to thank
| | 03:06 | Rufus Deuchler for discovering this trick
some years ago. While it has some significant
| | 03:11 | limitations, it really can
come in handy sometimes.
| | Collapse this transcript |
| 069 Fixing the overflowing text frame problem in EPUBs| 00:00 | Adobe giveth and Adobe taketh away. Sometimes
Adobe giveth too much, and such is the case with
| | 00:08 | some EPUB features in InDesign CS6.
| | 00:10 | Now this is just an issue
that affects CS6 users.
| | 00:15 | Let me show you the issue
and then show you the fix.
| | 00:18 | So the document that I will be using is a
very short ten page book, so you can see the
| | 00:25 | cover, title page, and some text.
| | 00:29 | The bad boy here is this guy.
| | 00:31 | Let's zoom in. It's a pull quote. It's
an anchor text frame. Looks to be nice.
| | 00:35 | Now what is wonderful, what Adobe have giveth
us in CS6 is the new ability to retain a lot
| | 00:44 | of the formatting of anchor text frames.
| | 00:47 | Before when we export this to EPUB, InDesign
would just make this into another paragraph
| | 00:53 | and it would put tags around it so that you can
edit the CSS file to make a purple background
| | 00:59 | and you know, a certain width and height, and so on,
but you don't always have to redo the work.
| | 01:05 | And now in CS6, when you export a file to EPUB,
InDesign retains a lot of the attributes
| | 01:12 | of these anchored text frames, such as if
the text frame has a stroke and how wide that
| | 01:17 | stroke is, if there is a
background color, so on.
| | 01:21 | But it does a little too much
so let's see what happens.
| | 01:24 | I'll export this to EPUB from File > Export
> EPUB and we are just going to use a very
| | 01:32 | simple TOC Style,
everything else here is the same.
| | 01:35 | The images are at the default. We are going
to split the document at the Chapter Number,
| | 01:40 | so we get a new HTML document when this
chapter starts here, and that's it. So let's say OK.
| | 01:46 | It opens up in Adobe Digital Editions which
does not know how to properly size a cover
| | 01:52 | image, so I am going to go into small. Okay
so there is our cover, I don't know why it's
| | 01:56 | looking like that, but that's what it is.
| | 01:58 | The title page, Chapter 1, and you might be
saying, what's wrong? Well, other than the
| | 02:04 | fact that it's left-aligned, well right.
| | 02:06 | It's still not smart enough to keep this center
aligned but that's an entirely different topic.
| | 02:10 | Looks fine right, but what happens when I
resize the type as of course most readers
| | 02:15 | wont to do because that's one
of the features of an EPUB.
| | 02:18 | If I go to Medium--whoa what is happening
here? Why is the text over flowing? And if
| | 02:24 | I went to Large it would be even worse.
| | 02:26 | Well actually it's not
that bad but Medium was bad.
| | 02:31 | Let's go back to Medium. There you go.
| | 02:34 | The problem is that in the CSS file that
governs the formatting, InDesign included the width
| | 02:41 | and the height of this text frame in pixels.
| | 02:45 | Not thinking that many users will be resizing
the type itself so that when you resize the
| | 02:50 | type, it doesn't automatically
resize the frame that contains the type.
| | 02:55 | That is the problem.
| | 02:56 | It was not an issue before because people who
are doing the CSS would never set a height
| | 03:02 | for the pull quote, or the side bar, or whatever it is
that they are anchoring inside the text stream.
| | 03:09 | Now here is how to fix in CS6.
| | 03:11 | Select any kind of anchored text frame, and
then go to Text Frame Options, our friend
| | 03:18 | Command+B or Ctrl+B, go to Auto-Size, which
is a new CS6 feature, and turn Auto-Sizing on
| | 03:25 | for any anchored text frames.
| | 03:28 | Just Height Only, right, we don't want it to
grow width wise, Height Only and anchored
| | 03:32 | at the top. Here is little preview, so that
it won't move, hopefully it won't adjust.
| | 03:38 | If you had a bunch of extra space
underneath here, then you might see it snap up.
| | 03:43 | But because it's fitting perfectly,
it's not changing in size at all.
| | 03:48 | That's all you do.
| | 03:48 | Now by turning on Height Only Auto-Size, when
you export this to CSS, InDesign will set the
| | 03:55 | height of this frame to Auto.
| | 03:57 | So that as the user resizes the type,
the frame will also resize in height.
| | 04:02 | Let's say OK and export this to EPUB.
| | 04:06 | We will replace the existing one, same settings,
and make this small, there is the Small, let's
| | 04:17 | make this Medium and there you can see that
it resized itself, and it does so for any size
| | 04:22 | that you make the type.
| | 04:23 | So there is the feature, the fact that it
retains a lot of this formatting and there
| | 04:27 | is the fix for the feature; how to make it not
retain some of that formatting, like the height.
| | 04:32 | Use our friend Auto-Size and turn it on to
Height Only, and you know what? You might as
| | 04:37 | well include it in Object style for your anchored text frames
because you can include that setting in an Objects style.
| | 04:43 | Take a quick peek, here Object Style,
Auto-Size options, Height Only.
| | 04:50 | So you could call this pull quote and apply
it to any anchored text frame, so you don't
| | 04:56 | have to keep opening up
different dialog boxes.
| | 04:58 | There you go.
| | Collapse this transcript |
| 070 Ten uses of the Story Editor| 00:00 | If you read the InDesign Secrets blog or
listen to our podcast, you probably know that David
| | 00:05 | and I frequently refer to the Story Editor
in InDesign, but I thought I'd do one video
| | 00:10 | just dedicated to all the different ways
that you might want to use the Story Editor.
| | 00:16 | Let me give you a quick review of
what the Story Editor is all about.
| | 00:21 | It is another view of a particular story.
| | 00:23 | So if you click inside of a story, the
contents of a text frame, and you go to Edit >
| | 00:29 | Edit in Story Editor, you'll see the contents of
that text frame in another window, and any
| | 00:33 | changes that you make here--if you say Each
seminar--automatically gets updated in the layout.
| | 00:40 | So it's just another way to edit stories,
a way that is often simpler than editing in
| | 00:45 | the layout because you do
not see the same formatting.
| | 00:48 | You get to choose the type face and the size
and the background for this editing window,
| | 00:53 | and you do that in Preferences.
| | 00:55 | So if mine looks a little different than yours,
it's because I've already tweaked it a couple of times.
| | 00:59 | Let me show you ten things that are very cool
about the Story Editor that really don't have
| | 01:03 | anything to do with editing a story.
| | 01:06 | Let's start with number one,
here we have some color type.
| | 01:09 | I'm going to zoom in a little
bit with Command+Plus or Ctrl+Plus.
| | 01:13 | Has this ever happened to you, you have
some type and you want to change the color?
| | 01:17 | So you do that with Swatches, right?
| | 01:20 | And let's say, ah, I don't like this blue, so
I'm going to select all this and I'll change
| | 01:24 | the color to tangerine.
| | 01:27 | Does it look tangerine to you?
No, it looks blue, right?
| | 01:30 | So you have to click off and
look, oh no, let's do light.
| | 01:33 | I'll select all, let me try the lavender.
Is that lavender to you?
| | 01:37 | No, it's green, of course, because when you select
text, the color of the selection is the complement.
| | 01:42 | So I'm going to click off, and
here is one use for the Story Editor.
| | 01:47 | I'm just going to be pressing the keyboard
shortcut for the Story Editor from now on,
| | 01:51 | which is Command+Y or Ctrl+Y,
and it's actually a toggle.
| | 01:54 | It jumps you between the Story Editor
window for the active story and then back to the
| | 02:00 | layout, nice and easy to
remember, one keyboard shortcut.
| | 02:03 | So I'll press Command+Y, and now up here I'll
select all this text and I'll change the color
| | 02:09 | to--let's try this pale yellow, give it a
second, and it updates right here in the layout
| | 02:14 | in the actual yellow color.
Let's try the lavender again. That looks good!
| | 02:20 | So you see that even though you're working
in the Story Editor, you can still--as long
| | 02:24 | as you select the text in the Story Editor--format
it, color it, do whatever it is that you need to do.
| | 02:30 | Anything that you do in the Story Editor immediately
affects the layout, because you're essentially
| | 02:34 | editing the same content,
just in a different view.
| | 02:36 | If the selection is messing up my preview,
I jump over to the Story Editor with a quick
| | 02:41 | Command+Y or Ctrl+Y and do my editing there.
| | 02:45 | To close this, I can press the Escape key or
Command+W or Ctrl+W, or like I said before,
| | 02:49 | just press Command+Y or Ctrl+Y,
which pops the layout back to the front.
| | 02:54 | Number two: we have a caption that somebody
decided would look better if it was rotated,
| | 02:59 | little hard to edit, especially
if it's small type like this.
| | 03:03 | Command+Y or Ctrl+Y, edit it right here, Students in
the Digital Design, immediately updates right here.
| | 03:10 | It looks a little rough until you actually press
Command+Y or Ctrl+Y again and then you go to Preview.
| | 03:17 | How about applying tags?
| | 03:18 | I'm going to open up the Window
Menu and go to Utilities > Tags.
| | 03:24 | So here we have some XML Tags, and our IT
people, or our workflow people, our publication
| | 03:29 | manager, wants us to start doing things like
if it's a prerequisite we should select the
| | 03:34 | prerequisite and say that is prerequisite.
| | 03:36 | Now, in the layout you see
these tiny little brackets.
| | 03:39 | In fact, I've actually applied a whole bunch of these to
this class right here, classname, description, and so on.
| | 03:48 | Really easy to accidentally delete one of
these brackets and then mess up the tagging.
| | 03:53 | Instead, if you're doing any kind of work
with XML tagging, do it in the Story Editor.
| | 03:58 | Notice also that wherever your cursor is,
that's where your cursor will be in the Story Editor.
| | 04:03 | So a little tip, I usually make a selection
of text in the layout first so that when I
| | 04:08 | press Command+Y or Ctrl+Y, that
same text is selected, see up here?
| | 04:13 | Now you see the opening
and closing tags for the XML.
| | 04:16 | It's really difficult to
accidentally delete these guys.
| | 04:20 | So if I want to select all this without
accidentally selecting the tags, it's very easy to do.
| | 04:25 | Right here, this is the time, so
I click time and it adds the tags.
| | 04:30 | So if you're ever working with XML tags, do
so in the Story Editor, it's a lot easier.
| | 04:34 | How about footnotes?
| | 04:36 | When you add a footnote, 3D is in Fall, so
this is the footnote reference up here, and
| | 04:41 | here's the footnote down here.
| | 04:42 | If you're working in the Story Editor,
the footnote is right here in line.
| | 04:48 | So if I want to add a footnote like say right
here, I'll just go to Type > Insert Footnote,
| | 04:55 | and it appears right next to that, Despite
that--Or maybe, because of the--I don't know
| | 05:01 | what I'm writing here, but it's another
footnote and it appears right in line, and you can
| | 05:05 | click the left and right
edge to collapse or expand it.
| | 05:08 | If you're doing a lot of footnote work in
InDesign, check it out in the Story Editor,
| | 05:13 | it's a lot easier to work with.
| | 05:15 | The footnote frame appears right next to the
reference, and in fact, the frame hands the
| | 05:20 | reference number in it.
You see that little 1 and a little 2?
| | 05:24 | Now, you might be looking at another
frame right here, and this is called a note.
| | 05:28 | And let me get a little text insertion bar.
| | 05:33 | If you go up to the Type Menu and you choose
Notes > New Note, then you can type a non-printing
| | 05:40 | comment to the story.
Why is this better in Story Editor?
| | 05:45 | Because, see if you can find
these notes in the layout here.
| | 05:49 | Let me just make a little selection.
I always make a selection before I switch views.
| | 05:53 | I'll press the keyboard shortcut
Command+Y to jump back to the layout.
| | 05:57 | Look at these new icons, they're very small,
and if I were looking at it in Fit Spread
| | 06:03 | in Window, Command+Option+0 or Ctrl+Alt+0,
they can be almost impossible to find.
| | 06:10 | But all I need to do is click anywhere in
the story, press Command+Y or Ctrl+Y, and
| | 06:15 | there is my notes, really easy to see
right in line, just like the footnote.
| | 06:20 | Here's another interesting thing, what is this?
| | 06:22 | This is a hyperlink, a hyperlink
from Microsoft Operating System.
| | 06:26 | Let's select this, go to the
layout, there it is selected.
| | 06:30 | I'll press Command+Plus or Ctrl+Plus, Microsoft
Operating System, and it is leading to lynda.com.
| | 06:37 | If you're looking to see where the
hyperlinks are in a document, you can easily open up
| | 06:42 | the Story Editor and look for these little link
icons surrounding text that's hyperlinked. So useful!
| | 06:50 | Go back to the layout, how about this
feature that was added in CS5 called Track Changes?
| | 06:57 | That's the way, just like in Microsoft Word, when you
want to see who has made which change to a document.
| | 07:02 | Let's zoom in on this little story here.
| | 07:04 | In InDesign, you go to Type, go down to Track
Changes, and you Enable Track Changes in this
| | 07:10 | Current Story or in All Stories.
We'll say Current Story.
| | 07:13 | I've turned it on for this story, and I'll
delete the word other and change it to more.
| | 07:19 | Where are the Track Changes?
| | 07:21 | Open it up in Story Editor,
there is your Track Changes.
| | 07:23 | You can only see track
change markup in the Story Editor.
| | 07:28 | Another interesting use that I have found
for the Story Editor is when I'm working with
| | 07:32 | inline or anchored objects.
I have one on this spread here.
| | 07:38 | Let's zoom in a bit.
Do you see this frame?
| | 07:41 | Let me switch to Preview Mode, and
then you see this is how it works.
| | 07:45 | And if I edit this text, it
floats with the text flow.
| | 07:48 | So that's a very simple, basic
thing in InDesign is an anchored frame.
| | 07:53 | But what if I want to move it somewhere else?
| | 07:55 | Of course, I could try and figure out how
to do that with my Type cursor and try and
| | 08:00 | get just the anchored frame and so
on, or Story Editor to the rescue.
| | 08:04 | I jump over to the Story Editor, there is
my cursor, I have some Track Changes in the
| | 08:09 | story looks like, and this little anchor icon
means that there is an anchored object here.
| | 08:15 | Now, you can't tell what the anchor is.
You have to go back to the layout.
| | 08:19 | Let me select some text and
jump back to the layout to look.
| | 08:22 | But what I like about this that sometimes
I'm working with stories that have lots of
| | 08:26 | little anchor dingbats and things like
that and it's just a lot easier for me to move
| | 08:30 | them around or to make a selection immediately
before or after them right here in the Story Editor.
| | 08:36 | So if I wanted this pull quote to be elsewhere,
I could just triple-click here and then drag
| | 08:41 | and drop it to another location.
Let's move it down a paragraph, there we go.
| | 08:47 | I have Track Changes turned on, which is
why you see this appearing as a track change.
| | 08:51 | So remove from here and add it here.
| | 08:54 | Let's jump back to the layout, and
you'll see there it is, it's been moved over.
| | 08:59 | By the way, if you want to edit the contents
of an anchored text frame or an inline text
| | 09:04 | frame in the Story Editor, you need to
select inside there first and then press Command+Y
| | 09:09 | or Ctrl+Y, and then you'll be
able to edit those contents.
| | 09:13 | Let's zoom out and go back to Normal Mode, and
come over here, and do you see what's happening here?
| | 09:20 | We have some overset text.
How do you see that text?
| | 09:24 | Do you have to create a new page?
Do you have to put this on the pasteboard?
| | 09:26 | Of course not, you have the Story Editor.
| | 09:29 | Click near the overset, press Command+Y or
Ctrl+Y, and all the text that has a red line
| | 09:35 | next to it is overset.
So this is completely editable.
| | 09:39 | I might decide to completely eliminate this,
or maybe I'll say I can make this really short
| | 09:44 | and this really short and get it to fit.
Let's turn off the Track Changes.
| | 09:49 | First, I'll Accept All my Changes and
then turn off Track Changes, like that.
| | 09:58 | So you're trying to get this to fit.
| | 10:00 | You can do all of your copy
fitting right inside the Story Editor.
| | 10:03 | What's great about this is that you don't
have to mess up the layout at all, you don't
| | 10:06 | have to widen any text frames or create a
fake additional page in which to thread the
| | 10:12 | overset text onto, you can do it right here.
| | 10:14 | So if I deleted this, there
you go, it fits beautifully!
| | 10:20 | And that was number nine, and number ten
is related to overset, but it has to do with
| | 10:25 | tables that are overset.
| | 10:27 | Look at this table, it's a beautiful table,
but there's too much text to fit in the cell.
| | 10:32 | Let me select the row.
| | 10:36 | Because this row has been set to an exact
size, it's not going to automatically grow
| | 10:40 | if we add too much text, and
so we end up with overset text.
| | 10:45 | How are you supposed to access this?
Of course, now you know, the Story Editor.
| | 10:49 | Select some text in the table, press
Command+Y or Ctrl+Y, and there it is.
| | 10:55 | The interface for showing a table in the
Story Editor takes a little getting used to, I do
| | 10:59 | admit, but once you do get used to it, you
notice that every row is labeled, and if you
| | 11:05 | have multiple columns in a row, you
see them one right after the other.
| | 11:09 | So a row that doesn't have multiple
columns means that somebody merged all the cells.
| | 11:14 | So if we scroll up a bit, here is the
overset text, Principles of Good Interface Design,
| | 11:19 | that's overset in that cell.
| | 11:21 | So I'm going to delete this and see if we
can get something to fit. That's perfect!
| | 11:26 | There we go, the red line is gone, we close
this us, the red dot is gone, everything perfectly
| | 11:32 | fits inside the table cell.
| | 11:34 | So there you have it, ten great
reasons to use the Story Editor in InDesign.
| | Collapse this transcript |
| 071 Moving an object: Ten ways!| 00:00 | One reason that I'm so efficient in InDesign is that I
know how to do the same thing several different ways.
| | 00:06 | That sounds boring, but it turns out to be
really helpful because I can pick the most
| | 00:10 | efficient way to do something in
any situation I find myself in.
| | 00:14 | Take moving an object, everyone knows you can
select an object and just drag it around your page.
| | 00:20 | But did you know there are at least nine more
ways of moving an object precisely on your page?
| | 00:25 | Let me show you.
| | 00:26 | First, if you want really precise movement,
you can use the arrow keys on your keyboard.
| | 00:31 | Every time you hit the Arrow
key, it's going to move 1 point.
| | 00:33 | I'm pressing the Up Arrow on my keyboard and it moves
it up 1 point at a time, left, right, down, and so on.
| | 00:40 | If you need to move it in larger increments,
try holding down the Shift key, Shift+Arrow key
| | 00:45 | moves 10 times that increment or 10 points.
| | 00:49 | If you need really tiny fine increments,
then use Command+Option or Ctrl+Alt on Windows.
| | 00:54 | Now, it's moving in 10-point increments.
| | 00:57 | It's so small, you can barely see it on the screen,
but you can see the measurements move in the Control Panel.
| | 01:03 | Now, why do the arrow keys
move in 1-point increments?
| | 01:06 | Because that's the way
the Preferences are set up.
| | 01:08 | You can change that.
| | 01:09 | Press Command+K or Ctrl+K on Windows, choose the
Units & Increments pane, and change the Cursor Key setting.
| | 01:16 | If you want it to be quarter-point, change it to
quarter-point, if you want 10 millimeters, change it there.
| | 01:21 | It's up to you.
| | 01:22 | I'm going to leave it set to
1 point though. I like that.
| | 01:25 | Okay, method number three to move an
object is to double-click the Selection Tool.
| | 01:29 | When you double-click, you get the Move dialog box,
and you can type in exactly where you want things moved.
| | 01:34 | I want to move this over, let's say, 4
millimeters, and I want to move it down 10 centimeters.
| | 01:40 | Hit OK, and boom, it does it, very precise.
| | 01:44 | Another precise way to move
objects is to use the Control Panel.
| | 01:48 | Just change the X and Y fields at the top here.
You can change this to any value you want.
| | 01:53 | I'll change it to 400 points, or
you can even do math if you want.
| | 01:57 | Down here in the Y field, I'll just type +3
inches, hit Enter, and it moves it down and over.
| | 02:04 | What if I wanted to
center that circle in the page?
| | 02:07 | Easy, cut it to the clipboard
with Command+X or Ctrl+X on Windows.
| | 02:11 | From the View Menu, choose Fit Page in Window, or press
Command+0 or Ctrl+0, and then paste, Command+V or Ctrl+V.
| | 02:19 | Because pasting always pastes in the
center of the window and because the Fit Page in
| | 02:23 | Window always centers the page in the
window, that centers the object on the page.
| | 02:29 | Method number six: use the alignment features.
| | 02:32 | There are normally alignment buttons up here
in the Control Panel, but because of the size
| | 02:36 | of my screen right now, I don't see them.
| | 02:38 | So, I'm going to have to go to the Window menu,
choose Object & Layout, and then choose Align.
| | 02:43 | And inside the Align Panel, I can
align this object to anything on my page.
| | 02:47 | I need to use the Align To pop-up
menu here to tell it what to align to.
| | 02:52 | If I had more than one object selected, I
could choose Align to Selection, or I could
| | 02:56 | choose Align to Margins, Page, or Spread.
| | 02:59 | Let's say I want to align
this to the left edge of my page.
| | 03:02 | Just choose that and click Align Objects,
and it moves it exactly to that location.
| | 03:08 | In InDesign CS6, you can
also align to any key object.
| | 03:11 | For example, I'll Shift-click on this group
of objects over here, so now both of those
| | 03:16 | things are selected, and I want to align the
top of the circle to the top of this group.
| | 03:20 | To do that, I change this to Align to Key
Object, and then I click on the thing that
| | 03:25 | I want to be the key object,
in this case, this group.
| | 03:28 | You'll see that it's highlighted in blue.
| | 03:30 | Now, when I click on the Align to Top button,
the circle aligns to the top of the key object.
| | 03:36 | Okay, let's look at the seventh way
you can move an object on your page.
| | 03:40 | I'm going to use the Gap Tool.
| | 03:42 | I love the Gap Tool because it allows me to
resize or move an object based on the space
| | 03:47 | around the object rather than the object itself.
| | 03:50 | As I move the cursor between the circle and
the edge of the page, you'll see that space
| | 03:54 | highlights, and I see this arrow.
| | 03:56 | That indicates that I'm changing the amount of
space between the circle and the edge of the page.
| | 04:02 | If I simply click and drag here,
I'm going to resize the circle.
| | 04:06 | Oops, I don't want to do that,
and in fact, I move my page.
| | 04:10 | Let's re-center that again. There we go!
| | 04:12 | Instead, why don't I undo that,
Command+Z or Ctrl+Z on Windows.
| | 04:15 | Instead, I'm going to hold down
the Option or Alt key when I drag.
| | 04:20 | That's a secret trick for move the object
instead of resize the object, Option or Alt-drag,
| | 04:26 | it moves that object by changing the amount of
space between the object and the side of the page.
| | 04:33 | Moving an object, number eight, you can use the
Transform Panel, Window > Object & Layout > Transform.
| | 04:41 | If I select the object with the Selection
Tool, you'll see the X and Y positioning of
| | 04:45 | that object here in the Transform Panel.
| | 04:47 | But honestly, this X and Y is the
same as the X and Y in the Control Panel.
| | 04:51 | So, I'm not sure why you
would use the Transform Panel.
| | 04:54 | I suppose if it happened to be right
in front of your face, you might use it.
| | 04:57 | So there you go, now you know.
| | 04:59 | Moving object number 9 is to
transform it using Rotation or Skew.
| | 05:04 | In this case, I'm going to rotate this object so
that it shows up on the other side of the page.
| | 05:09 | First, I go to the reference point on the
left edge of the Control Panel here, and I
| | 05:13 | make sure the reference point is
on the right side middle point.
| | 05:17 | That's the point that's going to
be locked when I rotate my object.
| | 05:20 | Now, I can go over here and click on
the rotate 90 degrees counter-clockwise.
| | 05:25 | You could choose either one if you want, or in
this case you could say Flip Horizontal if you want.
| | 05:31 | Flip Horizontal, and it's going to flip it
around the reference point. There you go.
| | 05:35 | It flipped it over and kept what was the
center right side, exactly where it was, and now
| | 05:41 | it's the center, left side.
| | 05:43 | The tenth way to move an object is
kind of stretching the rules a little bit.
| | 05:47 | It's using a script.
| | 05:48 | Now, I don't know how to write the script
myself, but I do know how to run scripts.
| | 05:52 | You go to the Window menu, you
choose Utilities and then choose Scripts.
| | 05:57 | Inside the Scripts Panel, you'll find some
folders, for example, the Application folder here.
| | 06:03 | Inside the Application folder, scroll down
to the Samples folder, open that, and you'll
| | 06:07 | find the JavaScript folder, and inside that
JavaScript folder, there is a script called AdjustLayout.
| | 06:14 | The problem is that the AdjustLayout script that
ships with InDesign is actually broken in InDesign CS6.
| | 06:19 | So I have a modified version that I use.
| | 06:22 | And the modified version, you
can find it InDesignSecrets.com.
| | 06:26 | You can just go to the site and look for
this blog post that I wrote and then download it
| | 06:30 | from there, install the script, there are
instructions on how to do that, and then run it.
| | 06:34 | After you install the script and come back
to your document, you'll see your script,
| | 06:38 | this one is called AdjustLayout_modified,
just double-click on it, and it will run.
| | 06:43 | In this case, it doesn't just
move the one object that's selected.
| | 06:47 | It moves all the objects on the page, and
so I'm going to say just move page 1 to page 1,
| | 06:52 | which is an odd page, so I'm going to say move it over
3 centimeters and move it vertically about a quarter inch.
| | 07:00 | You click OK, and it moves everything over.
So, it's kind of cheating.
| | 07:04 | I'm not moving just one
object, but you get the point.
| | 07:07 | You can move an object with a script.
Okay, sure, some of these are rare cases.
| | 07:12 | But remember, the more you know about InDesign,
the more fun it is, and the more efficient you become.
| | Collapse this transcript |
| 072 Understanding optical margin alignment (and the quote trick)| 00:00 | There is nothing technically wrong with this
column of text, but we can make it look far
| | 00:04 | better with a single click.
| | 00:06 | Look at this right margin, we have
justified text, and we can see that the hyphens and
| | 00:11 | the commas and so on push the text in, off
the edge of the text frame just a little bit.
| | 00:17 | But it's enough that it's visually different.
| | 00:20 | We have sort of an uneven
line down the right edge.
| | 00:23 | Don't like that, but look what happens if I select
the text frame, go to the Type Menu and choose Story.
| | 00:30 | That opens the Story panel and I
can turn on Optical Margin Alignment.
| | 00:35 | When OMA, or Optical Margin Alignment, is
turned on, InDesign pushes hyphenation outside of
| | 00:41 | the margins just a little bit, so
that you get a more visually even line.
| | 00:46 | It just looks that much better.
| | 00:48 | But it's not just the hyphens and commas and
periods and other punctuation, it's every character.
| | 00:54 | InDesign literally analyzes every character
and sees whether it should push out a little
| | 00:59 | bit to the left or to the
right to make a more even line.
| | 01:02 | That's why on the left side you will
see the V is pushing out just a tiny bit.
| | 01:07 | Capital T will push out even more.
The quotation marks also push out.
| | 01:11 | The headline also pushes a little bit out
of the text frame, but we are not getting
| | 01:15 | an even line at all.
| | 01:17 | I typically would want that capital T
to line up with a capital A beneath it.
| | 01:22 | The reason we are not getting more hung
punctuation there is because of this setting in the bottom
| | 01:27 | of the Story panel.
| | 01:28 | This is currently being
optimized for 12-point text.
| | 01:32 | I could make it much larger, like 36 points, but
then you will see it messes up all the other text.
| | 01:38 | So I need to have something in between.
| | 01:40 | I am going to set this back to 12 point, and
instead I am going to manually push that quote
| | 01:45 | mark out into the margin.
| | 01:47 | I can do that by double-
clicking to switch to the Type tool.
| | 01:51 | I'll press the Left-Arrow key to place the
text at the beginning of the story before
| | 01:56 | that quote, and I'll press a space,
just a Spacebar, that's all.
| | 02:01 | Now I am going to apply a large amount of
negative kerning to pull that line back.
| | 02:06 | I'll go up to the kerning field of the
Control panel and set this to, let's say -700.
| | 02:13 | That's a huge amount, but it's just enough
to get that T back in line where I want it.
| | 02:19 | Often when you do this kind of thing you get
a little bit of screen re-drop problem, that
| | 02:23 | is the screen all of a sudden is not accurately
reflecting with the way the final document will look.
| | 02:28 | If you simply zoom in or zoom out,
that usually clears up.
| | 02:32 | For example, I'll press Command+Plus to
zoom in a little bit and you'll see that there
| | 02:36 | is the quote looking just fine.
| | 02:39 | Now let's say, I go and show this to my Art
Director and she says, I love the way this
| | 02:43 | looks, nice even columns, I love this
quote hanging out in the side, looks beautiful.
| | 02:48 | But down here I have this quote hanging
out as well and she might not like that.
| | 02:54 | It's a funny thing, but some people really don't like
having those quotes sticking out in the left margin.
| | 03:00 | But there is a weird trick we can use here
to actually push that quote back inside the
| | 03:05 | margin and make it more
palatable to people who don't like it.
| | 03:09 | So I am going to click here and then I'll press the
Left Arrow to move to the left side of that quote mark.
| | 03:14 | And then I am going to
press any small character.
| | 03:17 | I'll just press a Period--you could use a
Comma or a Single Quote or anything small
| | 03:21 | and it typically will work fine.
| | 03:23 | You can't use a Space like we did earlier with that
quote, because we are in the middle of a paragraph.
| | 03:28 | I could type as many spaces as I want here and it
simply does nothing, because InDesign ignores them.
| | 03:33 | So I have to type an actual
character, like this Period.
| | 03:36 | Now I don't want that dot to show up, so I'll
select it, I am going to make the color None,
| | 03:43 | that makes it disappear, and I'll also set the
size to something really small like 2 points.
| | 03:49 | So now it's invisible and takes up almost
no space, but it gets hung out in the margin
| | 03:54 | instead of the quote.
My Art Director is happy.
| | 03:58 | The only thing you need to watch out for
here is if you ever export this document out as
| | 04:01 | HTML or EPUB, something like that, because
that dot will actually still be there, you'll
| | 04:06 | need to strip it out before you do that.
| | 04:08 | Obviously, this level of fine tuning is not
required if you are throwing together a quick
| | 04:12 | newsletter, but if you really care about how
your page looks, it's worth taking a little
| | 04:17 | extra time to enable Optical Margin
Alignment and then tweaking when necessary.
| | Collapse this transcript |
| 073 Changing the shape of any frame with the pen tool| 00:00 | Something that is central to how InDesign
works that I found a lot of users don't realize
| | 00:06 | is that there is no such thing as a frame.
| | 00:09 | You might say, oh, I am going to drag out
a Text frame, so you drag out a Text frame,
| | 00:13 | or I am going to drag out a frame for an image.
| | 00:16 | These are called frames, but
you know what they really are?
| | 00:18 | They are really paths.
| | 00:20 | There are four paths that are connected
with points in a shape of a rectangle.
| | 00:24 | So they are there for your convenience.
| | 00:26 | You might as well, if you want to drag out
a text frame, use the Pen tool and then just
| | 00:31 | click four times--I am holding down the
Shift key to keep things on a straight narrow.
| | 00:36 | And then close it up.
| | 00:37 | Little off, but you would see what I mean,
that is a text frame, I can click inside it
| | 00:41 | and there we go, we have a
text frame, that's working for us.
| | 00:45 | What that means then is that all of the
frames on your pages and many other things besides
| | 00:49 | frames are simply paths.
| | 00:52 | And they can be edited
with any of the Path tools.
| | 00:55 | You can add points to them with Pen tool,
you can change the direction of some of the
| | 01:00 | points, you can change like the corners of
your text frames to curves if you wanted to,
| | 01:05 | you could delete points and then you can adjust the paths
and the points themselves with the Direct Selection tool.
| | 01:12 | So a very simple example is like, let's
take a look at this Text frame, quote unquote.
| | 01:18 | And say that we wanted
the left edge to be curvy.
| | 01:22 | The easiest way to do
that is with actual Pen tool.
| | 01:25 | You don't need to go to the Add Anchor Point
tool because by default when you hover with
| | 01:29 | the Pen tool over an existing
path, anywhere on the path.
| | 01:33 | When you see the little Plus symbol appear
that means it knows to add an anchor point there.
| | 01:37 | If I just click it will create a corner point.
| | 01:40 | If I press and drag, it
will create a curve point.
| | 01:44 | So let's make a curve down here in the middle.
| | 01:48 | Press and drag and you are
dragging out the curve handles.
| | 01:52 | Let's look at it in Preview mode,
everything is deselected, that looks pretty neat.
| | 01:57 | You can do that with any of the existing frames
in your document, picture frames or text frames.
| | 02:04 | Let's go back to Normal view.
| | 02:07 | Sometimes you need to use this ability for
production reasons rather aesthetic design
| | 02:12 | reasons like, there are occasions when I mean it to
notch in a corner of a frame, graphic frame or text frame.
| | 02:20 | You might need to select the frame first
so I am holding down the Command or Ctrl key
| | 02:24 | for temporary selection tool.
| | 02:26 | And then hover the tip of
the pen, the very nib of it.
| | 02:30 | I want one there and
then I need other one there.
| | 02:34 | And then to adjust the points by
themselves, use the Direct Selection tool.
| | 02:39 | And I can just drag this and deselect, click
in the blank area, click once to just select
| | 02:44 | that one point and then you
can drag it and there we go.
| | 02:49 | So now I have bitten out
a corner of a text frame.
| | 02:53 | Still a normal text frame, I can
still edit text and it wraps as normal.
| | 02:59 | Now not everything that looks like
a path in Indesign can be modified.
| | 03:03 | Like for example, this
arrow that I have up here.
| | 03:06 | This is drawn with the Pen tool
and I can add points to this path.
| | 03:11 | And we select it, there is
one point down there already.
| | 03:14 | I can add more points if I
wanted to, make it even curvier.
| | 03:18 | I can adjust the existing points by selecting
them and dragging them with direct selection tool.
| | 03:23 | I can drag on the
direction handles to change that.
| | 03:27 | What I can't adjust and what I wish
we could adjust is the arrow heads.
| | 03:31 | That would be great, if we could select this
and make it a larger arrow head or a smaller one.
| | 03:36 | Can't do that to either the
beginnings or the ends of the strokes.
| | 03:39 | The starts to the ends that you see here,
these are not editable unfortunately.
| | 03:44 | Now there are a couple of things you can edit with
path editing tools in InDesign, for example, wraps.
| | 03:49 | Just take a look at this triangle
interacting with this text frame here.
| | 03:53 | I am going to zoom in.
| | 03:55 | So here is the triangle and then I have
applied a wrap to it so I open the Text Wrap panel.
| | 03:59 | And it has a two point wrap which is reasonable
but, because of the way text works, it's impinging
| | 04:05 | too much on the bottom.
| | 04:07 | If you zoom in and you see the wrap boundary
then you can use your Direct Selection tool,
| | 04:14 | to adjust the wrap.
| | 04:15 | Now when my direct selection tool is over a
sub path--meaning a part of path in between
| | 04:19 | points--it gets that line next
to the curve shape, see it appear.
| | 04:24 | When it sticks to a point you get the Square
that means it is going to select the square.
| | 04:28 | But I want to move this line and if
I just drag it up a bit, there we go.
| | 04:34 | So I've been able to adjust that and I
have another wrap over here on the right, this
| | 04:38 | girl over here, if I select it
and look at the Text Wrap panel.
| | 04:42 | This is detecting edges
of the picture of the girl.
| | 04:45 | Zoom out and if I want to adjust this one
pica wrap around the edge, I really can't see it.
| | 04:52 | The trick is that you need to select the
picture with the Direct Selection tool.
| | 04:57 | Click on it and then you'll see the wrap path.
| | 04:59 | Then I can zoom in and then with my Direct
Selection tool I can drag the points around
| | 05:06 | to sort of cheat this in your out, sometimes
you have a bad hyphenation happening and you
| | 05:11 | just want to sort of give it a
little bit more room at a certain point.
| | 05:15 | I'll move it back out or you can even add
or remove a point if I wanted to remove a
| | 05:20 | point, hover over an existing point to
straighten that line, maybe you added a point by mistake,
| | 05:26 | you can get rid of it.
| | 05:28 | In fact, if you select this graphic and you
can tell InDesign to detect the clipping path.
| | 05:34 | You can even turn that
clipping path into a frame.
| | 05:37 | If I select this graphic and go to the Object
menu, go down to Clipping Path > Options and
| | 05:44 | say, hey, find me the clipping
path with detect edges. There it is.
| | 05:49 | And now I can actually select it again and
say convert that clipping path to a frame.
| | 05:55 | And then delete the girl herself and now I have an
image frame that I could fill with another image.
| | 06:02 | Just follow this rule of the thumb.
| | 06:04 | If it looks like a path, it
probably is an editable path.
| | 06:08 | And give it a go with Pen
tool and Direct Selection tool.
| | Collapse this transcript |
| 074 Working with sets in the content conveyor tool| 00:00 | One of the interesting new features in
InDesign CS6 is this thing called the Content Tools,
| | 00:07 | Content Collector, Content Placer, and
Content Conveyor, and they're used to grab content
| | 00:14 | from one area of your InDesign document and
put them elsewhere in the same document or
| | 00:18 | in another document, kind of like a permanent
clipboard while the InDesign document is active.
| | 00:25 | The tools are right here in the Toolbar,
the Content Collector Tool. The shortcut is B,
| | 00:29 | and if you press B again it switches to its
partner in crime, which is the Content Placer.
| | 00:34 | And if I press and hold down here, you can
see the Content Collector is an arrow that
| | 00:39 | goes into a little bucket and the Content
Placer is an arrow that comes out of the bucket.
| | 00:44 | And whenever you choose either of these tools,
you'll get the Content Conveyor, which is
| | 00:48 | this gray thing right here.
| | 00:50 | And when the Content Conveyor is active,
meaning that one of these tools is active, then when
| | 00:55 | you click on an object with the Content
Collector it selects that object and copies it to the
| | 01:01 | Content Conveyor, so click, click, click,
that's a group, click picture, caption, and so on.
| | 01:10 | These are normal content items, and so the
cursor is telling you that you are still in
| | 01:15 | collecting mode, and so far you have
five items, a group is counted as one item.
| | 01:19 | And if you tap the B key, which toggles to
the other content tool which is the Content
| | 01:24 | Placer, then you'll see a preview.
| | 01:26 | Unfortunately, you don't see previews of text
if it's small, but if I press the Right Arrow
| | 01:31 | key to cycle through, you'll see--if the text is
large enough--you'll see a preview and your cursor.
| | 01:36 | That's the group, so if I
click, the group gets placed.
| | 01:40 | So that is the basics of the Content Conveyor,
and you might already know how this works,
| | 01:45 | but I want to talk about
working with sets. So what is a set?
| | 01:48 | Let's back out.
| | 01:49 | I'm just pressing the Escape key
to get rid of some of these things.
| | 01:53 | And I'll get rid of you too.
I don't want to place you. There we go.
| | 01:58 | So I'm going to press the B key again to
start all over, and now instead of just clicking
| | 02:04 | on an item to add it to my Conveyor, I'm going to
drag across and Marquee Select a bunch of items.
| | 02:11 | That gets added as a set.
So it's different than a group.
| | 02:15 | A set shows up as one item in the Content
Conveyor, but it's got a number on it showing
| | 02:20 | you how many items are in the set.
| | 02:22 | So now I can go to another page or another
document, I'm just going to press Command+Shift+P
| | 02:27 | or Ctrl+Shift+P on a PC to add another page.
| | 02:31 | And if I tap the B key to switch to the Content Placer,
you see the icon how it shows those three squares?
| | 02:38 | That means that a set is active.
| | 02:41 | And the number one means that this is
the one item that is in my Conveyor.
| | 02:47 | If I just click, it places everything in the
set in the same relationship and at the same
| | 02:52 | size as what it was when I first
grabbed it, I remember I did a marquee select.
| | 02:57 | I'm going to undo, I'm still in Content
Collector mode, look at the active tool in the toolbar.
| | 03:03 | I need to tap the B key to switch to the
Content Placer, now I see the three squares.
| | 03:09 | Now let's say that in that set of
multiple items, I want to just place one of them.
| | 03:15 | And this time instead of clicking, I'm going to tap
the down arrow, and that drills down into the set.
| | 03:22 | Take a look what's happening here.
| | 03:23 | You can see that you are drilled down,
you're like going down into the basement, down one
| | 03:27 | level, and now we see the
individual members of this set.
| | 03:31 | And I can use my arrow keys to cycle through
here and choose whichever item I want to place.
| | 03:36 | So if I just want to place
this guy I can click there.
| | 03:39 | And I don't have to place all of them.
| | 03:41 | If I want to move up again in the hierarchy, tap
the Up Arrow key, and there we have the set again.
| | 03:47 | And if I drag, those items get placed,
except for this one that I already placed.
| | 03:53 | So let's try that again.
| | 03:54 | This time we'll do a
combination of single items and a set.
| | 03:59 | Let's come up over here, so you are in Content
Collector mode, click on one item, that gets added.
| | 04:07 | Click on one item, that gets added.
And now I'm going to click on a group of items.
| | 04:12 | I'm holding down the Spacebar key to get my
little grabber hand to pan the screen around.
| | 04:18 | Let's say that I want to grab these three
things all together, so I will marquee drag
| | 04:23 | around all of them and they get added as a set.
| | 04:26 | I'll just move out here to the
pasteboard a bit--let me give us some more room.
| | 04:30 | I'm going to switch to the Content Placer
by tapping the B key, toggles between Content
| | 04:34 | Collector, Content
Placer and look at the cursor.
| | 04:38 | So right now I have that type on
a circle loaded in my place gun.
| | 04:42 | And I see a little preview of it,
really hard to see this piece of artwork.
| | 04:47 | But the more important thing to look at is
that there's a paintbrush icon upper-left.
| | 04:51 | That tells you that you have one
thing that you're about to place.
| | 04:54 | So I'm just going to drag it off over here.
| | 04:56 | Now we have text, and it's really hard to
see, but there is a little icon upper-left
| | 05:02 | of tiny type, and I'll place that over here.
| | 05:05 | And now look at what we have, we have a
picture of a girl, but look at the icon.
| | 05:08 | It's not a paintbrush, it's the three
dots that means that you have a set loaded.
| | 05:13 | Now if I drag, it's going to drag
all three items. I'm going to undo.
| | 05:20 | If I don't want to place all three items,
if I just want to place like the text frame,
| | 05:25 | you always have to remember get to the Content
Placer Tool, tap the B key, tap the Down Arrow
| | 05:31 | key, and we have drilled down into this set.
| | 05:34 | Now I can tap the right arrow until I get
to my text frame, there is the text frame.
| | 05:40 | If you don't want to place anything else from
that set, you can just keep pressing the Escape
| | 05:44 | key until it's all cleared up.
| | 05:46 | When the Content Conveyor panel is empty,
pressing the Escape key one more time closes
| |
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