Tài liệu InDesign CS5 Bible- P8 pdf

To change an object’s position in a page’s stacking order, use the Arrange menu option choose Object ➪ Arrange, which offers four sub-menus:l Bring to Front Shift+Ô+] or Ctrl+Shift+] l

Applying feathering

A similar option to drop shadows is feathering, which essentially softens the edges of objects

Figures 12.12 through 12.14 show all three types of feathering

Applying basic feathering

To apply basic feathering, where the edges are blurred around all sides of an object, select the Basic Feather option The controls are simple:

l In the Feather Width field, enter a value for the degree of feathering — smaller numbers have the least effect; larger numbers have the most effect The feathering area starts at the outside edge of the object, so a larger number eats into the object, making it a wispier ver-sion of itself

l The Choke field and pop-up menu let you set where the frame edge begins to get fuzzy (a value of 0 starts immediately at the object edge, whereas a larger value pushes the fuzzy part into the object)

l The Noise field and pop-up menu let you add visual noise to the shadow, making it less smooth as the value increases

l The Corners pop-up menu gives you three options:

l Sharp

l Rounded

l Diffused The Sharp option retains the original corner shape as much as possible The Rounded option rounds the corners of the object; it can distort the shape dramatically at larger Feather Width settings The Diffused option creates a soft, almost smoky effect by making the object borders and corners more translucent

FIGURE 12.12

The Basic Feather pane of the Effects dialog box

Applying directional feathering

The Directional Feather controls act like a drop shadow in that there is an external light source that determines how the feathering’s blur appears along an object’s edges

The effect is more like a shadowy smear The controls are similar to that of Basic Feather, with these exceptions:

l Rather than have one Width setting, there are separate settings for the Top, Bottom, Left, and Right If the chain icon is a solid chain, all edges have the same width; click it to get the broken-chain icon, which lets you control each edge independently

l The Shape pop-up menu lets you choose what edges are feathered: First Edge Only (the ones specified in the Width fields), Leading Edges (any in the path of the light source), and All Edges

l Set the light source angle by entering a value in the Angle field or by clicking a location in the circle

FIGURE 12.13

The Directional Feather pane of the Effects dialog box

Applying gradient feathering

The Gradient Feather controls create the effect of having a strong light source near the object, washing out part of the object Here’s how the controls work:

l You set the gradient itself in the Gradient Stops area You add stop points, choose opacity for each, and set the location for both gradient stops and transition points just as you do for any gradient (see Chapter 8) You can reverse the gradient’s direction by clicking the iconic button to the right of the gradient ramp

l In the Options area, you set the gradient type — Linear or Radial — and the lighting angle

FIGURE 12.14

The Gradient Feather pane of the Effects dialog box

Cross-Reference

You can also apply gradient feathering using the Gradient Feather tool, as described in Chapter 8 n

Applying outer and inner glows

Glows are what they sound like: A lighting effect that makes it seem as if there is light behind an object that causes it to glow (an outer glow) or a light source within the object’s frame that causes

a glow inside (an inner glow) Figure 12.15 and Figure 12.16 show the panes

Applying an outer glow

Here’s how the controls for outer glow work (note that the first three options are the same as for transparency effects):

l Choose the blending mode in the Mode pop-up menu, the glow color in the Color pop-up menu (the square swatch to the right of the Mode pop-up menu), and the transparency level in the Opacity field or pop-up menu

l Choose the glow’s intensity by choosing Software or Precise in the Technique pop-up menu The Precise option creates a more saturated, harsher glow

l Choose how far away from the frame the glow begins to dissipate by entering a value in the Spread field A value of 0 starts the fade immediately

l Choose the width of the glow in the Size field

l Add visual noise to the shadow, making it less smooth as the value increases, by entering a value in the Noise field or choosing a value from the pop-up menu

FIGURE 12.15

The Outer Glow pane of the Effects dialog box

Applying an inner glow

The controls for inner glows are nearly identical to those for outer glows, with these two exceptions:

l The Spread field in the Options area is called Choke It does the same as Spread but applies inside the frame rather than outside of it

l The Source options — Center and Edge — let you choose the light source’s location relative to the object

FIGURE 12.16

The Inner Glow pane of the Effects dialog box

Applying beveling and embossing

Beveling means to make an object appear to be above the plane of other objects, thus casting a

shadow at the edges Embossing is a variation of beveling where only the edges are raised; the

con-tents are lowered back to the normal plane Figure 12.17 shows the Bevel and Emboss pane

FIGURE 12.17

The Bevel and Emboss pane of the Effects dialog box

The controls for beveling and embossing combine controls from several other lighting effects:

l In the Structure area, choose the bevel or emboss style from the Style pop-up menu:

Outer Bevel (the bevel extends outside the frame), Inner Bevel (the bevel extends inside the frame), Emboss, and Pillow Emboss (a shallower embossing)

l In the Technique pop-up menu, choose the type of shadow effects: Smooth, Chisel Hard, and Chisel Soft

l Choose the apparent height of the effect by entering a value in the Depth field or using the Depth slider Similarly, choose the shadow’s thickness by entering a value in the Size field

l Choose the direction of the effect by selecting either Up (raised) or Down (etched out) in the Direction pop-up menu

l Adjust the shadow’s intensity by entering a value in the Soften field

l In the Shading area, choose the light source’s direction by entering a value in the Angle field, clicking a point in the circle, or checking the Use Global Light option Similarly, adjust the light source’s height in the Altitude field

l Adjust the blending mode applied to areas of the bevel or emboss that the light hits by using the Highlight Mode pop-up menu, and the blending mode applied to the shadowed areas using the Shadow Mode pop-up menu In both cases, there is also a combination field and pop-up menu labeled Opacity where you can adjust the effect’s transparency

Applying satin effects

The satin effect is similar to a glow, except that it applies a shadow to the frame’s edges, as if the object were made of satin cloth and bowed slightly out from its edges Figure 12.18 shows the Satin pane

FIGURE 12.18

The Satin pane of the Effects dialog box

To apply a satin effect:

l Choose the blending mode in the Mode pop-up menu, the glow color in the Color pop-up menu (the square swatch to the right of the Mode pop-up menu), and the transparency level in the Opacity field or pop-up menu

l Choose the light source’s direction by entering a value in the Angle field, or by clicking a point in the circle to designate the light’s location relative to the object (represented by the center of the circle)

l Choose the width of the satin effect in the Size field

l Specify the shadow’s size by typing a value in the Distance field

l To have the satin effect appear as if the object were sinking slightly from the edges ing it darker), check Invert

(mak-Summary

If you have a frame or shape selected, you can add a stroke around its border or add a color to its background, as well as apply transparency to an object or its contents You can apply strokes (and colors) to lines and text as well

The Eyedropper tool lets you sample much of the formatting of an object and then apply it to other objects using the Marker tool.

You can further enhance these attributes with the corner-options capabilities, which let you apply fancy shapes to one or more corners of an object A new capability in InDesign CS5 lets you edit the corners’ shape with the mouse

InDesign has a broad palette of lighting effects capabilities, including inner shadow, glow, feather, bevel, emboss, and satin effects, as well as more traditional transparency and drop shadow effects

You can apply these effects to entire objects, to just their frames, just their fills, or just their text

Anchoring objects to text Setting text wrap Working with object styles Managing source links Adding metadata captions

Frames, shapes, lines, and paths are the building blocks with which

you construct InDesign pages Becoming familiar with creating and modifying individual objects, which is the focus of Chapters 9 through 12, is a key step in learning how to create publications with InDesign The next step is to learn how to use several features that let you manipulate multiple objects simultaneously and quickly adjust the relation-ships among the various objects that make up a page A good InDesign user can handle individual objects one at a time with ease; a virtuoso user can simultaneously juggle several objects with equal ease

Think of it this way: As an InDesign user, you’re much like an architect You begin with a blueprint — perhaps a rough, felt-tip pen sketch or maybe just

a graphic in your mind’s eye — open a new document, and start tion The settings you establish in the New Document dialog box (choose File ➪ New ➪ Document or press Ô+N or Ctrl+N) — the page size, margin placement, column arrangement, and number of pages — serve as the foun-dation as you begin adding objects to your pages

construc-You must then construct your building, or rather, your publication, using four basic components:

l Text frames

l Graphics frames

l Shapes

l Lines You can tweak and twist each of those components in a nearly endless vari-

ety of ways while retaining basic properties After all, a sheared (skewed) and

mirrored text frame with a purple dashed stroke, a gradient background, and magenta text lined in cyan is still just a text frame.

out-As a publication evolves, plans invariably change: An advertiser pulls out and a magazine article needs to be stretched an extra half-page by enlarging an InDesign-created illustration A client loves his company’s newsletter but wants the front-page graphic cropped differently A new prod-uct is added to a catalog and half the pages reflow If you build your documents soundly from the ground up and use the features covered in this chapter, you should be prepared to handle even the most challenging page building — and rebuilding — tasks

Stacking Objects

Each time you begin work on a new page, you start with a clean slate (unless the page is based on

a master page, in which case the master objects act as the page’s background; see Chapter 7 for more on master pages) Every time you add an object to a page — either by using any of InDesign’s object-creation tools or with the Place command (choose File ➪ Place or press Ô+D or Ctrl+D) —

the new object occupies a unique place in the page’s object hierarchy, or stacking order.

The first object you place on a page is automatically positioned at the bottom of the stacking order;

the next object is positioned one level higher than the first object (that is, on top of and in front of the backmost object); the next object is stacked one level higher; and so on for every object you add to the page It’s not uncommon for a page to have several dozen or even several hundred objects

Tip

When building pages, always try to keep the number of objects to a minimum For example, instead of putting

a headline in one text frame and a subhead in a separate text frame directly below the one that contains the headline, use a single text frame Lean documents save and print more quickly and are less problematic to modify than bloated documents n

Although each object occupies its own level, if the objects on a page don’t overlap, then the ing order is not an issue However, some of the most interesting graphic effects you can achieve with InDesign involve arranging several overlapping objects, so it’s important to be aware of the three-dimensional nature of a page’s stacking order

stack-Because objects are added in back-to-front order, it makes sense to build your pages from back to front For example, if you want to use a lightly tinted version of a scanned image as the back-ground for a page, you first place the image on the page and then add other objects on top of or in front of the graphics frame

In an ideal world, the first object you place on a page would remain forever the backmost, the last object would be the frontmost, and every object in between — created in perfect order from back

to front — would relate correctly with every other object In this perfect world, you would never have to worry about moving objects backward or forward

But the world is not perfect, and you may change your mind about what you want to achieve in your layout after you’ve already placed objects in it To change an object’s position in a page’s stacking order, use the Arrange menu option (choose Object ➪ Arrange), which offers four sub-menus:

l Bring to Front (Shift+Ô+] or Ctrl+Shift+])

l Bring Forward (Ô+] or Ctrl+])

l Send to Back (Shift+Ô+[ or Ctrl+Shift+[)

l Send Backward (Ô+[ or Ctrl+[)For example, you might want to see how a piece of text looks in front of an illustration; but if you create the text frame before you create or place the illustration, you have to move the text frame forward (or the illustration backward) in the stacking order

Cross-Reference

In addition to letting you change the stacking order of objects on a page, InDesign also lets you create ment-wide layers Each layer contains a separate collection of stacked objects You can both reorder individual objects within a layer and reorder whole layers using the Layers panel For more information about using lay- ers, see Chapter 6 n

docu-To change the stacking order of objects:

1 Use any of the object-creation tools to create four overlapping shapes, as shown in

Figure 13.1 The numbers in parentheses indicate the order in which you should create

the shapes

FIGURE 13.1

Left: The first shape you create is the backmost, the second is one level above, and so on

In this example, the three smaller boxes partially overlap each other and they are all in front of the largest box Right: Applying tints to the shapes lets you see the stacking order

of the four rectangles Every InDesign object occupies one level in the stacking order

2 If it’s not already displayed, open the Swatches panel by choosing

Window ➪ Color ➪ Swatches or pressing F6 You use this panel to change the shade of

each object so you can easily tell it apart from the others

3 Click the Selection tool, click the last object you created and then use the color

tools in the Tools panel or the Swatches panel to fill the object with a color.

Cross-Reference

See Chapters 8 and 12 for more information about applying fills and strokes to objects n

4 Use the Swatches panel to fill each of the remaining boxes with a successively

lighter tint of the color, as shown in Figure 13.1 In the example, the remaining

shapes are tinted at 25 percent, 50 percent, and 75 percent, respectively

5 Click the frontmost shape (the last one you created) and then choose

Object ➪ Arrange ➪ Send Backward or press Ô+[ or Ctrl+[ Notice that the Bring to

Front and Bring Forward menu options are not available That’s because you can’t move the frontmost object any farther forward in the stacking order

6 Click the backmost shape (the first one you created) and then choose

Object ➪ Arrange ➪ Bring Forward or press Ô+] or Ctrl+] When you bring the object

forward, one of the objects becomes obscured

7 Choose Object ➪ Arrange ➪ Bring to Front or press Shift+Ô+] or Ctrl+Shift+] The

smaller shapes are now obscured by the largest one

8 Choose Object ➪ Arrange ➪ Send to Back or press Shift+Ô+[ or Ctrl+Shift+[ The

hidden objects are once again visible

Another way to select objects that are in a stack or group is to use the Select Previous Object or Select Next Object iconic buttons in the Control panel If you Shift+click either button, InDesign jumps past four objects and selects the fifth one If you Ô+click or Control+click either button, InDesign selects to the bottommost or topmost object, respectively

Cross-Reference

See Chapter 10 for more details on selecting objects n

Combining Objects into a Group

InDesign lets you combine several objects into a group A group of objects behaves like a single object, which means that you can cut, copy, move, or modify all the objects in a group in a single operation Groups have many uses For example, you might create a group to:

l Combine several objects that make up an illustration so that you can move, modify, copy,

or scale all objects in a single operation

l Keep a graphics frame and its accompanying caption (text) frame together so that if you change your mind about their placement, you can reposition both objects at one time

l Combine several vertical lines used to separate the columns of a table so that you can quickly change the stroke, color, length, and position of all lines

Tip

If you want to manipulate a group, select any object in the group with the Selection tool The group’s bounding box appears Any transformation you perform is applied to all objects in the group If you want to manipulate a specific object in a group, choose the Direct Selection tool n

To create a group:

1 Select all the objects you want to include in your group.

2 Choose Object ➪ Group or press Ô+G or Ctrl+G.

That’s all there is to it When you create a group from objects that do not occupy successive levels

in the stacking order, the objects are shuffled as necessary so that the grouped objects are stacked

on adjacent layers directly below the topmost object If you create a group from objects on ent layers, all objects are moved to the top layer and stacked in succession beneath the topmost object

Using groups within groups

One nifty thing about groups is that you can include a group within a group For example, all the objects in Figure 13.2 — five stars and two circles (a gray circle and a white circle form the moon) — have been grouped, making it easy to manipulate the whole illustration, but that’s not all The stars within the group are also a group So are the two circles that make up the crescent moon That is,

first the stars were grouped together, then the two circles were grouped together, and finally the group of stars was grouped with the circles that form the moon to create a larger group

Grouping the stars makes it easy to change all of them at one time, as shown in Figure 13.2, and grouping the two circles that make up the crescent moon makes it easy to move the moon

Note

A group can contain as many levels of subgroups, or nested groups, as you want, but it’s best to keep things as simple as you can The more levels of nested groups you have within a group, the more work it is to ungroup the objects n

FIGURE 13.2

The bounding box indicates that all the objects within it have been grouped (at left) What you can’t tell from this illustration is that the five stars are a group within the larger group, which lets you move or mod-ify all of them in a single operation, as shown at right

Selecting objects within groups

The main reason you create groups in the first place is so that you can delete, copy, move, or ify all the objects at one time However, sometimes you may want to modify an object within a group No problem You don’t have to ungroup objects to modify an individual object InDesign offers several options for selecting objects — and nested groups — within groups You can:

mod-l Select an individual object by clicking it with the Direct Selection tool Note that — if the group has not been selected — InDesign automatically selects an object as you hover the Direct Selection tool over it

l Double-click an object in a group with the Selection tool to select just that object You can then single-click any other object in that group (Double-clicking again selects the entire group.) Note that if you want to select an empty frame or shape (one with neither a fill nor contents), you must click the frame itself; clicking inside the frame won’t work when the frame or shape is empty

l Select the bounding box of an individual object by clicking it with the Direct Selection tool and then switching to the Selection tool

l If you have selected an object in a group of objects, choose Object ➪ Select ➪ Previous Object in Group to navigate to the previous object in the group, or choose Object ➪ Select ➪ Next Object in Group to navigate to the previous object in the group Or use the Select Previous Object or Select Next Object iconic buttons in the Control panel, as shown

in Figure 13.3 (You may need to first click the Select Content iconic button for these two buttons to become available.)

l Select multiple objects within a group by Shift+clicking each object with the Direct Selection tool

l Select the bounding box of multiple objects within a group by Shift+clicking each object with the Direct Selection tool and then switching to the Selection tool

l Select a nested group by clicking any object within the nested group with the Direct Selection tool and then pressing and holding Option or Alt and clicking the object again

Pressing and holding Option or Alt in this situation temporarily accesses the Group Selection tool, indicated by a small plus sign (+) below and to the right of the arrow pointer

origi-Locking Objects

If you’re certain that you want a particular object to remain where it is, you can choose Object ➪ Lock or press Ô+L or Ctrl+L to prevent the object from being moved (A lock icon appears on the upper left of its frame edge; for paths, the lock appears toward the top of the path.) Generally, you want to lock repeating elements such as headers, footers, folios, and page numbers

so that they’re not accidentally moved (Such repeating elements are usually placed on a master page; you can lock objects on master pages, too.)

So what does locking do, exactly? A locked object can’t be moved whether you click and drag it with the mouse or change the values in the X and Y fields in the Control panel or Transform panel

Not only can you not move a locked object, but you can’t delete one, either

However, you can change other attributes of a locked object, including its stroke and fill — unless you disable selection of locked objects To do so, select Prevent Selection of Locked Objects in the General pane of the Preferences dialog box (which you open by choosing InDesign ➪ Preferences

or pressing Ô+K on the Mac or by choosing Edit ➪ Preferences or pressing Ctrl+K in Windows)

To unlock an object, choose Object ➪ Unlock All on Spread or press Option+Ô+L or Ctrl+Alt+L

Note that this action unlocks all the objects on the current spread, not just whatever objects might

be selected

New Feature

InDesign CS5 changes how unlocking works: You no longer unlock individual objects; instead, you now unlock all objects on the current spread InDesign CS5 has also changed the name of the menu option for locking from Lock Position to simply Lock, and InDesign CS5 adds the Prevent Selection of Locked Objects option in the Preferences dialog box’s General pane n

Cross-Reference

You can also lock entire layers, as described in Chapter 6 n

InDesign lets you not only combine several objects into a group but also place an object within the

boundaries of a frame Just as a group embedded within a larger group is said to be a nested group,

an object that’s been placed within another frame is said to be a nested object When you place an

object within a frame, the containing frame acts as the cropping shape for the object within

One of the more common uses of nested frames is for cropping imported graphics When you place a graphic onto a page, the graphic is automatically placed within a frame (You can also place

a graphic within an existing frame.) You can reveal and hide different areas of the graphic by ing or reshaping the container frame Figure 13.4 shows an imported graphic that’s been placed within a circular frame

resiz-Clicking the graphic with the Direct Selection tool selects the nested object rather than the tainer frame To work on that nested object’s frame, you can then switch to the Selection tool after the nested object is selected with the Direct Selection tool To select the container frame’s bound-ing box instead of the nested object, click the object with the Selection tool

con-Cross-Reference

For more information about importing and modifying graphics, see Part IV n

FIGURE 13.4

Left: In this example, the rectangle displayed with handles indicates the border of a graphic that’s been placed into a triangular frame Right: I created the squiggly line (left) with the Pen tool I then copied and pasted it into (Edit ➪ Paste Into) a circular frame (right) Selecting the line with the Direct Selection tool (not shown) would dis-play the visible portion of the line within the oval cropping frame, as well as the cropped parts of the line

As you can with groups, you can place a frame within a frame within a frame and so on, to create

as many nested levels as you want The same caveat applies: Keep things as simple as possible to achieve the desired effect To nest a frame within a frame:

1 Select the frame you want to nest within another frame.

2 Choose Edit ➪ Copy or press Ô+C or Ctrl+C.

3 Select the frame into which you want to place the copied object and then choose

Edit ➪ Paste Into or press Option+Ô+V or Ctrl+Alt+V Figure 13.4 shows a before/

after example of a squiggly line that’s been pasted into a circular frame that serves as the masking shape for the line

Tip

Selecting nested objects can be tricky In general, the same selection techniques that work with groups also work with nested frames If you need to modify text within a nested or grouped text frame, simply click within the frame with the Type tool n

Creating Inline Frames

In most cases, you want the objects you place on your pages to remain precisely where you put them However, sometimes you want to place objects relative to related text in such a way that the objects move when the text is edited For example, if you’re creating a product catalog that’s essen-tially a continuous list of product descriptions and you want to include a graphic with each description, you can paste graphics within the text to create inline graphics frames

An inline frame is treated like a single character If you insert or delete text that precedes an inline frame, the frame moves forward or backward along with the rest of the text that follows the inserted or deleted text Although inline frames usually contain graphics, they can just as easily contain text or nothing at all.

Caution

Inline frames may interfere with line spacing in paragraphs with automatic leading If the inline frame is larger than the point size in use, the automatic leading value for that line is calculated from the inline frame This leads to inconsistent line spacing in the paragraph To work around this, you can either apply a fixed amount of leading to all characters in the paragraph, adjust the size of inline frames, place inline frames at the beginning

of a paragraph, or place inline frames in their own paragraphs n

There are three ways to create inline frames The first two are the simplest, but the third, using the Anchored Object command, gives you more control over the inline frame when you create it

Note

You can set text wraps on inline frames using the standard Text Wrap panel (choose Window ➪ Text Wrap, or press Option+Ô+W or Ctrl+Alt+W), as described later in this chapter However, note that such wraps affect only text that appears on the same line or below the inline frame, not text above the inline frame or text in other frames n

Tip

To delete an inline frame, you can select it and then choose Edit ➪ Clear or Edit ➪ Cut, or you can position the text cursor next to it and then press Delete or Backspace n

Creating an inline frame with the Paste command

If you want to create an inline frame from an object you’ve already created, all you have to do

is copy or cut the object and then paste it into text as you would a piece of highlighted text

Here’s how:

1 Select the object you want to paste within text You can use any type of object: a line,

an empty shape, a text or graphics frame, even a group of objects

2 Choose Edit ➪ Copy or press Ô+C or Ctrl+C If you don’t need the original item, you

can use the Cut command (Edit ➪ Cut, or Ô+X or Ctrl+X) instead of the Copy command

An object that you cut or copy remains on the Clipboard until you cut or copy something else or you turn off your computer If you intend to use the original object elsewhere, it’s better to use the Copy command when creating an inline frame

3 Select the Type tool (or press T) and then click within the text where you want to

place the copied object Make sure the cursor is flashing where you intend to place the

inline frame

4 Choose Edit ➪ Paste or press Ô+V or Ctrl+V Figure 13.5 shows an example of an

inline frame

FIGURE 13.5

The icon identifying a tip (next to Go Further) is placed in the text as an inline frame so

that it moves up and down with the surrounding text

Tip

Inline frames often work best when placed at the beginning of a paragraph If you place an inline frame within text to which automatic leading has been applied, the resulting line spacing can be inconsistent To fix this problem, you can resize the inline frame n

To change the position of an inline frame, choose Object ➪ Anchored Object ➪ Options The Anchored Object Options dialog box that appears is the same as the Insert Anchored Object dialog box covered later in this section and shown in Figure 13.6

Creating an inline frame with the Place command

In addition to using the Paste command to create an inline frame from an existing object, you can use the Place command to create an inline graphics frame from an external graphics file (You can’t use this technique for inline text frames.) Here’s how:

1 Select the Type tool (or press T) and then click within a text frame to establish the

insertion point.

2 Choose File ➪ Place or press Ô+D or Ctrl+D.

3 Locate and select the graphics file (including InDesign files and snippets) you want

to place within the text and then click Choose or Open.

To create an inline frame with the Anchored Object command, follow these steps:

1 Select the Type tool (or press T) and then click within a text frame to establish the

insertion point.

2 Choose Object ➪ Anchored Object ➪ Insert.

3 Choose Inline or Line Above from the Position pop-up menu The Insert Anchored

Object dialog box shown in Figure 13.6 appears

4 In the Object Options section, specify inline frame’s settings You choose the type of

frame (text, graphics, or unassigned) using the Content pop-up menu, apply an object style if desired using the Object Style pop-up menu, apply a paragraph style if desired using the Paragraph Style pop-up menu, and set the inline frame’s dimensions using the Height and Width fields

Note that the Paragraph Style you choose, if any, applies to the inline frame, not to the paragraph in which the inline frame is embedded Oddly, InDesign lets you apply a para-graph style to the inline frame even if it contains no text.

5 In the lower part of the dialog box, set the desired position settings You have two

basic choices for position:

l The Inline option, if selected, places the frame at the text-insertion point, setting it in the same line as that insertion point You can adjust the inline frame’s vertical position

on that line by typing a value in the Y Offset field, which works like shifting the line of any text

base-l The Above Line option, if selected, places the inline frame above the current line

Typically, you would use this when you want to place a frame above the first line of a paragraph An example would be using graphics as the equivalent of headlines above specific paragraphs You can adjust the alignment of the inline frame relative to the paragraph using the Alignment pop-up menu, as well as control how much space is above and below the inline frame using the Space Before and Space After fields

No matter which position you choose, selecting the Prevent Manual Positioning option ensures that the positions of individual frames can’t be adjusted using InDesign’s other text and frame controls (such as Baseline Shift) This forces users to use this dialog box to change the inline frame’s position

6 Click OK to insert the inline frame.

7 Add any desired content to the inline frame as you would with any other frame.

Anchored objects added by choosing Object ➪ Anchored Object ➪ Insert do not have text ically wrapped around them Use the Text Wrap panel (choose Window ➪ Text Wrap, or press Option+Ô+W or Ctrl+Alt+W) to open this panel and set text wrap Figure 13.7 shows an inline frame before and after text wrap has been applied

automat-However, anchored objects created by pasting a graphic into text do automatically have text wrap around them

Caution

InDesign may not wrap text around inline graphics properly, no matter how you adjust the Text Wrap options

That typically occurs when you have cropped or resized the anchored graphic within its frame InDesign still sees the old scale and size and tries to wrap around those, not the ones actually in effect You have to crop and resize the graphic in a program such as Photoshop and then place it again in the anchored frame for InDesign

to wrap text correctly around it n

FIGURE 13.7

Choosing Object ➪ Anchored Object ➪ Insert does not make InDesign wrap text around the resulting frame (top) Use the Text Wrap panel to set text wrap for such objects (bottom)

Adjusting inline frames

After you create an inline frame, you can adjust its position vertically or horizontally Again, there are several methods

A quick-and-easy trick to move an inline frame vertically is as follows:

1 Use the Type tool to highlight the inline frame as you would highlight an individual

text character In the Character panel or Control panel, type a positive value in the

Baseline Shift field to move the inline frame up; type a negative value to move the frame down

2 Use the Selection or Direct Selection tool to select the inline frame and then drag

the frame up or down.

A quick way to move an inline frame horizontally is as follows:

1 With the Type tool selected, click between the inline frame and the character that

precedes it.

2 Use the kerning controls in the Character panel or Control panel to enlarge or

reduce the space between the inline frame and the preceding character.

Note that these preceding methods work only if the Prevent Manual Positioning option remains unselected in the Insert Anchored Object dialog box or Anchored Object Options dialog box (This option is not selected by default.)

You can also adjust the vertical (Y) position of an inline frame by choosing Object ➪ Anchored Object ➪ Options and changing the Y Offset field’s value for an inline frame or the Space Above and/or Space Below fields’ values for an inline frame set to be above the current line of text (The

Anchored Object Options dialog box is the same as the Insert Anchored Object dialog box covered previously in this section and shown in Figure 13.6, except the Anchored Object Options dialog box does not have the Object Options section.)

Of course, you can also adjust the frame’s other attributes, such as strokes, fills, dimensions, tion, and skew, as needed using the Tools panel, Control panel, and other panels

rota-Deleting inline frames

It’s easy to delete an inline frame: Select the frame with the Selection or Direct Selection tool and then choose Edit ➪ Clear or press Delete or Backspace If you want to remove the object but keep it

in the Clipboard for pasting elsewhere, choose Edit ➪ Cut or press Ô+X or Ctrl+X

Setting Up Follow-Me Anchored Frames

InDesign offers another way to associate frames to text, and this one can make it easier to have sidebars, pull-quotes, info boxes, and other elements that relate to a specific piece of text move

with that text as it reflows — what many designers call follow-me objects and what InDesign calls

anchored frames The difference between an inline frame and an anchored frame is that an anchored

frame is not embedded in the text frame — it is simply leashed to it

Note

InDesign retains anchored frames set up in Microsoft Word documents It also preserves anchored frames when exporting text as RTF files n

When to use anchored frames

Before I explain how to create anchored frames, it’s important for you know when to use them

There are several caveats to consider:

l Because an anchored frame follows its text as it flows throughout a document, you need to ensure your layout retains clear paths for those anchored objects to follow Otherwise, you could have anchored frames overlap other frames as those anchored frames move

l Anchored frames should generally be small items and/or used sparingly The more items you have anchored to text, the greater the chance that they will interfere with each other’s placement Likewise, you can move large items only so far within a page, so the benefit of keeping them close to their related text goes away

l Items such as pull-quotes are obvious candidates for use as anchored frames, but in many layouts you want the pull-quotes to stay in specific locations on the page for good visual appearance The InDesign anchored-frame function can accommodate that need for spe-cific positioning on a page, but you need to be careful as you add or delete text so that you

do not end up with some pages that have no pull-quotes at all because there is so much

text between the pull-quotes’ anchor points Conversely, you need to make sure you don’t have too many pull-quotes anchored close to each other, which could result in overlap-ping objects.

Typically, you would use anchored frames for small graphics or icons that you want to stay next to

a specific paragraph Another good use would be for cross-reference (“For More Information”) text frames

Earlier, Figure 13.6 showed the Insert Anchored Object dialog box for an anchored object; Figure 13.8 shows an example of an anchored frame in use

FIGURE 13.8

Example of an anchored frame; note the anchor icon at its upper left denoting an anchored object

Adding anchored frames

The process for adding an anchored frame is similar to that for inline frames (described in the vious section), but the controls over positioning are quite different In the Insert Anchor Object dialog box (if you’re inserting a new anchored object) or in the Anchored Object Options dialog box (if you’re modifying a previously created inline frame), do the following:

1 Choose Custom from the Position pop-up menu The Insert Anchored Object dialog

box, shown previously in Figure 13.6, appears (You can modify any of the frame tings, as described in the previous section.)

2 Decide whether to select the Relative to Spine option If this option is not selected,

the anchored frame is placed on the same side of the text frame on all pages, whether facing or right-facing If this option is selected, InDesign places the text frame on the out-side of both pages or inside of both pages, depending on how the anchored position is set In other words, if the anchored frame is set to be on the left of the reference text for a left-hand page, selecting this option puts the anchored frame to the right of the reference text on a right-hand page If this option is not selected, InDesign places the anchored frame to the left of the text frame on both left-hand and right-hand pages

3 In the Anchored Object section of the dialog box, click one of the positioning points

(the squares) to set up the text frame’s relative position Note that you need to think

about both the horizontal and vertical position you want For example, if you want the anchored frame to appear to the right of the text reference, click one of the right-hand points (Remember that selecting the Relative to Spine option overrides this, making the right-hand pages’ positions mirror that of the left-hand pages, rather than be identical to them.) If you choose the topmost right-hand point, the anchored frame is placed to the

right of the text reference and vertically appears at or below that text reference; but if you choose the bottommost right-hand point, you’re telling InDesign you want the anchored frame to appear vertically above the text reference.

You need to experiment with your layout to see what works best in each case.

4 In the Anchored Position section of the dialog box, click one of the positioning points

to set up the text reference’s relative position (Position points are similar to the

refer-ence points in the Control and Transform panels, covered in Chapter 1.) Although there are nine points shown, the only three that matter are those in the middle row

Typically, you’d have the text reference be on the opposite side of the anchored frame; if

you want the anchored frame to be to the left, you thus would indicate that the text ence is to the right (If you set the text reference to be on the same side as the anchored frame, InDesign places the anchored frame over the text.) The reason there are three points (left, middle, and right) is to accommodate layouts where you want some anchored frames to appear to the left of the text and some to the right; in that case, choose the middle position here and select the right- or left-hand position in the Anchored Object section as appropriate to that object

I mentioned that you can ignore the top and bottom row of position points in the Anchored Section If you click any left-hand position point, InDesign sets the position as

if you clicked the middle row’s left-hand position point If you click any right-hand tion point, InDesign treats it as if you clicked the middle right-hand position point The only reason the nine points are there is for consistency with the Anchored Object sec-tion’s position points

5 You may need to set two settings in the Anchored Position section in order to give

InDesign more precise instructions on how to place the anchored frames:

l The X Relative To pop-up menu tells InDesign from where the horizontal location is calculated, using the following options: Anchor Marker, Column Edge, Text Frame, Page Margin, and Page Edge The right option depends both on where you want the anchored frames placed and whether you have multicolumn text frames (in which case Text Frame and Column Edge result in different placement, whereas in a single-col-umn text frame they do not)

You can also specify a specific amount of space to place between the chosen X Relative

To point and the anchored frame by typing a value in the X Offset field

l The Y Relative To pop-up menu tells InDesign from where the horizontal location is calculated, using the following options: Line (Baseline), Line (Cap-height), Line (Top

of Leading), Column Edge, Text Frame, Page Margin, and Page Edge

As you would expect, you can also indicate a specific amount of space to place between the chosen Y Relative To point and the anchored frame by typing a value in the Y Offset field

6 No matter what position settings you apply, you can select the Prevent Manual

Positioning option to ensure that the positions of individual frames can’t be adjusted using InDesign’s other frame-positioning controls (such as the Control