Booklet Adobe Indesign Cs6 Lbv

Adobe® Photoshop® Lightroom® 4® Adobe® Photoshop® Lightroom® 4® Adobe® Photoshop® Lightroom® 4® Adobe® Photoshop® Lightroom® 4® Adobe® Photoshop® Lightroom® 4® Adobe® InDesign® CS6

Learn by Video

adobe® indesign® CS6: Learn by Videovideo2brain GmbH • Kelly McCathran

Copyright © 2013 by video2brain GmbHPeachpit Press1249 Eighth StreetBerkeley, CA 94710510/524-2178 • 510/524-2221 (fax)Find us on the Web at www.peachpit.comTo report errors, please send a note to [email protected]

Peachpit Press is a division of Pearson Education.

adobe indesign CS6: Learn by Video is published in association with Adobe Press. For the latest on Adobe Press books, go to www.adobepress.com

Acquisitions Editor: Victor GavendaProject Editor: Tracey CroomMedia Producer: Eric GeoffroyProofreader: Liz WelchPackage design: Charlene Charles-WillPackage imagery: Provided by Adobe Systems Inc.Book interior design: Danielle Foster

Notice of RightsAll rights reserved. No part of this video training book may be reproduced or transmitted in any form by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. The software and media files on this disc are copyrighted by the authors and Peachpit. You have the non-exclusive right to use these programs and files. You may use them on one computer at a time. You may not transfer the files from one computer to another over a network. You may transfer the files onto a single hard disk so long as you can prove ownership of the original disc. For information on getting permission for reprints and excerpts, contact [email protected].

Notice of LiabilityThe information in this video training book is distributed on an “As Is” basis, without warranty. While every precaution has been taken in the preparation of the video training book, neither the trainers nor video2brain GmbH nor Peachpit shall have any liability to any person or entity with respect to any loss or damage caused or alleged to be caused directly or indirectly by the instructions contained in this video training book or by the computer software and hardware products described in it.

TrademarksAdobe InDesign is a trademark or registered trademark of Adobe Systems Incorporated in the United States and/or other countries. All rights reserved. Many of the designations used by manufacturers and sellers to distinguish their products are claimed as trademarks. Where those designations appear in this video training book, and Peachpit was aware of a trademark claim, the designations appear as requested by the owner of the trademark. All other product names and services identified throughout this video training book are used in edi-torial fashion only and for the benefit of such companies with no intention of infringement of the trademark. No such use, or the use of any trade name, is intended to convey endorsement or other affiliation with this video training book.

ISBN-13: 978-0321-84069-1 ISBN–10: 0-321-84069-0 9 8 7 6 5 4 3 2 1

Printed and bound in the United States of America

1 The InDesign Interface and Workspace

1.1 InDesign’s Workspace

1.2 Using InDesign’s Tools

1.3 Navigating Documents and Panels

1.4 Setting the Best Preferences

1.5 Building a New Document and Saving a Preset

1.6 Creating and Formatting Text

1.7 Changing Text Color and Paragraph Settings

1.8 Working with Graphics

1.9 Working with Frames

2 InDesign Project Explorations

2.1 Placing and Formatting Text

2.2 Intro to Paragraph Styles

2.3 More Paragraph Styles

2.4 Editing Styles for Global Updates

2.5 Master Pages and Page Numbers

2.6 Creating or Adding Columns

2.7 Placing Images and Wrapping Text

2.8 Creating Letterhead

2.9 Building a Newsletter

2.10 Adding a Table of Contents and Jump Page Numbers

2.11 Using Selection Tools

2.12 Placing, Scaling, and Aligning Several Images with Multi-Place

2.13 Creating the Front of a Postcard

2.14 Creating the Back of a Postcard

3 Color Me Happy

3.1 Creating Colors and Adding Swatches

3.2 Creating a “Color Story” with the Kuler Panel

3.3 Adding “Spot” or Pantone® Colors

3.4 Drawing with Shapes and Lines

3.5 Creating Gradients

3.6 Creating Special Effects

3.7 Building Object Styles

3.8 Using a Clipping Path or Silhouette to Create Depth

ADoBE INDE S IGN CS6: LE ArN BY VIDEo iii

DVD Contents

4 High-End Text Handling

4.1 Building Character Styles

4.2 Creating Nested Styles

4.3 Nested Styles for the Power User

4.4 removing Text Formatting and relinking Word Styles to InDesign Styles

4.5 Hyphenation Settings and Widow/Orphan Control

4.6 Setting Tabs

4.7 Moving Beyond the Basic Tab Settings

4.8 Favorite Typography Keyboard Shortcuts

4.9 Using Find Font to replace Missing Fonts

4.10 Custom Bullets and the Glyphs Panel

5 All About Pages

5.1 Using Custom Page Numbers

5.2 Creating a Section

5.3 Building a Table of Contents

5.4 Creating Facing-Page (Spread) Layouts

5.5 Building Libraries for Frequently Used Content

5.6 Working with Multiple Master Pages and referenced Master Pages

5.7 Unlocking and resetting Master Page Items

5.8 Adding Layers to Your Document

5.9 Isolating, Moving, and Selecting objects with Layers

5.10 Layout Adjustment

5.11 Using Liquid Layout

5.12 Alternate Layouts

6 Fun with Images

6.1 Dragging and Dropping from Mini Bridge

6.2 Dynamic Captions and Adobe Bridge

6.3 Creating a Clipping Path (Silhouette)

6.4 The Align Panel

6.5 The Pathfinder Panel

6.6 Anchored Objects

6.7 The Links Panel

6.8 The Content Collector and Content Placer Tools

7 Book Features

7.1 Creating Document Templates

7.2 Building a Book

7.3 Synchronizing Colors and Styles in a Book

7.4 Building a Table of Contents for a Book

7.5 Creating Folding Spreads

iv DVD CONTENT S

DVD Contents

8 Dynamic Content

8.1 Creating Hyperlinks and Building Buttons

8.2 Building Document-Wide Navigation

8.3 Animating Content

8.4 Creating Motion Paths

8.5 Adding Object States

9 Output

9.1 Preflight and Packaging

9.2 The Separations Preview and Ink Manager Panels

9.3 Printing

9.4 InDesign Color Settings

9.5 Exporting to PDF and Loading PDF Settings

ADoBE INDE S IGN CS6: LE ArN BY VIDEo v

Introduction vii

What’s New in InDesign CS6? 1

New Features in InDesign CS6 . . . . . . 2

Customizing InDesign CS6 to Suit Your Needs 7

Changing Preferences . . . . . . . . . . . 8

recommended Preferences in the Type Category . . . . . . . . . . . . . 9

recommended Preferences in the Composition Category . . . . . . . . . 11

recommended Preferences in the Guides & Pasteboard Category . . . . 12

recommended Preferences in the Story Editor Display Category . . . . . 13

recommended Preferences in the Display Performance Category . . . . 14

recommended Preferences in the Appearance of Black Category . . . . . 16

recommended Preferences in the File Handling Category . . . . . . . . . 17

recommended Preferences in the Clipboard Handling Category . . . . . 19

Glossary 21

vi BookLE T CoNTENT S

Booklet Contents

Introduction

About This BookThe material in this booklet serves as a valu-

able supplement to the video training. The first

chapter gives you an overview of the many new

features in InDesign CS6. The second chapter

shows you how to customize the InDesign CS6

preferences to suit your needs.

How to Use This CourseThe video2brain interface is easy to use, but it

also has a large number of options. We’ve pro-

vided this brief guide to give you a tour of the

interface and make sure you don’t miss out on

any of its features.

This course comes in a few different flavors. You

can run the Mac application (labeled “Start” or

“Start.app”) or the Windows application (.exe)

file, or you can open start.html in your browser.

Most people will use one of the application

versions of the course. If you’re working with an

operating system that doesn’t support one of

these two options, such as Linux, the browser

version is a great alternative—it works on

any browser with a current version of Adobe

Flash. The main difference between running

the course as an application versus opening it

in your browser is that the application versions

include an option, discussed in more detail later

in this guide, called Watch-and-Work mode.

Watch-and-Work mode lets you watch the course

in a smaller window while you follow along in

another application. This option doesn’t exist in

the browser version of the course.

Welcome to Adobe InDesign CS6 Learn by VideoAdobe InDesign has been the gold standard in

desktop publishing for many years now, and in

the CS6 version it takes some big steps into the

future. In addition to its traditional print capa-

bilities, InDesign CS6 offers lots of options for

publishing to tablet devices, as well as Adaptive

Page Design, which lets you deploy one design

to many different formats.

In this course, you’ll learn your way around the

InDesign interface and workspaces, then be

walked through some projects that demon-

strate the powerful capabilities of InDesign CS6.

You’ll get in-depth training on working with

colors, text, images, pages, books, dynamic

content, and more.

Along the way you’ll be introduced to new In-

Design features like Liquid Layouts, the Content

Collector tool, and linked content. Whether

your goal is to produce great print documents,

PDFs, eBooks, or flexible designs that can be

used in many different ways, this course will

help you get there.

The lessons are wrapped in a feature-rich

interface that lets you jump to any topic and

bookmark individual sections for later review.

Full-Screen mode provides a hi-def, immersive

experience, and Watch-and-Work mode shrinks

the video into a small window so you can play

the videos alongside your application. This

course also includes project files so you can

follow along and try out new techniques as you

learn them.

viii INTroDUC TIoN

Introduction

Whether you’re using the application or brow-

ser version, when you first launch the course,

you will see the Welcome screen.

The Welcome Screen

From here, there are a few ways you can

proceed:

■■ Click the Play icon in the middle of the

screen to watch a video that introduces you

to the instructor(s) and gives you an over-

view of what’s covered in the course.

■■ For onscreen help and a user’s manual, click

either the Help item on the menu at the top

of your screen or the Need Help item at the

bottom of the Content panel. You can also

access help by pressing F1 on your keyboard.

■■ Entering a word or phrase in the Search field

in the upper right of the screen will search

the course’s titles and descriptive text to help

you find what you’re looking for.

Starting the Course

When you’re ready to dive in, you have several

options for how to get started:

■■ To begin at the beginning and play all the

way through, click Play All Videos.

■■ To access a list of every video available in the

training, click Table of Contents.

■■ To start with Chapter 1 (or any chapter that

appeals to you), click the chapter name on

the left of your screen.

You can navigate the Table of Contents and

Chapter views using your mouse, or using the

keyboard to arrow up and down, left and right.

When you’ve selected a movie, you can press

the right arrow to play that movie.

ADoBE INDE S IGN CS6: LE ArN BY VIDEo ix

Navigating Inside a Video

While watching a video, you can use the buttons

along the bottom right of your screen to toggle

both Full-Screen mode 1 and video smoothing 2 on and off. You can adjust the volume 3

from here as well. You can also click and drag

the green line 4 in the timeline at the bottom

of the screen to move around within the video.

When the video ends, click the Next Video but-

ton at the top right of the window to go directly

to the next lesson. (This will happen automati-

cally if you clicked Play All Chapter Videos to

launch the chapter.) At the end of a chapter, this

option will change to Next Chapter. You can

also click Training Content at any time to leave

the player and choose another lesson or click

the navigation bar near the top of the screen to

access the table of contents.

In the Table of Contents or Chapter view, any

time you move your mouse over the name of a

chapter or video, text describing the contents

of that item will appear on the right side of your

screen. This area is known as the Sidebar and is

discussed in detail on the next page.

If you click the name of a chapter, you’ll see a

list of all the videos in that chapter. Choose the

video you want to start with or click Play All

Chapter Videos to start with the first video in

the chapter and go all the way through.

KEYBOARD SHORTCUTS FOR THE PLAYER

■■ Spacebar: Play/pause

■■ Right Arrow: Jump forward

■■ Left Arrow: Jump backward

■■ Tab: Show/hide Sidebar

■■ B: Add bookmark

■■ M: Show/hide navigation bar

■■ Esc: Turn off Full-Screen mode

4 3 2 1

x INTroDUC TIoN

Introduction

Using Bookmarks

It’s easy to create a bookmark in the video to

mark where you left off or make note of some-

thing you want to refer back to later. Just click

the Bookmark button at the bottom right or use

the B keyboard shortcut. You will see the Create

Bookmark dialog box.

Enter a name for your bookmark and an optional

note, then click Save or press Enter/return. The

bookmark will then be visible as a thin line in

the timeline. You can access your bookmarks by

clicking My Bookmarks at the top of the screen

or via Video Bookmarks in the Sidebar. Just click

the bookmark to go to your previously marked

point. To delete a bookmark, click the Trashcan

icon to the right of the bookmark and confirm

your deletion by clicking Yes.

Resizing Your Window

The player interface gives you a few different

options for resizing your window to fit your

needs.

Click the Full-Screen icon 1 to enter Full-

Screen mode. You can exit Full-Screen mode

by clicking the icon again or by pressing the

Esc key. You can also dynamically resize your

window while watching simply by grabbing the

lower-right corner of the window and dragging

until the window is the size you want.

In the application versions of the course, you

can also choose Watch-and-Work mode 2 from

the player. This takes you to a smaller screen

that leaves room for you to work in another

application alongside the course. Click the Stan-

dard button to return to a regular-size screen.

The Sidebar

The Sidebar is an area on the

right side of the player

where additional informa-

tion, such as a description of

the video you’re watching, is

displayed. At the bottom are

buttons that enable you to

access your bookmarks or a

list of videos in the chapter. To turn the Sidebar

on or off, you can press Tab or click the button

in the navigation bar.

1 2

ADoBE INDE S IGN CS6: LE ArN BY VIDEo xi

xii INTroDUC TIoN

Introduction

After answering any question, click the Submit

Answer button at the bottom left to indicate

that you’re finished. A dialog box will pop up

to let you know whether you got the question

right. (If you get a question wrong and want to

see the correct answer, press and hold F, a, and

n on your keyboard at the same time. A check

mark will appear in the box next to the right

answer.) This dialog box also contains a button

that will take you to the next question.

When you’re finished answering all the ques-

tions, click Training Content to return to the

table of contents.

Test Yourself

This course includes a number of Test Your-

self sections, each of which contains a series

of questions about the topics covered in that

chapter.

Just click the box for the right answer.

About video2brainvideo2brain (video2brain.com) has been

Europe’s premier source for video training

since 2002. We produce high-quality English,

German, French, and Spanish video training

on a variety of software topics, with a special

emphasis on graphics, web design, photogra-

phy, and programming. Our customers include

people just starting out, professionals, educa-

tional institutions, and global corporations as

well as home enthusiasts.

All of our courses are available in 1280 x 720

Hi-Def video, with a full-screen mode that

creates an immersive learning experience. They

also include an interactive, easy-to-use inter-

face; custom bookmarks that let you annotate

your course and remember where you left off;

and “Watch-and-Work” mode, so you can prac-

tice as you learn.

We’re passionate about teaching and about

helping you build exceptional skills so you can

create extraordinary work. our mission is to

provide the best and most affordable video

training possible, and to offer you a feature-rich

learning environment aimed at enhancing the

effectiveness of our training.

video2brain was founded by Gerhard koren,

a v2b trainer himself. our home office is

nestled among the mountains of the Austrian

Alps in the city of Graz, a “student city” with six

universities.

About Kelly McCathranKelly McCathran has

been teaching Adobe

applications since 1992

and computer classes

since 1989. She’s an

Adobe Certified Instruc-

tor in InDesign, Photo-

shop, Illustrator,

Acrobat, and PageMaker. Kelly has traveled

North America and abroad, teaching applica-

tions to the largest printshops and ad agencies

in the world. In addition to creating video train-

ing for video2brain.com, kelly is the co-founder

of onlineinstruct.com.

ADoBE INDE S IGN CS6: LE ArN BY VIDEo xiii

About the Author

What’s New in InDesign CS6?

2 W HAT ’ S NE W IN INDE S IGN CS6?

New Digital Publishing WorkspaceInDesign CS6 features a new Digital Publishing

workspace that includes the most important

panels for creating and publishing electronic

media.

New Digital Publishing IntentThe Intent pop-up menu in the New Document

dialog box now contains a new Digital Publish-

ing option along with the familiar Print and

Web intents. Once you have selected this, you

will find options for the most common tablet

devices in the Page Size pop-up menu.

After creating the new document, you will see

that the colors are now defined in rGB.

New Features in InDesign CS6

Most of the new features of InDesign CS6 deal with issues of digital publishing. In this chapter, you’ll get an overview of the most important changes.

ADoBE INDE S IGN CS6: LE ArN BY VIDEo 3

Liquid LayoutsThe term “Liquid Layouts” originated in the

world of web design, where a layout needs

to adapt to the changing size of the browser

window. The same applies to tablet devices and

smartphones: You cannot predict exactly what

size your document will be displayed at, so

Liquid Layouts enable your designs to adapt

as needed.

To use Liquid Layouts in InDesign CS6, click the

Page tool and specify a Liquid Page rule in the

options bar. This allows you to specify how you

want your layout to adapt to different display

sizes.

Alternate LayoutsIn digital publishing, it is very common to need

versions of a document in different formats, for

example in portrait and in landscape mode.

In InDesign CS6, you don’t have to create two

different documents to accomplish this. You can

now create an alternate layout.

1. Open the Page panel menu and choose

Create Alternate Layout.

2. Choose the desired page size and other

options.

3. Click OK. The alternate layouts are arranged

in columns in the Pages panel.

NOTE: You can create as many alternate

layouts as you want.


Linking ObjectsYou can now create a duplicate of any object

(such as text or an image) and link it to the

original object so that any changes made to

the original will be reflected in the copy. This

can be done within a single document or even

between separate documents.

To create a linked object, select the desired

object(s) and choose Edit > Place and Link.

Then click and drag to insert the object(s) in the

desired location.

When you subsequently edit the source object,

you will see a yellow warning triangle in the

Links panel. You can double-click this icon to

update the linked object. To prevent certain

properties of the linked object from being

updated, you can right-click it in the Links panel

and choose Link options, then click the appro-

priate checkboxes in the Preserve Local Edits

section of the Link options dialog box.

Content Collector Tool and Content Placer ToolWith the new Content Collector and Content

Placer tools, you can collect a variety of objects

and place them in the same document or in

another document. To use them,

1. Choose the Content Collector tool.

2. Click the objects you want to collect. You’ll

see a panel with thumbnails of the collected

items.

3. Navigate to the page where you want to

insert the collected elements.


4. Choose the Content Placer tool and click to

insert the collected objects. You can click

repeatedly to insert multiple copies of the

collected objects.

Creating PDF FormsInDesign CS6 provides a basic set of PDF forms

that you can use in your documents. Choose

Window > Interactive > Buttons and Forms

to access the new Buttons and Forms panel.

Then select a frame in your layout and choose

the appropriate form field type to convert the

frame.

This feature makes it easy to create checkboxes,

combo boxes, list boxes, radio buttons, signa-

ture fields, and text fields.

Aligning to a Key ObjectPrevious versions of InDesign didn’t let you

align objects to a specific object of your choice,

but InDesign CS6 does. Just follow these steps:

1. Select the objects you want to align.

2. Click the object you want to align the other

objects to.

3. Select Window > object and Layout > Align.

4. Choose the desired options, click the Align

To button, and choose the Align to key

Object option.

Last Used FontsAt the top of the Font menus in the Character

panel and the Control bar, you will see the four

most recently used fonts.

To sort them alphabetically, choose InDesign/

Edit > Preferences > Type and check Sort recent

Fonts List Alphabetically.


Placeholder Text with Various Language OptionsTo insert placeholder text in the language of

your choice, choose the Type tool, click inside a

text frame, and hold down Ctrl/Command while

selecting Type > Fill with Placeholder Text.

In the Place Holder options dialog box, choose

the desired language from the Fill With menu.

Exporting in GrayscaleThe inability to export a document in grayscale

was a major issue in previous versions of

InDesign.

In InDesign CS6, you can choose Convert to

Destination from the Color Conversion pop-up

menu, then choose the desired grayscale profile

from the Destination pop-up menu.

Customizing InDesign CS6 to Suit your Needs

8 CUSToMIz ING INDE S IGN CS6 To SUIT YoUr NEEDS

NOTE: If you change the preferences with a

document open, the changes will only apply to

that specific document.

To change global preferences:

1. From the menu, choose InDesign/Edit >

Preferences.

2. Choose the category you want to change

settings for from the submenu.

3. Apply the desired changes and click OK

to confirm.

Changing Preferences

Before you open any document in InDesign CS6, it is a good idea to check your preferences and make any desired changes. Most preferences you change without a document open will be applied globally, meaning they will affect any documents you open in the future.


QuotesAlmost any document will look better with curly

quotes instead of straight quotes. Therefore,

you should make sure the Use Typographer’s

Quotes checkbox is selected.

Smart Text Reflowone of the big advantages of using primary text

frames is that InDesign can automatically

append a new page when you enter or insert

more text into a primary text frame than it

can hold.

However, for double-sided documents, it is

essential that primary text frames exist on both

pages and that they be linked to each other. The

exact behavior of this feature—Adobe calls it

Smart Text reflow—is determined in the Type

category of the Preferences dialog box.

If you activate the Delete Empty Pages check-

box, not only will InDesign automatically paste

in new pages when necessary, it will also auto-

matically delete pages that do not contain text

when you’re done editing. By enabling the

Preserve Facing-Page Spreads checkbox, you

can make sure that the layout of your facing-

page documents doesn’t change if you insert

text in the middle of the document instead of

at the end. InDesign will always insert an entire

new spread instead of a single new page.

Recommended Preferences in the Type Category

Preferences in the Type category can be helpful when you type text directly into your layout. options in this category relate to quotes, text reflow, and moving text with drag and drop.


Moving Text with Drag and DropEvery Mac user and anyone who works with

Microsoft Word or similar word processing soft-

ware is familiar with the idea of selecting text

and dragging it to another location.

InDesign can offer you this behavior as well—

you only need to switch it on. To do so, browse

to the Type category in the Preferences dialog

box and activate the Enable in Layout View

checkbox in the Drag and Drop Text Editing

section.

Tip: When you move a text selection with drag

and drop, by default it will maintain the same

formatting it had previously. However, if you

hold down Shift while moving the text, it will be

formatted to match the surrounding text in the

new location.


Highlighting Typography Issues Onscreen■■ Activate the Substituted Glyphs checkbox to

highlight character pairs that InDesign has

replaced with ligatures.

■■ When working with justified text, make sure

to enable the H&J Violations checkbox. Lines

that are too loose or tight will be highlighted

in yellow; the darker the yellow, the more

serious the problem.

■■ If you want to be aware of text that has

custom tracking and kerning applied, check

Custom Tracking/Kerning. Green highlighting

will appear over text with custom tracking or

kerning.

■■ The following options specify how text is

justified next to wrap objects: If you want

to justify text that wraps around an object,

check Justify Text Next to an object. Check

Skip by Leading to move wrapped text to

the next available leading increment below

a text-wrapped object. If you check Text

Wrap only Affects Text Beneath, text stacked

above a wrapped object will not be affected

by the text wrap.

Recommended Preferences in the Composition Category

The Composition category of the Preferences dialog box contains highlighting features, which can be very helpful in improving the quality of your typography by drawing your attention to errors and glitches like lines that are too loose or tight, clustered hyphenation, or font substitution.


Changing the Snap to ZoneIf desired, you can change this distance in the

Edit/InDesign > Preferences > Guides & Paste-

board dialog box. In the Guide options section,

enter the desired pixel value into the Snap to

zone input field.

Recommended Preferences in the Guides & Pasteboard Category

Guides can be very helpful by enabling you to precisely align objects. You can activate this feature by choosing View > Grids & Guides > Snap to Guides. Now, if you move a layout object close to a ruler or guide, the object will snap to it as soon as you come within four pixels (by default).


Using the Story EditorTo activate the Story Editor, choose Edit >

Edit in Story Editor from the menu. You can

switch back to your document layout by choos-

ing Edit > Edit in Layout or by closing the Story

Editor window at any time.

If you are not happy with the way text is dis-

played in the Story Editor, such as the font or

size, choose Edit/InDesign > Preferences and

browse to the Story Editor Display category. In

this category, you can set your desired font

and font size as well as line spacing, text color,

cursor, and anti-aliasing options.

Recommended Preferences in the Story Editor Display Category

With the Story Editor you can enter text outside the text frame in the layout, using a separate window that resembles a simple text editor.


■■ If your document contains lots of graph-

ics, you may want to keep the Links panel

closed. InDesign will operate noticeably

faster than it would with the panel open.

■■ You may want to choose a lower Display

Performance setting or even switch off im-

age previews entirely (InDesign will display

rectangular gray placeholder frames in your

layout). Choose View > Display Performance

from the menu; the Fast Display setting

will reduce the display to frames only. This

setting doesn’t affect the output resolution

when you export or print the document; it

affects only your onscreen display.

■■ To find the right balance between rendering

performance and quality, you can also adjust

the settings in the Edit/InDesign > Preferen-

ces > Display Quality dialog box. Here you

can choose the display quality for raster im-

ages, vector graphics, and transparencies:

■■ In the Options section, choose your

Default View from the Fast, Typical, and

High Quality settings.

■■ Tick the Preserve object-Level Display

Settings checkbox if you want to be able

to assign individual display settings to

selected graphics within your document.

■■ In the Adjust View Settings drop-down

list, choose which group of display

settings you want to adjust individually.

Recommended Preferences in the Display Performance Category

Small documents like posters or flyers are quick and easy to process, but complex documents like books can demand a considerable amount of patience. In this section you’ll get some tips to help speed up the performance of InDesign.


■■ Use the sliders below to set the quality for

each type of graphic.

■■ Checking the Enable Anti-aliasing option

will make InDesign perform anti-aliasing

on text, fills, and strokes.

■■ The value in the Greek Type Below input

field specifies a font size below which text

will be “greeked,” i.e., displayed as gray

bars.

■■ You can restore the default settings at any

time by clicking the Use Defaults button.

Let’s assume you have chosen the Typical

Display option from the View > Display Perfor-

mance submenu, but now you want to have a

closer look at a certain image or transparency

in your document. In this case, you have the

option to have this element displayed at a

higher quality without affecting the overall

display quality of your document.

First you need to make sure the Preserve

object-Level Display Settings checkbox in the

Display Performance category of the Preferen-

ces dialog box is activated. Then,

1. Select the desired graphic element.

2. open the context menu of the graphic

element and choose Display Performance.

3. Choose the desired display mode for

your image.

Make sure you have successfully selected the

image with the Selection or Direct Selection

tool before you open its context menu. If you

don’t have anything selected, the chosen

display setting will be applied globally to the

entire document!


The available options are as follows:

■■ Display All Blacks Accurately: This will give

you an onscreen reference that shows the

difference between 100% K [Black] and rich

black, which consists of 100% k mixed with

additional colors for a richer tone.

■■ Display All Blacks as Rich Black: This is the

default setting, which displays both 100 %k

[Black] and all other shades of black using

the same intensity. Choose this option if you

are only using standard 100% K [Black] in

your documents.

Note that the actual colors will remain

unchanged in your document; these settings

only affect their appearance onscreen.

For non-PostScript output devices, such as a

desktop inkjet printer, you have these options

for the output of black:

■■ Output All Blacks Accurately: This maintains

the settings for the swatches, overprinting

options, and so on. You will see a difference

in the output between pure black and rich

black.

■■ Output All Blacks as Rich Black: All shades

of black will be output as rich black. The col-

ors will be changed accordingly when output

to rGB or grayscale output devices.

Recommended Preferences in the Appearance of Black Category

Text is usually printed using 100% k, which is also the default preset for text in InDesign. In the Swatches panel, this standard text color is called [Black]. To change the appearance and output settings for [Black], consult the InDesign/Edit > Preferences > Appearance of Black dialog box.


Text Links vs. Embedded TextBy default, imported text is embedded in your

layout. However, you can also choose to merely

link to that text. The biggest advantage of this

is that you can always go back to the original

application to change and save the text content.

Afterwards, all you have to do is update the text

in InDesign. This comes in especially handy for

teams, so that authors can continue to revise

their text in Word, for example.

To create linked text:

1. Select Edit/InDesign > Preferences >

File Handling.

2. Activate the Create Links When Placing Text

and Spreadsheet Files checkbox.

3. Import your text via File > Place or by using

the Ctrl/Command+D keyboard shortcut.

4. open the Links panel. This is where you keep

track of your text links.

When text is changed in the original document,

a yellow warning triangle will be displayed in

the Links panel next to the document’s name.

You can click the Update Link button in the

Links panel to update the text in your InDesign

document to the current version.

Recommended Preferences in the File Handling Category

In the File Handling category of the Preferences, InDesign offers you the option to either embed or link to text. You can also determine how many preview images InDesign should save for Adobe Bridge.


Creating Preview Images for Adobe BridgeIn addition to helping you organize and view

your InDesign files, Adobe Bridge can assist you

in handling images, AI files, and PDFs. You can

even view individual pages in PDF and InDesign

files in the Preview area.

In the File Handling Preferences, you can

specify how many pages of your PDF you want

to save as a preview:

1. Choose Edit/InDesign > Preferences > File

Handling.

2. By default, the Always Save Preview Images

with Documents checkbox is already ticked.

Underneath it you can specify how many

pages you want to save as a preview and

what size they should be.

NOTE: The more preview images you save and

the higher the quality you choose, the longer it

will take to save your InDesign file.


To enable this feature,

1. Select Edit/InDesign > Preferences >

Clipboard Handling.

2. Activate the All Information (Index Mar-

kers, Swatches, Styles, etc.) checkbox and

click OK.

3. Now, if you copy text and paste it into

your layout by pressing Ctrl/Command+V,

InDesign will maintain the formatting.

TIP: If you subsequently want to insert

unformatted text in a particular case, you

can choose Edit > Paste without Formatting

(Shift+Ctrl/Command+V) .

Recommended Preferences in the Clipboard Handling Category

In addition to moving text around within a document, you can use the clipboard to swap text between different applications. The Menu commands are Edit > Copy/Cut and Edit > Paste. If you set the right preferences in advance, formatting and styles can be maintained between applications.

Glossary

Additive Color Mixing A reproduction process that mixes red, green, and blue light emitted from a source to produce a wide range of colors. See also “subtractive color.”

Alignment The positioning of page elements at the left, right, center, top, or bottom relative to each other.

Anti-Aliasing A pixel-processing technology that eliminates or softens the jaggedness of low-resolution curved edges.

Ascender The part of a lowercase letter that rises above the body of the letter “x.” The letters b, d, f, h, k, l, and t have ascenders.

ASCII American Standard Code for Informa-tion Interchange. Standard ASCII text does not support formatting attributes and therefore can be exchanged between most computer systems worldwide.

Baseline The invisible line that runs along the bottom of the capital letters in a line of text.

Binding Describes the various ways of attaching the pages in a book, such as saddle-stitching using staples on a folded spine or perfect-bound, where multiple sets of folded pages are sewn or glued into a flat spine.

Bit (Binary Digit) The smallest unit of informa-tion on a computer. Bits can have only two values: 0 or 1.

Bitmap A digital image file that uses spatially arranged pixels to store the image information. Sometimes the term “bitmap“ implies a color depth of one bit per pixel only, resulting in a two-color image.

Bleed Describes layout elements that extend beyond the limits of the trim marks on a page.

Boldface A heavier, darker style of a typeface.

Bullet A large, solid dot generally used to indi-cate a list of items.

Calibration Bars Color squares or tonal values reproduced on film, proofs, and press sheets; they serve to check the registration precision as well as quality, density, and ink coverage of the print run.

Cap Line The invisible line along the tops of capital letters in a line of text.

Caps Capital letters.

Caps and Small Caps In this typesetting style, capital letters are used in the normal way, while lowercase letters are displayed in capital letters of a smaller point size, usually at the same height as surrounding lowercase letters. True small-caps typefaces don’t contain any lowercase letters.

Caption Text that is used to describe a picture or an illustration, usually placed directly underneath or next to it.

Center Marks Press marks that appear at the center of all sides of a press sheet, used to facilitate the positioning of the print area on the paper.

Choke When a lighter background extends slightly into a darker foreground object to prevent gaps without ink caused by misregistration. See also “trapping.”

CMM Color-management module. The core software component of a color-management system.

22 GLoSSArY

Glossary

CMS Color-management system. A program that helps to match the color of input and output devices throughout the workflow in order to produce predictable results.

CMYK Cyan, Magenta, Yellow, Black. The process colors used in four-color printing. See also “sub-tractive color.”

Coated Printing papers with coated surfaces (e.g., chalk or clay) to provide a smoother finish and better opacity.

Color Control Strip A printed strip of differ-ent reference colors used to control printing qual-ity. It is normally placed on a press sheet outside of the project area, serving as a visual guide to the press operator.

Color Gamut The range of colors that can be reproduced by all possible combinations of a given system’s colorants, such as the colors that can be reproduced using process colors in commercial printing.

Color Model A mathematical model for the description of color, such as rGB, LAB, or CMYk.

Color Proof An image printed or simulated with the goal of producing a close representation of the final reproduction; used for approval by the client and as a guide for the press operator.

Color Separation The process of transforming color artwork into components that correspond to separate color channels, such as process colors or spot colors, or a combination of the two. Each ink color is reproduced as a unique piece of film or printing plate.

Color Shift When out-of-gamut colors are compressed into colors reproducible in the target color space, color shifting can occur. This effect can dramatically change the appearance of the final output.

Color spaces Color spaces are abstract for-mations. Each visible color is assigned a distinct position in terms of coordinates. The total of all possible colors inside a given color system (like rGB or CMYk) adds up to a virtual shape inside this coordinate system. This shape is called a color space. reproduction media like computer screens cannot display all visible colors. Printing or photographic reproduction technologies also have various intrinsic limitations of color reproduction. If colors are to be reproduced, which means they are transported from one medium to another, you need to know the color limitations of the different media. This is exactly what color spaces and gam-uts are all about: They are mathematical descrip-tions of the total number of displayable colors. Color spaces are vital components of the informa-tion being saved in color profiles.

Commercial Printing Printing processes include offset lithography, flexography, gravure, and screen printing. Offset printing is the most widely used commercial printing process.

Compression File size reduction using various mathematical algorithms. Depending on the tech-nology, compression can be lossless or lossy, with the latter resulting in a loss of image quality and/or resolution.


Condensed Type A typeface that uses a narrow-er letter width as compared to the standard letters of the font. There are true condensed typefaces available, but the effect can also be approximated using horizontal scaling.

Continuous Tone An image with continuous shades of color or gray tones, such as a photograph.

Contrast The relationship and degree of differ-ence in color and light between parts of an image.

Copyfitting Ensuring that your body text will actually fit into the alotted space.

Creep Describes the effect of progressive exten-sion of the spread edges in a folded signature.

Crop Marks Lines printed onto a press sheet to be used as guides for final trimming of the pages. Also called cut marks and tic marks.

Cross-Reference A reference within a document that directs the reader’s attention to an attached illustration or to a related section of the document.

Dash An in-text horizontal rule of variable length used to indicate a pause or clause in a sentence. See also “en dash,” “em dash.”

DCS Desktop color separation. This describes a version of the EPS file format. DCS 1.0 uses five files for each color image plus a separate low- resolution composite image; DCS 2.0 uses one file for storing information on process and spot colors.

Descender The part of a lowercase letter that extends below the baseline or main body of the letter. Letters that contain descenders are g, j, p, q, and y.

Direct-to-Plate Technology that produces printing plates or other image carriers directly from computer data, without the need for an interme-diate film exposure. This is usually done by laser exposure.

Discretionary Hyphen A hyphen that displays or prints only if the hyphenated word appears at the end of a line due to the text flow. Also called a “soft hyphen.”

Dot Gain The growth of a halftone dot that occurs because of ink spreading across the paper as it is soaked in. Dot gain varies with paper type. Failure to compensate for this effect can result in very poor results during printing.

DPI Dots per inch. This is a measurement unit for the resolution of page printers, phototypesetting machines, and graphics screens.

Drawing Creating lines and shapes with the mouse or a similar input device.

Drop Shadow A duplicate of a graphic element or type that is placed behind and slightly offset from the original object, creating the effect that the object is raised above the shadow behind it.

Effective Resolution The actual final resolu-tion of an image in a layout, calculated by divid-ing the image resolution (pixels per inch) by the magnification percentage.

24 GLoSSArY

Glossary

Em Dash A wide dash (—) that indicates the sepa-ration of elements in a sentence or clause. See also “dash,” “em space,” “en dash.”

Em Space A space whose width in points equals point size of the font. Thus, an em space in nine-point type is nine points wide.

Embedded Font A font that is included in the document file, making it available to any reader of that document.

Embedding Including data like an image, a text file, or a font within a saved document file.

En Dash A dash (–) that is half as wide as an em dash; an en dash is often used instead of the words “to” or “through,” as in “8–12” or “Tuesday–Friday.” See also “dash,” “em dash,” “en space.”

En Space A space that is half as wide as an em space, and therefore half the point size of a given font.

EPS Short for Encapsulated PostScript. A file format used to transfer PostScript data between compatible applications and devices. In addition to formatted text, EPS files may also contain vector artwork and bitmap images.

Expanded Type A typeface that uses wider let-ters than the standard font. There are true expand-ed typefaces available, but the effect can also be approximated by scaling text horizontally.

Exporting Saving a file in a non-native format that is readable in another application.

Film one possible output medium for imageset-ters or phototypesetters.

Font The complete character set (numbers, uppercase and lowercase letters and, in some cases, small caps and symbols) of a particular typeface in a specific style, such as Verdana Bold.

Font Subsetting Embedding a subset of a font containing only the characters actually used into the output file. This will result in a smaller file size, but may limit the ability to make corrections to the file.

Font Substitution replacing the original font with an alternative. This occurs when the original font used in a document can’t be found, usually when a font is missing on the computer used to output the design.

FPO Short for “for position only.” Generally denotes low-quality images or placeholder shapes that indicate placement and scaling of an element in a document.

Gamut See “color gamut.”

Gradient A gradual transition from one color or shade to another. Gradients can use different shades or color proportions.

Grayscale An image composed exclusively of shades of gray, varying from black of the weakest intensity to white of the strongest, usually using 256 different tones.

Greeking A software feature that displays lines of text below a specified point size as gray bars.


26 GLoSSArY

Grid A combination of horizontal and vertical guides that divides the layout into sections so text or graphics can be placed accurately.

Gutter Extra space between layout pages that appears either between the top and bottom of two adjacent pages or between two sides of consecu-tive pages. Sometimes used as a synonym for “alley” to describe the space between columns on a single page.

Hairline Rule The thinnest rule a given device is capable of printing. on an imagesetter with a resolution of 1200 dpi, the hairline rule would be 1/1200 of an inch wide, whereas on a 300-dpi laser printer, the same rule would print at 1/300 of an inch.

Hexachrome A six-color printing process developed by Pantone. In addition to the CMYK inks, green and orange are used to extend the range of printable colors. Also called “HiFi.” See also “CMYk.”

Hyphenation Zone The zone at the end of a text line where the hyphenation feature will examine the last word to determine whether it should be hyphenated and continued on the next line.

Imagesetter A device for outputting digital files at high resolution (usually 1200–4800 dpi) onto photographic paper or film, from which printing plates are made. Imagesetters that output directly to printing plates are called platesetters.

Imposition The proper arrangement of pages on a printed sheet, yielding the finished pages in their correct order after printing, folding, and trimming.

Initial Caps A text style where the first letter of each word is capitalized, except for articles and prepositions.

JPEG A lossy compression algorithm that reduces the file size of digital images. Image quality is reduced in direct proportion to the amount of compression. Typically, about 10:1 compression is possible with little perceptible loss in image quality.

Justified Alignment Alignment where every line of text is the same width, creating even left and right margins.

Kerning Adjusting the white space between letters by moving specific pairs of letters closer together or farther apart.

Knockout Printing overlapping objects without mixing inks—the ink for the underlying element does not print (knocks out) in the overlapping area. See also “overprinting.”

landscape orientation Printing across the wider side of the page. A letter-size page is 11 inches wide and 8.5 inches tall in landscape orientation. See also “portrait orientation.”

Layer A function of graphics software in which elements are isolated from each other so they can be hidden, reordered, or otherwise manipula-ted without affecting other elements in the composition.

Leaders A line of dots, dashes, or other symbols that lead the eye across a page from the end of a group of words to another element, such as in an index entry.

Glossary


Leading Space between consecutive lines of type. originally, actual strips of lead were inserted between the lines of metal type.

Left Alignment When text is aligned along the left edge, leaving the right edge irregular or ragged.

Letter Spacing The white space between the letters in a word.

Ligature Letters that are joined together as a single unit of type, such as “œ” or “fi.”

Line Art A piece of black-and-white artwork or a drawing; usually a one-bit raster image or a vector file.

Linking Placing a reference to a file location (image or graphic) into another file. When the referenced file is modified, the link must be updated as well.

Lossy A data compression method that discards parts of the original data to reduce file size.

LPI The lines per inch used when converting a photo to a halftone. Common values range from 85 for newspapers to 150 or higher for high-quality printing on smooth or coated paper. Also referred to as “line screen.”

Margins The page area or the line where text starts or stops.

Master Pages Template layout pages contain-ing common elements that will be inherited by any page based on that master page.

Misregistration The unwanted result of inaccurate superimposition of inks on a finished printed piece. Possible reasons for misregistra-tion include paper stretching and improper plate alignment. Trapping can help to compensate for misregistration.

Monospaced font A font where every charac-ter takes up the same amount of horizontal width. Also see “proportional spacing.”

OpenType A font format created by Adobe and Microsoft that is compatible with Windows and Macintosh computers. openType fonts can have up to 65,536 distinct glyphs. With their advanced typographic features, they allow correct typo-graphic treatment of complex scripts and advanced typographic effects for simpler scripts.

Orphan A single word, part of a word, or one line of a new paragraph that appears at the bottom of a page.

Out-of-Gamut color Color that cannot be reproduced by a specific color model. For example, some rGB colors fall outside the CMYk gamut.

Overprinting Printing an element on top of an element lying beneath, instead of knocking it out. often applied for black type. See also “knockout.”

PANTONE Matching System (PMS) A propri-etary color space used to specify colors by number for both coated and uncoated paper, assuring uni-form color matching in both professional printing and desktop publishing.

28 GLoSSArY

PDF Portable Document Format. A file format developed by Adobe Systems, Inc. that has be-come the standard for cross-platform document transfer.

Pi Font A font collection that includes special characters like mathematical signs and small icons. Well-known examples include zapf Dingbats and Symbol.

Pica A typographic unit of measurement equal to 12 points, or approximately 1/6 of an inch. Most modern computer applications specify a pica as exactly 1/6 of an inch.

Pixel Picture element. This is the smallest unit of information in a digital image. Pixels are usually arranged in a two-dimensional grid. Depending on the output device, they may be represented using squares or dots.

portrait orientation Printing across the narrow side of the page. A letter-size page is 8.5 inches wide and 11 inches tall in portrait orienta-tion. See also “landscape orientation.”

PPD PostScript Printer Description file. A file format developed by Adobe Systems, Inc. that vendors use to package information describing the feature sets and capabilities of their devices, enabling applications to produce the best possible results for each type of designated printer.

Preflight Check A final check of a page layout used to confirm that all fonts and graphics required for printing are present, that colors are properly defined, and that any necessary traps have been applied.

Prepress All work that occurs between the creation of a print layout and the final printing, such as adjusting images and text and creating the printing plates.

Printer’s Spread The finished imposition layout as viewed on the screen or printed onto the sheet. See also “imposition.”

Process Colors The four semitransparent inks (cyan, magenta, yellow, and black) used in four-color process printing to reproduce a full range of colors using halftone dots. See also “color separa-tion,” “CMYk.”

Proof A preview of the print job that is made from plates (press proof), film, or electronic data (prepress proof), generally used for customer inspection and approval prior to starting the print job.

Proportional Spacing Proportionally spaced typefaces use variable character widths, depend-ing on the shape of the character. Therefore, a proportionally spaced “m” is wider than an “i,” for example. Proportional spacing increases readabil-ity and reduces the amount of space required.

Pull Quote A short quotation from the body text that is printed at a larger size to draw attention to an article or to emphasize a certain idea.

Rasterizing Converting image information into a pixel-based format with a fixed resolution. Imagesetters need to perform this step on Post-Script files before they can output them, for example.

Glossary


Reader’s Spread The page or pages a reader will see when they open the document.

Registration Aligning the plates for a print job that uses several colors to ensure that the images will superimpose properly.

Registration Color A color definition that will print on every separation from a PostScript printer when applied to a page element. Often used to print identification text appearing outside of the trim marks on a set of separations.

Registration Marks often consisting of crossed lines and a circle, these marks are placed outside of the page boundaries on all color separa-tion overlays, facilitating proper alignment.

Resolution The detail level of an image described as density of graphic information in dots per inch (dpi) or pixels per inch (ppi).

Reversed out A term that describes light- colored or white type or images on a dark background.

RGB An additive color model that uses red, green, and blue as primary colors to describe the rGB color space, which is a subset of the visual color spectrum. rGB values are three numeric values (red, green, and blue) representing how much of each primary color is used to create a specific color in the rGB color space. Please note: rGB values do not describe colors device-independently without color management.

Rich Black A composite color consisting of 100% solid black and about 50% each of cyan, magenta, and yellow inks. rich black is used to create a darker tone than black ink alone can gen-erate. The mixture can be varied to achieve specific results, like warmer or cooler blacks. Also called “superblack.”

Right Alignment When text is aligned along the right edge, leaving the left edge irregular or ragged.

RIP raster image processor. A component used in PostScript printers or imagesetters to convert the PostScript Page Description Language into the rastered bitmap image required for output.

Running Head Text at the top of the page that provides information about the publication. In books, the chapter title and book title are often included in the running head. Also referred to as “page header.”

Sans Serif Fonts that do not have serifs. Sans serif fonts are generally used for headlines rather than for body text in print. See also “serif.”

Screen Frequency The line density in a half-tone screen, measured in lines per inch; can vary from 85 to 300.

Serif A typographical detail like a line or curve that projects from the end of some letter strokes.

Small Caps A type style in which lowercase let-ters are replaced by uppercase characters set at the same height and weight as surrounding lowercase letters.

30 GLoSSArY

Smart Quotes Curly quotation marks used in typography, as opposed to the straight marks on a typewriter. They clearly denote the beginning and end of a citation. Most word processing and page layout applications will use smart quotes as a default option.

Soft Return A return command that ends a line without applying a paragraph mark, allowing the same paragraph style to continue.

Special Colors Colors printed with premixed inks, often used to reproduce custom colors or colors that are outside the CMYK gamut. See also “spot color.”

Spot Color Any premixed ink other than one of the CMYk inks.

Spread Two facing pages in a document.

Style A set of predefined formatting options for font and/or paragraph attributes and other text layout properties.

Subscript Characters that appear smaller than the normal text size and are set slightly below the standard text line; often used to convey technical information.

Subtractive Color Color that is observed when light strikes pigments or dyes, caused by the mixture absorbing certain wavelengths of light and reflecting others. The light that is reflected back is perceived as a color. See also “CMYk,” “process color.”

Superscript Characters that appear smaller than the normal text size and are set slightly above the standard text line, such as numbers referring to footnotes.

SWOP Specifications for Web offset Publications. The SWOP industry standards help produce consis-tent and high-quality printing results.

Template A page or document that contains a prebuilt layout, styles, and/or repeating content, facilitating the creation of new documents that maintain a similar appearance.

Tone Value Increase See “dot gain.”

Tracking Uniformly increasing or decreasing the space between all letters in a block of text to achieve proper justification or improve the appear-ance of the text.

Transparency The transparency of an image element determines how much of the background underneath will show through.

Trapping Creating an overlap between adjoining areas of ink to compensate for inexact registration during printing. Generally this means extending the lighter colors of one element into the darker colors of an abutting element.

Trim Size The area of the finished page after printing, folding, binding, and cutting.

TrueType An outline font format originally developed by Apple Computer that is used on both Macintosh and Windows systems for screen display and printing.

Glossary


Trumatch A library of special colors used in the United States.

Type 1 Fonts Vector-based PostScript fonts encoded for compactness.

Type Family A set of typefaces created from the same basic font design but using different styles like bold, semibold, light, italic, and heavy.

Vector Graphics Graphics that consist of coor-dinate points and mathematically drawn lines and curves rather than discrete pixels. Vector graphics can be freely scaled and rotated without degrading the image.

White Space The blank area between written characters or graphic regions. Proper use of white space is critical to a well-balanced design.

Word Space The space between two words of text in a layout. The ideal value is built into the typeface, but it can usually be adjusted within an application.

Wrap How text flows around the shape of another element, such as an image frame.

X-height The height of the lowercase letter “x” in a given typeface, which is used as a reference for the basic size of the bodies of all the other lower-case letters (excluding ascenders and descenders). See also “ascenders,” “descenders.”

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