Tài liệu InDesign CS5 Bible- P8 pdf

Chapter 12: Applying Effects to Objects 305 Applying feathering A similar option to drop shadows is feathering, which essentially softens the edges of objects. Figures 12.12 through 12.14 show all three types of feathering. Applying basic feathering To apply basic feathering, where the edges are blurred around all sides of an object, select the Basic Feather option. The controls are simple: l In the Feather Width field, enter a value for the degree of feathering — smaller numbers have the least effect; larger numbers have the most effect. The feathering area starts at the outside edge of the object, so a larger number eats into the object, making it a wispier ver- sion of itself. l The Choke field and pop-up menu let you set where the frame edge begins to get fuzzy (a value of 0 starts immediately at the object edge, whereas a larger value pushes the fuzzy part into the object). l The Noise field and pop-up menu let you add visual noise to the shadow, making it less smooth as the value increases. l The Corners pop-up menu gives you three options: l Sharp l Rounded l Diffused The Sharp option retains the original corner shape as much as possible. The Rounded option rounds the corners of the object; it can distort the shape dramatically at larger Feather Width settings. The Diffused option creates a soft, almost smoky effect by making the object borders and corners more translucent. FIGURE 12.12 The Basic Feather pane of the Effects dialog box 20_607169-ch12.indd 30520_607169-ch12.indd 305 4/22/10 7:54 PM4/22/10 7:54 PM Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark. Part III: Object Fundamentals 306 Applying directional feathering The Directional Feather controls act like a drop shadow in that there is an external light source that determines how the feathering’s blur appears along an object’s edges. The effect is more like a shadowy smear. The controls are similar to that of Basic Feather, with these exceptions: l Rather than have one Width setting, there are separate settings for the Top, Bottom, Left, and Right. If the chain icon is a solid chain, all edges have the same width; click it to get the broken-chain icon, which lets you control each edge independently. l The Shape pop-up menu lets you choose what edges are feathered: First Edge Only (the ones specified in the Width fields), Leading Edges (any in the path of the light source), and All Edges. l Set the light source angle by entering a value in the Angle field or by clicking a location in the circle. FIGURE 12.13 The Directional Feather pane of the Effects dialog box Applying gradient feathering The Gradient Feather controls create the effect of having a strong light source near the object, washing out part of the object. Here’s how the controls work: l You set the gradient itself in the Gradient Stops area. You add stop points, choose opacity for each, and set the location for both gradient stops and transition points just as you do for any gradient (see Chapter 8). You can reverse the gradient’s direction by clicking the iconic button to the right of the gradient ramp. l In the Options area, you set the gradient type — Linear or Radial — and the lighting angle. 20_607169-ch12.indd 30620_607169-ch12.indd 306 4/22/10 7:54 PM4/22/10 7:54 PM Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark. Chapter 12: Applying Effects to Objects 307 FIGURE 12.14 The Gradient Feather pane of the Effects dialog box Cross-Reference You can also apply gradient feathering using the Gradient Feather tool, as described in Chapter 8. n Applying outer and inner glows Glows are what they sound like: A lighting effect that makes it seem as if there is light behind an object that causes it to glow (an outer glow) or a light source within the object’s frame that causes a glow inside (an inner glow). Figure 12.15 and Figure 12.16 show the panes. Applying an outer glow Here’s how the controls for outer glow work (note that the first three options are the same as for transparency effects): l Choose the blending mode in the Mode pop-up menu, the glow color in the Color pop-up menu (the square swatch to the right of the Mode pop-up menu), and the transparency level in the Opacity field or pop-up menu. l Choose the glow’s intensity by choosing Software or Precise in the Technique pop-up menu. The Precise option creates a more saturated, harsher glow. l Choose how far away from the frame the glow begins to dissipate by entering a value in the Spread field. A value of 0 starts the fade immediately. l Choose the width of the glow in the Size field. l Add visual noise to the shadow, making it less smooth as the value increases, by entering a value in the Noise field or choosing a value from the pop-up menu. 20_607169-ch12.indd 30720_607169-ch12.indd 307 4/22/10 7:54 PM4/22/10 7:54 PM Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark. Part III: Object Fundamentals 308 FIGURE 12.15 The Outer Glow pane of the Effects dialog box Applying an inner glow The controls for inner glows are nearly identical to those for outer glows, with these two exceptions: l The Spread field in the Options area is called Choke. It does the same as Spread but applies inside the frame rather than outside of it. l The Source options — Center and Edge — let you choose the light source’s location relative to the object. FIGURE 12.16 The Inner Glow pane of the Effects dialog box 20_607169-ch12.indd 30820_607169-ch12.indd 308 4/22/10 7:54 PM4/22/10 7:54 PM Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark. Chapter 12: Applying Effects to Objects 309 Applying beveling and embossing Beveling means to make an object appear to be above the plane of other objects, thus casting a shadow at the edges. Embossing is a variation of beveling where only the edges are raised; the con- tents are lowered back to the normal plane. Figure 12.17 shows the Bevel and Emboss pane. FIGURE 12.17 The Bevel and Emboss pane of the Effects dialog box The controls for beveling and embossing combine controls from several other lighting effects: l In the Structure area, choose the bevel or emboss style from the Style pop-up menu: Outer Bevel (the bevel extends outside the frame), Inner Bevel (the bevel extends inside the frame), Emboss, and Pillow Emboss (a shallower embossing). l In the Technique pop-up menu, choose the type of shadow effects: Smooth, Chisel Hard, and Chisel Soft. l Choose the apparent height of the effect by entering a value in the Depth field or using the Depth slider. Similarly, choose the shadow’s thickness by entering a value in the Size field. l Choose the direction of the effect by selecting either Up (raised) or Down (etched out) in the Direction pop-up menu. l Adjust the shadow’s intensity by entering a value in the Soften field. l In the Shading area, choose the light source’s direction by entering a value in the Angle field, clicking a point in the circle, or checking the Use Global Light option. Similarly, adjust the light source’s height in the Altitude field. l Adjust the blending mode applied to areas of the bevel or emboss that the light hits by using the Highlight Mode pop-up menu, and the blending mode applied to the shadowed areas using the Shadow Mode pop-up menu. In both cases, there is also a combination field and pop-up menu labeled Opacity where you can adjust the effect’s transparency. 20_607169-ch12.indd 30920_607169-ch12.indd 309 4/22/10 7:54 PM4/22/10 7:54 PM Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark. Part III: Object Fundamentals 310 Applying satin effects The satin effect is similar to a glow, except that it applies a shadow to the frame’s edges, as if the object were made of satin cloth and bowed slightly out from its edges. Figure 12.18 shows the Satin pane. FIGURE 12.18 The Satin pane of the Effects dialog box To apply a satin effect: l Choose the blending mode in the Mode pop-up menu, the glow color in the Color pop-up menu (the square swatch to the right of the Mode pop-up menu), and the transparency level in the Opacity field or pop-up menu. l Choose the light source’s direction by entering a value in the Angle field, or by clicking a point in the circle to designate the light’s location relative to the object (represented by the center of the circle). l Choose the width of the satin effect in the Size field. l Specify the shadow’s size by typing a value in the Distance field. l To have the satin effect appear as if the object were sinking slightly from the edges (mak- ing it darker), check Invert. Summary If you have a frame or shape selected, you can add a stroke around its border or add a color to its background, as well as apply transparency to an object or its contents. You can apply strokes (and colors) to lines and text as well. 20_607169-ch12.indd 31020_607169-ch12.indd 310 4/22/10 7:54 PM4/22/10 7:54 PM Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark. Chapter 12: Applying Effects to Objects 311 The Eyedropper tool lets you sample much of the formatting of an object and then apply it to other objects using the Marker tool. You can further enhance these attributes with the corner-options capabilities, which let you apply fancy shapes to one or more corners of an object. A new capability in InDesign CS5 lets you edit the corners’ shape with the mouse. InDesign has a broad palette of lighting effects capabilities, including inner shadow, glow, feather, bevel, emboss, and satin effects, as well as more traditional transparency and drop shadow effects. You can apply these effects to entire objects, to just their frames, just their fills, or just their text. 20_607169-ch12.indd 31120_607169-ch12.indd 311 4/22/10 7:54 PM4/22/10 7:54 PM Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark. 20_607169-ch12.indd 31220_607169-ch12.indd 312 4/22/10 7:54 PM4/22/10 7:54 PM Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark. 313 CHAPTER Orchestrating Objects IN THIS CHAPTER Changing the stacking order of objects Working with groups Locking objects Nesting objects Inserting objects within a text thread Anchoring objects to text Setting text wrap Working with object styles Managing source links Adding metadata captions F rames, shapes, lines, and paths are the building blocks with which you construct InDesign pages. Becoming familiar with creating and modifying individual objects, which is the focus of Chapters 9 through 12, is a key step in learning how to create publications with InDesign. The next step is to learn how to use several features that let you manipulate multiple objects simultaneously and quickly adjust the relation- ships among the various objects that make up a page. A good InDesign user can handle individual objects one at a time with ease; a virtuoso user can simultaneously juggle several objects with equal ease. Think of it this way: As an InDesign user, you’re much like an architect. You begin with a blueprint — perhaps a rough, felt-tip pen sketch or maybe just a graphic in your mind’s eye — open a new document, and start construc- tion. The settings you establish in the New Document dialog box (choose File ➪ New ➪ Document or press Ô+N or Ctrl+N) — the page size, margin placement, column arrangement, and number of pages — serve as the foun- dation as you begin adding objects to your pages. You must then construct your building, or rather, your publication, using four basic components: l Text frames l Graphics frames l Shapes l Lines You can tweak and twist each of those components in a nearly endless vari- ety of ways while retaining basic properties. After all, a sheared (skewed) and 21_607169-ch13.indd 31321_607169-ch13.indd 313 4/22/10 7:55 PM4/22/10 7:55 PM Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark. Part III: Object Fundamentals 314 mirrored text frame with a purple dashed stroke, a gradient background, and magenta text out- lined in cyan is still just a text frame. As a publication evolves, plans invariably change: An advertiser pulls out and a magazine article needs to be stretched an extra half-page by enlarging an InDesign-created illustration. A client loves his company’s newsletter but wants the front-page graphic cropped differently. A new prod- uct is added to a catalog and half the pages reflow. If you build your documents soundly from the ground up and use the features covered in this chapter, you should be prepared to handle even the most challenging page building — and rebuilding — tasks. Stacking Objects Each time you begin work on a new page, you start with a clean slate (unless the page is based on a master page, in which case the master objects act as the page’s background; see Chapter 7 for more on master pages). Every time you add an object to a page — either by using any of InDesign’s object-creation tools or with the Place command (choose File ➪ Place or press Ô+D or Ctrl+D) — the new object occupies a unique place in the page’s object hierarchy, or stacking order. The first object you place on a page is automatically positioned at the bottom of the stacking order; the next object is positioned one level higher than the first object (that is, on top of and in front of the backmost object); the next object is stacked one level higher; and so on for every object you add to the page. It’s not uncommon for a page to have several dozen or even several hundred objects. Tip When building pages, always try to keep the number of objects to a minimum. For example, instead of putting a headline in one text frame and a subhead in a separate text frame directly below the one that contains the headline, use a single text frame. Lean documents save and print more quickly and are less problematic to modify than bloated documents. n Although each object occupies its own level, if the objects on a page don’t overlap, then the stack- ing order is not an issue. However, some of the most interesting graphic effects you can achieve with InDesign involve arranging several overlapping objects, so it’s important to be aware of the three-dimensional nature of a page’s stacking order. Because objects are added in back-to-front order, it makes sense to build your pages from back to front. For example, if you want to use a lightly tinted version of a scanned image as the back- ground for a page, you first place the image on the page and then add other objects on top of or in front of the graphics frame. In an ideal world, the first object you place on a page would remain forever the backmost, the last object would be the frontmost, and every object in between — created in perfect order from back to front — would relate correctly with every other object. In this perfect world, you would never have to worry about moving objects backward or forward. 21_607169-ch13.indd 31421_607169-ch13.indd 314 4/22/10 7:55 PM4/22/10 7:55 PM Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark. [...]... instead, you now unlock all objects on the current spread InDesign CS5 has also changed the name of the menu option for locking from Lock Position to simply Lock, and InDesign CS5 adds the Prevent Selection of Locked Objects option in the Preferences dialog box’s General pane n Cross-Reference You can also lock entire layers, as described in Chapter 6 n InDesign lets you not only combine several objects into... box (which you open by choosing InDesign ➪ Preferences or pressing Ô+K on the Mac or by choosing Edit ➪ Preferences or pressing Ctrl+K in Windows) To unlock an object, choose Object ➪ Unlock All on Spread or press Option+Ô+L or Ctrl+Alt+L Note that this action unlocks all the objects on the current spread, not just whatever objects might be selected New Feature InDesign CS5 changes how unlocking works:... Control panel If you Shift+click either button, InDesign jumps past four objects and selects the fifth one If you Ô+click or Control+click either button, InDesign selects to the bottommost or topmost object, respectively Cross-Reference See Chapter 10 for more details on selecting objects n 316 Chapter 13: Orchestrating Objects Combining Objects into a Group InDesign lets you combine several objects into... 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 create 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... effect You have to crop and resize the graphic in a program such as Photoshop and then place it again in the anchored frame for InDesign to wrap text correctly around it n 325 Part III: Object Fundamentals FIGURE 13.7 Choosing Object ➪ Anchored Object ➪ Insert does not make InDesign wrap text around the resulting frame (top) Use the Text Wrap panel to set text wrap for such objects (bottom) Adjusting... Cut or press Ô+X or Ctrl+X Setting Up Follow-Me Anchored Frames InDesign offers another way to associate frames to text, and this one can make it easier to have sidebars, pull-quotes, info boxes, and other elements that relate to a specific piece of text move with that text as it reflows — what many designers call follow-me objects and what InDesign calls anchored frames The difference between an inline... option is selected, InDesign places the text frame on the outside of both pages or inside of both pages, depending on how the anchored position is set In other words, if the anchored frame is set to be on the left of the reference text for a left-hand page, selecting this option puts the anchored frame to the right of the reference text on a right-hand page If this option is not selected, InDesign places... mentioned that you can ignore the top and bottom row of position points in the Anchored Section If you click any left-hand position point, InDesign sets the position as if you clicked the middle row’s left-hand position point If you click any right-hand position point, InDesign treats it as if you clicked the middle right-hand position point The only reason the nine points are there is for consistency... consistency with the Anchored Object section’s position points 5 You may need to set two settings in the Anchored Position section in order to give InDesign more precise instructions on how to place the anchored frames: l The X Relative To pop-up menu tells InDesign from where the horizontal location is calculated, using the following options: Anchor Marker, Column Edge, Text Frame, Page Margin, and Page... publications Not these days Not only do all page-layout programs let you create text runarounds, most programs, 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 . more corners of an object. A new capability in InDesign CS5 lets you edit the corners’ shape with the mouse. InDesign has a broad palette of lighting effects. Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark. Chapter 13: Orchestrating Objects 317 Combining Objects into a Group InDesign lets