Wile Adobe InDesign CS5 Bible phần 7 pptx

Chapter 21: Specifying Paragraph Attributes 519 Caution There is a risk with using Indent Here: You can have inconsistent hanging indents if the lead-in characters or space differs in your paragraphs, or if tracking or kerning of text before the indent-to-here characters varies from paragraph to paragraph. n Setting column spans InDesign CS5 lets you override the number of columns set in a text frame (see Chapter 19) at a paragraph level. That means you can have a headline and its body text in the same text frame, with the text flowing into, say, two columns within the frame but the headline going across the full frame width, as the top of Figure 21.3 shows. This type of layout is extremely common in newslet- ters, newspapers, and magazines. The Span Columns control is not all-or-nothing. Instead, it lets you specify how many columns the paragraph spans: l All columns l Two columns l Three columns l Four columns The easy part of creating first-line indents and hanging indents is using the software. The hard part can be deciding how much space to use. For example, how do you decide how deep to make a first-line indent? Amateur publishers or designers, who are likely to be thinking in inches rather than points or picas, are likely to use too much space. They’re tempted to use 0.25", 0.125", or another nice dividend of an inch for spacing rather than a more appropriate value such as 6 points. When deciding on spac- ing, consider the following: l First-line indents that indicate new paragraphs should generally be one or two em spaces wide. The width of an em space is equal to the point size in use — so 10-point text should have a 10- or 20-point first-line indents. Opt for less space in narrower columns to avoid awkward space and more space in wider columns so that the spacing is evident. l As you remember from grade-school outlines, indents help organize information, with deeper indents indicating more detail about a topic. Professional publications, though, have many organizational options — such as headlines, subheads, and run-in heads — so they rarely have a need for more than two levels of indents. You might use indents on lengthy quotes, bulleted lists, numbered lists, kickers, and bylines. If you do, stick to the same amount of indent for each so that the readers’ eyes don’t wander. Although these values give you a good starting point, you might need to modify them based on the typeface, font size, column width, design, and overall goals of the publication. Spacing Guidelines for Indents 31_607169-ch21.indd 51931_607169-ch21.indd 519 4/22/10 8:00 PM4/22/10 8:00 PM Part V: Text Fundamentals 520 For example, if you have a four-column text frame and set Span Columns to Span 2 for the head- line, the headline stretches across the first two columns of the frame, with the text in those col- umns appearing below the headline, but the text in the other two columns is not affected, as the middle of Figure 21.3 shows. The Span Columns control also lets you split text within its column. For example, if you choose a split of 2, the text is split into two columns within its text column. The bottom of Figure 21.3 shows an example. FIGURE 21.3 The new Span Columns control lets you set text to break across columns in a text frame, such as text for headlines and pull-quotes. At the top, setting a headline to span the entire text frame. In the middle, setting a headline to span two columns in a four-column text frame. At bottom, setting a headline to split into two columns in a two-column text frame. 31_607169-ch21.indd 52031_607169-ch21.indd 520 4/22/10 8:00 PM4/22/10 8:00 PM Chapter 21: Specifying Paragraph Attributes 521 New Feature The Span Columns controls are new to InDesign CS5. Before, you had to place the multicolumn-spanning headlines in separate text frames. n Controlling Paragraph Spacing InDesign lets you adjust spacing for paragraphs in two ways — between lines of text and between paragraphs — and it provides three mechanisms for doing so. Using leading Leading (rhymes with sledding, not heeding), or the space between lines in a paragraph, is treated by InDesign as a character format through the Character panel or Control panel, even though it’s tra- ditionally an attribute of the paragraph. However, you can override InDesign’s character-oriented approach so that it works like all other layout programs. To ensure that leading changes affect entire paragraphs, select the Apply Leading to Entire Paragraphs option in the Type pane of the Preferences dialog box (choose InDesign ➪ Preferences ➪ Type or press Ô+K on the Mac, or choose Edit ➪ Preferences ➪ Type or press Ctrl+K in Windows). Cross-Reference For more details on how to apply leading using the Character panel or Control panel, see Chapter 20. n Note When creating paragraph styles, you set leading in the Basic Character Formats pane of the New Paragraph Styles dialog box. n Adding space between paragraphs When you choose Show Options from the Paragraph panel’s flyout menu, four additional fields appear, as shown earlier in Figure 21.1. They’re also always in the Control panel. Two of these fields let you insert space before and/or after paragraphs. When you need to format a lengthy chunk of text with multiple paragraphs, there are two ways to indicate a new paragraph. You can: l Indent the paragraph’s first line (by specifying a First-Line Left Indent value). l Insert some extra space between the new paragraph and the preceding one. 31_607169-ch21.indd 52131_607169-ch21.indd 521 4/22/10 8:00 PM4/22/10 8:00 PM Part V: Text Fundamentals 522 Note There’s no rule that says you can’t use both spacing methods, but generally you’ll use one or the other. What you don’t want to do is insert extra returns between a paragraph, which is what was done in the days of typewriters. n To insert space before selected paragraphs, type a value in the Space Before field in the Paragraph panel or Control panel. You can also use the up and down nudge buttons next to the fields, and you can use the ↑ and ↓ keys. (Just be sure you’ve selected the Space Before field first.) Each click of the nudge button or press of the ↑ or ↓ key increases the Space Before value by 1 point. If you press and hold Shift while using the nudge buttons or ↑ and ↓ keys, InDesign makes the spacing the nearest multiple of 10 points and then continues to increment your Space Before value 10 points at a time as long as you hold Shift. The Space After field works the same as the Space Before field but inserts space below selected paragraphs. Generally, you use Space Before or Space After to separate paragraphs. Combining both can be confusing. Locking text to the baseline grid Every document includes a grid of horizontal lines, called the baseline grid, which can be shown or hidden (choose View ➪ Grids & Guides ➪ Show/Hide Baseline Grid or press Option+Ô+' or Ctrl+Alt+') and used to help position objects and text baselines. A document’s baseline grid is established in the Grids pane of the Preferences dialog box (choose InDesign ➪ Preferences ➪ Grids or press Ô+K on the Mac, or choose Edit ➪ Preferences ➪ Grids or press Ctrl+K in Windows). Generally, a document’s baseline grid interval is equal to the leading value applied to the body text. You can ensure that lines of text align across columns and pages by locking their baselines to the baseline grid. To do so, click the Align to Baseline Grid iconic button in the Paragraph panel (the rightmost button on the bottom). To prevent such locking to the baseline, click the Do Not Align to Baseline Grid iconic button. These same buttons also exist on the right side of the Control pan- el’s Paragraph (¶) pane. You can also set individual baseline grids for specific text frames. You do so in the Baseline Options pane of the Text Frame Options dialog box (choose Object ➪ Text Frame Options or press Ô+B or Ctrl+B). This is particularly handy for multicolumn text frames. InDesign aligns a paragraph to its text frame’s baseline grid if it has one and to the document’s baseline grid if not — assuming, of course, that the Align to Baseline Grid option is selected. Cross-Reference Chapter 10 covers how to set up baseline grids in more detail. n Although you can use InDesign’s Lock to Baseline Grid feature to align text baselines across col- umns and pages (or within text frames), you can produce the same results by combining uniform body text leading with other paragraph formats (Space Before and Space After). Some designers like the certainty and simplicity of the Lock to Baseline Grid feature; others prefer to control text alignment across columns themselves. Whichever works best for you is fine. 31_607169-ch21.indd 52231_607169-ch21.indd 522 4/22/10 8:00 PM4/22/10 8:00 PM Chapter 21: Specifying Paragraph Attributes 523 Note Keep in mind that when paragraphs are aligned to the baseline grid, the applied leading values are ignored. n InDesign provides a way to change how the Lock to Baseline Grid feature works. Normally, every line in your text is aligned to the baseline grid when the feature is selected, but in some cases you want only the first line of a paragraph to align to the baseline grid. For example, it’s common to align just the first line in a multiline subhead to the baseline grid, letting the extra lines fall natu- rally based on the paragraph’s leading. InDesign gives you a control to get this behavior: The Only Align First Line to Grid option in the Paragraph panel’s and Control panel’s flyout menus. You can use this option for any paragraph that you want to be the reset point if your text gets off the base- line grid, without forcing every line to align to the grid. (Otherwise, every line in the subhead would be aligned to the baseline grid, essentially overriding your leading.) Another option, Balance Ragged Lines, in the Paragraph panel’s and Control panel’s flyout menus ensures that the rag is balanced, which means that the lines of text alternate between short and long when possible, rather than fall in a seemingly random pattern. The purpose of this option is to make headlines and other large copy, such as in ads, more visually pleasing. You wouldn’t use this option for body text; the use of small text size and the need for efficient spacing in body text make this feature irrelevant. Unfortunately, this setting also forces hyphenation to achieve the bal- anced rag, which may be contrary to your intent. Using Initial Caps A common layout technique meant to embellish key paragraphs is the use of initial caps. An initial cap is an oversized first letter often dropped into the paragraph (and thus called a drop cap), but InDesign also supports several variations of this technique. Applying basic drop caps A drop cap is created by notching a paragraph’s first letter or letters into the upper-left corner of the paragraph. Drop caps are often used to embellish the first paragraph of a story, to draw attention to paragraphs, and to interrupt the grayness in columns of text. In the Paragraph panel or Control panel, InDesign lets you specify the number of letters you want to include in a drop cap and the number of lines you want to notch them. To add one or more drop caps to selected paragraphs, type a number in the Drop Cap Number field in the Paragraph panel or Control panel. That’s how many characters will be made into drop caps. To specify the number of lines a drop cap extends into a paragraph, type a value in the Drop Cap Depth field. If the first character in a paragraph is a quotation mark (“ or ‘), it can look odd as a one-character drop cap. If you don’t like this look, you have a couple of options: You can either delete the open- ing quotation mark, an acceptable but potentially confusing practice, or you can use the first two 31_607169-ch21.indd 52331_607169-ch21.indd 523 4/22/10 8:00 PM4/22/10 8:00 PM Part V: Text Fundamentals 524 characters in the paragraph as drop caps instead. Some publications simply prefer not to start para- graphs with quotes, preventing the problem from the editorial side. After you create a drop cap, you can modify it by highlighting it and then changing any of its char- acter formats — font, size, color, and so on — using a character style, the Character panel or Control panel, and other panels (such as Stroke and Swatches). Figure 21.4 shows some examples of drop caps. FIGURE 21.4 The first (leftmost) drop cap has a one-character drop cap three lines deep. In the second example, the font size of a one-letter, four-line drop cap has been enlarged to raise it above the first line of text. In the third example, a Left Indent value combined with a negative First-Line Left Indent value produced the one- character, three-line drop cap’s hanging indent. The fourth (rightmost) example is of a two-line, four- character drop cap. Using special initial cap techniques The three-line, single-letter drop cap is used so often that it’s almost a cliché. Serviceable, yes, but very commonplace. But you can create all sorts of initial caps — large first letters such as drop caps and raised caps — in InDesign, as Figure 21.5 shows. Creating raised caps Raised caps are an alternative to drop caps, created by enlarging and raising the first few characters of the paragraph above the first line in the paragraph. Creating raised caps is simple — highlight the characters you want to raise with the Type tool and enlarge them using the Font Size field in the Character panel (choose Type ➪ Character or press Ô+T or Ctrl+T) or in the Character pane of the Control panel (press the A iconic button). If you raise a word or phrase, you might need to track the raised words to tighten them. You also might need to kern between the raised text and the remainder of the line. Other options for raised caps include changing the font, color, and scale of the characters. If you plan to repeat the raised- cap formatting, save it as a character style. You can also create partially raised caps by creating a drop cap and then enlarging the drop cap using the Character panel, the Character pane of the Control panel, or a character style. 31_607169-ch21.indd 52431_607169-ch21.indd 524 4/22/10 8:00 PM4/22/10 8:00 PM Chapter 21: Specifying Paragraph Attributes 525 FIGURE 21.5 Examples of special initial caps. From left to right: a raised cap, a drop cap created by converting a charac- ter into a graphic and then applying special effects to it, and a drop “cap” made up of a graphic. Converting text to outlines for initial caps You can convert drop caps, raised caps, or any character in any font to a graphic (actually, it’s a frame, but you can work with it as if it were a graphic). You can then resize, scale, shear, fill, and stroke the character-shaped frame — even import a graphic into it. To do this, highlight the char- acters with the Type tool and then choose Type ➪ Create Outlines or press Shift+Ô+O or Ctrl+Shift+O. Frames are based on the size and outlines of the font in use and are automatically anchored in the paragraph so that they flow with the text. Note that when you convert text to outlines, the characters no longer exist as text. If you converted part of a word, the remaining portions of the word may be flagged during a spelling check. If you need to edit the converted text, delete the outlines, retype the word, and convert the characters again. Using graphics as initial caps Rather than use text for initial caps, you can use graphics. You can purchase clip art collections that consist of nothing but ornate capital letters to use as initial caps. To use a graphic as an initial cap, first delete the character you will replace with a graphic. Then, use the Place command (choose File ➪ Place or press Ô+D or Ctrl+D) to import the graphic. Size the graphic as appropriate and then place it behind the paragraph, next to the paragraph, or anchored in the text of the paragraph. To anchor a graphic in text, select it with the Selection tool and choose Edit ➪ Cut or press Ô+X or Ctrl+X. Select the Type tool and click at the beginning of the paragraph; then, choose Edit ➪ Paste or press Ô+V or Ctrl+V. The graphic is now anchored to the text, and you can apply InDesign’s Drop Cap settings to it as if it were text. Similarly, you can resize it to create a raised cap from it. (Chapter 13 covers anchoring in more detail.) In addition to importing graphics for use as initial caps, you can create your own graphics in InDesign. For example, you can place the initial cap character in its own text frame and create reverse type from it, as explained in this chapter, or you can shade the character and place it slightly behind the paragraph. 31_607169-ch21.indd 52531_607169-ch21.indd 525 4/22/10 8:00 PM4/22/10 8:00 PM Part V: Text Fundamentals 526 Adding Automatic Bullets and Numbered Lists Word processors have long been able to add automatic bullets and numbering to paragraphs. So it makes sense that a layout program can, too. In InDesign, automatic bullets and numbering are available as a paragraph-level format, accessed in the Paragraph panel’s and Control panel’s flyout menus by choosing Bullets and Numbering Options. The simplest way to use these is to select the paragraphs that you want to be bulleted or num- bered, then click the appropriate button in the Paragraph (¶) pane of the Control panel. As you would expect, InDesign offers more than basic controls, which you can access via the Bullets & Numbering option in the Paragraph panel’s flyout menu or via the submenu options when choos- ing Type ➪ Bulleted & Numbered Lists. This bullets-and-numbering feature is most useful when coupled with a paragraph style; otherwise, you have to apply these settings for each selection of paragraphs you want to make into a list. Cross-Reference Chapter 22 covers the setup, customization, and application of bullets and numbering in more detail. n Controlling Hyphenation and Justification Hyphenation is the placement of hyphens between syllables in words that don’t completely fit at the end of a line of text — a signal to the reader that the word continues on the next line. InDesign gives you the option to hyphenate or not hyphenate paragraphs, and if you choose to hyphenate, you can customize the settings that determine when and where hyphens are inserted. As noted earlier, justification is the addition or removal of space between words and/or letters that produces the flush-left/flush-right appearance of justified paragraphs. InDesign’s justification con- trols let you specify how space is added or removed when paragraphs are justified. If your pages contain columns of text, you have to decide whether to use left-aligned or justified paragraphs and whether you want to hyphenate words that don’t entirely fit at the end of a line. As mentioned earlier, if you justify paragraphs, you almost certainly want to hyphenate them, too. If you opt for left-aligned paragraphs, whether to hyphenate is a personal choice. InDesign offers two hyphenation methods: manual and automatic. Manual hyphenation If you want to break a particular word differently from the way InDesign would normally break the word, you can place a discretionary hyphen in the word. If the word falls at the end of a line in a hyphenated paragraph, InDesign uses the discretionary hyphen to split the word if the first syllable 31_607169-ch21.indd 52631_607169-ch21.indd 526 4/22/10 8:00 PM4/22/10 8:00 PM Chapter 21: Specifying Paragraph Attributes 527 fits on the line. To insert a discretionary hyphen, press Shift+Ô+– or Ctrl+Shift+– in the text where you want the hyphen to appear, or choose Type ➪ Insert Special Character ➪ Hyphens and Dashes ➪ Discretionary Hyphen. You can prevent a particular word from being hyphenated either by placing a discretionary hyphen in front of the first letter or by highlighting the word and choosing No Break from the flyout menu of the Control panel or Character panel. (You need to select the A iconic button in the Control panel to get this option in its flyout menu.) But be careful: If you select more than a line’s width of text and apply No Break, InDesign may not display the rest of the story’s text. Tip If you place a discretionary hyphen in a word, InDesign breaks the word only at that point (or does not break it at all). However, you can place multiple discretionary hyphens within a single word; InDesign uses the one that produces the best results. n InDesign uses discretionary hyphens only if you select the Hyphenate option in the Paragraph panel or in the Control panel. If Hyphenate is not selected, neither manual nor automatic hyphen- ation is applied. Likewise, if you want to force a hyphen that cannot be broken (meaning it cannot fall at the end of a line), insert the nonbreaking hyphen character (choose Type ➪ Insert Special Character ➪ Hyphens and Dashes ➪ Nonbreaking Hyphen or press Option+Ô+– or Ctrl+Alt+–). Automatic hyphenation To automatically hyphenate selected paragraphs, all you have to do is select the Hyphenate option in the Paragraph panel or Control panel. (The Hyphenate option appears only if you choose Show Options from the flyout menu.) If you choose to hyphenate paragraphs, you can control how hyphenation is accomplished through the Hyphenation option in the flyout menu. When you choose Hyphenation, the Hyphenation Settings dialog box appears. Here’s a brief description of each option: l Hyphenate: This is a duplicate of the Hyphenate option in the Paragraph panel and Control panel. If you didn’t select it before opening the Hyphenation dialog box, you can select it here. l Words with at Least ___ Letters: Here, you specify the number of letters in the shortest word you want to hyphenate. For example, if you specify four letters, mama can be hyphenated, but any can’t be. l After First ___ Letters: Here, you specify the minimum number of characters that can precede a hyphen. If you type 2, for example, the word atavistic can be broken after at. If you specify 3, atavistic cannot be broken until after ata. 31_607169-ch21.indd 52731_607169-ch21.indd 527 4/22/10 8:00 PM4/22/10 8:00 PM Part V: Text Fundamentals 528 l Before Last ___ Letters: This field is similar to After First ___ Letters, but it determines the minimum number of characters that can follow a hyphen. l Hyphenation Limit ___ Hyphens: Specify the number of consecutive lines that can be hyphenated in this field. Some designers limit the number of consecutive hyphens to two or three because they believe that too many consecutive hyphens produces an awkward, ladder-like look. If the Hyphenation Limit value you enter prevents hyphenation in a line that would otherwise be hyphenated, the line may appear more spaced out than sur- rounding lines. l Hyphenation Zone: This field applies only to nonjustified text and only when the Adobe Single-Line Composer option is selected (in the Paragraph panel’s or Control panel’s fly- out menu). A hyphenation point must fall within the distance specified in this field to be used. Otherwise-acceptable hyphenation points that do not fall within the specified hyphenation zone are ignored. You can also click and drag the slider below the field to select a value rather than type a value in this field. l Hyphenate Capitalized Words: Select this option to break capitalized words, such as proper names and the first word of sentences. If you don’t select this check box, a capital- ized word that would otherwise be hyphenated gets bumped to the next line, possibly producing excessive spacing in the previous line. l Hyphenate Last Word: Select this option to break the last word in a paragraph. Otherwise, InDesign moves the entire word to the last line and spaces the preceding text as necessary. Some typographers don’t like having a word fragment as the last line, argu- ing that breaking a word in two is not necessary because there is clearly enough space to keep it together. I’m not so dogmatic. l Hyphenate across Column: Select this option to let text hyphenate at the end of a column. When you’re done specifying hyphenation settings in the Hyphenation Settings dialog box, click OK to close the dialog box and return to your document. Justification controls InDesign provides three options for controlling how justification is achieved: l Condense or expand the width of spaces, or spacebands, between words. l Add or remove space between letters. l Condense or expand the width of characters, or glyphs. The options in the Justification dialog box let you specify the degree to which InDesign adjusts normal word spaces, character spacing, and character width to achieve justification. You access this dialog box through the flyout menu in the Control panel or in the Paragraph panel, or by pressing Option+Shift+Ô+J or Ctrl+Alt+Shift+J. Although you can use the Justification controls on selected paragraphs, in most cases you specify Justification settings when you create styles, particularly your body-text styles. 31_607169-ch21.indd 52831_607169-ch21.indd 528 4/22/10 8:00 PM4/22/10 8:00 PM [...]... toggles, turning the lists off and on New Feature InDesign CS5 now properly aligns bulleted and numbered lists when the left side of the text frame they are in wraps around another object In earlier versions, InDesign s bulleted and numbered lists improperly aligned in text wraps n Working with imported lists Chances are you’re not writing the bulk of your text in InDesign Instead, the text was delivered in... Shortcut Copyright (©) Option+G Shift+Alt+C or Ctrl+Alt+C or Alt+0169 Registered trademark (®) Option+R Shift+Alt+R or Alt+0 174 Trademark (™) Option+2 Shift+Alt+2 or Alt+0153 Paragraph (¶) Option +7 Shift+Alt +7 or Ctrl+Alt+; or Alt+0182 Section (§) Option+6 Shift+Alt+6 or Alt+01 67 Dagger (†) Option+T Shift+Alt+T or Alt+0134 Double dagger (‡) Option+Shift+T Alt+0135 Cent (¢) Option+4 Alt+0162 Euro (€)... apply: l Adjusting word spacing is preferred over hyphenation l Hyphenation is preferred over glyph scaling l If spacing must be adjusted, removing space is preferred over adding space Adobe Paragraph Composer InDesign s Adobe Paragraph Composer (called the Multi-Line Composer in some earlier versions) is enabled by default It takes a broader approach to composition by looking at the entire paragraph... use just a simple line, but InDesign offers 17 types of lines, including dashed, striped, dotted, and wavy Any custom stroke styles you create (see Chapter 12) also show up as options in the Type pop-up menu 5 Choose a color from the Color popup menu, which lists the colors shown in the Swatches panel (choose Window ➪ Color ➪ Swatches or press F5) If you choose (Text Color), InDesign automatically uses... panel’s — flyout menu offers two choices for implementing the hyphenation and justification settings you’ve established: the Adobe Single-Line Composer and the Adobe Paragraph Composer (These are also available in the Justification dialog box covered in the previous section.) Adobe Single-Line Composer Old-school programs such as QuarkXPress and PageMaker use single-line composition methods to flow... controls.) 543 Part V: Text Fundamentals InDesign s default superscript and subscript size is 58.3 percent of the character’s size (this odd value actually equals 7 12, in keeping with typography’s standard of using points, of which there are 12 in a pica, for text measurement) The numerator and denominator in a fraction should be the same size, so if you use InDesign s superscripts at its default settings,... considered in single-line composition If adjusting the space within a line causes poor spacing on the next line, tough luck InDesign offers this traditional approach to composing text; just choose Adobe Single Line Composer in the Justification dialog box’s Compose popup menu When you use the Adobe Single-Line Composer, the following rules apply: l Adjusting word spacing is preferred over hyphenation l Hyphenation... can use drop caps to add space between paragraphs If you want to hyphenate a paragraph, you can add hyphenation points manually to individual words, or you can have InDesign automatically hyphenate words as appropriate If you choose to use InDesign s justification controls to specify how space is added or removed between characters and/or words to achieve justification, you also have two options for... margin alignment Applying end-of-story markers Throughout this chapter, you learn how InDesign can produce special typographic effects and, more important, when to use them Creating custom underlines and strikethroughs You can apply all sorts of formatting to text beyond those described here For example, by using InDesign s object transformation tools, as covered in Chapter 11, you can change the look... to graphics By applying special object effects such as transparency and embossing — covered in Chapter 12 — you can really jazz up your layouts InDesign s text-wrap feature (covered in Chapter 13) also lets you make text interact with surrounding objects 5 37 Running text along a path Part V: Text Fundamentals And for text selections, you can apply color (see Chapter 8), strokes (see Chapter 12), and . up your layouts. InDesign s text-wrap feature (covered in Chapter 13) also lets you make text interact with surrounding objects. 32_6 071 69-ch22.indd 5 373 2_6 071 69-ch22.indd 5 37 4/22/10 8:00 PM4/22/10. after at. If you specify 3, atavistic cannot be broken until after ata. 31_6 071 69-ch21.indd 5 273 1_6 071 69-ch21.indd 5 27 4/22/10 8:00 PM4/22/10 8:00 PM Part V: Text Fundamentals 528 l Before Last. frame. 31_6 071 69-ch21.indd 52031_6 071 69-ch21.indd 520 4/22/10 8:00 PM4/22/10 8:00 PM Chapter 21: Specifying Paragraph Attributes 521 New Feature The Span Columns controls are new to InDesign CS5. Before,