® This is the book that experts open to find real answers to their questions about InDesign It’s written in a friendly, visual style that offers accurate information and creative inspiration for every InDesign user, whether they’re publishing to an iPad, mobile phone, or traditional print publication In Real World Adobe InDesign CS6 you’ll learn how to: Use the new Liquid Layout and Create Alternate Layouts features to add flexibility at the beginning of your project n Take full advantage of the best typesetting features on the market n Copy and link objects with the Content Collector tool to optimize your efficiency n Use best practices for consistent color management n Increase productivity with scripts and other automation features n Prep documents for EPUB Export and use the Digital Publishing Suite for web and mobile publishing DAvID BlAtnEr is the world’s most-recognized authority on Adobe InDesign, and the co-host of InDesignSecrets.com He is the author of 20 books and video titles, and the editorial director of InDesign Magazine BOB BrInghurSt worked at Adobe Systems as a Senior Technical Writer for 12 years, creating the technical documentation for every Adobe InDesign version since the software’s inception ADOBE® KvErn uSA $59.99 CAN $62.99 ISBN-13: 978-0-321-83461-4 ISBN-10: 0-321-83461-5 Book Level: Beginning, Intermediate, Advanced 5 9 Category: Layout / Digital Graphic Design ® W O R L D InDesign CS6 ® INDUSTRIAL-STRENGTH pUbLISHING TECHNIQUES ® n OlAv MArtIn KvErn is an award-winning illustrator, graphic designer, software designer, and writer He is the author of several groundbreaking books, including Real World FreeHand and Real World PageMaker and was a columnist and Contributing Editor for Adobe Magazine InDesign CS6 Sharpen your InDesign skills with this definitive resource created specifically for design professionals who need to produce great work—regardless of the delivery platform—in InDesign CS6 Best-selling authors Olav Martin Kvern, David Blatner, and Bob Bringhurst share their hands-on techniques to help you master InDesign’s advanced layout tools This book is brimming with insightful advice, illustrations, and shortcuts that will have you producing high-quality work in no time R E A L ADOBE ADOBE® InDesign CS6 techniques R E A L W O R L D RSimpoEPDF Merge A andLSplit Unregistered W Version O -Rhttp://www.simpopdf.com L D BlAtnEr BrInghurSt What designers and production artists need to know Tips and tricks for maximum efficiency For print and web / mobile devices Covers: Adobe InDesign CS6 Peachpit Press www.peachpit.com 780321 834614 Cover Illustration: John Weber Cover Design: Charlene Will O l Av M A r t I n K v E r n, DAv I D B l At n E r, AND B O B B r I n g h u r S t Simpo PDF Merge and Split Unregistered Version - http://www.simpopdf.com c6 Simpo PDF Merge and Split Unregistered Version - http://www.simpopdf.com This page intentionally left blank Simpo PDF Merge and Split Unregistered Version - http://www.simpopdf.com Real World Adobe InDesign CS6 by Olav Martin Kvern & David Blatner & Bob Bringhurst • Simpo PDF Merge and Split Unregistered Version - http://www.simpopdf.com for Amy and Max & Gabriel and Daniel & Wendy, Luke, and Max c6 Olav Martin Kvern, David Blatner, and Bob Bringhurst Copyright © 1 by Olav Kvern, David Blatner, and Bob Bringhurst Pchpt 1 Eighth Street Berkeley, California 1 (1) -1 (1) -1 (fax) Find us on the web at: www.peachpit.com To report errors, please send a note to errata@peachpit.com Peachpit Press is a division of Pearson Education Project Editor: Susan Rimerman Production Editor: Lisa Brazieal Indexer: Jan C Wright Interior Design/Composition: Olav Martin Kvern, David Blatner, and Bob Bringhurst Cover Design: Charlene Charles-Will Cover Illustration: John Weber tc ht All rights reserved No part of this book may be reproduced or transmitted in any form by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher For information on getting permission for reprints and excerpts, contact: permissions@peachpit.com Ntc Lty The information in this book is distributed on an “As Is” basis, without warranty While every precaution has been taken in the preparation of the book, neither the authors nor Peachpit shall have any liability to any person or entity with respect to any loss or damage caused or alleged to be caused directly or indirectly by the instructions contained in this book or by the computer software and hardware products described in it tmk Adobe and InDesign are registered trademarks of Adobe Systems Incorporated in the United States and/or other countries All other trademarks are the property of their respective owners Many of the designations used by manufacturers and sellers to distinguish their products are claimed as trademarks Where those designations appear in this book, and Peachpit was aware of a trademark claim, the designations appear as requested by the owner of the trademark All other product names and services identified throughout this book are used in editorial fashion only and for the benefit of such companies with no intention of infringement of the trademark No such use, or the use of any trade name, is intended to convey endorsement or other affiliation with this book ISBN-13: --31-361- ISBN-1: -31-361- Printed and bound in the United States of America y Simpo PDF Merge and Split Unregistered Version - http://www.simpopdf.com 333 Optical Margin Alignment Ever since Gutenberg set out to print his Bible, typesetters have looked for ways to “balance” the edges of columns of text—particularly lines ending or beginning with punctuation Because the eye doesn’t “see” punctuation, it can sometimes appear that the left or right edges of some columns of type (especially justified type) are misaligned Some other programs compensate for this problem by using a “hanging punctuation” feature, which pushes certain punctuation characters outside the text column But there’s more to making the edges of a column look even than just punctuation Some characters can create a “ragged” look all by themselves—think of a “W,” at the beginning of a line, for example When you select an InDesign story (with either the Selection or the Type tool) and turn on the Optical Margin Alignment option in the Story panel (choose Story from the Type menu to display the Story panel), the program balances the edges of the columns based on the appearance of all of the characters at the beginning or end of the lines in the column This adjustment makes the columns appear more even—even though it sometimes means that characters are extending beyond the edges of the column (see Figure 4-71) The amount that InDesign “hangs” a character outside the text column depends on the setting you enter in the Base Size field of Figure 4-71 Optical Margin Alignment In this close-up view, you can clearly see the way that InDesign adjusts the characters at the edge of the text column Optical Margin Alignment off Punctuation is positioned outside the column Some characters hang outside the column Optical Margin Alignment on .others are moved farther inside the column 334 6 Simpo PDF Merge and Split Unregistered Version - http://www.simpopdf.com the Story panel (that’s the field with the icon that looks like it would make a drop cap) In general, you should enter the point size of your body text in this field Unfortunately, it turns out that many designers don’t like the look of Optical Margin Alignment It’s not that the feature is flawed; it’s that designers (especially younger folks) have become so accustomed to their type lining up with a particular guide or ruler that they think it’s wrong to have type inside or outside that (non-printing) line Nevertheless, we encourage you to try turning it on and seeing how your readers like it—we think they’ll find the text easier to read Ignore Optical Margin Even if you like Optical Margin Alignment, there’s a good chance that you’ll occasionally find a paragraph or two that you wish it wouldn’t apply to For example, monospaced code listings should not be optically aligned—that defeats the purpose of using a monospaced font Fortunately, you have the option to turn off Optical Margin Alignment on a paragraph by paragraph basis or in a paragraph style To turn it off for one or more selected paragraphs, choose Ignore Optical Margin from the Control panel or Paragraph panel menu To disable it in a paragraph style, turn on the Ignore Optical Margin checkbox in the Indents and Spacing pane of the Paragraph Style Options dialog box An Old Typesetter Never… Late night The sound of the espresso machine in the kitchen about to reach critical mass and melt down, destroying the office and civilization as we know it The office is different, the equipment and the coffee are better, but we still seem to be up late at night setting type And, to tell you the truth, we’re not sure we would have it any other way ... Bob Bringhurst Copyright © ? ?1? ?? by Olav Kvern, David Blatner, and Bob Bringhurst Pchpt 1? ?? Eighth Street Berkeley, California ? ?1? ?? (? ?1? ??) -? ?1? ?? (? ?1? ??) -? ?1 (fax) Find us on the web at:... affiliation with this book ISBN -13 : --3? ?1- 3 61- ISBN -1? ??: -3? ?1- 3 61- Printed and bound in the United States of America y Simpo PDF Merge and Split Unregistered Version... Simpo PDF Merge and Split Unregistered Version - http://www.simpopdf.com Real World Adobe InDesign CS6 by Olav Martin Kvern & David Blatner & Bob Bringhurst • Simpo PDF Merge and Split Unregistered