Real World Adobe InDesign CS4- P12 potx

       - Creating Style Groups To make a new style group with already-created styles, select the styles you want to include and choose New Group from Styles. InDesign displays the New Style Group dialog box. Enter a name for the group. InDesign moves the styles into the style group. You can duplicate styles from one group to another by holding down Option/Alt as you drag them from in the panel. Quick Apply shows you both style name and style group. know which of your styles you want in your group, you can add them while creating the group by rst selecting them rst (see Figure 4-70). Once you’ve created a style group, you can move any style into it by dragging the style name in the panel into the group. It’s very similar to working with folders in your operating system. One of the coolest things about style groups is that you can have the same-named styles in more than one group. For example, you might make a “bodytext” paragraph style in a group called “Business Section” and another, dierently-styled “bodytext” style in a group called “Entertainment Section”. We’re not saying you have to create templates like this, but it can be useful in certain situations. To copy one or more selected styles to another group, choose Copy to Group from the panel menu, or Option/Alt-drag them over another folder. What’s Wrong with Style Groups? At rst, style groups sound great, especially if you have dozens of styles in your document. But you need to be careful with them. First, if do have same-named styles Real_World_Adobe_InDesign_CS4b.pdf 331Real_World_Adobe_InDesign_CS4b.pdf 331 08/04/2009 05:55:00 p.m.08/04/2009 05:55:00 p.m.  .   with dierent denitions, it can be confusing which bodytext or which heading you’re applying. is calls for eternal vigilance. It helps if you apply styles with Quick Apply, because the Quick Apply window displays both the style name and what style group its in. e big problems appear if you need to export your documents as RTF (rich text format) for someone who is editing in Microso Word. Style groups will cause huge headaches because on export InDesign changes the style names (it adds the style group name). is isn’t so bad except that when you reimport the RTF le, it’s not smart enough to remap the style names back to the document’s styles, so you end up with all your styles duplicated. It’s horrible. We hope that Adobe will release a patch to x this problem by the time you read this, but we’re not holding our breath. Of course, in the meantime, it’s a good excuse to get your editors to use InCopy instead. Copying Styles from Other Publications One of the great things about character and paragraph styles is that you can use them to unify standard formatting across a range of pub- lications—the chapters of this book, for example. While you can’t dene a “master” style sheet and have all publications get their style denitions from it (as you can in FrameMaker), you can easily copy styles from one InDesign publication to another.  To copy character styles from another publication, choose Load Character Styles from the Character Styles panel menu. InDesign displays the Open a File dialog box. Locate and select the InDesign publication le containing the styles you want and click the Open button. InDesign copies the character styles from that publication into the current document.  To copy paragraph styles from one publication to another choose Load Paragraph Styles from the Paragraph Styles panel menu.  To import both character and paragraph styles from another publication, choose Load All Text Styles from the panel menu of the Character Styles panel or the Paragraph Styles panel. When you import styles that have the same name as styles that already exist in the publication, InDesign overrides the attributes of the existing styles with the attributes of the incoming styles. You can also move styles by copying text tagged with the styles you want from one publication and pasting it into another document Real_World_Adobe_InDesign_CS4b.pdf 332Real_World_Adobe_InDesign_CS4b.pdf 332 08/04/2009 05:55:01 p.m.08/04/2009 05:55:01 p.m.       (or dragging a text frame from one document into another). If the styles do not exist in the document you’ve pasted the text into, InDesign adds them. If the styles already exist, InDesign overrides the style denitions in the incoming text with the style denitions of the existing styles. You can also synchronize style sheets among all the documents in a book when you use the Book panel, which we talk about in Chapter 8, “Long Documents.” Styles from imported text les. When you import a Microso Word or RTF le that includes paragraph or character styles that don’t exist in the InDesign publication, those styles get added to the Character Styles and Paragraph Styles panels. You can always tell one of these styles from those created in InDesign because the panels display a little gray oppy disk icon next to the style name. Libraries of Styles. One of our favorite uses for libraries (see “Library panel” in Chapter 1, “Workspace”) is to save paragraph and charac- ter styles that we use in multiple documents. In a small text frame, we type a few words (usually the name of the style) and then apply one or more styles to them. en we drag the text frame into a library (select Library from the New submenu, under the File menu, if you haven’t already made one) and double-click on the library thumbnail to give it a name and description. Later, when we need that style in some other document, we can open the library le, drag that text frame into our document, and then delete the text frame—the styles remain. Of course, this works with libraries of color swatches, too. 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—particu- larly lines ending or beginning with punctuation. Because the eye doesn’t “see” punctuation, it can sometimes appear that the le or right edges of some columns of type (especially justied 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. Real_World_Adobe_InDesign_CS4b.pdf 333Real_World_Adobe_InDesign_CS4b.pdf 333 08/04/2009 05:55:01 p.m.08/04/2009 05:55:01 p.m.  .   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. is 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). e amount that InDesign “hangs” a character outside the text column depends on the setting you enter in the Base Size eld of the Story panel (that’s the eld 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 eld. Unfortunately, it turns out that many designers don’t like the look of Optical Margin Alignment. It’s not that the feature is awed; 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 nd the text easier to read. Ignore Optical Margin. Even if you do like Optical Margin Align- ment, there’s a good chance that you’ll occasionally nd a paragraph Optical Margin Alignment o Optical Margin Alignment on In this close-up view, you can clearly see the way that InDesign adjusts the characters at the edge of the text column. Punctuation is positioned outside the column. Some characters hang outside the column others are moved farther inside the column.  - Optical Margin Alignment Real_World_Adobe_InDesign_CS4b.pdf 334Real_World_Adobe_InDesign_CS4b.pdf 334 08/04/2009 05:55:01 p.m.08/04/2009 05:55:01 p.m.       or two that you wish it wouldn’t apply to. For example, monospaced code listings should not be optically aligned—that defeats the pur- pose of using a monospaced font. Fortunately, you have the option to turn o Optical Margin Alignment on a paragraph by paragraph basis or in a paragraph style. To turn it o 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. e sound of the espresso machine in the kitchen about to reach critical mass and melt down, destroying the oce and civi- lization as we know it. e oce is dierent, the equipment and the coee 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. Real_World_Adobe_InDesign_CS4b.pdf 335Real_World_Adobe_InDesign_CS4b.pdf 335 08/04/2009 05:55:01 p.m.08/04/2009 05:55:01 p.m.  You can use InDesign’s drawing tools to draw almost anything— from straight lines and boxes to incredibly complex freeform shapes. e drawing tools can be divided into three types: the Rectan- gle, Polygon, Oval, and Line tools are for drawing basic shapes; the Pencil, Smooth, Eraser, Pen, Add Point, Delete Point, and Convert Point tools draw or edit more complex paths (see Figure 5-1). e Scissors tool gives you a way of cutting paths. Some of the path drawing tools (the Rectangle, Oval, and Polygon tools) have counterparts that draw frames (the Rectangular Frame, Oval Frame, and Polygonal Frame tools). e only thing dierent about these tools is that the “frame” versions draw paths whose con- tent type has been set to “Graphic.” at’s it. In this book, we’ll use the default variant of the tool to refer to both tools—when we say “the Rectangle tool,” we’re referring to both the Rectangle tool and the Rectangular Frame tool. Which path drawing tools should you use? Don’t worry too much about it—the basic shapes can be converted into freeform paths, and the freeform drawing tools can be used to draw basic shapes. e paths you draw in InDesign are made up of points, and the points are joined to each other by line segments (see Figure 5-2). A path is just like a connect-the-dots puzzle. Connect all the dots together in the right order, and you’ve made a picture. Because points along a path have an order, or winding, you can think of each point as a milepost along the path. Or as a sign saying, “Now go this way.” Drawing  5 Real_World_Adobe_InDesign_CS4b.pdf 336Real_World_Adobe_InDesign_CS4b.pdf 336 08/04/2009 05:55:01 p.m.08/04/2009 05:55:01 p.m.       Freeform path drawing tools Pen tool Pencil tool Path editing tools Add Point tool Delete Point tool Convert Point tool Scissors tool Smooth tool Erase tool Basic shape tools Rectangle tool Ellipse tool Polygon tool Rectangle Frame tool Ellipse Frame tool Polygon Frame tool Line tool First point in the path Last point in the path Point Line segment Control handle Control handle Line segment  - Parts of a Path  - Drawing Tools Drawing Basic Shapes e basic shapes tools (the Rectangle, Polygon, Ellipse, and Line tools, and their frame-drawing counterparts) don’t draw anything you couldn’t draw using the Pen tool (discussed later in this chapter) or (even) the Pencil tool; they just make drawing certain types of paths easier. ey’re shortcuts. e operation of the basic shapes tools is straightforward: drag the tool and get a path of the corresponding shape. If you want to draw a frame, you can either use the frame-drawing variant of the tool, or draw the path and then convert it to a frame. To draw a rectangle, oval, polygon, or line, follow the steps below. 1. Select the appropriate tool from the Tools panel. To specify the type of polygon you’ll be drawing, double-click the Polygon tool and choose the shape you want in the Polygon Settings dialog box before you start drawing. 2. Position the cursor where you want one corner of the shape, then drag. InDesign draws a path, starting where you rst held down the mouse button. Real_World_Adobe_InDesign_CS4b.pdf 337Real_World_Adobe_InDesign_CS4b.pdf 337 08/04/2009 05:55:01 p.m.08/04/2009 05:55:01 p.m.  .   To draw squares, hold down Shi as you drag the Rectangle tool. To draw circles, hold down Shi as you drag the Ellipse tool. When you hold down Shi as you drag, the Polygon tool produces equilateral polygons. Holding down Shi as you drag the Line tool constrains the angle of the line to 45-degree tan- gents from the point at which you started dragging. Hold down Option to draw a basic shape from its center. 3. When the basic shape is the size and shape you want it to be, stop dragging and release the mouse button. You can also create rectangles and ellipses by specifying their width and height (see Figure 5-3). 1. Select the Rectangle tool or the Ellipse tool from the Tools panel. 2. Position the cursor where you want to place one corner of the basic shape, or hold down Option/Alt and position the cursor where you want to place the center point of the shape. 3. Click. InDesign displays the Rectangle dialog box (if you’ve selected the Rectangle tool) or the Ellipse dialog box (if you’ve selected the Ellipse tool). 4. Enter values in the Width and Height elds, then click the OK button. You can control the origin of the basic shape by selecting a point on the Control panel’s Proxy before you click. Select a basic shape tool, then click on the page or pasteboard. InDesign displays a dialog box (Rectangle, Polygon, or Ellipse). Enter the dimensions you want and click the OK button. InDesign creates a basic shape using the dimensions you entered.  - Adding a Basic Shape “by the Numbers” Points and Paths Why is it that the most important things in life are oen the most dif- cult to learn? Drawing by manipulating Bezier paths—the geomet- ric construct used to represent path shapes in most of today’s vector drawing programs—is one of those dicult things. When we rst encounted Bezier curves, the process of drawing by placing points and manipulating control handles struck us as alien, as nothing like drawing at all. en we started to catch on. Real_World_Adobe_InDesign_CS4b.pdf 338Real_World_Adobe_InDesign_CS4b.pdf 338 08/04/2009 05:55:01 p.m.08/04/2009 05:55:01 p.m.       In many ways, we had been drawing lines from the point of view of everything but the line; in a Bezier-path-drawing program such as InDesign, we draw lines from the point of view of the line itself. is is neither better nor worse; it’s just dierent and takes time to get used to. If you’ve just glanced at the Pen tool and are feeling confused, we urge you to stick with it. Start thinking like a line. Imagine that, through the action of some mysterious potion or errant cosmic ray, you’ve been reduced in size so that you’re a little smaller than one of the dots in a connect-the-dots puzzle. For added detail and color, imagine that the puzzle appears in a Highlights for Children magazine in a dentist’s oce. e only way out is to complete the puzzle. As you walk, a line extends behind you. As you reach each dot in the puzzle, a sign tells you where you are in the puzzle and the route you must take to get to the next dot in the path. Get the idea? e dots in the puzzle are points. e route you walk from one point to another, as instructed by the signs at each point, is a line segment. Each series of connected dots is a path. As you walk from one dot to another, you’re thinking like a line. Each point—from the rst point in the path to the last—carries with it some information about the line segments that attach it to the previous and next points along the path. Paths and their formatting (ll and stroke) attributes are dierent things. Even if the ll and stroke applied to the path is “None” or the stroke weight is 0 there’s still a path there. When you select a point, the point “lls in,” becoming a solid square. Unselected points on the path are shown as hollow squares. Paths have a direction, also known as “winding” (as in “winding a clock”). Path direction generally corresponds to the order in which you placed the points on the path (see Figure 5-4). In our connect- the-dots puzzle, path direction tells us the order in which we should connect the dots. To reverse the direction of a path, select the path and choose Reverse Path from the Paths submenu of the Object menu. InDesign inking Like a Line Winding 12 3 4 5 e order in which you create points determines the direction (or “wind- ing”) of the path.  - Path Direction, or “Winding” Real_World_Adobe_InDesign_CS4b.pdf 339Real_World_Adobe_InDesign_CS4b.pdf 339 08/04/2009 05:55:02 p.m.08/04/2009 05:55:02 p.m.  .   reverses the direction of the path. You can also reverse the direction of a selected path using the Reverse Path path operation, as discussed in “Path Operations,” later in this chapter. Points on an InDesign path are either corner points or curve points. Each type of point has its own special properties.  A curve point adds a curved line segment between the current point and the preceding and following points along the path. Curve points have two control handles extended from them, and moving one control handle aects the position of the other control handle. One control handle aects the curve of the line segment following the curve point on the path; the other aects the curve of the line segment preceding the curve point. Curve points are typically used to add smooth curves to a path (see Figure 5-5).  A corner point adds a straight line segment between the cur- rent point and the preceding point on the path (see Figure 5-6). Corner points are typically used to create paths containing straight line segments. Which point type should you use? Any type of point can be turned into any other type of point, and anything you can do with one kind of point can be done with the other kind of point. Given these two points (so to speak), you can use the kinds of points and drawing tools you’re happiest with and achieve exactly the results you want. ere is no “best way” to draw with InDesign’s Pen tool, but it helps to understand how the method you choose works. Point Types Curve points curve the line segments attached to the point. All of the points in this example are curve points. Corner points, by default, apply no curve to the line segments attached to the point. All of the points in this example are corner points.  - Corner Points  - Curve Points Real_World_Adobe_InDesign_CS4b.pdf 340Real_World_Adobe_InDesign_CS4b.pdf 340 08/04/2009 05:55:02 p.m.08/04/2009 05:55:02 p.m. [...]... switches to the Convert Point tool), and then drag As you drag, InDesign extends a control handle from the point (see Figure 5-11) Real_ World_ Adobe_ InDesign_ CS4b.pdf 342 08/04/2009 05:55:02 p.m 330 real world adobe indesign cs4 Figure 5-10 Placing Curve and Corner Points Drag the Pen tool… …and InDesign creates a curve point Click the Pen tool… …and InDesign creates a corner point Figure 5-11 Dragging a Control... segment) and then drag As you drag, InDesign adjusts the curve of the line segment (see Figure 5-13) Figure 5-12 Adjusting Curve Points Select a point using the Direct Selection tool Real_ World_ Adobe_ InDesign_ CS4b.pdf 344 Drag the control handle attached to the point to a new location InDesign curves the line segment 08/04/2009 05:55:02 p.m 332 real world adobe indesign cs4 Figure 5-13 Another Way... drawing Either way, you need a way to smooth the path you’ve drawn in InDesign Are you doomed to an after-hours workout with the Pen tool? Not with the Smooth tool on your side This handy gadget can help you smooth out the rough patches in your InDesign paths Real_ World_ Adobe_ InDesign_ CS4b.pdf 350 08/04/2009 05:55:04 p.m 338 real world adobe indesign cs4 To use the Smooth tool, select the tool from the Tools... allow the corner to extend before InDesign applies a beveled join to the corner (see Figure 5-32) If, for example, you enter “2” in the Miter Limit field, InDesign will flatten corners when the stroke weight of the corner is equal to or greater than two times the weight of the stroke Real_ World_ Adobe_ InDesign_ CS4b.pdf 358 08/04/2009 05:55:05 p.m 346 real world adobe indesign cs4 Figure 5-32 Cap Options... Closing an Open Path Move the Pen tool over Click the Pen tool, then Click on the end point an end point of an open move it over the other InDesign closes the path path end point on the path Real_ World_ Adobe_ InDesign_ CS4b.pdf 346 08/04/2009 05:55:03 p.m 334 real world adobe indesign cs4 Figure 5-16 Opening a Closed Path by Deleting a Line Segment Select the Direct Selection tool, then drag a selection rectangle... with the Pen tool, InDesign s path operations can quickly become your best friend Think about it—even David can draw just about anything using rectangles, ellipses, and the occasional polygon By using path operations, you can do the same, without ending up with stacks of overlapping shapes on your pages Real_ World_ Adobe_ InDesign_ CS4b.pdf 352 08/04/2009 05:55:04 p.m 340 real world adobe indesign cs4 Applying... Subtract path operation When you click the Minus Back button in the Pathfinder panel, InDesign uses the background object to cut a hole in the foreground object The resulting object takes on the formatting attributes of the foreground object Real_ World_ Adobe_ InDesign_ CS4b.pdf 354 08/04/2009 05:55:04 p.m 342 real world adobe indesign cs4 Applying Convert Shape Operations To apply any of the Convert Shape... Object menu Select the paths you want to turn into a compound path InDesign creates a compound path from the selected objects (This makes a hole where the shapes overlap) Real_ World_ Adobe_ InDesign_ CS4b.pdf 348 This example shows a compound path that we’ve used as a container for an image 08/04/2009 05:55:03 p.m 336 real world adobe indesign cs4 When you join paths with different lines and fills, the... outline of the path looks like To define a stroke for a path, select the path, then display the Stroke panel by pressing Command-F10/F10 (see Figure 5-28) Use Real_ World_ Adobe_ InDesign_ CS4b.pdf 356 08/04/2009 05:55:05 p.m 344 real world adobe indesign cs4 Figure 5-28 Stroke Panel Default stroke types To display the Stroke panel, press Command-F10/F10 Solid To expand the “minimalist” Stroke panel, choose... Pencil Tool The quickest way to create a freeform path on an InDesign page is to use the Pencil tool Click the Pencil tool in the Tools panel (or press N), then drag the Pencil tool on the page As you drag, InDesign creates a path that follows the cursor, automatically placing corner and curve points as it does so (see Figure 5-9) Real_ World_ Adobe_ InDesign_ CS4b.pdf 341 08/04/2009 05:55:02 p.m chapter 5 . for example. Real_ World_ Adobe_ InDesign_ CS4b.pdf 33 3Real_ World_ Adobe_ InDesign_ CS4b.pdf 333 08/04/2009 05:55:01 p.m.08/04/2009 05:55:01 p.m.  .   When you select an InDesign story. have it any other way. Real_ World_ Adobe_ InDesign_ CS4b.pdf 33 5Real_ World_ Adobe_ InDesign_ CS4b.pdf 335 08/04/2009 05:55:01 p.m.08/04/2009 05:55:01 p.m.  You can use InDesign s drawing tools. corner of the shape, then drag. InDesign draws a path, starting where you rst held down the mouse button. Real_ World_ Adobe_ InDesign_ CS4b.pdf 33 7Real_ World_ Adobe_ InDesign_ CS4b.pdf 337 08/04/2009