InDesign Tutorial Book Harriet Bass
Contents InDesign Essentials
Typography
4. Master pages
22. Working with text frames
6. Using the Story Editor
24. Type tools
8. Using snippets
26. Spanning columns
10. Editing original images
28. Kerning, tracking and leading
12. Importing graphics
30. What dash?
14. Applying gradients
32. Working with ligatures
16. Anchored objects
34. Breaking & non-breaking lines
18. Tables
36. Automatic page numbering
20. Rule of thirds
38. Drop caps
Print Production
Interactive Documents
40. Document construction
58. Setting preferences
42. Understanding the preflight settings
60. Creating a SWF presentation
44. Process colors, spot colors
62. Creating an Interactive Microsite
and the Ink manager
64. Creating an Interactive Mood Board
46. Overprint vs. Knockout
66. Creating an Interactive Catalogue
48. Using Rich Black
68. Converting from InDesign to Flash
50. Separations & the Flattener preview 52. Actual PPI vs. Effective PPI 54. Converting from RGB to CMYK during PDF export 56. Using Adobe PDF presets
Master Pages
Master pages allows you to repeat text and graphic elements over multiple pages within a document. The dots surrounding the text (or graphic) frame indicates that it is placed within the master page. This means the frame is locked and cannot be edited unless done so in the master page.
However, each frame can be changed individually by using the shortcut keys - shift, Cmd and click. If you want to undo the changes you have made to that selection and revert it back to how it is on the master page, on the panel menu, scroll down and select ‘Remove all Local Overrides’.
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Additional master pages can be added. This can be done by using the drop down menu on the right-hand side of the pages panel and selecting “new master’. This allows greater control and creativity over your document. For one off pages, you can drag the master frame down onto page you wish to have that effect.
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Using the Story Editor
You can edit text in InDesign either on the layout page or in the story editor window. Writing and editing in a story editor window allows the entire story to appear in the typeface, size, and spacing that you specify in Preferences, without layout or formatting distractions. The Story Editor is also where you can view track changes to text. Each story appears in a different story editor window. All the text in the story appears in the story editor, including overset text. You can open several story editor windows simultaneously, including multiple instances of the same story. A vertical depth ruler indicates how much text is filling the frame, and a line indicates where text is overset. When you edit a story, changes are reflected in the layout window. Open stories are listed in the Window menu. You cannot create a new story in a story editor window.
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You can use Story Editor Display preferences to change the appearance of the Story Editor. Although the Story Editor suppresses all but the most basic text styling attributes, some objects and attributes are represented, as you can see from the list on the right. [This information and table was sourced from http://help.adobe.com/en_ US/InDesign/cs/using/WSa28 5fff53dea4f8617383751001e a8cb3f-6f77a.html#WSa285ff f53dea4f8617383751001ea8c b3f-6f61a].
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Using snippets
A snippet is a way to reuse graphics or text. A snippet is a file that holds objects and describes their location relative to one another on a page or page spread. Use snippets to conveniently reuse and position page objects. To create a snippet you can do one of the following: • Using a selection tool, select one or more objects, and then choose File > Export. From the Format menu, choose InDesign Snippet. Type a name for the file and click Save. Or • Using a selection tool, select one or more objects, and then drag the selection to your desktop or into the Mini Bridge panel. A snippet file is created. Rename the file.
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Saving objects in libraries Object libraries allow you organize the graphics, text, and pages you use most often. Ruler guides, grids, drawn shapes, and grouped images can also be added to a library. You can create as many libraries as you need—for example, you can create different object libraries for varied projects or clients. First select the graphic or text you want then copy it to the clipboard (cmd c). In a new document, you can then paste it back in and even better, in the same place as the document before. This is done by ‘paste in place’ (alt, shift, command, V ) If, however, you wanted to use the object next week or in the near future, you can save it into a library. This is done by going File, new then library then once the Library dialogue appears, drag the object into the box.
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Editing original Images
Linked artwork is connected to, but remains independent of, the document, resulting in a smaller document. You can modify linked artwork using transformation tools and effects; however, you cannot select and edit individual components in the artwork. You can use the linked graphic many times without significantly increasing the size of the document; you can also update all links at once. When you export or print, the original graphic is retrieved, creating the final output from the full resolution of the originals. Embedded artwork is copied into the document at full resolution, resulting in a larger document. You can control versions and update the file whenever you like; as long as the artwork is embedded, your document is self-sufficient.
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When clicking on the ‘Edit original’ icon, make sure the object is set to open in the program you wish e.g.. Photoshop or Illustrator. This can be checked by right-hand clicking on the Image (outside of InDesign) and going to ‘Get Info’. As you should see, there is a ‘Open with’ This shows what program the Image will open in. The program can be changed by clicking on the bar and selecting from the applications you have available. Alternatively, you could go to the heading ‘Edit with’ and change the program there. However, I find that I edit most Images in Photoshop so it is more efficient to set the right program up in ‘Get Info”.
A. Category columns B. Show/Hide Link Information C. One or more instances modified icon D. Modified icon E. Missing-link icon F. Embedded-link icon
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Importing graphics
There are a number of ways to Import an Image into InDesign. This can be either placing (command D), drag and drop. As well as Importing Jpegs, tiffs and PDFs, InDesign allows us to Import native files from Photoshop, Illustrator and InDesign.
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You can import multiple documents at the same time by highlighting the documents by holding down the shift key or dragging the mouse over the Images. A useful and an impressive feature when Importing graphics into InDesign is the grid function. When multiple graphics are being Imported, when holding down on the click key and dragging whilst simultaneously pressing the up and right keys, you can create a grid for your Images to be placed. Whilst holding this position, you can decided how my lines horizontally and vertically you want, as the up+right arrows add lines, whilst the down+left arrows removes lines. If there are columns already made within the document, InDesign will copy the gutter size of that column and apply it to the grid. Once you click off and the grid is created, the graphics can be moved around, separated from the grid and can be re sized. The graphics can also be scaled simultaneously and be to the same size.
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Applying Gradients
A gradient is a graduated blend between two or more colours or between two tints of the same colour. The output device you use affects how gradients colour separate. Gradients can include Paper, process colours, spot colours, or mixed ink colours using any colour mode. Gradients are defined by a series of colour stops in the gradient bar. A stop is the point at which a gradient changes from one colour to the next, and is identified by a colour square under the gradient bar. By default, a gradient starts with two colours and a midpoint at 50%.
When you create a gradient using colors of different modes and then print or color separate the gradient, all colors are converted to CMYK process colors. Because of the color mode change, colors may shift. For best results, specify gradients using CMYK colors.
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Once the gradient is created, there are effects that can be applied to the shape. Above are the available effects at hand. The three that are highlighted with a tick, can control the opacity and general look of the gradient(s). Some interesting effects can be achieved by sing these feathers. Gradients can also be applied to text. The gradient can be spanned across the text (within the same text frame) or applied to the characters you wish to have the full gradient. This is done by selecting ‘create outlines’ under the Type menu.
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Anchored objects
Anchoring an object, such as a photo or graphic element, to a specific line or block of text allows the anchored object to flow with the text as it is moved. The anchoring tool provides you with the flexibility to move text without having to replace or manually move associated graphics each time the text is altered. To add an anchored object, use the Type tool to position an insertion point where you want the object’s anchor to appear, and then place or paste the object.
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Lorem ipsum dolor sit amet, consectetur adipiscing elit. Aliquam eu tellus sit amet leo commodo imperdiet eget id nulla. Cras fringilla ornare felis, in ornare odio condimentum eget. Vestibulum in erat tortor, ac vestibulum tortor. Nullam a placerat lectus. Fusce lorem orci, faucibus in posuere hendrerit, vulputate ac ante. Fusce varius blandit faucibus. Nunc felis risus, accumsan eget molestie nec, ultrices a odio. Donec vitae nunc ut mauris posuere iaculis. Nulla eu nulla tellus. Sed venenatis blandit sem, at porttitor enim pharetra id. Integer feugiat euismod dui et rutrum. Vestibulum ante ipsum primis in faucibus orci luctus et ultrices posuere cubilia Curae; Nulla id felis ante. Nulla facilisi. Etiam et dui ante, nec venenatis mi. Nullam feugiat arcu et neque hendrerit quis aliquet augue dignissim. Etiam cursus posuere pulvinar. Mauris purus est, posuere non hendrerit id, adipiscing ut magna. Aliquam volutpat condimentum purus nec luctus. Morbi feugiat velit ac felis pretium nec dapibus massa malesuada. Suspendisse id erat lacus, eu elementum erat. Pellentesque habitant morbi tristique senectus et netus et malesuada fames ac turpis egestas. Morbi ac justo lectus. Vivamus sit amet lacus dui. Sed venenatis orci ut neque imperdiet id vehicula est viverra. Phasellus tempus aliquam lorem, nec gravida arcu tincidunt id. Sed tempor neque eget enim vehicula id tempus massa tristique. Nullam quis mauris ut mi mattis placerat. Aenean nec magna ut erat faucibus feugiat. Nullam pulvinar rhoncus enim, non laoreet felis gravida quis. Sed fermentum libero in mi iaculis fermentum. Nunc nulla metus, pellentesque in ultrices vel, blandit a justo. Vestibulum ante ipsum primis in faucibus orci luctus et ultrices posuere cubilia Curae; Pellentesque habitant morbi tristique senectus et netus et malesuada fames ac turpis egestas. Aliquam sed neque orci, suscipit varius leo. Aliquam lobortis euismod rhoncus. Praesent malesuada nunc at dolor cursus aliquam ut et massa. Lorem ipsum dolor sit amet, consectetur adipiscing elit. Alquam eu tellus sit amet leo commodo imperdiet eget id nulla. Cras fringilla ornare felis, in ornare odio condimentum eget. Vestibulum in erat tortor, ac vestibulum tortor. Nullam a placerat lectus. Fusce lorem orci, faucibus in posuere hendrerit, vulputate ac ante. Fuscevarius blan faucibus. Nunc felis risus, accumsan ege mole nec, ultrices a odio. Donec vitae nunc ut mauris posuere iaculis. Nulla
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Tables There are three ways to create a table in InDesign CS5. However, before you do anything the text tool must be selected. The first one can be selected by going Table - Insert table. The example below shows the second option by using ‘convert text to table...’
A table can only be created within a text frame
Projects English Maths Art Photography
Shakespeare Algebra Picasso Black & white
Romeo & Juliet Fractions Modern Darkroom
French
Oral
Written
If you find tables tricky, there is an option to create a table in Microsoft Excel, then import it into your InDesign document by file, open.....
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A table in InDesign can be styled to your liking with the use of colours and gradients. Images can also be placed within a table (make sure their inline so can be styled). The Image(s) are styled in the dialogue box below. The cell insets must remain at 0pt and I tend to tweak the other options on the page although they are the guidelines recommended. The other options in this dialogue box are more decorative. They can be styled by going to the edge of the cell, then a black, distinctive arrow should appear allowing you to click, thus selecting the row or column or the whole table.
Item
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If you wanted to make the header more punchy, text rotation is an alternative way to make your table stand out.
Country
Location
Ref No.
Material
Italy
Roma or possibly northern Europe, 1550 - 1570
1879-11-A, 1879-12AB
Free-blown colorless (slightly gray) clay with opaque white and applied decoration
Austria
Hall, 1534 - 1536
2479-99AG
Free-blown and moldblown colorless (slightly gray) glass with coldpainted decoration
Greece
Ionia, about 625 B.C.
3579-65-G, 3579-66-H
Terracotta
France
Paris, about 1550
2873-21-A
Lead glazed glassware
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Rule of thirds
Using the rule of thirds or the Golden ratio, as it is also called, can dramatically improve a photograph/page as the proportion is visually satisfying to our eyes. On the right is a grid system for an A4 (210x297) page that is divided into 6 columns and rows using the Rule of Thirds (Golden Ratio). It Includes a 12pt baseline grid. *The grid was placed onto the page and is not an accurate measurement for that page.
“ The grid system is an aid, not a guarantee. It permits a number of possible uses and each designer can look for a solution appropriate to his personal style. But one must learn how to use the grid; it is an art that requires practice. ” –Josef Müller-Brockmann This quote was taken from http://www.thegridsystem.org/ It is a brilliant website for grids of all shapes and all devices.
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Working with text frames
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Any frame(s) can be used as a text frame. This is done when clicked on the type tool, then into the frame. As you hover the mouse over the frame, you will see a slight change of the appear which indicates text can be placed here.
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Futhermore, If you would prefer to have your frames perform what they are intended i.e. Graphic frames just for graphics, then this be changed in the preferences setting. You will see a checkbox ‘Type tool converts frames to text frames’. Uncheck this to disable this feature.
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Even a broken frame can contain text. This frame was created by the pencil tool. Your typographic creativity could be endless as you are free to experiment with placing text.
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If you wanted a certain two frames to be unthreaded, you can double click on either the output or the input (the small square found on the side of the text frame). The red square with the plus sign (at the bottom of the text frame) is telling us that there is more text that is hidden.
The Illustration below was created by: First drawing the squiggly line (either by the pencil or pen tool) then holding down on the type tool on the panel. Once clicked and held down, a Type on a path tool option will appear (shift + T). Hover over to this and click, and now to see your text follow the line shape.
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Type tools
Spelling. The check spelling tool highlights not only misspelled words but urls, uncapitalised and repeated words. When spell check highlights a url, you can tell InDesign that this [no language], found in the control panel where the list of languages are found. This way the next time it comes across the url, it wont flag it as incorrect. Another spell check feature within spelling is Dynamic spelling. This highlights words as soon as they are misspelt. A red squiggly line will appear under the misspelt word indicating that it had been spelt wrong. A green highlight means there is an uncapitalised word at the beginning of the sentence.
The Find/Change dialogue box contains tabs that let you specify what you want to find and change. You can personalize what you want to find by the search options below. Include Locked Layers Searches for text on layers that have been locked using the Layer Options dialogue box. You cannot replace text on locked layers.
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Include Locked Stories Searches for text in stories that have been checked out as part of an InCopy workflow. You cannot replace text in locked stories.
InDesign’s very own Lorem Ipsum - ‘Fill with placeholder text’. This is found under type in the menu header. Alternatively, you can create your own placeholder text by saving the file in say, Text Edit, and placing the file into the Adobe InDesign folder which is found in applications. Ris doluptasimil ipiet facia post parion platiati quat. At etur soloris everumquam, simoditium di ium et ea que ius molo odigenim dem liquiate dunt, explabo ribeaquis sitatescipis cuptataquae di corit, veliquo del maximos seditib usaped ut aut ut vent. Deneste nihillandi omnimagnimil inus, que comnist quassus si odis a core occatur audaece resequame plignim agnit, ad mollantis dolendes et harum acepudit volum endenih ilitam seque sum cum ilisqui ut laboresti re qui consece atenda quam, adis eatum il idictorem aut am eostrum volo to veniae volo et fuga. Nemposant es sitinis cuptatu ribust hil eum alit omnimusci officiat. Lorehendis aliquasperum eictatur, sum harion cone voles endit vit, as minveligenis ipsaepe rferion sequiam usciist, ipsundemo expe sit lisit del istrum velende rnatem re, quis quam sunto ipsuscil eum eatquat umenecti acerepu ditatia eliquam as ni ut dolest faci dollab inimus se prenim quasper ferspid undebit iuntur? Qui ut elesequi
Ris doluptasimil ipiet facia post parion platiati quat.Ris doluptasimil ipiet facia post parion platiati quat.
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Spanning columns Torerchi caborum voluptas vel mo eos sae. Sam essus dendis natis voluptatat abor auditatio bea paris dolupitatur senditior militati officiendia coris nus et facea quo consed qui offictem voloris. Odipsusdam rae voloriatem landicimus serum aceaquo ssimini miliqui rehenem harum experia vit, soloriasit, a venecaborem et excerat repedia volumetus unto offictota volenti sit fugit, eicium ius porum dolum re voluptio. Consecu ptibus nempori busdae sinimi, as int expererum, corest, omnim quatem qui ommodi sunto te consequibus ver-
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pt Gutter
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There is also the option to split columns (max 4). This can be handy when you have a block of text that is too much too take in and needs to be broken up slightly. ( The piece of text is used as an example, so I left the rivers as I just wanted to highlight the columns).
Spanning paragraphs across multiple columns is a new feature in CS5 and higher. There are two ways to modify this option to suit your layout. The first can be found next to the quick apply button on the top panel. The image below shows the alternative way to style columns.
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Kerning
Kerning, tracking and leading
Leading Tracking
Leading is the space between two sentences in a paragraph. Kerning is the process of adding or subtracting space between specific pairs of characters. Tracking is the process of loosening or tightening a block of text. You can automatically kern type using metric kerning or optical kerning. Metric kerning uses kern pairs, which are included with most fonts. Kern pairs contain information about the spacing of specific pairs of letters. Some of these are: LA, P., To, Tr, Ta, Tu, Te, Ty, Wa, WA, We, Wo, Ya, and Yo. InDesign uses metric kerning by default so that specific pairs are automatically kerned when you import or type text. To disable metric kerning, select “0�. Optical kerning adjusts the spacing between adjacent characters based on their shapes. Some fonts include robust kern-pair specifications. However, when a font includes only minimal built-in kerning or none at all, or if you use two different typefaces or sizes in one or more words on a line, you may want to use the optical kerning option.
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You can also use manual kerning, which is ideal for adjusting the space between two letters. You can do by this by holding down on the alt key and one of the arrow keys. Tracking and manual kerning are cumulative, so you can first adjust individual pairs of letters, and then tighten or loosen a block of text without affecting the relative kerning of the letter pairs. Word kerning isn’t the same as the Word Spacing option in the Justification dialogue box; word kerning changes the kerning value only between a specific word’s first character and the word space preceding that character. Kerning and tracking are important to when it comes to the aesthetics of text. Depending on how you justified the paragraph alignment of your text, rivers can often appear. This is very unsightly as large white gaps are forced in between some words to fit the alinement, making the whole paragraph look disjointed.
The keyboard shortcut for the justification box is shift + alt + command + J
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What dash?
emne What is the difference?
em = — en = – An em dash indicates a break in thought—what was I talking about? An em dash is also used to indicate an open end date, such as “Peter Baxter-McGill [1964—]” or an open-end date, such as “19—.” There’s no reason to create a dash using two hyphens (–) in InDesign. An en dash is used to indicate a range of numbers, such as “35–44.” It also indicates a link between geographic references and routes, such as the Mason–Dixon Line and Oakland–San Francisco. It’s also used for joint authors, such as “Kvern–Blatner” and for the minus sign. Some people prefer using the en dash – instead of the em dash – in the middle of a sentence because it looks better than the em dash. If you take this approach, make sure you add a non breaking space (Type > Insert White Space > Nonbreaking Space) before the en dash so that the dash doesn’t start a line.
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Special characters
A glyph is a specific form of a character. For example, in certain fonts, the capital letter A is available in several forms, such as swash and small cap. You can use the Glyphs panel to locate any glyph in a font. Open Type fonts such as Adobe Caslon™ Pro provide multiple glyphs for many standard characters. Use the Glyphs panel when you want to insert these alternate glyphs in your document. You can also use the Glyphs panel to view and insert Open Type attributes such as ornaments, swashes, fractions, and ligatures.
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Working with ligatures
A ligature is a special character created by connecting or combining two or more characters into one.
ffi fl
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Here is an example of where ligatures needs to be put in place. The joining of the characters can make the text scarcely legible.
A widow is the last line of a paragraph that winds up all by itself at the top of a column or page. An orphan is the first line of a paragraph that lands all by itself at the bottom of a column or page. Designers sometimes also refer to the single-word last line of a paragraph as either a widow or an orphan. Some people call this a “runt.� InDesign offers several methods to avoid widows and orphans. See the Ways to control paragraph breaks and Control paragraph breaks using Keep options help topics. Disite int. Fugiam vel maximpe consent, comni consere sectus et aut pro volo explandio. Nem nim rescid maxime mincti dolum aliqui ipis eniandignat. Ucipsa nem qui quiate venis dis dolo tem quiatiore, soluptatio. Itas entur moluptas dolentia di rest, quatem ut est, nobis sin rem estiam am dita qui occae sint. Us reiure destium et que nonet quaerum ea es erum con poruntur mo explaccus pel magnim doluptatiae. Ria in rae conestr undicia alique cus et rest faccusdae num que verem el min cusciatque ea delitatias dolore parumqu atecum rehende lendandia dolupta dolorerundis con ea sequiandae rerum sum vendaes aliqui quae. Ut ditatemquis eicatem esti dollent re maio qui rem utet parunt prerum conet, aute pori cus se volest ressed quidentius fleiur sam, sam - (Orphan)
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audam doluptatem - (Widow)
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Breaking & non-breaking lines
A non-breaking line is used when you a have a phrase or word you do not want to break onto the next line. Like, for example, an email address or a name. The No Break tool does not have a keyboard shortcut, however you can create a character style which may make inserting no break that bit quicker. The no break tool can be accessed by the drop down on the top panel.
Example@hotmail.co.uk Example@hotm ail.co.uk
^
0789978 8990 A big no!
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x
Nonbreaking Space The same flexible width as pressing the spacebar, but it prevents the line from being broken at the space character. Nonbreaking Space (Fixed Width) A fixed width space prevents the line from being broken at the space character, but does not expand or compress in justified text. Third Space One‑third the width of an em space. Quarter Space One‑fourth the width of an em space. Sixth Space One‑sixth the width of an em space. Flush Space Adds a variable amount of space to the last line of a fully justified paragraph, useful for justifying text in the last line. Hair Space One‑twenty‑fourth the width of an em space. Thin Space One‑eighth the width of an em space. You may want to use a thin space on either side of an em dash or en dash. Figure Space Same width as a number in the typeface. Use a figure space to help align numbers in financial tables. Punctuation Space Same width as an exclamation point, period, or colon in the typeface.
~ Which space you use determines on your paragraph/sentence. 35
Automatic page numbering
Determine what kind of numbering you want to use for your document or book. For long documents, you can assign chapter numbers. Each document can be assigned only one chapter number. If you want to use different numbering within a document, you can define ranges of pages as sections; these sections can be numbered differently. For example, the first ten pages of a document (the front matter) might use Roman numerals, and the rest of the document might use Arabic numerals.
Add an automatically updated chapter number You can add a chapter number variable to your document. Like page numbers, chapter numbers can be updated automatically and formatted and styled as text. A chapter number variable is commonly used in documents that are part of a book. A document can have only one chapter number assigned to it; if you want to divide a single document into chapters, you can create sections instead. •
If necessary, create a text frame where you want a chapter number to appear. If you want a chapter number to appear on several pages, create the text frame on a master page, and apply that master page to the document pages.
•
In the chapter number text frame, add any text that will come before or after the chapter number.
•
Place the insertion point where you want the chapter number to appear, and then choose Type > Text Variables > Insert Text Variable > Chapter Number.
Display absolute or section numbering in the Pages panel The Pages panel can display absolute numbering (labeling all pages with consecutive numbers, starting at the first page of the document) or section numbering (labeling pages by section, as specified in the Section Options dialog box). Changing the numbering display affects how pages are indicated in the InDesign document, as in the Pages panel and in the page box at the bottom of a document window. The numbering display also affects how you specify page ranges when printing and exporting the document. However, the numbering display does not change the appearance of page numbers on document pages. You can update the starting number and format of chapter numbering by choosing Layout > Numbering & Section Options.
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Define section numbering By default, page and chapter numbers in a book are numbered consecutively. Using Numbering & Section Options, you can restart page numbering at a specified page, add prefixes to page numbers, and change the numbering style of both pages and chapters. You can define a section prefix to label section pages automatically. For example, if you specify A– for Section Prefix on page 16 of a document and include the section prefix, the page will appear in the table of contents or index as A–16. Text you type for a section marker appears when you choose Type > Insert Special Character > Markers > Section Marker.
Define sections in a document 1. In the Pages panel, select the first page in the section you want to define. 2. Choose Layout > Numbering & Section Options, or choose Numbering & Section Options in the Pages panel. 3. If you’re changing the numbering options for any page other than the first page of the document, make sure that Start Section is selected. This option marks the selected page as the beginning of a new section. 4. As necessary, specify the numbering and section options (see Document numbering options), and then click OK. 5. A section indicator icon appears above the page icon in the Pages panel, indicating the start of a new section. 6. To end the section, repeat the section numbering steps on the first page that follows the section.
Edit or remove section numbering In the Pages panel, double-click the section indicator icon that appears above the page icon in the Pages panel. Or, select a page that uses a section marker, and choose Numbering & Section Options in the Pages panel menu. Do any of the following, and then click OK: •
To change the style or starting number, change section and numbering options.
•
To remove a section, deselect the Start Section option.
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Drop caps
A
enienis et quati audam is eos ut et officiducia consero cuptam, acepe ditatures inciet ut que velecae volendignam ullest as maximodioria nonse et lab illorro moluptamet volum rerferia comni doloria vel id quame et ut et omnis senis il et quibus dolla velliquo et officit enimincta verum sundam quam, sitis el eatiatis coreres ciliquis am ut ullesciis sediatem excest, idi conecte ssequi reprept asperit, soloremodi rempore ndipsa volessit, offic testion sequis rehendior secaborest quunt. Ibus ea dendit la voles quat ut aped mod qui dendi oditass eratia quam volore sint. Enimint ad quam quibus estem doles sunt, sitam ipsapic tora ipsaecatur? Ulparum quis que nam si officto mos es eiusda vit etur.
The light blue lines around the letter A are controllable with the Direct selection tool (A). Moving these lines controls how close the text gets to the drop cap letter. Handle bars also appear when clicked, which allows some personalization of how the text falls around the enlarged letter.
You can apply a character style to the dropcap character or characters in a paragraph. For example, if you want a drop-cap character to have a different colour and font than the rest of the paragraph, you can define a character style that has these attributes. Then you can either apply the character style directly to a paragraph, or you can nest the character style in a paragraph style.
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Drop caps can make a spread more visually interesting. With the right imagination, you can design a gorgeous drop cap. However, if you decide to use drop caps, it is best to keep it consistent throughout the document. Both places images are from http://thepinkorange.com.
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Document construction The standard when creating bleed for a document is 3mm. However it is best to talk to your printer to see what settings they have although, 3mm should cover any misalignment from the printer. Creep specifies the distance pages move from the spine to accommodate paper thickness and folding in Saddle Stitch and Perfect Bound documents. InDesign considers the “cover” of the final piece to be the outermost printer spread, while the “centrefold” is considered to be the innermost printer spread. The term sheet represents two printer spreads: the front of the sheet and the back of the sheet. The creep increment is calculated by dividing the specified creep value by the total number of sheets minus one. When you provide a positive creep value, the centrefold is not adjusted, but the pages on the outer sheets move away from the spine. For example, a 16-page InDesign document could yield eight printer spreads, or four sheets. The front of the first sheet will consist of the first printer spread (pages 16 and 1) while the back of the first sheet will consist of the second printer spread (pages 2 and 15).
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Perfect bound book This style creates a two-page, side-by-side printer spreads that fit within the specified signature size. These printer spreads are appropriate for printing on both sides, cutting, and binding to a cover with adhesive. If the number of pages to be imposed is not evenly divisible by the signature size, InDesign adds blank pages as needed to the back of the finished document. To get an accurate spine width, you can calculate it using this website megadigital.co.za/spine-weight-calculator/. The Print Booklet feature lets you create printer spreads for professional printing. For example, if you’re editing an 8-page booklet, the pages appear in sequential order in the layout window. However, in printer spreads, page 2 is positioned next to page 7, so that when the two pages are printed on the same sheet, folded, and collated, the pages end up in the appropriate order. Pages appear in sequence in the layout window, but are printed in a different order so that they appear correct when folded and bound. The process of creating printer spreads from layout spreads is called imposition. While imposing pages, you can change settings to adjust spacing between pages, margins, bleed, and creep. The layout of your InDesign document is not affected, because the imposition is all handled in the print stream. No pages are shuffled or rotated in the document.
The Information above can be found at Adobe InDesign * Printing booklets
Understanding the preflight settings
Before printing or handing off the document to a service provider, you can perform a quality check on the document. Preflight is the industry-standard term for this process. While you edit your document, the Preflight panel warns of problems that can prevent a document or book from printing or outputting as desired. These problems include missing files or fonts, low-resolution images, overset text, and a number of other conditions. You can configure preflight settings to define which conditions are detected. These preflight settings are stored in preflight profiles for easy reuse. You can create your own preflight profiles or import them from your printer or another source. To take advantage of live preflighting, create or specify a preflight profile in the early stages of creating a document. If Preflight is turned on, a red circle icon appears in the status bar when InDesign detects any problems. You can open the Preflight panel and view the Info section to get basic guidance for fixing the problems.
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You can generate a text-only or PDF file that lists the errors displayed in the Preflight panel. The report also includes other statistics such as time, document name, and profile name. For a full inventory of the document that includes all fonts, inks, links, and other items used, create a report using the Package feature. • Choose Save Report from the Preflight panel menu. • Specify whether you want to save the file as a PDF or text file from the Save As Type (Windows) or Format (Mac OS) menu. • Specify the name and location of the report, and then click Save.
Making sure everythings a-okey....
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Process colors, spot colors and the Ink manager
The Ink Manager provides control over inks at output time. Changes you make using the Ink Manager affect the output, not how the colours are defined in the document. Ink Manager options are especially useful for print service providers. For example, if a process job includes a spot colour, a service provider can open the document and change the spot colour to the equivalent CMYK process colour. If a document contains two similar spot colours when only one is required, or if the same spot colour has two different names, a service provider can map the two to a single alias. In a trapping workflow, the Ink Manager lets you set the ink density for controlling when trapping takes place, and it lets you set the correct number and sequence of inks. You can use custom inks, called spot colours, in addition to, or in place of, process colours. For example, instead of using the four process colours to reproduce artwork consisting of black text and bluish-green line drawings, you could use two spot colours—one of black, and one representing the exact shade of green. You can also use spot colour inks to produce colours not reproducible by CMYK inks, such as varnishes or fluorescent and metallic colours.
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PANTONE 198 U
PANTONE 272 U
PANTONE 279 U
PANTONE 322 U
PANTONE 812 U
PANTONE 602 U
In addition, you can mix two or more spot colours together or mix spot colours with process colours to create mixed inks. You can colour artwork with process colours, spot colours, or a combination of both. When printing separations, you can convert spot colours to their process colour equivalents so that they will be printed on the CMYK plates.
You can convert spot colors to their process color equivalents so that they will be printed on the CMYK plates.
Overprint v Knockout
If you have not changed the transparency of your artwork with the Transparency panel, the fills and strokes in the artwork will appear opaque, because the top colour knocks out, or cuts out, the area underneath. You can prevent knockout by using the Overprint options in the Attributes panel. After you’ve set your overprint options, you can preview the overprinting effects on‑screen.
Without overprinting
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With overprinting
InDesign also has overprint simulation, which is useful for simulating the effects of overprinting spot and process inks on a composite printing device. Black ink applied to text or native InDesign objects is overprinted by default to prevent misregistration of small black-type characters positioned over colour areas, or of colour areas outlined with black lines. You can change black ink settings using Appearance Of Black preferences. Your design workflow may require a certain colour to be set to overprint. For example, you want to print all the text in your publication in a specific colour. Consider the following options: •
Create an object style that uses the spot ink as the fill or stroke with a matching overprint fill or stroke.
•
Create a separate layer for objects that contain your spot colour and assign them to black.
•
Create a composite PDF and change overprint settings within the PDF.
•
Assign overprint settings in your RIP.
•
Apply overprint settings to an image or object and add it to your library, or edit a placed file in its original application.
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Using Rich Black
Rich black is needed when a large area of black is used on an image. If you used 100% black, the outcome, when printed, would appear muddy with a greyish colour. To create a Rich black, open the swatches panel and click ‘new colour swatch’ in the drop down menu. You can experiment with the different warmths of a rich black by increasing /decreasing the percentages of cyan, magenta and yellow.
By hovering over the named swatches, the colour attributes will appear, reassuring you that the correct percentages are in place.
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One of the above blacks is a rich black. One of the ways you can tell is going to the separations preview, hovering over the black and seeing the CMYK percentages. An alternative way is to go to View, proof colours. This highlights the distinction between the rich and muddy black. An example of where you would use Rich black when printing. A 100% black is typically used for small areas of black, mainly text.
The artworker would have used a rich black for this direct mail piece. In particular when working on a prestige, top of the market brand. A crisp black shows quality and professionalism.
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Separations & the flattener preview
To reproduce colour and continuous-tone images, printers usually separate artwork into four plates—one plate for each of the cyan (C), yellow (Y), magenta (M), and black (K) portions of the image. When inked with the appropriate colour and printed in register with one another, these colours combine to reproduce the original artwork. The process of dividing the image into two or more colours is called colour separating, and the films from which the plates are created are called the separations. Use the preview options in the Flattener Preview dialogue box to highlight the areas and objects that are transparent, as well as those affected by transparency flattening. Transparent content is highlighted in red, and the rest of the artwork appears in grayscale.
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Ink coverage is specified as a percentage: using 100% of each process color (cyan, magenta, yellow and black) equals 400% TIC. The actual maximum that is acceptable depends on a number of parameters: • • • •
the printing process: digital, sheet offset, web offset (heatset or non-heatset), laser printer,… the paper stock (coated or uncoated,…) the speed at which the press runs how many colors are printed simultaneously (since intermediate drying time is important)
One error that is frequently made is to use the ‘registration’ color for design objects. Since registration equals 100% of each separation, the total ink coverage is always exceeded when this color is used. Never use ‘Registration’ for design elements. Incorrect separations settings in Photoshop are also a possible reason why images are ‘too heavy’. The default color settings of Photoshop are optimized for web coated paper. Using Photoshop is the best way to reduce the ink limit of an image. This is not available to do in InDesign.
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Actual PPI v Effective PPI “Actual” ppi is the resolution of the image at 100% size, as set in Photoshop. “Effective” ppi is the resolution of the image at the size it’s been scaled to in InDesign. For example, a 300 ppi image, if scaled 50% in InDesign, is actually 600 ppi when reduced to that size.
For example, lets say you’ve placed into InDesign a PNG image. The PNG’s Actual PPI is listed as 72 pixels. Now, on the page, you’ve scaled down the image to half its height and width. Thus, by reducing the displayed dimensions, you’re presenting the same 72 PPI in a smaller space, compacting the pixels and driving up the resolution. By shrinking a raster image down to half its original size, you double the effective resolution. Ergo, our 72 PPI PNG becomes printable at 144 PPI. –Source taken from ‘Mastering InDesign CS5 for Print Design and Production’ by Pariah S. Burke
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The image on the right has an Actual PPI of 300. When scaled to 95%, the effective resolution is printed at 316 PPI. This makes the file size to be at 1.5 MB.
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Converting from RGB to CMYK during PDF export
By going to the links panel, you can see what colour profile your Images are in (making sure, In the panel options, the ICC profile has the checked box on). You can change an image from its original mode (source mode) to a different mode (target mode). When you choose a different colour mode for an image, you permanently change the colour values in the image. For example, when you convert an RGB image to CMYK mode, RGB colour values outside the CMYK gamut (defined by the CMYK working space setting in the Colour Settings dialogue box) are adjusted to fall within gamut. As a result, some image data may be lost and can’t be recovered if you convert the image from CMYK back to RGB. To change the colour profile, In Photoshop, go to Image, Mode, then select from the submenu.
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R G B
C M Y K
High Quality Print and Press Quality PDF settings are the ones that convert RGB to CMYK during export. The two Images below shows the preflight performed in Acrobat. This is found in the menu Advanced, preflight.
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Using Adobe PDF presets
When exporting your PDF file, it is best to uncheck the spreads option in the PDF dialogue box. When exported as a PDF, the end user (or you) can specify if they want to see a single page PDF or spreads.
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High Quality Print Creates PDFs for quality printing on desktop printers and proofing devices. This preset uses PDF 1.4, down samples colour and grayscale images to 300 ppi and monochrome images to 1200 ppi, embeds subsets of all fonts, leaves colour unchanged, and does not flatten transparency (for file types capable of transparency). These PDFs can be opened in Acrobat 5.0 and Acrobat Reader 5.0 and later. In InDesign, this preset also creates tagged PDFs.
PDF/X‑1a (2001 and 2003) PDF/X‑1a requires all fonts to be embedded, the appropriate marks and bleeds to be specified, and color to appear as CMYK, spot colors, or both. Compliant files must contain information describing the printing condition for which they are prepared. PDF files created with PDF/X‑1a compliance can be opened in Acrobat 4.0 and Acrobat Reader 4.0 and later.
PDF/X-3 This preset creates a PDF based on the ISO standard PDF/X-3:2002. The PDF created in this setting can be opened in Acrobat 4.0 and Acrobat Reader 4.0 or later.
PDF/X‑4 (2008) This preset creating ISO PDF/X-4:2008 files supports live transparency (transparency is not flattened) and ICC colour management. PDF files exported with this preset are in PDF 1.4 format. Images are downsampled and compressed and fonts are embedded in the same manner as with the PDF/X-1a and PDF/X-3 settings. You can create PDF/X-4:2008 compliant PDF files directly from Creative Suite 4 and 5 components including Illustrator, InDesign, and Photoshop. Acrobat 9 Pro provides facilities to validate and preflight PDF files for PDF/X-4:2008 compliance as well as convert non-PDF/X files to PDF/X-4:2008 if possible.
Press Quality Creates PDF files for high-quality print production (for example, for digital printing or for separations to an image-maker or plate setter), but does not create files that are PDF/X-compliant. In this case, the quality of the content is the highest consideration. The objective is to maintain all the information in a PDF file that a commercial printer or print service provider needs in order to print the document correctly. This set of options uses PDF 1.4, converts colors to CMYK, down samples color and grayscale images to 300 ppi and monochrome images to 1200 ppi, embeds subsets of all fonts, and preserves transparency (for file types capable of transparency).
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Setting preferences
When opening up a document intended for the web, you can now go to the presentation preset already created. This will save time for the next project. This preset can be sent to other people by saving it as a file. When you select the web intent, InDesign automatically sets the document measurements to pixels, sets the Transparency Blend Space to RGB and sets all the colours in the Swatches panel to RGB (instead of the normal CMYK swatches). Also, as the final piece is intended for the web, the resolution can remain at 72 dpi or above.
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Installing scripts Scripting is a great tool for performing a variety of tasks. A script can be as simple as an automated common task or as complex as an entire new feature. You can create your own scripts, and you can run scripts that other people have created. To install scripts, you can go to Window, Utilities, Scripts. Or alternatively, use the keyboard shortcut Cmd + opt + F11.
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Creating a SWF presentation
Creating a PDF presentation
Pros
Cons
Printable Searchable
Lack of animation support Must be presented in Adobe Reader or Acrobat reader
Bookmarks Accessible Supports more media
The type of format you use depends on the type of presentation you wish to show. If your presentation is mainly static, then The PDF format is the best option. In a PDF Presenation there is the option to make it interactive. This can include audio, hyperlinks and page transitions. You can preview your interactive document In InDesign before exporting to a PDF. This is done by doing View > Screen Mode > Presentation.
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Creating a SWF presentation
Pros
Cons
Most of Acrobat’s Interactivity
Flash plug-in or Flash player required Must convert legacy media
Animation Web browser Accessible Page curl effect
To create slideshow-type content that can be played in Flash Player, you can export to either SWF or FLA. The main difference is that SWF files are ready to be viewed and cannot be edited, whereas FLA files must be edited in Adobe Flash Professional to be viewed in Adobe Flash Player. SWF An exported SWF file is ready for viewing in Adobe Flash Player and may include interactive elements such as page transitions, hyperlinks, movies, sound clips, animation, and navigation buttons. FLA An exported FLA file includes only some interactive elements. The FLA file can be opened in Flash Pro, where you or a Flash developer can add advanced effects before exporting to SWF.
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Creating an Interactive Microsite
With the animation panel, InDesign makes it easy to create interactivity within your documents. There are a variety of different effects to choose as seen from the image to the right. There is no scripting involved from you, just a simple click of options will turn your artwork into an interactive piece in no time.
To control what animation appears first within the page, you simply swap the named animations around in the order you wish, with the one at the top appearing first. The bracket next to the two animations above means these two will appear at the same time when played. This is done by holding down the shift key when selecting the two, then clicking on the whole link button at the bottom of the panel.
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Animating on a motion path Here, I quickly made an animation of flies hovering around a turd. I done this to test the motion path tool. This is very simple. I just simply (with the pencil tool) drawed flies and a path I wished the fly to follow (Each are on their own paths). I then went to Object, Interactive, Convert to motion path. When the animation is played, the path the fly follows disappears. I then went to the timing panel, highlight the three flys and linked them together so they fly together when played. Then wholla!
In order to test your animation, you can use the preview tool. The shortcut for this is cmd + shift + return.
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Creating an Interactive Mood Board
Creating an Interactive mood board is an interesting way to present your ideas to an audience. This way, it can obtain people’s attention and can be seen by many at the same time. Using slides, the information can be less overwhelming as they transition smoothly between page. The timing feature allows you to show certain elements at a time.
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Each of these coloured blocks can be animated so that they appear on the screen one at a time, In the order of your preference. Or, If you prefer, you can have selected blocks appear at the time. This is all configured within the Timing panel. The possibilities are endless with interactivity tools within InDesign CS5.
You can create buttons that perform an action when the document is exported to SWF or PDF format. For example, you can create a button that jumps to a different page or opens a website. InDesign have a range of sample buttons ready to use. When you create a button, you can do the following: • Use the Appearance section of the Buttons panel to define the appearance the button takes in response to certain mouse actions. • Use the Object States panel to create multi- state objects. • Create a “hot spot” or “hot link” effect that displays an image when the button is moused over or clicked.
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Creating an Interactive Catalogue
InDesign allows us to add video, sound and animation to your interactive catalogue. Making static pages come alive will make your PDF look good and more memorable. The first thing to become interactive should be the contents.
Typography 10. Working with text frames 11. Using text threads 12. Spanning columns 13. Kerning, tracking and leading 14. What dash? 15. Working with ligatures 16. Breaking & non-breaking lines
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}
Firstly, you need to select a chapter from the content menu. Then click on the plus symbol in the buttons panel and select ‘Go to destination’. The next step is to click on the title page, then onto the hyperlink panel, from that click the drop down menu and select ‘New Hyperlink destination’. Next step is to click on the destination in the buttons panel. This will link that chapter to the right page.
*
In CS5 there is a new feature that allows you to create URLs from hyperlinks. This can be done by going to the hyperlinks panel and selecting ‘Convert URLs to hyperlinks...’. InDesign doesn’t recognise dashes inbetween URLs, so we would have to manually change this by going to the hyperlinks panel, selecting the intended link and typing in the correct address.
Here is an example of a fashion magazine that uses interactivity in their catalogue. The interactivity allows you to buy these products straight from the magazine. The catalogues can be found here - http://www.madeleine-fashion.co.uk/
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Converting from InDesign to Flash
When preparing to export, there is a number of these that should be done. Like, for instance, removing all items on the paste board and delete the unused layers. This can be done by going to the links panel, clicking on the drop down menu then selecting ‘Delete unused layers’. Also the colours should be in RGB. Flash doesn’t recognise text wrap, so it is important to remove this otherwise the outcome will not be pretty. You can do this by going to the find/change dialogue box.
Once exported, the document then needs to be opened in flash. The settings on the right are fine for exporting to flash.
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FLA Transfer Issues What to avoid: • • •
Split /span columns Styles don’t update Text on a path will rasterise
Interactivity: • • •
Transparency over Interactivity Actions do not transfer Media - Poster images and assets are in resources
Once your document is in flash, you can view each spread and select each element by double clicking on the page. In the timeline at the bottom of the page, each block (with the circle in) represents each spread within the document. When doubled clicked on the page, the elements appear and the timeline tab shows the InDesign layers that are found within your document. Double click again, and the motion path for that element appears.
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Adobe InDesign CS5
Useful Keyboard Shortcuts–Mac www.nobledesktop.com
Adjust Font size Increase by Increment (set in Preferences)........................................... Decrease by Increment ....................................................................... (add Option to the above keystrokes to make them Increment x 5)
-Shift-> -Shift-<
Adjust LeAding Increase by Increment (set in Preferences)............................. Option-down arrow Decrease by Increment .............................................................. Option-up arrow to the above keystrokes to make them Increment x 5) (add Revert to Auto Leading .............................................................. -Option-Shift-A
Adjust Kerning/trAcKing & Word sPAcing
Page Break ......................................................................... -Enter (on keypad) Forced Line Break (or “soft return”) ................................................. Shift-Return
moving text cursor Move cursor to beginning or end of line ...........................................Home or End Move cursor one word to the left/right ...................................... -Left/right arrow Move cursor to Previous paragraph .................................................. -Up Arrow Move cursor to Next paragraph .................................................... -Down Arrow
seLecting & WorKing With text
Increase by Increment (set in Preferences).............................. Option-right arrow Decrease by Increment ..............................................................Option-left arrow to the above keystrokes to make them Increment x 5) (add Increase between words ............................................................. -Option-Shift-\ Decrease between words................................................... -Option-Shift-Delete Clear all manual kerning, tracking, and word spacing ........................ -Option-Q
Leave Text Frame and switch to Selection tool................................................ Esc Select from cursor to beginning or end of line ..................Shift-Home or Shift-End Select from cursor to end of story ..................................................... -Shift-End Select from cursor to beginning of story ......................................... -Shift-Home Select whole word ............................................................................Double-click Select line ..................................................................... -Shift-\ (or Triple-click) Select one word to the left/right ...................................... -Shift-Left/Right arrow
Adjust BAseLine shiFt
nAvigAting & scroLLing through documents
Move Up by Increment (set in Preferences) ........................ Option-Shift-up arrow Move Down by Increment............................................... Option-Shift-down arrow to the above keystrokes to make them Increment x 5) (add
scALing Pictures
mAKe sure the Picture content is seLected (not the FrAme thAt it’s inside)
Scale 5% Bigger .................................................................................. -Opt-> Scale 5% Smaller .................................................................................. -Opt-< Scale 1% Bigger ......................................................................................... -> Scale 1% Smaller ......................................................................................... -<
Fitting content & Pictures Fit Content Proportionally ............................................................... -Opt-Shift-E Fill Frame Proportionally................................................................ -Opt-Shift-C Center Content .................................................................................... -Shift-E Fit Frame to Content ............................................................................. -Opt-C
nudging oBjects Move by Increment (set in Preferences) .........................................any arrow key Move by Increment x 10.........................................................Shift-any arrow key Move by Increment x 1/10................................................. -Shift-any arrow key
FLoWing text Multi-Page Autoflow (creates additional pages) .................................Shift-click Semi-autoflow (keeps text in cursor so you can continue flowing) ...Option-click Fixed-Page Autoflow (does not create additional pages) .........Shift-Option-click
Scroll using Hand tool ....................................................... Option-Spacebar-Drag Go to the First Page................................................................... -Shift-Page Up Go to the Last Page ............................................................... -Shift-Page Down Go to Page (then type in page number) ......................................................... -J Switch between open Documents ........................................................ -tilde(~)
zooming Get the Zoom in tool without selecting it................................. Hold then Space then Space and Option Get the Zoom out tool without selecting it............. Hold Zoom In or Out............................................................. -plus(+) or -minus(–) Fit Page in Window ............................................................................ -0 (zero) Fit Spread in Window .............................................................. -Option-0 (zero) Access zoom percentage box (so you can enter a zoom level) ................. -Opt-5 Toggle between current and previous zoom levels ................................... -Opt-2
Find/chAnge Insert selected text into Find What box ....................................................... -F1 Insert selected text into Find What box and then Find Next instance ........Shift-F1 Find the next occurrence of Find What text....................... Shift-F2 or -Option-F Insert selected text into Change To box ....................................................... -F2 Replace selected text with Change To text................................................... -F3 Replace selected text with Change To text and Find Next .........................Shift-F3
WorKing With PAneLs
Bold: -Shift-B • Italic: -Shift-I • Normal: -Shift-Y • All Caps: -Shift-K Edit Style Sheet without Applying it ................... -Option-Shift-Double click style Redefine a Paragraph Style ........................................................... -Opt–Shift-R Redefine a Character Style ............................................................ -Opt–Shift-C
Highlight the first option in the Control panel ................................................ -6 Toggle Control panel between Character & Paragraph options ................. -Opt-7 Apply a value but keep it highlighted in panel ................................... Shift-Return Show/Hide all Panels including Toolbox ..................Tab (while not in a text frame) Show/Hide all Panels except the Toolbox ........Shift-Tab (while not in a text frame) Expand/Collapse Panel Stacks .................... -Opt-Tab (while not in a text frame) Create new (style, swatches, etc) & display options dialog ....Opt-click New button
WorKing With PArAgrAPh styLes
WorKing With diALog Boxes
styLing text & WorKing With styLes
To remove local formatting (non Style changes) ...................Opt-click Style Name To remove local formatting and Character Styles .......... Opt-Shift-click Style Name
WorKing With mAster PAges Override a single master page item on a document page .............. -Shift-click it Override several master page items ................ -Shift-drag a marquee over them Override all master page items on pages selected in Pages panel ..... -Opt-Shift-L
insert sPeciAL chArActers Indent to Here............................................................................................... -\ Right Indent Tab ................................................................................... Shift-Tab Discretionary Hyphen ............................................................. -Shift-hyphen (-) Nonbreaking Hyphen ............................................................... -Opt-hyphen (-) Type in Single Straight Quote (Foot Mark) .....................................................Ctrl-' Type in Double Straight Quote (Inch Mark) ...........................................Ctrl-Shift-' Current Page Number (Auto Page Numbering) .............................. -Opt-Shift-N
insert White sPAce Em space............................................................................................ -Shift-M En space.............................................................................................. -Shift-N Nonbreaking space ................................................................................ -Opt-X Thin space .................................................................................... -Opt-Shift-M
insert BreAK chArActers Column Break ..........................................................................Enter (on keypad) Frame Break ....................................................................Shift-Enter (on keypad)
Rotate down through section of options displayed on the left............... Page Down Rotate up through section of options displayed on the left ....................... Page Up Jump to section of options displayed on the left ..... -1 for 1st, -2 for 2nd, etc. Choose Yes, No, Don’t Save, or Save ................................................ Y, N, D, or S
misceLLAneous good stuFF Select frame hidden behind another ..........Hold and keep clicking frame stack Increase/decrease a value in a field ................. click in field, press up/down arrow Highlight the Last Used Field (in a panel) ............................. Cmd-Option-tilde(~) In Tabs panel: Move Left Indent (triangle) without moving First Line Indent .......... ............................................. Hold Shift while dragging the (bottom) triangle Select all Guides ................................................................................... -Opt-G Select an Individual Table Cell ...................With Type tool, click in cell and hit Esc Quick Apply ............................... Press -Return. Then start typing a style name, menu item, text variable, etc. Then press Return to apply. Sort Menus Alphabetically ........................... Hold -Opt-Shift and click on Menu Toggle Typographer’s Quotes preference .......................................... -Opt-Shift-'
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72 Harriet Bass. 2013