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When in doubt, be obsessive

From: InDesign CS3 One-on-One: Style Sheets

Video: When in doubt, be obsessive

In this final exercise of the chapter, I am going to show you another way to update Character Styles and also how to deal with local overrides because it's slightly different than when you are working with a Paragraph Style. I am working inside of a document by the way, a catch-up document, our final catch-up document for this chapter called Goodbye mud brown.indd found inside the O4 Charstyles folder and of course I have named this file Goodbye mud brown because the mud brown is gone in favor of this lustrous blue, this sort of cobalt blue here. Alright. So now at this point just for the sake of argument here, those of you who might care to argue with me.

When in doubt, be obsessive

In this final exercise of the chapter, I am going to show you another way to update Character Styles and also how to deal with local overrides because it's slightly different than when you are working with a Paragraph Style. I am working inside of a document by the way, a catch-up document, our final catch-up document for this chapter called Goodbye mud brown.indd found inside the O4 Charstyles folder and of course I have named this file Goodbye mud brown because the mud brown is gone in favor of this lustrous blue, this sort of cobalt blue here. Alright. So now at this point just for the sake of argument here, those of you who might care to argue with me.

You might say, "Okay Deke, you know what, I kind of half-buy what you are doing here, this obsessive styling of this document. I buy the fact that you went ahead and styled the numbers with Step number because that is pretty special and I buy the fact that you went ahead and styled these leaders with Step leader. But what are you doing assigning special styles for things that are just italic and bold type? That's nuts." For example, this text here, which is styled in Emphasis italic, if I double-click on Emphasis italic, it's telling me that it's Adobe Caslon Pro + Italic, that's all it is.

It's just really just the Italic style and nothing more because the text was already set in Adobe Caslon Pro. So I'll cancel out of there, so you may think we well, all you have to do, to access Italic type in InDesign, is you just select the type, right? And you press Ctrl+Shift+I or Command+Shift+I on the Mac that's all you do. So, what in the world, are you doing creating a style for this purpose? Or how about this bold stuff right there, if I click inside Line Art, it is styled with Emphasis bold and all it is if I double-click on it is bold. That's it.

That's all the style does, it's bold. What a dopey style. After all, you can select some text and press Ctrl+Shift+B or Command+Shift+B on the Mac in order to make it bold. Okay, but here is the problem. I will undo that modification. Here is why my lunacy is not so lunatic as it were. It is not so dopey. This is actually a really smart approach, stupid as it may seem and obsessive as it may seem as well, not that anybody has ever called me obsessive before, but here is the deal, here is the reason it's a really smart thing to do. What if you decide you want to make a slight change? I am going to go ahead and zoom-in on this text and sometimes it's hard to get a sense of how text is really going to read when you are looking at it on screen.

For example - we are way zoomed-in and yes, this far zoomed-in, this Line Art text looks too heavy. This bold text looks too heavy with respect to the plain text around it. But when you zoom-out on screen, it doesn't look all that heavy, does it really? I mean once you start zooming-out; it is barely distinguishable from the regular text around it. But I am here to tell you, when this text gets printed, even if you are far away from it, it's going to come off more like this, come off more like the zoomed-in version. This bold text is going to seem very heavy especially if you are reading along inside of the text and all of the sudden you are hit with this big bold word; it's going to interrupt legibility.

Now I want people to know that this is literal text, so they are not reading it as part of the sentence as for example Save, the Save button being - somehow we are trying to save a button, like you read the word save as a verb. So I want to call it out especially so that there's little bit of a subliminal message really, but I don't want it to be this heavy. I want to change the font to something that is a little less bold than bold. So, I am going to move down here to Line Art once again, I am going to go ahead and select just the words Line Art, just Line and Art like so. I am going to go up here to the Control palette and I am going to note that I am working with the font Adobe Caslon Pro which ships along with InDesign, fair enough. And then I am going to change it from Bold to same Semibold. Perfect, just a little backed off from Bold.

So it's kind of a cross between Bold and Regular as it were. So I will go ahead and assign that local override to the text and then just to make sure I would like it, I will press Ctrl+Shift+A or Command+Shift+A on the Mac to check it out and it looks good. Alright, but if I select that text again, I see that if I have got a local override, I have got a little + sign right there next to my type. Now if you want to eliminate a local override and notice if I hover over it, it tells me Semibold is the override. If I want to eliminate that override, notice that I don't have a little sort of button down here, the way I do inside of the Paragraph Styles palette.

So to eliminate local override, your only option is to Alt+Click or Option+Click on that style and that will return the text to bold. I don't want that however; I just wanted to show you that's how it works. I will go ahead and undo that modification. Instead what I want to do is I want to update this Emphasis bold style and that will update all text that's linked to that style. Otherwise if this were real document, one of my real lessons that has like 40 or 50 pages in it and several hundred instances of this bold style, if all I had done was do it your way and press Ctrl+Shift+B or Command+Shift+B all over the place, well that might not have been your way, but you are the foil in this case.

Then I would be up the proverbial creek. I won't name the creek, but I would be in trouble, right? I would then have to spend a lot of time redoing that text whereas, all I have to do in my case because I was smart about the approach, smart/obsessive, all I have to do is I go up to my Character Styles palette menu right there and I choose Redefine Style, which as a keyboard shortcut, a slightly different keyboard shortcut this time around, of Ctrl+Shift+Alt+C or Command+Shift+Option+C on the Mac. I choose Redefine Style and watch OK right here. As soon as I choose that command, OK changed ever so slightly.

So, this was before, the thick OK; this is after, the more temperate OK. I have updated every single bit of type that is associated with that Emphasis bold style. Oh my goodness! I have got to tell you, that is the way to work. If you are obsessive and just a total control freak about the application, about the creation and application of your style sheets upfront, your future self is going to be so happy and so relaxed, on vacation even.

Alright, that's the end of this chapter. In the next chapter, we are going to move on to Character Styles on steroids, when we check out how to employ nested and numbered styles, you don't want to miss it.

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This video is part of

Image for InDesign CS3 One-on-One: Style Sheets
InDesign CS3 One-on-One: Style Sheets

89 video lessons · 10836 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 49m 7s
    1. How style automation works and why every file needs it
      2m 26s
    2. Installing the DekeKeys shortcuts
      3m 58s
    3. Meet the Eyedropper tool
      5m 43s
    4. Using the "loaded" Eyedropper
      2m 23s
    5. Loading new attributes
      1m 33s
    6. Lifting some attributes (and not others)
      4m 19s
    7. Eyedropper FYIs
      4m 51s
    8. The five kinds of style sheets
      3m 16s
    9. Meet the paragraph style
      2m 46s
    10. Applying the Find/Change command
      3m 41s
    11. The style sheet domino effect
      4m 10s
    12. Meet the object style
      4m 19s
    13. Appending a paragraph style to an object style
      2m 5s
    14. The power of the local override
      3m 37s
  2. 30m 5s
    1. The most common and useful style sheet
      40s
    2. Creating a paragraph style
      3m 57s
    3. The Paragraph Style Options dialog box
      3m 56s
    4. Assigning a keypad shortcut
      3m 9s
    5. The better way to create a style
      1m 30s
    6. Basing one style on another
      3m 16s
    7. Assigning a Next Style setting
      2m 31s
    8. Creating a closed style loop
      1m 40s
    9. Using the Quick Apply function
      3m 30s
    10. Formatting an entire story in one click
      2m 43s
    11. Auto-formatting as you type
      3m 13s
  3. 20m 44s
    1. Style sheets are dynamic
      39s
    2. Changing the font for multiple style sheets
      4m 29s
    3. Updating a shared attribute
      2m 24s
    4. Type style, skew, and tracking
      4m 12s
    5. Clearing and integrating local overrides
      3m 6s
    6. Removing widows with Balance Ragged Lines
      2m 47s
    7. Additional tricks for clearing overrides
      3m 7s
  4. 35m 13s
    1. Styling words, numbers, and symbols
      1m 16s
    2. Organizing style sheets
      6m 14s
    3. Character styles protect overrides
      5m 21s
    4. Creating a character style
      3m 44s
    5. Prioritizing style sheet shortcuts
      5m 24s
    6. Applying your new character style
      2m 51s
    7. Updating two styles in one pass
      4m 24s
    8. When in doubt, be obsessive
      5m 59s
  5. 1h 17m
    1. Character styles on steroids
      1m 15s
    2. Repeating style elements
      4m 0s
    3. Establishing a nested style
      3m 32s
    4. Setting the range of a nested style
      4m 3s
    5. Troubleshooting the nested range
      6m 49s
    6. Assigning automatic numbers
      2m 13s
    7. Assigning automatic bullets
      4m 49s
    8. Starting and restarting numbered sequences
      4m 16s
    9. Nesting a number or bullet style
      4m 45s
    10. Setting precise guidelines
      6m 24s
    11. Right-aligning numbers
      7m 31s
    12. Center-aligning bullets
      4m 10s
    13. Auto-numbering figures
      3m 0s
    14. Creating a custom Number setting
      4m 18s
    15. Specifying a chapter number
      3m 9s
    16. Numbering across threaded frames
      4m 5s
    17. Using a "list" to number across stories
      4m 29s
    18. What you can and can't do
      4m 37s
  6. 53m 18s
    1. If you make tables, listen up
      1m 1s
    2. A tale of two tables: Introducing the document
      2m 15s
    3. Creating a cell style
      5m 8s
    4. Adjusting the Inset values
      3m 37s
    5. Formatting the body of a table
      4m 22s
    6. Creating and applying column styles
      5m 32s
    7. Creating an all-inclusive table style
      4m 42s
    8. Converting and styling a table
      4m 49s
    9. Fixing formatting errors
      4m 21s
    10. Fixing row height and column width
      5m 25s
    11. An argument for independent cell styles
      2m 33s
    12. Making a dependent cell style
      3m 26s
    13. Selectively applying a cell style
      6m 7s
  7. 1h 10m
    1. The convergence of very nearly everything
      1m 18s
    2. Updating a style from the Find Font command
      4m 24s
    3. Step, Repeat, and Distribute
      4m 57s
    4. Adding text; removing style
      3m 3s
    5. Object-level formatting attributes
      3m 48s
    6. Creating an object style
      3m 43s
    7. Creating paired paragraph styles
      6m 28s
    8. Nesting paired paragraph styles
      3m 9s
    9. Inline and above line graphics
      5m 19s
    10. Creating an anchored object
      6m 29s
    11. Viewing frames and threads
      3m 52s
    12. Creating an anchored object style
      3m 48s
    13. Establishing anchored object defaults
      3m 44s
    14. Problems? Fit the frame to the contents
      4m 35s
    15. Employing a highly selective object style
      5m 27s
    16. The best way to anchor objects
      2m 23s
    17. Moving and anchoring text and objects
      4m 4s
  8. 1m 7s
    1. Goodbye
      1m 7s

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