InDesign Traning Handbook by Cheri Bales

Adobe Creative Suite InDesign and Photoshop workshop for Harper Creek Community Schools August 5-6, 2013

paLetteS the tooLS paLette

Selection tool

About tools and the toolbox Some tools in the toolbox are for selecting, editing, and creating page elements. Other tools are for choosing type, shapes, lines, and gradients. To move the toolbox, drag the toolbox by its title bar. Select a tool from the default toolbox by clicking it. The toolbox also contains several hidden tools related to the visible tools. Hidden tools are indicated by arrows to the right of the tool icons. Select a hidden tool by clicking the current tool in the toolbox and then selecting the tool that you want. Note: You cannot dock the toolbox. The name of the tool and its keyboard shortcut appear when you hold the pointer over the tool—this text is called the tool tip. You can turn off tool tips by choosing None from the Tool Tips menu in General preferences.

Direct selection tool

Page tool

Gap tool

Text tool

Line tool

Anchor point tool

Pencil tool

Shape frame tool

Shape drawing tool

Scissor tool

Free transform tool

Gradient tool Notes tool Grabber tool

Gradient feather tool Eye dropper tool Magnifyer tool

FiLL and Stroke area oF the tooLbox

Fill (text or graphic)

Fill (Switch background and foreground Line color

Format affects container Apply color Apply gradient

Format affects text Fill/Line NONE Preview mode

Normal view mode

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Section 1 Getting Started

Fit frame to content

the controL paLette

Alignment

The Control palette offers quick access to options, commands, and other palettes related to the current page item or objects you select.

Balance columns Indents Columns/gutters

Most options displayed in the Control palette vary depending on the type of object you select. F

Corner options

Text wrap tools

A. To format images or text blocks the control palette displays options for resizing, repositioning, skewing, and rotating the frame, or applying an object style.

Character style

Line style/width tool Text fill/line tool Fill tool

Stroke tool Horizontal scale Skew tool

Rotate Tool

Flip tool Flop tool Shear tool Rotate tool

Section 1 Getting Started

Baseline shift

Kerning

Tracking

Scale X, Y

Constrain proportions

Width, height

Commands displayed in the palette menu also vary depending on the type of object you select; however, commands for docking and floating the Control palette are always displayed.

Vertical scale

X, Y coordinates

Reference point

Caps, superscript, subscript, underline, strikethrough

B. Control Palette and Menu Bar with Text Tool Highlighted (Text)

To format text, you can display either character or paragraph options. As the options in the Control palette change, you can get more information about each option using tool tips—pop-up descriptions that appear when you hover over an icon or option label with the pointer.

Effects tools

A. Control Palette and Menu Bar with Selection Tool Highlighted (Frame)

B. When you select text inside a frame, the Control palette displays options for adjusting text attributes, such as font style, size, leading, and baseline shift.

Paragraph align

Font size/leading

Font/font style

the preFerenceS paLette InDesign >Preferences Units & Increments to change picas to inches.

the document Setup paLette File >Document Setup To set up original size and shape and orientation of document.

Layout >Margins and Columns To set up margins (.5 usually) and number of columns as well as the gutters/alleys between the columns

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Section 1 Getting Started

ÂŠ Hannah/Gold Communications 2009

Amateur Mistakes riverS oF White SPace

These are usually caused by full justification and/ or too large a font related relative to column width, causing words to be pulled farther and farther apart until the gaps start to dominate a column.

inaPProPriate column SPacing Gutters are often too wide or narrow. Gutter width should be proportional to type size.

traPPed White SPace Holes in the document between elements on a page. White space is desirable in a document, but keep it around the outside of the page.

riverS oF White SPace cauSed By JuStiFied text The only realistic funding method available to school districts in the State of Michigan to improve, construct or remodel school buildings is now through a bond issue which is supported by a vote of local taxpayers. When Proposal A was approved by the public on June 2, 1993, it addressed operational funds only. Proposal A did not address expenses required for construction and remodeling of facilities. The only realistic funding method available to school districts in the State of Michigan to improve, construct or remodel school buildings is now through a bond issue which is supported by a vote of local taxpayers. When Proposal A was approved by the public on June 2, 1993, it addressed operational funds only. Proposal A did not address expenses required for construction and remodeling of facilities. Proposal A did dramatically reduce property taxes for

clauStroPhoBic PageS

Avoid elements crowding each other, or text touching a border line.

WhiSPering headlineS

Make headlines stand out. Use larger, bolder, or otherwise contrasting fonts.

JumPing horizonS Start text columns the same distance from the top of the document.

heading and SuB-headingS too cloSe to the Wrong coPy Put headings closer to the text that they refer to or they will look like breakouts. Keep the spacing before and after heads and subheads consistent throughout the publication.

JumPing horizonS conFuSe readerS

headline

SenSitivity to variationS

The only realistic funding method available to school districts in the State of Michigan to improve, construct or remodel school buildings is now through which Proposal A did dramatically reduce property

The only realistic funding method available to school districts in the State of Michigan to improve, construct or remodel school buildings is now through a bond issue which supported by a vote of local taxpayers. When Proposal A was approved by the public on June 2, 1993, it addressed operational funds only. Proposal A did not address expenses required for construction and remodeling of facilities. Proposal A did dramatically reduce property

in SPacing

SenSitivity to variationS in SPacing The only realistic funding method available to school districts in the State of Michigan to improve, construct or remodel school buildings is now through a bond issue which supported by a vote of local taxpayers. When Proposal A was approved by the public on June 2, 1993, it addressed operational funds only. Proposal A did not address expenses required for construction and remodeling of facilities. Proposal A did dramatically reduce property

SenSitivity to variationS in SPacing

The only realistic funding method available to school districts in the State of Michigan to improve, construct or remodel school buildings is now through a bond issue which supported by a vote of

too many BoxeS

overSized indentation

opposition ÂŠ Hannah/Gold Communications, 2013

le Sa e Sal Sale Sa le

.25 indentation is appropriate for a single wide column format. 2 - 3 column formats need less indentation. A .50 indent is the default tab stop.

rotated tyPe to the extreme

le Sa e Sal Sale Sa le

Column margins already make a box shape out of the text itself. Use lines only when you need to set something apart.

document.

conVeying your MeSSage With type Basic Definitions • •

Considerate Typography Legibility vs. Readability

Key: Large blocks of body type should be set in serif type if you want it to be read and understood. More than five times as many readers are likely to show good comprehension when a serif body type is used instead of a sans serif body type. Typeface/Font Notes • For a traditional, well-established impression use a serif font. • For an up-to-date, modern impression use a sans serif font. • Fonts best for reading: New Century Schoolbook, Times, Bookman • Fonts for OK reading: Garamond, Helvetica, New York, Arial, Geneva • Fonts best for action: Blocky styles, leaning styles, sans serif styles • Sensitive: Script fonts • If you create a document on one computer and take it to print on another, you should always copy the font files from the first computer into the folder containing the document. When you arrive at the other computer to print, install the fonts into that computers operating system.

one and only 39

Section IV Typography

ascenders x-height descenders © Hannah/Gold Communications 2009

alignMent

Alignment affects reader comprehension. Choices for alignment include flush left, flush right, center, justify and force justify. This is an example of a paragraph which could be aligned any number of ways. Type Alignment Comprehension Levels Layout with totally justified setting Layout with ragged right setting Layout with ragged left setting Flush left—command, shift L Centered—command, shift C

Good 38% 67% 10%

Fair 19% 22% 18%

Poor 14% 40% 72%

Flush right—command, shift R Force Justified—Command, shift J

Be careful if/when justifying text that it doesn’t create “rivers of white space” within your paragraph. Forced justification may look good in narrow columns, but watch for odd hyphenation at the end of lines and unseemly white spaces between words.

Screening

Comprehension and Contrast

between words.

reVerSing and Screening Comprehension and Contrast Black on white Black on 10% black Black on 20% black Black on 30% black

Good 70% 63% 33% 3%

Fair 19% 22% 18% 10%

Poor 11% 15% 49% 87%

Conclusion: Reading black in on anything higher than a shade strength of 10% is like trying to read a newspaper in poor light. Rules for Leading Line Spacing (leading) 10 point set 10/12 11 point set solid 11/11 11 point set 11/12 11 point set 11/13 12 point set solid 12/12 12 point set 12/13 12 point set 12/14

Good comprehension 92% 77% 93% 98% 72% 90% 82%

A good rule of thumb is type size plus 1.5-2 equals readable leading.

headingS and SubheadS in brochureS, neWSletter, bookS, etc. 40

headlineS

Section IV Typography

The darker the headline, the greater the comprehension level. High chroma colors (hot red, bright green, orange, magenta) attract more attention than low chroma colors (deep blue, cyan, dark green, purple) but both may be too hard to read. To follow the concept of reader eye movement and gravity, headlines should go at the top of the story. Using periods at the end of a headline causes the reader to have to come to a complete stop…and they might not go any further.

Avoid long lines with all caps or italics. Line length should influence leading. Let type promote continuity throughout a presentation. Insure contrast through shape, as blocky type over rounder backgrounds. Tighten the tracking in larger type sizes. Mix cases properly. Break title lines logically, without hyphens. (any line, actually).

headlineS…color or black?

Comprehension Level Layout with black headlines Layout using high chroma color headlines Layout using low chroma color headlines Conclusion: © Hannah/Gold Communications, 2013

Good 67% 17% 52%

Fair 19% 18% 28%

Poor 14% 65% 20%

The darker the headline, the greater the comprehension level. High chroma colors (hot red, bright green, orange, magenta) attract more attention than low chroma colors (deep blue, cyan, dark green,

Layout using high chroma color headlines Layout using low chroma color headlines

17% 52%

18% 28%

65% 20%

Conclusion: The darker the headline, the greater the comprehension level. High chroma colors (hot red, bright green, orange, magenta) attract more attention than low chroma colors (deep blue, cyan, dark green, purple) but both may be too hard to read.

take it eaSy on your readerS With headlineS and SubheadS:

• Give them contrast and make them easy to recognize as headings without being too big. • Use contrasting font family (alternate serif & sans?), size, style (bold?), • Vary the location (hanging indent?), add a graphic pointer, screen or reverse. • Leave more space before than behind (Proximity to the body text). • Always… Avoid long lines with ALL CAPS or italics. These are harder to read. • Short lines (narrower columns) need less leading. +20% is OK for full-page columns. • Large fonts need less leading, regardless of column width. • Large fonts need tighter tracking. Column Suggestions: • Mix cases properly and consistently. • One-Column—No fuss, easy to • Let type promote continuity throughout a document. place text, “quiet”. Good for propos • Break headings or titles logically (at the end of phrases), and without hyphens. als, reports, press releases, books. Often justifi ed. Pictures and graphs • If a heading takes two lines, let the second line be the shortest.

are centered in the column. HeadColumn Suggestions: ings usually L or C; can be R justifi ed • One-Column—No fuss, easy to for contrast place text, “quiet”. Good for proposals, reports, press releases, books. • One-Column + Wide Margin, Often justifi ed. Pictures and graphs Two-Column + Wide margin, or are centered in the column. HeadGrids “Scholar’s margin”—Named for fi rst Column Suggestions: ings usually L or C; can be R justifi ed books, scholars would write notes in • One-Column—No fuss, easy to for contrast the margins. Easy to organize, easier place text, “quiet”. Good for proposto read than full width column, the • One-Column + Wide Margin, als, reports, press releases, books. Three-column layout Four-column layout white space gives a classy look, great Two-Column + Wide margin, or Often justifi ed. Pictures and graphs for 3-ring binders. rst Section“Scholar’s margin”—Named for fi IV Typography ©Grids Hannah/Gold Communications 2009 are centered in the column. Headbooks, scholars would write notes in • Two-Column—Formal, Polished ings usually L or C; can be R justifi ed the margins. Easy to organize, easier look, “Honest” & can be boring. for contrast to read than full width column, the Can have a side-bar set right in the Three-column layout Four-column layout white space gives a classy look, great middle for interest (like 3-column). for 3-ring binders. • One-Column + Wide Margin,

Organization

Two-Column + Wide margin, or •

Two-Column—Formal, Polished look, “Honest” & can be boring. Headlines books, scholars would write notes in Can have a side-bar set right in the Subheads the margins. Easy to organize, easier middle for interest (like 3-column). Captions to read than full width column, the Breaking up Copy into Three-column white space gives a classy look, great Easy-to-Read Chunks Use Reader Eye Movement for 3-ring binders. Body Copy Techniques and Tips • Headlines • Subheads • Two-Column—Formal, Polished • Captions look, “Honest” & can be boring. • Breaking up Copy into Easy-to-Read Chunks Can have a side-bar set right in the • Body Copy Techniques and Tips middle for interest (like 3-column).

rst Use Reader “Scholar’s margin”—Named for fi Eye Movement • • • • •

Grids

layout

Four-column layout

Use Reader Eye Movement • • • • •

Headlines Subheads Captions Breaking up Copy into Easy-to-Read Chunks Body Copy Techniques and Tips

Guttenberg Diagram charts basic reading eye movement from the Primary Optical area (POA) to the Terminal Anchor (TA). Crosses indicate fallow corners and the arc of wavy lines shows “backward” movement that the reading eye resists. 13

Section 1 Getting Started

uSinG photoGraphS and GraphicS In a newsletter, the graphics usually serve to attract the scanner to read the text.

General recommendationS: • • • • • • • • •

Keep the caption very near the graphic, underneath is preferred. If you put graphics in the middle across two columns, the reader doesn’t know whether to go to the next column over or down. Simplify Images. A generic computer illustration is better than a scanned image of a Mac Plus. One way of generalizing an image is to simplify it. It is often better to use a simple stylized drawing even if it is less accurate. Crop photos to the main topical item. Enlarge important parts; maybe even just a portion of graphic. Stylize unpleasant objects. Use a cute ladybug rather than an accurate mite. Use established symbols such as an thermometer icon for heat. Organize objects into rows and columns whenever you do not have a good reason to be random. When at all possible, captions go Reduce unimportant differences. If there is no reason for several under tehe photos. triangles to be differently shaped, then make them all the same.

photo or line illuStration? photoGraphS are Good for • • •

Showing context. How does this look in the real world? Showing sequence. How does this look as the process moves ahead? Compare a photograph of a gadget, to a detailed drawing of the gadget, to a simplified drawing of the gadget. Which does the job better?

tipS for uSinG pictureS • • • • • • • • • • • •

Pick photos for meaning and use the most meaningful part(s) Isolate or silhouette features Never size a picture to fit the space Put what you want to be noticed at the top or outer edges of the page Bleed photos for maximum impact Make the size appropriate for the importance—make the most significant photo the largest Don’t fight the grip-n-grins Jump the gutter with a photo Let photo direction lead your readers Apply effects like drop shadow or feathering for impact Crop uninteresting pictures to unusual shapes Make the pictures match the text

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Section 1 Getting Started

to photo or not to photo? c Do the pictures represent the main thrust of the article? c Does the image match the words? c Is a caption needed for every picture? c Are pictures being used because they’re good or because they’re the only thing you have? c Is the attention-getting potential of size used profitably? c Is each picture used to tell just one story? c Is the illustration unexpected? c Is there a logical visual relationship between pictures placed next to each other on the page? c Is there a dominant image carrying the main thrust of the story? c Does a natural relationship of scale (relevant sizes) appear in other images? c Is a bleed used to expand the impact of the image? c Can the theme of the story be discovered at first glance? c Do small pictures combine to tell a larger story? c Are photos where they belong in relation to gravity—aerial shots at the top; ground shots on the bottom?

When creatinG line draWinGS (illuStrationS): • • • •

Make primary edges of drawings heavier. Surround with blank space. Add informative details to graphics, such as numbers areas/items involved in steps that are explained in the text. Make labels run clockwise or left to right around a graphic. If labeled details are numbers, think about how you want the legend. • Numbers to object names if viewer is looking at a detail on the graphic and then finding out what it is called. • Names to numbers if the names are alphabetized and the viewer knows the name, but doesn’t know where it’s at on the graphic.

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Section 1 Getting Started

Placing images in InDesign

Select File>Place, go to image location and select the image.

Place the photo by clicking and dragging to a specific size, or just clicking to insert the photo at original size. Rotate the photo if needed.

Go to image location and click “open” to import the photo.

Crop the photo to the area of interest using a variety of methods.

Note: You cannot change the color profile of a photo in InDesign; you must use Photoshop. You don’t need to change the color profile if you are duplicating or printing digital copies.

photo manipulation to remove the White BackGround from Behind clip art or photoS: • • • • • • • •

Open the image in Photoshop Using the magic wand, select the background Go to Select>Inverse Copy remaining image Create a new document and select “transparent” for background Paste the copied image into the new document Save as with a new name This works equally well on simple clip art or logos.

text Wrap—Wrap text around oBjectS

You can wrap text around any object, including text frames, imported images, and objects you draw in InDesign. When you apply a text wrap to an object, InDesign creates a boundary around the object that repels text. The object that text wraps around is called the wrap object. Keep in mind that text wrap options apply to the object being wrapped, not the text itself. Any change to the wrap boundary will remain if you move the wrap object near a different text frame. • • • • •

To display the Text Wrap panel, choose Window > Text Wrap. Using the Selection tool, select the object you want to wrap text around. In the Text Wrap panel, click the desired wrap shape (from left): • Wrap Around Bounding Box; Wrap Around Object Shape; Jump Object; or Jump To Next Column Specify offset values. Positive values move the wrap away from the frame; negative values move the wrap within the frame. To wrap text around a photo and a caption together, group the photo and the caption, then text wrap as above.

If you can’t get the text to wrap around an image, make sure that Ignore Text Wrap isn’t selected for the text frame that doesn’t wrap. Text frames inside a group aren’t affected by a text wrap you apply to the group.

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Section 1 Getting Started

croppinG and SiZinG photoGraphS To crop an imported image or any other graphic already inside a rectangular frame, click the object using the Selection tool and drag any handle on the bounding box that appears. Press Shift as you drag to preserve the frame’s original proportions. •

•

To crop an image, use the Selection tool and click and drag any of the frame handles to change the size of the frame. • To size the image inside the frame select Object > Fitting > Frame Fitting Options, and then specify which you want—Fit Proportionatley, Fit to Frame, etc. To reduce the overall size of a graphic or photo, select the image frame with the Direct Selection tool. • To size the image, select the Free Transform tool, and, while holding down the shift key, resize the image. • To move the image around in the bounding box (Frame) click the Direct Selection tool, click on the image and hold. The Grabber Hand tool appears when you click on the image and you can move it around inside the frame.

Free Transform

Cropped

Original

Section 1 Getting Started © Hannah/Gold Communications, 2013

Setting ParagraPh StyleS

1. Select Paragraph Styles from the Type Menu.

3. Name new paragraph style: body, bullet, subhead, etc.

5. Select Indents and Spacing to assign alignment and/or indents.

2. Select either “new paragraph style” or double click for an existing style.

4. Select Basic Character Formats and assign font, size, color, case.

6. Select Tabs to set tabs, bullets and tab leaders. Click OK to complete set-up.

When a Paragraph Style is complete, it will show in the paragraph styles menu.

Highlight the text you want in that style and click the corresponding name in the paragraph styles menu to apply it.

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Section VI Paragraph Styles and Tabs

Setting an inDent…

Will make your text look like this, with an indent only on the first line. Will make your text look like this, with an indent only on the first line. Will make your text look like this, with an indent only on the first line.

Setting bullet text…

•

Will make your text look like this, with the second line aligned under the first line. Will make your text look like this, with an indent only on the first line. Will make your text look like this, with an indent only on the first line.

Setting a tab leaDer

Will make your text look like this, with right edge aligned with the tab. Cost of this publication ............................................................................$225.00

• • •

For bullets (Option 8) hold down the shift key and drag the bottom (b) triangle For indents, drag the top (t) triangle only. For right indents, drag the large triangle on the right.

Section VI Paragraph Styles and Tabs

aBout newSletterS muSt meet the oBjectiVeS oF the organization • • • •

To inform. To motivate. To entertain. To sell. (as with many types of documents) To generate inquiries or leads from prospects. To create a sense of unity within an organization. To maintain rapport with customers.

Your potential audience will be “scanners.” Your design job is to turn the “scanner” to a “reader.” It should be fast and efficient to produce. It should not require much fine-tuning for “next week’s issue.” In practice you should develop a prototype publication with dummy text and graphics, then strip the dummy elements off the pages, leaving the template.

General Design Notes for Newsletters: 1. The masthead or nameplate is usually a graphic element + typographic elements. Avoid using more than one logo or strong visual element. It must be easy to recognize. It can be designed to attract the target audience. Don’t change it. Only the date and volume number change. Rules under the masthead work very well to set if off, and keep it from visually interfering with the feature headlines. 2. Front page: Give scanner a minimum of two headlines to choose from, topics that are relevant, important, and interesting to the target audience. Include one good picture, your most interesting one, related to the primary goals of the publication, even if story must be on next page. 3. Consider that it may be better to pick one target audience rather than try to appeal to a wide audience. By trying to appeal to everyone, your design might not be quite appealing enough for anyone! 4. Jump Lines: to make it easy to read, avoid jumping. But also try to get 2-3 articles on the first page, and if you jump, jump to an easy place, perhaps the second page. A good idea to find a common page for the jumps to land, give it a graphic treatment (a certain style of horizontal rule with a styled “Funding- continued from page 1”, for instance), and use that place and treatment in every issue. The reader will know where to go! 5. Bylines: if they write the column every issue, put it at beginning of article. Otherwise you could put it at the end of the article, because the name is not likely to attract the reader/scanner 6. Do not put a big Table of Contents (TOC) on page one, unless it is a teaser that will attract attention. Also, a TOC is not needed unless there are more than 4 pages in a newsletter.. 7. Anything that will be re-occurring in every issue should have a graphic element associated with it.

Section VII Business Publications

8. Put the “president’s message” on the second page. It could be too boring a topic for page one. And make sure it has a headline indicating the topic, or few will read it. 8. Put the “president’s message” on the second page. It could be too boring a topic for page one. And make sure it has a headline indicating the topic, or few will read it. 9. The publisher’s information box should include editor, address, copyright notice, regular contributors, artists, date, volume, and how to submit letters or articles. This can use a small font and a unique graphic treatment. 10. Readers tend to get used to your line length. Don’t change it in the middle of an article. Keep your body text the same line length from page to page and, as much as possible, from issue to issue. 11. Pull quotes should be boxed, somehow. It is common to use a rule above and below. 12. Remember to include margins inside of boxes or screens. 13. Leave some white space, allowing the elements to be seen by the eye. 14. Spreads: facing pages should be adjusted for balance, especially if an article spans both pages.

Section VII Business Publications

rGB & cMYK exPlained

The two most common color schemes are RGB and CMYK. An RGB color scheme consists of three colors: Red, Green and Blue. These three colors are projections of light that can be overlapped in millions of color-strengths and combinations to create on-screen colors and images. RGB colors are associated with television screens and computer monitors, but is not used in offset printing.

CMYK:

CMYK is made up of four colors: Cyan, Magenta,Yellow, and Black. In fullcolor process printing, CMYK is the standard method for offset printing. In the printing process, CMYK colors are measured by their subtractive/ reflective values; when the colored ink is applied to paper, the surface of the paper reflects some color and the non-reflective (that is, absorbent) color is seen. CMYK colors are obtained by mixing the strengths of each color to produce a new color. The colors are mixed in percentages: 0% represents no color, whereas 100% represents a maximum use of color.

RGB:

The RGB color process and the CMYK color process work in opposite ways. An RGB color scheme forms color through an additive process; to obtain white, all 3 colors are added together, and to obtain black, all 3 colors are removed. In contrast, the CMYK printing process obtains white by omitting all color, and obtains black by using all four colors. One of the major benefits of RGB color is its capacity to produce many more colors than CMYK can. Unfortunately, RGB colors cannot be correctly converted into CMYK. People often find that a color, especially a neon color, created in RGB can’t be converted correctly into CMYK but instead appears as an “out of gamut” color, which is usually dark and “muddy.”

Known iSSueS

When dark reds are converted and printed, they have a tendency to print as dark browns. Like blues and purples, dark reds and dark browns have similar color percentages. The way that color is viewed on-screen can cause printing issues. A color will never print out to exactly match its on-screen source. Colors vary from monitor to monitor, and different printers produce different color results. All these variables affect the printed outcome. To better avoid these problems, it is always preferable to view files in CMYK format. This will never be 100% accurate, but it will give you a better representation of your printed file. When creating blacks in CMYK, many designers make the mistake of setting the black on the CMYK scale to 100% and turning all the other color values down to 0%. The best way to create a “rich” black, set the CMYK value to: 75% Cyan, 40% Magenta, 40% Yellow, and 100% Black. When using RGB and CMYK, it is important that you design, view and upload your files in CMYK.

To Convert Your RGB files to CMYK in Photoshop •

Adobe Photoshop: Image/Mode/CMYK

Section VIII Color and Prepress

create a new color Swatch Choose New Color Swatch in the Swatches palette menu.

F For Color Type, choose the method you’ll use to print document colors on a printing press (Process). F Make sure that Name With Color Value is selected. F Click Add to add the swatch and define another one. Click Done when finished. F Click OK to add the swatch and exit the dialog box. F The selected color or gradient appears in the Swatches palette and in the Fill box or Stroke box in the Toolbox, and is applied to the fill or stroke of all selected objects.

To apply color

InDesign provides a number of tools for applying color, including the Toolbox, the Swatches palette, the Color palette, and the Color Picker. Select the object you want to color by doing one of the following: • For a path or frame, use the Selection tool or the Direct Selection tool. • For text, use the Type tool. • To change the color of gaps in a dashed, dotted, or striped stroke, use the Stroke palette. • Select the Fill box or the Stroke box to specify the fill or stroke of the object. • Select a color, tint, or gradient using the Swatches or Gradient palettes.

Fill and StroKe area oF the toolBox Fill (text or graphic)

Fill (Switch background and foreground Line color

Format affects container Apply color Apply gradient

Format affects text Fill/Line NONE Preview mode

Normal view mode

Section VIII Color and Prepress

to PacKaGe FileS 1. Choose File > Package.

•

If a dialog box appears alerting you to possible problems, click on the warning areas to correct problems or get further information. The most common errors are RGB color profiles and missing fonts.

2. Fill in printing instructions. • • •

The filename you type is the name of the report that accompanies all other packaging files. Put your name in the Contact Information and your phone and e-mail in the appropriate places. Click Continue, and then specify a location in which to save all packaging files.

3. Ignore Font Alert —this is for the service provider. 4. Select “Desktop” as destination for new folder. If no problems appear, click Package to continue packaging.

PoSSiBle ProBleMS: If Images appear as RGB

>Open Photoshop >Open photos with RGB color profile >Convert all images to CMYK (Image>Mode>CMYK)

Images not linked to the original document

>Window>Links>Select first file and double click>update going to the Links folder where the new CMYK image is stored. Do this to all images> SAVE

Missing fonts

>Type>Find Font>Select first font with warning. Go to “replace with” and type in the new font name. Click “Change All” to correct. Repeat for all fonts with warnings. SAVE

Section VIII Color and Prepress

Photoshop Primer Tools

Cropping images

Converting images to grayscale for print

ÂŠ Hannah/Gold Communications, 2013

Adjusting colors and brightness

Editing image size

ÂŠ Hannah/Gold Communications, 2013

Editing Image Size

Saving Images as jpeg

ÂŠ Hannah/Gold Communications, 2013

My favorite InDesign tips 1. Command Z (UNDO) is your best friend. You can go back in your work process if you make a mistake. Command+Shift (REDO) can be used if you make a mistake fixing your mistake. 2. When placing text into InDD from a Word file, drag and draw the text import to the approximate size it will be before you begin. 3. Blocks of text with a red + sign at the bottom mean there is more text in the story which is not showing. With the Selection (black pointer) tool, click on the bottom, center handle and pull until all text shows. 4. When something moves and you don’t want it to, click off, then reselect just the object you need to move (Selection tool) by holding down the “ALT hey and clicking around the page with the Selection tool (arrow). 5. You can only change text with the T text tool. The Selection tools will just move the block of text around. To copy one word, double click. To copy a sentence, triple click. To copy an entire paragraph, Select All with the T text tool *Command A) or Edit>Select All. You must highlight text or click on the word you are editing to have any effect. 6. You can only change images with one of the selection tools. 7. To sample fonts, click in the font dropdown box and press the up/down arrow keys. The results will appear on the highlighted text. 8. The Normal mode shows all the document’s rulers, frames, column guides and margins, and anything stored on the page-desktop. The Preview mode shows the document page only with no markers. 9. To make links and URLs interactive, EXPORT to Adobe PDF (interactive). 10. To find or replace a missing font, choose Type>Find Font. Correct the offending font and change all occurrences. 11. Spell check-Command I or Edit>Check Spelling. 12. NEVER do a find and replace ALL unless you are certain you have no other words ending in the same combination of letters (Command F or Edit>Find/Replace). 13. The HC Schools uses Reflex Blue (Window>Colors>Swatches). Other colors will result in additional charges from a commercial printer. 14. You can group items together (Command G or Object>Group), but you can’t edit it when it is grouped. You have to Object>Ungroup to edit, then regroup. 15. Margins should be not less than .5 around the page. Indents should be .25 or slightly less, depending on the font you choose. 16. Holding down the SHIFT key when sizing objects will either crop or leave the image in a larger white box. SHIFT+Command will resize the object proportionately

Printing Estimate Request Today’s date: ____________________________

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Description of project: ________________________________________________________ __________________________________________________________________________ Quantity: _________________/ ________________ / _______________ / ______________ Flat/Trim size: ____________________ Final folded or bound size _____________________ No. of Pages: ______________ ❏ Plus cover ❏ Self cover Paper #1: _________________________________ Weight _______ Color _____________ ❏ Text ❏ Cover Paper #2: _________________________________ Weight _______ Color _____________ ❏ Text ❏ Cover Paper #2: _________________________________ Weight _______ Color _____________ ❏ Text ❏ Cover Number of Ink Colors: ______________ Description of Colors _________________________ Prints on

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Booklet

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Art Preparation Details: ❏ Camera-Ready ❏ Art on Disk: programs used: _______________________________ Photos: Printer to Scan & Place ___ halftone(s) ___CMYK image(s) ___duotone(s) ___logos/line art Printer to do the following electronic work _________________________________________ __________________________________________________________________________ Bindery & Finishing Details: ❏ Flat Sheet ❏ Folds in Half ❏ Tri-folds ❏ Accordian folds ❏ Saddle Stitch ❏ Die Cuts ❏ Foil Stamps ❏ Foil Emboss ❏ Blind Emboss ❏ Consecutively Number ❏ Three Hole Drill ❏ Perfect Bind ❏ Wire Spiral Bind ❏ Plastic Comb Bind ❏ Pad in sets of ____ ❏ Shrink Wrap in ____ ❏ Other_______ __________________________________________________________________________ Ship to Address: ____________________________________________________________ Billing Address: _____________________________________________________________ Fund and Cost Center of Pro Card: ______________________________________________ Special Instructions: _________________________________________________________ Estimates: ____________________ Mailing: ____________________

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