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Explore the numerous type options, type-related features, and type-specific preferences of Adobe InDesign. Using practical, real-world examples, instructor and designer Nigel French dissects the anatomy of a typeface and defines the vocabulary of typography. The course moves from the micro to the macro level, addressing issues such as choosing page size, determining the size of margins, adjusting number columns, and achieving a clean look with baseline grids. This course takes you from laying out a page to delving into the hows and whys of typography.
Obviously, we can make our text edits in our Layout View, but we can also make text edits in the Story Editor, and when you're working with a long document, the Story Editor may be the more efficient place to make those edits. If I select a story, either with my Selection tool, or my Type tool, and then come to the Edit menu, and choose Edit in Story Editor, I see I have one continuous galley of text. My progress in editing this text is not inhibited by page breaks, column breaks; everything is at the same size.
The only formatting I see is bold or italicizing. I don't see any graphics, or any other elements that will distract me from the text. So if it's text you need to edit, then consider the Story Editor. You can also apply your paragraph styles. So you'll see here, it tells me that this is Course name. If I want to apply another style to it, I just click on that style. We see the name of the style appear in this sidebar column, but it doesn't change its appearance.
Only when we're back in the layout do we see the appearance change, beyond the fact, in this case, of turning it to upper and lowercase, as opposed to all uppercase. It is in the Story Editor where we can see overset text, and that's one of the things that makes it very useful. If I come and select this last column of this story -- I can tell it's the last column of the story, because my out port there is empty -- and delete that, then go to the previous column in that text flow, we see I have a red plus, indicating overset text.
Now, if I want to read that overset text, I can come to the Story Editor, and when I scroll down, at the point at which I get the red highlighting, that is my overset text. You can change the way you view the type in the Story Editor. This is a preference. For my aging eyes, I've chosen 14 points and 150% space. This has absolutely no effect on how things print out; this is just for your own ease of editing.
The Story Editor also has an unexpected benefit, and that unexpected benefit is that it is a good place to troubleshoot any spacing problems you might have. And believe me, you will have spacing problems. There are many things that can go wrong, and it's often difficult to figure out what is going on when you're in the Layout View. So as part of the detective process in troubleshooting your problems, the Story Editor is a very useful tool. I'm going to create a problem down here by applying the Keep option to that piece of text.
Now, you saw me do that. Obviously, in this case, we know what the problem is, but often when you're facing a situation like this, you're looking at a text frame, and you have no idea why that extra text is overset. Firstly, you need to get to the text to be able to fix it, but no matter how much I extend the length of this text frame, that text is not going to come back. But we can access the text in the Story Editor; Command+Y or Control+Y, and if I scroll down, that's the point at which it becomes overset.
And now my troubleshooting instincts kick in, and I figure that it has to be a problem with this paragraph, and of course, that was the problem. Easy to solve, as I just made the problem, but you get my point. It's the Story Editor where we can get under the hood of our car, and we can figure out what the problem with the engine is.
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