Real World Adobe InDesign CS4- P12 potx

Freeform path drawing tools Pen tool Pencil tool Path editing tools Add Point tool Delete Point tool Convert Point tool Scissors tool Smooth tool Erase tool Basic shape tools Rectangle t

Figure 4-70 Creating Style Groups

To make a new style group with already-created styles, select the styles you want to include and choose New Group from Styles.

InDesign displays the New Style Group dialog box Enter a name for the group.

InDesign moves the styles into the style group.

You can duplicate styles

from one group to another

by holding down Option/Alt

as you drag them from in

it by dragging the style name in the panel into the group It’s very similar to working with folders in your operating system

One of the coolest things about style groups is that you can have the same-named styles in more than one group For example, you might make a “bodytext” paragraph style in a group called “Business Section” and another, differently-styled “bodytext” style in a group called “Entertainment Section” We’re not saying you have to create templates like this, but it can be useful in certain situations

To copy one or more selected styles to another group, choose Copy to Group from the panel menu, or Option/Alt-drag them over another folder

What’s Wrong with Style Groups? At first, style groups sound great,

especially if you have dozens of styles in your document But you need to be careful with them First, if do have same-named styles

with different definitions, it can be confusing which bodytext or which heading you’re applying This calls for eternal vigilance It

helps if you apply styles with Quick Apply, because the Quick Apply window displays both the style name and what style group its in

The big problems appear if you need to export your documents as RTF (rich text format) for someone who is editing in Microsoft Word Style groups will cause huge headaches because on export InDesign changes the style names (it adds the style group name) This isn’t

so bad except that when you reimport the RTF file, it’s not smart enough to remap the style names back to the document’s styles, so you end up with all your styles duplicated It’s horrible We hope that Adobe will release a patch to fix this problem by the time you read this, but we’re not holding our breath Of course, in the meantime, it’s a good excuse to get your editors to use InCopy instead

Copying Styles from Other Publications

One of the great things about character and paragraph styles is that you can use them to unify standard formatting across a range of pub-lications—the chapters of this book, for example While you can’t define a “master” style sheet and have all publications get their style definitions from it (as you can in FrameMaker), you can easily copy styles from one InDesign publication to another

▶ To copy character styles from another publication, choose Load Character Styles from the Character Styles panel menu

InDesign displays the Open a File dialog box Locate and select the InDesign publication file containing the styles you want and click the Open button InDesign copies the character styles from that publication into the current document

▶ To copy paragraph styles from one publication to another choose Load Paragraph Styles from the Paragraph Styles panel menu

▶ To import both character and paragraph styles from another publication, choose Load All Text Styles from the panel menu

of the Character Styles panel or the Paragraph Styles panel

When you import styles that have the same name as styles that already exist in the publication, InDesign overrides the attributes of the existing styles with the attributes of the incoming styles

You can also move styles by copying text tagged with the styles you want from one publication and pasting it into another document

(or dragging a text frame from one document into another) If the styles do not exist in the document you’ve pasted the text into, InDesign adds them If the styles already exist, InDesign overrides the style definitions in the incoming text with the style definitions of the existing styles.

You can also synchronize style sheets among all the documents in

a book when you use the Book panel, which we talk about in Chapter

8, “Long Documents.”

Styles from imported text files When you import a Microsoft Word

or RTF file that includes paragraph or character styles that don’t exist

in the InDesign publication, those styles get added to the Character Styles and Paragraph Styles panels You can always tell one of these styles from those created in InDesign because the panels display a little gray floppy disk icon next to the style name

Libraries of Styles One of our favorite uses for libraries (see “Library

panel” in Chapter 1, “Workspace”) is to save paragraph and ter styles that we use in multiple documents In a small text frame,

charac-we type a few words (usually the name of the style) and then apply one or more styles to them Then we drag the text frame into a library (select Library from the New submenu, under the File menu, if you haven’t already made one) and double-click on the library thumbnail

to give it a name and description Later, when we need that style in some other document, we can open the library file, drag that text frame into our document, and then delete the text frame—the styles remain Of course, this works with libraries of color swatches, too

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 the Story panel (that’s the field with the icon that looks like it would make a drop cap) In general, you should enter the point size of your body text in this field

Unfortunately, it turns out that many designers don’t like the look

of Optical Margin Alignment It’s not that the feature is flawed; it’s that designers (especially younger folks) have become so accustomed

to their type lining up with a particular guide or ruler that they think it’s wrong to have type inside or outside that (non-printing) line Nevertheless, we encourage you to try turning it on and seeing how your readers like it—we think they’ll find the text easier to read

Ignore Optical Margin Even if you do like Optical Margin

Align-ment, there’s a good chance that you’ll occasionally find a paragraph

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

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 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

You can use InDesign’s drawing tools to draw almost anything—from straight lines and boxes to incredibly complex freeform shapes.The drawing tools can be divided into three types: the Rectan-gle, Polygon, Oval, and Line tools are for drawing basic shapes; the Pencil, Smooth, Eraser, Pen, Add Point, Delete Point, and Convert Point tools draw or edit more complex paths (see Figure 5-1) The Scissors tool gives you a way of cutting paths

Some of the path drawing tools (the Rectangle, Oval, and Polygon tools) have counterparts that draw frames (the Rectangular Frame, Oval Frame, and Polygonal Frame tools) The only thing different about these tools is that the “frame” versions draw paths whose con-tent type has been set to “Graphic.” That’s it

In this book, we’ll use the default variant of the tool to refer to both tools—when we say “the Rectangle tool,” we’re referring to both the Rectangle tool and the Rectangular Frame tool

Which path drawing tools should you use? Don’t worry too much about it—the basic shapes can be converted into freeform paths, and the freeform drawing tools can be used to draw basic shapes

The paths you draw in InDesign are made up of points, and the points are joined to each other by line segments (see Figure 5-2)

A path is just like a connect-the-dots puzzle Connect all the dots together in the right order, and you’ve made a picture Because points along a path have an order, or winding, you can think of each point

as a milepost along the path Or as a sign saying, “Now go this way.”

Freeform path drawing tools Pen tool

Pencil tool Path editing tools Add Point tool Delete Point tool Convert Point tool Scissors tool Smooth tool Erase tool

Basic shape tools Rectangle tool Ellipse tool Polygon tool Rectangle Frame tool Ellipse Frame tool Polygon Frame tool Line tool

First point in the path

Last point in the path

Point Line segment

Control handle

Control handle

Line segment

Figure 5-2 Parts of a Path

Figure 5-1 Drawing Tools

Drawing Basic Shapes

The basic shapes tools (the Rectangle, Polygon, Ellipse, and Line tools, and their frame-drawing counterparts) don’t draw anything you couldn’t draw using the Pen tool (discussed later in this chapter)

or (even) the Pencil tool; they just make drawing certain types of paths easier They’re shortcuts

The operation of the basic shapes tools is straightforward: drag the tool and get a path of the corresponding shape If you want to draw a frame, you can either use the frame-drawing variant of the tool, or draw the path and then convert it to a frame

To draw a rectangle, oval, polygon, or line, follow the steps below

1 Select the appropriate tool from the Tools panel

To specify the type of polygon you’ll be drawing, double-click the Polygon tool and choose the shape you want in the Polygon Settings dialog box before you start drawing

2 Position the cursor where you want one corner of the shape, then drag InDesign draws a path, starting where you first held down the mouse button

To draw squares, hold down Shift as you drag the Rectangle tool To draw circles, hold down Shift as you drag the Ellipse tool When you hold down Shift as you drag, the Polygon tool produces equilateral polygons Holding down Shift as you drag the Line tool constrains the angle of the line to 45-degree tan-gents from the point at which you started dragging.

Hold down Option to draw a basic shape from its center

3 When the basic shape is the size and shape you want it to be, stop dragging and release the mouse button

You can also create rectangles and ellipses by specifying their width and height (see Figure 5-3)

1 Select the Rectangle tool or the Ellipse tool from the Tools panel

2 Position the cursor where you want to place one corner of the basic shape, or hold down Option/Alt and position the cursor where you want to place the center point of the shape

3 Click InDesign displays the Rectangle dialog box (if you’ve selected the Rectangle tool) or the Ellipse dialog box (if you’ve selected the Ellipse tool)

4 Enter values in the Width and Height fields, then click the OK button

You can control the origin of

the basic shape by selecting a

point on the Control panel’s

Proxy before you click.

Select a basic shape tool, then click on the page or pasteboard.

InDesign displays a dialog box (Rectangle, Polygon,

or Ellipse) Enter the dimensions you want and click the OK button.

InDesign creates a basic shape using the dimensions you entered.

Figure 5-3 Adding a Basic Shape

“by the Numbers”

Points and Paths

Why is it that the most important things in life are often the most ficult to learn? Drawing by manipulating Bezier paths—the geomet-ric construct used to represent path shapes in most of today’s vector drawing programs—is one of those difficult things When we first encounted Bezier curves, the process of drawing by placing points and manipulating control handles struck us as alien, as nothing like drawing at all Then we started to catch on

dif-In many ways, we had been drawing lines from the point of view

of everything but the line; in a Bezier-path-drawing program such as

InDesign, we draw lines from the point of view of the line itself This

is neither better nor worse; it’s just different and takes time to get used to If you’ve just glanced at the Pen tool and are feeling confused,

we urge you to stick with it Start thinking like a line

Imagine that, through the action of some mysterious potion or errant cosmic ray, you’ve been reduced in size so that you’re a little smaller than one of the dots in a connect-the-dots puzzle For added

detail and color, imagine that the puzzle appears in a Highlights for Children magazine in a dentist’s office.

The only way out is to complete the puzzle As you walk, a line extends behind you As you reach each dot in the puzzle, a sign tells you where you are in the puzzle and the route you must take to get to the next dot in the path

Get the idea? The dots in the puzzle are points The route you walk from one point to another, as instructed by the signs at each point, is

a line segment Each series of connected dots is a path As you walk from one dot to another, you’re thinking like a line

Each point—from the first point in the path to the last—carries with it some information about the line segments that attach it to the previous and next points along the path

Paths and their formatting (fill and stroke) attributes are different things Even if the fill and stroke applied to the path is “None” or the stroke weight is 0 there’s still a path there

When you select a point, the point “fills in,” becoming a solid square Unselected points on the path are shown as hollow squares

Paths have a direction, also known as “winding” (as in “winding a clock”) Path direction generally corresponds to the order in which you placed the points on the path (see Figure 5-4) In our connect-the-dots puzzle, path direction tells us the order in which we should connect the dots

To reverse the direction of a path, select the path and choose Reverse Path from the Paths submenu of the Object menu InDesign

Thinking Like a Line

Winding

The order in which you create points determines the direction (or “wind- ing”) of the path.

Figure 5-4 Path Direction,

or “Winding”

reverses the direction of the path You can also reverse the direction

of a selected path using the Reverse Path path operation, as discussed

in “Path Operations,” later in this chapter

Points on an InDesign path are either corner points or curve points

Each type of point has its own special properties

▶ A curve point adds a curved line segment between the current point and the preceding and following points along the path

Curve points have two control handles extended from them, and moving one control handle affects the position of the other control handle One control handle affects the curve of the line segment following the curve point on the path; the other affects the curve of the line segment preceding the curve point Curve points are typically used to add smooth curves to a path (see Figure 5-5)

▶ A corner point adds a straight line segment between the rent point and the preceding point on the path (see Figure 5-6) Corner points are typically used to create paths containing straight line segments

cur-Which point type should you use? Any type of point can be turned into any other type of point, and anything you can do with one kind of point can be done with the other kind of point Given these two points (so to speak), you can use the kinds of points and drawing tools you’re happiest with and achieve exactly the results you want There is no “best way” to draw with InDesign’s Pen tool, but it helps to understand how the method you choose works

Point Types

Curve points curve the line segments attached to the point All of the points in this example are curve points.

Corner points, by default, apply no curve

to the line segments attached to the point All of the points in this example are corner points.

Figure 5-6 Corner Points Figure 5-5 Curve Points

You control the curvature of the line segments before and after each point using the point’s control handles Points can have up to two control handles attached to them By default, new corner points have none and curve points have two Note that each line segment has

up to two control handles defining its curve—the “outgoing” control handle attached to the point defining the start of the line segment and the “incoming” control handle attached to the next point

If you retract the control handle (by dragging it inside the point), the control handle has no effect on the curvature of the path This doesn’t necessarily mean that the line segment is a straight line, however—a control handle on the point at the other end of the line segment might also have an effect on the curve of the line segment.The control handles attached to a corner point can be adjusted independently, while changing the angle of one control handle of a curve point changes the angle of the other control handle (see Figure 5-7) This difference, in our opinion, makes corner points more useful than curve points—you can do anything with a corner point you could do with a curve point

Control Handles

When you adjust one control handle on a curve point, InDesign adjusts the other con- trol handle, as well.

To adjust the curvature

of a line segment without changing the curve of the following line segment, use a corner point.

Figure 5-7 Curve Points vs

Corner Points

To convert a point from one point type to another, click the point using the Convert Point tool If you click a curve point, this retracts both control handles To convert a curve point to a corner point while leaving one of its control handles in place, drag the other con-trol handle using the Convert Point tool (see Figure 5-8)

Drawing Paths with the Pencil Tool

The quickest way to create a freeform path on an InDesign page is

to use the Pencil tool Click the Pencil tool in the Tools panel (or press N), then drag the Pencil tool on the page As you drag, InDesign creates a path that follows the cursor, automatically placing corner and curve points as it does so (see Figure 5-9)

Position the Convert Point tool over a curve point…

…and click InDesign converts the curve point to a corner point.

To convert a corner point

to a curve point, drag the Convert Point tool over the point.

To convert a curve point to a corner point, drag one of the control handles using the Convert Point tool.

InDesign converts the curve point to a corner point As you drag the control handle…

…InDesign adjusts the curve of the correspond- ing line segment, but leaves the other line segment unchanged.

Figure 5-8 Converting from One

Point Type to Another

Drag the Pencil tool on the page or pasteboard.

As you drag the Pencil tool, InDesign positions curve and corner points

the path looks the way you want it

to, stop dragging.

Figure 5-9 Drawing with the Pencil Tool

Drawing Paths with the Pen Tool

You use the Pen tool and its variants (the Remove Point, Add Point, and Convert Point tools)—to create and edit paths

When you click the Pen tool on a page, InDesign places a corner point Drag the Pen tool, and InDesign places a curve point where

you started dragging—you determine the length of the control dles (and, therefore, the shape of the curve) by dragging as you place the curve point (see Figure 5-10)

han-To curve the line segment following a corner point, place the

corner point, position the Pen tool above the point (this switches

to the Convert Point tool), and then drag As you drag, InDesign extends a control handle from the point (see Figure 5-11)

Position the Pen tool above a point (it will change into the Convert Point tool).

Drag a control handle out of the point.

Click the Pen tool to add

a point InDesign curves the line segment connect- ing the points.

Drag the Pen tool… …and InDesign creates a curve point.

Click the Pen tool… …and InDesign creates a corner point.

Figure 5-11 Dragging a Control

Handle Out of

a Corner Point

Figure 5-10 Placing Curve and Corner Points

The odd thing about using the Pen tool this way is that you don’t see the effect of the curve manipulation until you’ve placed the next point This makes sense in that you don’t need a control handle for a line segment that doesn’t yet exist, but it can be quite a brain-twister

To convert a curve point you’ve just placed to a corner point, tion the Pen tool above the point (to switch to the Convert Point tool) and then click the point InDesign converts the point to a corner point and retracts the point’s control handles

posi-You can change the position of points: select the point with the Direct Selection tool, then drag the point to a new location

Path Drawing Tips

path Go ahead and place points in the wrong places; you can always change the position of any point Also, keep these facts in mind:

▶ You can always add points to or subtract points from the path

▶ You can change tools while drawing a path

▶ You can split the path using the Scissors tool

It’s also best to create paths using as few points as you can—but it’s not required We’ve noticed that people who have just started working with Bezier drawing tools often use more points than are needed to create their paths Over time, they learn one of the basic rules of vector drawing: Any curve can be described by two points and their associated control handles No more, no less

The aspect of drawing in InDesign that’s toughest to understand and master is the care, feeding, and manipulation of control handles These handles are fundamental to drawing curved lines, so you’d better learn how to work with them

To adjust the curve of a line segment, use the Direct Selection tool to select a point attached to the line segment The control han-dles attached to that point—and to the points that come before and after the selected point on the path—appear If you don’t see control handles attached to the point you selected, the curvature of the line segment is controlled by the points at the other end of the line seg-ments Position the cursor over one of the control handles and drag The curve of the line segment changes as you drag When the curve looks the way you want it to, stop dragging (see Figure 5-12)

To retract (delete) a control handle, drag the handle inside the point it’s attached to

You can also adjust the curve of a curved line segment by dragging the segment itself To do this, select the line segment (click the line segment with the Direct Selection tool, or drag a selection rectangle over part of the line segment) and then drag As you drag, InDesign adjusts the curve of the line segment (see Figure 5-13)

Manipulating Control Handles

Select a point using the Direct Selection tool.

Drag the control handle attached to the point to a new location.

InDesign curves the line segment.

Figure 5-12 Adjusting Curve Points

To add a point to an existing line segment, select the path, switch

to the Pen tool, and then click the Pen tool on the line segment InDesign adds a point to the path You don’t need to select the Add Point tool—InDesign will switch to it when you move the Pen tool above a line segment

To remove a point from a path, select the path, switch to the Pen tool, and then click the Pen tool on the point InDesign removes the point from the path

If you’ve gotten this far, you probably know how to select points, but here are a few rules to keep in mind

▶ To select a point, click it with the Direct Selection tool, or drag a selection rectangle around it (using the same tool)

▶ You can select more than one point at a time To do this, hold down Shift as you click the Direct Selection tool on each point,

or use the Direct Selection tool to drag a selection rectangle around the points you want to select

▶ To select all of the points on a path, hold down Option/Alt as you click the Direct Selection tool on the path

▶ You can select points on paths inside groups or compound paths

by using the Direct Selection tool

▶ When you move a point, the control handles associated with that point also move, maintaining their positions relative to the point This means that the curves of the line segments attached

to the point change, unless you’re also moving the points on the other end of the incoming and outgoing line segments

▶ To move a straight line segment and its associated points, select the line segment with the Direct Selection tool and drag

Adding Points

to a Path

Removing Points from a Path

Selecting and Moving Points

Select a line segment using the Direct Selection tool (drag a selection rect- angle over the line segment).

Drag the line segment As you drag, InDesign adjusts the curve of the line segment.

Figure 5-13 Another Way to Adjust the Curve of

a Line Segment