Best-selling authors Olav Martin Kvern, David Blatner, and Bob Bringhurst share their hands-on techniques to help you master InDesign’s advanced layout tools.. In Real World Adobe InDesi
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INDUSTRIAL-STRENGTH pUbLISHING TECHNIQUES
What designers and production artists need to know Tips and tricks for maximum efficiency For print and web / mobile devices
Sharpen your InDesign skills with this definitive resource created specifically for design
professionals who need to produce great work—regardless of the delivery platform—in
InDesign CS6 Best-selling authors Olav Martin Kvern, David Blatner, and Bob Bringhurst
share their hands-on techniques to help you master InDesign’s advanced layout tools
This book is brimming with insightful advice, illustrations, and shortcuts that will have
you producing high-quality work in no time
This is the book that experts open to find real answers to their questions about InDesign
It’s written in a friendly, visual style that offers accurate information and creative
inspiration for every InDesign user, whether they’re publishing to an iPad, mobile phone,
or traditional print publication
In Real World Adobe InDesign CS6 you’ll learn how to:
n Use the new Liquid Layout and Create Alternate Layouts features to add flexibility
at the beginning of your project
n Take full advantage of the best typesetting features on the market
n Copy and link objects with the Content Collector tool to optimize your efficiency
n Use best practices for consistent color management
n Increase productivity with scripts and other automation features
n Prep documents for EPUB Export and use the Digital Publishing Suite for web
and mobile publishing
uSA $59.99 CAN $62.99
ISBN-13:
ISBN-10:978-0-321-83461-40-321-83461-5
9 7 8 0 3 2 1 8 3 4 6 1 4
5 5 9 9 9
TECHNIQUES
OlAv MArtIn KvErn is
an award-winning illustrator, graphic designer, software designer, and writer He is the author of several ground- breaking books, including
Real World FreeHand and Real World PageMaker and
was a columnist and Contributing Editor for
Adobe Magazine.
DAvID BlAtnEr is the world’s most-recognized authority on Adobe InDesign, and the co-host of InDesignSecrets.com He is the author of 20 books and video titles, and the editorial
director of InDesign
Magazine.
BOB BrInghurSt worked
at Adobe Systems as a Senior Technical Writer for 12 years, creating the technical docu-mentation for every Adobe InDesign version since the software’s inception
Book Level:
Beginning, Intermediate, Advanced
Category:
Layout / Digital Graphic Design
Covers: Adobe InDesign CS6 Cover Illustration: John Weber Cover Design: Charlene Will
KvErn BlAtnEr BrInghurSt
ADOBE®
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Olav Martin Kvern
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David Blatner
&
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Peachpit Press is a division of Pearson Education
Project Editor: Susan Rimerman
Production Editor: Lisa Brazieal
Indexer: Jan C Wright
Interior Design/Composition: Olav Martin Kvern, David Blatner, and Bob Bringhurst
Cover Design: Charlene Charles-Will
Cover Illustration: John Weber
tc ht
All rights reserved No part of this book may be reproduced or transmitted in any form by any means,
elec-tronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the
pub-lisher For information on getting permission for reprints and excerpts, contact: permissions@peachpit.com.
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The information in this book is distributed on an “As Is” basis, without warranty While every precaution has
been taken in the preparation of the book, neither the authors 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
instruc-tions contained in this book or by the computer software and hardware products described in it.
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Adobe and InDesign are registered trademarks of Adobe Systems Incorporated in the United States and/or other
countries All other trademarks are the property of their respective owners
Many of the designations used by manufacturers and sellers to distinguish their products are claimed as
trade-marks Where those designations appear in this book, and Peachpit was aware of a trademark claim, the
des-ignations appear as requested by the owner of the trademark All other product names and services identified
throughout this book are used in editorial 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 book
ISBN-13: --31-361-
ISBN-1: -31-361-
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Printed and bound in the United States of America
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Optical Margin Alignment
Ever since Gutenberg set out to print his Bible, typesetters have looked for ways to “balance” the edges of columns of text—particu-larly lines ending or beginning with punctuation Because the eye doesn’t “see” punctuation, it can sometimes appear that the left or right edges of some columns of type (especially justified type) are misaligned Some other programs compensate for this problem
by using a “hanging punctuation” feature, which pushes certain punctuation characters outside the text column But there’s more
to making the edges of a column look even than just punctuation
Some characters can create a “ragged” look all by themselves—think
of a “W,” at the beginning of a line, for example
When you select an InDesign story (with either the Selection or the Type tool) and turn on the Optical Margin Alignment option
in the Story panel (choose Story from the Type menu to display the Story panel), the program balances the edges of the columns based
on the appearance of all of the characters at the beginning or end of
the lines in the column This adjustment makes the columns appear more even—even though it sometimes means that characters are
extending beyond the edges of the column (see Figure 4-71).
The amount that InDesign “hangs” a character outside the text column depends on the setting you enter in the Base Size field of
Optical Margin Alignment off
Optical Margin Alignment on
In this close-up view, you can clearly see the way that InDesign adjusts the characters at the edge of the text column.
Punctuation is positioned outside the column.
Some characters hang outside the column
others are moved farther inside the column.
Figure 4-71 Optical Margin Alignment
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Ignore Optical Margin Even if you do like Optical Margin
Align-ment, there’s a good chance that you’ll occasionally find a paragraph
or two that you wish it wouldn’t apply to For example, monospaced code listings should not be optically aligned—that defeats the pur-pose of using a monospaced font Fortunately, you have the option
to turn off Optical Margin Alignment on a paragraph by paragraph basis or in a paragraph style
To turn it off for one or more selected paragraphs, choose Ignore Optical Margin from the Control panel or Paragraph panel menu
To disable it in a paragraph style, turn on the Ignore Optical Margin checkbox in the Indents and Spacing pane of the Paragraph Style Options dialog box
An Old Typesetter Never…
Late night The sound of the espresso machine in the kitchen about
to reach critical mass and melt down, destroying the office and civi-lization as we know it The office is different, the equipment and the coffee are better, but we still seem to be up late at night setting type
And, to tell you the truth, we’re not sure we would have it any other way