By Anne-Marie Concepción | Thursday, June 26, 2014
Your design is done. It looks great! But when you go to print it, InDesign squawks at you. It’s finding problems that aren’t detectable to the naked eye: overset text, missing fonts, missing links. That’s all fine and good—but why doesn’t InDesign alert you to these issues earlier in the process?
By Lauren Harmon | Thursday, June 19, 2014
Most Photoshop and Illustrator users are familiar with the concept of a mask: a layer or selection that hides the artwork immediately beneath it.
Though you won’t find the word “mask” in InDesign, you can still create masking effects with this technique from David Blatner, involving InDesign’s Knockout Group option. He’ll also show you how to edit your masks and preserve them when you export to PDF. Watch the free video below to get started.
By David Blatner | Thursday, June 05, 2014
Designing a book cover can be a chore. The spine can be particularly challenging when you’re not sure how wide the final printed book will be.
But if your layout is set up correctly, InDesign can help you resize the cover to fit. In this week’s free episode of InDesign Secrets, David Blatner shows you how to set up your InDesign document and lay out a book jacket, including front, back, and spine. Plus, learn to use the Page tool to resize the width of the spine and export a PDF with fold marks.
Watch this week’s movie to get started, and check back next week for more free tips!
By Anne-Marie Concepción | Thursday, May 29, 2014
Designers collect fonts like magpies. True font enthusiasts may have thousands of typefaces loaded on their computer at any one time. So how do you find the one you need? Anne-Marie Concepción spills the secrets to sorting and filtering fonts in InDesign CC. Earlier versions of InDesign offer a few of these tricks, but as Anne-Marie reveals in this week’s movie, the search field in CC make it easier than ever to find the font you need: Arial to Zapfino, light, bold, or condensed.
By David Blatner | Thursday, May 22, 2014
Gradients are a great way to spice up your type. But there are other techniques you can use to build bolder, richer gradients, and avoid the muddled grays that can occur in the middle of black-to-color transitions.
By Lauren Harmon | Thursday, May 08, 2014
When you edit images in other programs like Photoshop, InDesign will often re-scale the image when it realizes there was a change. In most cases, this is perfectly appropriate behavior. But sometimes you don’t want scaling. The good news is that InDesign offers a file handling preference that lets you dictate how it treats relinked images. Watch this week’s free episode of InDesign Secrets to learn how to change this preference and preserve the dimensions of edited images.
By Anne-Marie Concepción | Thursday, May 01, 2014
Some typefaces don’t offer a bold or italic font, but that shouldn’t stop you from adding emphasis to text. Sometimes you have to cheat to get what you want. And InDesign is the ace up your sleeve.
InDesign allows you to bend the rules and fake bold and italic text with typefaces like Andale Mono and Dingbats. In this week’s episode of InDesign Secrets, Anne-Marie Concepción shows you how to use the Skew and Shear options to angle text and add an additional stroke to create bold type. Watch this week’s free episode of InDesign Secrets to learn more.
By Anne-Marie Concepción | Thursday, April 17, 2014
Regular InDesign users often build a bank of custom settings: workspaces, scripts, keyboard shortcuts, PDF presets, font sets, and even Find/Change queries. These settings are too valuable to lose in a crash and too important to leave behind if you move to a different computer.
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