Eye icon indicates visible layers and objects Lock icon indicates locked layers and objects Pen icon indicates the active layerLayer icon indicates the layer the selected object is on De
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FIGURE 5.9
The Layout Adjustment dialog box (with its default settings)
Here are a few things to keep in mind if you decide to use InDesign’s Layout Adjustment feature:
l If you change page size, the margin widths (the distance between the left and right gins and the page edges) remain the same
mar-l If you change page size, column guides and ruler guides are repositioned proportionally to the new size
l If you change the number of columns, column guides are added or removed accordingly
l If an object edge is aligned with a guideline before layout adjustment, it remains aligned with the guideline after adjustment If two or more edges of an object are aligned with guidelines, the object is resized so that the edges remain aligned with the guidelines after layout adjustment
l If you change the page size, objects are moved so that they’re in the same relative position
on the new page
l If you’ve used margin, column, and ruler guides to place objects on pages, layout ments are more effective than if you’ve placed objects or ruler guides randomly on pages
adjust-l Check for text reflow when you modify a document’s page size, margins, or column guides Decreasing a document’s page size can cause text to overflow a text frame whose dimensions have been reduced
l Check everything in your document after the adjustment is complete Take the time to look over every page of your document You never know what InDesign has actually done until you see it with your own eyes
Tip
If you decide to enable layout adjustment for a particular publication, you may want to begin by using the Save
As command (choose File ➪ Save As or press Shift+Ô+S or Ctrl+Shift+S) to create a copy That way, if you ever
need to revert back to the original version, you can simply open the original document n
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Summary
If you’re working on a multipage document, you want to display the Pages panel It lets you add, move, and delete document pages as well as adjust the size of individual pages and create multi-
page spreads called gatefold spreads.
If you’re working on a long document with multiple parts and want to number each part rately, you can create sections to manage these multiple page-numbering schemes within the docu-ment You can also have InDesign automatically add the correct page numbers for folios and continued lines, as well as section names in folios and other text
sepa-As you work on a long document, you can use the Pages panel to target a specific page or spread in the document window; to select multiple pages or spreads so that you can move, modify, or delete them collectively; and to navigate from page to page in a multipage document
InDesign provides visual indicators that let you know whether pages contain transparent objects, have their views rotated, or have page transition effects applied You can also rotate page views and apply transition effects with the Pages panel and related Layout ➪ Page submenus A new capability lets you apply color labels to pages as a mnemonic aid
If you decide to change the layout of a publication after you’ve started work, you can use the Layout Adjustment feature to automatically adjust the size and position of objects and guidelines when you change the document’s page size, margins, or columns
Trang 3Publishers seem to spend a lot of time doing variations of the same
things: creating several different versions of the same ad for different markets or flowing text in another language into a design The goal of software is to automate the predictable so that you have more time for cre-ativity Toward this goal, InDesign provides a method for preserving the time you put into creating and editing a layout that is used for more than one
purpose: layers.
If you’ve ever seen a series of clear plastic overlays in presentations, standing layers is easy In one of those old overhead presentations, the teacher might have started with one overlay containing a graphic and then added another overlay with descriptive text, and then added a third overlay containing a chart Each overlay contained distinct content, but you could see through each one to the others to get the entire message InDesign’s lay-ers are somewhat like this, letting you isolate content on slices of a docu-ment You can then show and hide layers, lock objects on layers, rearrange layers, and more
under-Each document contains a default layer, Layer 1, which contains all your objects until you select and create a new layer Objects on the default layer —
and any other layer, for that matter — follow the standard stacking order of
InDesign (The first object you create is the backmost object, the last one you create is the frontmost, and all the other objects fall somewhere in between
See Chapter 13 for detailed information about stacking orders.)
As with the clear plastic overlays, the order of the layers also affects the stacking order of the objects Objects on the bottom layer are behind other
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Trang 4Part II: Document Fundamentals
objects, and objects on the top layer are in front of other objects In Figure 6.1, the Default layer contains the business card’s standard graphics and the main text Two additional layers contain different sets of contact information, in separate text frames, for different people
FIGURE 6.1
A business card with different layers for each person’s card The graphics common to all cards are on their own layer (Default)
Eye icon (indicates visible layers and objects)
Lock icon (indicates locked layers and objects)
Pen icon (indicates the active layer)Layer icon (indicates the layer the selected object is on)
Delete Selected LayersCreate New Layer
Object icon (indicates the selected object)
Although layers are often compared to plastic overlays, there’s one big difference: Layers are not specific to individual pages Each layer encompasses the entire document, which doesn’t make much difference when you’re working on a 1-page ad but makes a significant difference when it comes to a 16-page newsletter Layers help you enforce the stacking order of your page elements, making it easier to manage them Layers are essential to grouping chunks of similar elements that can be altered quickly
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The Layers panel (choose Window ➪ Layers or press F7) is your gateway to creating and lating layers Its controls are mostly iconic, but, as with other panels, when tool tips are turned on via the Tool Tips pop-up menu in the Interface panel of the Preferences dialog box, you can learn what controls do by pointing at them (Choose InDesign ➪ Preferences ➪ Interface or press Ô+K
manipu-on the Mac, or choose Edit ➪ Preferences ➪ Interface or press Ctrl+K in Windows.) If you know what the controls do, you can intuit a great deal of how to work with layers
The layers feature is one that many users ignore It’s true that if you never looked at the Layers panel, you could continue to do your work in InDesign, but that would be a mistake So take a look at the possibili-ties and see whether they fit into your workflow In the long run, using layers can save you time and help you prevent mistakes that can result when you need to track changes across multiple documents
Say you’ve created an ad with the same copy in it but a different headline and image for each city where the ad runs You can place the boilerplate information on one layer and the information that changes on other layers If any of the boilerplate information changes, you only need to change it once
To print different versions of the ad, you control what layers print
You might use layers in the following situations:
l A project with a high-resolution background image: For example, a background such as a
texture might take a long time to redraw You can hide that layer while designing other ments and then show it occasionally to see how it works with the rest of the design
ele-l A document that you produce in several versions: For example, a produce ad may have
dif-ferent prices for difdif-ferent cities, or a clothing catalog may feature difdif-ferent coats depending
on the climate in each area You can place the content that changes on separate layers and then print the layers you need
l A project that includes objects you don’t want to print: If you want to suppress printout of
objects for any reason, the only way you can do this is to place them on a layer and hide the layer You might have a layer used for nothing but adding editorial and design comments, which you can delete when the document is final (Even though InDesign supports nonprint-ing notes, you can insert them only into text; therefore, having a design-comments layer is still useful to be able to make annotations for frames, images, and other nontextual elements.)
l A publication translated into several languages: Depending on the layout, you can place all
the common objects on one layer and then create a different layer for each language’s text
Changes to the common objects need to happen only once — in contrast to if you created copies of the original document and flowed the translated text into the copies
l To experiment with different layouts of the same document: You can show and hide layers
to present different options to your supervisor or client This strategy lets you use common elements, such as the logo and legal information, in several versions of the same design
Trang 6Part II: Document Fundamentals
Creating layers
Each document contains a default layer, Layer 1, which contains all the objects you place on ter pages and document pages — until you create and activate new layers You can create as many layers as you need After you create a new layer, it’s activated automatically so that you can begin working on it
mas-New Feature
InDesign CS5’s Layers panel now works like Illustrator’s and Photoshop’s: You can hide and reveal the objects
on each layer, as well as hide and reveal the individual objects within a group on each layer That lets you work with individual items in terms of locking and hiding them, as well as moving them among layers You can also change individual objects’ stacking order (see Chapter 13) by dragging them within their layer in the Layers panel n
The Layers panel (choose Window ➪ Layers or press F7) provides several methods for creating new layers It doesn’t matter what document page is open when you create a layer because the layer encompasses all the pages in the document To create a layer, do one of the following:
l To create a new layer above the selected layer, click the Create New Layer iconic button on the
Layers panel to get the New Layer dialog box The layer gets the default name of Layer x.
continued
l A complex design with overlapping objects, text wraps, and grouped objects: Imagine the
background of a page consists of a checkerboard pattern made up of filled, rectangular frames You don’t want to accidentally select the blocks while you’re working with other objects If you isolate complex objects on their own layer, you can show only that layer to work on it, hide that layer to concentrate on other layers, lock the layer so that you can’t select objects, and otherwise manipulate the layer
l To create bulletproof templates: Locked layers are a great way to decrease the possibility of
items in a template being moved or deleted Move all the objects you don’t want moved or deleted on a layer and lock the layer Although you can unlock the layer, a locked layer keeps the people who use the template from accidentally moving or removing anything too quickly
l To ensure that folios and the like are never overprinted: Placing folios (the document’s page
numbers, running headings, and so on) on their own layer, uppermost in the layer stack, ensures that other objects never accidentally obscure them
l To help text print properly over transparent elements: Layers are useful to isolate text above
other objects with transparency effects This avoids the rasterizing of text during output to plate or film — something that can make the text quality look poor
When determining whether objects should go on a layer, remember that layers are document-wide and not page-specific
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l To create a layer below the selected layer, Ô+click or Ctrl+click the Create New Layer iconic button The layer gets the default name of Layer x.
l To create a new layer above the selected layer and customize its name and identifying color,
Option+click or Alt+click the Create New Layer iconic button, or choose New Layer from the flyout menu Use the New Layer dialog box to specify options for the layer, as described shortly (The New Layer dialog box — set with a custom name and color — is shown in Figure 6.2.)
l To create a new layer above all existing layers, Shift+Ô+click or Ctrl+Shift+click the Create
New Layer iconic button
New Feature
InDesign CS5 changes what the modifier keys such as Ô and Ctrl do when you click the Layers panel’s Create New Layer iconic button If you use these modifier keys a lot when working with layers, you need to relearn what they do in InDesign CS5 n
You can create a layer while a master page is displayed Objects you create on a layer while a ter page is displayed are placed on all pages based on that master page However, the layer is not specific to that master page It is available for all document pages — even those based on other master pages — and you can place objects on it
l Name field: Type a descriptive name for the layer For example, if you’re using layers for
multilingual publishing, you might have a U.S English layer, a French layer, and a German layer If you’re using layers so that you can hide background objects while you’re working, you might have a Background Objects layer
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l Color pop-up menu and button: A layer’s color helps you identify what layer an object is
on The color appears to the left of the layer name in the Layers panel and appears on each object on that layer The color is applied to frame edges, selection handles, bounding boxes, text ports, and text wraps Note that the display of frame edges is controlled by choosing View ➪ Extras ➪ Show/Hide Frame Edges or pressing Control+Ô+H or Ctrl+H
By default, InDesign applies a different color to each new layer, but you can customize it
to something meaningful for your document and workflow Choose a color from the list
or double-click the color swatch to use from the operating system’s color picker
Cross-Reference
I cover the other layer manipulation features in these dialog boxes later in this chapter n
Working with individual objects on layers
Whether you’re designing a magazine template from the ground up or modifying an existing ad, you can isolate specific types of objects on layers You can create objects on a layer, move objects
to a layer, or copy objects to a layer
Keep in mind that a layer (or object) must be visible for you to work on it If a layer or object is visible, the eye icon appears in the first column of the Layers panel, as Figure 6.1 shows If the col-umn’s box for that layer or object is blank, the layer or object is hidden Click the box to toggle between showing and hiding the layer or object
To work with a layer and its objects, they must not be locked If a layer or object is locked, a lock icon appears in the second column in the Layers panel, as Figure 6.1 shows If the column’s box for that layer or object is blank, the layer or object is unlocked Click the box to toggle between locking and unlocking the layer or object Note that you cannot lock or unlock individual objects within a group, just the entire group
Note
To see the objects (including groups) in a layer, or the objects within a group, click the reveal control (the right-facing triangle icon to the left of the layer name) It turns into the hide control (the down-pointing triangle icon), which if clicked hides the layer’s or group’s objects and turns back into the reveal control n
Tip
You can change the default names assigned to groups and objects by clicking the name in the Layers panel, waiting for a second, clicking it again, and then entering your preferred name n
The active layer
The active layer is the one on which you’re creating objects — whether you’re using tools,
import-ing text or graphics, clickimport-ing and draggimport-ing objects in from a library, or pastimport-ing objects from other layers or other documents A pen icon to the right of a layer’s name means it’s the active one (refer
to Figure 6.1) Although you can select more than one layer at a time, only one layer can be active
Trang 9Chapter 6: Working with Layers
Selecting objects on layers
The Layers panel helps you work with selected objects in the following ways:
l To determine to what layer an object belongs, match the color on its bounding box, dles, and so on, to a color to the left of a layer name
han-l To determine what layers contain active objects, look to the right of the layer names A small box — the layer icon — next to a layer name (refer to Figure 6.1) indicates that it contains an active object (The object icon, also shown in Figure 6.1, indicates what spe-cific objects are selected.)
l To select all the objects on a layer, Option+click or Alt+click the layer’s name in the Layers panel The layer must be active, unlocked, and visible (Likewise, Option+click or Alt+click an object within a group to select all the objects in that group.)
Tip
To select master-page objects as well as document-page objects on a layer, you need to Option+Shift+click or Alt+Shift+click the layer name n
Placing objects on layers
To place objects on a layer, the layer must be active as indicated by the pen icon To place objects
on the layer, use any of these options:
l Use any tools to create paths and frames
l Use the Place command (choose File ➪ Place or press Ô+D or Ctrl+D) to import graphics
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You can cut and paste objects from one page to another but have the objects remain on their nal layer — without concern about the active layer To do this, choose Paste Remembers Layers in
origi-the Layers panel’s flyout menu so that a check mark appears to its left before pasting any objects
(The Paste Remembers Layers setting remains in effect until you choose the flyout menu option again, which makes the check mark disappear.) You might do this if you’re moving the continua-tion of an article from one page to another but you want the text to remain on the same layer
For example, if you’re working on a multilingual document with separate layers for English, French, and Spanish text, using Paste Remembers Layers ensures that text frames cut or copied from the French layer are pasted onto the French layer on the new location
Moving objects to different layers
After an object is on a layer, it isn’t stuck there You can copy and paste objects to selected layers,
or you can move them using the Layers panel When you move an object to a layer, it’s placed in front of all other objects on a layer To select multiple objects, remember to Shift+click them and then move them in one of the following ways:
l Paste objects on a different layer: First cut or copy objects to the Clipboard Activate the
layer on which you want to put the objects and then use the Paste command (choose Edit ➪ Paste or press Ô+V or Ctrl+V) This method works well for moving objects that are currently on a variety of layers
l Move objects to a different layer: Click and drag the active objects’ object icon (to the
right of a layer’s name) to another layer When you use this method, it doesn’t matter what layer is active However, you can’t move objects from multiple layers to a single layer using this method (If you select multiple objects that reside on different layers, dragging the icon moves only objects that reside on the first layer on which you selected an object.) Also, you can’t move individual objects within a group to another layer; you have to move the group instead
l Move objects to a hidden or locked layer: Press and hold Ô or Ctrl while you click and
drag the active objects’ object icon
l Copy rather than move objects to a different layer: Press and hold Option or Alt while
you click and drag the active objects’ object icon
l Copy objects to a hidden or locked layer: Press and hold Option+Ô or Ctrl+Alt while
you drag the active objects’ object icon
Tip
After designing a new template, you might realize that it would be easier to work with if you had isolated tain objects on layers You can create new layers and then move objects to them at this point Just make sure the layers are in the same stacking order as the original objects n
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Manipulating entire layers
Using the Layers panel, you can also select and manipulate entire layers, not just individual objects
on them For example, if you hide a layer instead of a specific object on that layer, all its objects are hidden; if you move a layer up, all its objects appear in front of objects on lower layers
Note
When working with the Layers panel, InDesign CS5 gives you much richer control when manipulating entire layers than the groups and objects within them In the Layers panel, you can simply hide/unhide, lock/unlock, and change the stacking order for individual objects, as well as move objects to other layers When working with entire layers, you can also merge and delete them If you want to do more with objects than the Layers panel permits, see Part III for all the controls available for objects n
Selecting layers
The active layer containing the pen icon is always selected You can extend the selection to include other layers the same way you multiple-select objects: Shift+click for a continuous selection and Ô+click or Ctrl+click for a noncontiguous selection When layers are selected, you can move them within the stacking order of layers, modify attributes in the Layer Options dialog box, merge them,
or delete them
Hiding layers
When you hide a layer, none of the objects on that layer displays or prints You might hide layers for a variety of reasons, including to speed screen redraw by hiding layers containing high-resolution graphics, to control what version of a publication prints, and to simply focus on one area of a design without the distraction of other areas To show or hide layers using the Layers panel, do one
of the following:
l Click the eye icon in the first column to the left of a layer’s name When the eye icon is
blank, you just see an empty square in the column, and the layer is hidden Click the empty square to show the layer; the eye icon appears in that square (This technique also works for selected groups and individual objects if you click their individual eye squares instead of the layer’s.) You can also double-click a layer and select or deselect the Show Layer option in the Layer Options dialog box
l If no layers are hidden, you can show only the active layer by choosing Hide Others from the flyout menu
l Regardless of the state of other layers, you can show only one layer by Option+clicking or Alt+clicking in the first column next to its name All other layers are hidden
l If any layers are hidden, you can show all layers by choosing Show All Layers from the flyout menu You can also Option+click or Alt+click twice in the first column to show all layers
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The Suppress Text Wrap When Layer Is Hidden option in the flyout menu prevents text wrapping around the layer’s objects when the layer is hidden Be sure to select this option when you use multiple layers for variations of the same content — such as multilingual text or different contacts for business cards Otherwise, your layer’s text cannot appear because it is wrapping around a hid-den layer with an object of the same size in the same place
Locking layers
When you lock a layer, you cannot select or modify objects on it — even if the locked layer is active You might lock a layer containing boilerplate text or a layer containing a complex drawing that you don’t want altered Locking and unlocking layers is easy, so you might lock one layer while focusing on another, and then unlock it To lock or unlock layers using the Layers panel, do one of the following:
l Click the blank square in the second column to the left of a layer’s name When the lock icon appears in the square, the layer is locked Click the lock icon to unlock the layer; the square becomes blank (This technique also works for groups and individual objects if you click their individual lock squares.) You can also double-click a layer and select or dese-lect the Lock Layer option in the Layer Options dialog box
l If no layers are locked, you can lock all but the active layer by choosing Lock Others from the flyout menu
l If any layers are locked, you can unlock all layers by choosing Unlock All Layers from the flyout menu
l You can toggle between Lock Others and Unlock All Layers by Option+clicking or Alt+clicking the blank box or the lock icon
Note
When you lock an object to a page (choose Object ➪ Lock or press Ô+L or Ctrl+L), as described in Chapter 13,
the object’s position stays locked regardless of its layer’s lock status n
Preventing layers from printing or exporting
InDesign lets you designate layers as nonprinting, separately from being hidden Select the layers you don’t want to print or export and then choose Layer options from the Layers panel’s flyout menu and deselect Print Layer Layers that won’t print show their names in italic in the Layers panel (In addition, hidden layers also do not print.)
Cross-Reference
When you do print or export to PDF, you can override layers’ nonprinting status, as explained in Chapters 31 and 32 n
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Rearranging layers
Each layer has its own front-to-back stacking order, with the first object you create on the layer being its backmost object You can modify the stacking order of objects on a single layer using the Arrange commands in the Object menu, as explained in Chapter 13, or — new to InDesign CS5 —
by dragging the objects within the layers in the Layers panel (you can also move an individual object to another layer within the Layers panel by dragging the object itself, rather than its layer)
Objects are further stacked according to the order in which the layers are listed in the Layers panel
The layer at the top of the list contains the frontmost objects, and the layer at the bottom of the list contains the backmost objects
If you find that all the objects on one layer need to be in front of all the objects on another layer, you can move that layer up or down in the list In fact, you can move multiple-selected layers up
or down, even if the selection is noncontiguous To move layers, click the selection and drag it up
or down in the Layers panel When you move layers, remember that layers are document-wide, so you’re actually changing the stacking order of objects on all the pages
Tip
You might be accustomed to moving objects to the front of the stacking order to make them easily editable
Working this way, you might be tempted to bring a layer up to the top of the layer stacking order so that you can edit it easily and then move it back to its original location Try to get out of that habit, though, and into the habit of simply showing the layer you need to work on and hiding the others n
Merging layers
If you decide that all the objects on one layer belong on a different layer — throughout the ment — you can merge the layers When you’re learning about the power of layers, it’s easy to cre-ate a document that is unnecessarily complex (for example, you might have put each object on a different layer and then realized that the document has become difficult to work with) The good
docu-news is that you can also merge all the layers in a document to flatten it to a single layer To flatten
all layers:
1 Select the target layer (where you want all the objects to end up) by clicking it.
2 Select the source layers (which contain the objects you want to move) in addition to
the target layer Shift+click, or Ô+click or Ctrl+click, to add the source layers to the
selection
3 Make sure the target layer displays the pen icon and that the target and source
lay-ers are all selected.
4 Choose Merge Layers from the Layers panel’s flyout menu All objects on the source
layers are moved to the target layer, and the source layers are deleted
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Note
When you merge layers, the stacking order of objects does not change, so the design looks the same — with one notable exception: If you created objects on a layer while a master page was displayed, those objects go to the back of the stacking order with the regular master-page objects n
differ-You might also delete layers that you don’t end up using to simplify a document
When you delete layers, all the objects on the layer throughout the document are deleted To ensure that you don’t need any of the objects before deleting a layer, you can hide all other layers and then look at the remaining objects on each page If you think you might need them later for this or another document, you can click and drag them to the pasteboard or place them in a library
Using the Layers panel, you can delete selected layers in the following ways:
l Click and drag the selection to the Delete Selected Layers iconic button (the trash can icon)
l Click the Delete Selected Layers iconic button (The current layer, the one with the pen icon, is deleted.)
l Choose Delete Layer from the Layers panel’s flyout menu
If any of the layers contain objects, a warning reminds you that they will be deleted And, of course, the ubiquitous Undo command (choose Edit ➪ Undo or press Ô+Z or Ctrl+Z) lets you recover from accidental deletions
l Show Guides option: This lets you control the display of guides that were created while the
selected layer was active When selected, as it is by default, you can create guides while any layer is active and view those guides on any layer When deselected, you cannot create guides Any guides you create while that layer is active are not displayed, but you can still see guides that were created while other layers were active Note that when guides are
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hidden entirely (choose View ➪ Grids & Guides ➪ Hide Guides or press Ô+; [semicolon] or Ctrl+; [semicolon]), this command has no apparent effect
l Lock Guides option: This works similarly to Show Guides in that it affects only guides
cre-ated while the layer is active When deselected, as it is by default, you can move guides on any layer for which Lock Guides is deselected When selected, you cannot move guides cre-ated while that layer was active You can, however, move guides on other layers for which Lock Guides is deselected Note that when all guides are locked (choose View ➪ Grids &
Guides ➪ Lock Guides or press Option+Ô+; [semicolon] or Ctrl+Alt+; [semicolon]), this command has no apparent effect
Summary
If you take the time to integrate layers into your workflow, you can save time and effort in creating multilingual publications, produce multiple versions of a document, and benefit from greater flexi-bility with objects Until you create new layers, all the objects are placed on the default layer
Although each layer has its own stacking order, the order of layers also affects stacking order
You can create objects on the active layer, and you can move objects to different layers Even though objects are on layers, you can continue to select and modify them as you normally would — provided that the layers are visible and unlocked Hiding layers suppresses the printout of objects
as well as prevents their display There’s also a separate control to prevent unhidden layers from printing To streamline a document, you can merge and delete layers
InDesign CS5 has enhanced the Layers panel to let you work with the individual objects and object groups on each layer You can hide/unhide, lock/unlock, and change the stacking order of objects,
as well as move them to other layers
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Trang 17C H A P T E R
Creating Layout Standards
IN THIS CHAPTER
Automating repetitive tasks Working with master pages Creating templates Using libraries Setting up styles Ensuring consistency with rulers, grids, and guides
Think for a moment about the publications you produce Chances are
that most of your work involves creating multiple iterations of a basic set of publications, and each publication looks more or less the same from issue to issue For example, periodicals such as newsletters, magazines, and newspapers don’t change much from one issue to the next (disregarding the occasional redesigns that all publications undergo) The ongoing unifor-mity of page size, margins, page layouts, text formats, and even the tone of the writing gives each publication a unique look and feel
If you had to start from scratch every time you created a publication, you’d spend the bulk of your time setting up your documents and have little time left to attend to the appearance of the content (you’d probably get terribly bored, too) Few things are less rewarding than doing the same job over and over Fortunately, InDesign includes several extremely useful features that let you automate repetitive tasks This chapter focuses on four of them: master pages, templates, libraries, and styles
l A master page is a preconstructed page layout that you can use when
adding pages to a multipage document With master pages, you can design a single background page and then use it as the basis for as many document pages as you want Without master pages, you would have to create every page from scratch
l A template is a preconstructed document used to create multiple
iterations of the same design or publication A template is a shell of
a document that contains everything in a publication except tent Each time you need to create a new version of a repeatedly produced publication, you open its template, save the version as a new document file, add the content (text and graphics), tweak as desired, and then print Next issue, same thing
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l As its name suggests, a library is a place where you store things Specifically, InDesign
libraries are files for storing objects that you create in InDesign and that you intend to use repeatedly in multiple documents
l A style is a collection of formatting attributes that you can then apply to items to ensure
consistency Plus, if you update a style, all items using it are updated automatically with the modified formatting
This chapter also covers a fifth set of options — rulers, guides, and grids — that don’t automate your work but do make it easier to be consistent across pages Ensuring consistency is a key part of implementing layout standards, and it’s easy to overlook these aids when using InDesign
Tip
Although this chapter begins with master pages, this doesn’t mean that you should begin work on a publication
by creating master pages You may prefer to work on text-formatting tasks first and build styles before turning your attention to page layout and document construction tasks n
Creating and Applying Master Pages
Before the arrival of personal computers, publications were created by graphics designers who leaned over light tables and, armed with matte knives and waxing machines, stuck galleys of type, halftones, and plastic overlays onto paste-up boards The paste-up boards were usually oversized
When you combine libraries, master pages, and templates with the capability to create character, graph, table, and cell styles (see Chapters 20, 21, and 25) and object styles (see Chapter 13), you have
para-a powerful set of para-autompara-ation tools Styles para-autompara-ate text para-and object formpara-atting; librpara-aries para-autompara-ate object creation; master pages automate page construction; and templates automate document construction
How and to what extent you use these features depends on your personal preferences and the tions you produce You might think that something as small as a business card wouldn’t benefit from any of these features, but if it’s a business card for a corporate employee, the chances are that, other than the personal information, it’s exactly the same as business cards of every other employee By cre-ating and saving a business card template, you can quickly build cards for several or several hundred new employees All you have to do is open the template, add the name, title, and phone number of the new employee, and then send to the printer
publica-For other publications, you might use several — perhaps all — of the aforementioned timesaving tures A good newsletter template, for example, contains a set of styles for formatting text, probably a master spread or two (depending on whether all pages share exactly the same design), and perhaps an associated library of frequently used objects — house ads, corporate logos, boilerplate text, and so on
fea-Adapting Layout Standards to Your Work
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Although there are no paste-up boards in the electronic publishing world, the concept has survived
in the form of master pages A master page is a building-block page that you can use as the
back-ground (that is, as the starting point) for document pages The master pages themselves don’t print, but any pages that use them print the items from their master page, in addition to any unique elements you add to those individual pages Typically, master pages contain text and graphic elements, such as page numbers, headers, footers, folios, and so on, that appear on all pages of a publication And as did their paste-up board ancestors, master pages also include guidelines that indicate page edges, column boundaries, and margins, as well as other manually created guidelines to aid page designers in placing objects By placing items on master pages, you save yourself the repetitive work of placing the same items one by one on each and every document page
mas-The Pages panel
When you work on multipage documents, you may want to display the Pages panel (choose Window ➪ Pages or press Ô+F12 or Ctrl+F12), which is shown in Figure 7.1 The Pages panel dis-plays a thumbnail preview of your document pages (bottom) and master pages (top) in the current document The controls in the Pages panel and its accompanying flyout menu let you perform sev-eral master-page-related tasks, including creating and deleting master pages, applying master pages
to document pages, and creating master pages out of document pages The Pages panel also lets you add and remove document pages
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FIGURE 7.1
The Pages panel The document page icons at the bottom of the panel show some of the publication’s 56 pages The master page icons at the top show the document’s two master pages: [None], C-Part Opener, and A-Part I-XI Pages (The A-Part I-XI Pages master page is highlighted because it is currently open in InDesign.)
Edit Page Size
Create New Page (hold Option or Alt to become Create New Master)
Delete Selected Pages (hold Option orAlt to become Delete Selected Masters)
Here’s a quick rundown of the controls relating to master pages available in the Pages panel and the commands in its flyout menu:
l The page icons that by default are at the top of the panel represent master pages Every document includes a master page called [None], which includes only margin guidelines, and at least one master page (named A-Master when you create the document) that reflects the margin and column settings you specify in the New Document dialog box when you create the document (You can rename master pages, but their names always
start with a letter and a hyphen, such as A- and B-.) If a letter appears on a master page
icon, it indicates that the master spread is based on another (parent) master page; for example, if you have a master page named C-Master and the icons for C-Master have the
letter A in their outside upper corners, C-Master is based on A-Master A master page’s
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name appears below its icon If a master page and its name are highlighted, it means that the master page appears in the document window If a master page name appears in reverse type, it’s currently shown in the document window
l The page icons that are by default at the bottom of the panel represent document pages
Dog-eared icons represent left and right pages in a facing-pages document The letter shown on a page icon indicates the master page it’s based on (If no letter appears, the page is based on the blank master page.) The numbers below the page icons indicate the page numbers, including section numbering, if any (sections are covered in Chapter 5;
automatic page numbers are covered in Chapter 26) If a page and its number are lighted, it means that page currently appears in the document window If a page number appears in reverse type (that is, white characters on a black background), it means that it’s currently shown in the document window
high-l The Edit Page Size iconic pop-up menu (dual-pages icon) at the bottom of the panel lets you set the page dimensions for the selected master page (or selected document page), as Chapter 5 explains
l The Create New Page iconic button (notepad icon) lets you add a new page with a mouse click (When a master page is shown, the button becomes the Create New Master button.)
l The Delete Selected Pages iconic button (trash can icon) lets you delete document and master pages (When a master page is shown, the button becomes the Delete Selected Masters button.)
l The Insert Pages flyout menu option lets you add pages to a document and specify the master page on which they’re based
l The Move Pages flyout menu option lets you move document pages using a dialog box in which you specify what pages to move and where to move them You can also simply click the pages to select them and drag them to their new location within the Pages panel
When a master page is shown, the menu option becomes Move Master
l The New Master flyout menu option lets you add a new master page
l The Duplicate Spread and Duplicate Page flyout menu options do exactly what the names say They let you duplicate a page or a facing-pages spread The name of the command depends on whether a page or spread is highlighted in the panel (When a master page is shown, the menu options become Duplicate Master Spread and Duplicate Master Page.)
l The Delete Page and Delete Spread flyout menu options let you delete single pages and facing-pages spreads Again, the menu name changes based on what is selected in the panel When a master page is shown, the menu options become Delete Master Spread and Delete Master Page
l The Select Unused Masters flyout menu option selects all unused master pages and spreads, so you can easily identify and perhaps delete them
l The Master Options flyout menu option changes master page attributes, including name and parent master page (if you want to base a master page on another master page)
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Trang 22Part II: Document Fundamentals
l The Rotate Spread View, Page Transitions, and Color Labels flyout menus work with ter pages exactly the same as they do with document pages, as Chapter 5 explains
mas-l The Apply Master to Pages flyout menu command is used for applying a master page out to one or more document pages
lay-l The Save as Master flyout menu option lets you convert a document page into a master page
l The Load Master Pages flyout menu lets you import master pages from other documents,
as explained later in this chapter
l The Hide Master Items flyout menu option hides any master page items in your ment The menu option then becomes Show Master Items so that you can redisplay them
docu-l The Override All Master Page Items flyout menu option lets you have any local changes to the selected pages override the master page settings This command moves all master items to the document page on the selected pages You can also use the shortcut Option+Shift+Ô+L or Ctrl+Alt+Shift+L
l The Remove All Local Overrides and the Remove Selected Local Overrides flyout menu options return master objects that you’ve modified on specific document pages to their original condition If no object is selected and you are displaying a document page, the menu command is Remove All Local Overrides; if one or more objects are selected, the menu command is Remove Selected Local Overrides
l The Detach All Objects from Master and Detach Selection from Master flyout menu options remove any master page items that have been modified on the selected pages from
the master page for those selected document pages only Essentially, this command prevents
you from using the Remove All Local Overrides or Remove Selected Local Overrides mands for these document pages, permanently changing the master pages for them If no object is selected and you are displaying a document page, the menu command is Detach All Objects from Master; if one or more objects are selected, the menu command is Detach Selection from Master
com-l The Allow Master Item Overrides on Selection flyout menu option lets you change the object on document pages, by Shift+Ô+clicking or Ctrl+Shift+clicking it and changing attributes such as size, location, or color If you deselect this option on the master page for any selected objects, then you cannot change the object on any document pages, which is
a great way to prevent unauthorized changes for standard elements Of course, all one has to do is change the settings on the master page, but that kind of effort is usually enough to hinder unintentional changes this feature is really aimed at stopping
some-l The Panel Options flyout menu option controls icon size, position, and other Pages panel display settings — including whether master pages appear at the top or bottom of the Pages panel, as explained in Chapter 5
Creating a new master page
If all the pages in the publication you’re creating share essentially the same page design, you don’t need to create a new master page Instead, you can simply use the default master page called A-Master that every document has But if you intend to use more than one page layout in your
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1 If the Pages panel is not open, choose Windows ➪ Pages or press Ô+F12 or
Ctrl+F12.
2 From the Pages panel’s flyout menu, choose New Master You can also press
Option+Ô or Ctrl+Alt and click the Create New Page iconic button at the bottom of the panel The New Master dialog box, shown in Figure 7.2, appears
3 In the Prefix field, specify a one-character prefix that’s attached to the front of the
master page name and appears on associated document page icons in the Pages panel The default is a letter such as B, C, or D.
FIGURE 7.2
The New Master dialog box
4 In the Name field, type a name for the master page Use something descriptive, such
as 3-Column Layout, Front Matter Layout, or Chapter Title Pages.
5 If you want to base the master page on another master page you’ve already created,
select the parent master page from the Based on Master pop-up menu Basing a
mas-ter page on another masmas-ter page is covered in more detail lamas-ter in this section
6 In the Number of Pages field, type the number of pages you want to include in the
master spread Typically, you type 2 for a facing-pages document and 1 for a single-page
document
7 When you finish specifying the attributes of the new master page, click OK to close
the dialog box.
After you create a new master page, it appears in the document window (When a master page is shown, its name appears in the Page field in the bottom-left corner of the document window.) You can modify any of a master page’s attributes at any time by clicking its icon at the top of the Pages panel, choosing Master Options from the panel’s flyout menu, and then changing any of the set-tings in the Master Options dialog box, which is identical to the New Master dialog box
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Trang 24Part II: Document Fundamentals
Basing a master page on another master page
If you find that a particular publication requires more than one master page, you may want to first lay out a base master page (you can use the default A-Master) and then create additional master pages that share the same basic layout but are slightly different For example, if the magazine you’re working on uses two-, three-, and four-column page layouts, you can create the two-column master spread first and include all repeating page elements You can then create two additional master page spreads, base them on the two-column master, and specify different column formats
The two children masters are identical to the parent except for the number of columns If you
sub-sequently decide to modify, move, or delete a repeating page element, such as the issue date in the folio, you can make the change on the parent master and it is automatically applied to the children masters
When you create a new master page, the New Master dialog box provides the option to base it on
an existing master page You can also choose or change a master spread’s parent by:
l Choosing Master Options in the Pages panel’s flyout menu and then choosing a master page from the Based on Master pop-up menu
l Dragging and dropping the icon of a master spread (the parent) onto the icon of another master spread (the child) Be careful if you use this method It’s possible to base only one page of a master spread on another, but in most cases you want to base both pages of the child master on both pages of the parent master To do so, make sure that when you release the mouse button both pages of the child are highlighted
l Clicking the master spread you want to be the child and then pressing Option or Alt and clicking the master spread you want to be the parent
When you base a master page on another master page, the prefix of the parent appears in the upper outside corner of the page icon of the child
Tip
If you base a master page on another master page, you can still modify the master objects (that is, the objects inherited from the parent master) on the child master page As with regular document pages, you have to Shift+Ô+click or Ctrl+Shift+click the object inherited from a parent master to release it before you can edit it
on a child master n
Creating master pages from document pages
Generally, if you need a new master page, you begin by choosing New Master from the Pages el’s flyout menu, but you can also create a master page from a document page (or a master spread from a document spread) To do so, highlight the document page or spread by clicking the page number(s) below the page icon(s) in the Pages panel and then choose Save as Master from the Pages panel’s flyout menu The new page or master is assigned a default name and prefix If you want to modify any of its attributes, click its name in the Pages panel and then choose Master Options from the pop-up menu
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Importing a master page
Sometimes another document has a master page that you’d like to use in your current layout
InDesign lets you import those master pages: Just choose Load Master Pages from the Pages panel’s flyout menu and then select the source document in the dialog box that appears InDesign imports all master pages from that document into your current one There’s no way to select specific master pages
If any of the imported master pages have the same name as your current document’s master pages (such as the default name A-Master), a dialog box appears giving you the choice of replacing the current master pages with the imported ones that use the same name or of renaming the imported master pages, so you keep what you have and add the imported ones InDesign does the renaming for you, using the next available default name For example, if your current document has master pages A-Master and B-Master already defined, it renames the imported A-Master to C-Master
Note that InDesign also alerts you if the imported master pages use different dimensions than the current document’s pages; but it won’t adjust the imported pages to fit the current document’s size,
so some items may appear off the page if the imported master page has larger dimensions than the current document
Duplicating a master
You can create a copy of a master page or spread by clicking its icon and then choosing Duplicate Master Spread from the Pages panel’s flyout menu, or by clicking and dragging the master page’s icon onto the Create New Master iconic button and releasing the mouse If you duplicate a master page or spread, no parent/child relationship exists between the original master and the copy (as there does when you base a master on another master)
Deleting a master
To delete a master page, click its name and then choose Delete Master Page from the Pages panel’s flyout menu You can also click the master page icon and then click the Delete Selected Masters iconic button (trash can icon) in the Pages panel, or click and drag the master page icon directly to the Delete Selected Masters iconic button
Laying out a master page
Because a master page is similar to a document page, you can use the same approach for building both master and document pages Some designers prefer to do a preliminary sketch on paper and then re-create the design in InDesign You may like to do your creative brainstorming at your com-puter, in which case you can use InDesign as your sketchpad The main difference between docu-ment pages and master pages is that master pages don’t contain any content (other than elements that appear on every page) So, when you’re building a master page, you should be thinking more about the page’s overall infrastructure than about details
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