ADOBE INDESIGN CS2 REVEALED- P20 doc

In this lesson, you will position type on a line, convert type to outlines, and apply drop shadows and corner effects to graphics.. FIGURE 53 Text positioned on a path FIGURE 54 Reversin

Lesson 3 Work with Polygons and Compound Paths INDESIGN 7-27

FIGURE 50

Placing the anchored object

FIGURE 51

Selecting the anchored object

FIGURE 52

Viewing three anchored objects

Anchored object

The anchored object

is selected as are the spaces before and after it

Use a polygon as an anchored object

1 Drag the Text layer to the top of the Layers

palette.

2 Select the ten-pointed polygon in the paste-board, click Edit on the menu bar, then click Cut.

3 Click the Type Tool , click between the words Kids and We’re, then paste.

As shown in Figure 50, the polygon is pasted into the block of text.

4 Press [Spacebar] to create a space after the

anchored object, position your cursor before

the graphic, then press [Spacebar] to create

a space before the graphic.

5. Select the space, the graphic, and the space after the graphic, as shown in Figure 51.

6 In the Character palette, type -3 in the Baseline Shift text box, then press [Enter] (Win) or [return] (Mac).

TIP Click the Show Options command in the Character palette list if necessary The anchored object is positioned more inline with the text.

7. With the space-graphic-space still selected,

click Edit on the menu bar, then click Copy.

8. Click between the words school and Door, then paste.

9. Click between the words costume and Bring, then paste.

10 Select the words “We’re having”, then type It’s.

As shown in Figure 52, when the text is edited, the anchored objects reflow with the text.

You used a polygon as an anchored object within a block of text.

Working with anchored objects

After you place an anchored object, you can fine-tune its placement in the Anchored Object options dialog box (available from the Object/Anchored Object command) You can specify its location relative to the baseline, the page edge, or the document spine; you can also customize its placement using Reference Point proxies and X and Y relative to menus

L E S S O N 4

What You’ll Do

Positioning Type on a Line

Once you’ve created an object—a line or a polygon—the Type on a Path Tool allows you

to position text on the outline of the object

Simply float the Type on a Path Tool pointer over the path until a plus sign appears beside the pointer, then click the path A blinking cursor appears, allowing you to begin typing

Figure 53 shows text positioned on a path

Whenever you position text on a path, a default start, end, and center bracket are

created Drag the start bracket with either

of the selection tools to move the text along the path

If you drag the center bracket across the path, the text will flow in the opposite direction, as shown in Figure 54

QUICKTIP

The center bracket is small and often difficult to see amid the letters

In this lesson, you will position type on a

line, convert type to outlines, and apply

drop shadows and corner effects to

graphics.

FIGURE 53

Text positioned on a path

FIGURE 54

Reversing the direction of the text

Start bracket

End bracket

Center bracket outside of the circle

Center bracket pointing inside the circle

WORK WITH ADVANCED TEXT

FEATURES, CORNER EFFECTS, AND DROP SHADOWS

Lesson 4 Work with Advanced Text Features, Corner Effects, and Drop Shadows INDESIGN 7-29

Once the text is entered, you can edit the

text just as you would in a text frame You

can also modify the path For example, if

you modify the curve of the ellipse, the text

will flow with the new shape

One key design technique that many

design-ers use in conjunction with text on a line is

a baseline shift You can use the Baseline

Shift text box in the Character palette to

make the text float above or below the path

Figure 55 shows text floating above the path

of the ellipse

Converting Text to Outlines

After you create text in InDesign, you can

vert the text to outlines When text is

con-verted to outlines, each character is concon-verted

to a closed path and shares the same

charac-teristics of all paths As shown in Figure 56,

the individual characters—which were once

text—are now individual paths

Why would you do this? One good reason is

that when you convert text to outlines, you

can place graphics into the outlines, as

shown in Figure 57 You do this using the

Place command or the Paste Into command

The ability to convert text to paths is a

pow-erful feature Beyond allowing you to use

text as a frame for graphics, it makes it

pos-sible to create a document with text and

without fonts This can save you time in

document management when sending files

to your printer, and it can circumvent

potential problems with missing fonts

FIGURE 55

Viewing text with a positive baseline shift value applied

FIGURE 56

Text converted to outlines

FIGURE 57

Placing a graphic in outlined text

Blue stroke applied to paths

Text shapes drawn with anchor points and line segments

Does this mean that you should always

con-vert all of your text in all of your documents

to outlines? No For quality purposes, it is best

for text—especially small text such as body

copy—to remain formatted as text as opposed

to outlines However, converting to outlines

can be a good choice when you’ve used a

type-face that you suspect your professional output

house doesn’t have Rather than send them

the font, you could choose simply to convert

the text to outlines Remember though, this is

an option for larger text, like headlines, and is

not recommended for body copy

Applying Corner Effects

The Corner Effects command is a simple solution for modifying the corner points

of polygons With the Corner Effects command, you can, for example, change

a rectangle’s pointed corners to rounded corners Figure 58 shows various corner effects applied to a rectangle When work-ing in the dialog box, be sure to click the Preview option Then you can experiment with different sizes, which will yield differ-ent corner effects

QUICKTIP

InDesign CS2 now maintains corner effects when you use Pathfinder, which is the Object menu command that creates new paths from overlapping shapes You’ll learn more about the Pathfinder commands in Chapter 11

Applying a Drop Shadow

A drop shadow is a soft-edged graphic behind another graphic that appears as though it is the shadow of the graphic The Drop Shadow command on the Object menu makes it sim-ple to create effective drop shadows

FIGURE 58

Viewing corner effects

Original (no corner effect applied)

Fancy

Bevel

Using the Noise and Spread drop shadow options

Adobe has added two options to the Drop Shadow dialog box: Noise and Spread The Noise setting adds “noise” to the shadow, giving it a rougher and grainier texture

The Spread option affects the positioning of the object to the shadow and the size of the blur in the shadow itself The best way to get a sense of the Spread option is to experiment with different settings with the Preview option activated Remember one rule when working with the Spread option: The higher the percentage of the spread, the more the blur on the shadow will be reduced If you specify a Spread at 100%, the blur will be completely elim-inated, resulting in a shadow with a hard edge

To apply a drop shadow, simply select any

graphic, then click the Drop Shadow

com-mand on the Object menu to open the

Drop Shadow dialog box, as shown in

Figure 59 Click the Drop Shadow check

box to activate the drop shadow

The dialog box contains eight parameters for

specifying the appearance of the drop shadow

■ Mode allows you to choose how the

shadow appears in relation to other

objects or colors behind it Generally speaking, you will use Multiply mode most often With Multiply mode, the shadow mimics a shadow in the real world—it is transparent and darkens anything it overlaps

■ Opacity controls how opaque the shadow

is The higher the opacity, the more opaque the shadow is The lower the opacity, the less opaque the shadow is

■ The X and Y Offset settings control the distance—on the X axis and Y axis, respectively—that the shadow is from the selected object

■ Blur affects the width of the feathered edge of the selection The greater the blur value, the more feathered—and less distinct—the edge will be

■ Color allows you to choose the color for the shadow

FIGURE 59

Drop Shadow dialog box

Position type on a line

1 Click the Selection Tool , then click the

yellow diagonal line.

2 Click the Type on a Path Tool , then

position the pointer over the yellow line until

a plus sign appears beside it.

3 Click the yellow line.

A blinking type cursor appears at the top of

the yellow line.

4 Type the word happy in lower-case letters,

as shown in Figure 60.

5 Double-click happy, change the font to

Impact, change the font size to 60 pt, then

change the fill color to Paper in the

Swatches palette.

6 Click the Selection Tool , then click

the text.

The Fill button in the Toolbox changes to None,

and the Stroke button changes to yellow,

because these are the attributes of the line that

the type is positioned on, not the type itself.

7. Change the stroke color to None.

8. Position the word happy as shown in

Figure 61.

9 Press and hold [Shift][Alt] (Win) or

[Shift][option] (Mac), then drag a copy of

the word happy into the blue area beneath

the orange triangle.

10 Click the Type on a Path Tool ,

double-click happy, then type halloween.

11 Click the Selection Tool , then position

the word halloween as shown in Figure 62.

You used the Type on a Path Tool to position text

on a diagonal line You then created a copy of the

text to create another word on the identical angle.

FIGURE 60

Typing the word happy

FIGURE 61

Positioning the word happy

FIGURE 62

Positioning the word halloween

Text on path

Lesson 4 Work with Advanced Text Features, Corner Effects, and Drop Shadows INDESIGN 7-33

Convert text to outlines

1 Click the Selection Tool if necessary, then select the “happy” text.

2 Click Type on the menu bar, then click

Create Outlines.

3. Select the “halloween” text.

4 Click Type on the menu bar, then click

Create Outlines.

5 Click the Direct Selection Tool Figure 63 shows that the halloween text has been converted to nine paths.

You converted text to outlines.

Place graphics into outlines

1 Deselect all, click the Selection Tool ,

then click the word happy.

2 Click File on the menu bar, click Place,

navi-gate to the drive and folder where your Data Files are stored, then place Blue clouds.tif.

3 Click Object on the menu bar, point to

Fitting, then click Fit Content to Frame.

4 Deselect all, verify that the Selection Tool

is selected, click the Orange Clouds.tif graphic

visible in the triangle in the top-right corner,

click Edit on the menu bar, then click Copy.

5 Click the word halloween, click Edit on the menu bar, then click Paste Into.

6 Click Object on the menu bar, point to

Fitting, click Fit Content to Frame, deselect

all, then compare your page to Figure 64.

You used two methods for using a graphic to fill text outlines You placed a graphic into text out-lines, then pasted a graphic into text outlines

FIGURE 63

Viewing text converted to paths

FIGURE 64

Viewing graphics pasted into text outlines

Apply drop shadows

1 Click the Selection Tool if necessary,

then select the compound path in the

top-right corner of the orange triangle.

2 Click Object on the menu bar, then click

Drop Shadow.

3 Click the Drop Shadow check box, then

click OK.

Your page should resemble Figure 65.

4. Select the words happy and halloween, click

Object on the menu bar, then click Drop

Shadow.

5 Click the Drop Shadow check box, then click

the Preview check box.

TIP Move the Drop Shadow dialog box if it

is blocking your view of happy halloween

(continued)

FIGURE 65

Viewing a drop shadow created with default settings

Drop shadow

Lesson 4 Work with Advanced Text Features, Corner Effects, and Drop Shadows INDESIGN 7-35

6 Click Blue in the Color box.

7. Change the Opacity to 40%.

8 In the X Offset text box, type a minus sign

before the current number so that the offset

is a negative number, then click OK.

9. Apply a 1 pt blue stroke to the letters, dese-lect, then compare your page to Figure 66.

10.Save your work, close Halloween Invitation, then close Halloween Witch.

You applied a drop shadow using the default set-tings in the Drop Shadow dialog box You then formatted and applied drop shadows to two text outlines You also applied a stroke to text outlines that contain placed graphics.

FIGURE 66

Viewing the completed project

C H A P T E R S U M M A R Y

CHAPTER SUMMARY

Chapter 7 was an exploration of InDesign

as a design and drawing utility You

explored the many InDesign features that

allow you to create and draw objects of

any shape and size You started with

an in-depth exploration of the functions

of the Pen Tool, learned to identify the

components that make up a path, and

then learned how to draw and manipulate

paths Next, you explored options for

cre-ating shapes and for applying interesting

stroke effects, including how to define

and apply a dashed stroke

Moving on, you learned how to create

polygons and how to use the Compound

Path command to “punch holes” in a

poly-gon Then you learned to use polygons as

anchored objects You spent some time

learning how to position text on a line and,

in keeping with this lesson, how to convert

text into outlines Finally, you learned how

to use the drop shadow dialog box and also

how to apply corner effects

What You Have Learned

• An understanding of the Pen Tool

• How to draw and work with paths

• The components that make up a path

• How to reshape frames

• How to define strokes

• How to define joins and caps

• How to create a dashed stroke

• How to create polygons

• How to create compound paths

• How to use polygons as anchored objects

• How to position text on a line

• How to convert text to outlines

• How to apply corner effects

• How to apply a drop shadow to an object

Key Terms

Anchored objects Graphics or text boxes that are placed or pasted within or near text and that move with the text

Caps Define the appearance of end points when a stroke is added to a path Closed path Continuous lines that do not contain end points

Compound paths One or more closed paths joined using the Compound Path command to create one complete path Corner points Anchor points that cre-ate a corner between the two segments Direction handle The round blue cir-cle at the top of the direction line

Direction lines Two lines attached to

a smooth point

Joins Define the appearance of a corner point when a path has a stroke applied to it Kerning Increasing or decreasing space between a pair of characters

Open path A path whose end points are not connected

Paths Straight or curved lines, consist-ing of anchor points and line segments Stroke weight Refers to how heavy the outline of a stroke appears

WORKING WITH

TRANSPARENCY

8

chapter

In Chapter 7, you explored InDesign’s

fea-tures for drawing and creating graphics

Chapter 8 extends that exploration to

InDesign’s Transparency palette Adobe’s

decision to include the Transparency

palette as a feature of InDesign makes the

application a sophisticated graphics utility

as well as a top-notch layout program

With the Transparency palette, InDesign

offers you the ability to manipulate the

appearance of graphics in ways that were

once exclusive to Photoshop With this

palette, you can manipulate a graphic’s

opacity in InDesign You can also apply

blending modes to InDesign graphics and

to graphics you place from Photoshop or Illustrator

In addition to the Transparency palette, the Feather command gives you the option

to create soft edges on InDesign frames You can even use the Swatches palette in combination with the selection tools to colorize a grayscale image that you place

in InDesign So keep your wits about you when you’re working in Chapter 8—you might forget yourself and think you’re working in Photoshop, but remember, it’s InDesign!

WORKING WITH TRANSPARENCY

chapter

8