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Page 1: Introduction to Adobe InDesign CS5 - James D. … · OPEN. Locate the InDesign template from the course’s project on your hard drive (yours may be stored in a different location

Copyright James D. Kramer design services. All rights reserved. l Introduction to Adobe InDesign CS5

Page 2: Introduction to Adobe InDesign CS5 - James D. … · OPEN. Locate the InDesign template from the course’s project on your hard drive (yours may be stored in a different location
Page 3: Introduction to Adobe InDesign CS5 - James D. … · OPEN. Locate the InDesign template from the course’s project on your hard drive (yours may be stored in a different location

i

Copyright James D. Kramer design services. All rights reserved. l Introduction to Adobe InDesign CS5

Contents

Lesson 1: Interface Overview 1

The Quickstart screen and

Creating a New Document 1

The Control bar 3

Customizing your Workspace(s) 3

Customizing Menus and Panels 5

Saving your Workspace(s) 5

Exercise 1: Starting a new project template 6

Lesson 2: Working with Text Styles 8

The Paragraph Styles Dialog 8

The Character Styles Dialog 21

Exercise 2: Creating and editing text styles 23

Lesson 3: Working with Tables 26

The Table Styles Dialog 26

The Cell Styles Dialog 30

Exercise 3: Creating Table and Cell styles 33

Other creative uses for Table Styles 37

Lesson 4: Working with Objects 40

Formatting Objects 40

The Object Styles Dialog 40

Importable Graphics 47

Exercise 4: Creating and editing object styles 48

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Lesson 5: Working with Master Pages 54

Creating and Organizing Master Pages 54

Basing Master pages on other Master pages 55

Exercise 5: Creating and editing master pages 56

Lesson 6: Working with Editorial Controls 57

Working with the Story Editor 57

Working with Search

and Replace Routines 58

Dynamic Spell Checker 61

Exercise 6: Creating search and replace routines 61

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Lesson 1: Interface Overview 1The Quickstart screen and Creating a New Document

Copyright James D. Kramer design services. All rights reserved. l Introduction to Adobe InDesign CS5

Lesson 1: Interface OverviewThe Quickstart screen and Creating a New Document1. When you first open InDesign, you’ll be greeted by the Quickstart screen, as Quickstart screen, as Quickstart

shown in Figure 1. The Quickstart screen has three major sections; recently used files, starting points, and resources for using InDesign.

Figure 1. The Quickstart screen

2. Start by clicking on the Create New Document option in the Quickstart screen, as shown in Figure 2. This will open the New Document dialog box.

Figure 2. Setting up a new InDesign document

Note: Windows users will notice no significant differences in the Mac OS interface (presented here), and the Windows interface.

Note: Don’t feel locked in to the settings in the New Document dialog. They can Document dialog. They can Documentbe changed at any time.

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Introduction to Adobe InDesign CS5 l Copyright James D. Kramer design services. All rights reserved.

2 Lesson 1: Interface Overview The Quickstart screen and Creating a New Document

Figure 3. Resetting the document’s measurement units

3. After you click OKAY in the New Document dialog, your document will look like Figure 4.

Figure 4. A new document using the default Workspace

There’s more than one way to do it! You can change the units of measure displayed on the page rulers by right-clicking on either the horizontal or vertical ruler, and selecting the desired unit of measure from the contextual menu.

Note: By default, your document’s measurements

are given in terms of picas and points, which are traditional

typesetter’s terms. By defini-tion, there are 12 points in a pica, and (approximately) 6 picas in an inch. To change

the measurement units in the document, click INDESIGN ➜

PREFERENCES ➜ UNITS AND INCREMENTS..., as shown in Figure 3. You can

also right-click on the rul-ers to display unit options

in a contextual menu.

Note: In Windows, the Preferences dialog is

located at the bottom of the Edit drop-down list.

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Lesson 1: Interface Overview 3 The Control bar

Copyright James D. Kramer design services. All rights reserved. l Introduction to Adobe InDesign CS5

The Control barThe Control bar is a powerful tool for accessing many of the formatting tools required for character, paragraph, and object elements.

Figure 5. Character settings in the Control bar

Figure 6. Paragraph settings in the Control bar

Figure 7. Object settings in the Control bar

You can customize what appears on your Control bars by clicking on EDIT➜MENUS…. In the Menu Customization dialog that opens, select Context & Panel Menus from the Category options (see Figure 10). Locate and open the Control Panel options in the scrolling list, and reveal or hide the options you desire.

Customizing your Workspace(s)There are several ways to customize your Workspace based on how you work;

1. Start by experimenting with the Tools palette and the effects and formatting pan-els, as shown in Figure 8. There are many more panels you can access by clicking on the Window drop-down list.

Note: The amount of information displayed on the Control bar depends on the screen resolution you work with. These screen shots were captured at a monitor resolution of 1024x768. If you rmonitor is capable of higher resolutions, additional informa-tion will be displayed for you.

Note: Your text cursor must be placed inside the text block in order to have the settings as seen in Figures 5 and 6 visible.

Note: You must have an object selected in order to have the settings as seen in Figure 7 visible.

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4 Lesson 1: Interface Overview Customizing your Workspace(s)

Figure 8. Adjusting the Tools panel and the effects and formatting panels

2. You can also dock and undock your panels, and create groupings of panels to suit your production preferences. To dock a panel, click-and-hold on the panel’s title bar, and drag the panel into position until a transparent-blue highlight appears at the edge of your monitor, as shown in Figure 9.

Figure 9. Adding the Info panel to the Pages/Layers/Links panel grouping

3. To expand a panel, click on the panel’s name or icon. To collapse an open panel, click on the panel’s name, and it will return to the dock. To remove a panel from the docked position, click-and-hold on the panel’s name or icon, and drag it out of the dock. Clicking on the circle in the upper left corner of the panel will dismiss it completely.

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Lesson 1: Interface Overview 5 Customizing Menus and Panels

Copyright James D. Kramer design services. All rights reserved. l Introduction to Adobe InDesign CS5

Customizing Menus and PanelsA powerful new functionality included in InDesign CS4 is the ability to custom-ize your menu sets; hiding and unhiding certain commands, and highlighting other commands. Hidden menu items are not disabled, just hidden from view. This function can be used to display only those functions you use commonly, resulting in a streamlined user-interface.

To access this feature, click on EDIT➜MENUS…. In the dialog that opens, you can hide/show menu items and panel features, and assign color to them, as shown in Figure 10.

Figure 10. Customizing menu items

To hide a menu item, simply click the eyeball icon to the right of the menu item name.

Saving your Workspace(s)Once you have played around with the positions and collapsed/expanded states to where you would like the current state of the interface to be your default view every time you launch InDesign, click WINDOW ➜ WORKSPACE ➜ SAVE WORKSPACE. Give your Workspace a name, and this will be stored in this list of Workspaces along with the other installed spaces.

InDesign comes with several default Workspaces;

ADVANCED; includes character and paragraph styles as well as object styles and effects formatting.

BOOK; includes the most commonly used panels in preparing long documents, like Variables, Conditional text, Character and Paragraph Styles, and so on.

ESSENTIALS; this is the InDesign default panel set.

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6 Lesson 1: Interface Overview Saving your Workspace(s)

GETTING STARTED; includes the basic, most commonly used panels, such as Pages, Links, Color Swatches, Stroke, and the Color mixer.

INTERACTIVE; includes the panels used in adding interactivity to your document, such as Hyperlinks, Page Transitions, Bookmarks, and Buttons.

INTERACTIVE FOR PDF; similar to the Interactive workspace, this also includes pan-els that include PDF Preview, and object format and type formatting panels.

NEW IN CS5; includes custom menu formatting to highlight all the new or updated features with InDesign CS5.

PRINTING AND PROOFING; includes panels used in production tasks, like pre-flight-ing, color definition, etc.

TYPOGRAPHY; includes panels used in formatting type, like character and paragraph styles.

Exercise 1: Starting a new project template1. Open the course’s InDesign template by clicking on FILE ➜ OPEN. Locate the

InDesign template from the course’s project on your hard drive (yours may be stored in a different location than mine, so make sure you’re making a mental note of where you are saving all your files), click on the OPEN ORIGINAL option at the bottom of the screen, and click the OKAY button.

Starting a new design without any content (text) to start with? Select a text frame (or place your cursor into a text frame) and then select TYPE ➜ FILE WITH PLACEHOLDER TEXT. This fills the selected text frame with lorem ipsum greeking.

The document that opens contains only one master page spread (we’ll create more in later exercises), 2 layers (again, we’ll create more later), and one para-graph style; Copyright. This will be our starting point.

2. In order to begin working with formatting, you’ll need to import (or create) some text in your document. So, click on FILE ➜ PLACE..., and locate the file project_text.doc from the course’s project folder, and click OKAY.

3. At this point, the text will be “loaded” into your cursor (note the arrow icon has been replaced with a preview of the first several characters contained within the text file you have imported).

Click anywhere within the purple and magenta guidelines in the InDesign interface (these are the margin guides determined by the template I have prepared for you). This accomplishes a pair of actions; first, it locates the text block which is present on the underlying master page, and then, it places the text you’ve imported into that text frame.

4. Save the document.

Where did these styles come from? After importing the text file, you’ll notice several paragraph styles have been imported, and that these paragraph styles have little disk icons next to them (see the following graphic). This indicates that the text file you’ve imported contains styles not already defined within the InDesign document/template. We’ll deal with these later, and discuss how to prevent them from being imported in class.

Note: Because we’re creating the project template before

creating an actual document, always make sure you click on the OPEN ORIGINAL option in the OPEN dialog

when opening the template file in order to edit it.

Note: At the bottom of the PLACE dialog, there’s a

SHOW IMPORT OPTIONS... checkbox. This brings up

another dialog with specific import options based on the type of file you have selected to import (place). This dialog

will be discussed in class.

Note: Depending on the options set within your instal-

lation of InDesign CS5, the application may automati-

cally add any pages it needs to fully display all the text

contained within the file, or, it may not. We will discuss this option further in class.

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Lesson 2: Working with Text Styles 7 Saving your Workspace(s)

Copyright James D. Kramer design services. All rights reserved. l Introduction to Adobe InDesign CS5

What is all this gibberish? Trying to make sense of the document you just imported? Don’t. One of the tools of the trade for the designer is ‘greeking’; latin text meant only to imitate the text that will actually be used in creating a document. InDesign has the ability to create its own greeking. To do this, place your cursor into a text frame, and then click on TYPE ➜ FILL WITH PLACEHOLDER TEXT. This command will fill the selected text frame (or string of con-nected text frames) with as much greeking as will fit given the current default text formatting. For reasons I’ll cover in class, I do not prefer to use this greeked content. Sometimes I’ll also use a website called http://www.duckisland.com/GreekingMachine.asp, which generates text from a selection of ‘language’ options, including; Classical Latin, Hillbilly, Marketing, The Matrix, Metropolitan, Pseudo German, and Techno Babble. Using the Metropolitan language provides true English words (mostly spelled correctly) that will assist you later in your design pro-cess in verifying your hyphenation settings. The others do not provide this check for you.

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Introduction to Adobe InDesign CS5 l Copyright James D. Kramer design services. All rights reserved.

8 Lesson 2: Working with Text Styles The Paragraph Styles Dialog

Lesson 2: Working with Text Styles

The Paragraph Styles Dialog1. To create a new paragraph style, start by expanding the Paragraph Styles panel

by clicking on the panel name (or icon, if your captions hidden), as shown in Figure 11.

Organizing styles in folders, or groups styles: As shown in Figure 11, you can create folders to group styles. Where your document contains complex styles sheets with dozens or more defined styles, creating groups can help you to keep things organized. For instance, you can group all your TOC styles, body text styles, index styles, list styles, sidebar styles, etc. This can save you time when you don’t have to hunt and peck for the correct style.

Figure 11. Expanding the Paragraph Styles panel

2. The Paragraph Style Options dialog will open on the General panel, as shown in Figure 12. This panel includes; the style name, the based on style (see Threading styles below), the next style which follows this paragraph on a hard return, and an assignable keyboard short-cut.

StYLe NAMe; can be any string of characters up to 100 characters. While style names can take any form of alpha-numeric strings, including many punc-tuation marks and special characters, I strongly recommend you develop a specific naming schema that you carry forward into all your applications; InDesign, Illustrator, Word, Word Perfect, OpenOffice, whatever you may also be working with. And don’t forget to plan for the lowest common denomina-tor in your particular work flow (because not all applications will support up to 100 characters in a style name).

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Lesson 2: Working with Text Styles 9The Paragraph Styles Dialog

Copyright James D. Kramer design services. All rights reserved. l Introduction to Adobe InDesign CS5

Figure 12. The General panel in the Paragraph Style Options dialog

BASeD oN; Specifying a style to base the new style on will allow the new style to inherit formatting common to both styles (see Threading styles below). All of your currently defined paragraph styles will appear in this list.

NeXt St St tYLe; when you have your text cursor in your text frame at the end of a paragraph, and then press the Return key, this is the paragraph style that will be automatically applied to the new paragraph.

SHortCut;t;t InDesign allows you to specify keyboard short cuts to apply your para-graph style. These short cuts must take the form of Shift+Option+Command+[any number from the number pad]. These short cuts are also available to you in Character, Object, Table, and Cell styles. But note; you have a maximum of 10 shortcuts you may define throughout all your defined styles (since there’s only 10 numbers on your number pad).

Threading styles. Whether it’s Paragraph, Character, Object, or Table styles you’re working with, ensuring your styles are properly threaded is important to good template housekeeping. So what is ‘threading’ anyway? Style threading is created when you a create a style that is based on another style. For instance, in creating a paragraph that formats bulleted lists, chances are, you’ll want to use the same font family, size, and leading that’s used in your normal body text paragraph style. If your bulleted list is based on your paragraph style (the setting is found in the Generalpanel of the PARAGRAPH STYLE OPTIONS dialog), then any settings the bulleted list style has in common with the body text paragraph will be updated when the body text paragraph is edited. Without a proper hierarchical relationship, if the body text paragraph style is changed, the bulleted list style would need to be changed also. With complex documents that utilize dozens (even hundreds!) of defined styles, this could prove to be quite a time-consuming and error-prone task without proper style threading.

3. The Basic Character Formats panel (illustrated in Figure 13) is where you will specify settings for font family, style, size, leading, kerning (Optical, Metrics, None), tracking (adjusts character spacing over entire paragraph), case, and position. Also on this panel you will apply underline, and strikethrough formatting. Note the Ligatures check box. Turning this on will replace certain character combinations,

Note: Windows users should note, the keystrokes in the Windows OS to setup a short-cut are Shift+Control+Alt+[any number from the number pad].

Below the assignable keyboard shortcut, you see the summary panel for the paragraph style.

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Introduction to Adobe InDesign CS5 l Copyright James D. Kramer design services. All rights reserved.

10 Lesson 2: Working with Text StylesThe Paragraph Styles Dialog

such as ‘fl’ with a single special character which is a combination of both. The No Break checkbox if turned off, will allow text to run down to the next line (usuBreak checkbox if turned off, will allow text to run down to the next line (usuBreak -ally, this will be off for most paragraph styles.

Figure 13. The Basic Character Formats panel in the Paragraph Style Options dialog

Leading in parentheses? If your leading setting is indicated with parentheses (as shown in Figure 3), this means that you are using Auto leading, which allows InDesign to adjust the leading based on a percentage of the font size that is located on the Justification panel. We’ll cover that later in some additional detail.

4. The Advanced Character Formats panel (illustrated in Figure 14), is where you can set your font’s Horizontal Scale (stretch/condense the type horizontally), Vertical Scale (stretch/condense the type vertically), Baseline Shift (move the Baseline Shift (move the Baseline Shifttext above or below the baseline), and Skew (tilt the text to the left or right). Skew (tilt the text to the left or right). Skew

Figure 14. The Advanced Character Formats panel in the Paragraph Style Options dialog

Note: Turning the No Breakoption on will force InDesign to try and keep all text in the

paragraph a single line.

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Lesson 2: Working with Text Styles 11The Paragraph Styles Dialog

Copyright James D. Kramer design services. All rights reserved. l Introduction to Adobe InDesign CS5

5. The Indents and Spacing panel (illustrated in Figure 15) is where you’ll set the paragraph’s alignment, indent, alignment to grid, and spaces above and below.

Figure 15. The Indents and Spacing panel in the Paragraph Style Options dialog

ALigNMeNt:t:t your choices include the obvious; left, right, centered, and justified. But the Adobe developers added Away from Spine, and Towards Spine! These options allow you to specify that text will always align itself away from or toward the gutter of your document, no matter what page it falls on.

BALANCe rAggeD LiNeS: when working with ragged text, turning this option on will help the InDesign composition engine to maintain balance on the ragged edge. It wont resolve an unequal line break, so you still have to break out the kerning, soft-returns, and non-breaking space tricks to resolve some bad rags. But every little bit helps.

igNore oPtiCAL MArgiNS: the whole notion of Optical Margins requires some lengthy discussion. But it is enough here to note that if the text frame this paragraph style is to appear in is set with Optical Margins, turning this fea-ture in your paragraph style will force the paragraph to ignore the Optical Margin command. We’ll discuss the use of Optical Margins later in the les-son where we cover Object Styles.

LeFt iNDeNt:t:t how far text indents from the left margin of the text frame

rigHt iNDeNt:t:t how far text indents from the left margin of the text frame

FirSt Lt Lt iNe iNDeNt:t:t how far the first line of text further indents from the left or right indent

LASt Lt Lt iNe iNDeNt:t:t how far the last line of text further indents from the left or right indent

SPACe BeFore: space added preceeding the paragraph (see Improving Readability with White Space hereafter)

SPACe AFter: space added following the paragraph (see Improving Readability with White Space hereafter)

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12 Lesson 2: Working with Text StylesThe Paragraph Styles Dialog

ALigN to griD: keeps your paragraph, no matter what settings you make in the spaces before and after, aligned vertically to the document’s grid. There may be a time where you may want to do this, but I recommend just leaving this bit of vodoo turned off in most cases.

Improving Readability with White Space: I see many people afraid of “wasting space” on their pages; seeing unused portions of white paper as a missed opportunity, or a misuse of consumable material. However, and this is especially true for long-document design, white space between paragraphs is an important “rest stop” for your audience’s eye, and crucial to reader comprehension. Use the Space Above and Space Below settings together with your Space Below settings together with your Space Belowparagraph’s leading to provide sufficient white space on the page. I can recommend an excellent resource on the design of typographic elements, and that is The Elements of Typographic Style, by Robert Bringhurst (ISBN 0-88179-132-6).

6. The Tabs panel controls your paragraphs tab settings. To create a tab, all you need do is click on the top portion of the ruler in this dialog box. There, you’ll see an arrow appear indicating four different styles of tab; left-, center-, right-, and decimal-aligned. To change the alignment style of a particular tab, simply select the tab marker in the ruler (it’ll highlight, as shown in Figure 16.), and then click on the style of tab you need.

Figure 16. The Tabs panel in the Paragraph Style Options dialog

To reposition a tab, and can either click-and-hold on the tab marker in the ruler, and drag it to the new position on the ruler (you’ll see the measurement in the X: field change as you move the marker). Or, after selecting the marker on ruler (so that it’s highlighted), enter the new measurement stop in the X: field.

To delete a tab marker, click-and-hold the marker in the ruler, and drag it off the ruler.

Also on the ruler, to the left and right extremes, you’ll note a pair of inward-point-ing triangles. These represent your left and right indents (which you may have already set on the previous Indents and Spacing panel). Here, you can click-and-hold to drag the indents along the ruler. You’ll also note the left triangle is split into an upper and lower triangle, which signifies the difference between the Left Indent and the Indent and the Indent First Line Indent.

X: the currently selected tab marker’s position on the ruler

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Lesson 2: Working with Text Styles 13The Paragraph Styles Dialog

Copyright James D. Kramer design services. All rights reserved. l Introduction to Adobe InDesign CS5

LeADer: you can enter any typographic character, or, any string of characters (up to 8 characters) of the currently selected font family.

ALigN oN: only for use with decimal-aligned tab markers. This specifies the char-acter that is to be recognized by the tab marker as the “decimal” to align on. It can be any alphanumeric or punctuation character.

rePeAtAtA :t:t duplicates the selected tab marker, repositioned equally across the tab ruler (i.e., repeating a left tab marker set at 1” on the ruler, will create a left tab marker at 2”, 3”, 4”, and so on).

CLeAr ALL: deletes all defined tab markers

7. The Paragraph Rules panel (illustrated in Figure 17) allows you to add rules above and below your paragraph. A Rule Above will always by default be bottom-aligned at the baseline of the first line of text on the paragraph. A Rule Below will always Rule Below will always Rule Belowby default be top-aligned at the baseline of the last line of text on the paragraph.

Figure 17. The Paragraph Rules panel in the Paragraph Style Options dialog

WeigHt:t:t the line weight of your stroke

tYPe: the kind of stroke you’ll apply; single lines, double lines, triple lines, wavy lines, etc.

CoLor: the color of your stroke

tiNt:t:t if you don’t define a tint color swatch (in the SWATCHES palette), you can specify a tint to the stroke here.

oVerPriNt St St troKe: turn overprinting on or off on the rule

gAP CoLor: if you have selected a stroke from the Type menu that has a gap between two or more strokes, you can specify a color to that gap here.

gAP tiNt:t:t applies a tint to the Gap Color

oVerPriNt gAP: turn overprinting on or off on the gap

WiDtH: in relation to the column width, or in relation to the width of text on the line that the stroke is applied to

Note: It is always advisable to overprint strokes of black.

Be sure not to confuse tint-ing a color, with applying a transparency to an object. They are different matters entirely.

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Introduction to Adobe InDesign CS5 l Copyright James D. Kramer design services. All rights reserved.

14 Lesson 2: Working with Text StylesThe Paragraph Styles Dialog

oFFSet:t:t moves the line up or down in relation to the baseline. For a Rule Above, a positive number will move the stroke up, and a negative number will move the stroke down. For a Rule Below, a positive number will move the stroke down, and a negative number will move the stroke up.

LeFt iNDeNt:t:t in relation to the Width, a positive number will indent the stroke into the text, and a negative number will outdent the stroke away from the text.

rigHt iNDeNt:t:t in relation to the Width, a positive number will indent the stroke into the text, and a negative number will outdent the stroke away from the text.

KeeP iN FrAMe: irrespective of your Offset setting, this command will force your stroke stay within the bounds of the text frame.

8. The Keep Options panel (illustrated in Figure 18) controls your widows (a single line of a paragraph appearing at the top of a page ) and orphans (a single line of a paragraph appearing at the bottom of a page), how many lines of the following paragraph to keep with the current paragraph, and where the paragraph starts.

Figure 18. The Keep Options panel in the Paragraph Style Options dialog

InDesign CS5 introduces an additional Keep Option shown here as Keep with Previous. Turning this on will require a paragraph to always keep itself with what-ever paragraph appears before it.

9. The Hyphenation panel (illustrated in Figure 19) controls your hyphenation set-tings. The settings illustrated here are not the default for the panel, but they are the settings I implement and recommend for most situations where hyphemation is required or desired.

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Lesson 2: Working with Text Styles 15The Paragraph Styles Dialog

Copyright James D. Kramer design services. All rights reserved. l Introduction to Adobe InDesign CS5

Figure 19. The Hyphenation panel in the Paragraph Style Options dialog

My document has pig bristles! ‘pig bristles’ is an old typesetter’s term that means there’s too many stacked hyphens (i.e., on consecutive lines of text). It’s generally good practice to limit consecutive hyphens to no more than 2 lines of text. The Hyphen Limit controls this for you. Hyphen Limit controls this for you. Hyphen Limit

10. The Justification panel (illustrated in Figure 20) fine tunes the letter and word spacing.

Figure 20. The Justification panel in the Paragraph Style Options dialog

WorD SPACiNg; in justified text, allows the composition engine to condense or expand the word spacing as needed.

Letter SPACiNg; in justified text, allows the composition engine to condense or expand the letter spacing as needed.

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16 Lesson 2: Working with Text StylesThe Paragraph Styles Dialog

gLYPH SCALLYPH SCALL iNg; in justified text, allows the composition engine to condense or expand the letters forms to create more uniform word spaces across a line of text.

Auto LeADiNg; previously in Step 3 I discussed Auto Leading briefly. This is where the percentage of font size for Auto Leading is determined.

SiNgLe WorD JuStiFiCAtAtA ioN; in Justified text, this setting determines how the composition engine should treat single words at the end of the paragraph.

CoMPoSer; InDesign has two paragraph composer engines; Paragraph Composer, and Single-Line Composer.

Paragraph composer inspects all lines in a paragraph, and adjusts the char-acter and word spacing in each line, given all the parameters you’ve entered for the style, in order to arrive at the most ideal spacing situation for the entire paragraph.

Single-line composer inspects each line of text within a paragraph separately for separately for separatelyspacing adjustments.

Don’t bug me! Through personal experience, I have found that the Single-Line Composerengine is ‘buggy’, and can, and will, cause your document to crash. This seems to be related in some way to the composition engine re-breaking lines of text between columns and pages. Save yourself the headache...don’t use it.

11. The Span Columns panel (illustrated in Figure 21) allows to set an individual para-graph to be within a single column, to span multiple columns, or to itself be split into multiple columns within a single text frame column.

Figure 21. The Drop Caps and Nested Styles panel in the Paragraph Style Options dialog

12. The Drop Caps and Nested Styles panel (illustrated in Figure 22) offers tremen-dous formatting customizations within your paragraph, without the need to apply overrides by hand.

Note: Personally, I don’t like working with the Auto-Leading feature. Instead, I prefer to work

with the mathematical norms that have been established for recommended leading proportions. These recom-

mendations are discussed in detail in The Elements of

Typographic Style, by Robert Bringhurst (ISBN 0-88179-132-6)

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Lesson 2: Working with Text Styles 17 The Paragraph Styles Dialog

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DroP CAPS; applies a large capital letter to the first character (or string of charac-ters) in a paragraph, allowing you to determine the size based on the number of text lines the cap will span. You are also allowed to apply a specified char-acter style to the specified drop cap string.

NeSteD StYLeS; applies a specified character style (or no character style) based on markers you define within the style. In the example shown in Figure 21, the Nested Style will apply the Character Style “phone number” through 7 digits (i.e., the style assume that all paragraphs using this style will begin with a phone number, taking a form similar to (123) 456-7890, and then will have the basic paragraph formatting for the remainder of the paragraph.

NeSteD LiNe StYLeS; applies a specific Character Style to a specified number of text lines. In the example in Figure 22, the Character Style “address” will applied to the first 2 lines of text, then the basic paragraph style will be applied to the third line, and then, using the Repeat instruction, will repeat the formatting sequence three more times.

Figure 22. The Drop Caps and Nested Styles panel in the Paragraph Style Options dialog

13. The GREP Styles panel, similar to Nested Styles, offers more formatting custom-izations that will seek out specific character strings, without the need to apply overrides by hand. In the example provided in Figure 23, the GREP style will be applying the character style “phone number” to any string it finds that looks like a phone number. In the screen shot, the string \d is a wildcard that represents any digit. You can use a variety of building blocks contained within the entity lists, as well as entering your own text within the To Text: field.

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18 Lesson 2: Working with Text StylesThe Paragraph Styles Dialog

Figure 23. The GREP Styles panel in the Paragraph Style Options dialog

14. The Bullets and Numbering panel sets up your...bulleted and numbered lists.

The Bullets panel provides the tools to select the bullet character to be used, select characters from other fonts, insert the text space that follows the bullet, apply a Character Style to the bullet, and define the indents (which can also be set in the Indents and Spacing panel), as shown in Figure 24.

Figure 24. The Bulleted Lists panel in the Paragraph Style Options dialog, and the Add Bullet dialog

The Numbers panel provides the tools to create multiple styles of numbered list-ings. The numbering styles includes number format (arabic, lower-and upper-case Roman, and lower-and upper-case alphas), application of Character Style, the Mode (does it continue from a previous list, or does it start with a specific num-ber), and define the indents (which can also be set in the Indents and Spacing panel) as shown in Figure 25.

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Lesson 2: Working with Text Styles 19The Paragraph Styles Dialog

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Figure 25. The Numbered Lists panel in the Paragraph Style Options dialog, and the New List dialog

Pre-populate your lead-ins Using a custom character string in your Number field in the Number field in the NumberBullets and Numbering panel is useful in setting pre-populated prefixes in certain types of readeraids. For instance, if you have a recurring type of paragraph that always is to start with the word “Note;”, you can enter Note:^m in the Number field, and that text will always appear at the Number field, and that text will always appear at the Numberstart of the paragraph.

15. The Character Color panel allows you to apply any of your defined color or gradiCharacter Color panel allows you to apply any of your defined color or gradiCharacter Color -ent swatches to both the fill and stroke of the text, as shown in Figure 26.

Figure 26. The Character Color panel in the Paragraph Style Options dialog

Note: The entity ^m in this example is a GRAP code that inserts an em space.

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20 Lesson 2: Working with Text StylesThe Paragraph Styles Dialog

16. The OpenType Features panel gives you access to special glyphs included within some OpenType fonts sets. If you’re using PostScript (Type 1) or TrueType fonts, these settings will not affect your text, as shown in Figure 27.

Figure 27. The OpenType Features panel

17. The Underline Options panel allows you to apply specific formatting to underlines in terms of weight, color, offset (from text baseline), etc., as shown in Figure 27.

Figure 28. The Underline Options panel

18. The Strikethrough Options panel allows you apply specific formatting to strike-throughs in terms of weight, color, offset (from the vertical center of the type face), etc., as shown in Figure 29.

Note: Not all OpenType fints will have been with these

special glyphs. To determine what type of font your are

working with, right-click on the font file in the Finder, and select Get Info (Macintosh)

or Properties (Windows). This will open the file informa-

tion panel. The type of font will be noted in the header as shown in the graphics below.

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Lesson 2: Working with Text Styles 21The Character Styles Dialog

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Figure 29. The Strikethrough Options panel

Preview your work before you commit to it: You’ll note that many of the panels you’ll be working with in InDesign have a checkbox called Preview. Having this checkbox turned on Preview. Having this checkbox turned on Previewallows you to see the impact of your settings will have while you’re working within the various dialog boxes and panels before you commit to them.

The Character Styles Dialog1. To create a new character style, start by expanding the Character Styles panel

by clicking on the panel name (or icon, if your captions hidden), as shown in Figure 30.

Figure 30. Expanding the Character Styles panel

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22 Lesson 2: Working with Text Styles The Character Styles Dialog

Organizing styles in folders, or groups of styles: Just as with Paragraph styles, you can organize your Character styles into style folders.

2. The Character Style Options dialog will open on the General panel, as shown in Figure 31. This panel includes; the style name, the based on style (see Threading styles below), the next style which follows this paragraph on a hard return, and an assignable keyboard short-cut.

Figure 31. The General panel

StYLe NAMe; can be any string of characters up to 100 characters. While style names can take any form of alpha-numeric strings, including many punc-tuation marks and special characters, I strongly recommend you develop a specific naming schema that you carry forward into all your applications; InDesign, Illustrator, Word, Word Perfect, OpenOffice, what have you. And don’t forget to plan for the lowest common denominator in your particular work flow.

BASeD oN; Specifying a style to base the new style on will allow the new style to inherit formatting common to both styles (see Threading styles below). All of your defined character styles will appear in this list.

SHortCut; InDesign allows you specify keyboard short cuts to apply your character style. These short cuts must take the form of Shift+Option+Command+[any number from the number pad]. These short cuts are also available to you in Paragraph, Object, Table, and Cell styles. but note; you have a maximum of 10 shortcuts you may define throughout all your defined styles (since there’s only 10 numbers on your number pad).

Below the assignable keyboard shortcut, you see the summary panel for the character style.

Threading styles: Just as with Paragraph styles, it is always advantageous to have your styles properly threaded. This ensures that where multiple styles have common formatting instructions, making a change to the deepest Based On style will ripple through all styles threaded to it.

Note: The keystrokes in the Windows OS to setup a Shortcut

are Shift+Control+Alt+[any number from the number pad].

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Lesson 2: Working with Text Styles 23 The Character Styles Dialog

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Inheriting format attributes: Leaving some settings as blank, or checked with a hyphen as shown below will allow the Character style to inherit that particular setting from the par-ent Paragraph style in which the Character style is applied. If the Character style is based on another Character style, leaving any settings blank like this will force the formatting from the Based On Character style before it applies any of the Paragraph formatting.

The remaining panels within the Character Style Options dialog (Advanced Character Formats, Character Color, OpenType Features, Underline Options, and Strikethrough Options) are identical to the same panels in the Paragraph Style Options dialog. So you can refer to those topics in the previous section details in these settings.

Exercise 2: Creating and editing text styles1. If it’s not already an active document, open the course’s InDesign template by

clicking on FILE ➜ OPEN. Locate the InDesign template from the course’s project on your hard drive (yours may be stored in a different location than mine, so make sure you’re making a mental note of where you are saving all your files), click on the OPEN ORIGINAL option at the bottom of the screen, and click the OKAY button.

2. When we imported the text file into our document, the file brought in with it sev-eral paragraph styles (view these by expanding the Paragraph Styles panel). In the panel locate and double-click on the style called ‘Normal’.

3. In the General tab of the Paragraph Style Options panel, and change the Based On: instruction to [Basic Paragraph].

4. Click the RESET TO BASE button, then click OKAY.

This action performs two actions; first, it instructs the paragraph style ‘Normal’ to inherit the formatting options found in the document’s basic paragraph format-ting. Second, it erases any formatting overrides that may be present. So, now the style Normal is exactly the same as [Basic Paragraph], since ideally, we would like all paragraph styles to use [Basic Paragraph] as its common ancestor (so that any set-tings made/changed in [Basic Paragraph] that common to any others only need to be changed once).

Why is my text highlighted in pink? After executing the steps above, you may notice that all your text has become highlighted in salmon-pink shading. This is because the computer you are working on does not have the font specified in the style [Basic Paragraph]. That will be taken care of next.

5. Double-click [Basic Paragraph] in the Paragraph Styles panel to open the Paragraph Style Options dialog (if it’s not already turned on, click the PREVIEW checkbox on).

Note: I would recommend, that in most cases where a Character style is intended to appear inline within a variety of different Paragraph styles, that the Leading of your Character style specifically be controlled by the Paragraph style it appears in. Otherwise, you may end up with undesir-able line spacing issues.

Note: [Basic Paragraph] is a required element for InDesign, so you cannot rename this style.

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24 Lesson 2: Working with Text Styles The Character Styles Dialog

6. Click on the Basic Character Formats tab, and make the following settings;

7. Click on the Advanced Character Formats tab, and make the following settings;

8. Click on the Indents and Spacing tab, and make the following settings;

9. Click on the Keep Options tab, and make the following settings;

10. Click on the Hyphenation tab, and make the following settings;

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Lesson 3: Working with Tables 25 The Character Styles Dialog

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11. Click on the Justification tab, and make the following settings;

12. Click on the Hyphenation tab, and make the following settings;

13. Click OK and save the document.

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26 Lesson 3: Working with Tables The Table Styles Dialog

Lesson 3: Working with TablesWhen creating table formatting, it is important to note that you will require sev-eral predefined styles in order to implement well-constructed implementations;

● the table style

● cell styles for column header, body, and footer cells

● paragraph styles to handle column header, body, and footer content (if these will be different from other text styles already created)

● paragraph style to set the table into (tables are always contained within a paragraph)

The Table Styles Dialog1. To create a new table style, start by expanding the Table Styles panel by clicking

on the panel name (or icon, if your captions hidden), as shown in Figure 32.

Figure 32. Expanding the Table Styles panel

2. The Table Style Options dialog will open on the General panel, as shown in Figure 33. This panel includes; the style name, the based on style, and an assign-able keyboard short-cut. Also, at the bottom of this screen you can specify which cell styles are automatically applied to header, body, footer, left column, and right column cells.

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Lesson 3: Working with Tables 27 The Table Styles Dialog

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Figure 33. The General panel in the Tab Style Options dialog

StYLe NAMe; as with paragraph and character style names, this can be any string of characters up to 100 characters.

CeLL StYLeS; Within each listing will be populated any cell styles you have cre-ated in your document. If you don’t have the correct cell styles created at this point, you can select New Cell Style... to enter the Cell Style Options dialog (which we’ll cover later in this lesson).

3. The Table Setup panel, as shown in Figure 41, is where you will determine the table style’s border properties, spacing preceeding and following the table, and stroke drawing order.

Figure 34. The Table Setup panel in the Table Style Options dialog

tABLe BorDer; determines the presence and weight of a stroke applied to the outside border of the table. Note that Gap Color can only be used where you have selected a stroke style that includes a space between lines. If you’re using a solid rule, this option will be grayed out as disabled.

Note: If you do not specify default cell styles within the table style, you will need to apply the proper format to these sections each time you create a table.

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28 Lesson 3: Working with Tables The Table Styles Dialog

tABLe SPACiNg; Controls the space preceeding and following your table. The InDesign default setting is 0p4 above, and -0p4 below. My working prefer-ence is to set both these to 0, and then control the space above and below in the paragraph style that a table is placed into.

StroKe DrAWiNg orDer; This setting gives you a choice of four options; Best Joins, Row Strokes in Front, Column Strokes in Front, and InDesign CS2 Compatibility. So what to use? Generally, I will always leave this set to Best Joins. If your table layout uses strokes with gaps, and strokes with differing colors on the rows and columns, you’ll want to experiment with what gives you the best results for your desired design. Ignore the InDesign CS2 Compatibility setting altogether. It was important in CS3 where table styles were a new feature. But late adopters at this point should really make the upgrade.

4. The Row Strokes panel, as shown in Figure 35, is where you will determine the table style’s row stroke properties.

Figure 35. The Row Strokes panel in the Table Style Options dialog

ALterNAtiNg PAtterN; choose between InDesign’s preset alternating patterns, or, create one of your own. Can be overridden by applying a specialized cell style if you need to.

SKiP FirSt; Do not use this to format a “header” row. That’s a different creature that is formatted by the cell style designated for heading rows. Turning on this option will skip the alternating pattern rule for the first body row in your table.

SKiP LASt; Do not use this to format a “footer” row. That’s another different creature that is formatted by the cell style designated for footer rows. Turning on this option will skip the alternating pattern rule for the last body row in your table.

Strokes, and rules, and borders...oh my! Confused by the differing terminology? Don’t be. InDesign (and indeed, even this instructor) use all three terms to describe the same object; lines. You may also hear me from time to time refer to ‘keylines.’ It’s all the same thing.

Note: If you wish each of your rows have the same type

of row stroke, then I recom-mend you set that format

within the cell style. Note the default for this panel is “None,”

though here I have selected the “Every Third Row” option.

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Lesson 3: Working with Tables 29 The Table Styles Dialog

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5. The Column Strokes panel, as shown in Figure 36, is where you will determine the table style’s column stroke properties. It functions identically to the Row Strokes panel.

Figure 36. The Column Strokes panel in the Table Style Options dialog

It’s all a matter taste, isn’t it? Rarely do I use column strokes within tables. They only serve break up related content into bits and pieces of text that are too small. Vertical movement stops the reader’s eye, while horizontal movement aids it.

6. The Fills panel, as shown in Figure 45, is where you will determine the table style’s alternating fill properties. Note that this panel controls both the option for row fills or column fills (you can’t have both!).

Figure 37. The Fills panel in the Table Style Options dialog

There’s always an easier way. While you can control cell fills with cell styles, that would require you to apply the cell style every time you require it. There’s a time and place for everything. But if you want alternating pattern fills, this is the place to do it.

Note: If you wish each of your columns have the same type of column stroke, then I recommend you set that format within the cell style. Note the default for this panel is “None,” though here I have selected the “Every Third Column” option.

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30 Lesson 3: Working with Tables The Cell Styles Dialog

The Cell Styles Dialog1. To create a new cell style, start by expanding the Cell Styles panel by clicking on

the panel name (or icon, if your captions hidden), as shown in Figure 38.

Figure 38. Expanding the Cell Styles panel

2. The Cell Style Options dialog will open on the General panel, as shown in Figure 39.

Figure 39. The General panel in the Cell Style Options dialog

StYLe NAMe; as with paragraph and character style names, this can be any string of characters up to 100 characters.

PArAgrAPH StYLeS; allows you to specify the paragraph style that will automati-cally be applied to the text within the cell.

Note: Assigning a paragraph style to the cell style will not apply the paragraph style to text that already has format-

ting applied to it (for instance, when you are converting text

to a table). This setting only applies where you are creating an empty table “from scratch.

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Lesson 3: Working with Tables 31 The Cell Styles Dialog

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3. The Text panel, as shown in Figure 40, controls alignment of the text within the cell (not to be confused with the table text’s paragraph alignment).

Figure 40. The General panel in the Cell Style Options dialog

CeLL iNSetS; spacing added above, below, to the left, and the right of the text in relation to the cell’s borders.

VertiCAL JuStiFiCAtioN; align the text to the top, middle, or bottom of the cell. Also, force the lines of text within the cell to “justify” — that is, automatically adjust the vertical spacing to fill the cell.

FirSt BASeLiNe; force the first line of text add additional space preceeding the text.

CLiPPiNg; allow the contents of the cell to be ‘clipped’ by the size of the cell.

teXt rotAtioN; rotate the text as required (some types of tables, or matrices, may require rotated text in order to fit properly).

4. The Strokes and Fills panel, as shown in Figure 48, controls the strokes and fills of cells. Think of this as overriding any stroke and fill commands you’ve entered while creating your table style...because that’s what it does. Though simple enough once you learn how to use it, this panel can be a little disconcerting at first. The key, is learning how to use and read the little graphic that appears at the top of the panel. Pay attention to those blue lines, because they indicate what border(s) of the cell you are currently applying stroke formatting to. As previously mentioned, any settings left blank at this point, will inherit the formatting of whatever object they are located within; in this case, the table style itself. Refer to the next section — Examples of Working with Tables — hereafter to see a demonstration in working with this panel.

CeLL StroKe; this is where you’ll be setting stroke instructions for the top, bot-tom, left, and right of the cell. Again, note that the Gap Color will only be available to you if you selected a stroke Type that contains a gap.

CeLL FiLL; this is where you’ll set the cell fill.

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32 Lesson 3: Working with Tables The Cell Styles Dialog

Figure 41. The General panel in the Cell Style Options dialog

5. The Diagonal Lines panel, as shown in Figure 42, adds angled strokes within the cell.

Figure 42. The Diagonal Lines panel in the Cell Style Options dialog

DiAgoNAL LiNeS; click on the appropriate icon to apply;

LiNe StroKe; determines the presence and weight of a diagonal stroke applied to the inside of the cell. Again note that “Gap Color” can only be used where you have selected a stroke style that includes a space between lines. If you’re using a solid rule, this option will be grayed out as disabled.

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Lesson 3: Working with Tables 33The Cell Styles Dialog

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Exercise 3: Creating Table and Cell styles1. If it’s not already an active document, open the course’s InDesign template by

clicking on FILE ➜ OPEN. Locate the InDesign template from the course’s project on your hard drive (yours may be stored in a different location than mine, so make sure you’re making a mental note of where you are saving all your files), click on the OPEN ORIGINAL option at the bottom of the screen, and click the OKAY button.

2. Navigate to the section of tabbed text in the document, which is located on page 2, under the heading, Table 1-1: Internal Information Stakeholders and Their Information Interests.

3. Placing your text cursor in the paragraph below the Table 1-1 heading, open the Paragraph Styles palette on the right side of the screen, and click the Create new style button at the bottom of the palette.

4. Click once to apply the new style (PARAGRAPH STYLE 1) to the paragraph, then double-click the PARAGRAPH STYLE 1 entry in the Paragraph Styles palette.

5. In the Paragraph Style Options dialog, change the name for the style to Table Column Head.

6. Click OKAY.

7. Triple-click the next paragraph (below the paragraph styled as TABLE COLUMN HEAD), hold down the Shift button, and triple-click on the last paragraph of the tabular text (starts with “Executive Management and Directors...”).

8. Open the Paragraph Styles palette on the right side of the screen, and click the Create new style button at the bottom of the palette.

9. Click once to apply the new style (PARAGRAPH STYLE 1) to the paragraph, then double-click the PARAGRAPH STYLE 1 entry in the Paragraph Styles palette.

10. In the Paragraph Style Options dialog, change the name for the style to Table Entry.

11. Click OKAY.

12. Select all the text that is to appear in the table, starting to the left of the first char-acter in the paragraph style TABLE COLUMN HEAD, click and drag to the right of the last character in the last line of the final entry paragraph.

13. Now that all the text that is to appear in your table is selected (excluding that last paragraph marker!), click on TABLE ➜ CONVERT TEXT TO TABLE. The following dialog will activate; leave the settings as shown.

Note: You can directly import a Word-formatted table into InDesign, and begin manipulating the table’s formatting immediately. But for the purposes of this exercise, we’ll be using the plain tabbed-text included in our Word file to construct the table from scratch.

Note: Steps 3 through 11 creates the paragraph styles for your table.

Note: Do not select the final hidden paragraph marker in the last paragraph of the text in your table. If you include this hidden marker, then when you convert this text to a table, the next paragraph following the table will actually be run in to your table. If you can’t see your hidden characters to view this paragraph marker, click on TYPE ➜ SHOW HIDDEN CHARACTERS.

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34 Lesson 3: Working with Tables The Cell Styles Dialog

14. Click OKAY. Your table should look like the screen capture below;

15. Open the Cell Styles palette on the right side of the screen, and click the Create new style button at the bottom of the palette.

16. Double-click the CELL STYLE 1 entry in the Cell Styles palette. In the Cell Style Options dialog, change the style name to TABLE COLUMN HEAD.

17. Click OKAY.

18. Click the Create new style button at the bottom of the Cell Styles palette.

19. Double-click the CELL STYLE 1 entry in the Cell Styles palette. In the Cell Style Options dialog, change the style name to TABLE ENTRY.

20. Click OKAY.

21. Save the document.

22. Open the Table Styles palette on the right side of the screen, and double-click the [BASIC TABLE] style entry.

23. On the General tab of the Table Style Options dialog, in the Cell Styles section; set Header Rows: to TABLE COLUMN HEADER; set Footer Rows: to [SAME AS BODY ROWS]; set Body Rows: to TABLE ENTRY; set Left Column: to [SAME AS BODY ROWS]; set Right Column: to [SAME AS BODY ROWS].

24. On the Table Setup tab of the Table Style Options dialog, in the Table Spacing section, set both Space Before and Space After to 0p0.

25. On the Fills tab of the Table Style Options dialog, set Alternating Pattern as illus-trated in the following screen capture;

Note: At this point, move to the Tool Bar, and select the

Selection Tool (black arrow), and click anywhere outside

the margins of the page. This is to ensure that nothing

is selected that you might accidentally apply formatting

that you may not want to.

Note: You now have all the styles you require to

develop the complete format-ting for your table style.

Note: If your text cursor is placed within a text frame,

but not within a table, you will be able to open the Table

Style Options dialog.

Note: For this table style, we’ll leave all the other settings as is.

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Lesson 3: Working with Tables 35 The Cell Styles Dialog

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26. Click OKAY.

Next, hover the cursor over the top edge of the table object, and it will change into a downward-pointing arrow. Click-and-hold and drag the cursor across the table until the entire table is selected. Click on TABLE ➜ DISTRIBUTE COLUMNS EVENLY.

Your table should look something like the following screen capture.

27. Place your text cursor anywhere in the first row of the table, click TABLE ➜ CONVERT ROWS ➜ TO HEADER.

28. Open the Cell Styles palette on the right side of the screen, and double-click the TABLE COLUMN HEAD style entry.

29. On the General tab of the Cell Style Options dialog, in the Paragraph Styles sec-tion, set Paragraph Style to Table Column Head.

30. On the Strokes and Fills tab of the Cell Style Options dialog, in the Cell Fill sec-tion, set Color to Black.

31. Click OKAY.

32. Double-click the TABLE ENTRY style entry in the Cell Styles palette.

33. On the General tab of the Cell Style Options dialog, in the Paragraph Styles sec-tion, set Paragraph Style to Table Entry.

34. On the Strokes and Fills tab of the Cell Style Options dialog, in the Cell Stroke section, click once on the top blue stroke in the diagram, and then click once on the top blue stroke in the diagram.

35. On the Color: dropdown list, select None.

36. Click OKAY.

Note: At this point, you may want to see what your table is looking like. Select the Text Tool from the Tool Box, and hover the the cursor over the far right edge of the table object. The cursor will change into a double-headed arrow bar. Click-and-hold on the right edge of the table, and drag it over to the right margin, and then release.

Note: Move back to the Tool Bar, and select the Selection Tool (black arrow), and click anywhere outside the margins of the page, again to ensure that nothing is selected that you might accidentally apply formatting that you may not want to.

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36 Lesson 3: Working with Tables The Cell Styles Dialog

Now your table should look like the following screen capture;

Now, we just need to tweak the paragraph styles that govern the text formatting.

37. Open the Paragraph Styles palette on the right side of the screen, and double-click the TABLE COLUMN HEAD style entry.

38. On the Basic Character Formats tab, set the Size: to 9 point, Leading: to 10 point and the Case: to All Caps.

39. On the Indents and Spacing tab, set the Alignment: to Left, and set the Left and Right Indents to 0p0.

40. On the Character Color tab, set the Fill to White.

41. Click Okay.

42. Open the Paragraph Styles palette on the right side of the screen, and double-click the TABLE ENTRY style entry.

43. On the Basic Character Formats tab, set the Size: to 10 point, Leading: to 12 point.

44. On the Indents and Spacing tab, set the Alignment: to Left, and set the Left and Right Indents to 0p0.

45. Click Okay.

Your table should now look like the following screen capture;

Note: For these cell styles, we’ll leave all the

other settings as is.

Note: You’re probably notic-ing that your table at this point

is properly aligned to the rest of the text. Don’t forget, a sits inside of a paragraph. So, it is

aligned according to whatever paragraph style applied to the

line it’s positioned at. So, we have one last task to perform...

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46. With your text cursor inline at the table object (Note: not in the table itself, but the text cursor should be flashing next to the table object), open the Paragraph Styles palette, and click the Create new style button at the bottom of the palette.

47. In the Paragraph Style Options dialog, change the name for the style to Table Anchor.

48. On the Indents and Spacing tab, change the Left Indent to 4p0.

49. Click Okay.

50. Save the document.

You did it! I know it seems that this 50 step procedure was allot to absorb (and, hey, it was), but keep in mind, you just created 3 paragraph styles, a table style, and two cell styles. There’s allot involved when you’re starting from scratch. And we didn’t even address the table title formatting in all that mess! But now that it’s done, the mere act of converting text to a table will apply all that formatting automatically for you! Now that’s worth the effort.

Other creative uses for Table StylesTables can be used for than just organizing and presenting tabular data. Frequently, I will use tables to enclose information that needs to be set off from the main flow of text, like sidebars and notes.

For instance, see the section above titled “You Did It!” This reader aid is set off with a colored border. The border is in fact a rectangle that has been placed inline right before the word “You.” The reason this method has been used in this case, is because of that rounded upper-left corner. But if we didn’t require that particular presentation, we could easily place that content into a table using the following steps.

1. Highlight all the text in the paragraph to be converted to a table, and select TABLE ➜ CONVERT TEXT TO TABLE

2. In the dialog that opens, select New Table Style from the drop-down list.

3. In the New Table Style dialog that opens, change the new style name to Reader Aid.

4. This type of table is going to have a single cell, so we’re not going to worry about what cell styles to assign to header or footer rows. From the Body Rows drop-down list, select New Cell Style.

5. In the New Cell Style dialog that opens, name the style Reader Aid. Click Okay to accept the cell style (we’ll come back and edit that later), and click Okay in the New Table Style dialog to accept the style as it is now.

A screen capture of my table as it stands now is shown in Figure 43.

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38 Lesson 3: Working with Tables Other creative uses for Table Styles

Figure 43. Converting a single paragraph to a table-enclosed reader-aid.

Next we can start applying some formatting to our reader-aid.

6. In the Table Styles palette, double-click the Reader Aid table style to open the editor. In the Table Style Options dialog, select the Table Setup panel, and the table border to 3 points, solid line (under the Type drop-down list). Assign the border a color from the Color drop-down list.

In the Table Spacing section, set both the space above and space below your table 0. We’re going to let the paragraph style where the table is set into control the vertical spacing for this table.

7. Click Okay to accept your changes.

Next, we need to adjust the cell style we created in steps 4 and 5.

8. Open the Cell Styles palette, and double-click on the Reader Aid cell style to open the editor.

9. In the General panel, you can assign a paragraph style to always populate the table, which would be handy in this case since it will always be the same. If you haven’t yet created a paragraph style for this particular reader aid, you can select the New Paragraph Style from the drop-down list, or just select the appropriate style from the list if it already exists.

10. On the Text panel, set the Cell Insets as best suits your need. In my style, I have set the Top to 0p9, the Bottom to 0p9, the Left and Right both to 0p9.

At this point, your reader may well still not align correctly, as mine is not aligning seen in Figure 44. This will be fixed by adjusting the paragraph style of the text, and the paragraph that we’ll create to hold the table in place.

Note: Your settings for the spacing at the top of your cell

and the bottom of cell may need be different, depending

the font and leading combina-tions you are using. Space

Above and Space Below settings in your paragraph (that is placed

into the cell) are not factored into cell spacing, although

right and left indents are.

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Figure 44. Misalignment of the reader aid element.

11. Place your text cursor into the text inside the table. If the paragraph style assigned here is the correct style, assign it or create it now. If the style in use is correct, double-click it’s name in the Paragraph Styles palette to open the editor.

12. In the Indents and Spacing panel, set all the indents to 0. You may also wish to set any spacing above this paragraph style to 0, although you may want some Space Below to plan for the eventuality that some of these reader aids may have multiple paragraphs.

13. Click Okay to accept your changes.

Lastly, we just need to create a paragraph style to contain to the table itself, and to control the vertical white space.

14. In the Paragraph Styles palette, click the Create New Style button, and name the style Anchored Sidebar.

15. In the Indents and Spacing panel, play with the indents and Space Above and Space Below to position your table as you would like it to appear in your layout.

16. Click Okay to accept your changes.

That’s it. Now you have a table style to contain specialized information. And the great thing about doing it with tables, is that table expands or contracts its height automatically should the content be edited in the future.

Note: If you’ve already got a style to contained anchored inline objects or styles, see if that one will work, or if you might be able to create new style based on an already existing style.

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40 Lesson 4: Working with Objects Formatting Objects

Lesson 4: Working with Objects

Formatting ObjectsInDesign can apply formatting to a drawing object well beyond its color fill and stroke weight. Just having a quick scan through the list of Effects (OBJECT ➜ EFFECTS) will reveal an array of raster effects that can be applied to any of your InDesign objects, including text and text frames.

But just because you can, definitely doesn’t mean you should! Especially when it comes to raster effects. These filters can definitely place a strain on your computer’s processor. Also, they don’t always image the way you hope they will. If you have objects that will be using allot of raster effects, I cannot recom-mend highly enough you execute these graphics in an application specifically designed to handle these tasks, like Photoshop.

But if your raster needs are simple, have at it. We’ll discuss raster effects in-depth during class discussion.

The Object Styles DialogNext, we’ll walk through the powerful Object Style Options dialog.

1. To create a new object style, start by expanding the Object Styles panel by click-ing on the panel name (or icon, if your captions hidden), as shown in Figure 45.

Figure 45. Expanding the Paragraph Styles panel

Note: The following lessons were all written for InDesign

CS4, and the screen captures reflect that version of the

software. However, the similar functions in CS5 will perform

identically, even if the user inter-face appears slightly different./

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2. The Object Style Options dialog opens on the General tab as illustrated in Figure 46, which contains a summary of the formatting applied to the style you’ve opened, and the field for indicating your keyboard short to apply the style, if any has been assigned.

Figure 46. The General tab of the Object Style Options panel

3. The Fill and Stroke tabs as illustrated in Figure 47 contain essentially identical information and UI. Clicking on one or the other simply switches between either the fill or the stroke formatting instructions.

Figure 47. The Fill and Stroke tabs on the Object Style Options panel

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42 Lesson 4: Working with Objects The Object Styles Dialog

4. The Stroke and Corner Options as illustrated in Figure 48 only applies if your object style contains a defined stroke weight (see Figure 47 above). This panel allows you to customize the appearance of an object’s corners and stroke joins.

Figure 48. The Stroke and Corner Options tab on the Object Style Options panel

5. The Paragraph Styles tab as illustrated in Figure 49 applies a specific paragraph style to the text within an object (such as a text frame).

Figure 49. The Paragraph styles tab on the Object Style Options panel

PArAgrAPH StYLe; Assigns a specific defined paragraph style to all paragraphs within the object to which the object style is defined.

APPLY NeXt StYLe; turning this option on honors the Next Style command in the referenced paragraph style above. If you have this option disabled in your object style, then the Next Style command from the referenced paragraph style will not be honored.

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6. The Text Frame General Options as illustrated in Figure 50 controls alignment of text in relation to the object’s (text frame’s) bounding box.

Figure 50. The Text Frame General Options on the Object Style Options planel

CoLuMNS; Assigns the number and gutter width of columns within the object. Turning on the FIXED COLUMN WIDTH option prevents manually overriding of the width of columns within the object.

iNSet SPACiNg; Adds spacing (between the edge of the object and text it con-tains) at the indicated margin.

VertiCAL JuStiFiCAtioN; Aligns text contained within the object to; top, center, bottom, or vertical justification. The PARAGRAPH SPACING LIMIT option is only enabled if you select the JUSTIFY option from the Align: dropdown list. If you enter a value here, the program will try to vertically justify the text solely by padding the leading between paragraphs. To adjust all lines’ lead-ing by the same amount, leave this value at 0 (zero).

igNore teXt WrAP; allows all text contained within this particular object to ignore text wrapping instructions contained within other objects.

7. The Text Frame Baseline Options tab controls how the first line of text will be offset (positioned) at the top of the page based one of the following typographic markers; Ascent, Cap Height, Leading, x Height, Fixed.

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44 Lesson 4: Working with Objects The Object Styles Dialog

Figure 51. The Text Frame Baseline Options on the Object Style Options panel

ASCeNt; the vertical limit of characters with vertical strokes, such as “l,” “k,” “h,” etc.

CAP HeigHt; the vertical limit of all uppercase characters.

LeADiNg; the vertical measurement of the leading value, as measured from the text baseline.

X HeigHt; the vertical limit of lowercase letters, such as “a,” “c,” “e,” etc.

FiXeD; a specific value in relation to the offset, which can be either a negative or positive value.

The Baseline Grid places a network of guidelines behind your text frames to assist you ensuring your paragraphs are adhering to a specified vertical relationship.

8. The Story Options tab as illustrated in Figure 52 enables/disables OPTICAL MARGIN ALIGNMENT within your object style. This is setting allows punctuation that appears at the outside edges of the text frame “hang” outside the text frame. For best results the value entered below the checkbox should be the same as the size of body text (or, the size of the paragraph style you wish to “hang”). You can instruct all other paragraph styles to ignore this setting in the paragraph style’s definition on the Indents and Spacing tab.

Note: In order to see the result of your settings

for the Baseline Grid, you’ll need to click on VIEW ➜

GRIDS & GUIDES ➜ SHOW BASELINE GRID.

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Figure 52. The Story Options on the Object Style Options panel

9. The Text Wrap & Other tab as illustrated in Figure 53 formats text wrapping and several other attributes.

Figure 53. The Text Wrap & Other tab on the Object Style Options panel

The first sections of this tab pertain specifically to applying text wraps to your object style;

Note: Traditional typeset-ting would “hang” all punc-tuation outside the column of text, which prevented “holes” from appearing at the margins of text.

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46 Lesson 4: Working with Objects The Object Styles Dialog

teXt WrAP; There are five wrapping instructions you can apply;

No text wrap

Wrap around bounding box

Wrap around object shape (contour)

Jump object (does not wrap around sides of the object)

Jump to next column (your next column may be on the next page)

When applying a text wrap, the INVERT and APPLY TO MASTER PAGE ONLY

check boxes become enabled.

Invert; constrains the text to the inside of the wrap area.

Apply to Master Pages Only; limits the text that can be wrapped to the

object to only items that appear on the master page assigned to the current

page.

WrAP oPtioNS; becomes enabled only if a text wrap has been applied. The options here are; RIGHT SIDE, LEFT SIDE, BOTH RIGHT & LEFT SIDES, SIDE TOWARDS SPINE, SIDE AWAY FROM SPINE, and LARGEST AREA. Note that these settings only affect the wrap on the sides of an object (not the top and bottom).

CoNtour oPtioNS; is only enabled if you have the WRAP AROUND OBJECT SHAPE text wrap option selected. The options are; Same as Clipping; sets the wrap to follow the contour of an object that has a CLIPPING PATH applied to it. Bounding Box; sets the wrap to the object’s bounding box (just as the WRAP AROUND BOUNDING BOX option would do). Detect Edges; use with the individual objects within a grouped object for best results, detects the combined contour of the grouped items. Also dupli-cates the BOUNDING BOX and SAME AS CLIPPING settings above. Alpha Channel; detects a range of white within the object to automatically determine a clipping path in the object. Photoshop Path; if the object is a Photoshop document that contains a clip-ping path (must be an EPS file), the wrap will automatically detect this path to determine the contour. Graphic Frame; sets the wrap to the object’s graphic frame (just as the WRAP AROUND BOUNDING BOX option would do).

NoNPriNtiNg; instructs the object not to print during output (this can be over-ridden in the print and PDF export dialogs out the time of output if required).

10. The Anchored Object Options as illustrated in Figure 54 is where you will control the alignment and positioning behavior of objects that are placed inline (within a text frame). There are many considerations to make establishing the settings this tab. We will go more into depth with this particular tab in the following exercise, and during class discussion.

Note: Generally, you will probably always keep

Wrap Options set to BOTH RIGHT & LEFT SIDES.

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Lesson 4: Working with Objects 47 Importable Graphics

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Figure 54. The Anchored Object Options tab on the Object Style Options panel

Importable GraphicsInDesign can import a number of graphics file formats. But, as I am fond of say-ing, “Just because you can, doesn’t mean you should!” Keep in some important considerations when determining what file formats you’ll want to be importing into your document.

The first big factor is your method of distribution of the final product; print or online. Print documents will use either grayscale, spot color, or CMYK color spaces. Online documents (including PDFs) will use RGB color spaces.

As mentioned previously, InDesign can import a number graphics formats. I recommend limiting yourself to the following formats;

PRINT: Encapsulated PostScript (EPS, or EPSF), Tagged Information File Format (TIF, or TIFF)

ONLINE: Joint Photographic Experts Group (JPG, or JPEG), Portable Network Graphics (PNG), Graphics Interchange Format (GIF)

Details on all these formats will be covered during class discussion.

Note: Always consult with your service bureau (commercial printer) before beginning the design or pro-duction of any project that is to be printed, as they will have specific file setting require-ments you’ll need to incor-porate into your document.

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48 Lesson 4: Working with Objects Importable Graphics

Exercise 4: Creating and editing object stylesAn object style can be used for both formatting an object’s appearance, as well for positioning an inline object, or, imported graphic. This exercise will include instructions for both these functions. The first graphic we’ll be working with is a large raster image created in Adobe Photoshop. Although some of the effects will be applying to it could (and should?) be executed in Photoshop, we will be creating these in InDesign for discussion purposes. I will explain in this during class.

1. If it’s not already an active document, open the course’s InDesign template by click-ing on FILE ➜ OPEN. Locate the InDesign template from the course’s project on your hard drive (yours may be stored in a different location than mine, so make sure you’re making a mental note of where you are saving all your files), click on the OPEN ORIGINAL option at the bottom of the screen, and click the Okay button.

2. Navigate to page 1, and click FILE ➜ PLACE. In the Place dialog, navigate to the examples folder you’ve downloaded for the course practice files, and locate the file named kiddiecar.tif.

3. Click OKAY.

When the image finishes loading, the cursor will be replaced by a small thumbnail preview of the file you’ve selected. Now click anywhere in the document.

4. Reset the X-Y coordinate on your rulers by double-clicking at the juncture of the horizontal and vertical rulers (top-left of the document window). Then with the graphic still selected, move the Control bar (at the top of the page), and click on the center-bottom anchor of the graphic reference diagram (see the screen cap-ture below);

Set the X (horizontal) coordinate to 5p0, and the Y (vertical) coordinate to 68p0. Your document should now look like the screen capture below;

Note: If you have your text cursor positioned inside of a

text frame, the graphic will be automatically loaded into

the story as an inline object

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5. With the object still selected, click on OBJECT ➜ CLIPPING PATH ➜ OPTIONS. In the Clipping Path dialog, select TYPE: ALPHA CHANNEL and ALPHA: TRANSPARENCY. In the TOLERANCE and THRESHOLD fields, enter 10 and 1 respectively.

6. Click Okay.

At this point, you’ll notice that the image has an orange outline with numerous hollow anchor points running around it. To perform the next steps, you’ll want to reselect the SELECTION TOOL (black arrow) from the Tool Box. Now, deselect the image by clicking anywhere in the pasteboard away from the image and text frame, and then reselect the image with the SELECTION TOOL.

7. With the graphic still selected, expand the Object Styles palette, and click the CREATE NEW STYLE button, and click the OBJECT STYLE # style that is created (to apply the style to the image), then, double-click the style name to open the Object Style Options dialog.

8. In the Object Style Options panel, set the style name to Kiddie Car.

9. Move to the Text Wrap tab and make the following settings; Wrap around object shape, Offset 3p0 (top, bottom, left, and right).

10. Move to the Drop Shadow (in the Effects section a the bottom of the panel) tab and make the following settings; Opacity 50%, Size 0p9, Spread 20%.

11. Move to the Outer Glow tab and make the following settings; Opacity 100%, Size 0p4, Spread 100%.

12. Click Okay.

Your document now should look like the following screen capture;

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50 Lesson 4: Working with Objects Importable Graphics

The Good Housekeeping Seal of Approval! Optionally, you can send the image to the back by having the image selected, and clicking on OBJECT ➜ ARRANGE ➜ SEND TO BACK, just to keep it out of the way of making text edits. Or, even move it to its own layer and lock the layer (we’ll cover working with layers in class). Also, I make it a practice to make sure everything is cropped to the bleed (that’s the red line that goes around your document). To crop an image, simple click on one of the 8 anchors on the image’s bounding box with the SELECTION TOOL, and drag to where you would like to crop the image to. This is technical known as a Clipping Path.

13. Save the document.

In the remaining steps of this procedure, we will create the object’s formatting, and then create the object style to apply that same formatting after the fact;

14. Navigate to page 2 of the document, and zoom in on the first paragraph follow-ing the heading at the top of the page. Place your text cursor into the paragraph, expand the Paragraph Styles palette, and click on the CREATE NEW STYLE button. Click once on the style PARAGRAPH STYLE # that was created to apply the style, and then double-click on the style name to open the Paragraph Style Options panel.

15. Call the new style Note.

16. Move to the Basic Character Formats tab and make the following settings; Font Family Arial and Font Style Bold.

17. Move to the Indents and Spacing tab and make the following settings;Align Left, Left Indent 6p0 , First Line Indent 0p0, Right Indent 2p0, and set both the Space Before and Space After to 1p0.

18. Click OKAY.

You’ve now created a paragraph style for reader aids. This particular reader aid will always be accompanied at the outside trim of the page by a green circle as a visual cue to the reader of its presence and purpose.

Note: Before you start this next part of then procedure,

make sure [NONE] is selected in the Object Styles palette.

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19. In the Tool Box, click-and-hold on the RECTANGLE TOOL. This will expand to reveal several additional tools. Select the ELLIPSE TOOL.

20. With the ELLIPSE TOOL selected, click-and-hold anywhere on your document, and draw an ellipse (size and shape don’t matter yet). With the ellipse selected, expand the Swatches palette, and apply a green fill, and no stroke.

21. With the ellipse still selected, go to the graphic Control bar, set the width and height each to 1p6.

22. With the ellipse still selected, click EDIT ➜ CUT. Place your text cursor into the text frame immediately preceeding the first word in the paragraph with the NOTE paragraph style applied to it, and click EDIT ➜ PASTE.

Your paragraph should now look like the screen capture below;

However, this not the positioning I want on the circle. So...

23. Select the circle with the SELECTION TOOL, and click OBJECT ➜ ANCHORED OBJECT ➜ OPTIONS. This will bring the Anchored Object Options panel as shown in the following screen capture;

24. Change the INLINE OR ABOVE LINE setting to CUSTOM.

At this point, it would be a good idea to turn on that PREVIEW checkbox in the lower left, so you can keep an eye on what your settings are doing to the green circle.

25. Now, make the changes to the settings as indicated in the screen capture below;

Note: Several of the tools in the Tool Box have small tri-angles at the lower-right of the tool button. This is an indicator that these tools have one or more additional tools within them. Clicking-and-holding on the displayed tool will reveal the other tools in this family.

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52 Lesson 4: Working with Objects Importable Graphics

reLAtiVe to SPiNe; This setting uses the spine (or, gutter between the pages) as the reference point. So, all the positions seen here will be relative to the spine.

ANCHoreD oBJeCt, reFereNCe PoiNt; Indicates where on the object the position instructions will be in reference to. In this, the top-right corner of the green circle.

ANCHoreD PoSitioN, reFereNCe PoiNt; Indicates where in reference to the page and spine the object will be positioned. In this case, it will be away from the spine.

X reLAtiVe to, PAge MArgiN; Indicates that the horizontal position of the object will be 0p0 offset from the page margin.

Y reLAtiVe to, LiNe (BASeLiNe); Indicates the object will will reside at it reference point (recall, top-right corner above), and will not be offset from that position.

26. Click Okay.

Your document should now look like the following screen capture;

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27. With the green ellipse still selected, expand the Object Styles palette, click on the CREATE NEW STYLE button. Click once to apply the newly created style, and double-click to open the Object Style Options panel. Rename the style to Note.

28. Click Okay.

The style you’ve created has automatically inherited all the attributes of the green ellipse, as you had the ellipse selected when you clicked the CREATE NEW STYLE button.

29. Save the document.

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54 Lesson 5: Working with Master Pages Creating and Organizing Master Pages

Lesson 5: Working with Master Pages

Creating and Organizing Master Pages1. To create a new master page, click on the Panel Options button located at the

top-right corner of the Pages panel, as shown in Figure 55. From the drop-down list that expands, select New Master…

Figure 55. The Pages panel displaying both body and master pages

2. The New Master dialog has you set-up a name for your master pages, as well as a unique prefix to assign to the master page, as shown in Figure 56. This prefix will appear on the body page thumbnails in the Pages panel so you can identify which master pages have been assigned to which body pages. The prefix will also appear as a page number placeholder on your master pages (after you have inserted a page number as discussed in step 3). Assigning a Based On master page will popu-late the new master with the elements from the originating master page.

Figure 56. The New Master dialog box

3. At this point, it’s a simple matter of establishing the page grid you wish to work with, and populate the page with the necessary adornments. A couple additional

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Lesson 5: Working with Master Pages 55 Basing Master pages on other Master pages

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elements you may want to make sure you address as needed for your particular project needs;

PAge NuMBerS; page numbering is added by creating a text frame, have your text cursor placed within the text frame (so you have a flashing vertical line), and then click TYPE ➜ INSERT SPECIAL CHARACTERS ➜ MARKERS ➜

CURRENT PAGE NUMBER.

LiNKiNg teXt FrAMeS; you’ll save yourself a bit of a headache latter during pro-duction (especially with long documents) if you link your text frames on the master page, rather than doing it page-by-page on the body pages. Link text frames by selecting the Out Port in the first frame in the thread, and then click anywhere within the next frame of the thread, as shown in Figure 57.

Figure 57. Linking (threading) text frames

Basing Master pages on other Master pagesJust as you can apply a master page to a body page in your document, you can also apply one master page to another master as the basis of it’s structure, ele-ments, and grid. Why? Well, say you have need to master pages to format the body of your document, except uses a 1-column format, and the other a 2-col-umn format. Basing one on the other, you can create the 1-column master, and then create a second master page that based on the 1-column master. In the new (2-column) master, you would go to LAYOUT ➜ MARGINS and Columns, change the number of columns from 1 to 2 and click okay. Now, since the 2-column mas-ter is based on the 1-column master, any time an element on the 1-column master is changed, that same change will be reflected in all master pages based on it!

Note: Do not link the Out Port of your recto (right-hand) page, back to the In Port of your verso (left-hand) page.

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56 Lesson 5: Working with Master Pages Basing Master pages on other Master pages

Overriding Master items on body pages: Master page items can be overridden on body pages (or master pages) by clicking the mouse button over the master page item (while on the destination page) while holding Shift+Command (Shift+Control in Windows). This will bring the item to the current (destination) page as a “live” element.

Exercise 5: Creating and editing master pages1. If it’s not already an active document, open the course’s InDesign template by

clicking on FILE ➜ OPEN. Locate the InDesign template from the course’s project on your hard drive (yours may be stored in a different location than mine, so make sure you’re making a mental note of where you are saving all your files), click on the OPEN ORIGINAL option at the bottom of the screen, and click the OKAY button.

2. Open the Pages panel, and click on the panel options contextual menu, and select NEW MASTER....

3. In the New Master dialog, make the following settings;

You’ll end up with a master page identical to A-Master. However, I’ll have you make a few customizations to it.

4. Hover the mouse over the left page within the bounds of the margin guides, and hold down the Shift + Command (F) + mouse click — on Windows click Shift + Cntrl + mouse click. This action will bring both the main body text frames from the master page that My Master is based on. Now we can override the settings for these two text frames.

5. Hold down the shift button, and click on both the left and right text frames so that they are both selected, then, select OBJECT ➜ TEXT FRAME OPTIONS.... In the dialog that opens, in the Columns section, change Number to 2, and Gutter to 2p0.

6. Click Okay.

7. Save the document.

Multiple text frames for multiple columns? If you would the freedom to rebreak individual columns on the same page (to adjust where lines of text will break at the bottom of each page), you could create individual text frames for each column. Just be sure to keep them properly threaded.

Note: The Width field will automatically recal-culate the correct value

based on the number of columns and the width of

the Gutter you specify.

Note: In the procedure above, we created a master

page and applied 2-column formatting to the text frames.

You could also apply the 2-column margin guides to the

master page as well, though this is not required. If you wish

to see the page guides, click on LAYOUT ➜ MARGINS

AND COLUMNS..., and in the Columns sec-tion, change Number to

2, and Gutter to 2p0

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Lesson 6: Working with Editorial Controls 57 Working with the Story Editor

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Lesson 6: Working with Editorial Controls

Working with the Story EditorPlace your text cursor within any text frame, then click on EDIT ➜ EDIT IN STORY EDITOR. This takes you into a text-only view of the story.

So, what’s the story?

A story in InDesign is any single text frame, or, series of threaded (or, con-nected) text frames. An InDesign document can have many numerous stories.

So, let’s have a look inside a story, in the Story Editor, as illustrated in Figure 58;

Figure 58. The Story Editor window

Inline graphics (graphics and InDesign objects that have been physically placed within the story itself...we’ll discuss this further in class) will be represented in the Story Editor as rectangular shapes, and cannot be manipulated from within the editor, except to be deleted from the story.

Tables can be represented in an uncollapsed mode, as shown in Figure 59.

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58 Lesson 6: Working with Editorial Controls Working with Search and Replace Routines

Figure 59.

...and a collapsed mode, as shown in Figure 60.

Figure 60.

Despite its limited functionality, the Story Editor can be a very useful tool when troubleshooting your document and executing quick spell-checks.

Working with Search and Replace RoutinesInDesign’s Search and Replace functionality is not only as powerful as the most sophisticated word processor, but your routines can also be saved to be used dur-ing different work sessions. You can enter the Search and Replace tool, whether or not your cursor is placed within a story.

1. Click on EDIT ➜ FIND/CHANGE... to launch the Search and Replace tool, as shown in Figure 61.

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Lesson 6: Working with Editorial Controls 59 Working with Search and Replace Routines

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Figure 61.

There are four types of searches you can execute;

teXt; Using the text search, you can search against strings of characters or wild cards provided for you within the @ dropdown lists to the right of the text fields. Also, in the Find and Change Format dialogs in the bottom of the screen, you can search against paragraph or character styles, or, you’ll even have access to character formatting instructions, as shown in the screen cap-ture below;

greP; an acronym standing for global/regular expression/print. The function of the GREP Find/Change tool is very similar to that of Text. The principal difference being in the array of text markers and wild cards it can locate, as illustrated in the following screen capture;

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60 Lesson 6: Working with Editorial Controls Working with Search and Replace Routines

gLYPH; The Glyph Find/Replace focuses its search on a specified character within the type selected for the search. Again, this performs similarly to the Text Find/Replace, but this tool opens up the entire Unicode glyph set (256 sepa-rate characters), where the Text search only examines the typical subset of font characters, which comprises some 80 characters on average.

oBJeCt; The Object Find/Replace tool gives you access to every formatting option that can be applied to a graphic or InDesign object, including object styles and all the raster effects, as shown in the following screen captures.

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Lesson 6: Working with Editorial Controls 61 Dynamic Spell Checker

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Dynamic Spell CheckerThe Dynamic Spell Checker underscores misspelled words in the layout view as you work. You can enable/disable the Dynamic Spell checker in the Preferences by clicking INDESIGN ➜ PREFERENCES ➜ SPELLING.... as illustrated in Figure 62.

Figure 62. The Spell Checking preferences panel

Exercise 6: Creating search and replace routines1. If it’s not already an active document, open the course’s InDesign template by

clicking on FILE ➜ OPEN. Locate the InDesign template from the course’s proj-ect on your hard drive (yours may be stored in a different location than mine, so make sure you’re making a mental note of where you are saving all your files), click on the OPEN ORIGINAL option at the bottom of the screen, and click the Okay button.

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62 Lesson 6: Working with Editorial Controls Dynamic Spell Checker

2. Launch the search and replace tool by clicking EDIT ➜ FIND/CHANGE.

3. This opens the Find/Change dialog. Clicking on the QUERY dropdown list reveals the assortment of pre-loaded Find/Change scripts that come installed with InDesign, as illustrated in Figure 63.

Figure 63. The Find/Change dialog

4. Create a Find/Replace routine by entering the text strings, wildcards, and formats pertinent to your search requirements. In Figure 64, I have entered a search for the Word “Zurich”, which is formatted with the paragraph style Normal, and the character format “Bold”. The search will be case-sensitive, and will search all open documents. Clicking on the Save Query button, allows me to save this routine for later use in other documents.

Figure 64. Saving a custom Find/Change routine