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- Herausgeber: John Wiley & Sons
- Kategorie: Wissenschaft und neue Technologien
- Serie: Bible
- Sprache: Englisch
The soup-to-nuts guide on everything InDesign users need to know about the much-anticipated CS4 release!
- Packed with more than one thousand pages of real-world insight and valuable guidance, this authoritative resource describes the power and potential of InDesign—whose popularity as a page-layout program is growing stronger and gaining new converts every day
- No matter what your skill level, you will get everything you need to know in order to make the most of this software and take advantage of InDesign CS4’s innovative architecture, functionality, and many ingenious features
- Learn how to edit Photoshop, Illustrator, and PDF files from within InDesign; export documents in HTML for publication on CD-ROM or the Web; tap the power of multiple layers and master pages; optimize InDesign for efficient project workflow; take advantage of dynamic spell-checking; and more
Note: CD-ROM/DVD and other supplementary materials are not included as part of eBook file.
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Seitenzahl: 1588
Veröffentlichungsjahr: 2009
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InDesign® CS4 Bible
Table of Contents
Building a Document from Start to Finish
Creating a New Document
Working with Frames and Pages
Working with Text
Working with Lines
Creating and Applying Colors
Working with Graphics
Adding Special Effects
Printing a Composite
Part I: Welcome to InDesign
Chapter 1: What InDesign Can Do for You
InDesign's Flexible Approach
Understanding Global and Local Control
Summary
Chapter 2: Inside the InDesign Interface
Exploring the InDesign Application Folder
The Presets folder
The Plug-ins folder
The Required folder
Exploring the Document Window
Title tab
Rulers
Zero point
Scroll bars
Pasteboard, pages, and guides
Page controls
Version Cue pop-up menu
Application frame
Application bar
Zoom field and pop-up menu
Adobe Community Search field
Working with Multiple Document Windows
Using Tools
Selecting tools
Understanding what the tools do
Color buttons
View buttons
Using Tool Tips and keyboard shortcuts
Opening and closing the Tools panel
Working with Panels and Docks
Arranging panels
Changing the dock display
Using panels
Checking out the panels
Reviewing Menu Commands
InDesign menu
File menu
Edit menu
Layout menu
Type menu
Object menu
Table menu
View menu
Window menu
Help menu
Contextual menus
Undoing What You've Just Done
Summary
Chapter 3: Getting InDesign Ready to Go
Working with Preferences Files
InDesign Defaults file
Presets folder
Using the Preferences Dialog Box
General preferences
Interface preferences
Type preferences
Advanced Type preferences
Composition preferences
Units & Increments preferences
Grids preferences
Guides & Pasteboard preferences
Dictionary preferences
Spelling preferences
Autocorrect preferences
Notes preferences
Story Editor Display preferences
Display Performance preferences
Appearance of Black preferences
File Handling preferences
Clipboard Handling pane
Setting Other Global Preferences
Setting up automatic program updates
Customizing keyboard shortcuts
Customizing menus
Workspaces
Color management settings
Modifying Defaults for Documents, Text, and Objects
Document defaults
Text defaults
Object defaults
Modifying Defaults for Views
Setting Color and Style Defaults
Reverting Preferences and Defaults
Changing Views
Zooming and scrolling
Object display options
Summary
Part II: Document Fundamentals
Chapter 4: Creating, Opening, and Saving Documents
Taking Stock before You Begin
Setting Up a New Publication
Opening Documents and Templates
Opening documents versus opening templates
Working with files in the Bridge file system
Converting documents created with other programs
Recovering a document after a crash or power failure
Saving Documents and Templates
Saving documents versus saving templates
Knowing how to not save changes
Saving Files in Other Formats
Export formats for whole documents
Export formats for document elements
Summary
Chapter 5: Working with Pages and Layers
Working with Multipage Documents
Adding pages
Deleting pages
Copying and moving pages
Starting documents on a left page
Controlling page shuffling
Creating gatefold spreads
Working with page numbers
Dividing a document into sections
Navigating pages
Navigating by page number
Working with specialty page controls
Adjusting page layouts
Working with Layers
Creating layers
Working with objects on layers
Manipulating layers
Summary
Chapter 6: Creating Layout Standards
Creating and Applying Master Pages
The Pages panel
Creating a new master page
Importing a master page
Laying out a master page
Applying a master page to document pages
Modifying master items on document pages
Using Templates
Creating templates
Modifying templates
Creating documents from templates
Storing Objects in Libraries
Adding and deleting library objects
Cataloging library objects
Copying library objects onto document pages
Using Ruler Guides and Grids
Ruler guides
Working with column guides
Working with the baseline grid
Working with the document grid
Snapping to guides
Summary
Chapter 7: Defining Colors, Tints, and Gradients
Defining Color Terms
Understanding Process and Spot Color
Identifying methods of color printing
Mixing spot and process colors
Converting spot color to process color
Working with Color Models
Understanding Paper Variation Models
Defining Colors and Tints
Creating colors the ideal way: the Swatches panel
Using Kuler to add to your color swatches
Mixing color swatches to create more colors
Creating colors the risky way: Using the Colors panel
Importing and sampling colors
Working with Gradients
Creating gradients
Creating unnamed gradients
Adjusting gradient angle and location
Managing Swatches
Editing swatches
Merging swatches
Deleting swatches
Duplicating swatches
Applying Colors, Tints, and Gradients
Summary
Part III: Object Fundamentals
Chapter 8: Adding Frames, Shapes, and Lines
Creating a Text Frame
Creating a Graphics Frame
Converting Frames for Specific Content
Drawing Straight Lines
Summary
Chapter 9: Manipulating Objects
Selecting Objects
Understanding the selection tools
Selecting objects
Selecting overlapping objects
Selecting multiple objects
Deselecting objects
Moving Objects
Creating Copies of Objects
Copying objects within documents
Copying objects between documents
Deleting Objects
Preventing Objects from Printing
Aligning and Distributing Objects
Working with the Align panel
Working with smart guides
Working with smart spacing and measurements
Summary
Chapter 10: Transforming Objects
Resizing and Scaling Objects
Resizing methods
Scaling methods
Performing Other Transformations
Rotating objects
Using the Shear tool
Flipping objects
Using the Free Transform tool
Repeating Transformations
Undoing Transformations
Replacing Object Attributes
Summary
Chapter 11: Applying Effects to Objects
Working with Strokes
Adding strokes
Creating stroke styles
Adding Corner Options
Applying Lighting Effects
Using the Effects panel and related controls
Applying transparency
Applying drop shadows and inner shadows
Applying feathering
Applying outer and inner glows
Applying beveling and embossing
Applying satin effects
Summary
Chapter 12: Orchestrating Objects
Stacking Objects
Combining Objects into a Group
Using groups within groups
Selecting objects within groups
Ungrouping
Locking Objects
Creating Inline Frames
Creating an inline frame with the Paste command
Creating an inline frame with the Place command
Creating an inline frame using the Anchored Object command
Adjusting inline frames
Deleting inline frames
Setting Up “Follow Me” Anchored Frames
When to use anchored frames
Adding anchored frames
Converting existing frames to anchored frames
Adjusting anchored frames
Releasing and deleting anchored frames
Wrapping Text around Objects
Using the Text Wrap panel
Setting text-wrap preferences
Changing the shape of a text wrap
Defining and Applying Object Styles
Creating object styles
Managing object styles
Using style groups
Understanding predefined styles
Applying object styles
Managing Links
Summary
Part IV: Text Fundamentals
Chapter 13: Importing Text Files
Determining Where to Format Documents
Preparing Text Files
Preserving special features in text files
Avoiding text-file pitfalls
Adding Text
Using the Type tool
Pasting text
Dragging and dropping text
Importing text with the Place dialog box
Summary
Chapter 14: Flowing Text through a Document
Working with Text Frames
Creating text frames on master pages
Drawing additional text frames
Threading Text Frames
Threading frames manually
Threading frames semiautomatically
Threading frames and adding pages automatically
Breaking and rerouting threads
Adjusting Columns
Specifying columns in master frames
Adjusting columns in text frames
Placing rules between columns
Managing Spacing and Alignment within Text Frames
Working with Overset Text
Summary
Chapter 15: Editing and Formatting Text
Editing Text
Controlling text view
Navigating text
Highlighting text
Cutting, copying, and pasting text
Deleting and replacing text
Undoing text edits
Using the Story Editor
Correcting Spelling Mistakes
Fixing spelling on the fly
Checking spelling as you type
Using the Check Spelling dialog box
Working with multiple languages
Customizing the Spelling and Hyphenation Dictionaries
Customizing the spelling dictionary
Customizing hyphenation points
Setting spelling and hyphenation dictionary preferences
Searching and Replacing
Searching and replacing text
Changing special characters
Searching and replacing formatting
Changing fonts globally
Working with saved search queries
Adjusting Text Appearance in Text Frames
Setting text frame options
Working with Notes
Summary
Chapter 16: Specifying Character Attributes
Working with Character Formats
Changing Font Family, Font Style, and Font Size
Selecting fonts
Changing font size
Applying Other Character Formats
Horizontal Scale and Vertical Scale
Baseline Shift
Skew (false italic)
Language
All Caps and Small Caps
Superscript and Subscript
Underline and Strikethrough
Ligatures
OpenType options
No Break
Leaving Space between Characters and Lines
Kerning
Tracking
Leading
Summary
Chapter 17: Specifying Paragraph Attributes
Understanding Paragraph Basics
Using leading
Controlling alignment and indents
Adding Space between Paragraphs
Using Drop Caps
Applying basic drop caps
Using the Drop Caps and Nested Styles dialog box
Using special initial cap techniques
Adding Automatic Bullets and Numbered Lists
Controlling Hyphenation and Justification
Manual hyphenation
Automatic hyphenation
Justifications controls
Composing text
Setting Other Paragraph Formats
Keep Options
Paragraph rules
Optical margin override
Summary
Chapter 18: Creating Special Text Formatting
Using Bulleted and Numbered Lists
Defining lists
Applying lists
Working with imported lists
Formatting Fractions
Applying a fraction typeface
Formatting fractions manually
Reversing Type out of Its Background
Creating Sidebars and Pull-Quotes
Optical Margin Alignment
End-of-Story Markers
Underline and Strikethrough Options
Adjusting character strokes
Converting text into shapes
Making Text Follow a Path
Summary
Chapter 19: Setting Up Styles
Creating and Applying Styles
Paragraph styles
Character styles
Working with Nested Styles
Changing Styles
Modifying styles
Modifying text that's been styled with a style
Importing Styles
Importing styles from InDesign documents
Working with style sheets in imported text files
Summary
Chapter 20: Using Special Characters
Inserting Glyphs
Using keyboard shortcuts
Using menus
Using the Glyphs panel
Using Other Tools to Access Special Characters
Understanding Special Spaces, Dashes, and Quotes
Using special spaces
Using dashes
Using quotation marks and apostrophes
Working with Foreign Languages
Summary
Part V: Business Document Fundamentals
Chapter 21: Setting Up Tabs and Tables
Using the Tabs Panel
Tab style buttons
X field
Leader field
Align On field
Tab ruler
Position Panel above Text Frame button
Flyout menu
Creating Tables
Creating a table
Working with rows and columns
Working with cells
Using table and cell styles
Converting Tabs to Tables
Summary
Chapter 22: Using Automatic and Custom Text
Automating Page Numbers
Using Section Markers
Using Text Variables
Creating text variables
Formatting text variables
Editing and managing text variables
Inserting text variables
Working with Cross-References
Adding and editing cross-references
Working with cross-reference formats
Using Conditional Text
Working with Merged Data
Setting up merged data
Creating pages with merged data
Working with multiple records per page
Using Tagged Text for Database Publishing
Summary
Chapter 23: Working with Footnotes, Indexes, and TOCs
Working with Footnotes
Numbering and Formatting pane
Layout pane
Indexing Documents and Books
Choosing an indexing style
Using the Index panel
Creating Tables of Contents
Planning a TOC
Defining a TOC
Summary
Chapter 24: Creating Multidocument Projects
Planning Your Book
Creating and Opening Books
Adding chapters to books
Opening and editing chapters
Understanding a book panel's status reports
Working with Style Sources
Working with Page Numbers and Sections
Numbering pages consecutively
Numbering pages with sections
Specifying chapter numbers
Printing Chapters and Books
Summary
Part VI: Graphics Fundamentals
Chapter 25: Importing Graphics
Preparing Graphics Files
Graphics embedded in text files
Issues with vector files
Issues with bitmap formats
Identifying Color Issues
Color systems
Calibrated color
Exploring Methods for Importing Graphics
Using the Place dialog box
Using import options
Using other ways to import graphics
Summary
Chapter 26: Fitting Graphics and Frames Together
Fitting Graphics within Their Frames
Resizing a graphic's frame
Moving a graphic in its frame
Using an irregular frame
Figuring Out the Fitting Commands
Working with Clipping Paths
Using a graphic's own clipping path
Creating a clipping path in InDesign
Modifying clipping paths
Deleting clipping paths
Summary
Chapter 27: Drawing Free-Form Shapes and Curved Paths
Finding Out All about Paths
The properties of a path
The anatomy of a path
Drawing Lines with the Pen Tool
Straight and zigzag lines
Curved lines
Combining straight and curved segments
Drawing Free-Form Shapes
Editing Free-form Lines and Shapes
Adding and deleting anchor points
Modifying segments
Working with open and closed paths
Using the Scissors tool
Joining Paths
Working with Compound Paths
Examples of compound paths in use
Creating compound paths
Editing compound paths
Changing a path's direction
Splitting a compound path
Using the Pathfinder
Using Other Path Effects
The Convert Shape options
The Smooth tool
The Erase tool
The Corner Options dialog box
Summary
Part VII: Output Fundamentals
Chapter 28: Preparing for Color Prepress
Managing Color Management
Setting up your system
Adjusting the on-screen display
Adjusting color output settings
Applying profiles to images
Changing document color settings
Managing color during output
Saving color-management preferences
Proofing on-screen
Working with Color Traps
Understanding trap methods
Specifying knockout and overprinting
Specifying trapping presets
Applying trapping to pages
Summary
Chapter 29: Preparing for Printing
Making Initial Preparations
Setting up Macintosh printers
Setting up Windows printers
Preflighting Your Document
Telling InDesign what to look for
Fixing preflight problems
Creating a Document Package
Final preflighting before you package
Putting the package together
Dealing with Service Bureaus
Sending documents versus output files
Determining output settings
Ensuring correct bleeds
Sending oversized pages
Setting up Booklets
Summary
Chapter 30: Printing Documents
Selecting InDesign Printing Options
Common options
The General pane
The Setup pane
The Marks and Bleeds pane
The Output pane
The Graphics pane
The Color Management pane
The Advanced pane
The Summary pane
Working with Spot Colors and Separations
Managing color and ink output
Adjusting screen angles
Working with Transparency
Using transparency the ideal way
Flattening transparency during output
Summary
Chapter 31: Creating Prepress Files
Selecting the Best Prepress File Option
Exporting to PDF
Exporting to EPS
Printing to EPS or PostScript files
Creating PDF Files
Exporting PDF files
Using Distiller job options
Printing to PDF files
Exporting EPS Files
The General pane
The Advanced pane
Creating Output Files
Summary
Part VIII: Electronic Publishing Techniques
Chapter 32: Creating Web, Interactive PDF, and Flash Documents
Using Hyperlinks
Creating hyperlinks
Importing hyperlinks
Modifying and deleting hyperlinks
What works where
Creating Bookmarks
Using the Bookmarks panel
What works where
Creating Buttons and Page Actions
Creating buttons
Creating states
Setting actions
What works where
Embedding Movies and Sound
The Movie Options dialog box
The Sound Options dialog box
What works where
Exporting to the Web
General pane
Images pane
Advanced pane
Working with exported files
Exporting to Flash Files
The Export SWF dialog box
The Export Adobe CS4 Flash Professional (XFL) dialog box
Exporting to Interactive PDFs and eBooks
Considerations for exporting interactive PDFs
Considerations for exporting eBooks
Summary
Chapter 33: Working with XML
Importing and Creating XML Tags
Importing tags
Creating tags
Mapping tags and styles
Applying Tags
Taking Advantage of Other XML Options
Exporting XML Files
Exporting to IDML
Summary
Part IX: Workgroup Publishing Techniques
Chapter 34: Working with Others
Sharing Elements with Other Users
Where InDesign stores what
Preference files
Color definitions
Paragraph, character, table, cell, and object styles
Spelling dictionaries
Graphics and text files
Libraries
Snippets
Templates
Output settings
Master pages
InDesign documents
Interface preferences
Mixing Mac and Windows Environments
InDesign differences
Platform differences
Transfer methods
Working with Other Creative Suite Applications
Working with graphics and colors
Working with Web content
Working with Adobe Flash Professional
Working with Adobe Bridge
Summary
Chapter 35: Workgroup Editing with InCopy
Setting up Workgroup Assignments
Identifying the user
Preparing story files for InCopy
Editing and manipulating assigned stories
Using the Stand-Alone InCopy Program
Story views
Story checkout, check-in, and saving
Revisions tracking
Special features
Summary
Part X: Extending InDesign
Chapter 36: Using Plug-Ins
Using the Default Plug-Ins
Purchasing Special-Purpose Plug-Ins
Understanding How Plug-Ins Work within InDesign
Managing Plug-Ins
Summary
Chapter 37: Using Scripts
Using Scripts
Script tips
Script locations
Scripting principles
Exploring JavaScript
Learning the language
What you need to write and run scripts
Exploring AppleScript
Learning the language
What you need to write and run scripts
Locating more AppleScript tools
Exploring VBA
Learning the language
What you need to write and run scripts
Creating and Running Scripts
Writing simple scripts
Labeling items
Writing conditional scripts
Summary
Part XI: Appendixes
Appendix A: Installing or Upgrading InDesign
Running the installation program
Activating and registering
Finishing your setup
Appendix B: What's New in InDesign CS4
Document windows, workspaces, and dialog boxes
Tools
Docks and panels
Shortcuts and gestures
Menus
Preferences
Help
Page sizes, elements, and actions
Object handling
Color creation
File exchange and management
Multidocument projects
Text import
Text editing
Paragraph and character formatting
Spelling and indexing
Styles
Hyperlinks
Interactivity
Appendix C: Using Version Cue
Creating file versions
Working with versions
Appendix D: Shortcuts Cheat Sheet
InDesign® CS4 Bible
by Galen Gruman
InDesign® CS4 Bible
Published byWiley Publishing, Inc.10475 Crosspoint BoulevardIndianapolis, IN 46256www.wiley.com
Copyright © 2009 by Wiley Publishing, Inc., Indianapolis, Indiana
Published simultaneously in Canada
ISBN: 978-0-470-40511-6
Manufactured in the United States of America
10 9 8 7 6 5 4 3 2 1
No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning or otherwise, except as permitted under Sections 107 or 108 of the 1976 United States Copyright Act, without either the prior written permission of the Publisher, or authorization through payment of the appropriate per-copy fee to the Copyright Clearance Center, 222 Rosewood Drive, Danvers, MA 01923, (978) 750-8400, fax (978) 646-8600. Requests to the Publisher for permission should be addressed to the Legal Department, Wiley Publishing, Inc., 10475 Crosspoint Blvd., Indianapolis, IN 46256, (317) 572-3447, fax (317) 572-4355, or online at http://www.wiley.com/go/permissions.
Limit of Liability/Disclaimer of Warranty: The publisher and the author make no representations or warranties with respect to the accuracy or completeness of the contents of this work and specifically disclaim all warranties, including without limitation warranties of fitness for a particular purpose. No warranty may be created or extended by sales or promotional materials. The advice and strategies contained herein may not be suitable for every situation. This work is sold with the understanding that the publisher is not engaged in rendering legal, accounting, or other professional services. If professional assistance is required, the services of a competent professional person should be sought. Neither the publisher nor the author shall be liable for damages arising herefrom. The fact that an organization or Website is referred to in this work as a citation and/or a potential source of further information does not mean that the author or the publisher endorses the information the organization or Website may provide or recommendations it may make. Further, readers should be aware that Internet Websites listed in this work may have changed or disappeared between when this work was written and when it is read.
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Library of Congress Control Number: 2008941629
Trademarks: Wiley, the Wiley Publishing logo, For Dummies, the Dummies Man logo, A Reference for the Rest of Us!, The Dummies Way, Dummies Daily, The Fun and Easy Way, Dummies.com, Making Everything Easier, and related trade dress are trademarks or registered trademarks of John Wiley & Sons, Inc. and/or its affiliates in the United States and other countries, and may not be used without written permission. All other trademarks are the property of their respective owners. Wiley Publishing, Inc., is not associated with any product or vendor mentioned in this book.
About the Author
Galen Gruman is the principal at The Zango Group, an editorial development and book production firm. As such, he has produced several books for Wiley Publishing and is a regular contributor to Macworld and CIO. He is author or coauthor of 22 other books on desktop publishing. Gruman led one of the first successful conversions of a national magazine to desktop publishing in 1986 and has covered publishing technology since then for several publications, including the trade weekly InfoWorld, for which he began writing in 1986 and of which he is now executive editor; Macworld, whose staff he was a member of from 1991 to 1998; and, most recently, Layers Magazine.
To my colleague and friend Carol Person, who has been a great partner in so many endeavors.
Credits
Associate Acquisitions Editor: Aaron Black
Project Editor: Susan Christophersen
Technical Editor: Jonathan Woolson
Copy Editor: Susan Christophersen
Editorial Manager: Robyn Siesky
Business Manager: Amy Knies
Vice President and Executive Group Publisher: Richard Swadley
Vice President and Executive Publisher: Barry Pruett
Project Coordinator: Lynsey Stanford
Graphics and Production Specialists: Stacie Brooks, Sarah Philippart, Christin Swinford
Quality Control Technician: Laura Albert
Proofreading and Indexing: Broccoli Information Management, Nancy L. Reinhardt
Foreword
In many ways, my career started in page layout. I was lucky enough to show up on the doorstep of my college newspaper the very year it switched from old-school paste-up to the newfangled world of page-layout software. Being comfortable with both computers and journalism, I embraced the new technology, became a page-layout whiz, and now I write about computers and technology for a living.
The tool of choice back then was Aldus PageMaker, but in the intervening years the state-of-the-art tools have migrated from PageMaker to QuarkXPress to Adobe InDesign. In the years since the first version of InDesign was released, the product has gone from being a strange amalgam of PageMaker and XPress to a design juggernaut, and the publishing industry has embraced this new tool with a speed that I would not have thought possible.
But the more powerful a tool becomes, the more complicated it becomes. InDesign CS4 alone introduces a score of new features, including conditional text, Flash integration, smart guides and smart spacing, and several interface tweaks. That's why you need a tool like the Adobe InDesign CS4 Bible. This book, written by an expert who is also an expert communicator, will let you in on the secrets of InDesign, from the classic features you never knew about to the exciting new features in the CS4 update that will save you time and make you more productive.
Your guide along this journey of InDesign discovery is Galen Gruman, a guy who knows a thing or two about desktop publishing. I first met Galen more than a decade ago, when he was the editor of Macworld. Galen was Macworld's go-to author for desktop publishing back then, and in the intervening years he has continued his mastery of the subject, including the authoring of every edition of the Adobe InDesign Bible. You couldn't find a better person to show you the ins and outs of Adobe's powerful page-creation application.
Jason Snell
Editorial Director
Macworld
Preface
Every two years, give or take, Adobe comes out with yet another version of its Creative Suite applications, including InDesign. I always wonder, “What are they going to find to change this time?!” After all, they've been working on these programs for one to two decades, so there can't be a lot left to add or change. Well, Adobe always finds something — a collection of tiny to moderate enhancements and a handful (and sometimes more) of major additions or changes. Version 6 of InDesign — popularly known as InDesign CS4 — follows that tradition.
The big news is the ability to export files for use in Flash animation, a key part of Adobe's recent efforts to blur the boundaries between print and online, so documents can work in multiple media, taking advantage of any individual's special abilities but not limited to them.
Ironically, I doubt most users will do that much with the Flash capabilities, as the Flash Professional where the heavy lifting comes in is really designed to program automation, which uses a very different part of the brain than a mouse-oriented designer uses when working on layouts. No matter, we'll all learn a little Flash as a result and get just that more flexible in our work.
For the rest, though, there are other exciting additions, from cross-references and conditional text on one end to on-the-fly, user-definable preflighting and the Kuler color theme creation capability on the other. Oh, and the new smart guides are an amazingly effective yet simple way to help you be more precise when mousing around.
Although Adobe has also made some features such as the Links panel and the docks work a little more intuitively in this newest version of InDesign, the good news in this revision is that the basic user interface remains intact, so you can get productive more quickly. Still, at the end of the day, even with a less-dramatic interface change this round, the fact remains that InDesign does a lot of things for a wide range of users, so it remains daunting. And you'll continue to discover features that you never knew about that have been around at least a version or two — I still do.
The software is certainly more complex than ever, a whopping collection of capabilities that you may never glimpse more than a fraction of in your daily use. I'm very much reminded of a trip to the Louvre: You just can't take it all in during one or even a few visits.
Layout artists have an incredibly powerful tool in the form of InDesign to let them deliver on their creative aspirations and vision. I can only hope that this book helps you achieve and indeed increase those ambitions.
Acknowledgments
Thanks to the development and product marketing staff at Adobe for providing early versions of the InDesign CS4 software, providing insights into their thinking as they brought in new features, and listening to suggestions on making it even better. Thanks to the editors and production staff at Wiley Publishing for their efforts in making this book possible, especially to project editor Susan Christophersen and technical editor Jonathan Woolson for their improvements to the book's content and clarity.
The www.InDesignCentral.com Web site and its contents are copyrighted by The Zango Group.
Original photographs are copyrighted by Ingall W. Bull III, unless otherwise credited.
Introduction
Welcome to Adobe InDesign CS4 Bible — your personal guide to a powerful, full-featured publishing program that offers precise but flexible control over all aspects of page design. My goal is to guide you each step of the way through the publishing process, showing you how to make Adobe's InDesign CS4 work for you. You'll also learn tips and tricks about publishing design that you can use in any document, whether it was created in InDesign or not.
Taking the best from the two schools of thought on desktop publishing, when it appeared in 1999, InDesign was a ground-breaking merger of the highly structured approach of programs such as QuarkXPress and the bygone Ventura Publisher with the more naturalistic approach of Adobe PageMaker, which it essentially replaced. Nearly a decade later, InDesign continues this “have it both ways” approach while offering an incredibly wide range of desktop-publishing capabilities for sophisticated designers who develop magazines, books, ads, and product brochures. It also gives the power of the press to individuals and groups who use the program's impressive set of publishing tools to communicate their thoughts, dreams, and philosophies.
Version CS4 of InDesign takes this strong legacy and makes it even better, often in subtle ways meant to make the workflow process easier and more intuitive. While InDesign's abundance of features necessarily makes its interface complex, Adobe continues to find ways to simplify it while adding yet more capabilities. In the case of InDesign CS4, the new functions are fairly self-contained, so they haven't caused a major rippled effect in terms of the overall user interface as was the case in InDesign CS3. And Adobe has also added new features, from small enhancements in multilingual hyphenation and spell-checking and in links management to significant additions like smart guides, Flash export capability, and conditional text. Many existing features are extended with new capabilities, such as the ability to create nested styles for lines of text, to add page-transition effects for PDF and Flash files, and to rotate spreads for easier editing of rotated objects (sorry, they won't print rotated).
InDesign lets you take advantage of modern electronic publishing's full range of possibilities. Not only can you produce high-quality, lively flyers, newsletters, magazines, and similar publications in InDesign, you can also create rich, colorful documents that can be viewed on the Web, distributed by CD, or sent directly to a printing press for faithful print reproduction.
In a nutshell, InDesign is meant to help those who educate, inform, and document today's world. Join me in learning how to use this powerful program.
What This Book Offers
So, because InDesign comes with good documentation that is full of examples, why do you need this book? To see the bigger picture. Publishing design involves much more than understanding a particular program's tools; it involves knowing when, how, and, most importantly, why to use them. In this book, I help you realize the potential of InDesign by applying its tools to real-world publishing design needs. I also identify any weaknesses and explain how to overcome them —something that vendor manuals rarely do.
Some desktop publishers have years of high-end creative, design-intensive experience. Others are just getting started in publishing, perhaps by producing simple newsletters or flyers to advertise a community event. Not a few are exploring the brave new world of Web publishing.
Desktop publishers fall into several classes:
• Designers new to InDesign but familiar with other desktop publishing software
• Designers familiar with print publishing but new to electronic publishing
• Experienced designers new to desktop technologies
• Novice designers new to desktop technologies
No matter which class you're in, this book addresses your needs. You don't need a degree in design or ten years' experience producing national ad campaigns — you can use this book if you're responsible for developing and implementing the look of any document, whether it's a four-page company newsletter or a four-color billboard ad. The basic techniques and issues are the same for both ends of the spectrum. And of course, this book covers in detail the specialized needs — table creation, image control, color output, and electronic publishing for example — of specialty designers. (If you're just learning such advanced techniques, be sure to read the sidebars that explain the underlying issues.) Regardless of your level of experience with desktop publishing, this book can help you use InDesign efficiently, and guide you to discovering more of the program's potential.
What distinguishes this book from the rest of its type is that it does not attempt to be a substitute for the documentation that accompanies InDesign. Instead, it guides you through the process of publishing a document, regardless of whether that document is your first or your thousandth.
How to Read This Book
Adobe InDesign CS4 Bible is made up of 37 chapters and four appendixes divided into 11 parts, in addition to the QuickStart that appears just before Part I begins. If you're a novice InDesign user but familiar with desktop publishing, I suggest you read the book in order, because the process of page design is presented in the typical publishing workflow. You first learn how (and why) to create basic pages, containers, placeholders, and templates; then you learn how to work with specific elements (such as text and graphics); and finally, you learn how to use special effects and deal with prepress issues (such as output control, image manipulation, trapping, and printing).
If you're new to the new forms of electronic publishing, be sure to start with Part VIII, Electronic Publishing Techniques, which teaches novice publishers the basics of Web, PDF, and Flash document creation. Experienced publishers should at least skim this part as well — you're likely to find new ideas and perspectives on how you approach your work.
Whether you're reading the book sequentially or nonsequentially, you'll find the many cross-references helpful. Publication design is ultimately successful because the result is more than the sum of its parts, and the tools used to create and implement your designs cannot be used in isolation. Because this is true, having one “right” order or grouping of content is impossible. The cross-references let you know where to get additional information when what you're seeking to understand or learn doesn't fit the way I've organized this book.
Following is a brief description of the parts in Adobe InDesign CS4 Bible.
InDesign QuickStart
This guide walks you through the creation of a document to give you a quick tour of the program, from creation to printing. It's a convenient way to see the main InDesign features in action and quickly get a sense of how they work, whether you're new to publishing or new to InDesign.
Part I: Welcome to InDesign
This part walks you through the initial steps of using InDesign to create your publications. I give you a basic introduction to InDesign itself, explaining the concepts it uses in its layout approach. I also highlight what's special about InDesign in general and about InDesign CS4 in particular. But most of the part focuses on understanding all the tools and panels available to you and all the preferences you can set, so you can see the big picture all in one place.
Part II: Document Fundamentals
This part explains how to create the basic containers — documents, pages, and layers — of a publishing project and how to set the standards for your documents, from master pages, libraries, and templates to guides and colors. InDesign comes with a set of tools that lets you automate repetitive work, apply common elements to a range of pages, and customize page settings, among other capabilities. This part walks you though the ins and outs of all of them.
Part III: Object Fundamentals
This part explains how InDesign's frame and line tools work so you can create and manipulate layout objects. With these building blocks, you construct and alter almost all the components in a layout, from the frame containers that hold text and pictures to original artwork you create in InDesign. You'll also learn how to move, group, copy, and lock such objects and how to automate repetitive object actions to save time. You can learn about the many transformations and effects you can apply to objects, from skews to drop shadows, from text wrap to transparency. You can also learn how to manage the relationships between imported objects and their original files.
Part IV: Text Fundamentals
This part shows you how to import and work with text files, including the application of typographic features to really jazz up your layout and the tools to ensure that spelling and hyphenation are always correct. You can learn how to set up styles to automate the application of typography to document text, as well as how to use the insanely wide range of special symbols and characters available in InDesign.
Part V: Business Document Fundamentals
This part covers the features — old and new — that appeal most to business document creators, from annual reports to product manuals. But of course you don't have to create these kinds of documents to take advantage of features such as tables, text variables, footnotes, indexes, tables of contents, and multi-chapter projects, so don't let the part's title intimidate you.
Part VI: Graphics Fundamentals
This part explains how to use InDesign to manipulate and work with graphics in your layout, whether imported from another program or created within InDesign. Although text carries the message, a picture is what gets your attention and often can say more than any collection of words. This part helps you get the most out of your graphics in InDesign. It also shows you how you can use the tools in InDesign to create a variety of shapes that can be used as original artwork or as specialty containers for text and images.
Part VII: Output Fundamentals
This part walks you though the output steps of publishing. You'll learn what you need to be aware of as well as how to output your documents for printing, whether to a local printer or through a service bureau.
Part VIII: Electronic Publishing Techniques
InDesign lets you create all sorts of documents for electronic distribution, such as on the Web or on CDs. This part explains how to take advantage of hyperlinks, video, audio, and interactive buttons for use in PDF files and Flash animations, as well as how to create Web pages and eBooks files. Finally, you can learn the basics of working with XML, the structured content system widely used by Web-oriented content engines. InDesign can both create XML files and use XML files to turn templates into completed InDesign documents for automated publishing systems.
Part IX: Workgroup Publishing Techniques
Very few publishers work by themselves, and most have a whole raft of tools to work their miracles. The chapters in this part expose you to key insights in working beyond InDesign, covering workgroup issues and the InCopy add-on program for multi-user editing.
Part X: Extending InDesign
This part helps you expand your InDesign horizons through the use of plug-ins to add new capabilities, and the use of scripts to automate your work.
Part XI: Appendixes
The appendixes in this book take you through the ins and outs of how to install Adobe InDesign, what is new in version CS4, and how to use the Version Cue virtual server environment from Adobe for file management in a shared workgroup. Appendix D includes all the shortcuts for both Macs and PCs in one place.
The companion Web site
No application exists in a vacuum. A publishing program is especially dependent on other applications: those that create the source files, those that manage printing, and those that manage fonts, for example. And applications change — sometimes, a vendor like Adobe adds features to a shipping product or fixes ones that don't work as expected. The companion site, www.InDesignCentral.com, is where you can keep current on the InDesign ecosystem, with links to related software tools, the sample files used in this book's QuickStart chapter, links to helpful resources such as user groups, and if needed, updates to this book.
Conventions Used in This Book
Before I begin showing you the ins and outs of InDesign, I need to spend a few minutes reviewing the terms and conventions used in this book.
InDesign commands
The InDesign commands that you select by using the program menus appear in this book in normal typeface. When you choose some menu commands, a related pull-down menu or a pop-up menu appears. If this book describes a situation in which you need to select one menu and then choose a command from a secondary menu or list box, it uses an arrow symbol. For example, “Choose Layout⇒Margins and Columns” means that you should choose the Margins and Columns command from the Layout menu.
Dialog boxes, panels, and panes
As do most modern programs, InDesign uses dialog boxes to offer up a bunch of related features in one place. It also uses a similar mechanism called a panel, which is essentially a dialog box that you can always keep open for easy access. Both of these mechanisms use an interface feature that has proved to be quite popular called tabbed panes. This is a method of stuffing several dialog boxes into one dialog box or several panels into one panel. You see tabs, like those in file folders, and by clicking a tab, the pane of options for that tab comes to the front of the dialog box or panel. This book will tell you to go to the pane, which you do by clicking the tab where the name of the pane is to display the pane. For example, “Go to the General pane” means click the General tab in the current dialog box or panel.
Keyboard conventions
This book provides both the Macintosh and Windows shortcuts throughout, with the Mac shortcut first. In most cases, the Mac and Windows shortcuts are the same, except for the names of the keys, as follows.
InDesign for Mac's user interface uses symbols to indicate special keys in shortcuts, such as Ô, whereas the Windows version uses the actual key names, such as Ctrl.
• The Mac's Command key (Ô) is the most-used shortcut key. Its Windows equivalent is Ctrl. (This key is sometimes known as the Apple key, since the key has both the Ô symbol and an open Apple logo [Ú] printed on it. But because there is also the Apple menu, indicated by a solid Apple logo [Ú], in the Mac OS, it's best not to call this key the Apple key and then get confused with the Apple menu.)
• Shift is the same on the Mac and Windows. In many Mac program menus — including InDesign — Shift is displayed by the symbol ⇧.
• The Option key on the Mac is usually the same as the Alt key in Windows. In many Mac program menus — including InDesign — you see the symbol ⌥ used.
• The Control key on the Mac has no Windows equivalent (it is not the same as the Windows Ctrl key). Many Mac programs — including InDesign — indicate it with the symbol ⌃ in their menus.
• The Tab key is used both to move within fields in panes and dialog boxes and to insert the tab character in text. InDesign and many other Mac programs indicate it in menus with the symbol ⇥.
• The Return key (Mac) or Enter key (Windows) is used to apply a dialog box's settings and close the dialog box (equivalent to clicking OK or Done), as well as to insert a hard paragraph return in text. In InDesign and many other Mac programs, it is indicated in menus by the symbol ↵. Note that there is another key labeled Enter on most keyboards, in the numeric keypad. This sometimes works like the regular Return or Enter, but in InDesign text, it inserts a column break. I refer to it as keypad Enter in this book. In InDesign and many other Mac programs, it is indicated in menus by the symbol ⌤.
• The Delete key (Mac) and Backspace key (Windows) deletes text, one character at a time, to the left of the text-insertion point. In InDesign and many other Mac programs, the Delete key is indicated in menus by the symbol ⌦.
• Windows also has a separate Delete key that deletes text, one character at a time, to the right of the text-insertion point. Macs with an extended keyboard — one with a numeric keypad — have a second Delete key (below Help and next to End) that acts like the Windows Delete key in many programs, including InDesign. In InDesign and many other Mac programs, this other, “forward” Delete key is indicated in menus by the symbol ⌫.
If you're supposed to press several keys at the same time, I indicate that by placing plus signs (+) between them. Thus, Shift+Ô+A means press and hold the Shift and Ô keys and then press A. After you've pressed A, let go of all three keys. (You don't need to hold down the last character in the sequence.)
I also use the plus sign (+) to join keys to mouse movements. For example, Option+drag means to press and hold the Option key while dragging the mouse on the Mac, and Alt+drag means to press and hold the Alt key while dragging the mouse in Windows.
Also note that InDesign lets you change the shortcuts associated with menu and other commands (by choosing Edit⇒Keyboard Shortcuts). Throughout the book, I assume the shortcuts in use are the default ones and that you haven't altered them.
Icons
I've used special graphic symbols, or icons, throughout this book. These icons call your attention to points that are particularly important or worth noting:
The New Feature icon indicates a technique or action that is new to or revised in InDesign CS4.
The Tip icon indicates a technique or action in InDesign that will save you time or effort.
The Note icon indicates information that you should remember for future use — something that may seem minor or inconsequential but will, in reality, resurface.
The Caution icon is used to warn you of potential hang-ups or pitfalls you may encounter while using InDesign (and how to avoid them).
The Cross-Reference icon points you to different parts of the book that contain related or expanded information on a particular topic.
The Platform Differences icon alerts you to differences using InDesign on the Macintosh versus in Windows.
Dealing with Computer-Platform Appearance Issues
InDesign CS4 runs on Mac OS X 10.4 (Tiger), Mac OS X 10.5 (Leopard), Windows XP with Service Pack 2 or later installed, and Windows Vista. Most desktop publishers use Apple's Macintosh, and thus most readers of this book will likely be Mac-based. That's why I use Mac screenshots in the illustrations throughout this book. (Plus, Adobe uses Windows screen shots in its documentation.) Adobe has done a good job of ensuring that the interface for InDesign is almost identical — within the natural differences between Mac and Windows — on the two platforms.
Building a Document from Start to Finish
In This Chapter
Creating a new document Working with frames Working with text Working with lines Creating and applying colors Working with graphics Applying lighting effects Printing a composite
Although InDesign CS4 is a complex program that lets you do everything from designing a fashion magazine to indexing a book to generating separation plates for professional printing, you can get started building documents with just a few simple skills. If you're in a hurry to get started on a document — or you have a job interview tomorrow based on your “proficiency” in InDesign — work through the steps in this section. You can learn the basic building blocks of documents (frames and lines) and the two primary tools (Selection and Direct Selection).
By all means, do not assume that these steps provide all you need to know about InDesign CS4. From here, head to related sections of the book and explore the full functionality of the program. If you're not sure where to start, figure out what you'll be doing the most. For example, if you'll be flowing text into a newsletter template, head to Part IV.
To create the sample document shown in Figure QS.1 — from my book QuarkXPress to InDesign: Face to Face (Wiley, 2005) — you need InDesign, a text file from a program such as Microsoft Word, a graphic file such as a TIFF file, and a laser or inkjet printer. You can follow the steps exactly (substituting your own text, graphic, and fonts), or you can vary the design as much as you want.
You can download the text and graphics used in this QuickStart example at www.InDesignCentral.com/QS.html. You have to supply your own fonts, however.
FIGURE QS.1
Combining formatted text and several graphics with a few simple frames and lines produces a completely designed book.
Creating a New Document
In this QuickStart, I assume that your copy of InDesign has been set with picas as the default measurement for vertical and horizontal measurement, one of two typical settings for publications. (The other is to set horizontal measurements at picas and vertical measurements at inches.) But for those who think in inches, I also provide values in inches. You set measurement defaults in the Ruler Units section of the Units & Increments pane of the Preferences dialog box, which you access by choosing InDesign⇒Preferences⇒Units & Increments or pressing Ô+K on the Mac, or by choosing Edit⇒Preferences⇒Units & Increments or pressing Ctrl+K in Windows.
I also assume that your coordinates are set for the entire spread, not for individual pages. To make sure they are set for the spread, go to the Units & Increments pane of the Preferences dialog box and be sure that Spread is selected in the Origin pop-up menu.
When you create a new document in InDesign, you're actually specifying the final size and setup of the pages in the document.
1. Start InDesign.
2. Choose File⇒New⇒Document or press Ô+N or Ctrl+N. The New Document dialog box appears (see Figure QS.2).
3. In the Width field, enter 44p3 or 7.375 in (based on your preferences for picas or inches). In the Height field, enter 55p6 or 9.25 in. Notice how the Page Size pop-up menu changes to Custom.
4. Select the Facing Pages check box, because this is a book printed on two sides, thus it needs both left- and right-page versions.
FIGURE QS.2
Set up the page size and other attributes for your document in the New Document dialog box.
5. Select the Master Text Frame check box.
6. Set the number of columns to 1.
7. In the Margins area, click the Make All Settings the Same iconic button (the chain icon) so that the broken chain changes to an unbroken chain. (This lets you set the margins independently.)Set the Inside margin to 7p6 (or 1.25 in if you prefer inches), Top to 5p9 (0.95833 in), Bottom to 4p3 (0.70833 in), and Outside to 5p (0.833 in).
8. Click the More Options button to get the Bleed and Slug area. Make sure the closed-chain icon displays in the Bleed area (click it if not), and enter 1p6 (0.25 in) as the bleed margin in any of the four fields.
9. Click the Save Preset button, and give these specifications a name, such as Book. Assigning a name to these specifications lets you select these exact settings for future documents for this publication by choosing the preset name from the Document Preset pop-up menu.
10. Click OK to create the new document's new layout. InDesign creates one page.
11. Choose File⇒Save As or press Shift+Ô+S or Ctrl+Shift+S.
12. In the Save As field, type Book Intro.indd. Choose a location for the file and then click Save.
For more information about creating a new document, see Chapter 4.
Working with Frames and Pages
By using the automatic text frame, you've already created the frame for the article text. But the article has colored frames at the top for the story title that you need to create via frames.
All measurements in this QuickStart are from the upper-left corner of the frames. In the Control panel, be sure that the upper-left square in the array of nine squares (the reference points) is black, which makes that point the control point from which all dimensions and transformations are applied. (All the other reference points will be white.) If it's not black, simply click it to make it the control point.
Frames can exist on document pages or on master pages. A master page is essentially an internal page template that you can apply to document pages, adding all the master page's attributes to any document pages you prefer. This speeds formatting of repetitive elements such as footers, headers, and folios.
To create a master page:
1. Go to the Pages panel. (If it is not available at the right-hand side of your screen, open it by choosing Window⇒Pages or by pressing Ô+F12 or Ctrl+F12.)
2. From the panel's flyout menu (the icon below the panel's close box), choose New Master.
3. In the New Master dialog box, enter a name for the master page that will help you remember what it is used for (such as Intro in this case), and make sure Number of Pages is set to 2 so that InDesign creates a master spread. Click OK. InDesign will then open the master spread for you.
You're now ready to add objects to the master spread. You start with the page background, add the folio at top, and finally place the logos on the outside margins.
Before you start, make sure InDesign is set to display transformation values so that it can give you feedback as to objects' location and size as you work on them. To display transformation values, ensure that Show Transformation Values is selected in the Interface pane of the Preferences dialog box (choose InDesign⇒Preferences⇒Interface or press Ô+K on the Mac, or choose Edit⇒Preferences⇒Interface or press Ctrl+K in Windows).
1. Select the Rectangular Frame tool. To see the names of tools, point at them until a Tool Tip displays.
2. On the left-hand page, click and drag to create a frame that is approximately 43p3 (7.20833 in) wide and 49p9 (8.291667 in) tall, as shown in Figure QS.3. You fine-tune the size and placement in the next steps. The new frame is selected, as indicated by the white handles. If the frame becomes deselected in the following steps, click it to select it.
3. Highlight the X field in the Control panel (if it's not visible, choose Window⇒Control or press Option+Ô+6 or Ctrl+Alt+6), which specifies the item's origin across (placement from the left edge of the page). Be sure the Selection tool (the solid-arrow pointer) is active and that the new frame is selected. Type 1p (or 0.1667 in if you prefer inches)in this field.
FIGURE QS.3
Use any of the frame tools to create background shapes into which you can import a picture. Use the Control panel (at top) and the transformation-values display (near the mouse) to precisely control position and size.
4. Tab to the Y field, which specifies the item's origin down (placement from the top of the page). Type 3p (0.5 in) in this field.
5. Tab to the W field, which specifies the item's width. Type 41p3 (7.20833 in) in this field.
6. Tab to the H field, which specifies the item's height. Type 49p9 (8.291667 in) in this field.
7. Press Return or Enter to reposition. The frame now resizes itself according to the values entered.
8. Choose Item⇒Duplicate or press Option+Shift+Ô+D or Ctrl+Alt+Shift+D. If necessary, first click the new frame with the Selection tool to select it.
9. Highlight the X field in the Control panel. Type 44p3 (7.375 in), as shown in Figure QS.4
10. Tab to the Y field. Then type 3p (0.5 in). You add color to this frame later.
FIGURE QS.4
Resizing and repositioning the second frame with the Control panel
Now, create the frames for the icons that hang outside the margins:
• Left-hand icon frame: X: –1p6, Y: 4p6, W: 4p, and H: 2p3. (Or X: –0.25 in, Y: 0.75 in, W: 0.667 in, H: 0.375 in.)
• Right-hand icon frame: X: 86p3, Y: 4p6, W: 4p, and H: 2p3. (Or X: 14.375 in, Y: 0.75 in, W: 0.667 in, H: 0.375 in.)
In Figure QS.1, you may have noticed that the corners of these icon frames are slightly rounded. That's easy to do in InDesign:
1. Select the two folio frames (click one, Shift+click the other).
2. Choose Object⇒Corner Options to open the Corner Options dialog box.
3. Choose Rounded from the Effect pop-up menu and enter 0p6 (0.5 in) in the Size field. Click OK.
With the basic master spread created, it's time to add some pages to your document and apply the master spread to them:
1. Add as many pages as you think you might need by choosing Insert Pages from the Pages panel's flyout menu. Enter the number of pages desired in the Insert Pages dialog box's Pages field — enter 5 in this example.
Be sure to select the name of the master page you just selected — such as A-Master — in the Master pop-up menu. Now click OK. The new pages are added to the Pages panel, with the letter of the master page applied in the upper corner of each page. (Note that you can always add more pages or delete extra ones later.)
If you jumped the gun and added the pages without applying the master page, in the Pages panel's flyout menu, choose Apply Master to Pages. In the Apply Master dialog box, choose the master spread you just created from the Apply Master pop-menu and enter 1–6 in the To Pages field. Then click OK.
2. Choose File⇒Save or press Ô+S or Ctrl+S to save your work.
For more information about working with frames, see Part III. For more on master pages, see Chapter 6.
Working with Text
In InDesign, text goes inside a text frame. You can type text into the frame or import a text file in various formats. After text is inside the frame, you can change the font, size, color, and many more options.
What's nice about InDesign is that you can put text in any frame, whether it started life as a text frame or not. The only catch: If the frame has a graphic in it, you can't make it into a text frame without first clearing out the graphic, as I describe in Chapter 9.
Now you create the frames for the folios on the master page you created in the last section:
1. Select the Type tool. (You can also use the Rectangle tool or the Rectangular Frame tool.)
Be sure you are on your master pages; double-click the master page in the Pages panel to be sure. Use the same process as in the previous section to create the two folio frames at top. The dimensions for each are in Step 2.
Also set both frames to have rounded corners, using the same settings as for the icon frames, as I described in the previous section.
2. Follow the frame creation steps from the previous section and create two frames with the following positions and dimensions:
• Left-hand folio frame: X: –1p6, Y: 1p3, W: 40p9, and H: 1p9. (Or X: –0.25 in, Y: 0.208333 in, W: 6.45833 in, and H: 0.291667 in.)
• Right-hand folio frame: X: 51p9, Y: 1p3, W: 38p9, and H: 1p9. (Or X: 8.625 in, Y: 0.208333 in, W: 6.875 in, and H: 0.291667 in.)
3. Be sure to select the Type tool. Click in the left-hand folio frame to enter its folio. Type a tab character and then choose Type⇒Insert Special Character⇒Markers⇒Current Page Number or press Option+Shift+Ô+N or Ctrl+Alt+Shift+N. Type a tab character, the text Intro, an em space (press Shift+Ô+M or Ctrl+Shift+M), and the text Preface. Don't worry about text alignment for now.
4. Click in the right-hand folio frame and type Face to Face: QuarkXPress to InDesign; next, type a tab character; and finally, enter an automatic current page number by pressing Option+Shift+Ô+N or Ctrl+Alt+Shift+N. Note how the page number appears as a letter — the same letter as the master page number, in fact.
5. First in the left-hand frame and then in the right-hand frame, highlight the entire phrase and choose a font from the Control panel's Font menu (be sure the A iconic button is selected); the example uses Formata Regular). In the Font Size field, choose or enter 12 pt.
6. In the left-hand frame, highlight the automatic page number and choose a bolder font style from the Control panel's Font Style menu (the example uses Medium). Also choose or enter 19 pt in the Font Size field. In the right-hand frame, highlight Face to Face: and then apply a bolder style (the example uses Medium) as the Font Style and 19 pt as the Font Size. Highlight the automatic page number and set the Font Size to 19 pt. Figure QS.5 shows an example.
FIGURE QS.5
When text is highlighted, you can format it using controls on the left side of the Control panel.
Now you put text in the text frame that was created through the automatic text frame feature earlier:
1. Go to the document page by double-clicking the desired page in the Pages panel. In this case, go to page 1.
2. Choose File⇒Place or press Ô+D or Ctrl+D. The Place dialog box (shown in Figure QS.6) appears.
FIGURE QS.6
Choose File⇒Place or press Ô+D or Ctrl+D to import text from a word processor.
3. Select Show Import Options.
4. Locate a text file in a format such as Microsoft Word.
5. Click to select the text file and then click Open. The Microsoft Word Import Options dialog box appears.
6. Be sure that Use Typographer's Quotes is selected. In most cases, you want the Import Styles Automatically radio button selected, with both the Paragraph Style Conflicts and Character Style Conflicts pop-up menus set to Use InDesign Style Definition. You can save Word import settings for reuse later by clicking the Save Preset button.
7. Click OK to import the file. InDesign shows the loaded-text icon (it looks like a tiny paragraph and also shows the first few words of the text) that indicates a file ready to be placed into a frame, as shown in Figure QS.7.
FIGURE QS.7
The loaded-text icon has a preview of the file you are importing.
8.
