List of Figures | Adobe InDesign CS3 Bible

Chapter QS: InDesign QuickStart

Figure QS-1: Combining formatted text and several graphics with a few simple frames and lines produces a completely designed magazine article.
Figure QS-2: Set up the page size and other attributes for your document in the New Document dialog box.
Figure QS-3: Use the Save As dialog box to name a new document.
Figure QS-4: Use any of the frame tools to create background shapes into which you will import a picture.
Figure QS-5: The Control palette lets you precisely size items.
Figure QS-6: Resizing and repositioning the second frame with the Control palette.
Figure QS-7: Use the Rectangle Text Frame tool to create a container for text.
Figure QS-8: When text is highlighted, you can format it using controls on the right side of the Measurements palette.
Figure QS-9: Choose File Place, or press z +D or Ctrl+D, to import text from a word processor.
Figure QS-10: When text is placed into the automatic text frame, it overprints other frames that overlap it.
Figure QS-11: Use the Character pane or Control palette to set the font, type style, point size, and leading.
Figure QS-12: Use the Paragraph pane or Control palette to set the justification.
Figure QS-13: Your document should look something like this.
Figure QS-14: The Pages pane lets you work on master pages, as well as create new pages.
Figure QS-15: Use the Line tool to create lines at any angle.
Figure QS-16: Choose File Place, or press z +D or Ctrl+D, to import graphics into frames.
Figure QS-17: Set text wrap with the Text Wrap pane.
Figure QS-18: Create a CMYK color by first selecting a color from an object in the layout with the Eyedropper tool, or by selecting the proportions of the constituent colors in the New Color Swatch dialog box.
Figure QS-19: Click a color to apply it to the background of a frame.
Figure QS-20: The Print dialog box lets you confirm that your document fits on the paper in the selected printer, as well as set the appropriate print settings for your document and target printer.

Chapter 2: A Tour of InDesign

Figure 2-1: The standard document window provides controls for managing documents on-screen, changing the view scale, displaying different pages, and placing objects on pages.
Figure 2-2: The Windows window-sizing controls.
Figure 2-3: This box's top is aligned with the 8-pica mark on the vertical ruler.
Figure 2-4: You can choose from a list of preset view percentages using the list in the View Percentage pop-up menu.
Figure 2-5: Buttons on the bottom of the document window (at right) let you flip from page to page.
Figure 2-6: Tool Tips provide the names of tools along with the shortcut key (in parentheses) that you can use to select that tool.
Figure 2-7: By clicking on the Tools palette's title bar (in which there is no title, just the bar), you can change its appearance and orientation.
Figure 2-8: The Tools palette. If a small triangle displays in the lower-right corner of a tool, you can click and hold on it to display pop-out tools. Pop-outs are shown for all tools that have them, with the tool at the top the one that is the default tool for the Tools palette.
Figure 2-9: Clicking and dragging a hollow anchor point with the Direct Selection tool lets you reshape items.
Figure 2-10: Double-clicking the Polygon tool displays the Polygon Settings dialog box, which you can use to specify the number of sides on a polygon, as well as any starburst spike settings.
Figure 2-11: You can drag the anchor point for rotating items from the center of an object to a different location.
Figure 2-12: With all the palettes in InDesign open , working on a document is impossible .
Figure 2-13: The new side-tabs feature lets you dock pane tabs at the side of the monitor window and click the tab names to open them when needed.
Figure 2-14: Most panes include palette menus that provide access to related features.
Figure 2-15: The Control palette for frames with pictures (top), frames with text (middle), and frames with lines (bottom).
Figure 2-16: The Links pane.
Figure 2-17: The Character pane (left) and the Paragraph pane (right).
Figure 2-18: The Character Styles pane (left) and the Paragraph Styles pane (right).
Figure 2-19: The Tabs pane (left) and the Story pane (right).
Figure 2-20: The Glyphs pane.
Figure 2-21: The Text Wrap pane (left), the Transform pane (center), and the Align pane (right).
Figure 2-22: The Pages pane (left), the Layers pane (center), and the Navigator pane (right).
Figure 2-23: Clockwise from upper left: The Swatches, Stroke, Color, Attributes, and Gradient panes.
Figure 2-24: The Table pane (left) and the Index pane (right).
Figure 2-25: The Scripts pane (left) and the Script Label pane (right).
Figure 2-26: The Pathfinder pane.
Figure 2-27: The Transparency pane (left) and the Flattener Preview pane (right).
Figure 2-28: The Separations Preview pane (left) and the Trap Presets pane (right).
Figure 2-29: The Info pane.
Figure 2-30: Clockwise from upper left: The States, Tags, Bookmarks, and Hyperlinks panes.
Figure 2-31: The InDesign menu.
Figure 2-32: The File menu.
Figure 2-33: The Edit menu.
Figure 2-34: The Layout menu.
Figure 2-35: The Type menu.
Figure 2-36: The Object menu.
Figure 2-37: The Table menu.
Figure 2-38: The View menu.
Figure 2-39: The Window menu.
Figure 2-40: The Help menu.
Figure 2-41: The contextual menu for a text frame (left), for highlighted text (center), and for the document (right).

Chapter 3: Getting InDesign Ready to Go

Figure 3-1: The General pane of the Preferences dialog box.
Figure 3-2: The Text pane of the Preferences dialog box.
Figure 3-3: The Composition pane of the Preferences dialog box.
Figure 3-4: The Units & Increments pane of the Preferences dialog box.
Figure 3-5: The Grids pane of the Preferences dialog box.
Figure 3-6: The Guides & Pasteboard pane of the Preferences dialog box.
Figure 3-7: The Dictionary pane of the Preferences dialog box.
Figure 3-8: The Spelling pane of the Preferences dialog box.
Figure 3-9: The Story Editor Display pane of the Preferences dialog box.
Figure 3-10: The Display Performance pane of the Preferences dialog box.
Figure 3-11: The Saved Files pane of the Preferences dialog box.
Figure 3-12: The Updates pane of the Preferences dialog box.
Figure 3-13: The Keyboard Shortcuts dialog box lets you create new sets of keyboard shortcuts.
Figure 3-14: When no documents are open, the Document Setup dialog box lets you customize default settings in the New Document dialog box.
Figure 3-15: Use the Margins and Columns dialog box when no documents are open to establish default margins and columns .
Figure 3-16: When no documents are open, the Ruler Guides dialog box lets you customize default settings for ruler display.
Figure 3-17: Use the Layout Adjustment dialog box when no documents are open to establish default layout-adjustment settings.
Figure 3-18: Use the Text Frame Options dialog box to specify default attributes of new text frames.
Figure 3-19: The View menu commands that are available when no documents are open.
Figure 3-20: The Paragraph Styles pane's palette menu lets you create default character style sheets.
Figure 3-21: The zoom commands in the View menu.
Figure 3-22: The Zoom box and its pop-up menu.
Figure 3-23: The Navigator pane.

Chapter 4: Creating, Opening, and Saving Documents

Figure 4-1: The settings you make in the New Document dialog box establish the basic framework for the pages in your publication. This example shows the settings used to create a standard 2-x-3-inch business card. Notice that Facing Pages and Master Text Frame are not checked because they're not necessary for a one-page document.
Figure 4-2: The business card settings in the New Document dialog box shown in Figure 4-1 resulted in the document you see here. The view percentage field in the lower-left corner of the document window shows that the business card is currently displayed at 352.38 percent of actual size.
Figure 4-3: The new Document Presets dialog box lets you create, import, edit, and delete document styles.
Figure 4-4: The Mac (left) and Windows (right) versions of the Open a File dialog box differ slightly. When you open a file, you have the option to open it normally (Open Normal), open the original copy of a template (Open Original), or open a copy of the file (Open Copy).
Figure 4-5: InDesign shows a Conversion Warnings dialog box if there are any issues in importing foreign file formats.
Figure 4-6: The Mac version of the Save As dialog box (left) and the Windows version (right) are slightly different.

Chapter 5: Working with Pages

Figure 5-1: The Pages pane and its palette menu. This is how the pane looks when you open a new, one-page, facing-page document.
Figure 5-2: The Insert Pages dialog box.
Figure 5-3: In this example, pages 14, 15, and 16 are an island spread, as are pages 17, 18, and 19. The extra page in each spread is based on the A-Master master page.
Figure 5-4: The Numbering and Section Options dialog box lets you change the starting page number and the types of numerals used.
Figure 5-5: The New Section dialog box.
Figure 5-6: The small triangle above a page icon represents a section start.
Figure 5-7: The Navigator pane and its palette menu.
Figure 5-8: The Navigator pane with View All Spreads selected.
Figure 5-9: The Layout Adjustment dialog box.

Chapter 6: Working with Layers

Figure 6-1: A business card with different layers for each person's card. The graphics common to all cards are on their own layer.
Figure 6-2: The Layers pane.
Figure 6-3: The New Layer dialog box.

Chapter 7: Creating Layout Standards

Figure 7-1: The Pages pane. The document page icons at the bottom of the pane show that the publication has eight pages. The master-page icons at the top show the default masters: None and A-Master.
Figure 7-2: The New Master dialog box.
Figure 7-3: The Margins and Columns dialog box.
Figure 7-4: A typical three-column master layout for a newsletter. The footer at the bottom of the left- and right-hand pages includes a page-number character (B) on the outside.
Figure 7-5: Left: Applying a single page of a master spread to a document page. Right: Applying both pages of a master spread to a document spread.
Figure 7-6: The Apply Master dialog box.
Figure 7-7: Saving templates is slightly different on a Mac (top) from saving templates in Windows (bottom).
Figure 7-8: The dialog box in which you save a new library.
Figure 7-9: A new (empty) library and its accompanying pop-up menu.
Figure 7-10: The Item Information dialog box.
Figure 7-11: The Subset dialog box.
Figure 7-12: The Create Guides dialog box, along with the guides it created.
Figure 7-13: The Ruler Guides dialog box.
Figure 7-14: The Grids pane of the Preferences dialog box.

Chapter 8: Defining Colors and Gradients

Figure 8-1: The two panes for creating and selecting colors: the Swatches pane (top) and the Color pane (bottom).
Figure 8-2: The New Color Swatch dialog box lets you define colors. (At top is the dialog box for CMYK color mixing; at bottom is the dialog box for the swatch-based Pantone colors.) An identical dialog box named Swatch Options lets you edit them.
Figure 8-3: The New Tint Swatch dialog box lets you define colors. A nearly identical dialog box named Swatch Options lets you edit them the difference is that, when editing, you can change all the other color values, not just the degree of tint.
Figure 8-4: The New Mixed Ink Swatch dialog box lets you mix a selected spot color with any or all of the default process colors to create new shades and variations.
Figure 8-5: The New Mixed Ink Group dialog box lets you mix a selected spot color with any or all of the default process colors in user -defined increments to create a range of new shades and variations.
Figure 8-6: The Delete Swatch dialog box lets you replace a deleted color with a new one, or leave the color applied to objects using it.
Figure 8-7: The New Gradient Swatch dialog box.
Figure 8-8: A complex, multihued gradient being defined.
Figure 8-9: The Gradient pane, for creating unnamed gradients and for adjusting linear gradients angles.
Figure 8-10: Examples of gradients.
Figure 8-11: The Gradient tool lets you set the offset, adjust the gradient length, and (for gradient blends) adjust the gradient angle.
Figure 8-12: The Tools palette lets you choose what part of an object you want to color, as well as to apply the last-used color or gradient.

Chapter 9: Book Publishing

Figure 9-1: To create a new book, choose File New Book.
Figure 9-2: A book pane and its palette menu. The icon to the left of a chapter's filename indicates the style source. The status column shows which chapters are open on your computer, which are available to be opened, and which are missing (both are open here).
Figure 9-3: The status icons to the right of the filename. From top to bottom: Open, Available, Missing, Modified, and In Use.
Figure 9-4: The Table of Contents Styles dialog box.
Figure 9-5: The New Table of Contents Style dialog box.
Figure 9-6: A sample TOC generated by InDesign.
Figure 9-7: The Index pane.
Figure 9-8: The New Page Reference dialog box. The bottom portion changes if you select one of the cross-reference options in the Type pop-up menu, as shown in the dialog box portion at the bottom of the figure.
Figure 9-9: The Generate Index dialog box, with all options displayed.

Chapter 10: Adding Text Frames, Picture Frames, and Lines

Figure 10-1: Creating a text frame with the Type tool is a simple matter of clicking and dragging until the rectangle that's displayed as you drag is approximately the size and shape of the intended text block.
Figure 10-2: Creating a graphics frame with any of the framecreation tools is the same as creating a text frame with the Type tool. Choose the appropriate frame tool, then click, drag, and release. In this example, an elliptical graphics frame has just been created; its bounding box is displayed with resizing handles.
Figure 10-3: The Polygon Settings dialog box lets you specify the number of sides your polygons will have and, optionally , create starburst shapes by specifying a Star Inset value. Shown above the dialog box is a starburst created with the settings shown in the dialog box.
Figure 10-4: After you create a line with the Line tool, the active line is displayed either within a rectangular bounding box that has eight resizing handles (if the Selection tool was previously selected; left) or with anchor points at both ends (if the Direct Selection tool was previously selected; right).

Chapter 11: Manipulating Frames and Lines

Figure 11-1: When you select a frame with the Selection tool, in this case an oval text frame, the bounding box is displayed with eight resizing handles.
Figure 11-2: When you select a frame with the Direct Selection tool, in this case an oval text frame, the frame's control points, or nodes, are displayed. Here, I am moving one of those points. Note how it reshapes not resizes the frame.
Figure 11-3: The new Select submenu in the Object menu.
Figure 11-4: If you prefer modifying values precisely to clicking and dragging, use the Control palette or Transform pane to move objects and perform other modifications. The Control palette is more flexible, providing different options based on what is selected. In this figure, the six horizontal panes are, from top to bottom, the Control palette for a text frame, text in a text frame or on a text path , a graphics frame, an image in a graphics frame, a line, and multiple objects. At bottom is the Transform pane.
Figure 11-5: The color tools at the bottom of the Tools pane offer the quickest and easiest method of applying the last-used color or gradient to objects, or removing a color, tint, or gradient.
Figure 11-6: In this illustration, a 10-point orange stroke has been added to the graphics frame.
Figure 11-7: In this example, a gradient blend was applied to the frame's stroke; the blend was rotated 180 degrees.
Figure 11-8: The line in this illustration was selected with the Direct Selection tool. Each of the three available endcap styles butt (left), round (center), and projecting (right) is shown.
Figure 11-9: The Stroke pane lets you apply mitered (left), rounded (center), and beveled (right) corners to shapes.
Figure 11-10: The Start options in the Stroke pane. The End options are identical.
Figure 11-11: The predefined dash and stripe options in the Stroke panes Type pop-up menu.
Figure 11-12: The Stroke Styles dialog box.
Figure 11-13: The dashes version of the New Stroke Style dialog box.
Figure 11-14: The dotted -line version of the New Stroke Style dialog box.
Figure 11-15: The stripe version of the New Stroke Style dialog box.
Figure 11-16: The Corner Effects dialog box lets you apply any of five effects to frame corners.
Figure 11-17: When you rotate an object with the Rotation tool, a moving bounding box is displayed along with the original object if you drag immediately after clicking, as in this example. If you pause before dragging, the moving object and its contents are displayed as you drag.
Figure 11-18: Clicking and dragging with the Scale tool enlarges or reduces a frame. In this example, the Scale tool is being used to enlarge a frame.
Figure 11-19: In this example, a frame is being sheared using the Shear tool.
Figure 11-20: The Transform pane's palette menu provides several commands for modifying objects.

Chapter 12: Orchestrating Objects

Figure 12-1: The first shape you create is the backmost, the second is one level above, and so on. In this example, the three smaller boxes partially overlap each other and they are all in front of the largest box.
Figure 12-2: Applying tints to the shapes lets you see the stacking order of the four rectangles. Every InDesign object occupies one level in the stacking order.
Figure 12-3: The bounding box indicates that all the objects within have been grouped. What you can't tell from this illustration is that the five stars are a group within the larger group, which lets you move or modify all of them in a single operation, as shown in Figure 12-4.
Figure 12-4: The group selection tool (explained in the next section) lets you select a nested group. In this example, the nested group of stars was selected, then a radial blend was applied to all of them.
Figure 12-5: In this example, the rectangle displayed with handles indicates the border of a picture that's been placed into a round frame. Clicking on the picture with the Direct Selection tool selects the picture rather than the round frame. To select the frame's bounding box instead of the picture, you would click on the picture with the Selection tool.
Figure 12-6: The squiggly line (left) was created with the Pen tool. It was then copied and pasted into (Edit Paste Into) a circular frame (right). Selecting the line with the Direct Selection tool would show the visible portion of the line within the oval cropping frame, as well as the parts of the line that are cropped.
Figure 12-7: The YMCA logo is placed in the text as an inline frame so it will move up and down with the surrounding text.

Chapter 13: Timesaving Techniques

Figure 13-1: The Step and Repeat dialog box.
Figure 13-2: This checkerboard was created with three trips to the Step and Repeat dialog box.
Figure 13-3: The Align pane contains 14 buttons that let you control the alignment and space between selected objects. If the two Distribute Spacing buttons are not displayed at the bottom of the palette, choose Show Options from the palette menu.
Figure 13-4: The rectangles on the left were aligned along the left edge of the leftmost object by clicking the Horizontal Align Left button in the Align pane. The result of the alignment operation is shown on the right.
Figure 13-5: The objects on the left are unequally spaced . Clicking the Vertical Distribute Space button in the Align pane repositions the objects so that the spaces between the objects are equal, as shown on the right.

Chapter 14: Preparing Text Files for Import

Figure 14-1: A catalog created by importing a Tagged Text file.

Chapter 15: Working with Text

Figure 15-1: When the Type tool is selected, you can click in a text frame and start typing.
Figure 15-2: The Place dialog box.
Figure 15-3: The loaded-text icon (left). There are two variants autoflow (center; hold the Shift key) and semi-autoflow (right; hold the Option or Alt key)that let text flow to other frames during import.
Figure 15-4: The Import Options dialog box lets you select import options; the options will differ based on the type of file selected. Shown here are the options for a Tagged Text file (top) and a Word file (bottom).
Figure 15-5: The Story Editor window.
Figure 15-6: Use the Search pop-up menu in the Find/Change dialog box to specify the scope of the text to search.
Figure 15-7: Click the right-facing arrow on the Find What and Change To fields to display a list of special characters .
Figure 15-8: Clicking More Options in the Find/Change dialog box displays the Find Format Settings and Change Format Settings areas. Clicking Format opens the Find Format Settings or Change Format Settings dialog box.
Figure 15-9: Use the Search pop-up menu in the Check Spelling dialog box to specify which text to spell-check.
Figure 15-10: The Language menu on the Character palette lets you choose a different language for hyphenating and spell-checking highlighted text.
Figure 15-11: Enter new terms in the Word field, then click Add to include them in the spelling dictionary.
Figure 15-12: Enter hyphenation preferences in the Word field, using tildes (~) to indicate hyphenation points, then click Add to include them in the spelling dictionary.
Figure 15-13: If you purchase and install different hyphenation and spelling dictionaries, you can select them in the Dictionary pane of the Preferences dialog box.
Figure 15-14: The Text Frame Options dialog box.
Figure 15-15: Examples of vertical justification, showing how the spacing changes as the number of lines changes. (Normal, top-aligned text is at left.)

Chapter 16: Flowing Text through a Document

Figure 16-1: In this book spread, a text frame on a document page contains the headline "The Noble Bereans" and a text frame placed by the master page contains the folios at top. The body of the article is in a master text frame, which is threaded to other master text frames containing the body of the article on other pages.
Figure 16-2: Checking Master Text Frame in the New Document dialog box places a text frame on the default master page within the margins you specify.
Figure 16-3: To change the properties of a master text frame, select it on the master page and use the Text Frame Options dialog box.
Figure 16-4: To access a master page so you can add or modify objects, double-click a master-page icon in the upper portion of the Pages pane.
Figure 16-5: The plus sign in the lower-right corner of this text frame indicates there is more text than the frame can hold (called overset text ).
Figure 16-6: You can import simple style sheets from a word processor, then edit them in InDesign using the Style Options command in the Paragraph Styles pane.
Figure 16-7: The loaded-text icon (left). There are two variants autoflow (center; hold the Shift key) and semi-autoflow (right; hold the Option or Alt key) that let text flow to other frames during import.

Chapter 17: Specifying Character Attributes

Figure 17-1: The Character pane with all options shown.
Figure 17-2: The character formatting options in the new Control palette.
Figure 17-3: The Times Europa font family includes four typestyles Roman, Italic, Bold, and Bold Italic as shown here.
Figure 17-4: To select a typestyle from the Control palette, first choose the font family from the Font pop-up menu, then choose a typestyle from the selected font's submenu.
Figure 17-5: The palette menu for the Control palette's character formatting view.
Figure 17-6: Various character formatting options applied to text. Top row: can has been scaled horizontally, and do vertically, while all has had each letter's baseline shifted by a different amount. Compare that to the true superscript and subscript following the word sorts. Middle row: The word things has been skewed, while the word with is in real italics; notice how different the letters h, i, and t differ.
Figure 17-7: Skewing and shading a copy of the black text created the backlit shadow effect.
Figure 17-8: By applying the Spanish: Castilian language to albƒndigas, as shown here, InDesign will use the associated dictionary when checking the spelling of this word.
Figure 17-9: Ligatures are used in the top two lines but not in the bottom two. Notice the difference in space between the fi and fl letter pairs in finally and float.
Figure 17-10: The top row of numbers uses typical titling figures all are the same height. The bottom row uses old-style numerals. At right is the OpenType menu for the fonts used here.

Chapter 18: Specifying Paragraph Attributes

Figure 18-1: The Paragraph pane.
Figure 18-2: The Control palette's paragraph formatting options.
Figure 18-3: The drop cap in the top-left example has a one-character drop cap three lines deep. The bottom-left paragraph has a two-line , four-character drop cap. In the top-right example, the font size of a one-letter, four-line drop cap has been enlarged to raise it above the first line of text. In the bottom-left example, a Left Indent value combined with a negative First-Line Indent value produced the one-character, three-line drop cap's hanging indent.
Figure 18-4: The new Drop Caps & Nested Styles dialog box.
Figure 18-5: The Hyphenation dialog box.
Figure 18-6: The Justification dialog box.
Figure 18-7: The Keep Options dialog box.
Figure 18-8: The Paragraph Rules dialog box.

Chapter 19: Creating Special Text Formatting

Figure 19-1: In this workbook, numbered paragraphs have a first-line indent of 0.125".
Figure 19-2: A hanging indent combines a tab and a left indent at the same value with a negative first-line indent.
Figure 19-3: These three columns show the evolution of an en bullet to a fancy bullet followed by a hanging indent. In this case, the writer typed an en bullet followed by a tab in front of each paragraph in Microsoft Word (avoiding the Bullets and Numbering feature). The designer flowed in the text, formatted it, and repositioned the tab. In the second column, the designer specified a hanging indent. The designer then decided to choose a different character for the bullet, so she highlighted the text and used Find/Change to change en bullets to a sideways heart shape in Zapf Dingbats font.
Figure 19-4: This brochure uses red diamonds as its bullets, separated from the text with a tab for consistent alignment.
Figure 19-5: This drop cap has an entry of 4 in the Drop Cap Number of Lines field and 1 in the Drop Cap One or More Characters field. It also has the font changed to Univers Light Ultra Condensed and the color to brick red.
Figure 19-6: The number 2 in this caption is an example of a raised cap: It has a larger size than the text that follows to call attention to it, in this case as a step.
Figure 19-7: The use of nested styles in this paragraph automatically italicizes the first sentence in this intro paragraph.
Figure 19-8: This product guide uses reversed -out text created via ruling lines for its description titles.
Figure 19-9: In the first line of text here, the "1/3" text is formatted manually to look like a true fraction.
Figure 19-10: Notice the difference between the text frame at right, with standard alignment, and the text frame at left, with Optical Margin Alignment ( otherwise known as hanging punctuation ).
Figure 19-11: The episode headline has a 1-point black stroke and a fill color of white.
Figure 19-12: The Rotate tool (left) from the Tools palette and the Rotation Angle field from the Transform pane and Control palette.
Figure 19-13: The Rotation Angle field on the Transform pane or on the Control palette lets you rotate selected objects with 0.001 degree of precision. Entering a value in the field is ideal for turning a tab-like section head 90 degrees to place it within a frame shaped like a binder tab. You can also double-click the Rotation tool to get the Rotate dialog box shown at top to enter a precise rotation amount.
Figure 19-14: Examples of custom underlines and strikethroughs.
Figure 19-15: The Underline Options (top) and Strikethrough Options dialog boxes. At right is the list of line types available in both dialog boxes.
Figure 19-16: The Drop Shadow dialog box and an example drop shadow.
Figure 19-17: The Feather dialog box and an example feathering effect.

Chapter 20: Setting Up Style Sheets

Figure 20-1: The Paragraph Styles pane and its palette menu.
Figure 20-2: The New Paragraph Style dialog box.
Figure 20-3: The Character Styles pane and its palette menu.
Figure 20-4: The New Character Style dialog box.
Figure 20-5: The use of a nested style is to have the first sentence in the introductory paragraph be set in italics.
Figure 20-6: The scope options for a nested style determine what text receives the formatting.
Figure 20-7: A "local" format (the italic type style) has been applied to the highlighted text below, which was formatted with a style sheet. The + sign next to the style-sheet name in the Paragraph Styles pane indicates that local formatting has been applied within the paragraph.
Figure 20-8: The Open a File dialog box when loading style sheets from other documents.

Chapter 21: Setting Up Tabs and Tables

Figure 21-1: Under the Item column, Trifle and Whip Cream are positioned with right-aligned tabs. The three other column headings Ingredient, Amount, and Price are positioned with center tabs. In the chart, the ingredients are left-aligned, the amounts are center-aligned, and the prices are aligned on the dollar sign (top chart) and the decimal point (lower chart).
Figure 21-2: The Tabs pane and a simple table created with two tab stops.
Figure 21-3: The Table pane and its palette menu, the Table menu, and a complex table created with them.
Figure 21-4: The Table pane.
Figure 21-5: The Table Setup pane.
Figure 21-6: The Row Strokes pane; the Column Strokes pane is identical.
Figure 21-7: The Fills pane.
Figure 21-8: The Headers and Footers pane.
Figure 21-9: The Text pane.
Figure 21-10: The Strokes and Fills pane.
Figure 21-11: The Rows and Columns pane.
Figure 21-12: The Rows and Columns pane.
Figure 21-13: InDesign indicates text that does not fit in a cell by displaying large red dots in the cell , as done at top here.
Figure 21-14: The Control palette when table cells are selected.
Figure 21-15: The Convert Text to Table dialog box.

Chapter 22: Preparing Picture Files for Import

Figure 22-1: The EPS Import Options dialog box.
Figure 22-2: The Place PDF dialog box.
Figure 22-3: The two panes for TIFF, Photoshop, and most other bitmap images in the Image Import Options dialog box.
Figure 22-4: The PNG Settings pane of the Image Import Options dialog box.

Chapter 23: Importing Pictures

Figure 23-1: The Place dialog box.
Figure 23-2: The loaded-graphic icon.
Figure 23-3: InDesign provides the Image and Color panes in the Image Import Options for most bitmap formats; PNG files have a third pane, PNG Settings.
Figure 23-4: The EPS Import Options and Place PDF dialog boxes.

Chapter 24: Modifying Imported Pictures

Figure 24-1: In this example, the coffee cup and saucer picture has been copied and pasted into a freeform frame that reveals only the cup. The shape was created by tracing the contour of the cup using the Pen tool.
Figure 24-2: The icons for the Rotation, Scale, Shear, and Free Transform tools in the Tools palette.
Figure 24-3: The Rotation, Scale, and Shear dialog boxes.
Figure 24-4: The Transform pane (top) and the Control palette for pictures (bottom), as well as their palette menus. Note that the Transform pane offers a subset of the Control palette's functions.
Figure 24-5: The applied Skew value of 30 causes the picture to lean to the left.
Figure 24-6: The Links pane and its palette menu.
Figure 24-7: This alert is displayed when you open a document that contains imported pictures that have been modified, moved, renamed , or deleted. The Relink dialog box (bottom) is displayed if you click the Fix Links Automatically button.
Figure 24-8: The Link Information dialog box.

Chapter 25: Special Effects for Pictures

Figure 25-1: The Text Wrap pane and its palette menu. Also, note the preview frame for the wrap area outside the text frame's bounding box.
Figure 25-2: The five text-wrap options (top to bottom): No Text Wrap, Wrap around Bounding Box, Wrap around Object Shape, Jump Object, and Jump to Next Column, as well as the Invert option selected for the Wrap around Bounding Box option.
Figure 25-3: The six contour options for text-wrap options (top to bottom): Bounding Box, Detect Edges, Alpha Channel, Photoshop Path, Graphic Frame, and Same as Clipping.
Figure 25-4: The text-wrap preferences in the Composition pane of the Preferences dialog box.
Figure 25-5: The example on the left shows a text wrap created by using the picture's built-in alpha channel (Wrap around Object Shape). The text wrap was modified by dragging anchor points to create the variation on the right.
Figure 25-6: To create a custom wrap, just edit the text-wrap boundary after selecting Wrap around Object as if it were any other path. The boundary is the blue path that appears outside the frame; you can more easily see and work with the wrap boundary if you enter offset amounts in the Text Wrap pane.
Figure 25-7: The Clipping Path dialog box.
Figure 25-8: At left is a picture of coastal France with a picture of a glider superimposed. At right is the same set of pictures, but with a clipping path applied to the glider so the outside area is masked out, making it transparent.
Figure 25-9: The Transparency pane and its pop-up menu, as well as an example of a transparent object overprinting the photograph.
Figure 25-10: The 16 transparency blending modes in the Transparency pane.
Figure 25-11: Converting the word France into an outline with the Create Outlines command and then using the Paste Into command to import the graphics file into the shape created this picture-in-text effect.
Figure 25-12: Three separate shapes (left) were combined to create the effect on the right. Notice how the areas in the two inner shapes on the left are transparent (that is, the blended background is visible in the shapes) in the example on the right.
Figure 25-13: The Scissors tool was used to create the split image (right) from a clone of the original image (right).
Figure 25-14: The Drop Shadow dialog box and an example drop shadow.
Figure 25-15: The Feather dialog box and a sample feathering effect.

Chapter 26: Drawing Free-Form Shapes and Curved Paths

Figure 26-1: The five paths on the left are open; the five on the right are closed. A stroke and fill have been added to show how they affect open and closed paths.
Figure 26-2: The original path (left) is selected. At right, a 2-point stroke was added to a clone of the original path.
Figure 26-3: From left to right: a color fill (black), a color tint fill (50 percent black), and a gradient fill. The paths are selected and displayed in their bounding boxes.
Figure 26-4: Top row: The same picture was imported into three different paths. (A stroke has been added to the paths to make them more visible.) Bottom row: Text has been placed in clones of the paths on the top row.
Figure 26-5: From left to right, each path contains one more segment than the previous path. The two rightmost paths each contain three segments.
Figure 26-6: The path on the left has only corner anchor points; the path in the center has only smooth anchor points; and the path on the right has both kinds of anchor points.
Figure 26-7: Cloning the original path on the left and then dragging the direction handle of the right endpoint created the path on the right.
Figure 26-8: As each anchor point was created (from left to_right), a new, straight segment was added to the path. The finished open path is a zigzag line that contains four straight segments produced by clicking and releasing the mouse a total of five times.
Figure 26-9: To create a smooth point when beginning a path, click and hold the mouse and drag in the direction of the next point. Here you see the direction line of a smooth endpoint created by clicking and dragging in the direction of the next anchor point.
Figure 26-10: A C-shaped curved segment (left); an S-shaped curved segment (right).
Figure 26-11: This line contains five anchor points all smooth points and four curved segments. The two segments on the left are both C-shaped curves; the two on the right are S-shaped.
Figure 26-12: Here, three corner points join four curved segments. The direction handles of the two rightmost segments are visible. The direction handles of a corner point are joined like a hinge; moving one handle doesn't affect the other handle.
Figure 26-13: Three paths with both curved and straight segments, as well as corner points and smooth points.
Figure 26-14: At left is a straight segment. In the center, one of the direction lines of the straight segment's endpoint is being dragged. At right, clicking and dragging create a smooth anchor point, and a C-shaped curve is added after the straight segment.
Figure 26-15: At left is a curved segment. In the center, the curved segment's smooth endpoint has been changed to a corner point. At right, clicking and releasing the mouse creates a new corner anchor point, and a straight segment is added to the curved segment.
Figure 26-16: Closed paths of various shapes.

Chapter 27: Modifying Shapes and Paths

Figure 27-1: The four Pen tools in the Tools palette.
Figure 27-2: The original path (left) is modified by adding a smooth point (second from left). Dragging the smooth point (third from left) produced the final shape (right).
Figure 27-3: The curved segment of the original path (left) is removed by deleting the smooth anchor point (center) with the Delete Anchor Point tool. The resulting path is shown on the right.
Figure 27-4: Top row: The arc of the curve was reduced (right) by clicking and dragging the smooth anchor point at the top of the curve (left). Bottom row: Dragging a corner point changes the two adjoining segments.
Figure 27-5: Top row: The outer corner points of a straight-edged polygon path (left) were converted to smooth points to create the shape on the right. Bottom row: The zigzag path (right) was created by converting all the smooth points in the path on the left into corner points.
Figure 27-6: The two shapes on the right were created by dragging a direction line of a smooth point.
Figure 27-7: The original path (left) was cloned to create the path on the right. The cloned path was then extended by clicking on its right endpoint with the Pen tool and then clicking four more times to create four additional corner points.
Figure 27-8: Connecting the two open paths on the left with the Pen tool produced the single path on the right.
Figure 27-9: The closed path on the right was created from a clone of the open path on the left.
Figure 27-10: The original path (left) was split into two pieces by clicking on it with the Scissors tool (center). On the right, you see the two resulting paths after the one on the right has been moved.
Figure 27-11: The closed path on the left was cut twice with the Scissors tool (center). On the right, one of the resulting open paths has been moved with the Selection tool.
Figure 27-12: Designer John Cruise created the picture with the hole in it (right) by drawing a circular path (center) in front of a clone of the original picture frame (left), and then creating a compound path from the picture frame and the circular path. The background shape shows within the transparent hole.
Figure 27-13: Designer John Cruise converted the text on the top into the editable outlines on the bottom. He then skewed the character outlines which make up a compound path by 30 degrees via the Skew field in the Transform pane or Control palette and applied a gradient fill.
Figure 27-14: Designer John Cruise converted the five closed paths on the left into a compound path via the Make (Compound Path) command to create the shape on the right. InDesign automatically applied the attributes of the original square path, which is the backmost path, to the resulting compound path. Notice that the four semicircular areas where the original shapes overlapped became holes after converting the shapes to a compound path.
Figure 27-15: The gray square and circle on the left have been combined into a compound path, but the direction of the circular subpath causes it to be filled in instead of transparent. Changing the subpath's direction produced the results on the right: a transparent hole in the square shape.
Figure 27-16: Three paths and the five Pathfinder options. Top row: The three original paths, after applying Add, and after applying Subtract. Bottom row: After applying Intersect, Exclude Overlap, and Minus Back.
Figure 27-17: The original shapes are on the top row. The bottom row shows the same shapes after applying (from left to right) the Fancy, Rounded, and Inverse Rounded corner effects.
Figure 27-18: The Effect menu in the Corner Effects dialog box displays the names of five built-in corner effects. A standard corner plus the five effects are shown above the dialog box.

Chapter 28: Treating Text as Artwork

Figure 28-1: Text is made up of invisible outlines that InDesign can then manipulate to change size and create special effects.
Figure 28-2: Examples of how you can apply strokes a process that makes the outlines visible and lets you change their size and coloration to text.
Figure 28-3: The palettes and panes used to apply strokes to text. Note that all panes are showing all options (use the palette menu and Show Options to display all options).
Figure 28-4: InDesign keeps the gradient centrally located in your text frame, which affects how the gradient will appear in your text as the text moves within the frame. Here, you see three examples of how changes to the text frame's size and thus to the text's relative position affects the gradient for the 5-point strokes on this text.
Figure 28-5: Exotic examples of how you can apply strokes and fills to text.
Figure 28-6: Top: Designer John Cruise converted the highlighted characters into an independent compound path by holding down Option or Alt when applying the Make (Compound Path) command. Bottom: After moving the compound path with a selection tool, he placed the angled-line image in the path and added a 2-point stroke.
Figure 28-7: Both character shapes were created with the Create Outlines command. Designer John Cruise placed text into the shape on the left, and he placed a picture with a clipping path into the shape on the right and then filled the path with a tint.

Chapter 29: Preparing for Color Prepress

Figure 29-1: The Color Settings dialog box lets you activate color calibration and set document defaults.
Figure 29-2: You can apply color profiles when importing pictures.
Figure 29-3: You can apply color profiles to an object after it's placed in your document.
Figure 29-4: InDesign provides two dialog boxes Assign Profiles (top) and Convert to Profile to change color-management preferences throughout a document. While their functions overlap, each has unique settings.
Figure 29-5: Three kinds of traps: spreading (upper-right), choking (lower-left), and centering (lower-right), with an untrapped image in the upper-left that was misregistered during printing.
Figure 29-6: The two kinds of untrapped options: overprint (left) and knockout.
Figure 29-7: The Attributes pane lets you set whether objects overprint or knock out (the default, or unchecked, status).
Figure 29-8: The Trap Presets pane.
Figure 29-9: The New Preset dialog box.
Figure 29-10: The Assign Trap Presets dialog box.

Chapter 30: Preparing for Printing

Figure 30-1: The Mac's Print Center utility shows which printers are installed, and lets you configure them, as well as add additional printers.
Figure 30-2: The Device Settings pane in Windows set up for PostScript devices. It's the key pane in the Properties dialog box for a Windows printer. (Not all panes appear for all printers, depending on the printer type chosen and the network protocols installed.)
Figure 30-3: The Summary pane.
Figure 30-4: The Fonts pane.
Figure 30-5: The Links and Images pane.
Figure 30-6: The Colors and Inks pane.
Figure 30-7: The Print Settings pane.
Figure 30-8: The External Plug-Ins pane.
Figure 30-9: The Printing Instructions dialog box.
Figure 30-10: The Create Package Folder (Mac, left) and equivalent Package Publication (Windows, right) dialog boxes.

Chapter 31: Printing Techniques

Figure 31-1: The default view for the Print dialog box.
Figure 31-2: Mac OS X's Page Setup and Printer dialog boxes (top) and Windows' Setup dialog box.
Figure 31-3: The Setup pane.
Figure 31-4: The Marks and Bleeds pane.
Figure 31-5: The Output pane.
Figure 31-6: The Graphics pane.
Figure 31-7: The Color Management pane.
Figure 31-8: The Advanced pane.
Figure 31-9: The Summary pane.
Figure 31-10: The Ink Manager dialog box.
Figure 31-11: The Separations Preview pane.
Figure 31-12: The Transparency Flattener Presets dialog box.
Figure 31-13: The Transparency Flattener Preset Options dialog box.
Figure 31-14: The Flattener Preview pane.

Chapter 32: Creating Output Files

Figure 32-1: The Export PDF dialog box's General pane.
Figure 32-2: The Export PDF dialog box's Compression pane.
Figure 32-3: The Export PDF dialog box's Marks and Bleeds pane.
Figure 32-4: The Export PDF dialog box's Advanced pane.
Figure 32-5: The Export PDF dialog box's Security pane.
Figure 32-6: The Export PDF dialog box's Summary pane.
Figure 32-7: The Export EPS dialog box's General pane.
Figure 32-8: The Export EPS dialog box's Advanced pane.

Chapter 33: Interactive Document Setup

Figure 33-1: The Hyperlinks pane.
Figure 33-2: The New Hyperlink dialog box.
Figure 33-3: An example PDF document with bookmarks (at left).
Figure 33-4: The Bookmarks pane.
Figure 33-5: The States pane and an example button.
Figure 33-6: The Button Options dialog box and its Behaviors pane.
Figure 33-7: The Movie Options dialog box.
Figure 33-8: The Sound Options dialog box.

Chapter 34: Working with XML

Figure 34-1: The Tags pane.
Figure 34-2: The Map Tags to Styles dialog box.
Figure 34-3: The Structure pane.
Figure 34-4: The Export XML dialog box and its Images pane.

Chapter 36: Using Plug-Ins

Figure 36-1: The InDesign Plug-Ins folder stores the default plug-ins, as well as additional plug-ins you may install.
Figure 36-2: The two panes and one toolbar added by the PMPack set of plug-ins.
Figure 36-3: The Configure Plug-Ins dialog box.

Chapter 37: Using Scripts

Figure 37-1: The Scripts pane in InDesign.
Figure 37-2: The Script Editor window containing sample AppleScript text. When you check the syntax of a script, the Script Editor applies formatting and indents.
Figure 37-3: The Microsoft Script Editor window containing sample VBA text. When you work on a script, the Microsoft Script Editor applies indents automatically.

Chapter 38: The Publishing Environment

Figure 38-1: The Fonts window for adding TrueType fonts in Windows.
Figure 38-2: Font Reserve provides an intuitive interface for installing fonts, activating fonts on the fly, previewing fonts, and creating font sets.

Chapter 39: Layout Theory and Practice

Figure 39-1: This master-page template contains placeholders for the logos, headlines, and artwork for the first pages (whether starting on the left or right) of its reports articles. A similar master page exists for the interior reports pages.
Figure 39-2: InDesign lets you easily wrap text around the contours of images.
Figure 39-3: The page on the left is clean but dull even the image adds little visual interest. The page on the right uses different typefaces , alignment, color, and text wraps to create interest and reinforce the subject matter without getting too busy.
Figure 39-4: There's nothing wrong with this design except that it's supposed to be a sidebar, not an ad. Placed on a crowded page, its intent was lost on readers.
Figure 39-5: A pencil-sketch dummy lets you think through the basic structure quickly and easily.
Figure 39-6: Checking Thumbnails in the Setup pane of the Print dialog box lets you print miniature versions of your pages.
Figure 39-7: The design of this ad works well for its original content, but it is not likely to adapt well to another type of business.
Figure 39-8: A simple ad with a simple message deserves a simple treatment to attract attention. But notice that simple does not mean simplistic every element has a character of its own.
Figure 39-9: The interplay between the text and graphics in this ad reinforces the message.
Figure 39-10: A public service announcement designed for black-and-white reproduction.
Figure 39-11: Various special effects (from top to bottom, left to right).

Chapter 40: Typography Theory and Practice

Figure 40-1: A sample sans serif typeface with different stylings.
Figure 40-2: The elements of a typeface.
Figure 40-3: The same type with different leading has a very different appearance.
Figure 40-4: An example of unkerned (top) and kerned letter pairs.
Figure 40-5: Different typefaces produce different shades of typographic color.
Figure 40-6: A variety of typefaces and their variants.

Chapter 41: Using Special Characters

Figure 41-1: The Glyph pane's palette menu.
Figure 41-2: The Edit Glyph Set dialog box.

Appendix E: Switching to Mac OS X

Figure E-1: The initial Mac OS X interface.
Figure E-2: The Apple menu.
Figure E-3: The application menu for the Finder; all applications have a similar menu in which preference-oriented settings may be added in addition to the options shown here.
Figure E-4: The Go menu.
Figure E-5: The three folder views (from top to bottom): Icon, List, and Column.
Figure E-6: Mac OS X displays this folder hierarchy when you z +click the folder name.
Figure E-7: The Print Center utility.
Figure E-8: The Printer List dialog box displays when you add printers.
Figure E-9: This launch window appears when first running Mac OS 9 applications.
Figure E-10: Mac OS 9 applications have the standard menu bar, but also display Mac OS X applications in the Application menu.
Figure E-11: The System Preferences control panels.
Figure E-12: A customized Mac OS X environment.

Appendix F: Using Adobe InCopy

Figure F-1: The Notes pane, its palette menu, and (at upper left) the note anchor icon indicating a note in text.
Figure F-2: The Notes preferences pane.
Figure F-3: The three dialog boxes that appear after you choose the folder in which to place an exported story for use by others in InCopy. The User dialog box only displays the first time you export, and not at all if you choose File User before exporting that first time.
Figure F-4: Adobe InCopy, with a layout viewed in the Story pane.

Appendix G: The InDesign Central Web Site

Figure G-1: The home page for the InDesign Central Web site at www.INDDcentral.com .