Wiley Adobe InDesign cs Bible
Contents
1. mood After all both approaches can lead to the same design Understanding Global and Local Control The power of desktop publishing in general and InDesign in particular is that it lets you automate time consuming layout and typesetting tasks while letting you cus tomize each step of the process according to your needs This duality of structure and flexibility implemented via the dual use of the frame based and free form layout metaphors carries over to all operations from typography to color You can use global controls to establish general settings for layout elements and then use local controls to modify those elements to meet specific publishing requirements The key to using global and local tools effectively is to know when each is appropriate Global tools include General preferences and application preferences see Chapter 3 Master pages see Chapter 7 Style sheets see Chapter 20 Sections of page numbers see Chapter 5 Color definitions see Chapter 8 Hyphenation and justification see Chapter 18 Libraries see Chapter 7 04 542273 ch01 qxd 10 17 03 11 54 AM Page 28 cb 28 Part fru Welcome to InDesign Styles and master pages are the two main global settings that you can expect to override locally throughout a document You shouldn t be surprised to make such changes often because although the layout and typographic functions that style sheets and master pages automa2. 04 542273 ch01 qxd 10 17 03 11 54 AM Page 23 What InDesign Can Do for You Aves Adobe InDesign is a relatively new desktop publishing program its history actually spans more than 15 years it succeeds the venerable Adobe PageMaker the first popular desktop publishing program InDesign is an all new program make no mistake about that but it draws on the experience and design of PageMaker which Adobe Systems acquired in 1994 and significantly modified in the intervening years As Adobe s entry into the professional more creative publishing space that has been dominated by QuarkXPress the developers of InDesign also learned a lot of lessons from QuarkXPress offering many comparable features in a way that fits the InDesign publishing workflow model Why does this history matter Because chances are you already use PageMaker or more likely QuarkXPress and are switching to InDesign or adding InDesign to your software toolkit You ll find a lot of familiar things in InDesign but InDesign is a new product that borrows from PageMaker and other Adobe products as well as from its chief rival QuarkXPress It also adds new components of its own So draw upon your experience with PageMaker QuarkXPress or other Adobe software but don t let that experience fool you into thinking you can run InDesign on autopilot Instead be sure to really learn InDesign s approaches ie If you re switching to InDesign from QuarkXPress or Page
3. Maker be sure to check out Appendix C or Appendix D These appendixes will help you translate your QuarkXPress and PageMaker expertise into InDesign s frame of reference CH AP ER In This Chapter Learning what InDesign can do Discovering the InDesign approaches to layout Understanding global and local control Identifying InDesign terminology 04 542273 ch01 qxd 10 17 03 11 54 AM Page 24 cb 24 Part Welcome to InDesign What makes InDesign special The release of PageMaker in 1986 launched the desktop publishing revolution and in the following years PageMaker and its competitors added tons of cool features It may be hard to imagine that there s anything new to add to this publishing toolkit Well InDesign s creators have managed to add a few new features Following are the sig nificant additions to the desktop publishing toolkit courtesy of InDesign note that this list doesn t include enhanced versions of features found in competitors such as QuarkXPress and Ventura Publisher or in PageMaker Multiline composer which lets InDesign adjust the spacing and hyphenation over several lines of text at once rather than the typical one line in isolation of other programs to achieve the best possible spacing and hyphenation See Chapter 18 Optical margin alignment which actually moves some characters past the margin of your columns to create the optical illusion that all the c
4. e using frames In the case of direct placement of elements on the _ 04 542273 ch01 qxd r 10 17 03 11 54 AM Page 27 Chapter 1 What InDesign Can Do for You 27 page InDesign creates a frame automatically for each element The difference is that the frame InDesign creates is based on the amount of text or the size of the graphic rather than on your specific specifications Of course in either case you can modify the frames and the elements within them The free form metaphor Under a free form pasteboard metaphor you draw the pages content as if you re working on paper Depending on how long you ve been in this business you may well remember having paste up boards with strips of type camera ready line draw ings halftone pictures strewn about sticking to pasteboard thanks to the wax on their backs You would then assemble all those pieces until you got the combina tion that looked right to you The free form metaphor encourages an experimental approach which is particularly well suited to one of a kind documents such as ads brochures annual reports and marketing materials In a frame based approach you can certainly experiment by using the frames as placeholders for actual text and graphics But visual thinkers like to work with actual objects and that s why the free form metaphor works much better for them With InDesign you pick the metaphor that works for your style your current situation and your
5. ed that I use throughout the book So whether you re an expert or novice read on and prepare yourself for a great InDesign adventure 04 542273 ch01 qxd 10 17 03 11 54 AM Page 26 cb 26 Part Welcome to InDesign Discovering the InDesign Approach Publishing programs although similar in many ways differ in their approach to the publishing task One way to describe a program s approach to publishing is to talk about its metaphor or the overall way that it handles publishing tasks Some pro grams use a free form metaphor which means that the method used to assemble a document is based on assembling page elements as you would if they were placed on a pasteboard until ready for use this is also called the pasteboard metaphor although that s a less precise term because software using other metaphors can still include a pasteboard Other programs approach page layout using a frame based metaphor in which frames or boxes hold both the page elements and the attributes that control the appearance of those elements InDesign uses both the free form metaphor and the frame based metaphor The frame based metaphor Under a frame based metaphor you build pages by assembling a variety of frames that will contain your text and graphics First you set up the basic framework of the document the page size and orientation margins number of columns and so on You then fill that framework with text pictures and lines jp These fra
6. haracters line up This works because some characters shapes fool the eye into thinking they begin before or after where they really do so although technically aligned they appear not to be Optical margin alignment fixes that See Chapter 18 Optical kerning which adjusts the spacing between characters based on their shapes for the most natural look possible without resorting to hand tuning their spacing See Chapter 18 A menu for inserting special characters so you no longer have to remember codes or use separate programs like the Mac s Key Caps or the Windows Character Map to add special symbols like bullets and section indicators Your word processor has likely had this feature for a few years but this is a first in desktop pub lishing See Chapter 15 Glyph scaling which lets InDesign stretch or compress characters to make them fit better on a line A glyph is a character This works in addition to tracking and kern ing which adjust the spacing between characters to make them fit better on a line See Chapter 18 Custom strokes for characters which let you change the look of characters by making their outlines thicker or thinner You can also give the part of the characters inside the outlines a different color to create an outline effect Normally the part inside the stroke is the same color as the stroke so the reader sees a normal solid character See Chapter 18 EPS display so you ca
7. mer on publishing terms see Chapter 39 Chapter 40 and Chapter 42 InDesign accepts any of the following codes for measurement units x xi x in or x inch for inches xp for picas xpt or 0px for points xc for ciceros xcm for centimeters xmm for millimeters Tip Note that the x above indicates where you specify the value such as 1i for 1 inch It doesn t matter whether you put a space between the value and the code 1inch 4 and 7 inch are the same as far as InDesign is concerned _ 29 04 542273 ch01 qxd 10 17 03 11 54 AM Page 30 cb 40 Part Welcome to InDesign Tip You can enter fractional picas in two ways in decimal format as in 8 5p and in picas Z and points as in 8p6 Either of these settings results in a measurement of 8 picas 4 there are 12 points in a pica Summary InDesign offers a strong set of features for professional publishers working on brochures magazines advertisements and similar publications Although it lacks specialized tools for database publishing such as for catalogs it offers many unique features such as a multilane composer glyph scaling and customer charac ter strokes InDesign s use of both the free form and structured layout metaphors makes it very flexible letting you pick the layout style that works best for you and for your docu ment s specific needs
8. mes and lines need not be straight or square With InDesign you can cre ate frames that are shaped by B zier curves In the 1970s French engineer Pierre B zier created the mathematics that make these adjustable curves work There are several reasons to use frames To create a template for documents like newsletters and magazines that use the same basic elements for many articles You create the frames and then add the text and graphics appropriate for each specific article modifying adding and deleting frames as necessary for each article To get a sense of how you want your elements to be placed and sized before you start working with the actual elements This is similar to creating a pencil sketch on paper before doing a formal layout To ensure specific size and placement of elements up front in this case you re often working with a template or guidelines that limit size and place ment of elements In many cases you can copy an existing frame because its size is one you re using in several locations of your layout For structured or partly structured documents like newsletters and magazines I find setting up my documents up front so elements are sized and placed correctly easier than resizing elements one at a time later roe Bear in mind that whether you start by creating frames in which you will later place graphics or text or you simply place the text and graphics directly on your page you r
9. n now see the detailed contents of an EPS file rather than rely on a poor quality preview image or worse see an X or gray box in place of the image See Chapter 22 illustrator and Photoshop file import so you can place these graphics files directly in your layout See Chapter 23 04 542273 ch01 qxd 10 17 03 11 54 AM Page 25 cb Chapter 1 What InDesign Can Do for You 25 Multiple views of the document so you can have several windows open for the same document letting you see different sections at the same time See Chapter 3 Custom drop shadow creation so you can create exactly the kind of drop shadow effect you want and not be stuck with a canned option See Chapter 11 So what can InDesign do for you A lot For years layout designers had to choose between a free form but manual approach to layout PageMaker and a structured but easily revised approach QuarkXPress Most chose the latter With InDesign you can choose both That s important for both novice and experienced users because it isn t a one size fits all answer Sometimes for example if your project is a one time publica tion or an experimental effort creating a layout from scratch almost as if you were doing it by hand on paper is the best approach And sometimes using a highly for matted template that you can modify as needed is the best approach because there s no need to reinvent the wheel for common documents InDesign can handle s
10. nt and how often you ll need to perform the action The more often you find yourself doing something the more often you should use a global tool like character styles Fortunately you don t have to decide between global and local tools right away while designing a document You can always create styles from existing formatting later or add elements to a master page if you find you need them to appear on every page Specifying measurement values Another situation in which you can choose between local or global controls is spec ifying measurement values Regardless of the default measurement unit you set and that appears in all dialog boxes panes and palettes you can use any unit when entering measurements in an InDesign dialog box If for example the default measurement is picas but you re accustomed to working with inches go ahead and enter measurements in inches _ 04 542273 ch01 qxd 10 17 03 11 54 AM Page 29 cb Chapter 1 What InDesign Can Do for You InDesign Vocabulary 101 InDesign comes with its own terminology much of it adopted from other Adobe products The general ones not covered elsewhere in this book include the following Link The connection that InDesign makes to an imported file the link contains the file s location last modification date and last modification time A link can reference any image or text file that you have imported into a layout InDesign can notify you when a source text o
11. ophisticated tasks like magazine and newspaper page layout but its simple approach to publishing also makes it a good choice for smaller projects like flyers and newsletters InDesign is also a good choice for corporate publishing tasks such as proposals and annual reports Plug in software from other vendors adds extra capabilities for example Virginia Systems offers several plug ins that make InDesign a good tool for books and academic papers ie For more on plug in software see Chapter 36 Reference But that s not all InDesign is not merely a merger of QuarkXPress and PageMaker though it will seem that way to experienced users It is designed from the ground up as an electronic publishing tool That means documents can easily be sent to service bureaus and printing presses for direct output saving you lots of time and money It also means you can create documents for electronic distribution particu larly using the Adobe Acrobat Portable Document Format PDF These electronic files can include interactive features such as forms and sounds lt Cross See Part VI and Part VII for more in depth coverage of output and interactive doc Reference ment fundamentals This chapter details the wide range of uses and features of InDesign points out the ways in which InDesign can be useful to you and describes the basic metaphor on which the program is based I also provide a comprehensive list of the terms clearly and concisely defin
12. r graphics file has changed so you can choose whether to update the version in your layout A hyperlink often also abbreviated to link in casual conversation connects elements in a Web page to other Web pages Package The collecting of all files needed to deliver a layout for printing or Web posting PDF The Adobe Portable Document Format is the standard for electronic docu ments No matter what kind of computer it is viewed on Windows Macintosh or Unix a PDF document retains high fidelity to the original in typography graphics representation and layout InDesign can both place PDF files as if they were graph ics and export its own pages to PDF format Place To import a picture or text file Plug in A piece of software that loads into InDesign and becomes part of InDesign to add more capabilities Not too long ago only a few publishing professionals knew or cared about what the words pica kerning crop or color model meant Today these words are becoming com monplace because almost everyone who wants to produce a nice looking report a simple newsletter or a magazine encounters these terms in the menus and manuals of their lay out programs Occasionally the terms are used incorrectly or are replaced with general terms to make nonprofessional users feel less threatened but that substitution ends up confusing professional printers people who work in service bureaus and Internet service providers For a pri
13. te are the fundamental components of any doc ument s look they don t always work for all a publication s specific content Local tools include Frame tools see Chapter 10 Chapter 11 Chapter 12 Chapter 21 and Chapter 25 Character and paragraph tools see Chapter 17 Chapter 18 Chapter 19 and Chapter 20 Graphics tools see Part V Knowing which tools to use In many cases it s obvious which tool to use If for example you maintain certain layout standards throughout a document then using master pages is the obvious way to keep your work in order Using styles is the best solution if you want to apply standard character and paragraph formatting throughout a document When you work with special case documents such as a single page display ad it doesn t make much sense to spend time designing master pages and styles it s easier just to format one of a kind elements on the fly In other cases deciding which tool is appropriate is more difficult For example you can create drop caps large initial letters set into a paragraph of type like the drop cap that starts each chapter in this book as a character option in the Character pane or you can create a character style formatting that you can apply to any selected text ensuring the same formatting is applied each time that con tains the drop cap settings and apply that style to the drop cap Which method you choose will depend on the complexity of your docume
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