Wile Adobe InDesign CS5 Bible phần 5 pps

Chapter 13: Orchestrating Objects 331 dialog box covered previously in this section and shown in Figure 13.6, except that the Anchored Object Options dialog box does not have the Object Options section. Of course, you can also adjust the frame’s other attributes as needed, such as strokes, fills, dimen- sions, rotation, and skew. Releasing and deleting anchored frames If you no longer want an anchored frame to be anchored to a text location, you can release the anchor. To do so, select the anchored frame and then choose Object ➪ Anchored Object ➪ Release. It’s also easy to delete an anchored frame: Select the frame and then choose Edit ➪ Clear or press Delete or Backspace. If you want to remove the object but keep it on the Clipboard for pasting elsewhere, choose Edit ➪ Cut or press Ô+X or Ctrl+X. Wrapping Text around Objects In the days before personal computers and page-layout software, wrapping text around a graphic or other object was a time-consuming and expensive task. Text wraps were rare, found only in the most expensively produced publications. Not these days. Not only do all page-layout programs let you create text runarounds, most pro- grams, including InDesign, provide several options for controlling how text relates to graphics and other objects that obstruct its flow. When a frame is positioned in front of a text frame, InDesign provides the following options. You can: l Ignore the frame and flow the text behind it. l Wrap the text around the frame’s rectangular bounding box. l Wrap the text around the frame itself. l Jump the text around the frame (that is, jump the text from the top of the frame to the bottom). l Jump the text to the next column or page when the text reaches the top of frame. l Specify the amount of distance between the text and the edge of the obstructing shape. l Flow text within the obstructing shape rather than outside it. Tip InDesign lets you wrap text around frames on hidden layers, as well as remove text wrap for objects on hidden layers. This is handy when you want to hide images or other distracting items but preserve the layout. See Chapter 6 for details on using layers. n If you want to wrap text around only a portion of a graphic — perhaps you need to isolate a face in a crowd — the best solution is to open the graphics file in its original program, create a clipping path 21_607169-ch13.indd 33121_607169-ch13.indd 331 4/22/10 7:55 PM4/22/10 7:55 PM Part III: Object Fundamentals 332 around that portion, and then resave the file and import it and its clipping path into an InDesign document (clipping paths are explained in Chapter 15). Another option is to use the Pen tool to cre- ate a free-form shape within InDesign and then use the shape as both a frame and a clipping path. If you apply text wrap to an inline graphic, note that InDesign sees the graphic as a text character, so it will not let text flow around the sides; instead it increases the leading for the inline containing the inline graphic to match the graphic’s height — that means you can’t have multiple lines of text on either side of the inline graphic. If you want an inline graphic to have the surrounding text wrap around it, convert it to an anchored graphics frame as described earlier in this chapter. New Feature Fixing a long-standing flaw, InDesign now properly aligns bulleted and numbered lists when the left side of the text frame they are in wraps around another object. n Using the Text Wrap panel The controls in the Text Wrap panel (see Figure 13.9) let you specify how a selected object affects the flow of text behind it. Remember, the flow of text around an obstructing object is determined by the text wrap settings applied to the obstructing object. Tip You can override the text-wrap settings of objects in front of a text frame by telling the text frame to ignore them. To do so, click a text frame and then choose Object ➪ Text Frame Options or press Ô+B or Ctrl+B. In the Text Frame Options dialog box’s General pane, select Ignore Text Wrap and then click OK. n Note The Text Wrap panel has three options that may not appear when you open it: Wrap Options, Contour Options, and Include Inside Edges. You can more easily hide/show these functions by double-clicking the double-arrow icon to the left of the Text Wrap label in the panel’s tab or by choosing Hide Options/Show Options from the flyout menu. n Here’s how to apply text-wrap settings to a frame or other object: 1. If the Text Wrap panel is not open, choose Window ➪ Text Wrap or press Option+Ô+W or Ctrl+Alt+W. 2. Click any of the selection tools. If the Type tool isn’t selected, you can press V to select the Selection tool or press A to select the Direct Selection tool. 3. Click the object to which you want to apply text-wrap settings. The object can be anywhere, but you probably want to position it on top of a text frame that contains text so you can see the results of the settings you apply. 4. Click one of the five text-wrap iconic buttons at the top of the Text Wrap panel. Figure 13.9 shows how each of these options affects a graphics frame. 21_607169-ch13.indd 33221_607169-ch13.indd 332 4/22/10 7:55 PM4/22/10 7:55 PM Chapter 13: Orchestrating Objects 333 FIGURE 13.9 Examples of the five text-wrap options (top to bottom) and their Text Wrap panel settings: No Text Wrap, Wrap around Bounding Box, Wrap around Object Shape, Jump Object, and Jump to Next Column. The sixth example shows the Invert option selected for the Wrap around Object Shape option. 21_607169-ch13.indd 33321_607169-ch13.indd 333 4/22/10 7:55 PM4/22/10 7:55 PM Part III: Object Fundamentals 334 5. If you want, adjust the space between the surrounding text and the obstructing shape by typing values in the Top Offset, Bottom Offset, Left Offset, and Right Offset fields. (These fields are not available if you click the No Text Wrap iconic but- ton.) If the object is a rectangle, all four fields are available if you click Wrap around Bounding Box or Wrap around Object Shape. Only the Top Offset field is available if you click the Wrap around Object Shape iconic button for a free-form shape or the Jump to Next Column button. The Top Offset and Bottom Offset fields are available if you click Jump Object. Tip The Text Wrap panel’s Make All Settings the Same iconic button (the chain icon) determines how wrap mar- gins are applied. If the chain is unbroken, changing any offset automatically changes the other offsets to the same value. If the chain is broken, you can adjust each offset independently. Click the button to toggle between the two modes. n Note A bounding box is the dimension of the graphic, whether or not it is wholly contained in its frame. You use a bounding box if you want to have the wrap follow the graphic’s dimensions rather than those of the frame con- taining it. n 6. Select Invert if you want to flow the text inside the obstructing shape. 7. If you choose the Wrap around Object Shape iconic button and have selected a graphics frame, you can also select from the Contour Options section’s Type pop-up menu. There are seven options (Figure 13.10 shows examples of each): l Bounding Box determines the dimensions of the bounding box — the uncropped image, which may be larger or smaller than the graphics frame containing it — and uses them for the wrap boundary. l Detect Edges tries to determine the graphic’s outside boundary by ignoring white space; you would use this for bitmapped images that have a transparent or white back- ground. l Alpha Channel uses the image’s alpha channel, if any, to create a wrapping boundary. l Photoshop Path uses the image’s clipping path, if any, to create a wrapping boundary. l Graphic Frame uses the frame’s boundary rather than the bounding box. l Same as Clipping uses the clipping path for the graphic created in InDesign. l User-Modified Path uses any modification to one of the above boundaries you have made by editing it with the Direct Selection tool. This option is grayed out unless you modify the wrap boundary yourself. 21_607169-ch13.indd 33421_607169-ch13.indd 334 4/22/10 7:55 PM4/22/10 7:55 PM Chapter 13: Orchestrating Objects 335 FIGURE 13.10 The six contour options for text-wrap options (left to right, top to bottom): Bounding Box, Detect Edges, Alpha Channel, Photoshop Path, Graphic Frame, and Same as Clipping. The example at lower right shows the text wrap immediately above it modi- fied by dragging and removing anchor points to create a user-adjusted path. 8. You can control how text wraps around an object that splits a column by choosing an option from the Wrap To pop-up menu. The six options are Right Side, Left Side, Both Left and Right Sides, Side Towards Spine, Side Away from Spine, and Largest Area. You rarely choose Both Left and Right Sides, because unless the object is small, readers’ eyes stop at the interposed object and not see the rest of the text on the other side of it. Use either of the spine options to have the text stay on the outside or inside of a page, rel- ative to the object, based on whether the page is right-facing or left-facing. You often want to choose Largest Area because that gives the text the most space next to the inter- posed object, which tends to be what looks good in many situations. 9. By selecting the Include Inside Edges option, InDesign lets text appear inside any interior holes in the graphic. Use this technique rarely because in most cases it’s hard for the reader to follow text that wraps around an image, flows inside it, and then contin- ues to flow outside it. However, if the interior is large enough and not too distant from the text that flows on the outside, this effect might be readable. Tip If you specify text-wrap settings when no objects are selected, the settings are automatically applied to all new objects. n 21_607169-ch13.indd 33521_607169-ch13.indd 335 4/22/10 7:55 PM4/22/10 7:55 PM Part III: Object Fundamentals 336 Tip To apply text-wrap settings to a master item on a document page, press and hold Shift+Ô or Ctrl+Shift to select the item and then use the controls in the Text Wrap panel as just described. If you don’t want the text wrap applied to existing document items but do want it applied to new ones, choose Apply to Master Page Only in the Text Wrap panel’s flyout menu. n Setting text-wrap preferences There are several global text-wrap options you should be aware of, all of which are accessed via the Composition pane of the Preferences dialog box (choose InDesign ➪ Preferences ➪ Composition or press Ô+K on the Mac, or choose Edit ➪ Preferences ➪ Composition or press Ctrl+K in Windows). Here are the options: l Justify Text Next to an Object: This option is useful when you have left-aligned text that wraps around an object at the right. It also works if you have right-aligned text that wraps around an object at the left. This can lead to an awkward wrap, however, because InDesign doesn’t try to make the text align precisely to the wrap’s contour (because the text isn’t justified). Use this option to justify the text just around the wrap; then, continue using the text’s specified nonjustified alignment. l Skip by Leading: This option makes text wrap below or above an object based on the text’s leading so that at least a full line of space exists between the text and the object, even if the object’s text-wrap settings would allow less space. l Text Wrap Only Affects Text Beneath: This option, if selected, prevents text frames placed on top of an object from wrapping, whereas those behind the graphic frame are still allowed to wrap. This option allows some text to overlap the graphic and other text to wrap around it. Note this is a global setting, affecting all objects. To override wrap settings of individual text frames, choose Object ➪ Text Frame Options or press Ô+B or Ctrl+B, then select the Ignore Text Wrap option. Changing the shape of a text wrap When you specify text-wrap settings for an object, an editable shape is created. If the text-wrap shape is the same shape as the object, the text-wrap boundary is superimposed on the object. You can modify a text-wrap boundary by clicking it with the Direct Selection tool and then moving, adding, deleting, and changing the direction of anchor points and by moving direction lines. Figure 13.10 shows a text wrap before and after being manually reshaped. Cross-Reference For more information about modifying free-form shapes, see Chapter 16. n 21_607169-ch13.indd 33621_607169-ch13.indd 336 4/22/10 7:55 PM4/22/10 7:55 PM Chapter 13: Orchestrating Objects 337 Defining and Applying Object Styles For many years, desktop-publishing programs have let designers save textual styles for easy reuse and application to text throughout a document; but of the major programs, only InDesign lets you create object styles so that you can ensure that multiple objects have the same attributes and that any changes to the style are made to all the objects using that style. Designers should find the process of creating and applying object styles very familiar because the concept is the same as creating other types of styles, such as paragraph, character, and stroke styles. Cross-Reference Chapter 7 covers the common issues in setting up and managing styles. Paragraph styles are covered in Chapter 21, character styles in Chapter 20, stroke styles in Chapter 12, and table and cell styles in Chapter 25. n There are no hard-and-fast rules about how best to implement styles. Like handwriting, you should develop your own style. How many styles you create, the names you use, and whether you apply them with keyboard shortcuts or through the Object Styles pane are all matters of personal taste. One thing is indisputable: You should use object styles whenever you’re dealing with multi- ple objects that need to be formatted the same way. Creating object styles You create object styles using the Object Styles panel (choose Window ➪ Styles ➪ Object Styles, or press Ô+F7 or Ctrl+F7), shown in Figure 13.11. You can also click the New Object Style iconic button (the turned-page icon) at the bottom of the panel. New styles are added at the bottom of the style list or, if a group is selected, at the bottom of the group’s list. Tip The simplest way is to apply various attributes to an object (text frame, graphics frame, unassigned frame, or line) is to select it and then choose New Object Style from the Object Style panel’s flyout menu. InDesign records all those settings automatically so that they’re in place for the new object style. n Whether you start with an existing object or create a new object style completely from scratch, you use the New Object Style menu option that opens the New Object Style dialog box shown in Figure 13.12. At the left side of the dialog box is a list of types of attributes that are or can be set. The selected items are in use for this style; you can deselect an item so that InDesign doesn’t apply its settings to objects using the style. For example, if Fill is deselected, the object style won’t apply any Fill set- tings to objects using that style. You can also set a pane to ignore any local formatting in an object (leaving it alone when you apply the style): Click the selection box to the left of the pane name until a – icon appears; that icon indicates the pane is set to Ignore. 21_607169-ch13.indd 33721_607169-ch13.indd 337 4/22/10 7:55 PM4/22/10 7:55 PM Part III: Object Fundamentals 338 FIGURE 13.11 The Object Styles panel and its flyout menu Delete Selected Style Create New Style Clear Attributes Not Defined by Style Clear Overrides Create New Style Group FIGURE 13.12 The Fill pane of the New Object Style dialog box 21_607169-ch13.indd 33821_607169-ch13.indd 338 4/22/10 7:55 PM4/22/10 7:55 PM Chapter 13: Orchestrating Objects 339 Note Because there are so many panes, the New Object Style dialog box breaks them into two sections: Basic Attributes and Effects. The Effects set of panes have the same functions as the Effects dialog box. For the details on the Effects panes’ settings, see Chapter 12. n The Fill pane Shown in Figure 13.12, the Fill pane of the New Object Style dialog box lets you set colors for fills using whatever colors are defined in the Swatches panel. You can also set the tint and, if you select a gradient fill, the angle for that gradient. Finally, you can choose to have the fill overprint the con- tents of the frame by selecting the Overprint Fill option. The other options are grayed out because they do not apply to fills. Tip If you click the Stroke icon in the pane, you are taken to the Stroke pane of the New Object Style dialog box. This emulates the behavior of the Stroke and Fill iconic buttons in the Tools panel and the Swatches panel. n Cross-Reference Chapter 8 covers the definition and application of colors, gradients, and tints. n The Stroke pane The Stroke pane in the New Object Style dialog box is identical to the Fill pane except that options specific to fills are grayed out and options available to strokes are made available. The color, tint, and gradient angle options are the same as for the Fill pane. In the Stroke pane, you choose the type of stroke (solid line, dashed line, or dotted line) using the Type pop-up menu, and the thickness using the Weight field. You can also choose to overprint the stroke over underlying content by selecting the Overprint Stroke option. Finally, if your stroke is a dotted or dashed line, you can set the color, tint, and overprint for the gap in the Gap Color section. Tip If you click the Fill iconic button in the pane, you are taken to the Fill pane of the New Object Style dialog box. This emulates the behavior of the Stroke and Fill iconic buttons in the Tools panel and the Swatches panel. n Cross-Reference Chapter 12 covers the use of strokes and settings such as gap. n The Stroke & Corner Options pane Shown in Figure 13.13, the Stroke & Corner Options pane of the New Object Style dialog box lets you set stroke position and how corners and line ends are handled. It also lets you apply fancy cor- ners to frames. 21_607169-ch13.indd 33921_607169-ch13.indd 339 4/22/10 7:55 PM4/22/10 7:55 PM Part III: Object Fundamentals 340 FIGURE 13.13 The Stroke & Corner Options pane of the New Object Style dialog box The Stroke Effects section is where you align the strokes to the frame edges, using the Stroke Alignment buttons. You also control how lines join at corners using the Join buttons. The End Cap buttons control how the lines end (such as immediately, or with a rounded or squared-off cap). You can also use the Miter Limit field to tell InDesign when a corner point should switch from mitered (squared off) to a beveled appearance, based on the sharpness of the corner’s angle. Finally, you can select line endings such as arrowheads using the Line Start and Line End pop-up menus. The Corner Options section is where you select from five fancy corners, such as Bevel and Rounded, using the Shape pop-up menus for each corner, and where you specify the radius, or reach, of the corners using the Size fields. (To adjust corners individually, make sure the Make All Settings the Same iconic button is deselected, so it displays the broken-chain icon.) Cross-Reference Chapter 12 covers the use of strokes and settings such as alignment and line endings, as well as corner options. n The Paragraph Styles pane The Paragraph Styles pane of the New Object Style dialog box controls what paragraph style, if any, is applied to text in the frame. It has just two options: l You choose the style from the Paragraph Style pop-up menu that you want automatically applied to any text typed into the frame. l If that style is set to invoke another style for the next paragraph, be sure to select the Apply Next Style option; otherwise, the object style insists on making every paragraph use the style specified in the pop-up menu. 21_607169-ch13.indd 34021_607169-ch13.indd 340 4/22/10 7:55 PM4/22/10 7:55 PM [...]... Graphics Interchange Format common in Web documents (.gif) l Illustrator: The native format in Adobe Illustrator 5. 5 through CS5 is similar to EPS (.ai) l InDesign: You can import other InDesign documents as if they were graphics; you can even choose which pages to import as if they were separate graphics (.indd) 359 Part IV: Graphics Fundamentals l JPEG: The Joint Photographic Expert Group compressed bitmap... Document Format that is a variant of PostScript (as EPS is) and is used for Web-, network-, and CD-based documents InDesign CS5 supports PDF versions 1.3 through 1.8 (the formats used in Acrobat 4 through 9) (.pdf) l Photoshop: The native format in Adobe Photoshop 5. 0 through CS5 (.psd) Note that InDesign cannot import Photoshop RAW format (.raw) files l PICT: Short for Picture, the Mac’s native graphics... programs, InDesign launches compatible programs if you have them For example, if you Option+double-click or Alt+double-click an Encapsulated PostScript (EPS) file in your layout that was created in Adobe Illustrator, but you use CorelDraw instead, InDesign launches CorelDraw on your system New Feature The ability to open multiple files with the Edit Original command is new to InDesign CS5 n InDesign. .. InDesign documents in several ways InDesign is particularly adept at importing graphics created in popular Mac and Windows formats; and through the Mac and Windows Clipboards (copy and paste), you can import file formats — to a limited degree — that InDesign doesn’t directly support Because InDesign has some built-in graphics features, as described in Chapters 15 and 16, you may be tempted to use InDesign. .. text editor or into InDesign as a text frame The information is arranged as a tabbed table l Copy Info for Selected Links: This takes all the information available for the files selected in the Links panel and copies it to the Clipboard, from which you can paste it into a text editor or into InDesign as a text frame The information is arranged as a tabbed table New Feature InDesign CS5 lets you right-click... to control this behavior If checked (the default setting), this option has InDesign display multiple instances of linked files in its traditional way, as just described But if unchecked, this option has InDesign CS5 list each instance of a linked file separately in the Links panel — with no need to use the reveal control n 350 Chapter 13: Orchestrating Objects Adding Metadata Captions The Links panel... As described later in this chapter, InDesign can differentiate layers in an Illustrator file, letting you decide which ones to display in your layout 362 Chapter 14: Importing Graphics InDesign InDesign files contain all sorts of elements — text, graphics, and even sounds, hyperlinks, and movies — presented as one or more pages When you import an InDesign file, InDesign treats it as a graphic and can... that InDesign files imported as graphics cannot be edited directly in the InDesign layout they were placed in; you must update the original file instead in a separate window 358 Chapter 14: Importing Graphics I suggest that you make EPS and TIFF formats your standards because these have become the standard graphics formats in publishing If you and your service bureau work almost exclusively with Adobe. .. of the panel New Feature If you have multiple copies of the same file linked in your InDesign layout, the Links panel lists the file name just once by default; to see all instances of that file in your layout, you have to click the reveal control (the right-facing triangle icon to the left of the file name) InDesign CS5 s Panel Options dialog box adds a new option — the Collapse Multiple Links to Same... embellish your layout, rather than create original artwork InDesign lets you easily open a graphics program to edit placed images from within InDesign You can select the images and choose Edit ➪ Edit Original, or you can press and hold Option or Alt and then double-click the images InDesign launches the programs that created the graphics; if you don’t own 357 IN THIS CHAPTER Preparing files for import from . Next Link in List Edit Original 21_607169-ch13.indd 3 452 1_607169-ch13.indd 3 45 4/22/10 7 :55 PM4/22/10 7 :55 PM Part III: Object Fundamentals 346 InDesign always creates links for graphics files, but. are automatically applied to all new objects. n 21_607169-ch13.indd 3 352 1_607169-ch13.indd 3 35 4/22/10 7 :55 PM4/22/10 7 :55 PM Part III: Object Fundamentals 336 Tip To apply text-wrap settings. panel — with no need to use the reveal control. n 21_607169-ch13.indd 350 21_607169-ch13.indd 350 4/22/10 7 :55 PM4/22/10 7 :55 PM