Classroom in a Book ®

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 iii

Contents
Getting Started . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1
About Classroom in a Book . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1
Prerequisites . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1
Installing the program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2
Installing the Classroom in a Book fonts . . . . . . . . . . . . . . . . . .2
Copying the Classroom in a Book files . . . . . . . . . . . . . . . . . . . .2
Restoring default preferences . . . . . . . . . . . . . . . . . . . . . . . . . . .3
Additional resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4
Adobe Certification . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4

A Quick Tour of Adobe InDesign . . . . . . . . . . . . . . . . . . . . . .5

Getting started . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6
Threading text in frames . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Working with styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Placing graphics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Working with master pages . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
On your own . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

Lesson 1 Getting to Know the Work Area . . . . . . . . . . . . . . . . . . . . . 39

Getting started . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Looking at the work area . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Changing the magnification of your document . . . . . . . . . 51
Navigating through your document . . . . . . . . . . . . . . . . . . . . 54
Working with layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
Using context menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Using online Help . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
Using Adobe online services . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
On your own . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
Review questions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
Review answers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
iv CONTENTS

Lesson 2 Setting Up Your Document . . . . . . . . . . . . . . . . . . . . . . . . . 71

Getting started . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
Starting a new document . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
Editing master pages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Creating a master for footers . . . . . . . . . . . . . . . . . . . . . . . . . . 77
Creating a placeholder master . . . . . . . . . . . . . . . . . . . . . . . . . 84
Applying the masters to document pages . . . . . . . . . . . . . . 94
Adding sections to change page numbering . . . . . . . . . . . . 96
Placing text and graphics on the document pages . . . . . . . 98
Overriding master-page items on document pages . . . . . 100
Editing master pages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102
Viewing the completed spread . . . . . . . . . . . . . . . . . . . . . . . 104
On your own . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104
Review questions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106
Review answers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106

Lesson 3 Working with Frames . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109

Getting started . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110
Modifying text frames . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
Modifying graphics frames . . . . . . . . . . . . . . . . . . . . . . . . . . . 116
Creating new frames and adjusting the contents . . . . . . . 124
Orienting objects in space . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130
Finishing up . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133
On your own . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134
Review questions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135
Review answers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135

Lesson 4 Creating and Applying Colors, Tints,

and Gradients . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139
Getting started . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140
Defining printing requirements . . . . . . . . . . . . . . . . . . . . . . . 141
Adding colors to the Swatches palette . . . . . . . . . . . . . . . . . 141
Applying colors to objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143
Creating dashed strokes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146
 v

Working with gradients . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147

Creating a tint . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150
Creating a spot color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151
Applying color to text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154
Using advanced gradient techniques . . . . . . . . . . . . . . . . . . 157
Viewing the completed spread . . . . . . . . . . . . . . . . . . . . . . . 162
On your own . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163
Review questions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164
Review answers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164

Lesson 5 Importing and Linking Graphics . . . . . . . . . . . . . . . . . . . 167

Getting started . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168
Adding graphics from other programs . . . . . . . . . . . . . . . . . 170
Comparing vector and bitmap graphics . . . . . . . . . . . . . . . 170
Managing links to imported files . . . . . . . . . . . . . . . . . . . . . . 171
Placing a Photoshop file and adjusting view quality . . . . 176
Working with clipping paths . . . . . . . . . . . . . . . . . . . . . . . . . . 178
Working with alpha channels . . . . . . . . . . . . . . . . . . . . . . . . . 181
Importing an Illustrator file . . . . . . . . . . . . . . . . . . . . . . . . . . . 186
Placing a PDF file . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188
Using a library to manage objects . . . . . . . . . . . . . . . . . . . . . 190
On your own . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193
Review questions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194
Review answers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194

Lesson 6 Drawing Vector Graphics . . . . . . . . . . . . . . . . . . . . . . . . . . 197

Getting started . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198
Setting up the document grid . . . . . . . . . . . . . . . . . . . . . . . . 200
Drawing straight segments . . . . . . . . . . . . . . . . . . . . . . . . . . . 201
Drawing with the pencil tool . . . . . . . . . . . . . . . . . . . . . . . . . 210
Drawing curved segments with the pen tool . . . . . . . . . . . 215
Drawing combinations of curved and
straight segments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217
Creating a compound path . . . . . . . . . . . . . . . . . . . . . . . . . . . 227
vi CONTENTS

Creating a perfect semicircle . . . . . . . . . . . . . . . . . . . . . . . . . 229

Adding an end shape to an open path . . . . . . . . . . . . . . . . . 232
Creating a texture effect using a colorized image . . . . . . . 233
Creating and adding an inline graphic . . . . . . . . . . . . . . . . . 235
Reflecting objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239
On your own . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241
Review questions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243
Review answers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243

Lesson 7 Working with Transparency . . . . . . . . . . . . . . . . . . . . . . . . 247

Getting started . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248
Importing and colorizing a black-and-white image . . . . . 249
Applying transparency settings . . . . . . . . . . . . . . . . . . . . . . . 250
Exporting to Adobe Acrobat PDF files . . . . . . . . . . . . . . . . . 261
On your own . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264
Review questions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265
Review answers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265

Lesson 8 Importing and Editing Text . . . . . . . . . . . . . . . . . . . . . . . . 269

Getting started . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 270
Flowing text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 272
Working with styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277
Aligning text vertically . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283
Threading text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 284
Changing the number of columns on a page . . . . . . . . . . . 286
Adding a page continuation note . . . . . . . . . . . . . . . . . . . . . 290
Creating and applying a character style . . . . . . . . . . . . . . . . 293
Finding and changing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 295
Spell-checking a story . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 300
Creating text on a path . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 301
On your own . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 304
Review questions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 306
Review answers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 306
 vii

Lesson 9 Working with Typography . . . . . . . . . . . . . . . . . . . . . . . . . 309

Getting started . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 310
Adjusting vertical spacing . . . . . . . . . . . . . . . . . . . . . . . . . . . . 311
Changing fonts and type style . . . . . . . . . . . . . . . . . . . . . . . . 317
Changing paragraph alignment . . . . . . . . . . . . . . . . . . . . . . 319
Adding a decorative font and special character . . . . . . . . . 320
Applying special font features . . . . . . . . . . . . . . . . . . . . . . . . 323
Adjusting letter and word spacing . . . . . . . . . . . . . . . . . . . . 327
Working with tabs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 331
Creating a hanging indent . . . . . . . . . . . . . . . . . . . . . . . . . . . 335
Adding a rule below a paragraph . . . . . . . . . . . . . . . . . . . . . 336
On your own . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 337
Review questions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 339
Review answers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 339

Lesson 10 Creating Tables . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 343

Getting started . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 344
Importing and formatting a table . . . . . . . . . . . . . . . . . . . . . 347
Using graphics within tables . . . . . . . . . . . . . . . . . . . . . . . . . . 355
Formatting text within a table . . . . . . . . . . . . . . . . . . . . . . . . 360
Finishing up . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 364
On your own . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 364
Review questions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 366
Review answers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 366

Lesson 11 Publishing with XML . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 369

Getting started . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 370
About XML tags . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 371
Defining XML tags . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 372
Working with the Structure pane . . . . . . . . . . . . . . . . . . . . . 378
Exporting to XML . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 381
On your own . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 387
Review questions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 389
Review answers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 389
viii CONTENTS

Lesson 12 Combining Files into Books . . . . . . . . . . . . . . . . . . . . . . . . 393

Getting started . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 394
Defining a book . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 395
Working with a table of contents . . . . . . . . . . . . . . . . . . . . . . 399
Maintaining consistency in a book . . . . . . . . . . . . . . . . . . . . 405
Indexing the book . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 408
On your own . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 413
Review questions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 414
Review answers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 414

Lesson 13 Setting Up Your Monitor for

Color Management . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 417
Getting started . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 418
Color management: An overview . . . . . . . . . . . . . . . . . . . . . 419
Calibrating and profiling your monitor using
Adobe Gamma . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 422
Saving the monitor profile . . . . . . . . . . . . . . . . . . . . . . . . . . . 432
Review questions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 433
Review answers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 433

Lesson 14 Ensuring Consistent Color . . . . . . . . . . . . . . . . . . . . . . . . . 437

Getting started . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 438
Components of a CMYK press-oriented workflow . . . . . . . 440
Setting up color management in InDesign . . . . . . . . . . . . . 441
Color-managing imported graphics in InDesign . . . . . . . . 446
Assigning a profile after importing an image . . . . . . . . . . . 447
Embedding a profile in a Photoshop TIFF image . . . . . . . . 449
Assigning a profile while importing a graphic . . . . . . . . . . 452
Embedding a profile in an Illustrator graphic . . . . . . . . . . . 454
Review questions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 460
Review answers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 460

Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 461
 ADOBE INDESIGN 2.0 1
Classroom in a Book

Getting Started
Welcome to Adobe® InDesign® 2.0. InDesign is a powerful design and production tool that
offers precision, control, and seamless integration with other Adobe professional graphics
applications. Using InDesign, you can of produce professional-quality, full-color output
on high-volume color printing presses, or to a wide range of output devices and formats,
such as desktop printers, PDF files, and HTML files.
Writers, artists, designers, and publishers today can communicate to a broader audience
than ever before and through an unprecedented variety of media. The Adobe Network
Publishing vision recognizes this with tools for creating visually rich content that is
available anywhere, any time, and on any device. InDesign supports this view with its
seamless integration with Adobe Photoshop®, Adobe Illustrator®, Adobe Acrobat®, and
Adobe GoLive®. The Adobe InDesign 2.0 Classroom in a Book introduces and describes
new features, workflows, and techniques that support this new wave of publishing.

About Classroom in a Book

Adobe InDesign 2.0 Classroom in a Book® is part of the official training series for
Adobe graphics and publishing software from Adobe Systems, Inc.
The lessons are designed so that you can learn at your own pace. If you’re new to Adobe
InDesign, you’ll learn the fundamentals you’ll need to master to put the program to work.
If you’ve already been using Adobe InDesign, you’ll find that Classroom in a Book teaches
many advanced features, including tips and techniques for using this exciting design tool.
Each lesson provides step-by-step instructions for creating a specific project. You can
follow the book from start to finish, or do only the lessons that meet your interests and
needs. Each lesson concludes with a review section summarizing what you’ve covered.

Prerequisites
Before beginning to use Adobe InDesign 2.0 Classroom in a Book, you should have a
working knowledge of your computer and its operating system. Make sure you know how
to use the mouse and standard menus and commands, and also how to open, save, and
close files. If you need to review these techniques, see the printed or online documen-
tation included with your Windows or Mac OS documentation.
2
Getting Started

Installing the program

You must purchase the Adobe InDesign software separately. For complete instructions on
installing the software, see the Introduction to the Adobe InDesign User Guide.

Installing the Classroom in a Book fonts

To ensure that the lesson files appear on your system with the correct fonts, you may need
to install the Classroom in a Book font files. These fonts are in the Fonts folder on the
Adobe InDesign Classroom in a Book CD. If you already have these on your system, you
do not need to install them. If you have Adobe Type Manager (ATM ®), see its documen-
tation on how to install fonts. If you do not have ATM, installing it from the Classroom
in a Book CD automatically installs the fonts. Please read the instructions carefully
because you do not need to install ATM if you are running Windows XP or Mac OS 10.1.

You can also install the Classroom in a Book fonts by copying all the files in the Fonts
folder on the InDesign Classroom in a Book CD to the Fonts folder within the folder in which
you installed InDesign on your hard disk. This makes the fonts available to InDesign but not
to other applications.

To install the Adobe InDesign Classroom in a Book fonts

1 Insert the Adobe InDesign 2.0 Classroom in a Book CD into your CD ROM drive.
2 (Windows only.) Select the appropriate folder for your version of Windows.
3 Install the font files using the procedure for the version of your operating system:
• Windows (other than Windows XP). Open the ATM installer files on the CD, which are
located in the Fonts/ATM/set folder. Double-click the installer files (Setup), and follow
the on-screen instructions for installing ATM and the fonts.
• Windows XP. Do not use the ATM font installer to install the fonts. Instead, simply drag
the fonts from the Classroom in a Book CD to your hard disk and place them in either the
InDesign 2.0 fonts folder (typically in C:\Program Files\Adobe\InDesign 2.0\Fonts) or
your system fonts folder (typically in C:\Program Files\Common Files\Adobe\Fonts).
 ADOBE INDESIGN 2.0 3
Classroom in a Book

• Mac OS 9. Open the ATM installer file on the CD, located in the Fonts/Fonts/ATM
4.6.1+Fonts Installer folder. Double-click the ATM 4.6.1+Fonts Installer to install the
fonts.
• Max OS 10.1. Open the Fonts/Fonts/ATM 4.6.1 + Fonts Installer folder on the CD.
Select all of the fonts in the Fonts folder and drag them into the Library/Fonts folder on
your hard disk. You can select and drag multiple fonts to install them, but you cannot
drag the entire folder to install the fonts.

Copying the Classroom in a Book files

The Classroom in a Book CD includes folders containing all the electronic files for the
lessons. Each lesson has its own folder. You must install these folders on your hard disk to
use the files for the lessons. To save room on your hard disk, you can install the folders for
each lesson as you need them.

To Install the Classroom in a Book files:

1 Insert the ID2_CIB CD into your CD-ROM drive
2 Create a folder on your hard disk and name it IDCIB
3 Copy the lessons that you want to the hard drive:
• To copy all of the lessons, drag the Lessons folder from the CD into the IDCIB folder
• To copy a single lesson, drag the individual lessons folder from the CD into the IDCIB
folder
If you are installing the files in Windows, you must unlock them before using them. You
don't need to unlock files if you are installing them in Mac OS.
4 In Windows unlock the files you copied
• If you copied all of the lessons, double click the unlock.bat file in the IN2_CIB/Lessons
folder
•If you copied a single lesson, drag the unlock.bat file from the Lessons folder on the
CDinto the IDCIB folder. Then double-click the unlock.bat file in the IDCIB folder
Note: If you are using Windows XP or Windows 2000 you need to set your computer’s time
zone to Pacific Standard Time in order to prevent error messages when working on Classroom
in a Book lessons that involve linked files.
Open the Date and Time Control Panel and make sure that Pacific Standard Time is
selected.
4
Getting Started

Restoring default preferences

To ensure that the tools and palettes function exactly as described in this lesson, you
must delete or deactivate (by renaming) the InDesign Defaults file and the InDesign
SavedData file.
The InDesign Defaults file and the InDesign SavedData file control how palettes and
command settings appear on your screen when you open the Adobe InDesign program.
Each time you exit Adobe InDesign, the position of the palettes and certain command
settings are recorded in these files. To ensure that the tools and palettes function exactly
as described in this book, you can delete the current InDesign Defaults and InDesign
SavedData files at the beginning of each lesson. (If they don’t already exist, Adobe
InDesign will create new versions of these files the next time you start the program and
save a file.)
Important: If you want to save the current settings, rename the defaults files rather than
deleting them. When you are ready to restore the settings, change the names back and make
sure that the files are located in the InDesign 2.0 folder (Windows®) or the Preferences folder
(Mac OS).
1 If InDesign is running, choose File > Exit (Windows) or File > Quit (Mac OS).
2 To locate the InDesign defaults files, do one of the following:
• (Windows) Choose Start from the Windows taskbar, and then choose Find > Files or
Folders. For Named, type “InDesign Defaults”, “InDesign SavedData” (including the
quotation marks). For Look In, select Local Hard Drives (or the drive that contains
Windows). Then click Find Now. Drag the InDesign Defaults and InDesign SavedData
files to the Recycle Bin (or rename them). Do not delete any other InDesign file. Close the
Find dialog box.
• (Mac OS) Choose File > Find from the Finder menu. For Find Items, choose On Local
Disks, Except CD-ROMS. In the text box, type InDesign Defaults. Then click Find. Drag
the InDesign Defaults file to the Trash or rename it. In the same way, search for InDesign
SavedData and delete or rename this file. Do not delete any other InDesign file. Close the
Find windows.

If you renamed the defaults files to preserve them, you can return to your previous settings
by first deleting the newest copies of the InDesign Defaults and InDesign SavedData files.
Then restore the original names of the files you renamed in the steps above.
Production Notes
This Adobe InDesign 2.0 Classroom in a Book was created electronically using
Adobe InDesign and Adobe FrameMaker. Art was produced using Adobe InDesign,
Adobe Illustrator, and Adobe Photoshop. The Minion and Frutiger families of typefaces
were used throughout this book.
References to company names in the lessons are for demonstration purposes only and are
not intended to refer to any actual organization. The name Jean Neuhouse is used with
permission of the designer’s mother-in-law.

Images
Photographic images and illustrations are provided in low-resolution formats and are
intended for instructional use only. Illustrations of the Adobe InDesign user interface in
vary from chapter to chapter, representing in turn Windows, Mac OS 9, and Mac OS 10.1.

Photography credits
CMCD: Quick Tour (pinata, from Everyday Objects).
CMCD images: © 1994 CMCD. All rights reserved.
Image Club Graphics: Quick Tour (skeleton, from Volume 5, Objectgear/Amusements;
red armadillo, ceramic sun and tin fire heart, from Volume 6, Objectgear/Culturals). All
Image Club Graphics images: © 1996 Image Club Graphics.
PhotoDisc™: Color signature butterfly study (SS11090.TIF, from The Signature
Series 11/Details of Nature).
Bob Bringhurst: Lesson 8 (bike riders).
Julie Brockmeyer: Lesson 14 (chocolate shavings, truffles and packaging).
Andrew Faulkner: Lesson 2, Lesson 3 (all)
Thom Feild: Lesson 7 (all); Lesson 10 (all)
Craig Hoeschen: Lessons 11 and 12 (foods)
Bonnie Lebesch: Lesson 5 (searching hands and clasped hands); Lesson 8 (bicycle crank
and bicycle seat); Lesson 9 (bicycle spokes and bicycle tire).
Susan Bari Price: Quick Tour (pressed tin, blue moon, ceramic angel, el paraguas and
beaded moon).
Pat Solon: Lessons 11 and 12 (orchids, window)
Typefaces used
Adobe Caslon Pro, Adobe Garamond, Adobe Garamond Pro, Myriad, Trajan ® and Wood
Ornaments 2 were used throughout the lessons.

Update team credits

The following individuals contributed to the development of new and updated lessons for
this edition of the Adobe InDesign Classroom in a Book:
Project coordinator, technical writer: Patricia Solon
Production: Jan Martí, Command Z
Designers:
Andrew Faulkner (Lessons 2 and 3): Andrew is an illustrator and designer working in
Sausalito, California. His clientele includes Newsweek, Adobe Systems, and Sumaria, Inc.,
with his work appearing publications such as Macworld, Worth, The Wall Street Journal,
and the Los Angeles Times. Andrew’s work has received professional recognition and
awards for his editorial illustration, color layouts, and magazine covers. See his work at
www.afstudio.com.
Craig Hoeschen (Lessons 11 and 12): Craig has been creating instructional content and
artwork for nearly 25 years, most recently as a Senior Designer for Adobe Systems, Inc.
He has developed and led seminars in Color Theory, Typography, and Illustration, and
has been a regular guest lecturer in Journalism and Graphic Arts classrooms. His
numerous awards come from organizations as diverse as the Society for Technical
Communications to the California Newspaper Publishers Association.
Thom Feild (Lessons 7 and 10): From art and design training at Carnegie-Mellon
University to the present, Thom Feild has been a versatile and accomplished presence in
design. Posters, textiles, print collateral, and performing arts have all figured prominently
in his work at the Smithsonian Institution, the Kennedy Center, the American Craft
Museum, commercial firms, nonprofit organizations, and galleries. His work has
spanned a rich an colorful range from corporate design to artist-collaborative. See his
work at www.thomfeildesign.com.
Proofreading: Jack Raidy
Testing: Jenna Ashley
Additional resources
Adobe InDesign 2.0 Classroom in a Book is not meant to replace documentation that
comes with the program. Only the commands and options used in the lessons are
explained in this book. For comprehensive information about program features, refer to
these resources:
• The Adobe InDesign User Guide. Included with the Adobe InDesign software, this guide
contains complete descriptions of all features. For your convenience, you will find
excerpts from these guides, including the Quick Tours for the software, in this Classroom
in a Book.
• The Web Tour, which is also available on the application CD.
• The Quick Reference Card, included in the package with the application. This compre-
hensive guide to InDesign keyboard shortcuts is a useful companion as you work through
the lessons.
• Online Help, an online version of the User Guide and Quick Reference Card, which you
can view by choosing Help > Contents. (For more information, see Lesson 1, “Getting to
Know the Work Area.”)
• The Adobe Web site (www.adobe.com), which you can view by choosing Help > Adobe
Online if you have a connection to the World Wide Web.

Adobe Certification
The Adobe Training and Certification Programs are designed to help Adobe customers
improve and promote their product-proficiency skills. The Adobe Certified Expert (ACE)
program is designed to recognize the high-level skills of expert users. Adobe Certified
Training Providers (ACTP) use only Adobe Certified Experts to teach Adobe software
classes. Available in either ACTP classrooms or on site, the ACE program is the best way
to master Adobe products. For Adobe Certified Training Programs information, visit the
Partnering with Adobe Web site at http://partners.adobe.com.
A Quick Tour of
Adobe InDesign

This interactive demonstration of Adobe

InDesign provides an overview of key features
of the program. It should take you approxi-
mately 30 minutes to complete.
6
A Quick Tour of Adobe InDesign

Getting started
You’ll start the tour by opening a partially completed document. You’ll add the finishing
touches to this 6-page article on Mexican folk art written for an imaginary travel magazine.
Before you start Adobe InDesign, you should restore the default preferences for InDesign if
you have not already done so in this session. Restoring default preferences ensures that the
tools and palettes function exactly as described in this lesson. After you learn how to use
InDesign, this step is no longer necessary.
1 Delete or deactivate the InDesign Defaults file and the InDesign SavedData file,
following the procedure in “Restoring default preferences” on page 4.
2 Start Adobe InDesign.
3 Choose File > Open, and locate the ID_00 folder in the Lessons folder you copied from
the InDesign Classroom in a Book CD to your hard disk:
4 In the ID_00 folder, double-click ID_01.indd.
Note: In Windows, your extensions may be hidden. If this is so, the file appears as ID_01 (not
ID_01.indd) in the Open a File dialog box.

If an alert message appears that asks which dictionary file you want to use, click No
(Windows) or Document (Mac OS).
5 Choose File > Save As, and rename the file Tour in the ID_00 folder. If someone else
has created this file, choose Yes to replace it.
 ADOBE INDESIGN 2.0 7
Classroom in a Book

Viewing the document

The first spread (pages 2 and 3) appears on your screen. You’ll now look at the rest of the
6-page article using several navigation methods. First, you’ll use the Navigator palette,
which is useful for changing the view magnification. As in Adobe Illustrator and Adobe
Photoshop, palettes are often grouped with other palettes. However, you can move,
separate, and combine these palettes any way you like.
1 Choose View > Fit Spread in Window.
2 Click the Navigator palette tab to bring it to the front of the palette group.

3 Position the pointer on the palette-menu button ( ) on the right side of the palette
window, and choose View All Spreads from the Navigator palette menu. If you can’t see
the three spreads well, drag the lower right corner of the palette down to resize it; drag
it back up when you’re finished.

Like many palettes, the Navigator palette has a

menu that displays additional options.

Notice that the red view box in the Navigator palette determines which area of the
document is displayed.
8
A Quick Tour of Adobe InDesign

4 In the Navigator palette, click the center of the middle spread to view pages 4 and 5. If
necessary, drag the red box so that you can see pages 4 and 5.

Now we’ll look at the Pages palette, which is another useful tool for turning pages. You’ll
be using the Pages palette throughout this tour, so you’ll separate the Pages palette from
the other two palettes.
5 Click the Pages palette tab, and then drag the Pages tab below the other palettes.
 ADOBE INDESIGN 2.0 9
Classroom in a Book

6 In the Pages palette, click the palette-menu button (in the upper right corner) to open
the palette menu, and then choose Palette Options.

7 In the Pages Palette Options dialog box, deselect Show Vertically in the Pages group,
and then click OK. The page icons in the Pages palette are now aligned horizontally.

Feel free to move and rearrange palettes in this Quick Tour as needed. You can move a
palette by dragging its top bar, or you can click the minimize button or close button on the top
bar. When you need to use the palette again, click the restore button or choose the appropriate
menu command (such as Window > Pages to display the Pages palette). Several palettes also
have a double-arrow icon ( ) on the tab itself. You can click this icon to toggle the palette
views.
8 In the Pages palette, double-click the numbers 6-7 below the page icons to view the last
spread in the document.

Double-clicking the numbers below the page icons centers the full spread in the document
window. Double-clicking a page icon centers the page in the document window.
Now that you’ve seen all three spreads, let’s go back to page 3 and start working.
10
A Quick Tour of Adobe InDesign

9 In the Pages palette, double-click the page 3 icon to move to page 3.

Turning on guides
In this document, the guides are hidden. You’ll turn on the guides to make it easy to see
your layout grid and snap objects into place.
• Choose View > Show Guides.

Before and after turning on guides

Threading text in frames

In InDesign, all text exists inside frames. You can either add text to a frame that has
already been created, or you can create the frame while you import text.

Placing and flowing text

An article describing Judith and Clyde’s trip to Oaxaca has been saved in a word-
processor file. You’ll place this file on page 3 and then thread it throughout your
document.
1 Make sure that no objects are selected, and then choose File > Place. In the Place dialog
box, go to the ID_00 folder in the Lessons folder and double-click the 01_a.doc file.
 ADOBE INDESIGN 2.0 11
Classroom in a Book

The pointer takes the shape of a loaded text icon ( ). With a loaded text icon, you have
several choices: You can drag to create a text frame, click inside an existing frame, or click
to create a frame within a column. You’ll add this text to a column in the lower half of
page 3.
2 Position the loaded text icon just below the fourth guide from the bottom margin and
just to the right of the left margin, and click.

The text flows into a new frame in the lower half of the first column on page 3. When a
text frame has more text than can fit, the frame is said to have overset text. Overset text is
indicated by a red plus symbol in the out port of the frame (the small square just above
the lower right corner of the frame).

If the text box is not placed in the left column, click the selection tool ( ) and drag the
sizing handles to move it to the proper location.
3 Click the out port in the selected frame.
12
A Quick Tour of Adobe InDesign

The pointer becomes a loaded text icon. Now you’ll add a column of text to the lower half
of the second column.
4 Position the loaded text icon just below the fourth guide from the bottom margin and
just to the right of the second column guide, and click. Text now fills the lower part of the
right column.

Threading text
Clicking the out port to flow text is called manual threading. You can also hold down Shift
to thread text automatically so that all the overset text is flowed into the columns, but you
don’t want to do that in this document because the text frames should not appear on every
page. However, you can hold down Alt (Windows) or Option (Mac OS) to thread text one
frame at a time without having to reload the text icon.
1 Click the out port in the second column (on page 3).
2 In the Pages palette, double-click the page 4 icon to center page 4 in the document
window.
 ADOBE INDESIGN 2.0 13
Classroom in a Book

3 Holding down Alt (Windows) or Option (Mac OS), position the loaded text icon in the
upper left corner of the first column, and click. Release the Alt/Option key.

The text flows into the left column. Because you held down Alt/Option, the pointer is
still a loaded text icon.

4 Position the loaded text icon in the upper left corner of the second column on page 4,
and click.
14
A Quick Tour of Adobe InDesign

Whenever the pointer is a loaded text icon, you can click any tool in the toolbox to cancel.
No text will be lost.
Now you’ll flow the text into the bottom of the two columns on page 7.
5 Click the out port in the second column of page 4, and then double-click the page 7
icon in the Pages palette to center page 7 in the document window.
6 Holding down Alt/Option, position the loaded text icon in the left column below the
guide on page 7, and click. Release the Alt/Option key.
7 Position the loaded text icon in the second column below the guide, and click.

You have just finished threading text frames. A threaded set of frames is called a story.
8 Choose File > Save.

Adding a pull quote

To enhance the design on page 4 of your document, you’ll add a pull quote. We copied
text from the article and placed it into a frame on the pasteboard. You will position this
pull-quote text frame in the middle of page 4 and finish formatting it.
1 In the Pages palette, double-click the page 4 icon. If you cannot see the pull-quote text
frame to the left of page 4, locate the scroll box on the horizontal scroll bar and drag it to
the left.
 ADOBE INDESIGN 2.0 15
Classroom in a Book

2 Using the selection tool ( ), drag the text frame from the pasteboard so that it’s
centered between the columns of text on page 4. If necessary, use the arrow keys to nudge
the frame. The bottom of the frame should pass through the middle of the red star.

3 Choose View > Fit Page in Window. Then choose File > Save.

Wrapping text around an object

The text in the pull quote is difficult to read because the main story text does not wrap
around the text frame. You’ll wrap the main story text around the pull-quote frame.
1 Make sure the pull-quote frame is selected.
2 Choose Object > Text Wrap.
3 In the Text Wrap palette, click the third wrap option ( ) to wrap text around the
object’s shape.
16
A Quick Tour of Adobe InDesign

4 Click the Close button to close the Text Wrap palette.

5 Choose File > Save.

Adding a stroke to the frame

Now you’ll change the color of the text frame so that the stroke (border) matches the color
of the red star. When you apply colors in InDesign, it’s a good idea to use the Swatches
palette instead of the Colors palette. Using the Swatches palette to name colors makes it
easy to apply, edit, and update colors efficiently for all objects in a document.
This magazine article is intended for printing at a commercial press, so it uses CMYK
process colors. We’ve already added the set of necessary colors to the Swatches palette.
1 With the text frame still selected, click the Stroke box ( ) in the toolbox. Selecting the
Stroke box will allow the frame of the image to be affected by the color you select.
 ADOBE INDESIGN 2.0 17
Classroom in a Book

2 Choose Window > Swatches, and then select PANTONE Warm Red CVC in the
Swatches palette.

3 To change the weight of the stroke, choose Window > Stroke to display the Stroke
palette, if it is not already visible. Then for Weight, select 0.5 pt.

4 Click the Close button to close the Stroke palette.

5 Choose Edit > Deselect All.

The text frame now has a thin red stroke.

6 Choose File > Save.
18
A Quick Tour of Adobe InDesign

Changing the frame inset

The text in the pull-quote frame is too close to the edge, making it unattractive and
difficult to read. You’ll now change the frame inset.
1 Using the selection tool ( ), click the pull-quote text frame to select it, and then choose
Object > Text Frame Options.
2 Under Inset Spacing, type 1 for Top, Left, Bottom, and Right. (Pressing Tab moves the
focus to the next option in a dialog box.)

3 Click OK.

The pull-quote text is now inset 1 pica from the inside edges of the frame.
 ADOBE INDESIGN 2.0 19
Classroom in a Book

Changing the margin alignment

To make the opening quotation mark appear outside the frame inset, you can change the
optical margin alignment.
1 With the pull-quote frame still selected, choose Type > Story.
2 Select Optical Margin Alignment.
Selecting this option causes punctuation and edges of wide characters (such as W, X, and
Y) to “hang” outside the margins.
3 For font size, select 18 pt.

As a general rule, you get the best margin alignment when you select the same size font
that the text in your story uses. In this case, the pull quote uses an 18-point font.
4 Click the Close button to close the Story palette. Choose Edit > Deselect All to view the
completed pull-quote frame.

5 Choose File > Save.

20
A Quick Tour of Adobe InDesign

Working with styles

InDesign includes two kinds of styles. A paragraph style includes formatting attributes for
both characters and paragraphs. A character style includes only character attributes,
making it useful for formatting words and phrases within a paragraph.

Applying paragraph styles

To save time, we created paragraph styles that you’ll apply next. These styles will help you
format the body text in the article.
1 In the Pages palette, double-click the page 3 icon to center page 3 in the document
window.
2 Select the type tool ( ), and then click anywhere in the columns of text.
3 Choose Edit > Select All to select the text in all the frames of the story.

4 Choose Type > Paragraph Styles to display the Paragraph Styles palette.
5 In the Paragraph Styles palette, click Body Text to format the entire story with the Body
Text style.
 ADOBE INDESIGN 2.0 21
Classroom in a Book

6 Choose Edit > Deselect All to deselect the text.

Now you’ll apply a different paragraph style to the first paragraph of the story.
7 Using the type tool ( ), click anywhere in the first paragraph on page 3.
8 In the Paragraph Styles palette, select Body Text / Drop Cap.

Like other options in the Paragraph and Character palettes, drop caps can be part of a style.
9 Choose File > Save.

Formatting text for the character style

Now you’ll create and apply a character style to emphasize page references within
paragraphs. Before you create this character style, you’ll use the Character palette to
italicize the text and make it one point smaller. You’ll then base the character style on this
formatted text.
22
A Quick Tour of Adobe InDesign

1 In the Pages palette, double-click the page 7 icon to center page 7 in the document
window. To make sure that you can read the text at the bottom of this page, press Ctrl+=
(Windows) or Command+= (Mac OS) and use the scroll bars as necessary.
You should be able to see three references to other pages: (page 7), (page 2), and (page 5).
2 Using the type tool ( ), select the “(page 7)” reference.

3 Choose Type > Character to display the Character palette (grouped with the Transform
and Paragraph palettes).
4 Select Italic from the Type Style menu. For font size ( ), select 11 pt.

The page reference is now formatted.

 ADOBE INDESIGN 2.0 23
Classroom in a Book

5 Choose File > Save.

Creating and applying a character style

Now that you have formatted the text, you are ready to create a character style.
1 Make sure that the text you formatted is still selected, and choose Type > Character
Styles to display the Character Styles palette.
2 Click the New Style button ( ) at the bottom of the Character Styles palette.

A new character style named Character Style 1 is created. This new style includes the
characteristics of the selected text.
3 In the Character Styles palette, double-click Character Style 1 to open the Modify
Character Style Options dialog box.
4 For Style Name, type Emphasis and click OK.
24
A Quick Tour of Adobe InDesign

5 Using the type tool ( ), select “(page 2)” in the next paragraph, and then click
Emphasis in the Character Styles palette to apply the style.

6 Apply the character style to “(page 5)” in the same paragraph.

Because you used a character style instead of a paragraph style, the style you applied
affected only the selected text, not the entire paragraph.
7 Choose File > Save.

Placing graphics
Graphics you insert are automatically placed inside frames. When dealing with graphics,
you should become familiar with the two selection tools.
The selection tool ( ) is used for general layout tasks, such as positioning and sizing
objects. The direct-selection tool ( ) is used for tasks involving drawing and editing
paths or frames; for example, to select frame contents or to move an anchor point on a
path. The direct-selection tool is also used for selecting objects within frames or groups.

Working with grouped objects

The three stars on page 5 are grouped together. You’ll select the rightmost star so that you
can change its color.
1 In the Pages palette, double-click the page 5 icon to center page 5 in the document
window. Choose View > Fit Page in Window.
 ADOBE INDESIGN 2.0 25
Classroom in a Book

2 Using the selection tool ( ), click the black star on page 5 to select it.

Notice that the star is part of a group. Instead of having to ungroup the objects to select only
the black star, you can use the direct-selection tool ( ) to select the object within a group.
3 Click the direct-selection tool ( ), and then click the black star.

The anchor points of the selected object appear.

4 To change the fill color to purple, select the Fill box ( ) in the toolbox, choose
Window > Swatches, and then select PANTONE 265 in the Swatches palette.
26
A Quick Tour of Adobe InDesign

Using the pen tool to reshape an object

The purple star you selected needs another ray to match the other stars. You’ll use the pen
tool to add anchor points so that you can create a new ray in the star.
1 Position the pointer over the pen tool in the toolbox, and then click and hold down the
mouse button to display additional tools. Select the add anchor point tool.

2 Click the edge of the star twice to add two anchor points.

3 Select the direct-selection tool ( ), and then drag the lower of the two anchor points
away from the star to create another ray.
 ADOBE INDESIGN 2.0 27
Classroom in a Book

You can select and drag more than one point. Shift-click to select multiple points; click the
center point to select all points; click outside the shape to deselect all points. You can also click
between two points and drag the segment.
4 Use the direct-selection tool ( ) to drag anchor points as needed to reshape the star.

5 Choose File > Save.

Targeting layers when placing

Like Illustrator and Photoshop, InDesign lets you place objects on different layers. Think
of layers as sheets of transparent film that are stacked on top of each other. By using layers,
you can create and edit objects on one layer without affecting—or being affected by—
objects on other layers. Layers also determine the stacking position of objects.
Before you place a photograph of an armadillo, you’ll make sure that you add the frame
to the appropriate layer.
1 In the Pages palette, double-click the page 3 icon to center page 3 in the document
window.
2 Choose Window > Layers to display the Layers palette.
3 Click the word “Photos” in the Layers palette to target the Photos later. (Do not click
the boxes to the left of the Photos layer, or you’ll hide or lock the layer.)
28
A Quick Tour of Adobe InDesign

4 Select the selection tool ( ).

5 Choose File > Place, and double-click the 01_b.tif file located in the ID_00 folder.
6 With the loaded graphics icon ( ), click in the white area above the top margin to place
the armadillo at the top of the page. You’ll move the graphic later, after you rotate and
crop it.

Notice that the armadillo frame is the same color as the Photos layer in the Layers palette.
An object’s frame color tells you which layer it belongs to.
7 In the Layers palette, click the box next to the Text layer name so that the lock icon ( )
appears.

Locking this layer prevents you from selecting or making any changes to the Text layer or
any objects on that layer. With the Text layer locked, you can edit the frame containing the
armadillo without accidentally selecting the frame containing “Hecho en Mexico.”

Rotating the photograph

Because the frame and photo are independent of each other, you can rotate the photo
without rotating the frame.
1 Click outside the armadillo to deselect it.
 ADOBE INDESIGN 2.0 29
Classroom in a Book

2 Select the direct-selection tool ( ), and then click the armadillo to select it.
Using the direct-selection tool to select the object lets you rotate only the armadillo
photograph, not the entire frame.
3 Select the rotate tool ( ) in the toolbox.
The crosshair icon, which appears in the upper left anchor point of the frame, determines
the point of rotation. You can change the crosshair location using the proxy icon in the
Transform palette.

4 In the Transform palette, make sure the center point of the proxy icon is selected. If
another point is selected, just click the center point to select it.

5 Drag any of the selection handles to rotate the object clockwise.

30
A Quick Tour of Adobe InDesign

6 Choose File > Save.

Cropping and moving the photograph

You’ll now use the selection tool to crop and move the photograph.
1 Choose Edit > Deselect All.
2 Select the selection tool ( ) in the toolbox, and then click the armadillo.
Notice that the frame enclosing the armadillo has not been rotated—the frame and photo
are separate objects.
3 Position the pointer over the middle handle on the right side of the armadillo frame
and hold down the mouse button. Drag the frame toward the center of the armadillo to
crop it.

4 Using the selection tool ( ), position the pointer over the center of the armadillo
frame and drag the object so that it snaps to the right edge of the page.
 ADOBE INDESIGN 2.0 31
Classroom in a Book

Notice that the edge of the armadillo is behind the decorative border. This is because the
Photos layer is below the Graphics layer in the Layers palette.
5 Choose File > Save.

Working with master pages

A master page is like a background that you can quickly apply to many pages. You can
apply master-page formatting to any of the pages in your document.
In this document, the master page includes a border and page numbers for facing pages.
You may have noticed that the master pages are applied to pages 2 and 3 (as indicated by
the letter A), but the master pages are not applied to pages 4–7.

Editing master pages

On the A-Master pages, the right footer has placeholder text for the magazine issue. You’ll
edit this text and then apply the A-Master to pages 4–7.
1 In the upper portion of the Pages palette, double-click the right A-Master page icon to
center the right master page in the document window.

This master page includes a decorative border surrounding the spread and text frames at
the bottom of each master page. You’ll edit the footer on the right master page to change
“Issue” to “Fall/Winter.” However, this text frame belongs to the Text layer, which is
currently locked.
32
A Quick Tour of Adobe InDesign

2 In the Layers palette, click the lock icon (the crossed-out pencil) on the Text layer so
that the lock icon is removed.
3 Select the zoom tool ( ), and then drag across the lower right corner of the master
page to zoom in on the footer text.

4 Select the type tool ( ), and then drag across the word “Issue.” (Do not select the
em space after the word or the letter A, which is the page-number marker.)
5 Type Fall/Winter.
 ADOBE INDESIGN 2.0 33
Classroom in a Book

Applying master pages to document pages

Now you’ll apply the A-Master pages to the spreads on pages 4–5 and 6–7.
1 Select the selection tool ( ).
2 In the Pages palette, double-click pages 4–5 below the page icons. Choose View > Fit
Spread in Window to see both pages of the spread.

3 In the Pages palette, click A-Master and drag the hand pointer over pages “4–5” (below
the page icons) until you see a box around both page icons; release the mouse button.

When you drag a master over the page numbers below the page icons, the master is
applied to both pages in the spread.

4 Repeat step 3 to apply the A-Master to the page 6–7 spread.

34
A Quick Tour of Adobe InDesign

The A-Master is now applied to all the pages in the document.

5 Choose File > Save.

Overriding master-page items

To vary the design, we want to change the color of the border on pages 4–7 to match the
background color of each spread. Instead of re-creating these items on a new master page,
you can alter them on the actual pages.
1 Click the black decorative border surrounding pages 4–5 to try to select it.
You cannot select the object by clicking it because the object belongs to the master page.
However, you can override the master-page object.
2 Using the selection tool ( ), hold down Shift+Ctrl (Windows) or Shift+Command
(Mac OS) and click the black border surrounding pages 4–5 to select it.
3 Make sure that the Fill box ( ) is selected in the toolbox, and then select PANTONE
116 in the Swatches palette.

4 In the Pages palette, double-click pages 6–7 below the page icons to center the spread
in the document window.
 ADOBE INDESIGN 2.0 35
Classroom in a Book

5 Using the selection tool ( ), hold down Shift+Ctrl (Windows) or Shift+Command

(Mac OS) and click the black border surrounding pages 6–7 to select it.
6 Make sure the Fill box ( ) in the toolbox is selected, and then select PANTONE 390 in
the Swatches palette.

When you changed the color of the master-page object on the layout page, you did not
break the connection between the master-page object and the layout-page object; only the
color is different. If you decided to move the object on the master page, the object on the
layout page would also move.

Viewing your document

Now let’s take a look at your completed document.
1 Choose Edit > Deselect All.
2 In the lower right corner of the toolbox, select Preview Mode. Preview mode hides the
non-printing items on the pages, such as guides, frames, and the pasteboard, so that you
see the pages as they will appear in print.

3 In the zoom pop-up menu in the lower left corner of the document window, select 25%
to view all the spreads. If necessary, select a different zoom percentage so that you can view
all three spreads.
36
A Quick Tour of Adobe InDesign

4 Press Tab to hide palettes.

When you want to see an unobstructed view of your document, pressing Tab will remove
the palettes.
5 Press Tab again to show palettes.
6 Choose File > Save.

On your own
Congratulations! You’ve completed the InDesign tour. You’re now ready to create your
own InDesign documents. To learn more about InDesign, you may want to try the
following:
• Continue experimenting with the travel document. Add new pages, edit the master
pages, move items among the layers, create text frames, and adjust the graphics using the
tools in the toolbox.
• Choose Help > Help Topics to use online Help.
• Go through the lessons in the rest of this book.
1 Getting to Know
the Work Area

To make the best use of the extensive

drawing, layout, and editing capabilities
in Adobe InDesign, it’s important to learn
how to navigate in the work area. The
work area consists of the document
window, the pasteboard, the toolbox,
and the floating palettes.
40 LESSON 1
Getting to Know the Work Area

In this lesson, you’ll learn how to do the following:

• Work with tools, document windows, the pasteboard, and palettes.
• Change the magnification of the document.
• Navigate through a document.
• Work with layers.
• Use context menus and online Help.
• Use Adobe online services.
Note: This lesson covers tasks that are common to Adobe products such as Photoshop, Illus-
trator, and Acrobat®. If you are familiar with these Adobe products, you may want to skim
through this lesson and move ahead to the next lesson.

Getting started
In this lesson, you’ll practice using the work area and navigating through pages of the
Exploring the Library booklet. This is the final version of the document—you won’t be
changing or adding text or graphics, only checking to make sure everything is ready for
print. Before you begin, you’ll need to restore the default preferences for Adobe InDesign.
1 To ensure that the tools and palettes function exactly as described in this lesson, delete
or deactivate (by renaming) the InDesign Defaults file and the InDesign SavedData file.
See “Restoring default preferences” on page 4.
2 Start Adobe InDesign.
To begin working, you’ll open an existing InDesign document.
Note: If you have not already copied the resource files for this lesson onto your hard disk from
the ID_01 folder from the Adobe InDesign 2.0 Classroom in a Book CD, do so now. See
“Copying the Classroom in a Book files” on page 3.
3 Choose File > Open, and open the 01_a.indd file in the ID_01 folder, located inside the
Lessons folder within the IDCIB folder on your hard disk. If an alert message appears that
asks which dictionary file you want to use, click No (Windows) or Document (Mac OS).
4 Choose File > Save As, rename the file 01_Library.indd, and save it in the ID_01 folder.
Note: This document was saved with the frame edges hidden (View > Hide Frame Edges). By
default, frame edges are visible in all documents.
 ADOBE INDESIGN 2.0 41
Classroom in a Book

Looking at the work area

The InDesign work area encompasses everything you see when you first open or create a
document: the toolbox, document window, pasteboard, and palettes. You can customize
the work area to suit your work style. For example, you can display only the palettes you
frequently use, minimize and rearrange palette groups, resize windows, add additional
document windows, and so on.

A. Toolbox B. Document window C. Pasteboard D. Palettes

42 LESSON 1
Getting to Know the Work Area

Toolbox
The InDesign toolbox contains tools for selecting objects, working with type, drawing, and
viewing, as well as controls for applying and changing color fills, strokes, and gradients.

Adobe Online

(V) Selection Direct-selection (A)

(P) Pen Type (T)

(N) Pencil Line (\)

(F) Rectangle frame Rectangle (M)

(R) Rotate Scale (S)

(O) Shear Free transform (E)

(I) Eyedropper Gradient (G)

(H) Hand Zoom (Z)

Swap fill/stroke ( + X)
(X) Fill
Stroke (X)
(D) Default fill/stroke
Formatting affects container Formatting affects text
(>) Apply gradient
(<) Apply color Apply none (/)

(W) Normal View Mode Preview Mode (W)

As you work through the lessons, you’ll learn about each tool’s specific function. Here
you’ll familiarize yourself with the toolbox and the tools.
1 Position the pointer over the selection tool ( ) in the toolbox. Notice the name and
shortcut are displayed. You can select a tool by either clicking the tool in the toolbox or
pressing the tool’s keyboard shortcut.
 ADOBE INDESIGN 2.0 43
Classroom in a Book

2 Position the pointer over the pen tool and hold down the mouse button—additional
pen tools appear. Drag to the right and release the mouse button over one of the
additional tools to select it. Any tool that displays a small black triangle at the bottom
right corner contains additional tools.

3 Select the selection tool again; then click the little cloud in the top left corner of page 1
to select it.
Now you’ll use the color controls, which are located on the bottom half of the toolbox.
4 Select the Fill box to make sure that any changes you make affect the center portion of
the object and not its stroke.
44 LESSON 1
Getting to Know the Work Area

5 Click the Color box ( ) in the toolbox. The object becomes filled with solid black.
Click the Gradient box ( ). The object becomes filled with a white-to-black gradient.
Click the None box ( ) to return the object to its original unfilled state.

Object filled with black (left), filled with a gradient (center), and reset to no fill (right).

Note: If you accidently double-click a Fill or Gradient box, the Fill or Gradient palette will
open. Close the palette to continue with the lesson.
6 Now select the Stroke box ( ) so that any changes you make affect the object’s stroke.
 ADOBE INDESIGN 2.0 45
Classroom in a Book

7 Click the Gradient box ( ) in the toolbox. The solid stroke becomes a gradient stroke.
Click the Color box ( ) to return the object to its original stroke. Then click a blank area
of the page of pasteboard to deselect the cloud.

To learn how to change the color of a fill, stroke, or gradient, see Lesson 4, “Creating and
Applying Colors, Tints, and Gradients.”

Document window
The document window contains your document pages. You set margins for a new
document when you first open it, and then you place, type, or create all text and artwork
on the document pages. You can have more than one document window open at a time.
Here, you’ll open a second window so that as you work you can see two different views of
the document at the same time.
1 Choose Window > New Window. A new window titled 01_Library.indd:2 opens.
Notice that the original window is now titled 01_Library.indd.1.
46 LESSON 1
Getting to Know the Work Area

2 To view both windows simultaneously, choose Window > Tile.

3 Now select the zoom tool in the toolbox ( ) and click twice on the dinosaur in the
rightmost document window. Notice that the original document window remains at the
original magnification. This arrangement lets you work closely on details and see the
overall results on the rest of the page.

4 Close the 01_Library.indd:2 document window, choose Window > Cascade, and then
resize and reposition the window as necessary to return it to its original size.
 ADOBE INDESIGN 2.0 47
Classroom in a Book

You can simply click the Maximize (Windows) or Resize (Mac OS 9) button in the upper
right corner of any window or palette. In Mac OS 10.1, this is the green button in the upper
left corner of the window. To change the window manually, drag the title bar (Windows) or
any edge (Mac OS) to move the window; then drag the lower right corner to resize the
window.

Pasteboard
Each page or spread in your document has its own pasteboard surrounding it, where you
can store objects before positioning them. Pasteboards also provide the additional space
along each edge of the document for extending objects past the edge of the page (also
known as creating a bleed).
1 To see the full size of the pasteboard for the pages in this document, choose View >
Entire Pasteboard.
Note: If you cannot see the graphic of a book on the pasteboard, it may be hidden behind one
of the palettes. Move the palettes or reduce the size of the document window so that you can
see all these objects.

A. Pasteboard B. Document

Notice the book graphic on the pasteboard for page 1. This graphic was originally
placed in the document, but then moved to the pasteboard in anticipation that it would
be used somewhere else in the document. It is no longer necessary to keep this image
with the document.
48 LESSON 1
Getting to Know the Work Area

2 Using the selection tool ( ), select the book image on the pasteboard and press Delete.
3 Choose View > Fit Page in Window to restore the window to its previous size.
4 Choose File > Save.

Viewing and arranging palettes

Palettes provide quick access to commonly used tools and features in InDesign. By
default, palettes appear in stacked groups, which you can reorganize in various ways. Here
you’ll experiment with hiding, closing, and opening palettes.
1 Press Tab to hide all open palettes and the toolbox. Press Tab again to display them
all again.
Note: You can hide or display just the palettes (not the toolbox) by pressing Shift+Tab.
2 In the Pages palette group, click the Layers tab to make the Layers palette appear at the
front of the group.

To find a hidden palette, choose the palette name on the Window menu. If the palette
name already has a check mark, then the palette is already open and in front of any other
palettes in its palette group. If you choose a checked palette name on the Window menu, the
palette will close.
Now you’ll reorganize the palette group.
 ADOBE INDESIGN 2.0 49
Classroom in a Book

3 Drag the Layers palette tab outside of the group to create a new palette window.

Palettes are grouped (left). Drag the palette tab to separate a palette from the group (right).

You can also move palettes from one palette group to another to create custom palette
groups of the palettes you use most often.

Docking Palettes
Dock palettes by connecting the lower edge of one palette to the top edge of another palette, so that both pal-
ettes move together and are shown and hidden together. When you dock palettes, both palettes remain fully
visible. In contrast, when you group palettes, only the frontmost palette is visible.
You can dock one palette to another single palette or to a group of palettes. However, you can’t dock a group
of palettes unless you dock each of them individually, because docking involves dragging an individual pal-
ette’s tab and not the title bar.

––From the Adobe InDesign 2.0 User Guide, Chapter 1

To dock palettes, drag a palette’s tab to the bottom edge of another palette.
When the bottom edge of the other palette is highlighted, release the mouse.
50 LESSON 1
Getting to Know the Work Area

4 Drag the Layers palette tab into the center of the Paragraph palette group. Then drag
the tab back to the Pages palette group.
Note: To add a palette to a group, make sure you drag its tab into the middle of the palette. If
you drag a palette tab to the bottom of another palette, you will dock the palette instead of
adding it. See the “Docking Palettes” sidebar in this section.
Now you’ll organize the palettes to create more space in your work area.
5 Drag the lower right corner of the Pages palette to change the height of the palette.
6 Click the Minimize/Maximize button (Windows) or the collapse/expand box
(Mac OS) to collapse the group so that only the palette tabs appear. Click the box again
to expand the group.

For some palettes, you can click the double arrows on the left side of the palette tab
repeatedly to toggle through the default, collapsed, and fully expanded views.

Using palette menus

Most palettes have a palette-menu button in the upper right corner of the palette group
window. Clicking this arrow-shaped button opens a menu with more commands and
options for the currently active palette.
1 From the Paragraph Styles palette group, click the Swatches palette tab to move it to
the front of the group. (You can also choose Window > Swatches to display the palette.)
 ADOBE INDESIGN 2.0 51
Classroom in a Book

2 Position the pointer on the palette-menu button in the upper right corner of the
Swatches palette, and hold down the mouse button to display the palette menu.

3 Choose Small Name. This command affects the Swatches palette rows, but not the
other palette rows in the group. The commands in the palette menu apply only to the
active palette.
4 On the Swatches palette menu, choose Name to return the swatches names to their
original size.

Changing the magnification of your document

You can reduce or enlarge the view of the document to any magnification level from 5%
to 4000%. InDesign displays the percentage of the document’s actual size in the title bar,
next to the filename, and at the lower left corner of the document window.
52 LESSON 1
Getting to Know the Work Area

Using the view commands and magnification menu

You can easily enlarge or reduce the view of a document by doing one of the following:
• Choose a percentage from the magnification menu at the lower left corner of the
document window to enlarge or reduce the display by any preset increment.

• Type a percentage in the magnification menu.

• Choose View > Zoom In to enlarge the display by one preset increment.
• Choose View > Zoom Out to reduce the display by one preset increment.
Note: Preset sizes are those listed in the magnification menu.
• Choose View > Actual Size to display the document at 100%. (Depending on the
dimensions of your document and your screen resolution, you may or may not see the
entire document on-screen.)
• Choose View > Fit Page in Window to display the targeted page in the window.
• Choose View > Fit Spread in Window to display the targeted spread in the window.

Using the zoom tool

In addition to the view commands, you can use the zoom tool to magnify and reduce the
view of a document.
1 Select the zoom tool ( ) in the toolbox and position it over the dinosaur on page 1.
Notice that a plus sign appears at the center of the zoom tool ( ).
2 Click once. The view changes to the next preset magnification, centered on the point
where you clicked. Now you’ll reduce the view.
3 Position the zoom tool pointer over the dinosaur and hold down Alt (Windows) or
Option (Mac OS). A minus sign appears at the center of the zoom tool ( ).
 ADOBE INDESIGN 2.0 53
Classroom in a Book

4 With Alt/Option still held down, click twice over the dinosaur; the view is reduced.
In addition to clicking the zoom tools, you can drag a marquee to magnify a specific area
of your document.
5 With the zoom tool still selected, hold down the mouse button and drag a marquee
around the dinosaur; then release the mouse.
The percentage by which the area is magnified depends on the size of the marquee (the
smaller the marquee, the larger the degree of magnification).

Dragging a marquee with the zoom tool (left) and the resulting view (right)

6 In the toolbox, double-click the icon for the zoom tool to return to a 100% view.
Because the zoom tool is used frequently during the editing process to enlarge and reduce
the view of your document, you can temporarily select it from the keyboard at any time
without deselecting any other tool you may be using. You’ll do that now.
7 Click the selection tool in the toolbox and position it in the document window.
8 Hold down Ctrl+spacebar (Windows) or Command+spacebar (Mac OS) so that the
selection-tool icon becomes the zoom-tool icon, and then click on the dinosaur to
magnify the view. When you release the keys, the pointer again appears as the selection-
tool icon.
9 Hold down Ctrl+Alt+spacebar (Windows) or Command+Option+spacebar (Mac OS)
and click to zoom out, returning to a 100% view.
10 Choose View > Fit Spread in Window to center the page.
54 LESSON 1
Getting to Know the Work Area

Navigating through your document

InDesign provides several options for viewing and navigating through a document,
including the Pages and Navigator palettes, and the scroll bars.

Turning pages
You can turn pages using the Pages palette, the page buttons at the bottom of the
document window, the scroll bars, or a variety of commands.
The Pages palette provides page icons for all the pages in your document. Double-clicking
on any page icon or page numbers brings that page or spread into view. Double-clicking
the numbers below the page icons centers a spread in the document window; double-
clicking one page icon for a spread centers that page in the document window.

Targeting and selecting spreads or pages

You can target or select spreads, depending on the task at hand:
• Target a spread where the next new object should appear. This is helpful when, for example, several spreads
are visible in the document window and you want to paste an object on a specific spread. Only one spread
can be the target at any time. By default, the target spread occupies the center of the document window. It is
indicated by the highlighted page numbers (not highlighted page icons) in the Pages palette and by a vertical
ruler that is not dimmed.
• Select a page or spread when your next action will affect a page or spread rather than objects, as when
you’re setting margin and column options for a specific page only. When all pages of a spread are highlighted in
the Pages palette, that spread is selected. You can select multiple spreads in a document. The selected spread
is indicated by the highlighted page icons (not highlighted page numbers) in the Pages palette.

–From the Adobe InDesign User Guide, Chapter 2

Page 1 selected; pages 2 and 3 targeted

1 Make sure that the selection tool ( ) is still selected.

 ADOBE INDESIGN 2.0 55
Classroom in a Book

2 In the Pages palette, double-click the 2–3 page numbers below the page icons to target
and view the spread on pages 2 and 3 (you may need to scroll in the Pages palette). The
spread opens and appears centered in the document window.

3 Double-click the page 3 icon to select and center only that page in the document window.

Now you’ll use the page buttons at the bottom of the document window to change pages.
56 LESSON 1
Getting to Know the Work Area

4 Click the next-page button ( ) at the lower left corner of the document window to go
to page 4.

You can also turn to a specific page number by typing the number in the page box.
5 Select 4 in the page box at the lower left of the document window, type 1, and press
Enter or Return.
Now you’ll change pages using a menu command.
6 Choose Layout > Go Back to return to page 4.
7 Choose Layout > Previous Page to turn to page 3.
You can also turn to a specific page number by selecting the page number from the Page
pop-up menu.
8 Click the downward facing arrow ( ) to the right of the page box, and select 2 from
the Page pop-up menu that appears.

You can experiment with all the different methods. For a full list of commands used for
turning pages, see “Turning pages” in online Help or in Chapter 1 of the Adobe InDesign
User Guide.
 ADOBE INDESIGN 2.0 57
Classroom in a Book

Scrolling through a document

You can also use the hand tool and the scrollbars along the side of the document window
to move to different areas or pages of a document. Here you’ll use both methods to
navigate through the document.
1 Drag the scrollbar along the right side of the document window all the way to the top
to view page 1. If necessary, drag the horizontal scroll bar across the bottom of the
window until you can see page 1.
2 With the selection tool ( ) selected in the toolbox and the pointer positioned over
the document, hold down the spacebar on the keyboard. Notice that the selection-tool
icon changes to the hand tool ( ). You can use this shortcut when you don’t want to
change tools while moving through the document. You can also simply select the hand
tool ( ) in the toolbox.
3 With the spacebar still held down, drag upward in the document window until the
page 2–3 spread appears on-screen. As you drag, the document moves with the hand.

You can also use the hand tool as a shortcut to fit the page or spread in the window.
4 In the toolbox, double-click the icon for the hand tool to fit the spread in the window.
5 Using the hand tool, click on or near the bug in the lower right corner and drag to
center it in the window.
58 LESSON 1
Getting to Know the Work Area

Using the Navigator palette

The Navigator palette provides several navigation and view tools in one location, so you
can quickly and easily magnify and scroll to a desired location.
1 Click the Navigator palette tab (or choose Window > Navigator) to make sure that it is
at the front of the palette group.
2 In the Navigator palette, drag the slider to the right to magnify the view. As you drag
the slider to increase the level of magnification, the red outline in the Navigator window
decreases in size, showing you the area of view.

Increasing the magnification using the Navigator palette

3 In the Navigator palette, position the pointer inside the red outline. The pointer
becomes a hand, which you can use to scroll to different areas of the page or spread.
4 Drag the hand to scroll to the upper left corner of page 2.
5 Save the file.

Scrolling to a different area using the Navigator palette

 ADOBE INDESIGN 2.0 59
Classroom in a Book

Working with layers

By default, a new document contains just one layer (named Layer 1). You can rename the
layer and add more layers at any time as you create your document. Placing objects on
different layers lets you organize them for easy selection and editing. Using the Layers
palette, you can select, display, edit, and print different layers individually, in groups, or
all together.

What are layers?

Think of layers as sheets of transparent sheets stacked on top of each other. If a layer doesn’t have objects on
it, you can see through it to any objects on the layers behind it.

–From the Adobe InDesign User Guide, Chapter 2

The 01_Library.indd document has three layers. You’ll experiment with these layers to
learn how the order of the layers and the placement of objects on layers can greatly affect
the design of your document.
1 Click the Layers palette tab in the Pages palette group, or choose Window > Layers.
60 LESSON 1
Getting to Know the Work Area

2 In the Layers palette, click the Number layer. Notice that a pen icon ( ) appears to the
right of the layer name. This icon indicates that this layer is the target layer and anything you
import or create will belong to this layer. The highlight indicates that the layer is selected.
3 In the Layers palette, drag the Number layer between the Floor layer and the Graphics
layer; when you see a black line, release the mouse. Notice how the objects now appear in
a different order in your document.

4 Click the empty square to the left of the Number layer name. This square lets you lock
a layer so it cannot be edited. When you lock a layer, the palette displays a crossed-out
pencil icon ( ) in the square.
 ADOBE INDESIGN 2.0 61
Classroom in a Book

5 Using the selection tool ( ), click the word “Floor” in the document window. Notice
in the Layers palette that the Graphics layer is selected and a dot appears to the right of
the layer name. This indicates that the selected object belongs to this layer. You can move
objects from layer to layer by dragging the dot.
6 In the Layers palette, drag the dot from the Graphics layer to the Floor layer. The
word “Floor” now belongs to the Floor layer and appears in the stacking order in the
document accordingly.

7 Now that you’re done editing the layers, you can click the crossed-out pencil icon for
the Number layer to unlock this layer.
8 Save the file.

Using context menus

In addition to the menus at the top of your screen, you can use context-sensitive menus
to display commands relevant to the active tool or selection.
To display context-sensitive menus, position the pointer over an object or anywhere in the
document window, and click with the right mouse button (Windows) or press Control
and hold down the mouse button (Mac OS).
1 Make sure that the word “Floor” is still selected.
62 LESSON 1
Getting to Know the Work Area

2 With the selection tool ( ), right-click (Windows) or Control-click (Mac OS) the word
“Floor.” Options for the text under the tool are displayed in the context-sensitive menu.
(These same options are also in the Object menu.) Being careful not to select any of the
commands on the context menu, click a blank area of the page to close the menu.

3 Right-click (Windows) or Control-click (Mac OS) the pasteboard. Notice that the
options listed on the context menu have changed so that they are appropriate for what is
directly behind the tool when you right-click or Control-click.
 ADOBE INDESIGN 2.0 63
Classroom in a Book

Using online Help

You can use online Help to find all of the information from the Adobe InDesign User
Guide, plus keyboard shortcuts and additional information. InDesign online Help
appears in a browser window. If you do not have a browser installed on your machine, you
can use an Adobe Acrobat® version of Help that is included on your InDesign application
CD. Adobe Acrobat Reader® is also included on the application CD.
InDesign online Help includes its own complete set of instructions on how to use the
Help system, which may be slightly different from other online Help systems you may
have used.
1 Choose Help > InDesign Help.
Your browser application opens and displays the InDesign Help home page. You can
click any red underlined text, called a link, to jump to another topic. Your pointer turns
into a pointing-finger icon ( ) when you move it over any link or hotspot.
2 In the upper left corner of the left side of the Help page, click Using Help.
64 LESSON 1
Getting to Know the Work Area

3 Click the Viewing Topics link on the left side of the page. The topic “Viewing Topics”
opens on the right side of the page.

4 When you finish reading the “Viewing Topics” page, do one of the following to open
the next Help page:
• At the bottom of the topic page, click the linked word Next if you want to open the next
topic, “Using the Contents.”
• Also at the bottom of the topic page, click Top if you want to jump back to the top of
the “Viewing Topics” page.
• On the left side of the Help window, click the title of the topic you want to read, such as
“Using the Index” or “Using Search.”
5 Continue exploring each of the “Using Help” topics until you are comfortable using
InDesign online Help.
6 When you are finished using Help, you can close or minimize the Help window, or you
can leave it open and switch back to InDesign.
 ADOBE INDESIGN 2.0 65
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Using Adobe online services

Another way to get information about Adobe InDesign or related Adobe products is to
use Adobe online services. If you have an Internet connection and a Web browser installed
on your system, you can access the Adobe Systems Web site (www.adobe.com). Now
you’ll take a look at what Adobe Online has to offer:
1 Choose Help > Adobe Online, or click the icon at the top of the toolbox.

2 In the Adobe Online window, click Preferences.

3 Select an option for how often you want to check automatically for updates at Adobe
Online. Then, use your operating-system controls to set your Internet connection prefer-
ences. See the ReadMe file in your Adobe InDesign folder for more details on setting up
your Internet connection.

4 Click OK to close the Adobe Online Preferences dialog box

5 In the Adobe Online dialog box, click Go Online to connect to the InDesign page of the
Adobe Web site. Or, click Close if you do not want to go online now.
66 LESSON 1
Getting to Know the Work Area

On your own
Now that you have explored the work area, try some of the following tasks using either
the Library_01.indd document or your own.
1 Display the document in four tiled document windows.
2 Using the Navigator palette, display all the pages of the document simultaneously in
the document window.
3 Find information about layers using each of the different search options in online
Help: Contents, Index, and Search.
 ADOBE INDESIGN 2.0 67
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Review questions
1 Describe two ways to change your view of a document.
2 How do you select tools in InDesign?
3 Describe three ways to change the palette display.
4 Describe two ways to get more information about the InDesign program.

Review answers
1 You can select commands from the View menu to zoom in or out of a document, or fit
it to your screen; you can also use the zoom tools in the toolbox, and click or drag over a
document to enlarge or reduce the view. In addition, you can use keyboard shortcuts to
magnify or reduce the display. You can also use the Navigator palette to scroll through a
document or change its magnification without using the document window.
2 To select a tool, you can either click the tool in the toolbox or you can press the tool’s
keyboard shortcut. For example, you can press V to select the selection tool from the
keyboard. You select hidden tools by clicking the triangle on a tool in the toolbox and
dragging to select from the additional tools that appear.
3 To make a palette appear, you can click its tab or choose its name on either the Window
menu or the Type menu, for example, Window > Align. You can drag a palette’s tab to
separate the palette from its group and create a new group, or drag the palette into
another group. You can drag a palette group’s title bar to move the entire group. Double-
click a palette’s tab to display palette titles only. You can also press Shift+Tab to hide or
display all palettes.
4 Adobe InDesign contains online Help, with all the information in the Adobe InDesign
User Guide, plus keyboard shortcuts and full-color illustrations. InDesign also has links
to the Adobe Systems Web site for additional information on services, products, and
InDesign tips.
2 Setting Up Your Document

By taking advantage of the tools that help

you set up your document, you can
ensure a consistent page layout and
simplify your work. In this lesson, you’ll
learn how to create master pages and set
columns and guides.
72 LESSON 2
Setting Up Your Document

In this introduction to setting up your document, you’ll learn how to do the following:
• Start a new document.
• Create and edit master pages.
• Create additional masters.
• Apply the masters to document pages.
• Add sections to change page numbering.
• Override master-page items on document pages.
• Add graphics and text to document pages.

Getting started
In this lesson, you’ll set up a 12-page magazine article about origami, and then you will
place text and graphics on one of the spreads. Before you begin, you’ll need to restore the
default preferences for Adobe InDesign, to ensure that the tools and palettes function
exactly as described in this lesson. Then you’ll open the finished document for this lesson
to see what you’ll be creating.
Note: If you have not already copied the resource files for this lesson onto your hard disk from
the ID_02 folder from the Adobe InDesign 2.0 Classroom in a Book CD, do so now. See
“Copying the Classroom in a Book files” on page 3.
1 Delete or deactivate (by renaming) the InDesign Defaults file and the InDesign
SavedData file. See “Restoring default preferences” on page 4.
2 Start Adobe InDesign.
 ADOBE INDESIGN 2.0 73
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3 If you want to see what the finished document will look like, open the 02_b.indd file in
the ID_02 folder, located inside the Lessons folder within the IDCIB folder on your hard
disk. You can leave this document open to act as a guide as you work.

The document window shows several spreads, including pages 2–3, which is the only spread
that you’ll complete in this lesson. You can refer to this document throughout this lesson.
Note: As you work, feel free to move palettes or change the magnification to a level that works
best for you. See “Changing the magnification of your document” on page 51.

Starting a new document

When you first start a new document, the Document Setup dialog box appears. You’ll use
this dialog box to specify the number of pages, the page size, and the number of columns.
1 Choose File > New > Document.
2 In the New Document dialog box, set the following:
• For Number of Pages, type 12.
• Make sure that the Facing Pages option is selected.
• For Width, type 50p3 (the abbreviation for 50 picas and 3 points).
• For Height, type 65p3.
74 LESSON 2
Setting Up Your Document

• Under Margins, type 4 for Bottom and leave the Top, Inside, and Outside margins at 3
picas (3p0).
• Under Columns, type 5 for Number.

Note: When you type numbers in a dialog box or palette, you don’t need to type the unit of
measurement you’ve set as the default, such as p for picas, pt for points, and either in or "
(quotation marks) for inches. After you type a value and either press Tab or click another
option, the measurement is applied automatically.
3 Click OK.
The document window appears, displaying page 1, as indicated in the Pages palette. The
Pages palette is divided into two sections. The top section displays icons for the master
pages. The bottom half displays icons for document pages in your document. In this
document, the master consists of a two-page spread for facing pages.

A. Master-pages icon B. Document-page icon

4 Choose File > Save As, name the file 02_Setup.indd in the ID_02 folder, and then
click Save.
 ADOBE INDESIGN 2.0 75
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Editing master pages

Before you add graphics and text frames to the document, you’ll set up the master pages.
A master page is like a background that you can apply to pages in your document. Any
object that you add to master pages will appear on document pages to which the master
pages are applied.
In this document, you’ll use three sets of master pages. One contains a grid, another
contains footer information, and a third contains placeholder frames. By creating several
types of master pages, you allow for variation of pages in a document while ensuring a
consistent design.

Adding guides to the master

Guides are non-printing lines that help you lay out your design precisely. Guides that you
place on master pages appear on any document pages to which the master is applied. For
this document, you’ll add a series of guides that, along with the column guides, act as a
grid to which you can snap graphics and text frames into place.
1 In the upper section of the Pages palette, double-click A-Master.

Double-clicking the name of the

master page displays both pages
of the A-Master.

The left and right master pages appear centered in the document window.
2 Choose Layout > Create Guides.
3 Under Rows, type 8 for Number, and type 0 for Gutter.
76 LESSON 2
Setting Up Your Document

4 For Fit Guides To, select Margins.

Selecting Margins instead of Page causes the guides to fit within the margin boundaries
rather than the page boundaries. You won’t add column guides because column lines
already appear in your document.
5 Select Preview to see how the horizontal guides will appear on your master pages.
6 Click OK.

Renaming the master page

In documents that contain several master pages, you may want to rename each master
page to give them more descriptive names. You will rename this first master page “Grid.”
1 Click the palette-menu button ( ) on the right of the Pages tab to open the Pages
palette menu, and choose Master Options for “A-Master.”
Note: If the Master Options for “A-Master” is dimmed on the Pages palette menu, double-
click A-Master again to make sure the master pages are open in the document window.
2 For Name, type Grid, and then click OK.

Note: You can also use the Master Options dialog box to change other properties of existing
master pages.
 ADOBE INDESIGN 2.0 77
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Creating a master for footers

The grid you added to the master is necessary for most of the pages in the document. In
addition to the common grid, most document pages will require a footer, and some of
these document pages will also require consistent placement of text and graphics. To
accommodate these different designs, you’ll create a separate master for pages that require
footers, and another master that contains placeholder frames for text and graphics.
You can base master pages on other master pages. In this document, the footer master will
be based on the grids master, and the placeholder master will be based on the footer
master. By basing master pages on other masters, any change to the parent master will
appear on the child masters.

A B C

D E

A. A-Grid master B. B-Footer master C. C-Placeholder master D. Document pages based on

B-Footer E. Document pages based on C-Placeholder
78 LESSON 2
Setting Up Your Document

1 In the Pages palette, choose New Master from the Pages palette menu.

2 For Name, type Footer.

3 For Based on Master, choose A-Grid, and then click OK.
You’re now working on a separate master-page spread, as indicated by the selected B-Footer
icons that appear in the upper section of the Pages palette. The grid you added to the A-Grid
master appears on the new master spread.

A B

A. Name of Master B. The A’s indicate that

the B-Master is based on the A-Master.

Dragging guides from rulers

Footers are often below the lower margin of the page, where there are no column guides.
To position the footers accurately, you will add a horizontal ruler guide and two vertical
ruler guides. This is easily done by dragging from the document rulers on the top and left
sides of the window.
 ADOBE INDESIGN 2.0 79
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You can create page ruler guides, which apply only to the page on which you drag, or a
spread ruler guide, which applies to all pages in the spread. Spread ruler guides also
extend across the pasteboard.
1 Make sure that the B-Footer master pages are still in view (the page box near the
bottom left corner of the document window indicates which page is displayed).
2 If the Transform palette is not open, choose Window > Transform.
3 Without clicking in your document, move the pointer around the document window
and watch the horizontal and vertical rulers as the pointer moves. Notice how the hairline
indicators in the rulers correspond to the pointer’s position. Also notice that the dimmed
X and Y values in the Transform palette also indicate the position of the pointer.
4 Holding down Ctrl (Windows) or Command (Mac OS), position the pointer in the
horizontal ruler and drag to the 62 pica marker to create a ruler guide. Don’t worry about
placing the guide exactly at 62 picas—you’ll do that in the next step. (You can look in the
Transform palette to see the current position.)

Holding down Ctrl (Windows) or Command (Mac OS) while dragging a guide applies
the guide to the spread instead of the individual page.
5 To make sure the guide is at the 62 pica location, select the selection tool ( ) in the
toolbox, hold down Ctrl (Windows) or Command (Mac OS) and click the guide to select
it (the guide changes color). In the Transform palette, the Y value is no longer dimmed
because the guide is selected. In that Y box, type 62p, and then press Return or Enter.
80 LESSON 2
Setting Up Your Document

6 Drag a ruler guide from the vertical ruler to the 12p0.6 pica marker (the ruler guide
will snap to the column guide at that location). Refer to the X value in the Transform
palette as you drag.
7 Drag another guide from the vertical ruler to the 88p5.4 marker.

8 Choose File > Save.

Creating a footer text frame in the master

Any text or graphics that you place on the master page will appear on pages to which the
master is applied. To create a footer, you’ll add a publication title (“Origami”) and a page-
number marker to the bottom of both master pages.
1 Make sure that you can see the bottom of the left master page. If necessary, zoom in
and use the scroll bars or hand tool.
 ADOBE INDESIGN 2.0 81
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2 Select the type tool ( ) in the toolbox. On the left master page, drag to create a text
frame below the second column where the guides intersect, as shown. Don’t worry about
drawing the frame in exactly the right location—you’ll snap it into place later.

3 With the insertion point in the new text frame, choose Type > Insert Special
Character > AutoPage Number.
The letter B, which represents the B-Footer master, appears in your text frame. This
character will reflect the current page number in your document pages, such as “2” on
page 2.
4 To add an em space after the page number, right-click (Windows) or Control-click
(Mac OS) the text frame to display a context menu, and then choose Insert White Space >
Em Space. (Instead of using the context menu, you can choose Type >Insert White
Space > Em Space.)
5 Type Origami after the em space.
Next, you’ll change the font and size of the text in the frame.
6 With the insertion point still in the text frame, choose Edit > Select All to select the text
and page-number marker.
82 LESSON 2
Setting Up Your Document

7 In the Character palette, on the font family pop-up menu, scroll to the g’s on the alpha-
betical list and select Adobe Garamond. For Size ( ), select 10 pt.

Note: It’s easy to confuse the Size menu ( ) with the Leading menu ( ). Make sure that you
change the font size, not the leading.
8 In the toolbox, select the selection tool ( ). If necessary, drag the footer frame so that
it snaps to the horizontal and vertical guides, as shown.

9 Click a blank area of your document window or choose Edit > Deselect All to deselect
the footer frame.
Notice that part of the footer frame is hidden by the guides. You will change a preferences
setting to place the guides in back and change the column guide color.
10 Choose Edit > Preferences > Guides (Windows and Mac OS 9) or InDesign >
Preferences > Guides (Mac OS 10.1). Under Guide Options, select Guides in Back.
Click OK.
Notice that the guides are now behind the footer frame.
 ADOBE INDESIGN 2.0 83
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Copying and pasting to create a second footer

You have created a footer text frame on the left master page. Unless you insert a similar
footer on the right master page, only the left-facing pages in your document will have
page numbers. You’ll copy and paste the text frame to the right master page, and edit it
from there.
1 Using the selection tool ( ), select the footer frame, and then choose Edit > Copy.
Choose View > Fit Spread in Window to show both master pages.
2 Choose Edit > Paste. The text frame is pasted into the middle of the spread.
3 Drag the pasted text frame to the right master page so that it snaps to the guides,
mirroring the right master page as shown.

4 Make sure that you can see the bottom of the right master page. If necessary, zoom in
and use the scroll bars or hand tool.
5 Select the type tool ( ), and then click anywhere inside the text frame on the right
master page to place an insertion point.
6 Click the Paragraph palette tab (or choose Type > Paragraph), and then click Align
Right ( ).

The text is now right-aligned within the footer frame on the right master page. Now you
will improve the mirror effect by placing the page number after “Origami” on the right
master page.
7 Delete the em space and page number at the beginning of the footer.
84 LESSON 2
Setting Up Your Document

8 Place the insertion point at the end of the word “Origami,” and then choose Type >
Insert Special Character > Auto Page Number.
9 Place the insertion point between “Origami” and the page number; right-click
(Windows) or Control-click (Mac OS), and then choose Insert White Space > Em Space.

Left footer and right footer

10 Choose Edit > Deselect All and then choose File > Save.

Creating a placeholder master

Next, you’ll create a third master page for placeholders for the text and graphics that will
appear in your articles. By creating placeholders on the master pages, you can ensure a
consistent layout among articles, and you won’t need to create text frames for each page
in your document.
1 In the Pages palette, choose New Master from the Pages palette menu.
2 For Name, type Placeholder.
3 For Based on Master, choose B-Footer, and then click OK.
Notice that the C-Placeholder icons display a B in each page in the Pages palette. This
letter indicates that the C-Placeholder master is based on the B-Footer master. If you were
to change either the A-Grid master or the B-Footer master, the changes would be reflected
in the C-Placeholder master. You may also notice that you cannot select objects, such as
the footers, from other master pages unless you override those objects. You’ll learn about
overriding master-page objects later in this lesson.
 ADOBE INDESIGN 2.0 85
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Adding a title placeholder frame

The first placeholder will contain the title of the article in a rotated text box.
1 To center the left page in the document window, double-click the left page icon of the
C-Placeholder master in the Pages palette.

2 Select the type tool ( ). Drag to create a text frame that is slightly wider than the page
and approximately as tall as one of the grid blocks. You’ll position and resize this text
frame later.

3 Type title part xxx.

4 Triple-click the text you typed in step 3 to select all the characters.
5 Click the Character palette tab (or choose Type > Character). Select Trajan.
The Trajan font family has only capital letters, so now the text you type appears in all
capitals.
6 Double-click to select the word “TITLE” (and the space after the word). Then, in the
Character palette, for Size, select 36 pt from the pop-up menu. Then select the words
“PART XXX” and select 60 pt.
86 LESSON 2
Setting Up Your Document

7 Select the Paragraph palette tab and click the Align Center option.

8 Select the selection tool ( ). If necessary, click the new text frame to select it. Then drag
the text frame by the lower center handle until the frame is just tall enough to hold the
text. If the text disappears, just drag the handle down again to make it taller. When you
finish, choose View > Fit Spread in Window to zoom out.
 ADOBE INDESIGN 2.0 87
Classroom in a Book

9 In the Transform palette, select the upper left handle in the proxy icon ( ). Then open
the palette menu and select Rotate 90° CW.

10 Drag the rotated text frame down so that it snaps to against the top of the right
column guide in the far left column. Then drag the center handle on the bottom of the
frame to stretch the frame to the lower margin of the page

11 Click a blank area of the page or pasteboard to deselect, and then save the document.
88 LESSON 2
Setting Up Your Document

Adding a placeholder frame for graphics

You have now created the text frame placeholder for the title of your article. Next, you’ll
add two graphics frames to the master pages. Similar to text frames, graphics frames act
as placeholders for the document pages, helping you to maintain a consistent design.
Two tools can create rectangles: the rectangle tool and the rectangle frame tool. Although
they are more or less interchangeable, the rectangle frame tool—which includes a non-
printing X—is commonly used for creating placeholders for graphics.
Creating a guide before you draw makes it easy to position the graphics frames.
1 On the View menu, make sure that the Snap to Guides command is checked, or choose
it now.
2 Drag a ruler guide from the horizontal ruler to the marker at 36 picas on the left master
page.

3 To make sure that the guide is at the 36-pica location, select the selection tool ( ) in
the toolbox and click the guide to select it (the guide changes color). Then type 36p in the
Y box of the Transform palette, and press Enter or Return.
4 Select the rectangle frame tool ( ) in the toolbox.
 ADOBE INDESIGN 2.0 89
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5 Draw a frame in the upper area of the left page so that the frame covers the area from
the top edge of the page down to the horizontal guide you set at the 36-pica mark and
spreading across the page from the vertical guide at the 12p0.6-mark to the center of the
spread.

6 Choose File > Save.

Drawing a colored shape

You’ll now add a colored background for the title bar and another one across the top of
the right master. These elements will then appear on any pages that you assign to the
C-Placeholder master. This time, you’ll use the rectangle tool instead of the rectangle
frame tool because you’ll give the frame a fill.
1 Choose Edit > Deselect All.
2 In the Pages palette, double-click the right page of the C-Placeholder master page or
scroll horizontally so that the right page is centered in the document window.
90 LESSON 2
Setting Up Your Document

3 In the toolbox, select the selection tool ( ) and drag from the horizontal ruler to the
16 pica mark to create a new ruler guide. Then click a blank area to deselect the guide.

When you are selecting and dragging frames, it’s common to drag guides accidentally. To
prevent guides from being dragged, you’ll lock guides.
4 Choose View > Lock Guides.
5 Choose Window > Swatches to open the Swatches palette.
6 In the upper left corner of the palette, click the Stroke box ( ) to activate it, and then
click None in the list of Swatches. This eliminates the outline around the edge of the shape
you are going to draw.
Notice that the Stroke box is also in front of the Fill box in the toolbox.
7 In the same area of the Stroke palette, click the Fill box ( ) to make it active. Then click
[Paper] in the list of swatches, to set Paper as a placeholder color for the objects you draw
next.
 ADOBE INDESIGN 2.0 91
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8 Select the rectangle tool ( ) in the toolbox, and draw a frame in the right page from
the top edge of the paper to the guide at 16 picas, and stretching from one edge of the page
to the other. Leave the frame selected for the next step.

Notice that the Paper fill now hides the column guides and margins that are behind the
rectangle.
9 In the Pages palette, double-click the left page icon for C-Placeholder, to center the left
master page in the document window.
10 Still using the rectangle tool, draw a frame from the top to the bottom of the page,
covering the left margin of the page and the first column. Notice that the new frame
blocks the title placeholder text from view.
92 LESSON 2
Setting Up Your Document

11 With the new rectangle frame still selected, choose Object > Arrange > Send to Back.

12 Save your file.

Creating text frames with columns

You have added placeholders for the title, graphic, and two background blocks for the
C-Placeholder master pages. To finish the C-Placeholder master, you’ll create the text
frames for the story text.
1 Select the type tool ( ), and then drag to create a text frame on the left master page,
snapping the frame to the guides so that it is three rows tall and four columns wide in the
empty area at the bottom of the left master page.
 ADOBE INDESIGN 2.0 93
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2 Choose View > Fit Spread in Window. On the right master page, drag to create a text
frame four columns wide and six rows tall, snapping to the guides as shown.

Next, you’ll make sure that each of the main-story text frames has two columns.
3 Select the selection tool ( ). Shift-click to select both text frames.
4 Choose Object > Text Frame Options. Under Columns, type 2 for Number, and then
click OK.
Each of the main-story text frames will include two columns of text. To make the text flow
from one text frame to the next, you will thread the frames.
5 Click the out port in the lower half of the text frame on the left master page. Hold the
pointer over the text frame on the right master page so that it changes from a loaded text
icon ( ) to a link icon ( ), and then click.

A. Out port

6 Save the document.

94 LESSON 2
Setting Up Your Document

Applying the masters to document pages

Now that you have created all your master pages, it’s time to apply them to the pages in
your layout. All the document pages are formatted with the A-Grid master by default.
However, you will apply the B-Footer master and the C-Placeholder master to the appro-
priate pages. You can apply master pages by dragging the master-page icons onto the
document-page icons or by using a palette-menu option.
In large documents, you may find it easier to display the page icons horizontally in the
Pages palette.
1 In the Pages palette, choose Palette Options from the Pages palette menu (opened by
clicking the palette-menu button in the upper right corner of the palette group window).
2 Under Pages, turn off Show Vertically, and then click OK.
3 Drag the bar below the master pages down so that you can see all the master pages.
Then drag the lower right corner of the Pages palette down until you can see all the
spreads.

First, you’ll use the drag-and-drop technique to apply the C-Placeholder master to pages
in the document that will contain articles.
 ADOBE INDESIGN 2.0 95
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4 Drag the C-Placeholder name over the numbers 6–7 below the page icons (not over the
page icons themselves). When a box appears around both page icons in the spread, release
the mouse button.

The C-Placeholder master pages are applied to pages 6 and 7, as indicated by the letter C
in the page icons. Instead of dragging the C-Placeholder master to the remaining spreads,
you’ll use a different method to apply master pages.
5 Choose Apply Master to Pages from the Pages palette menu. For Apply Master, choose
C-Placeholder. For To Pages, type 8-11. Click OK.
Notice that pages 6–11 in the Pages palette are now formatted with the C-Placeholder
master. Now you’ll format pages 2–5 with the B-Footer master. Pages 2–5 will contain
introductory material that requires a footer without placeholder frames.
6 Choose Apply Master to Pages from the Pages palette menu. For Apply Master, choose
B-Footer. For To Pages, type 2-5. Click OK.
Page 12 will require individual formatting without page numbering, so no master page
is desired.
7 Drag the None master to page 12.
96 LESSON 2
Setting Up Your Document

Make sure that the A-Grid master is assigned to page 1, the B-Footer master is assigned to
pages 2–5, and the C-Placeholder master is assigned to pages 6–11; page 12 should not
have a master page assigned to it.

8 Choose File > Save.

Adding sections to change page numbering

The magazine you’re working on requires introductory material that should be numbered
with lowercase roman numerals (i, ii, iii, and so on). You can change the page number by
adding a section. You’ll start a new section on page 2 to create roman-numeral page
numbering, and then you’ll start another section on page 6 to revert to arabic numerals
and restart numbering.
1 In the Pages palette, click the page 2 icon to select it within the palette.
Notice that because the B-Footer master is assigned to page 2, the page includes the guides
and footer information, but it does not include any of the placeholder frames that you
added to the C-Placeholder master.
 ADOBE INDESIGN 2.0 97
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2 On the Pages palette menu, choose Numbering & Section Options. Then, in the New
Section dialog box, make sure that Start Section and Automatic Page Numbering are
selected, or select them now.

3 For Style, choose i, ii, iii, iv (lowercase) from the pop-up menu. Then click OK and
notice the page icons in the Pages palette. Starting with page 2, the page numbering is now
set to appear in roman numerals in the footers of the pages.

The Pages palette and the page numbers on page ii. The triangle above page ii in the Pages
palette indicates the start of a section.

Now you’ll specify arabic numbers for the pages from 6 through the rest of the document.
4 Click page 6 (vi) in the Pages palette to select it.
5 On the Pages palette menu, choose Numbering & Section Options.
6 In the New Section dialog box, make sure that the Start Section is selected or select it
now.
7 Select Start Page Numbering At, press Tab and type 2 to start the section numbering
with page 2.
98 LESSON 2
Setting Up Your Document

8 For Style, select 1, 2, 3, 4 on the pop-up menu, and then click OK. Save your file.

Now your pages are properly renumbered. Notice that a black triangle appears above
pages 1, ii, and 2 in the Pages palette. These triangles indicate the start of a new section.

Placing text and graphics on the document pages

Now that the framework of the 12-page publication is in place, you’re ready to format the
individual articles. To see how the changes you made to the master pages affect document
pages, you’ll add text and graphics to the spread on pages 2 and 3.
1 In the Pages palette, double-click the page 2 icon (not page ii) to center the page in the
document window.
Notice that because the C-Placeholder master is assigned to page 2, the page includes the
grid, the footers, and the placeholder frames.
When you want to import text and graphics from other applications, you can copy and
paste, or you can use the Place command. You’ll use the Place command to insert text in
the frame.
2 Make sure that nothing is selected, or choose Edit > Deselect All. Then choose File >
Place. Open the ID_02 folder in your IDCIB folder, and double-click 02_c.doc to open it.
The pointer takes the shape of a loaded text icon ( ). With a loaded text icon, you can
drag to create a text frame or click inside an existing text frame. When you hold the loaded
text icon over an existing text frame, the icon appears in parentheses ( ). You can click
to insert the text into the individual frame, or you can Shift-click to autoflow the text into
the threaded frames.
 ADOBE INDESIGN 2.0 99
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3 Holding down Shift, click the loaded text icon ( ) anywhere inside the text frame on
the bottom of page 2. Release the Shift key.

The text flowed into the text frames on pages 2 and 3. Now you’ll add a graphic to the
placeholder frame.
4 Choose Edit > Deselect All to make sure that no frames are selected.
If a frame is selected when you place a file, the contents of the file will be added to the
selected frame.
5 Choose File > Place. Double-click 02_d.tif in the ID_02 folder. The pointer takes the
shape of a loaded graphics icon ( ).
6 Position the loaded graphics icon over the graphics-frame placeholder on page 2 so
that the pointer appears in parentheses ( ), and click.
7 To position the image correctly, choose Object > Fitting > Center Content. Then
deselect and save your work.
100 LESSON 2
Setting Up Your Document

Overriding master-page items on document pages

The placeholders you added to the master pages appear on the document pages, but you
cannot select them simply by clicking them. InDesign works this way so that you won’t
accidentally remove or edit master-page objects. However, you can override items on a
master page to customize individual document pages. You’ll now replace the word “Title”
with “History of Origami.”
1 To make sure you’re on page 2, select 2 from the Pages pop-up list in the status bar at
the bottom of the document window.

2 If necessary, adjust your view so that you can see the “TITLE PART XXX” text on
page 2. Click it to try to select it—nothing happens.
You cannot select master-page items on the document pages simply by clicking. However,
you can select a master-page item if you use the right keyboard shortcut.
3 Holding down Shift+Ctrl (Windows) or Shift+Command (Mac OS), click the title
placeholder frame on the left side of page 2 to select it.
4 Using the type tool ( ), double-click the word “TITLE” to select it, and then type
paper trails. Then select the “XXX,” and type one. (Remember that this text is set in the
Trajan font, which has no lowercase characters, so all text appears uppercase.)
The text is now replaced on the document page. Now you will use the eyedropper tool to
color the text.
5 Triple-click the type tool in “PAPER TRAILS PART ONE” to select all the text.
6 In the toolbox, select the zoom tool and then drag a marquee around the image of the
origami crane to magnify the image, so that the area you drag fills the window.
 ADOBE INDESIGN 2.0 101
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7 In the toolbox, make sure that the text Fill box ( ) is selected, and then select the
eyedropper tool ( ). Move the tip of the eyedropper over one of the deep red stripes on
the crane and click to select it.

A. Dragging a zoom marquee B. Selecting color with the eyedropper tool

8 Choose View > Fit Spread in Window. Notice that even though you’ve used other tools,
the text is still selected. Choose Edit > Deselect All to see the text now filled with the red
color you selected.
9 Using the selection tool ( ), hold down Ctrl+Shift (Windows) or Command+Shift
(Mac OS) and click to select the two rectangles you created on the placeholder master
pages.

10 Repeat steps 6 and 7, but this time select a mustard yellow color from the crane paper
to fill the rectangles. Do not deselect the rectangle frames.
11 Choose View > Fit Spread in Window, and choose Object > Arrange > Send to Back
so that the yellow rectangles do not hide the title text. Then deselect all and save your file.
102 LESSON 2
Setting Up Your Document

Editing master pages

You can make changes to master pages even after you apply them. To try this, you’ll
change the master page to reverse the direction of the vertical text and see how that affects
the rest of the document.
1 In the Pages palette, double-click C-Placeholder to display those master pages.

2 Select the selection tool ( ), and then click the “TITLE PART XXX” text frame.
The proxy icon ( ) in the Transform palette determines the point of rotation. In this
case, we want the object to rotate around its center so that it stays in place.
3 In the Transform palette, select the center point in the proxy icon.
 ADOBE INDESIGN 2.0 103
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4 In the Transform palette menu, select Rotate 180°. The text block now reads up from
the bottom of the column. Choose Edit > Deselect All.

5 In the Pages palette, double-click page 2 (not page ii) to switch views from the master
pages to the page with the origami story.

Notice that the settings you applied (local overrides) to the title text on the document page
remain in effect—that is, that the text is still red and still says “PAPER TRAILS” instead
of “TITLE” and “ONE” instead of “XXX.”
Rotating the frame on the master page affected all the pages to which the master was
applied, including the page containing the local override. When you override a master-
page item on a document page, you override only the set of attributes that you change. In
this case, you changed the text and the color of text on the document page. If you were to
change the text or color of text on the master page, those changes would not affect this
overridden object.
104 LESSON 2
Setting Up Your Document

Viewing the completed spread

Now you’ll hide guides and frames to see what the completed spread looks like.
1 Choose View > Fit Spread in Window, if necessary.
2 In the toolbox, click the Preview Mode button to hide all guides, grids, frame edges,
and the pasteboard.

You have formatted enough of the 24-page document to see how adding objects to the
master pages will help you maintain a consistent design throughout your document.
3 Choose File > Save.
Congratulations. You have finished the lesson.

On your own
A good way to reinforce the skills you’ve learned in this lesson is to experiment with them.
Try some of the following exercises that give you more practice with InDesign techniques.
1 Place another photograph at the bottom of the second column of text on page 3. Use
the 02_e.jpg image that is inside the Extras folder within the ID_02 folder.
2 Add a read-in pull quote: Using the type tool ( ), select the opening phrase of the
story, from “The flight...” through “...take forever.” Choose Edit > Cut. Then use the type
tool to drag a frame in the yellow panel across the top of page 3, and choose Edit > Paste.
Triple-click the text you pasted and use the Character palette to format it using the font,
size, style, and color of your choice.
 ADOBE INDESIGN 2.0 105
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3 Try rotating the “title” text block using different corners or edges of the proxy icon as
the center of rotation, and notice the difference in the results.
4 Create a new pair of master pages for a spread that you could use for the continuation
of this story. Name the new master page D-Next and select B-Footer for the Based On
option. Then create placeholder frames for the text and graphics, giving the spread a
different arrangement from C-Placeholder master pages. When you finish, apply the
D-Next master pages to pages 4–5 of your document.
106 LESSON 2
Setting Up Your Document

Review questions
1 What are the advantages of adding objects to master pages?
2 How do you change the page-numbering scheme?
3 How do you override a master-page item on a document page?

Review answers
1 By adding objects such as guides, footers, and placeholder frames to master pages, you
can maintain a consistent layout on the pages to which the master is applied.
2 In the Pages palette, select the page icon where you want new page numbering to begin.
Then choose Section Options from the Pages palette menu and specify the new page-
numbering scheme.
3 Hold down Shift+Ctrl (Windows) or Shift+Command (Mac OS), and then click the
object to select it. You can then edit, delete, or otherwise manipulate the object.
3 Working with Frames

InDesign frames can hold either text or

graphics. As you work with frames, you’ll
notice that InDesign provides a great
amount of flexibility and control over
your design.
110 LESSON 3
Working with Frames

In this introduction to working with frames, you’ll learn how to do the following:
• Use the selection and direct-selection tools to modify frames and their contents.
• Resize and reshape text frames.
• Resize and reshape graphics frames.
• Distinguish between bounding boxes and their frames.
• Crop a graphic.
• Scale an image contained in a graphics frame.
• Move a graphic within its frame.
• Convert a graphics frame to a text frame.
• Wrap text around an object.
• Create and rotate a polygon frame.
• Align graphic objects to each other.
• Center and scale an object within a frame.

Getting started
In this lesson, you’ll work on a two-page article for a magazine about origami paper
folding. Before you begin, you’ll need to restore the default preferences for Adobe
InDesign to ensure that the tools and palettes function exactly as described in this lesson.
Then you’ll open the finished document for this lesson to see what you’ll be creating.
1 Delete or deactivate (by renaming) the InDesign Defaults file and the InDesign
SavedData file, as described in “Restoring default preferences” on page 4.
2 Start Adobe InDesign. To begin working, you’ll open an InDesign document that is
already partially completed.
3 Choose File > Open, and open the 03_a.indd file in the ID_03 folder, located inside the
Lessons folder within the IDCIB folder on your hard disk. If an alert message appears that
asks which dictionary file you want to use, click No (Windows) or Document (Mac OS).
Note: If you have not already copied the resource files for this lesson onto your hard disk from
the ID_03 folder from the Adobe InDesign 2.0 Classroom in a Book CD, do so now. See
“Copying the Classroom in a Book files” on page 3.
4 Choose File > Save As, rename the file 03_frames.indd, and save it in the ID_03 folder.
 ADOBE INDESIGN 2.0 111
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5 (Optional) If you want to see what the finished document will look like, open the
03_b.indd file in the same folder. You can leave this document open to act as a guide as
you work. When you’re ready to resume working on the lesson document, choose
Window > 03_frames.indd.

Note: As you work through the lesson, feel free to move palettes around or change the magni-
fication to a level that works best for you. For more information, see “Changing the magnifi-
cation of your document” on page 51 and “Using the Navigator palette” on page 58.

Modifying text frames

Text frames determine where text appears on the page. You can move and modify text
frames in various ways. When you change a text frame, the text automatically reflows so
that it fills up the frame from the top down.

Resizing text frames

You’ll resize a text frame using the selection tool. The size of the text characters inside the
frame remain unchanged, but usually the text flow will wrap differently or display more
or less text after you change the frame size.
This document includes two layers: Art and Text. You’ll lock the objects on the Art layer
so that you won’t accidentally select the shapes while you resize the text frames.
112 LESSON 3
Working with Frames

1 Click the Layers palette tab (or choose Window > Layers if you do not see the Layers
palette), and do the following:
• Click the lock box to the left of the Art layer to lock the layer.
• Using the selection tool ( ), click to select the text frame on the left page. Notice that
the text frame has eight hollow handles and a solid center point.

2 Drag the center top handle upwards to resize the height of the frame until it snaps to
the horizontal guide immediately above the frame (near 22 picas on the vertical ruler).
When you release the mouse, text reflows throughout the entire frame.

Before and after resizing text frame

 ADOBE INDESIGN 2.0 113
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When you want to simultaneously resize a text frame and the text characters inside it, use
the scale tool.

About frames, paths, and selections

When you select an object on an InDesign page, various color-coded lines and small squares appear around
the object. These items represent different things, including the bounding box, handles, path, anchor points,
and center point. The colors defined in the Layer palette determine now these attributes appear on screen.
• The frame is a container for text, graphics, or colored fills, or it can be empty. The frame is independent of
its contents, so the edges of the frame may hide part of its graphic contents or the contents may not entirely
fill the frame. A frame with no content can serve as a placeholder for text, images, or fills that you add later.
• A bounding box is always rectangular, enclosing the maximum horizontal and vertical extensions of the
selected item. The bounding boxes for a frame and for the graphic inside it can be different sizes.
• The path and the shape of a frame are identical and do not have to be rectangular. A path is a vector
graphic. You can use InDesign drawing tools to create paths and then do all the things you can do to any
closed paths, such as add fills, specify stroke attributes, and edit the paths with the pen tool.
• There are eight handles and a center point for a bounding box, appearing as small squares in the corners,
at the midpoints of sides, and in the center. Dragging a handle modifies the bounding box.
• The path is defined by anchor points, which look like smaller handles. You drag anchor points to alter the
shape of the path. When the anchor points are visible, you can also see the center point for the frame. When
the path is visible, you can click the center point to select all anchor points in the path.

A B C

A. Path B. Frame as a graphic container C. Frame with a placed graphic

The tool you use to select an object determines how you can change it.
• Use the type tool ( ) to type text and to select and edit text within a text frame.
• Use the selection tool ( ) to move or resize an item by its bounding box.
• Use the direct-selection tool ( ) to reshape the path by selecting and working with anchor points. Also use
this tool to set path characteristics and to resize, reshape, and move the graphic within a graphics frame with-
out altering the frame itself.
114 LESSON 3
Working with Frames

Using anchor points to reshape a text frame

So far, you’ve dragged a handle to resize the text frame, using the selection tool. Now,
you’ll use an anchor point to reshape the frame, using the direct-selection tool.
1 If the text frame on the left page is not still selected, use the selection tool to select it now.
2 In the toolbox, click the direct-selection tool ( ). Four very small anchor points now
appear at the corners of the selected text frame. The anchor points are hollow, indicating
that none of them are individually selected.

A B

A. Unselected anchor point

B. Selected anchor point

3 Select the anchor point in the upper left corner of the text frame and drag it downward
until it snaps to the horizontal guide below it. (After you start dragging, you can hold
down Shift to constrain any horizontal movement.)
Make sure you drag only the anchor point—if you drag just below the anchor point, you’ll
move the text frame.

4 Press V on your keyboard to switch to the selection tool ( ).

 ADOBE INDESIGN 2.0 115
Classroom in a Book

To see both the bounding box and the path, choose View > Show Frame Edges. To turn
frame edges off again, choose View > Hide Frame Edges.

A B

A. Bounding box B. Frame

Next, you’ll change the text frame on the right page of the spread so that it mirrors the
text frame on the left page.
5 Click a blank area of your document to deselect the text frame, or choose Edit >
Deselect All.
6 Press A on your keyboard to switch back to the direct-selection tool ( ) and click the
large text block on page 5. Select the upper left anchor point of the text frame and drag it
up to the same horizontal guide you used to reshape text on the left page. You can hold
down Shift as you drag to ensure that the change is only vertical.

7 Deselect all objects and then choose File > Save.

Pressing the A and V keys to toggle between the selection and direction-selection tools
are just two of many keyboard shortcuts available in InDesign. For more shortcuts, refer to
the Quick Reference Card in your printed InDesign documentation or the “Windows
shortcuts” or “Macintosh shortcuts” topics in InDesign online Help.
116 LESSON 3
Working with Frames

Modifying graphics frames

In this section, you’ll focus on different techniques for modifying frames and frame
contents. To start, you’ll import an image and place it in your document spread. Because
you’ll be working on graphics rather than text, your first step is to make sure that the
graphics appear on the Art layer rather than on the Text layer. Isolating items on different
layers helps your work process so that it’s easier to find and edit elements of your design.
1 In the Layers palette, click the second-column boxes to unlock the Art layer and lock
the Text layer. Then select the Art layer so that new elements will be assigned to this layer.

2 To center the right page in the document window, choose 4 from the Pages pop-up
menu at the bottom of the document window.

3 Choose Edit > Deselect All to make sure no items are selected (if another frame is
selected, the graphic you place will be inserted into the selected frame).
4 Choose File > Place, and then double-click 03_c.tif in the ID_03 folder.
The pointer changes to a loaded graphics icon ( ).

Note: If the pointer appears with a line through it ( ) when you try to use the selection tool,
the current layer is selected but still locked. You cannot add objects to a locked layer. Make sure
that the Art layer in the Layers palette is both unlocked and selected. The pointer should then
appear as a loaded graphics icon so that you can proceed with this step.
 ADOBE INDESIGN 2.0 117
Classroom in a Book

5 Click near the top of page 4 to place the graphic. It doesn’t matter exactly where you
place it or that the purple image may cover some of the story text. You’ll fix that later.

6 Press V to select the selection tool ( ). Then drag the image so that it snaps into place
at the top of the page and on the left side of the column gutter. The left edge of the graphic
should fit snugly against the yellow bar of the title column, with no gap between them.

Resizing a graphic frame

The design for this page calls for the purple background image to extend across the page
from the title panel to the right edge of the page. Although this image is not the right size
or shape to do that yet, you’ll start making those adjustments now.
First, you’ll stretch the frame to fit the width of your spread.
1 Choose View > Fit Spread in Window so that you can see all of pages 4 and 5 in the
document window. If necessary, scroll horizontally so that you can see the right edge of
page 5.
118 LESSON 3
Working with Frames

2 Using the selection tool ( ), click the purple-texture graphic. Drag the lower right
handle until the right side of the bounding box snaps into place against the horizontal
guide at the 32-pica mark on the vertical ruler and to the edge of page 5.

Notice that only the frame bounding box changes, not the purple image itself.

Resizing and moving an image within a frame

You have just finished resizing a graphic frame, but the content image remains
unchanged. You’ll now resize just the image so that it fills the designated area.
The content and frame for any element are separate things. Unlike with text objects, the
frame and content for a graphic each has its own bounding box. Resizing the graphic
contents is exactly like resizing the frame, except that you work with the bounding box for
the contents. To do that, you need the direct-selection tool.
1 Press A to switch to the direct-selection tool ( ), and then move the pointer over the
purple background image until the pointer appears as a hand, and then click to select the
frame contents (the image itself).
 ADOBE INDESIGN 2.0 119
Classroom in a Book

2 Select the handle in the lower right corner of the graphic bounding box, and then hold
down Shift and drag to enlarge the image. Continue dragging until the image dimensions
are even larger than the frame, so that the handle is off the page and onto the pasteboard.

Dragging bounding box of contents, and view after dragging

3 Move the direct-selection tool over the purple image so that you see the hand icon. Try
dragging the image with the hand icon, and notice how the area of the image that is visible
within the frame changes as you drag. If you drag too far to the right, notice that the image
no longer covers the left side of the frame area.

Before you start dragging, hold down the mouse button until the hand icon turns into
a solid arrow ( ) pointer. Then, after you start dragging you’ll see a ghosted image of the
hidden areas of the graphic contents, a feature called Dynamic Preview. If you don’t wait
for the pointer icon to change, you’ll still see the bounding box of the graphic as you drag.
4 Make sure that the image entirely fills the frame, and then click a blank area of the page
to deselect the purple image. Save your work.

Changing the shape of the frame

When you resized the frame using the selection tool, the frame maintained its rectangular
shape. Now you will use the pen tool and the direct-selection tool to reshape the frame.
You’ll use the guides to make the adjustments, so your first task is to adjust your view so
that you can see the guides in front of the objects on the page.
1 Choose Edit > Preferences > Guides (Windows and Mac OS 9) or InDesign >
Preferences > Guides (Mac OS 10.1), and deselect the Guides in Back check box. Click
OK to close the Preferences dialog box. Then press Z to switch to the zoom tool and click
the center of the spread to enlarge your view of that area.
120 LESSON 3
Working with Frames

2 Press A for the direct-selection tool ( ). Then move the tip of the pointer over the edge
of the purple-image frame, and click when the pointer appears with a small diagonal line
( ). This selects the path and reveals the anchor points and center point for the frame.
Leave the path selected.
3 Press P to switch to the pen tool ( ). Carefully position the pointer over the lower edge
of the frame path where it intersects with the right margin of page 4, so that it appears
with a plus sign ( ), and then click. A new anchor point is added.

4 Move the pen tool to page 5, where the lower side of the path intersects with the left
margin, and click again to add another new anchor point.

5 Press A to switch to the direct-selection tool. With the second new anchor point still
selected, move the pointer over the first new anchor point (on page 4 of the layout) until
the pointer arrow appears with a small circle ( ). Then hold down Shift and click to select
that anchor point. Now both new anchor points appear solid, showing that they are
selected.
 ADOBE INDESIGN 2.0 121
Classroom in a Book

6 Drag upwards, holding down Shift as you drag from either one of the new anchor
points or the path segment between them. When both anchor points snap into place on
the next guide (at 22p on the vertical ruler), release the mouse button and the Shift key.

The graphic is now properly shaped and sized for the design.
7 Press V to switch to the selection tool, and select the purple graphic. Then choose
Object > Arrange > Send to Back so that the graphic appears to be behind other elements
in the Art layer.

You can simultaneously resize both a graphic image and its frame by using the selection
tool and holding down Ctrl+Shift (Windows) or Command+Shift (Mac OS) as you drag a
handle of the frame. In this case, the Shift key simply maintains the proportions of the
bounding boxes, so that the graphic image is not distorted. Using the Shift key is optional if
distortion doesn’t matter to your design.

Modifying a frame within grouped objects

You can select individual elements of a grouped object (sometimes called nested objects)
using the direct-selection tool. The black and gray rectangles behind the sidebar story in
the lower right corner of page 5 are grouped, so that you can select and modify them as a
unit. You’ll now change the fill color of just one of the rectangles without ungrouping or
changing the other elements of the group.
1 In the Layers palette, make sure the Text layer is locked and that the Art layer is selected.
122 LESSON 3
Working with Frames

2 Using the selection tool ( ), click either the gray or the black background behind the
sidebar story. The entire sidebar background is selected, showing the usual eight handles
in the bounding box. Notice that a question mark (?) appears in the toolbar Fill box ( ),
indicating that the nested items do not all have the same fill color.
3 Press Ctrl+Shift+A (Windows) or Command+Shift+A (Mac OS) to deselect the
group.
4 Press A to switch to the direct-selection tool, and click the black fill in the upper part
of the sidebar background. Now the four anchor points and center point for the black
rectangle appear. Notice that the Fill box in the toolbox is black and that Black is
highlighted in the Swatches palette.
5 Make sure that the Fill box ( ) is still selected in the toolbox. Then scroll down the
Swatches palette and select the Black 80% tint. Now the upper rectangle behind the text
block has a dark gray fill but the lower one remains filled with light gray.
6 Save your file.
When you have the smaller rectangle selected, notice what happens if you switch back to
the selection tool: The handles appear, but only for the upper rectangle, not the entire
group as appeared when you did step 2, above. This can be handy when you have nested
objects and want to adjust the frame without ungrouping.

Wrapping text around a graphic

You can wrap text around the frame of the object or around the object itself. In this
procedure, you’ll see the difference between wrapping text around the bounding box and
wrapping text around the graphic.
Your first task is to move the graphic, which couldn’t be easier; you just select it and drag.
For precise positioning, you can also use the arrow keys to nudge a frame or you can type
exact position coordinates on the Transform palette.
1 Using the selection tool ( ), select the eight-pointed graphics frame with the image of
an origami crane that is on page 4. Being careful not to select one of the handles, drag
down so that the top of the graphic snaps into alignment with the lower guide, at 42 picas
on the vertical ruler. Make sure that the center point of the graphic is aligned with the
middle of the gutter between the two columns of text.
 ADOBE INDESIGN 2.0 123
Classroom in a Book

Notice that the text appears on top of the image. You’ll fix that by applying text wrap.

2 Choose Window > Text Wrap to open the Text Wrap palette, and select the second
wrap option so that the text wraps around the bounding box, not around the star-shaped
frame.

Text wrapped around bounding box

3 Next, select the third wrap option so that the text wraps around the contour of the image
frame instead of the bounding box. Click a blank area to deselect all.

Text wrapped around content

4 Leave the Text Wrap palette open for now, and choose File > Save.
124 LESSON 3
Working with Frames

Creating new frames and adjusting the contents

So far in this lesson, you’ve changed the size, shape, position, and color of frames and the
contents within the frames. In this section, you’ll experiment with different ways to create
new frames quickly, with a minimum of effort on your part. These include duplicating
existing frames, drawing new frames, and replacing the existing contents of a frame.
Because frames are independent of their contents, you can replace graphics with with
different graphics or with text. You’ll get experience doing both in these procedures.

Duplicating a frame and its contents

Using the familiar copy-and-paste technique, you can quickly duplicate objects in your
design. In this procedure, you’ll also use a keyboard shortcut to duplicate and move an
object in one action.
1 Using the selection tool ( ), select the crane graphic, and choose Edit > Copy.
2 Choose Edit > Paste. A duplicate of the crane and its frame appears near the original.
3 Drag the new crane graphic up into the purple background area on page 4 so that the
lower edge snaps into position with the guide at 22 picas on the vertical rules.

4 In the Text Wrap palette, select the first option to remove the text wrap because it is
unnecessary in this area of the page. Then choose View > Fit Spread in Window.
5 Hold down Alt (Windows) or Option (Mac OS) and drag the crane graphic to page 5.
When you release the mouse, you’ll see that by using the Alt or Option key, you have
moved not the original but a new copy of the graphic.
 ADOBE INDESIGN 2.0 125
Classroom in a Book

If you hold down the mouse button for a few seconds before you start to drag, you’ll see
the ghosted copy of the duplicate graphic frame and contents as you move it.

Notice that the crane image now appears only in a small segment of the two enlarged
frame areas. You will adjust the contents in the next few procedures.
6 Select the crane graphic on page 5, hold down Shift, and drag to enlarge it slightly.
Then drag the graphic as needed so that it is approximately centered over the far right
column of the page.

Replacing the contents of graphics frames

After you create the two duplicates, it’s easy to replace the contents with other graphics or
text. Your next task is to resize the new star-shaped frames and replace the crane images
with other images. Because the frame and contents are independent, it’s easy to swap out
one image for another.
126 LESSON 3
Working with Frames

1 Using the selection tool ( ), select the new crane graphic you placed in the upper area
of page 4. Hold down Shift to maintain the symmetry of the frame, drag up from the
upper right handle to above the top edge of the spread so that part of the image bleeds off
the page. Leave the frame selected

2 Press A to switch to the direct-selection tool ( ).

3 Choose File > Place, and browse as needed to find the 03_d.tif file in your ID_03 folder.
4 Double-click the pyramid.tif to place the new image directly into the selected frame,
replacing the crane image.
5 With the frame still selected, choose Object > Fitting > Fit Content to Frame. InDesign
resizes the graphic so that it fits into the frame.

6 Press V for the selection tool, and select the duplicate crane image, on page 5.
7 Choose File > Place, and browse as needed to find the 03_e.tif file in your ID_03 folder.
The image of an origami box replaces the image of the origami crane.
8 With the box graphic still selected, choose Object > Fitting > Fit Content to Frame.
Now you’ve used a single frame shape three times to hold three different images.
 ADOBE INDESIGN 2.0 127
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Drawing a new graphics frame

Until now, you’ve used only frames prepared for you for this lesson. Now it’s time for you
to create a frame on your own, using the drawing tools on the toolbox.
1 In the toolbox, hold down the mouse on the rectangle tool until you see other options,
and select the polygon tool.

2 Double-click the polygon tool to open the Polygon Settings dialog box, and specify the
following:
• For Number of Sides, type 4.
• For Star Inset, type 20%, and then click OK.

3 Hold down Shift and drag to draw a four-pointed star that it is 12p x 12p, using the H
and W values in the Transform palette as a reference as you drag the star. If you have diffi-
culty getting the values exactly at 12 picas, leave the star selected, type the values in the W
and H boxes, and press Enter or Return.
128 LESSON 3
Working with Frames

4 Press V to switch to the selection tool and then drag the new star into position in the
purple background on page 5, so that it is slightly off center and entirely within the purple
background image. Leave the star selected.

5 Make sure that the Fill box ( ) is selected in the toolbox.

6 Click the Swatches palette tab (or choose Window > Swatches) and select the color
named C=0 M=28 Y=100 K=0 to fill the star with a mustard yellow color.
7 In the toolbox, select the Stroke box ( ) and then click the Apply None button ( ) to
remove the black stroke color.

Placing and coloring text in a color-filled frame

You can place text in a frame of any closed shape, and the text will flow in to fill the shape
from the top. You can even replace a graphic in a frame with text. In this case, however,
the frame does not have a graphic as its contents, just a fill, so the fill simply appears with
a background for the imported text.
1 Using the selection tool, select the four-point star and then hold down Alt (Windows)
or Option (Mac OS) and drag a short distance to create a duplicate star.
 ADOBE INDESIGN 2.0 129
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2 In the toolbox, select the Fill box ( ), and then in the Swatches palette, select 80%
black as the fill color for the new frame.
3 In the Layers palette, click the Text layer lock icon ( ) to unlock the Text layer.
4 With the 80% gray star selected, drag the dot from the Art layer to the Text layer to
move the star to that layer. Leave the star selected.

5 Choose File > Place, and then browse to the 03_ID folder and double-click the
03_f.doc file. The text appears in the star, with the same text formatting that it had in the
original .doc file. The out port on the bounding box is empty, indicating that all the text
for the pull quote fits into the 12-pica star shape.

6 Press T to switch to the type tool. Click anywhere in the pull quote, and then choose
Edit > Select All.
7 Make sure the text Fill box ( ) is selected in the toolbox, and then use the Swatches
palette to select C=0 M=28 Y=100 K=0 so that the text is also mustard-colored.
130 LESSON 3
Working with Frames

Orienting objects in space

You’ve already seen how you can move, reshape, and resize elements on your document
layout. In this section, you’ll use various features that adjust the orientation of objects on
the page and in relationship to each other. To begin, you’ll adjust the inset between text
and the frame that contains it. Then you’ll work with rotation techniques and alignment
of selected objects.

Adjusting text inset within a frame

Your next task is to finish up the pull quote items by fitting the text nicely into the star
frame. By adjusting the inset between the frame and the text, you make it easier to read.
1 Click to select the selection tool ( ) in the toolbox, and then select the star with the
pull-quote text.
Note: Do not try to use a keyboard shortcut to switch to another tool when the text tool is
active, especially if you have text selected or an insertion point placed in a block of text. Doing
so would type, so the action would edit the text, not change the tool selection.
2 Choose Object > Text Frame Options to open the Text Frame Options dialog box. If
necessary, drag the dialog box aside so that you can still see the star as you set options.
3 In the dialog box, make sure that the Preview option is selected. Then, under Inset
Spacing, change the Inset value to shrink the text area until it fits nicely in the frame. (The
sample uses 0p4.) Then click OK to close the dialog box.
 ADOBE INDESIGN 2.0 131
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Rotating an object
There are several options within InDesign for rotating objects. In this topic, you’ll use the
Transform palette.
1 Using the selection tool ( ), select the four-pointed yellow star.
2 In the Transform palette, make sure that the center point is selected on the proxy icon
( ) so that the object rotates around its center, and then select 45° from the rotation
angle pop-up menu.

Aligning multiple objects

Now that the two four-pointed stars are set at a 45° angle from each other, you can
position one on top of the other so that all eight points radiate from the same center-point
position. Precise alignment is easiest when you use the Align palette.
1 Using the selection tool ( ), select the yellow star and then hold down Shift and click
the gray star so that both four-pointed stars are selected.
2 Choose Window > Align to open the Align palette.
3 In the Align palette, select the Horizontal Align Center button ( ). The two stars are
now lined up exactly side by side.
132 LESSON 3
Working with Frames

4 Again in the Align palette, click the Vertical Align Center button ( ). The two stars are
now centered on the same location in the layout.

5 Click a blank area to deselect all, and then save your file.

Rotating an image within its frame

You can rotate both the frame and contents in one action by selecting the object with the
selection tool and then dragging one of the handles with the rotation tool ( ). However,
sometimes you just want to set the image at a jaunty angle. That process is just a slight
variation on the procedure.
When you rotated the yellow star, you used the Transform palette to set a precise rotation
angle. In this procedure, you’ll use the rotation tool to rotate the graphic freely.
1 Press A to switch to the direct-selection tool, and then move the pointer over the
origami box image in the star on page 5 until the pointer appears as a hand icon; then
click. The bounding box of the contents appears.
2 In the Transform palette, make sure that the center proxy icon ( ) is selected.
3 Press R to select the rotation tool ( ).
4 Move the pointer over a corner handle, so that it appears as crosshairs ( )
 ADOBE INDESIGN 2.0 133
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5 Hold down the mouse button until the pointer changes to a solid arrow ( ), and then
drag one of the corner handles counterclockwise to rotate both the image and the frame,
stopping when you like the look of the results. The sample uses a rotation of 25°.

Note: Waiting for the pointer to become a solid arrow makes a ghosted image of the contents
appear on-the-fly as you rotate. If you don’t wait for the pointer, the bounding box will
remain visible as you drag to rotate.

Finishing up
Congratulations. You have finished the lesson. Now it’s time to admire your work.
1 Choose Edit > Deselect All.
2 Choose View > Fit Spread in Window.
3 In the toolbox, click the Preview Mode button to hide all guides and frames.

4 Press the Tab key to close all palettes.

5 Save your file one more time, and then choose File > Close to keep InDesign open or
File > Exit to end your InDesign session.
134 LESSON 3
Working with Frames

On your own
One of the best ways to learn about frames is to experiment on your own. In this section,
you will learn how to nest an object inside a shape you create. Follow these steps to learn
more about selecting and manipulating frames:
1 Using the direct-selection tool ( ), select and copy any image on page 4 or 5.
2 To create a new page, choose Insert Pages from the Pages palette menu and then click OK.
3 Use the polygon tool to draw a shape on the new page (use any number of sides and
any value for the star inset). Select the shape using the direct-selection tool, and then
choose Edit > Paste Into to nest the image inside the frame. (If you choose Edit > Paste,
the object will not be pasted inside the selected frame.)

A B C

A. Image pasted into frame B. Image moved and scaled within the
frame C. Polygon frame reshaped

4 Use the direct-selection tool to move and scale the image within the frame.
5 Use the direct-selection tool to change the shape of the polygon frame.
6 Use the selection tool ( ) to rotate both the frame and the image. Use the direct-
selection tool to rotate only the image within the frame.
7 When you are done experimenting, close the document without saving.
 ADOBE INDESIGN 2.0 135
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Review questions
1 When should you use the selection tool ( ) to select an object, and when should you
use the direct-selection tool ( ) to select an object?
2 How do you resize a frame and its contents simultaneously?
3 How do you rotate a graphic within a frame without rotating the frame?
4 Without ungrouping objects, how do you select an object within a group?

Review answers
1 Use the selection tool ( ) for general layout tasks, such as positioning and sizing
objects. Use the direct-selection tool ( ) for tasks involving drawing and editing paths or
frames; for example, to select frame contents or to move an anchor point on a path.
2 To resize a frame and its contents simultaneously, select the selection tool ( ), hold
down Ctrl (Windows) or Command (Mac OS), and then drag a handle. Hold down Shift
to maintain the object’s proportions.
3 To rotate a graphic within a frame, use the direct-selection tool to select the graphic
within the frame. Select the rotation tool ( ), and then drag one of the handles to rotate
only the graphic, not the frame.
4 To select an object within a group, select it using the direct-selection tool.
4 Creating and Applying Colors,
Tints, and Gradients

The Swatches palette is what you

use to apply, modify, and save colors,
tints, and gradients in your document.
You can apply LAB, RGB, or CMYK
colors, process and spot colors, tints,
and gradients of blended colors to
your text and graphics.
140 LESSON 4
Creating and Applying Colors, Tints, and Gradients

In this introduction to working with colors, you’ll learn how to do the following:
• Add colors to the Swatches palette.
• Apply colors to objects.
• Create dashed strokes.
• Create and apply a gradient swatch.
• Adjust the direction of the gradient blend.
• Create a tint.
• Create a spot color.

Getting started
In this lesson, you’ll work on a 2-page spread for a magazine article about origami. If
you’ve gone through the two previous lessons, the design of this document will look
somewhat familiar. The document includes two layers (Art and Text), two master pages
(B is based on A), and a separate main story and sidebar. Before you begin, you’ll need to
restore the default preferences for Adobe InDesign. Then you’ll open the finished
document for this lesson to see what you’ll be creating.
1 To ensure that the tools and palettes function exactly as described in this lesson, delete
or deactivate (by renaming) the InDesign Defaults file and the InDesign SavedData file.
See “Restoring default preferences” on page 4.
2 Start Adobe InDesign.
3 Choose File > Open, and open the 04_a.indd file in the ID_04 folder, located inside the
Lessons folder within the IDCIB folder on your hard disk. If an alert message appears that
asks which dictionary file you want to use, click No (Windows) or Document (Mac OS).
Note: If you have not already copied the resource files for this lesson onto your hard disk from
the ID_04 folder from the Adobe InDesign 2.0 Classroom in a Book CD, do so now. See
“Copying the Classroom in a Book files” on page 3.
4 Choose File > Save As, rename the file 04_Color.indd, and save it in the ID_04 folder.
 ADOBE INDESIGN 2.0 141
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5 If you want to see what the finished document will look like, open the 04_b.indd file in
the same folder. You can leave this document open to act as a guide as you work. When
you’re ready to resume working on the lesson document, choose its name from the
Window menu.

Note: As you work through the lesson, feel free to move palettes around or change the magni-
fication to a level that works best for you. For more information, see “Changing the magnifi-
cation of your document” on page 51 and “Using the Navigator palette” on page 58.

Defining printing requirements

It’s a good idea to know printing requirements before you start working on a document.
For example, meet with your prepress service provider and discuss your document’s
design and use of color. Because your prepress service provider understands the capabil-
ities of their equipment, they may suggest ways for you to save time and money, increase
quality, and avoid potentially costly printing or color problems. The magazine article
used in this lesson was designed to be printed by a commercial printer using the CMYK
color model.

Adding colors to the Swatches palette

You add color to objects using a combination of palettes and tools. The InDesign color
workflow revolves around the Swatches palette. Using the Swatches palette to name colors
makes it easy to apply, edit, and update colors for objects in a document. Although you
can also use the Color palette to apply colors to objects, there is no quick way to update
these colors, called unnamed colors. Instead, you’d have to update the color of each object
individually.
142 LESSON 4
Creating and Applying Colors, Tints, and Gradients

You’ll now create most of the colors you’ll use in this document. Since this document is
intended for a commercial press, you’ll be creating CMYK process colors.
1 Make sure that no objects are selected, and then click the Swatches palette tab. (If the
Swatches palette is not visible, choose Window > Swatches.)
The Swatches palette stores the colors that have been preloaded into InDesign, as well as
the colors, tints, and gradients you create and store for reuse.
2 Choose New Color Swatch from the Swatches palette menu.
3 Deselect Name With Color Value, and for Swatch Name, type Purple. Make sure that
Color Type and Color Mode are set to Process and CMYK, respectively.
The Name With Color Value option names a color using the CMYK color values that you
enter, and automatically updates the name if you change the value. This option is
available only for process colors and is useful when you want to use the Swatches palette
to monitor the exact composition of process-color swatches. For this swatch you
deselected the Name With Color Value option, so that you can use a name (Purple) that’s
easier to read for this lesson.
4 For the color percentages, type the following values: Cyan = 67, Magenta = 74,
Yellow = 19, and Black = 12, and then click OK.
 ADOBE INDESIGN 2.0 143
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5 Repeat the previous three steps to name and create the following colors:

C M Y K

Red 0 69 60 12

Green 51 19 91 12

Gold 0 31 81 4

If you forget to type the name for a color or if you type an incorrect value, double-click the
swatch, change the name or value, and then click OK.
New colors added to the Swatches palette are stored only with the document they are
created in. You’ll apply these colors to text, graphics, and frames in your document.

Applying colors to objects

There are three general steps to applying a swatch color: (1) selecting the text or object,
(2) selecting either stroke or fill in the toolbox, depending on what you want to change,
and (3) selecting the color in the Swatches palette. You can also drag swatches from the
Swatches palette to objects.
1 Select the selection tool ( ), and click the path or one of the lines in any one of the
diamond shapes at the top of the right page to select it..

Notice that these three objects are grouped, so all are now selected. You will ungroup these
objects and lock them in place. Locking objects prevents you from accidentally moving
them.
144 LESSON 4
Creating and Applying Colors, Tints, and Gradients

2 With the group of objects still selected, choose Object > Ungroup and then choose
Object > Lock Position.
3 Deselect the objects. To deselect an object, you can choose Edit > Deselect All, you can
click a blank area in your document window, or you can press Shift+Ctrl+A (Windows)
or Shift+Command+A (Mac OS).
4 Select the zoom tool ( ) in the toolbox and drag across the three diamonds to draw a
marquee around the shapes. The view magnification changes so that the area defined by
the marquee now fills the document window. Make sure that you can see all three
diamond shapes.

To fine-tune the zoom magnification, you can press Ctrl+= (Windows) or Command+=
(Mac OS). To zoom out, you can press Ctrl+- (Windows) or Command+- (Mac OS).
5 Select the selection tool ( ), and then click the border of the middle diamond to select
it. Select the Stroke box ( ) in the toolbox, and then click Purple in the Swatches palette.

The stroke of the diamond shape is now purple. However, the color is not applied to the
lines inside the shape because they are separate objects.
6 Deselect the object.
7 Click the border of the left diamond to select it. Select Red in the Swatches palette to
apply a red stroke.
 ADOBE INDESIGN 2.0 145
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8 With the left diamond still selected, select the Fill box ( ) in the toolbox, and then
select Gold in the Swatches palette (you may need to scroll down the list of swatches).

The right diamond requires the same Red stroke and Gold fill. You’ll use the eyedropper
to copy the stroke and fill attributes from the left diamond in one quick step.
9 Select the eyedropper tool ( ), and click the left diamond. Notice that the eyedropper
is now filled ( ), indicating that it picked up the attributes from the clicked object.

10 With the filled eyedropper tool, click the white background of the rightmost
diamond. The right diamond takes on the left diamond’s fill and stroke attributes.

Now you’ll change the color of the two diagonal lines in the right diamond.
11 Select the selection tool ( ), and then deselect the objects.
146 LESSON 4
Creating and Applying Colors, Tints, and Gradients

12 Holding down Shift, select the two diagonal lines inside the right diamond.
Release Shift. Select the Stroke box ( ) in the toolbox, and then select [Paper] in the
Swatches palette.

[Paper] is a special color that simulates the paper color on which you’re printing. Objects
behind a paper-colored object won’t print where the paper-colored object overlaps them.
Instead, the color of the paper on which you print shows through.

Creating dashed strokes

You’ll now change the lines in the center and right diamonds to a custom dashed line.
1 Deselect the objects. Holding down Shift, use the selection tool ( ) to select the four
vertical and horizontal lines in the middle and right diamonds. Release Shift.

2 If the Stroke palette is not already visible, choose Window > Stroke to open it, and then
choose Show Options from the Stroke palette menu to expand the palette so that you see
several previously hidden options.
3 For Type, select Dashed.
Six dash and gap boxes appear at the bottom of the Stroke palette. To create a dashed line,
you specify the length of the dash, and then the gap, or spacing, between the dashes.
 ADOBE INDESIGN 2.0 147
Classroom in a Book

4 Type the following values in the Dash and Gap boxes: 6, 4, 2, 4 (press Tab after you type
each value to move to the next box). Leave the last two dash and gap boxes empty.

5 Deselect the lines and close the Stroke palette. Then choose File > Save.

Working with gradients

A gradient is a graduated blend between two or more colors, or between tints of the same
color. You can create either a linear or a radial gradient.

A B

A. Linear gradient B. Radial gradient

Creating and applying a gradient swatch

Every gradient in InDesign has at least two color stops. By editing the color mix of each
stop and by adding color stops in the Gradient palette, you can create your own custom
gradients.
148 LESSON 4
Creating and Applying Colors, Tints, and Gradients

1 Make sure no objects are selected, and choose New Gradient Swatch from the Swatches
palette menu.

A B C D

A. Left stop B. Gradient bar C. Ramp slider D. Right stop

Gradients are defined by a series of color stops in the gradient bar. A stop is the point at
which a gradient changes from one color to the next and is identified by a square below
the gradient bar.
2 For Swatch Name, type Green/Gold Gradient.
3 Click the left stop marker ( ). For Stop Color, select Named Color, and then scroll
down the list of color swatches and select Green.
Notice that the left side of the gradient ramp is green.

4 Click the right stop marker ( ). For Stop Color, select Named Color, and then scroll
down the list and select Gold.
The gradient ramp shows a color blend between green and gold.
 ADOBE INDESIGN 2.0 149
Classroom in a Book

5 Click OK.
Now you’ll apply the gradient to the fill of the middle diamond.
6 Click the border of the middle diamond to select it.
7 Select the Fill box ( ) in the toolbox, and then click Green/Gold Gradient in the
Swatches palette.

Adjusting the direction of the gradient blend

Once you have filled an object with a gradient, you can modify the gradient by using the
gradient tool ( ) to “repaint” the fill along an imaginary line you drag. This tool lets you
change the direction of a gradient and change the beginning point and endpoint of a
gradient. You’ll now change the direction of the gradient.
1 Make sure the middle diamond is still selected, and then select the gradient tool ( )
in the toolbox.

Now you’ll experiment with the gradient tool to see how you can change the direction and
intensity of the gradient.
2 To create a more gradual gradient effect, place the pointer an inch or so outside the
selected diamond and drag across and past it.
150 LESSON 4
Creating and Applying Colors, Tints, and Gradients

When you release the mouse button, you’ll notice that the blend between green and gold
is more gradual than it was before you dragged the gradient tool.
3 To create a sharper gradient, drag a small line in the center of the diamond. Continue
to experiment with the gradient tool so that you understand how it works.

4 When you have finished experimenting, drag from the top corner of the diamond to
the bottom corner. That’s how you’ll leave the gradient of the middle diamond.

5 Choose File > Save.

Creating a tint
In addition to adding colors, you can also add tints to the Swatches palette. A tint is a
screened (lighter) version of a color. You’ll now create a 30% tint of the green swatch you
created earlier in this lesson.
Tints are helpful because InDesign maintains the relationship between a tint and its
parent color. For example, if you changed the Green color swatch to a different color, the
tint swatch you create in this procedure would become a lighter version of the new color.
1 Deselect all objects.
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Classroom in a Book

2 Click Green in the Swatches palette. Choose New Tint Swatch from the Swatches
palette menu. For Tint percentage, type 30 and then click OK.

The new tint swatch appears at the bottom of the list of swatches. The top of the Swatches
palette displays information about the selected swatch, with a Fill/Stroke box showing
that the green tint is currently the selected fill color and a Tint option showing that the
color is 30% of the original Green color.
3 Choose View > Fit Page in Window to center the right page of the spread in the
document window. Using the selection tool ( ), click the sidebar text frame on the right
side of the page.
4 Make sure the Fill box ( ) is selected, and then click the Green tint that you just created
in the Swatches palette.

Before and after adding fill tint

Creating a spot color

This publication will be printed by a commercial printer using the standard CMYK color
model, which requires four separate plates for printing—one for cyan, one for magenta,
one for yellow, and one for black. However, the CMYK color model has a limited range
of colors, which is where spot colors come in handy.
152 LESSON 4
Creating and Applying Colors, Tints, and Gradients

About spot and process color types

A spot color is a special premixed ink that is used instead of, or in addition to, CMYK inks, and that requires
its own printing plate on a printing press. Use spot color when few colors are specified and color accuracy is
critical. Spot color inks can accurately reproduce colors that are outside the gamut of process colors. However,
the exact appearance of the printed spot color is determined by combination of the ink as mixed by the com-
mercial printer and the paper it’s printed on, so it isn’t affected by color values you specify or by color man-
agement. When you specify spot color values, you’re describing the simulated appearance of the color for your
monitor and composite printer only (subject to the gamut limitations of those devices).
A process color is printed using a combination of four standard process inks: cyan, magenta, yellow, and black
(CMYK). Use process colors when a job requires so many colors that using individual spot inks would be
expensive or impractical, such as when printing color photographs. Keep the following guidelines in mind
when specifying a process color:
• For best results in a printed document, specify process colors using CMYK values printed in process color
reference charts, such as those available from a commercial printer.
• The final color values of a process color are its values in CMYK, so if you specify a process color using RGB
or LAB, those color values will be converted to CMYK when you print color separations. These conversions
will work differently if you turn on color management; they’ll be affected by the profiles you’ve specified.
• Don’t specify a process color based on how it looks on your monitor, unless you are sure you have set up a
color management system properly, and you understand its limitations for previewing color.
• Avoid using process colors in documents intended for online viewing only, because CMYK has a smaller
color gamut than a typical monitor.
Sometimes it’s practical to print process and spot inks on the same job. For example, you might use one spot
ink to print the exact color of a company logo on the same pages of an annual report where photographs are
reproduced using process color. You can also use a spot color printing plate to apply a varnish over areas of a
process color job. In both cases, your print job would use a total of five inks—four process inks and one spot
ink or varnish.

––From the Adobe InDesign User Guide, Chapter 11

In this publication, the title design calls for a metallic ink not found in the CMYK color
model. You’ll now add a metallic spot color from a color library.
1 Deselect all objects.
2 In the Swatches palette menu, select New Color Swatch.
3 In the New Color Swatch dialog box, select Spot on the Color Type pop-up menu.
4 In Color Mode, select Other Library.
 ADOBE INDESIGN 2.0 153
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5 If necessary, locate the Additional Libraries Folder and double-click PANTONE

Coated.ai to open it.
6 In the PANTONE CVC text box, type 876 to automatically scroll the list of Pantone
swatches to the color you want for this project, which is PANTONE 876 CVC.

To select an item in a palette using the keyboard, hold down Ctrl+Alt (Windows) or
Command+Option and click an item in the palette. Then quickly type the color number. In
this case, you would quickly type 876 to select PANTONE 876 CVC.
7 Click OK. The metallic spot color is added to your Swatches palette. Notice the icon
( ) next to the color name in the Swatches palette. This icon indicates that it is a spot
color.

Note: The color you see on your monitor does not reflect the actual printed color. To
determine the color you want to use, look at a chart provided by the color system, such as the
PANTONE Color Formula Guide 747XR, or an ink chart obtained from your printer. It’s a
good idea to minimize the number of spot colors you use. Each spot color you create generates
an additional spot-color plate for the press, increasing your printing costs.
154 LESSON 4
Creating and Applying Colors, Tints, and Gradients

Applying color to text

As with frames, you can apply a stroke or fill to text itself. You’ll apply colors to the text
inside the frames on page 2 of the document.
1 In the Pages palette, double-click the page 2 icon to center page 2 in the document
window.
2 Using the selection tool ( ), click the word “Origami” to select the title
3 In the toolbox, make sure the Fill box ( ) is selected and then click the small “T” icon
(the formatting affects text button) in the row below the Fill box.

4 In the Swatches palette, click PANTONE 876 CVC, and then click a blank area to
deselect. The text now appears in the spot color.
Your monitor probably shows the text in a dull brown shade, but the actual printed color
of the text will be the metallic spot color. Next, you’ll insert another text frame and apply
colors to the text.
5 Select the type tool ( ) and triple-click “a short story by” at the bottom of the page to
select that paragraph.
6 Make sure the Fill box ( ) is selected in the toolbox, and then click Purple in the
Swatches palette.
7 Triple-click “Clyde Bell” to select the name, and then click Red in the Swatches palette.
8 Choose Edit > Deselect All so that you can see the colored text. Then choose File >
Save.
 ADOBE INDESIGN 2.0 155
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Applying colors to additional objects

Now you’ll apply the same colors used by the small cranes to the large crane image at the
bottom of the page. First you’ll look at a magnified view of one of the small cranes to see
which colors are used.
1 In the toolbox, select the magnification tool ( ), and then drag across one of the small
cranes to zoom in.
2 Select the direct-selection tool ( ), and then click any of the objects in the crane image.
Notice that the corresponding swatch in the Swatches palette becomes highlighted when
you select the object the swatch is applied to.

Now you’ll apply these colors to the larger image at the bottom of the page.
3 Choose View > Fit Page in Window. Select the selection tool ( ), and click the large
image at the bottom of page 2 to select the object. Choose Object > Ungroup.
Notice that the image consists of many smaller shapes grouped together. Now you’ll apply
orange to two of these shapes.
4 Deselect all objects, and then select the Fill box ( ) in the toolbar. Holding down Shift,
click the two objects indicated below, and apply the Orange fill color (not the Orange tint).
156 LESSON 4
Creating and Applying Colors, Tints, and Gradients

5 Deselect all objects. Drag the Orange 70% fill swatch from the Swatches palette to the
object indicated below. Be sure to drop it inside the object and not on the object’s stroke.

Dragging and dropping can be a more convenient way to apply color when an object is a
large, easy target, and you don’t have to select the object first. However, in the next step
the area is small, so you’ll go back to applying a color by selection.
6 Deselect all objects, select the object indicated below, and apply the Blue fill.

If you applied the color to the wrong object, choose Edit > Undo Swatch and try again.

Creating another tint

You’ll now create a tint based on the Blue color. When you edit the Blue color, the tint that
is based on the color will also change.
1 Deselect all objects.
2 Click Blue in the Swatches palette. Choose New Tint Swatch from the Swatches palette
menu. Type 70 in the Tint box, and then click OK.
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3 Select the object shown below and apply the Blue 70% fill.

Notice how the large image shares the same colors with the small cranes you imported.
Next you’ll change the Blue color. Blue 70% is based on the Blue swatch, so the tint will
also change.
4 Deselect all objects.
5 Double-click Blue (not the Blue tint) to change the color. For Swatch Name, type
Violet Blue. For the color percentages, type the following values: Cyan = 59, Magenta =
80, Yellow = 40, Black = 0. Click OK.
Notice that the color change affects all objects to which Blue and Blue 70% were applied.
As you can see, adding colors to the Swatches palette makes it easy to update colors in
multiple objects.
6 Choose File > Save.

Using advanced gradient techniques

Earlier you created and applied a gradient and adjusted its direction using the gradient tool.
InDesign also lets you create gradients of multiple colors and control the point at which the
colors blend. In addition, you can apply a gradient to individual objects or to a collection of
objects to make it appear as if each object were revealing more of the gradient.

Creating a gradient swatch with multiple colors

Earlier in this lesson, you created a gradient with two colors—green and gold. Now you’ll
create a gradient with three stops so that a green color on the outside will fade to white in
the middle. Make sure that no objects are selected before you begin.
1 On the Swatches palette menu, choose New Gradient Swatch, and then type
Green/White Gradient for Swatch Name.
158 LESSON 4
Creating and Applying Colors, Tints, and Gradients

The colors from the previous blend appear in the dialog box.
2 Click the left stop marker ( ), select Named Color for Stop Color, and make sure that
Green (not the tinted Green) is selected in the list box. Click the right stop marker ( ),
select Named Color for Stop Color, and make sure that Green (not the tinted Green) is
selected in the list box.
The gradient ramp is now entirely green. Now you’ll add a stop marker to the middle so
that the color fades towards the center.
3 Click just below the center of the gradient bar to add a new stop. For Location, type 50
to make sure the stop is centered.
4 For Stop Color, select CMYK and then drag each of the four color sliders to 0 (zero) to
create white.

5 Click OK, and then choose File > Save.

Applying the gradient to an object

To finish page 2, you’ll create a full-page box and then apply the gradient to its fill. First,
let’s change the view size so that you can see all of page 2.
1 Choose 50% from the magnification pop-up list at the bottom of the document window.

Before you create the graphics frame, make sure that the Art layer is selected. It’s a good
idea to get into the habit of making sure that your objects are placed on the appropriate
layer, so you can hide or lock a set of objects easily.
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2 Choose Edit > Deselect All. Click the Layers palette tab to bring the Layers palette to
the front, and then select Art. (Do not select either box to the left of Art, or you’ll hide or
lock the objects on the Art layer.)
3 Select the Fill box ( ) in the toolbox, and then select Green/White Gradient in the
Swatches palette, if it’s not already selected. Select the Stroke box ( ) in the toolbox, and
then click the None button ( ) at the bottom of the toolbox.

A B C

A. Apply last-used color

B. Apply last-used gradient
C. Remove color or gradient

Now that the Fill box is set to the gradient and the Stroke box is set to none, the next object
you draw will contain the gradient fill with no stroke.
4 Select the rectangle tool ( ), and then draw a frame that covers all of page 2, including
the margins.
5 With the frame still selected, choose Object > Arrange > Send to Back (not Send
Backward).

You are now finished with page 2.

160 LESSON 4
Creating and Applying Colors, Tints, and Gradients

Applying a gradient to multiple objects

Previously in this lesson, you used the gradient tool ( ) to change the direction of a
gradient and to change the gradient’s beginning point and endpoint. You’ll now use the
gradient tool to apply a gradient across multiple objects in the crane on page 3.
1 Double-click the zoom tool ( ) to change the view to 100%. Click the Pages palette
tab to display the Pages palette, and then double-click the page 3 icon.
2 Click the Layers palette tab to display the Layers palette. Click the empty box just to the
left of the Text layer name to prevent you from selecting the text frame accidentally. A
crossed-out pencil icon appears in the box.
3 Select the selection tool ( ), and then click the crane image above “The Art of Paper
Folding.”

4 With the object selected, choose Object > Ungroup, and then deselect all the objects.
5 To zoom in, press Z to switch to the zoom tool, and drag across the crane object above
“The Art of Paper Folding.” Then press V to switch back to the selection tool.
6 Select the object shown below, make sure the Fill box ( ) in the toolbox is selected, and
apply the Red swatch.
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7 Select the object shown below and apply the Green swatch (not the Green tint) as a fill.

Now you’ll apply the Green/White gradient to three different objects.

8 Deselect all objects. Holding down Shift, select the three objects shown below, and then
apply the Green/White Gradient.

Notice that the gradient affects each object on an individual basis. Now you’ll use the
gradient tool to apply the gradient across the three selected objects as one.
9 With the three objects still selected, select the gradient tool ( ) in the toolbox. Drag
an imaginary line as shown.

Now the gradient runs across all three selected objects.

162 LESSON 4
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Viewing the completed spread

You have finished the spread. Now you’ll look at the spread without frame edges or the
pasteboard.
1 Choose Edit > Deselect All.
2 To view your spread, choose View > Fit Spread in Window.
3 In the toolbox, select the Preview Mode button.

4 Save the file.

Congratulations. You have completed the lesson.

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On your own
Follow these steps to learn more about importing colors and working with gradients.
1 To create a new document, choose File > New > Document, and then click OK in the
New Document dialog box.
2 To import the colors from a different InDesign document, use the following procedure:
• Use the Swatches palette menu and choose New Color Swatch.
• In the Color Mode pop-up menu, select Other Library and browse to find the ID_04
folder.
• Double-click 04_Color.indd (or 04_b.indd). Notice that the colors you created earlier
in this lesson appear in this dialog box list for the new document.
• Select the Green/Gold Gradient and click OK to close the dialog box and add the color
to the Swatches palette.
• Repeat this entire process a few more times to add other colors to the Swatches palette.
3 Use the ellipse tool ( ) to draw a shape. Apply the Green/Gold Gradient to the
shape’s fill.
4 Double-click Green/Gold Gradient in the Swatches palette to change it. Drag the
diamond-shaped slider above the gradient ramp to the right so that the gradient is mostly
green, and click OK. Notice that the gradient in the ellipse changes.

5 Create a new gradient swatch that is radial instead of linear. Apply the new gradient to
the fill of a different shape you draw. Use the gradient tool to change the gradient.
6 When you are done experimenting with colors, close the document without saving it.
164 LESSON 4
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Review questions
1 What is the advantage of applying colors using the Swatches palette instead of the
Color palette?
2 What are the pros and cons of using spot colors versus process colors?
3 After you create a gradient and apply it to an object, how do you adjust the direction
of the gradient blend?

Review answers
1 If you apply a color to several objects and then decide you want to use a different color,
you don’t need to update each object individually. Instead, change the color in the
Swatches palette and the color of all the objects will be updated automatically.
2 By using a spot color, you can ensure color accuracy. However, each spot color requires
its own plate at the press, so using spot colors is more expensive. Use process colors when
a job requires so many colors that using individual spot inks would be expensive or
impractical, such as when printing color photographs.
3 To adjust the direction of the gradient blend, use the gradient tool to repaint the fill
along an imaginary line in the direction you want.
5 Importing and Linking
Graphics

You can easily enhance your document

with photographs and artwork created
in Adobe Photoshop, Adobe Illustrator,
or other graphics programs. InDesign
can tell you when a newer version of a
graphic is available, and you can update
or replace any graphic at any time.
168 LESSON 5
Importing and Linking Graphics

In this lesson, you’ll learn how to do the following:

• Distinguish between vector and bitmap graphics.
• Place Adobe Photoshop and Adobe Illustrator graphics into an Adobe InDesign layout.
• Import clipping paths with graphics, and create clipping paths using InDesign and
Photoshop.
• Place Adobe PDF files.
• Manage placed files using the Links palette.
• Use and create libraries for objects.

Getting started
In this lesson, you’ll assemble a booklet for a compact disc by importing and managing
graphics from Adobe Photoshop and Adobe Illustrator. After printing and trimming, the
insert will be folded so that it fits into a CD box.
This lesson includes a procedure that you can perform using Adobe Photoshop, if you
have a copy of that program installed on your computer. If you use color management,
this lesson works best if you’ve already set up your InDesign color-management settings
to match your settings for Photoshop. For more information on color issues, see Lesson
14, “Ensuring Consistent Color.” To make sure that the Photoshop color-management
settings match InDesign, see “Embedding a profile in a Photoshop TIFF image” on
page 449.
Before you begin, restore the default preferences for Adobe InDesign, using the procedure
in “Restoring default preferences” on page 4.
1 Start Adobe InDesign.
2 Choose File > Open, and open the 05_a.indd file in the ID_05 folder, located inside the
Lessons folder within the IDCIB folder on your hard disk.
Note: If you have not already copied the resource files for this lesson onto your hard disk from
the ID_05 folder from the Adobe InDesign 2.0 Classroom in a Book CD, do so now. See
“Copying the Classroom in a Book files” on page 3.
3 A message appears, saying that the publication contains missing or modified links.
Click OK; you will fix this later in the lesson. If another alert message appears that asks
which dictionary file you want to use, click No (Windows) or Document (Mac OS).
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4 Move the Links palette out of the way so it doesn’t obscure your view of the document.
The Links palette opens automatically whenever you open an InDesign document that
contains missing or modified links.
5 (Optional) If you want to see what the finished document will look like, open the
05_b.indd file in the same folder. If you prefer, you can leave the document open as you
work to act as a guide. When you’re ready to resume working on the lesson document,
choose its name from the Window menu.

6 Choose File > Save As, rename the file 05_cdbook.indd, and save it in the ID_05 folder.
Note: As you work through the lesson, feel free to move palettes around or change the magni-
fication to a level that works best for you. For more information, see “Changing the magnifi-
cation of your document” on page 51 and “Using the Navigator palette” on page 58.
170 LESSON 5
Importing and Linking Graphics

Adding graphics from other programs

InDesign supports many common graphics file formats. While this means that you can use
graphics created using a wide range of graphics programs, InDesign works most smoothly
with other Adobe professional graphics programs, such as Photoshop and Illustrator.
By default, imported graphics larger than 48K on disk are linked, which means that
InDesign displays a graphics file on your layout without actually copying the entire
graphics file into the InDesign document.
There are two major advantages to linking resource files. First, it saves disk space,
especially if you reuse the same graphic in many InDesign documents. Second, you can
edit a linked document in the program you used to create it and then simply update the
link in the InDesign Links palette. Updating a linked file maintains the current location
and settings for the resource so you don’t have to redo that work.
All linked graphics and text files are listed in the Links palette, which provides buttons and
commands for managing links. When you create final output using PostScript ® or PDF,
InDesign uses the links to produce the highest level of quality available from the original,
externally stored versions of placed graphics.

Comparing vector and bitmap graphics

Adobe InDesign and Adobe Illustrator create vector graphics, also called draw graphics,
which are made up of shapes based on mathematical expressions. Vector graphics consist
of smooth lines that retain their clarity when scaled. They are appropriate for
illustrations, type, and graphics such as logos that are typically scaled to different sizes.
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Bitmap images are based on a grid of pixels and are created by image-editing applications
such as Adobe Photoshop. In working with bitmap images, you edit individual pixels
rather than objects or shapes. Because bitmap graphics can represent subtle gradations of
shade and color, they are appropriate for continuous-tone images such as photographs or
artwork created in painting programs. A disadvantage of bitmap graphics is that they lose
definition and appear “jagged” when enlarged.

ricky records ricky records

Logo drawn as vector art (left), and rasterized as bitmap art (right)

In general, use vector drawing tools to create art or type with clean lines that look good
at any size. You can create vector artwork using the InDesign drawing tools, or you might
prefer to take advantage of the wider range of vector drawing tools available in Illustrator.
You can use Photoshop to create bitmap images that have the soft lines of painted or
photographic art and for applying special effects to line art.

Managing links to imported files

When you opened the document, you saw an alert message about problems with linked
files. You’ll resolve those issues using the Links palette, which provides complete infor-
mation about the status of any linked text or graphics file in your document.

Identifying imported images

You’ll use three different techniques for the Links palette to identify some of the images
that have already been imported into the document. Later in this lesson, you’ll use the
Links palette to edit and update imported graphics.
1 If necessary, zoom or scroll the document window so that you can see both spreads, or
choose View > Entire Pasteboard.
2 If the Links palette is not visible, choose Window > Links.
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3 Using the selection tool ( ), select the Orchard of Kings logotype on page 4, the far
right page of the first spread. Notice that the graphic’s filename, 05_i.ai, becomes selected
in the Links palette when you select it on the layout.

A C

D E F G H I

A. Linked file name B. File Modified icon

C. Page on which linked item appears D. CheckOut & Edit Original button
E.Verify Link button F. Relink button G. Go To Link button
H. Update Link button I. Edit Original button

4 Using the selection tool, select the large hand graphic that spans the second spread
(pages 5–7). The filename for this graphic, 05_j.psd, is now selected in the Links palette.
Now you’ll use the Links palette to locate a graphic on the layout.
5 In the Links palette, select 05_h.psd, and then click the Go To Link button ( ). The
graphic becomes selected and centered on the screen. This is a quick way to find a graphic
with a known filename.
If the Links palette is still in the center of the document window, you can move it now so
that it doesn’t block your view of the page as you work through the rest of the lesson.
These techniques for identifying and locating linked graphics are useful throughout this
lesson and whenever you work with a large number of imported files.

Viewing information about linked files

You can use the Links palette to manage placed graphics or text files in many other ways,
such as updating or replacing text or graphics. All of the techniques you learn in this
lesson about managing linked files apply equally to graphics files and text files that you
place into your document.
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1 If the Links palette is not visible, choose Window > Links to display it. If you cannot
see the names of all the linked files without scrolling, drag the lower right corner of the
palette to enlarge it.
2 Double-click the link 05_g.psd. The Link Information dialog box appears, describing
the file that the link refers to.
3 Click Next to view information about the next file on the Links palette list, 05_h.psd.
You can quickly examine all the links this way. One or more links may display an alert icon
( ) under Content Status; this icon indicates a linking problem, which you’ll address in
the next topic. After you’ve examined some link information, click Done.
By default, files are sorted in the Links palette so that files that are not up to date are listed
first. You can use commands in the Links palette menu to sort the file list in different ways.
4 In the Links palette, choose Sort by Page from the Links palette menu. The palette now
lists the links in numerical order by the page on which the linked item appears.

Updating revised graphics

Even after you place text or graphic files in your InDesign document, you can use other
programs to update those files. The Links palette indicates which files have been modified
outside of InDesign and gives you the choice of updating your document with the latest
versions of those files.
In the Links palette, the file 05_i.ai has an icon ( ), indicating that the original has
recently been modified. This is the file that caused the alert message when you opened this
document. You’ll update its link so that the InDesign document uses the current version.
174 LESSON 5
Importing and Linking Graphics

Viewing link status in the Links palette

A linked graphic can appear in the Links palette in any of the following ways:
• An up-to-date graphic displays only the file name and its page in the document.
• A modified file displays a yellow triangle with an exclamation point ( ). This icon means that the version
of the file on disk is more recent than the version in your document. For example, this icon will appear if you
import a Photoshop graphic into InDesign, and then another artist edits and saves the original graphic using
Photoshop.
• A missing file displays a red hexagon with a question mark ( ). The file isn’t at the location from which
it was originally imported, though the file may still exist somewhere. This can happen if someone moves an
original file to a different folder or server after it’s been imported into an InDesign document. You can’t know
whether a missing graphic is up to date until its original is located. If you print or export a document when
this icon is displayed, the graphic may not print or export at full resolution.

–From “About the Links palette” in the Adobe InDesign User Guide, chapter 8

1 In the Links palette, select the file 05_i.ai, and click the Go To Link button ( ). You
don’t have to do this step to update a link, but it’s a quick way to double-check which
imported file you are about to update.
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2 Click the Update Link button ( ). The appearance of the image in the document
changes to represent its newer version. However, the new image is larger than the previous
version so that the existing frame now crops the updated graphic.

3 Using the selection tool ( ), click the “Orchard of Kings” image to select it, and then
choose Object > Fitting > Fit Frame to Content. This command resizes only the frame,
not the image.

You’ll replace the large, wide image of the hand that spans the second spread (pages 5–7)
with a modified image. You can use the Relink button to reassign the link to that graphic.
4 Go to pages 5–7 (the second spread) and choose View > Fit Spread in Window.
5 Select the 05_j.psd image, which is the photograph of two hands that extends across
pages 5–7. You can tell when you’ve selected the right image because the filename
becomes selected in the Links palette.
176 LESSON 5
Importing and Linking Graphics

6 Click the Relink button ( ) in the Links palette.

7 Browse to find the 05_h.psd file in the ID_05 folder, and then click Open. The new
version of the image (which has a greenish cast, especially noticeable in the background)
replaces the original image (with its dominantly reddish background), and the Links
palette is updated accordingly.

8 Click a blank area of the pasteboard to deselect the file, and save your work.

All of the buttons at the bottom of the Links palette are also available as commands on the
Links palette menu.

Placing a Photoshop file and adjusting view quality

Now that you’ve resolved all of the file’s links, you’re ready to start adding more graphics.
You’ll place a Photoshop file in the InDesign document. InDesign imports Photoshop
files directly; there is no need to save them in other file formats.
As you place the image, InDesign automatically creates a low-resolution (proxy) version
of it, corresponding to the current settings in the Preferences dialog box. This and any
other images in this document are currently low-resolution proxies, which is why the
image appears to have jagged edges. You can control the degree of detail InDesign uses to
display placed graphics. Reducing the on-screen quality of placed graphics displays pages
faster, and doesn’t affect the quality of final output.
1 Using the pop-up menu in the status bar of the document window, go to page 7 of your
document. If necessary, zoom or scroll the document window so that you can see the
entire page.
2 In the Layers palette, click the Photos layer to target it.
3 Make sure that no objects are selected. Then choose File > Place, and double-click the
file 05_c.psd in the ID_05 folder.
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4 Position the loaded graphics icon to the left and slightly below the top edge of the green
square, and click.

Don’t be concerned about the white rectangular background behind the image. You’ll
remove it in the next section of this lesson. Now you’ll zoom in using a high magnification
so that you can learn about options for display quality.
5 Click the Navigator palette tab (or choose Window > Navigator to make the palette
visible). Use the palette to zoom to 400%, keeping the image you placed in the center of
the view.
6 Right-click (Windows) or Control-click (Mac OS) the pear image, and then choose
Display Performance > High Quality Display from the context menu that appears. The
pears image appears at full resolution. Notice that the resolution display of the other
images in the document is not affected by this process.

On-screen display using Typical Display (left) and High Quality Display (right)

7 Choose File > Save.

178 LESSON 5
Importing and Linking Graphics

Working with clipping paths

Although InDesign 2.0 can import and interpret alpha channels for images, you can also
remove any unwanted backgrounds from within InDesign. You’ll get some experience
doing this in the following procedure.
The image you just placed has a solid rectangular background that is blocking your view
of the area behind it. You can hide unwanted parts of an image using a clipping path—a
drawn vector outline that acts as a mask. InDesign can create clipping paths from many
kinds of images:
• If you drew a path in Photoshop and saved it with the image, InDesign can create a
clipping path from it.
• If you painted an alpha channel in Photoshop and saved it with the image, InDesign can
create a clipping path from it. An alpha channel carries transparent and opaque areas, and
is commonly created with images used for photo or video compositing.
• If the image has a light or white background, InDesign can automatically detect its
edges and create a clipping path.
The pear image you placed doesn’t have a clipping path or an alpha channel, but it does
have a solid white background that InDesign can remove.

Removing a white background using InDesign

You can use the Detect Edges option of the Clipping Path command to remove a solid
white background from an image. The Detect Edges option hides areas of an image by
changing the shape of the frame containing the image, adding anchor points as necessary.
For more information about frames and anchor points, see the “About frames, paths, and
selections” sidebar in Lesson 3.
1 Using the selection tool ( ), select the pear image 05_c.psd by clicking the image.
Switch to the direct-selection tool ( ), and click the image when the pointer appears as a
hand ( ), to activate the frame.
Note: Activating the image frame with the direct-selection tool makes the anchor points
visible, so that you can see exactly how InDesign changes the frame into a clipping path as you
work. The process will still work if you select the image or its bounding box instead of its
frame, but you won’t get as much visual feedback.
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2 Choose Object > Clipping Path. If necessary, drag the Clipping Path dialog box so that
you can see the pear image.

3 In the Type pop-up menu, choose Detect Edges. Select the Preview check box so that
you see that the white background is almost entirely eliminated from the image.
4 For Threshold, drag the slider and watch the image on page 7 until the Threshold
setting hides as much of the white background as possible without hiding parts of the
subject (darker areas). We used a Threshold value of 15.
Note: If you can’t find a setting that removes all of the background without affecting the
subject, specify a value that leaves the entire subject visible along with small bits of the white
background. You’ll eliminate the remaining white background by fine-tuning the clipping
path in the following steps.
The Threshold option works by hiding light areas of the image, starting with white. As
you drag to the right, increasingly darker tones are included within the range of tones that
become hidden. Don’t try to find a setting that matches the pears perfectly. You’ll learn
how to improve the clipping path a little bit later.
180 LESSON 5
Importing and Linking Graphics

5 For Tolerance, drag the slider slightly to the left until the Tolerance value is between
about 1 and 1.8.

The Tolerance option determines how many points define the frame that’s automatically
generated. As you drag to the right, InDesign uses fewer points so that the clipping path
fits the image more loosely (higher tolerance). Using fewer points on the path may speed
up document printing, but may be less accurate.
6 For Inset Frame, specify a value that closes up any remaining background areas, and click
OK. We specified a value of 0p1 (zero picas, one point). This option shrinks the current
shape of the clipping path uniformly, and is not affected by the lightness values in the image.
Then click OK to close the Clipping Path dialog box.

Before and after applying an inset of 1 point

7 (Optional) You can refine the clipping path. Make sure that the path is activated, or click
one of the pear images with the direct-selection tool ( ) to activate it. You can then drag
individual anchor points and use the drawing tools to edit the clipping path around the
pears. For information about drawing, see Lesson 6, “Drawing Vector Graphics.”
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Now you’ll switch the quality setting for the pear image back to low-resolution, to speed
up performance.
8 Right-click (Windows) or Control-click (Mac OS) the pear image, and then choose
Display Performance > Typical Display from the context menu to set the image for low-
resolution display.
9 Save the file.

You can also use the Detect Edges feature to remove a solid black background. Just select
the Invert option and specify a high threshold value.

Working with alpha channels

When an image has a background that isn’t solid white or black, the Detect Edges feature
may not be able to remove the background effectively. With such images, hiding the
background’s lightness values may also hide parts of the subject that use the same
lightness values. Instead, you can use the advanced background-removal tools in
Photoshop to mark transparent areas using paths or alpha channels, and let InDesign
make a clipping path from those areas.
Note: If you place a Photoshop file that consists of an image placed on a transparent
background, InDesign honors the transparency with no dependence on clipping paths or
alpha channels. This can be especially helpful when you place an image with a soft or
feathered edge.

Importing a Photoshop file and alpha channels

You imported the previous image using the Place command. This time, use an alternate
method: You’ll simply drag a Photoshop image directly onto an InDesign spread.
InDesign can use Photoshop paths and alpha channels directly—you don’t need to save
the Photoshop file in a different file format.
1 In the Layers palette, make sure that the Photos layer is selected so that the image will
appear on that layer.
2 Go to page 2 of your document. Then resize and arrange your Explorer window
(Windows), Finder window (Mac OS), and your InDesign windows as needed so that you
can simultaneously see the list of files on the desktop and the InDesign document
window. Make sure that the lower left quarter of page 2 is visible.
182 LESSON 5
Importing and Linking Graphics

3 In Explorer (Windows) or the Finder (Mac OS), open the ID_05 folder, which contains
the file 05_d.psd file.
4 Drag the file 05_d.psd to page 2 in the InDesign document. Then use the selection tool
( ) to reposition the graphic so that it is in the lower left corner of the page.
Note: When you place the file, be careful to drop it outside the solid-color squares. If you drop
it in an object drawn in InDesign, it will be placed inside the object. If this happens, choose
Edit > Undo, and try again.

5 If necessary, you can now maximize the InDesign window to its previous size, because
you’ve finished importing the file.

Examining Photoshop paths and alpha channels

In the Photoshop image that you just dragged into InDesign, the hand and the
background share many of the same lightness values. Therefore, the background can’t
easily be isolated using the Detect Edges option in the Clipping Path command.
Instead, you’ll set up InDesign to use a path or alpha channel from Photoshop. First you’ll
use the Links palette to open the image directly in Photoshop to see what paths or alpha
channels it already includes.
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The procedure in this topic requires a full version of Photoshop 4.0 or later and is easier
if you have enough RAM available to leave both InDesign and Photoshop open as you
work. If your configuration doesn’t include these two standards, you can still read these
steps to help you understand what Photoshop alpha channels look like and do.
1 If necessary, use the selection tool to select the 05_d.psd image in InDesign.
2 If the Links palette is not already open, choose File > Links. The image filename
appears selected in the Links palette.

3 In the Links palette, click the Edit Original button ( ). This opens the image in a
program that can view or edit it. This image was saved from Photoshop, so if Photoshop
is installed on your computer, InDesign starts Photoshop with the selected file.
Note: Sometimes the Edit Original button opens an image in a program other than
Photoshop or the program that created it. The Edit Original button uses your operating
system’s settings for associating files with programs. You can change those settings; see the
documentation for your operating system. Also, some installer utilities change those settings.
4 If an Embedded Profile Mismatch dialog box appears as the image opens in Photoshop,
do one of the following:
• If you’ve properly configured all Photoshop and InDesign color-management settings
for your workflow using accurate ICC profiles, select Convert Document’s Colors to the
Working Space to reproduce the image properly in Photoshop.
• If you are not using color management, select Use the Embedded Profile (Instead of the
Working Space).
5 In Photoshop, choose Window > Show Channels to display the Channels palette, or
click the Channels palette tab.
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The Channels palette contains three alpha channels in addition to the standard RGB
channels. These channels were drawn using the masking and painting tools in Photoshop.

Photoshop file saved with three alpha channels

6 In the Channels palette in Photoshop, click Alpha 1 to see how it looks, then click Alpha
2 and Alpha 3 to compare them.
7 In Photoshop, choose Window > Show Paths to open the Paths palette, or click the
Paths palette tab.

The Paths palette contains two named paths, Shapes and Circle. These were drawn using
the pen tool and other path tools in Photoshop, although they could also be drawn in
Illustrator and pasted into Photoshop.
8 In the Photoshop Paths palette, click Shapes to view that path. Then click Circle.
You’re finished using Photoshop, so you can now quit that program.
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Using Photoshop alpha channels in InDesign

Now you’ll return to InDesign and see how you can create different clipping paths from
the Photoshop paths and alpha channels.
1 Switch to InDesign. Make sure that the 05_d.psd Photoshop file is still selected on the
page; if necessary, select it using the selection tool ( ).

2 (Optional) Right-click (Windows) or Control-click (Mac OS) the hand image, and
choose Display Performance > High Quality from the context menu that appears. This
step isn’t necessary, but it lets you precisely preview the following steps.
3 With the hand image still selected, choose Object > Clipping Path to open the Clipping
Path dialog box. If necessary, move the Clipping Path dialog box so that you can see the
image as you work.
4 Make sure that Preview is selected, and then choose Alpha Channel from the Type menu.
The Alpha menu becomes available, listing the three alpha channels you saw in Photoshop
by the names used in that program.
5 In the Alpha menu, choose Alpha 1. InDesign creates a clipping path from the alpha
channel. Then choose Alpha 2 from the same menu, and compare the results.

The first clipping path you see represents the default settings for defining the edges of an
alpha channel. You can fine-tune the clipping path that InDesign creates from an alpha
channel by adjusting the Threshold and Tolerance options, as you did for the Detect Edges
feature earlier in this lesson. For alpha channels, start with a low Threshold value such as 1.
6 Choose Alpha 3 from the Alpha menu, and then select the Include Inside Edges option.
Notice the changes in the image.
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Importing and Linking Graphics

Selecting the Include Inside Edges option makes InDesign recognize a butterfly-shaped
hole painted into alpha channel 3, and adds it to the clipping path.

You can see how the butterfly-shaped hole looks in Photoshop by viewing alpha channel 3
in the original Photoshop file, as you did in the previous procedure, “Examining Photoshop
paths and alpha channels.
7 Choose Photoshop Path from the Type menu, and then choose Shapes from the Path
menu. InDesign reshapes the image’s frame to match the Photoshop path.
8 Choose Circle from the Path menu. Since this is the effect wanted for this design, click
OK.

Since you’re done working with this graphic, you can reset its display resolution to the
document default.
9 Right-click (Windows) or Control-click (Mac OS) the hand image to open the context
menu, and choose Display Performance > Typical Display. Then save the file.

Importing an Illustrator file

InDesign takes full advantage of the smooth lines provided by EPS vector graphics such
as those from Adobe Illustrator. When you use high-quality screen display in InDesign,
EPS vector graphics and type appear with smooth edges at any size or magnification.
Most EPS vector graphics don’t require a clipping path because most programs save
them with transparent backgrounds. In this section, you’ll drag an Illustrator graphic
from a folder to the InDesign document.
1 Make sure that the ID_05 folder and the InDesign document window are both visible
simultaneously. In InDesign, zoom or scroll if necessary so that pages 5 and 6 are both
visible.
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2 In the Layers palette, target the Graphics layer.

3 Drag the Illustrator file 05_e.ai to the InDesign document. Position it as shown below.

4 If you want, resize the InDesign window once you’ve finished importing the file.
Now you’ll see how the InDesign high-resolution display affects vector graphics.
5 Display the Navigator palette. With the Illustrator graphic selected, type a large
number, such as 1000, in the magnification text box, and press Enter or Return.
6 If necessary, drag the view box in the Navigator palette so that you can see more detail
in the Illustrator graphic.
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Importing and Linking Graphics

7 Right-click (Windows) or Control-click (Mac OS) the ivy graphic to open the context
menu, and choose Display Performance > Typical Display. Notice the jagged quality of
the images. Then use the context menu again and choose Display Performance > High
Quality Display.

On-screen image resolution with Typical and High Quality

Display settings for Display Performance

With the High Quality Display setting, you can see the Illustrator graphic at the greatest
possible level of detail and with sharp, crisp edges. Because the display is this accurate, you
may be able to use sight alone to precisely position and align Illustrator and EPS graphics,
particularly when you zoom in. However, you may also notice a slight decline in
computer performance. You’ll switch back to a low-resolution quality in order to speed
up image display for the rest of the lesson.
8 Right-click (Windows) or Control-click (Mac OS) the ivy graphic, and then choose
Display Performance > Typical Display from the context menu that appears.
9 Save the file.

Placing a PDF file

You can include Portable Document Format (PDF) files in your InDesign layout. PDF is
a popular format for exchanging graphics such as advertisements, because it preserves
professional-quality color, vector graphics, bitmap images, and text among a wide range
of programs and computing platforms. You can use PDF to publish the same document
on paper and on the Internet while maintaining quality for both media. In this section,
you’ll import a PDF file that contains a company logo created and saved directly from
Adobe Illustrator.
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1 Go to page 3 in the document, and make sure that all of the page is visible. In the Layers
palette, make sure that the Graphics layer is targeted.

Now you’ll use a keyboard shortcut to open the Place dialog box.
2 Press Ctrl+D (Windows) or Command+D (Mac OS). Select Show Import Options,
and in the ID_05 folder, locate and double-click the file 05_f.pdf.
The import options for PDF files let you customize how a PDF file is placed into your
document. For example, this PDF file contains only one page, but when you place a
multiple-page PDF file, you can choose which page to place.

3 Under Option, in the Crop To menu, select Bounding Box. This sets the size of the
placed PDF file to the smallest rectangle that encloses all of the objects in the file. For
example, in this case the logo is much smaller than the page size, so it makes sense for the
imported file to be the size of the logo, not of the page.
190 LESSON 5
Importing and Linking Graphics

4 Leave the other settings as they are, click OK. Then click the loaded graphics icon above
the address on page 3 of your document.

5 Save the file.

Using a library to manage objects

Object libraries let you store and organize graphics, text, and pages that you frequently
use. You can also add ruler guides, grids, drawn shapes, and grouped images to a library.
Each library appears as a separate palette that you can group with other palettes any way
you like. You can create as many libraries as you need—for example, different libraries for
each of your projects or clients. In this section, you’ll import a graphic currently stored
in a library, and then you’ll create your own library.
1 Choose File > Open, select the file 05_k.indl in the ID_05 folder, and then click Open.
Drag the lower right corner of the palette to reveal more of the items in it.
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2 In the 05_k.indl library palette, click the Show Library Subset button ( ). In the last
box for the Parameters option, type Tree, and click OK.

3 Type 5 into the page navigation box at the bottom of the InDesign document window
to go to that page, and then press Enter or Return.
4 Make sure that the Links palette is visible. In the Layers palette, make sure that the
Graphics layer is targeted.
5 Out of the two objects visible in the 05_k.indl library palette, drag Tree.tif to page 5.
The file is added to the page, and the filename appears in the Links palette.

6 Using the selection tool, position the Tree.tif image as shown below.
7 With the Tree.tif image selected, choose Object > Arrange > Send Backward.
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Using libraries you created in InDesign 1.52

If you created libraries in an earlier version of InDesign, you can continue to use those libraries with InDesign
2.0 after performing a simple conversion process. This process requires InDesign 1.52 and the Asset Library
Converted plug-in, which you can download from the Adobe Web site.
To use the converter plug-in, simply drag it into the Plug-ins/Filters folder for InDesign 1.52 before you start
the program. Then start InDesign 1.52 and choose Window > Libraries > Convert to Library Document.
Select the library file you want to convert, specify a name and location for the converted file, and click OK.
You can then switch to InDesign 2.0 and choose File > Open, and select the converted library. Or, if the
Library palette is already open, you can choose Import Library Document on the Library palette menu.
For more information, see “Converting InDesign 1.0 and 1.5 library files” in InDesign online Help or in
Chapter 8 of the Adobe InDesign User Guide, “Importing, Exporting, and Managing Graphics.”

Creating a library
Now you’ll create your own library.
1 Choose File > New > Library. Type CD Projects as the library filename, navigate to the
ID_05 folder, and click Save. The library appears in its own floating palette, labeled with
the filename you specified.
2 Go to page 3 and, using the selection tool, drag the “ricky records” logo to the library
you just created. The logo is now saved in the library for use in other InDesign
documents.

3 In the CD Projects library, double-click the “ricky records” logo. For Item Name, type
Logo, and then click OK.
4 Using the selection tool, drag the address text block to the library you created. It
appears in the CD Projects library palette.
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5 In the CD Projects library, double-click the address text block. For Item Name, type
Address, and then click OK. Now your library contains both text and graphics. As soon
as you make changes to the library, InDesign saves the changes.

6 Save the file.

Congratulations! You’ve created a CD booklet by importing, updating, and managing
graphics from many different graphics file formats.

On your own
Now that you’ve had some practice working with imported graphics, here are some
exercises to try on your own.
1 Place different file formats with Show Import Options turned on in the Place dialog
box, and see what options appear for each format. For a full description of all the options
available for each format, see Chapter 8, “Importing, Exporting, and Managing Graphics”
in the Adobe InDesign User Guide.
2 Place a multiple-page PDF file with Show Import Options turned on, and import
different pages from it.
3 Create libraries of text and graphics for your work.
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Importing and Linking Graphics

Review questions
1 How can you determine the filename of an imported graphic in your document?
2 What are the three options in the Clipping Path command, and what must an
imported graphic contain for each option to work?
3 What is the difference between updating a file’s link and replacing the file?
4 When an updated version of a graphic becomes available, how do you make sure that
it’s up to date in your InDesign document?

Review answers
1 Select the graphic and then choose File > Links to see if the graphic’s filename is
highlighted in the Links palette. The graphic will appear in the Links palette if it takes up
more than 48KB on disk and was placed or dragged in from the desktop.
2 The Clipping Path command in InDesign can create a clipping path from an imported
graphic by using:
• The Detect Edges option, when a graphic contains a solid white or solid black
background.
• The Photoshop Path option, when a Photoshop file contains one or more paths.
• The Alpha Channel option, when a graphic contains one or more alpha channels.
3 Updating a file’s link simply uses the Links palette to update the on-screen represen-
tation of a graphic so that it represents the most recent version of the original. Replacing
a selected graphic uses the Place command to insert another graphic in place of the
selected graphic. If you want to change any of a placed graphic’s import options, you must
replace the graphic.
4 Check the Links palette and make sure that no alert icon is displayed for the file. If an
alert icon appears, you can simply select the link and click the Update Link button as long
as the file has not been moved. If the file has been moved you can locate it again using the
Relink button.
6 Drawing Vector Graphics

You can use the pen tool to draw straight

lines and smooth, flowing curves with
great precision. The pen tool will be
familiar to you if you’ve used the pen
tools in Adobe Illustrator and Photoshop.
Shapes you draw with the pen tool can
enhance your page designs in combina-
tion with text and imported graphics.
198 LESSON 6
Drawing Vector Graphics

In this lesson, you’ll learn how to do the following:

• Draw and edit straight and curved path segments and open and closed paths with the
pen tool.
• Create a hole in a filled shape by combining paths into a compound path.
• Apply a shape (such as an arrowhead) to the end of a path.
• Slice paths into smaller pieces.
• Paste an image inside a drawn path.
• Scale, reflect, and duplicate objects.
• Add a graphic so that it becomes part of a text story and flows with it.

Getting started
In this lesson, you’ll create the front and back of a direct-mail piece. You’ll use the
InDesign drawing tools to draw some of the vector objects, or paths, in the design. Before
you begin, you’ll need to restore the default preferences for Adobe InDesign.
1 To ensure that the tools and palettes function exactly as described in this lesson, delete
or deactivate (by renaming) the InDesign Defaults file and the InDesign SavedData file.
See “Restoring default preferences” on page 4.
2 Start Adobe InDesign.
To begin working, you’ll open an existing InDesign document.
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3 Choose File > Open, and open the 06_a.indd file in the ID_06 folder, located inside the
Lessons folder on your hard disk. If an alert message appears that asks which dictionary
file you want to use, click No (Windows) or Document (Mac OS).
Note: If you have not already copied the resource files for this lesson onto your hard disk from
the ID_06 folder from the Adobe InDesign 2.0 Classroom in a Book CD, do so now. See
“Copying the Classroom in a Book files” on page 3.

4 Choose File > Save As, rename the file 06_Mailer.indd, and then click Save.
You’ll notice that the page is blank except for a shape near the bottom left corner of the
page. This document contains everything you need to create the completed version of the
document, but to keep things simple, it uses layers to hide everything except the tracing
template for the shape you’re currently drawing. Right now you see the tracing template
for the first shape you’ll draw.
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Drawing Vector Graphics

As you progress through the lesson, you’ll use the Layers palette to show and hide other
parts of the document. When you’re finished, you’ll display all layers except the layers
containing the tracing templates. For more information, see “Working with Layers” in
InDesign Help or in Chapter 2 of the Adobe InDesign User Guide.
5 If you want to see what the finished document will look like, open the 06_b.indd file in
the same folder. You can leave this document open to act as a guide as you work. When
you’re ready to resume working on the lesson document, choose its name from the
Window menu.

Note: You’ll use the Layers and Swatches palettes frequently in this lesson. It may be helpful
to enlarge those palettes so that you can easily see all of their items. Also, you won’t be using
the Tables palette in this lesson, so you can close it now.You can move palettes around and
change the magnification of the layout in the document window to the level that works best
for you. See “Changing the magnification of your document” on page 51 and “Using the
Navigator palette” on page 58 of this book.

Setting up the document grid

Many of the paths you draw in this lesson will be straight lines, precise corners, and
symmetrical curves. It’s easier to draw these kinds of paths if you set up the document
grid in a convenient way. You’ll now define and display the grid and grid options.
1 Choose Edit > Preferences > Grids (Windows, Mac OS 9) or InDesign > Preferences >
Grids (Mac OS 10.1).
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2 In the Document Grid area under Horizontal, type 10p0 (10 picas, 0 points) for
Gridline Every and type 10 for Subdivisions. Type these values (10p0 and 10) again for
the similar options under Vertical. Then click OK.
3 Choose View > Show Document Grid.
4 Choose View > Snap To Document Grid to select it.

Sometimes the grids are hard to see because they’re covered by objects on the layout. You
can move grids to the front of the display order by choosing Edit > Preferences > Grids
(Windows, Mac OS 9) or InDesign > Preferences > Grids (Mac OS 10.1), and deselecting the
Grids in Back option.

Drawing straight segments

You can use the pen tool to draw straight lines by clicking two anchor points, which define
a segment. To create straight lines that are vertical, horizontal, or 45-degree diagonals,
you can hold down Shift as you click the pen tool. This is called constraining the line.
This lesson makes extensive use of templates, to facilitate the drawing process for you as
you learn to use InDesign. These templates are non-writing layers that display the final
shapes. You simply trace those shapes so that your results will look exactly like the finished
sample file.

Drawing an open path of straight segments

You’ll begin by drawing a simple open path, tracing over a template at the bottom left
corner of page 1. This template for the shirt-collar top is on the Template 1 layer. You will
draw the collar on the Collar layer.
1 Click the Layers palette tab (or choose Window > Layers) to make the palette visible,
and scroll down the palette to the Collar and Template 1 layers near the bottom of the list.
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Drawing Vector Graphics

The eye icon ( ) indicates that the layers are visible, and the crossed-out pencil icon ( )
for the Template 1 layer indicates that the layer is locked. All of the template layers are
locked so that you don’t draw on them by accident.
2 In the Layers palette, select the Collar layer. The pen icon ( ) appears to the far right
of the Collar layer name, indicating that anything you add to the page will be written on
this layer.
3 In the toolbox, select the zoom tool ( ) and then click the shirt-collar template one
or more times to zoom until you can easily read the numbers on the template.

4 Press Shift+Control+A (Windows) or Shift+Command+A (Mac OS) to make sure that

no objects are selected.
5 Choose Window > Stroke to display the Stroke palette, and make sure that the Weight
is 1 point. Then move or close the Stroke palette, as needed, so that it doesn’t obstruct
your view of the template.
Note: When you adjust any option while no objects are selected, you adjust the default setting
for that option. For this lesson, you want the default stroke weight to be 1 point, so that the
paths you draw don’t obscure the lines on the template layer.
6 In the toolbox, select the pen tool ( ), and move the pointer over point 1 on the
template, for the lower edge of the shirt collar.
The pointer has a small hollow arrowhead ( ) next to it to remind you that you selected
the Snap to Grids option. When you click, the pointer will snap to the closest guide or grid
intersection and place the first anchor point at that location.
7 Click point 1.
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8 Move the pen tool over point 2 on the template and click again.

When the Snap To Document Grid command is not on, you can still position points at
45-degree angles by holding down Shift as you click.
9 Click each of the remaining numbered points (3, 4, 5, 6, and 7) in order. Because you’re
clicking at positions that fall on the grid, the shape is a perfect match with the template.

10 To end the path, do one of the following:

• Choose Edit > Deselect All.
• Click the pen tool in the toolbox.
• Hold down Ctrl (Windows) or Command (Mac OS) to temporarily activate the most
recently used selection tool, and then click in an empty area to deselect the path. If you
use this method, make sure that you’re not selecting any white objects.
As you draw paths with the pen tool, you’ll see many visual cues along the way. These cues
provide you with useful information. By this step, you’re already able to observe the
following:
204 LESSON 6
Drawing Vector Graphics

• A third point appears between the first and second anchor points of any segment you
draw. This is the center point of the segment, which automatically appears on any path
that has at least two points. A center point makes it easier to select and align objects. As
you progress through this lesson, watch how the center point automatically keeps itself at
the center of a path as you change a path’s shape.
• When you click the second point, a caret (^) appears next to the pointer as long as the
tip of the pen tool icon is on the new endpoint. The caret indicates an opportunity to
create a curve out of that anchor point. You’ll create curves later in this lesson.
• The path and anchor points you’ve drawn appear in lavender. This is because the Collar
layer uses lavender as its layer color, indicated by the colored square immediately to the
left of the Collar layer name in the Layers palette. The layer color identifies the layers that
contain the currently selected objects.

Applying color to a path

The path you just drew appears in the default stroke color, so now you’ll apply the correct
colors for the design. The colors for this illustration are already stored in the Swatches
palette for you.
Before you apply color to the collar shape, you’ll hide the Template 1 layer so that you can
see the path more clearly.
1 In the Layers palette, click the eye icon for the Template 1 layer to hide that layer.
2 Using the selection tool ( ), select the path.
3 Click the Swatches palette tab (or choose Window > Swatches) to make the palette
visible.
4 In the toolbox, select the Stroke box ( ) to bring it forward.
5 In the Swatches palette, select TRUMATCH 25-c1 (you may need to enlarge the palette
or scroll through it).
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6 In the toolbox, select the Fill box ( ) to bring it forward and make sure that [None] is
selected in the Swatches palette.

7 Choose Edit > Deselect All, and then choose File > Save to save the file.

Copying and altering an existing path

You’ll start the process of drawing a closed shape that will appear below the open shape
you just drew. First, you’ll show the Template 2 layer, which contains the shape of the
bottom part of the shirt collar that you’ll create next.
1 In the Layers palette, click the square to the far left of the Template 2 layer to display
the eye icon ( ) and select the Collar layer to target that layer. If necessary, adjust the view
in the document window so that you can see the entire collar shape.

Notice that the top edge of the template you just displayed is the same as the collar top
you’ve already drawn. You can save time by duplicating the collar top and editing the copy.
206 LESSON 6
Drawing Vector Graphics

2 Using the direct-selection tool ( ), click the top collar path (the one you’ve already
drawn), and then click the center point to select all points in the path.

3 Hold down Shift+Alt (Windows) or Shift+Option (Mac OS) as you drag the top collar
path down until it lines up with the top edge of the template for the collar bottom. When
you release the mouse, you’ll see that you’ve actually created and dragged a copy of the
path, not the original.

Dragging a copy of upper path (left), and the new copy in position (right)

Note: If you find yourself dragging one point instead of the entire shape, choose Edit > Undo
and try again, making sure all points on the path are selected (solid) before you begin
dragging.
By using the direct-selection tool for this move, you aligned the path itself to the grid, not
the stroke. If you had used the selection tool, the object would have aligned the outer edge
of its stroke width to the grid, not the path.
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Changing how stroke weight affects bounding box and path dimensions
When you change the stroke weight of a path, the outer dimensions of the path’s bounding box are preserved
by default. This maintains the position of the stroke’s outer edge while its inner edge grows or shrinks with
the stroke weight. The position and dimensions of the path (which lies at the center of the stroke) are changed
accordingly. If you want to constrain the path’s position and dimensions, select the Weight Changes Bounding
Box. This will have less effect on how much of a path’s fill or contents are visible, but will cause the total area
of the fill and stroke to change whenever you change a stroke weight.

A B C

The selection tool activates the bounding box at the A. Original path B. Stroke weight increased
outer edge of the stroke weight (left). The direct-selection C. Stroke weight increased after selecting the
tool displays the path at the center of the stroke (right) Weight Changes Bounding Box option

–From the Adobe InDesign User Guide, Chapter 7.

4 Choose Edit > Deselect All.

5 Using the direct-selection tool, drag a selection marquee around the bottom left point
to select it. With the point still selected, hold down Shift as you use the direct-selection
tool to drag a selection marquee around the bottom right point. Now both points should
be selected, so they appear as tiny solid squares rather than hollow ones.
208 LESSON 6
Drawing Vector Graphics

6 Position the pointer on the lower right endpoint of the collar path. Then drag it down
to the point numbered 7 on the template to extend both the selected segments.

Closing and applying colors to a drawn object

In order to apply a solid fill to the collar, you must first close the collar shape. Your work
continues with the Collar label targeted (selected in the Layers palette) and the Template 2
layer visible.
1 Press the P key to select the pen tool, and move the pointer tip directly over the
endpoint labeled 1, so that a slash ( ) appears next to the pointer. The slash indicates that
clicking will continue the path from the endpoint rather than starting a new path.

By learning the keyboard shortcuts for drawing (such as the pen tool shortcut you just used),
you save many trips to the toolbox. That helps you work faster and more smoothly. Many users
find it efficient to keep the mouse in one hand, and keep the other hand over the keyboard to
press tool shortcut and modifier keys.
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2 Move the pen tool over endpoint 1 until the slash next to the pointer changes to the
caret ( ), and click to connect to the existing path you drew there.

3 Move the pointer over point 7, and notice that a loop now appears next to the pointer
( ), indicating that a click will close the path. Click point 7 to close the collar shape.

4 In the Layers palette, click the eye icon for the Template 2 layer to hide that layer. Leave
the path selected.
5 In the toolbox, select the Fill box ( ), and then in the Swatches palette select
TRUMATCH 25-c1 50% (the second instance of the color).

6 Press the X key to bring the Stroke box forward in the toolbox.
7 Click the Apply None button ( ) (below the Fill/Stroke boxes) to remove the stroke
color.
210 LESSON 6
Drawing Vector Graphics

8 Press Shift+Ctrl+A (Windows) or Shift+Command+A (Mac OS) to deselect all, or

choose Edit > Deselect All.

9 Choose View > Fit Page in Window, and then save the file.

Drawing with the pencil tool

In this procedure, you’ll draw a flower shape that is free-form rather than a precise repre-
sentation. Since the shape is informal, you’ll use the pencil tool to sketch the shape
intuitively. As you work, you’ll take advantage of the new Fidelity and Smoothness
controls for the pencil and smooth tools to make it easier to create the smooth shape you
want for the flower.

Preparing to draw with the pencil tool

Before you begin drawing, you’ll set up your document so that you are drawing on the
appropriate layer and with the correct stroke.
1 In the Layers palette, click the eye icon for the Collar layer to hide it, and then click the
eye icon boxes for Template 3 and the Flower layers to make them visible, selecting the
Flower layer so that it is targeted.
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2 In the magnification pop-up menu in the lower left corner of the document window,
select 600% (or higher) and scroll so that you can see the flower template easily.

Or, you can use the zoom tool to drag a marquee around the flower shape on the template
to define the view magnification.
3 In the toolbox, double-click the pencil tool to open the Pencil Tool Preferences dialog
box, and then set the following options:
• For Fidelity, drag the slider or type to set the value at 15 pixels.
• For Smoothness, drag the slider or type to set the value at 50%.
• Make sure that the Edit Selected Paths option is selected, with the value of Within 12
Pixels so that you can add to an existing path by clicking the pencil tool within that
distance from the endpoint. Then click OK to close the dialog box.
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Drawing the flower shape with the pencil tool

Now you’re all set to draw the flower.
1 Move the pencil tool over the grayed shape of the flower and start to trace the path. A
dotted red line indicates where the line you are drawing will appear. After you draw a
segment of one flower petal, release the mouse so that you can see the results.

Notice that the path that appears is much smoother than the dotted red line that appeared
as you drew. This is because you set a high Smoothness value for the pencil tool.
2 Place the tip of the pencil tool pointer near the endpoint of the line you drew so that
the small X to the right of the pointer icon disappears, and then continue drawing the
petal in short segments.
It is important that the path is continuous, that is, that the segments join as a single path.
As long as the pencil tool pointer appears without the small X in it as you begin drawing
each successive segment, you can be confident that the path you draw will be unbroken.
It is not important that your flower shape match the template exactly for two reasons:
First, it’s an informal shape, and second, you can refine the path after you finish drawing
it, as explained in the next procedure. However, if you are dissatisfied with a segment you
draw, you can choose Edit > Undo to remove just that segment and try again.
Note: InDesign 2.0 has multiple levels of undo, so you can choose Edit > Undo to step back
through many recent actions. The exact number of undo steps possible may be limited by the
amount of RAM on your computer, but can be as high as several hundred undos.
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3 When you come back to the starting point, hold down Alt (Windows) or Option
(Mac OS) so that the pencil tool displays a small loop ( ); then the final segment you
draw will close the flower shape.

If the shape is less precise than you like, you can correct that by using the smooth tool.

Merging two pencil-drawn paths

If you accidentally create a segment that is its own path rather than a continuation of your path drawing,
you don’t have to undo that segment and start over. Instead, you can attach the two independent segments.
Use the following procedure whenever you need to unite the two paths. If you have more than two separate
segments to merge, attach them one at a time.
1 In the toolbar, select the selection tool ( ).
2 Select the first of the paths and then hold down Shift and select the second path.

3 In the toolbar, move the pencil tool ( ) over the endpoint of one path that you want to connect to the
second path.

4 Start to drag toward the endpoint of the second path and hold down Ctrl (Windows) or Command
(Mac OS) as you draw to the second endpoint. The pencil tool pointer appears with a small loop indicating
that what you draw will merge the two paths.
5 When you finish drawing, release the mouse and then release the Ctrl (Windows) or Command (Mac OS)
key; then choose Edit > Deselect All.
If necessary, repeat steps 2 through 5 to connect the end of the newly merged path with other separate seg-
ments, attaching the segments to the path one at a time.
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Smoothing out the path drawing

The smooth tool can eliminate slight wobbles and irregularities in paths that you draw
with the pencil tool. Like the pencil tool, the smooth tool includes controls that you can
adjust for Fidelity and Smoothness.
If you are already satisfied with the shape of your flower drawing, you do not need to do
this procedure.
1 Using the direct selection tool ( ), select the path.
2 In the toolbox, hold down the pencil tool until the button expands, showing you other
tools, and select the smooth tool ( ).

3 Double-click the smooth tool to open the Smooth Tool Preferences dialog box, and set
Fidelity at 15 and Smoothness at 50%. Then click OK.
4 Drag the smooth tool over any areas of your flower path that you want to smooth.

Using the smooth tool (left), after smoothing a segment (center), finished smoothing (right)

5 Repeat step 4 as necessary until you are satisfied with the shape of the path. If you
smooth too much, choose Edit > Undo to undo the smoothing actions.
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Finishing the flower drawing

Now you’ll finish up your flower shape.
1 In the toolbox, select the Fill box ( ), and then in the Swatches palette select
TRUMATCH 25-cl.
2 Press X to select the Stroke box ( ) in the toolbox, and then click the Apply None
button in the toolbox to remove the stroke on the flower.
3 Choose Edit > Deselect All, press Ctrl+0 (Windows) or Command+0 (Mac OS) to fit
the page in the window, and save your file.
Note: If the keyboard shortcut for Fit Page in Window doesn’t work for you, make sure that
you pressed the number zero key above the letter keys, not the letter O or the zero on the
numeric keypad.
You’ll do the rest of the drawing in this lesson with the pen tool rather than the pencil tool;
the pen tool is ideal for creating precise shapes and curves.
Later on, when you are comfortable with the pen tool, you can challenge yourself to create
a precise replica of the template shape for the flower by using the pen tool. That procedure
is described in the “On your own” section at the end of this lesson.

Drawing curved segments with the pen tool

In this part of the lesson, you’ll learn how to draw smooth curved lines using the pen tool.
As with the straight-line segments you drew earlier to create the collar, drawing curves
with the pen tool involves positioning points that anchor the path. However, instead of
simply clicking the pen tool, you’ll drag to extend the two direction lines that precisely
influence curve direction. When you release the mouse, a curve’s starting point is created
with its direction lines. Then you drag the pen tool to end the curve and to set the starting
point and direction of the next curve.
1 Choose View > Snap to Document Grid to deselect it.
2 In the toolbox, select Preview Mode to hide all guides, grids, and frame edges.
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Selecting a point on a curve

When you select a point that’s part of a curved segment, the segment displays additional
controls that you can use to adjust a curve precisely. Before you begin drawing curves, it’s
helpful to recognize these controls.
1 In the Layers palette, click the square to the far left of the Hair layer to display the eye
icon ( ). This contains the wavy lines you’ll use in this section.
2 Using the zoom tool, zoom in on the set of wavy lines.

Pressing the Z key selects the zoom tool in the toolbox.

3 Press the A key to switch to the direct-selection tool ( ), and then click any of the wavy
lines. In the Layers palette, the Hair layer becomes selected, and the path and its anchor
points appear in the Hair layer color of magenta.
4 With the direct-selection tool still selected, select the second anchor point from the left
on any of the wavy lines. When selected, the anchor point becomes solid and displays two
direction lines.

The direction lines cause the anchor point to connect the two adjacent path segments as
a continuous curve shaped by the direction lines. The angular collar path you drew in the
previous section only has corners because its anchor points don’t have any direction lines.
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As their names imply, the anchor points anchor the curved segments, and the direction
lines control the direction of the curves. You can drag the direction lines or their endpoints,
called direction points, to adjust the shape of the curve.

A B C D

A. Center point B. Anchor point C. Direction line

D. Direction point E. Path segment

Anchor points, direction points, and direction lines are aids to help you draw. Anchor
points are square and, when selected, appear solid. When unselected, anchor points
appear hollow. Direction points are always round and solid. Direction lines and points do
not appear in print or in any other output; they exist only to help you draw precisely.
5 When you finish examining the anchor points, click a blank area of the page to deselect.

Drawing combinations of curved and straight segments

When you drew curves for the previous shape, two direction lines pivoted together around
each anchor point. Those anchor points are called smooth points because they connect
segments as a continuous curve. You can use the pen tool with a modifier key to drag each
of the two direction lines at different angles, converting a smooth point into a corner point
with two direction lines that move independently. The only difference between the corner
points you first created in this lesson and the corner points you’ll create in this section is
that these corner points will have direction lines.

A B C

A. Smooth point B. Corner point with direction line

C. Corner point without direction lines
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Preparing to draw the head shape

The final head shape includes a mix of curves and straight segments joined by corner points.
Before you begin using the pen tool, you need to see and activate all the needed items.
1 In the Layers palette, click the eye icons ( ) to the far left of both the Flower layer and the
Template 3 layer to hide them. Then click the square to the far left of the Template 4 layer
to make it visible.
2 In the document window, scroll or zoom if necessary so that you can easily see all of
the numbers and direction lines on the tracing template for the head.

3 In the Layers palette, click the square to the far left of the Head/eye layer to make it
visible. In the document window, a partially complete path appears, beginning at point 1
and ending at point 6.
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4 In the Layers palette, select the Head / eye layer to target it.

Now you’ll use keyboard shortcuts to make the grid visible and make objects snap to it.
5 Make sure that Normal view mode is selected in the toolbox, or select it now.

Note: If you still do not see the document grid lines, press Ctrl+' (Windows) or Command+'
(Mac OS) to show them.
6 Press Shift+Ctrl+' (Windows) or Shift+Command+' (Mac OS) to make objects snap
to the document grid. You can look on the View menu to confirm that the Snap to
Document Grid command has a checkmark, indicating that it is selected.

Drawing the head shape

Now that everything is ready for the head shape, you can start drawing. In this procedure,
you’ll combine straight lines and curved ones, but you’ll also leave some straight segments
that you’ll refine with curves later in this lesson.
1 Press P to select the pen tool ( ). Position the pointer on point 6 on the template so
that the pointer appears with a slash; then click point 6. The slash indicates that the
anchor points you add will connect to the existing path rather than to a separate path.
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2 Click points 7, 8, and 9, in that order.

To reposition an anchor point while drawing, hold down the spacebar as you drag.
You’ll draw the chin by drawing a curved segment in between two straight segments.
3 Position the pointer on point 10. Drag left from point 10 to the red dot.
4 Click point 11. Notice that the new path segment is curved, not a straight line as shown
in the template, so you’ll need to correct that in the next steps.

5 Choose Edit > Undo. The line disappears.

6 Position the pointer over point 10 (the pointer appears with a small caret next to it)
and click point 10.
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The left direction line for point 10 is removed, so that the magenta line of the template is
visible where the green directional line used to be. This makes it possible to make the next
segment perfectly straight. Notice that the green directional line on the right of point 10
remains in place and that the chin curve still matches the curve of the template.

7 Click point 11, and then position the pointer over point 1. Click the point when you
see the pointer icon appear with a small circle, indicating that clicking point 1 will close
the path, completing the head drawing.

8 In the Layers palette, click the eye icon for the Template 4 layer to hide it, and then
choose File > Save.
You’ll adjust the fill and stroke of this path later, after you’ve edited the mouth and drawn
the eye.

Changing the shape of existing segments

Now you’ll create a more expressive mouth by changing some of the straight segments to
curves. It’s easy to change the shape of existing segments at any time.
1 Click the square to the far left of the Template 5 layer to display the eye icon ( ). The
Template 5 layer contains a template for the finished mouth.
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2 In the document window, zoom in so that you can see the nose, mouth, and chin.
3 With the path for the head still selected in the document window, press A to select the
direct-selection tool ( ). You must use the direct-selection tool because the selection tool
displays the path’s bounding box, not its anchor points.
4 Press P to select the pen tool ( ), and position it on point 6 (but don’t click). You’ll
know it’s positioned on the point when you see a minus sign next to the pointer ( ).
5 With the pen tool still positioned, hold down Alt (Windows) or Option (Mac OS).
Notice that the pointer changes to the icon for the convert-direction-point tool ( )—this
switches to the actual tool, not the pen with a caret. Continue holding down Alt or Option
as you drag down from point 6 to the red dot. Direction lines appear, converting the corner
point to a smooth point.

Don’t be concerned that the segments between points 5, 6, and 7 don’t match the
template. You’ll fine-tune the segments in the following steps. First you’ll retract the
upper direction line to restore the straight segment between points 5 and 6.

If you Alt/Option-click a smooth point, you convert it to a corner point, removing its
direction lines.
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6 Position the pen tool on the upper direction point for point 6. Then hold down Alt
(Windows) or Option (Mac OS) as you drag the upper direction point down into point 6.

7 Position the pen tool on point 7, and then hold down Alt/Option as you drag from
point 7 down to the red dot. You’ve converted point 7 from a corner point to a smooth
point. Extending the direction lines also shapes the left half of the segment between points
6 and 7 so that it now matches the template.

8 Position the pen tool on point 8, and then hold down Alt/Option as you drag from
point 8 down to the red dot so that the segment between points 8 and 9 becomes curved.
224 LESSON 6
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9 Position the pen tool on point 8’s lower direction point. Then hold down Alt or Option
as you drag the lower direction point up into point 8.

10 Press Ctrl+0 (Windows) or Command+0 (Mac OS) to fit the page in the window.
11 In the Layers palette, click the eye icon for the Template 5 layer to hide it.
12 Deselect everything, and then save the file.
Different artists use various drawing styles. Some prefer to lay down all corners and curves
correctly the first time, and others prefer to rough out a shape by clicking corner points,
and then returning later to create and refine the curves as you did in this section. With
practice, you’ll discover which way you prefer to draw.

Drawing the eye

To draw the eye for the head, you’ll practice more techniques for interactively controlling
corner angles and curve shapes as you draw. First, you’ll use keyboard shortcuts to quickly
turn off and hide the document grid, which you don’t need for this section.
Ordinarily, the directional lines that control the curves around an anchor point mirror
each other, so that they have equal lengths and are 180 degrees from each other. In this
procedure, you’ll use keyboard shortcuts to drag one directional line independently of its
partner for the anchor point.
1 Press Ctrl+' (Windows) or Command+' (Mac OS) to hide the document grid.
2 Press Shift+Ctrl+' (Windows) or Shift+Command+' (Mac OS) to turn off the Snap to
Document Grid option.
3 Click the square to the far left of the Template 6 layer to display the eye icon ( ).
This layer contains the template for the eye. In the document window, zoom in on the
eye template.
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4 Make sure that the Head / eye layer is targeted in the Layers palette.

5 Using the pen tool ( ), position the pointer on point 1 on the template, and then click.

6 Position the pointer on point 2, and then hold down Shift as you drag right to the
gray dot.
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7 Position the pointer over the right direction point (on the gray dot) for point 2. Hold
down Alt (Windows) or Option (Mac OS) and drag the direction point down to the red
dot. Notice that the left direction line for point 2 does not change.

8 Hold down Shift as you drag from point 3 up to the gray dot.

9 Hold down Alt/Option as you drag point 3’s upper direction line down and right to the
red dot. This will shape the left half of the next segment.

10 Click the pen tool at point 4.

11 Hold down Shift as you drag from point 5 to the red dot.
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Holding down Shift constrains the directional lines so that they are exactly horizontal.
Note: If you have trouble with this step, choose Edit > Undo and make sure that you start
dragging before you press Shift.
12 Click point 1 to close the path, and then press Shift+Control+A (Windows) or
Shift+Command+A (Mac OS) to make sure that the path is deselected.

13 In the Layers palette, click the eye icon for the Template 6 layer to hide it, and then
save the file.
Notice that as you clicked new segments, the pen tool preserved any existing smooth and
corner points, and that pressing Alt/Option changed the default behavior of the pen tool.

Creating a compound path

Now you’ll combine the eye with the head as a compound path. When you make a
compound path, overlapping areas become holes. In this illustration, the eye will become
a hole in the head through which you will be able to see the background behind the head.
A compound path isn’t the same as a group, where different objects in the group retain
their own attributes. All parts of a compound path have to be paths, and they will all share
the same set of attributes such as color and stroke weight.
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1 In the document window, scroll or zoom if necessary so that you can easily see the
entire head.

In order to make it easier to see the effect of creating a compound path, you’ll temporarily
fill the image.
2 Using the selection tool ( ), click the head path to select it.
3 In the toolbox, make sure that the Fill box ( ) is selected. In the Swatches palette, select
any color except White or None.

4 With the head still selected, hold down Shift as you click the eye to select both paths.
5 Choose Object > Compound Paths > Make.
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The head and the eye are now two subpaths of the same compound path. The compound
path uses the eye shape as a hole.
6 Make sure that the Fill box is selected in the toolbox, and click the Apply None button
to remove the temporary colored fill. Then deselect everything and save the file.
Note: When you use the selection tool to select a compound path, it selects the entire compound
path. To select a subpath, select the direct-selection tool and Alt-click (Windows) or Option-
click (Mac OS) a subpath.

Creating a perfect semicircle

The finished document contains a semicircle outside another circle, both located inside
the head shape. Although you could draw the semicircle using the pen tool, it’s easier to
slice an arc out of a circle.

Duplicating as you scale

The semicircle you’ll create must be larger than and concentric with an existing circle. In a
single action, you can scale the existing circle from the center and make a copy of the result.
1 In the Layers palette, click the eye icon for the Head / eye layer to hide it.
2 Click the square to the far left of the Circles layer to display the eye icon. This layer
contains the circle shape you’ll duplicate.
3 Make sure that the Circles layer is targeted in the Layers palette. In the document
window, zoom in on the circles, leaving some room for the larger circle you’ll create.

4 Using the selection tool ( ), select the blue (outer) circle.

5 Click the Transform palette tab (or choose Window > Transform) to make the
palette visible.
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6 In the Transform palette, make sure that the center proxy point ( ) is selected.
This proxy point determines that the next action you take in the Transform palette will be
measured from the center of the selection rather than from one of the edges or corners.
7 In the Scale X Percentage option ( ) in the Transform palette, enter 120 and then
press Ctrl+Alt+Enter (Windows) or Command+Option+Return (Mac OS). A larger
duplicate of the circle appears.

If you wanted to scale only the horizontal (X) dimension of the circle, you’d press only
Enter or Return after typing in the value. In this case, you pressed Ctrl (Windows) or
Command (Mac OS) to also make the other (W) dimension scale proportionally, and you
pressed Alt or Option to duplicate the original circle using the new scale value.

Note: The larger duplicate of the circle also has a heavier stroke weight. When you scale a
path, its stroke weight is also scaled by the same percentage.

Slicing a path with the scissors tool

Now you can simply slice off the part of the circle that you don’t need.
1 Choose the direct-selection tool ( ), and make sure that the larger circle is selected so
that you can see its anchor points and path.
Note: If the larger circle still displays a bounding box after you switch to the direct-selection
tool, deselect it and then use the direct-selection tool to select it again.
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2 In the toolbox, hold down the mouse button on the gradient tool ( ) to see the
options for this button, and select the scissors tool ( ).

3 Using the scissors tool, click the new circle at the anchor point on its left side. Then
click the anchor point on its right side. Then deselect everything. Notice that the top
anchor point of the circle is no longer selected. That’s because after the two cuts you
made, the original path has become two separate paths and only the lower semicircle
remains selected.

Clicking left anchor point, and right anchor point

Note: You don’t have to click the scissors tool on a point, but because you’re creating a perfect
semicircle here, the circle’s anchor points are convenient places to slice.
4 Switch to the selection tool ( ), and make sure that the bottom of the larger circle is
selected.
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5 Press the Delete key to remove the lower arc path.

Adding an end shape to an open path

You can instantly add an end shape, such as an arrowhead, to either end of a path by using
the Stroke palette. Here, you’ll add a loop to the end of the semicircle you just created.
1 With the selection tool, select the semicircle.
2 Click the Stroke palette tab (or choose Window > Stroke) to make the palette visible.
By default, the Stroke palette appears only partially expanded, so that only the Weight
option appears.
3 Click the double arrows to the left of the word Stroke. The palette collapses further,
so that only the tabs are visible. Click the double arrows again so that all the stroke
options are visible.
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4 In the Stroke palette, choose Circle on the Start pop-up menu. This adds a circle shape
to the start of the path—the first point drawn when the path was created.

5 Deselect everything, zoom out to see the entire page, and then save the file.

To reverse the start and end of a path, use the direct-selection tool to select a point on the
path and then choose Object > Reverse Path.

Creating a texture effect using a colorized image

In the final version of this file, you can see that the head is filled with a texture, which is
actually a image placed directly inside the compound path that you’ll colorize to create a
duotone. You’ll add the image to the compound path now.
1 In the Layers palette, click the square to the far left of the Head / eye layer to display the
eye icon ( ), and make sure that the Head / eye layer is targeted.
2 Using the selection tool ( ), select the head. Using the selection tool selects the entire
compound path that you created from the head path and eye path earlier in this lesson.
Now you’ll use a keyboard shortcut for placing a file.
234 LESSON 6
Drawing Vector Graphics

3 Press Ctrl+D (Windows) or Command+D (Mac OS). Double-click the file 06_c.psd in
the ID_06 folder.

The image appears inside the head automatically, because the head was selected when you
placed the image. Notice that you can still see through the eye.
Now you’ll use InDesign to colorize the image, which you can do only if the image was
saved as a 1-bit or grayscale image.
4 In the toolbar, select the Stroke box and press the / (slash) key to apply None as the
stroke color. Then press Ctrl+Shift+A (Windows) or Command+Shift+A (Mac OS) to
deselect all.
5 Using the direct-selection tool ( ), click the image inside the head. The bounding box
for the texture image you placed inside the head shape is selected.
6 Select the Fill box in the toolbox, and then in the Swatches palette select TRUMATCH
50-b4. The black areas of the texture image are replaced by a dark brown color.
7 Deselecting the image, switch to the selection tool ( ), and select the head again.
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8 In the Swatches palette, select TRUMATCH 50-b4 90%. The white areas of the image
are replaced by a lighter brown color, so that the textured image is more subtle and has no
white or black areas.

9 Deselect everything, and save the file.

Creating and adding an inline graphic

You can add a graphic between any text characters or spaces so that the graphic flows with
the text as you add or remove text. Such a graphic is called an inline graphic. You can use
an ornamental font, such as a dingbat, or you can insert a graphic that you create yourself.

Using advanced settings for the polygon tool

The polygon tool contains controls that alter the shapes you create. You can adjust the
number of points in the polygon and set the insets between points to make starlike shapes.
1 In the Layers palette, click the square to the far left of the Text layer to display the eye
icon ( ), and make sure that the Text layer is targeted.
2 Choose View > Show Document Grid and then choose View > Snap to Document
Grid.
3 In the document window, zoom in to the lower right area of page 1 to about 200% or
higher, so that you can clearly see the smallest unit of the document grid.
4 In the toolbox, hold down the rectangle tool ( ) to see more tool options and select
the polygon tool ( ). Then double-click the polygon tool to open the Polygon Settings
dialog box.
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5 In Number of Sides, select 8, and in Star Inset, select 40%. Then click OK.

6 Drag the pointer crosshairs diagonally across any one of the document grid squares to
create a tiny star shape.

Note: It is not necessary to hold down the Shift key as you drag to constrain the shape because
the Snap to Document Grid is turned on. You should still get a perfectly symmetrical star
shape.
7 Choose View > Hide Document Grid and View > Snap to Document Grid to deselect
that command.
Now that you’ve created the star, you’ll simply paste it into the text to create an inline
graphic.
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Placing an inline graphic

1 With the polygon star still selected, choose Edit > Cut to remove the star and place it
on your computer clipboard.
2 Select the type tool ( ), and then click an insertion point after the period at the end of
the sentence at the bottom of the text that reads “…we have a class for you.”

3 Choose Edit > Paste to put the graphic directly into the text where you clicked the
insertion point.

Depending on where the insertion point was flashing when you placed the inline graphic,
the graphic might be right up against a character in the text and a bit too high. You can
shift the baseline alignment for the star and add space around it, because the inline
graphic behaves as if it were simply another text character.
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4 With the type tool still selected, click an insertion point just before the star and press
the spacebar to add a little more space as needed before or after the star shape.

5 Using the type tool ( ), drag across the star to select it. In the Character palette, change
the Shift Baseline value ( ) until the graphic sits nicely between the lines above and
below it. The sample file uses a value of –3 pt.
Note: You can also change the position of the graphic by selecting it with the selection tool and
pressing the down arrow key.

6 Switch to the selection tool ( ) and select the star.

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7 In the toolbox, select the Stroke box ( ) and then in the Swatches palette select
TRUMATCH 15-c4 to color the star outline.
8 Deselect everything, zoom out to see the entire page, and then save the file.

Reflecting objects
The back of the completed invitation (page 2) will use duplicates of objects from the
front. The duplicates will be reflected so that you see them as if from behind. You will
quickly duplicate the objects on page 1 and then use the Transform palette to flip them.
1 In the Layers palette, make the Hair, Circles, Head / eye, Squares, Flower, and Collar
layers visible in the document, and hide all other layers including any currently visible
Template layers. Make sure that all visible layers are also unlocked; that is, they do not
display the crossed-out pencil icons ( ).
You can’t select objects on hidden layers, so don’t be concerned about the lock status of
hidden layers.

2 In the document window, zoom out so that you can see both pages of the document.
3 Choose Edit > Select All.
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4 Hold down Alt (Windows) or Option (Mac OS) as you drag all of the selected objects
down to page 2, positioning them on the page within the margins, just like the originals
on page 1.

All objects selected on first spread (left), and duplicate objects dragged to the second spread (right)

Note: If you make a mistake, choose Edit > Undo. Before you choose Select All again, be sure
to activate the page 1 spread (click the first spread in the document window, not in the Pages
palette). Otherwise, the Select All command will try to select objects on page 2, the last page
you worked on.
5 Make sure that all of the objects on page 2 are still selected. In the Transform palette,
click the center point on the proxy ( ), and then choose Flip Horizontal from the
Transform palette menu.
6 Deselect everything and save the file.
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7 In the Layers palette, make the Headline and Text layers visible. You can now see the
entire document you’ve created.

Congratulations! You’ve completed a design using a wide variety of drawn shapes,

imported graphics, and layout effects.

On your own
In this lesson, you used the pencil tool to draw a flower shape. You can also use the pen
tool to draw that shape. You can try recreating the flower with the pen tool as an exper-
iment, so that you can compare the two methods.
1 Make sure that the Snap to Document Grid command is not selected on the View
menu.
2 In the Layers palette, click the eye icons ( ) for all layers. Then click the square to the
far left of the Template 7 layer and the Practice layer to display the eye icons, so that they
are the only visible layers. Then select the Practice layer so that it is targeted.
242 LESSON 6
Drawing Vector Graphics

3 In the document window, scroll or zoom if necessary so that you can easily see all of the
numbers and colored direction-line guidelines on the flower template.

4 Select the pen tool ( ). Then click and drag from point 1 to point 12 to set anchor
points, each time aligning the direction lines with the red lines and dots on the template
layer.
5 After you draw through point 12, remember to look for the small loop next to the
pointer before you click point 1 again. This ensures that your final click will close the
shape. When you drag from this final anchor point, drag over the blue line and dot on the
template for point 1, not the red ones.
6 In the Layers palette, click the eye icon for the Template 7 layer to hide it.
7 In the toolbox, select the Fill box ( ), and then in the Swatches palette select
TRUMATCH 25-c1.

8 Press X to select the Stroke box ( ) in the toolbox, and then in the Swatches palette
select [None].
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Review questions
1 Why is the direct-selection tool more useful than the selection tool when drawing or
editing paths?
2 What is the key difference between smooth and corner points?
3 Which tool can change an anchor point from a corner point to a smooth point or
vice versa?
4 How do you make sure that a transformation (rotating, scaling, etc.) occurs in relation
to the center of an object?

Review answers
1 The selection tool displays only the path’s bounding box. The direct-selection tool
displays the path itself, and the exact location of the anchor points on it.
2 The two direction lines of a smooth point always exist at the same angle. The direction
lines of a corner point (if present) usually exist at different angles, creating a corner at the
anchor point.
3 You can switch between smooth and corner points using the convert-direction-point
tool ( ). It’s grouped with the pen tool in the toolbox.
4 With the object selected, click the center of the proxy ( ) in the Transform palette.
7 Working with Transparency

InDesign 2.0 delivers an array of trans-

parency features to feed your imagination
and creativity. Choose combinations of
settings to exploit the varied possibilities
for complex and elegant interactions
among overlapping layers of colors. You
not only get control over opacity and
color blendings in InDesign, but can work
with imported and exported files that use
transparency.
248 LESSON 7
Working with Transparency

In this lesson you’ll learn how to do the following:

• Colorize an imported black-and-white graphic.
• Change the opacity of objects drawn in InDesign.
• Apply blending modes to overlapping objects.
• Apply feathering to soften the edges of objects.
• Adjust transparency settings for imported Adobe Photoshop files.
• Adjust transparency settings for imported Adobe Illustrator files.
• Import files with transparency set in Illustrator.
• Apply transparency settings to text.
• Apply drop shadows to text and graphics.

Getting started
The project for this lesson is a menu for a fictional restaurant, Bistro nonXista. By
applying transparency into objects in a series of layers, you’ll create a visual richness of
color interactions right in InDesign.
To ensure that the tools and palettes function exactly as described in this lesson, delete or
deactivate (by renaming) the InDesign Defaults file and the InDesign SavedData file. See
“Restoring default preferences” on page 4.
1 Start Adobe InDesign.
2 Choose File > Open, and open the 07_a.indd file in the ID_07 folder, which is located
within the IDCIB folder on your hard disk. If an alert message appears that asks which
dictionary file you want to use, click No (Windows) or Document (Mac OS).
Note: If you have not already copied the resource files for this lesson onto your hard disk from
the ID_07 folder from the Adobe InDesign 2.0 Classroom in a Book CD, do so now. See
“Copying the Classroom in a Book files” on page 3.
3 Choose File > Save As, name the file 07_Menu.indd, and save it in the ID_07 folder.
The menu appears as a long, blank page because all layers are currently hidden. You’ll
reveal these layers one by one as you need them, so that it will be easy to focus on the
specific objects and tasks that you’ll do in this lesson.
 ADOBE INDESIGN 2.0 249
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4 When you are ready to start working, you can either close the 07_b.indd file or choose
Window > 07_Menu.indd to switch back to your own lesson document, leaving the
sample of the finished file open for reference.

Importing and colorizing a black-and-white image

You’ll begin by working with the background layer for the menu. This layer serves as a
random textured background that will be visible through the objects layered above it that
have transparency settings. Since there’s nothing below this layer in the layer stack, you
won’t specify any changes for this layer’s opacity.
1 In the Layers palette, select the Background layer, scrolling as necessary to find it at the
bottom of the layer stack. Make sure that the two boxes to the left of the layer name show
that the layer is visible (eye icon appears) and unlocked (lock icon does not appear).

2 Choose File > Place, and then locate, select, and open the 07_c.tif file in your ID_07
folder.
250 LESSON 7
Working with Transparency

3 Move the loaded-graphic pointer ( ) to the upper left corner of the page and click, so
that the image fills the entire page, including any margins. After you place the graphic, it
remains selected. Do not deselect.
4 With the graphic still selected, open the Swatches palette. Scroll down the list of
swatches to find the Lime 80% tint, and select it. The white areas of the image are now the
80% tint of the green color, but the black areas are still black. Click anywhere on the paste-
board to deselect.
5 In the toolbox, use the direct-selection tool ( ) to select the image again, and then
select the Aqua tint in the Swatches palette. The Aqua color replaces black in the original
image, leaving the Lime 80% areas as they were.
Note: Remember that the direct-selection tool appears as a hand ( ) when it is over a frame,
but it still selects the image contents when you click.
6 In the Layers palette, select the empty box to the left of the Background layer name to
lock the layer. Leave the Background layer visible so that you can see the results of the
transparency work you do above this layer.

As you now know, the key to converting a black-and-white image to a two-color image is
that you use the right tools to select the object. Your choice of either the selection tool or
the direct-selection tool determines whether the swatch you specify replaces the black or
the white parts of the image.

Applying transparency settings

The ability to change the opacity of an object in a single control option is just the
beginning of the transparency functionality in InDesign 2.0. Not only can you change the
opacity of fills and strokes on objects drawn or typed in InDesign and of imported images
and text—including photographs—but there’s more. You can also use blending modes,
feathering, and drop shadows in simple procedures. You can even import objects created
with existing transparency properties and compound the effect with InDesign.
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In this project, you’ll progress through layer by layer rather than technique by technique,
so you’ll get plenty of practice using the various transparency options. In this way, you’ll
see the interactions between transparent objects as the project builds, one layer at a time.

Changing the opacity of solid-color objects

Now that you have filled the underlying layer with color and texture, you can start adding
transparency features to the layers stacked above it. You’ll start with a series of simple
shapes with solid fills, drawn in InDesign.
1 In the Layers palette, select the Art1 layer so that it is the active layer, and click the small
boxes on the left of the layer name to unlock the layer (removing the crossed-out pencil
icon) and make it visible (displaying the eye icon).

2 Using the selection tool ( ), click the gold background on the right side of the page.
This background is simply a rectangular frame with a solid fill, drawn in InDesign.
3 Choose Window > Transparency to open the Transparency palette.
4 For Opacity, click the arrow button to open the slider, and then drag to set the opacity
at 60%. Or, you can type 60% in the Opacity option and press Enter. Notice that you can
now see the Background layer through the gold background on the Art1 layer.
252 LESSON 7
Working with Transparency

5 Select the black semicircle at the top of the left side of the page, and then choose
Window > Swatches to open the Swatches palette. Make sure that the Fill box is selected
( ) and select Lime (not Lime 80%) to apply a fill color to the semicircle.

6 With the semicircle still selected, go to the Transparency palette and set the Opacity
value at 40%. The semicircle now appears as just a subtle variation in color against the
textured background.
7 Repeat steps 5 and 6 for each of the solid circles on the Art1 layer, using the following
settings:
• Left side, middle: color=Navy, Opacity=80%
• Left side, bottom: color=Gold, Opacity=70%
• Right side, top: color=Aqua, Opacity=70%
• Right side, middle: color=DarkRed, Opacity=60%
• Right side, bottom (semicircle): color=Black, Opacity=10%

Applying the Multiply blending mode

An Opacity setting changes a selected object by creating a color that combines the color
values of the object with the objects below it. This creates the impression that the object
is semi-transparent. Blending modes give you another way to create color interactions
between layered objects.
In this procedure, you’ll see the differences as you first change the opacity and then apply
the Multiply blending mode to the same objects.
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1 Using the selection tool ( ), select the subtle green semicircle at the top of the left side
of the page.

2 In the Transparency palette, open the blending mode pop-up menu (which currently
shows Normal selected) and select Multiply. Notice the change in the appearance of the
colors.

3 Select the black half-circle at the bottom of the right side of the page, and apply
Multiply blending mode, using the same method as in step 2.
4 Choose File > Save.
For more information about the different blending modes, see “Selecting blending
modes” in InDesign Help. This topic describes the results generated by each of the
blending modes.
254 LESSON 7
Working with Transparency

Applying feathering to the margins of an image

Another way to apply transparency to an object is to use feathering. Feathering applies a
gradient transparency to the edges, softening the margins of the object. This creates a
more subtle transition between the object and any underlying images.
1 If the faint black half-circle at the bottom of the right side is not still selected, use the
selection tool to select it now.
2 Choose Object > Feather to open the Feather dialog box.
3 Select the Feather check box, and then select the Preview check box so you can see the
results as you adjust the settings.
4 In Feather Width, type 0.3" (including the quotation mark to indicate inches as the
unit of measurement). Leave the Corners option set as Diffused. Notice how the margins
of the faint black circle are now blurred, and that the measurement units appear as “in”
instead of the quotation mark. Click OK to close the dialog box.

5 Select the gold circle at the bottom of the left side of the page.
6 Using the same techniques that you used in steps 1–5 to give the black half-circle a
feathered edge, apply a 0.25" feather to the gold circle.
7 In the Layers palette, click to lock the Art1 layer and then choose File > Save.

Adjusting the transparency settings for EPS images

Up to this point in the lesson, you have applied various transparency settings to objects
drawn in InDesign. You can also set opacity value, blending mode, and feathering options
to Encapsulated PostScript (EPS) documents that you create in programs such as
Adobe Illustrator.
1 In the Layers palette, unlock and make visible the Art2 layer.
2 In the toolbox, make sure that the selection tool ( ) is selected.
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3 On the left side of the page, click the black spiral image, which is on top of the Navy
color circle, blocking your view of the lower circle. Then press Shift and click to also select
the spiral that is above the red circle on the right side of the page.

4 In the Transparency palette, select Color Dodge blending mode and set Opacity at
30%.
5 Zoom in, if necessary, and Ctrl+click (Windows) or Command+click (Mac OS) to
select the small black circle above the Navy spiral.
Note: Ctrl+click (Windows) or Command+click (Mac OS) is the keyboard shortcut you use
when you want to select an object that is stacked behind another object in the layout. It is
especially useful when both objects are on the same layer, as they are in this case.
256 LESSON 7
Working with Transparency

6 Set the following options for the small circle:

• In the Transparency palette, set the Opacity at 80%.
• In the Swatches palette, select DarkRed.
7 Scroll if necessary so that you can see three more small circles in the top right area of
the page, and assign the following color swatches and opacity values to them:
• Top small circle: Navy, 50% opacity
• Middle small circle: DarkRed, 35% opacity
• Lowest small circle: Turquoise, 50% opacity. For this circle only, also choose Object >
Feather, select the Feather check box, specify 0.21 inches as the Feather Width, and click
OK.
8 In the Layers palette, lock the Art2 layer, and then save your work.

Adjusting transparency for Photoshop images

In this procedure, you’ll apply transparency to an imported Photoshop file. Although this
example uses a monochromatic image, you can also apply InDesign transparency settings
to complex multicolor photographs that you import from Photoshop.
1 In the Layers palette, select the Art3 layer and make it visible and unlocked. If you find
it easier to see your work, you can click the eye icon to hide either the Art1 or Art2 layer
or both, but leave at least one underlying layer visible so that you can see the results of the
transparency interactions .
2 Using the selection tool ( ), click the black starburst image on the upper right side of
the page.
 ADOBE INDESIGN 2.0 257
Classroom in a Book

3 On the Transparency palette, type 50% as the Opacity value.

4 Switch to the direct-selection tool ( ), move the pointer over the starburst image so
that it appears as a hand ( ), and then click once to reselect the image.
5 In the Swatches palette, select the Dark Red color swatch so that the red color replaces
the black areas of the image. If you have other layers visible below the Art3 layer, you see
the starburst as a muted orange color. If no other layers are visible, the starburst is red.
Leave the starburst image selected, or reselect it with the direct-selection tool now.
6 In the Transparency palette, select Screen blending mode from the pop-up list. Leave
the Opacity value at 100%. Depending on which layers are visible, the starburst changes
colors in various ways after you apply this change.

Importing and adjusting Illustrator files that use transparency

When you import Adobe Illustrator files into your InDesign layout, InDesign 2.0 recog-
nizes and preserves any transparency interactions that were applied in Illustrator. You can
further adjust the transparency of the imported graphic by applying InDesign settings for
opacity, blending modes, and feathering to the entire image.
1 Make sure that the Art3 layer is targeted in the Layers palette and that the selection tool
( ) is selected in the toolbox, and then choose Edit > Deselect All.
2 Choose File > Place. Locate the 07_d.ai file in your ID_07 folder, and double-click to
select it.
258 LESSON 7
Working with Transparency

3 Move the loaded-graphics icon over the red circle in the middle of the right side of the
page and click to place the graphic image. If necessary, drag the image so that it is approx-
imately centered over the red circle.

4 In the Layers palette, click any displayed eye icons for the Art2, Art1, and Background
layers so that only the Art3 layer appears and you can see the transparency color interac-
tions within the original image. Then click the boxes again to make the Art2, Art1, and
Background layers visible. Notice that the white “olive” shape is completely opaque while
the other shapes are partly transparent.
5 With the glasses graphic still selected, change the Opacity setting in the Transparency
palette to 80%. Notice that you can now see the black spiral behind the white olive and
that the glasses are more subdued in color.
6 Still in the Transparency palette, select Color Burn as the blending mode. Now the
colors and interactions of the image take on a completely different character.
7 Save your work.

Applying transparency settings to text

Changing the opacity of text is as easy as applying transparency settings to graphic objects
in your layout. In this topic, you’ll change the color and opacity of some words that you
will add by using the InDesign type tool.
1 Unlock and make visible the Type layer.
 ADOBE INDESIGN 2.0 259
Classroom in a Book

2 In the toolbox, select the type tool ( ), click to place an insertion point in the text
frame “I THINK, THEREFORE I DINE,” and choose Edit > Select All. If necessary, zoom
in so that you can read the text easily.
3 In the Swatches palette, select [Paper].

4 Switch to the selection tool and click to select the same text frame.
5 In the Transparency palette, select Overlay blending mode and type 70% as the Opacity
value.
Note: You cannot specify transparency options when the type tool is active. When you switch
to the selection tool, those options are available again.

Creating a drop shadow

You can create the impression that an object is embossed or floating above the page by
adding a drop shadow. Then, by selected transparency settings that apply only to the drop
shadow, you can soften the shadow without changing the sharp edges of the object itself.
1 Using the selection tool, select the large “bistro nonXista” image in the center of the
page. This graphic is an imported EPS file, created in Adobe Illustrator.
2 Choose Object > Drop Shadow.
3 In the Drop Shadow dialog box, select the following settings:
• Select the Drop Shadow check box to enable the other options.
• Select the Preview check box so that you can see the results in the document as you
change the settings.
• In Mode, select Multiply.
• In Opacity, type 75%.
• In both X Offset and Y Offset, type 0.0972 in (or use quotation marks: 0.0972").
260 LESSON 7
Working with Transparency

• In Blur, type 0.02 in.

• Leave [Black] selected under Color.

4 Click OK to close the dialog box. Then, using the selection tool ( ), click the text frame
at the bottom of the page, with five city names. (This is simply typed text created in
InDesign.) If necessary, zoom in so that you can see the text easily.
5 Choose Object > Drop Shadow, and select the following options:
• Select the Drop Shadow check box and the Preview check box.
• In Mode, select Normal.
• In Opacity, type 50%.
• In both X Offset and Y Offset, type 0.03".
• In Blur, type 0.02".
• Under Color, select Swatches in the pop-up menu, and then click the Navy swatch.
6 Click OK to close the dialog box.
7 Lock all layers. Choose File > Save.

The X Offset and Y Offset values determine the horizontal and vertical lengths of the drop
shadow. Positive numbers offset the shadow below and to the right of the object. To offset the
shadow in other directions, use negative values, such as -0.0972 inches, in one or both of the
offset options.
 ADOBE INDESIGN 2.0 261
Classroom in a Book

Exporting to Adobe Acrobat PDF files

When you export your InDesign document as a PDF, transparency is preserved when you
open the file with Acrobat Reader 5.0 or later. Earlier versions of Acrobat will display all
objects with full opacity.

You can install Acrobat 5.0 from the Adobe InDesign 2.0 Classroom in a Book CD or
download your free copy from the Adobe Web site.
In this procedure, you’ll create a PDF of the menu, selecting PDF options that are appro-
priate for printing to a desktop printer or sending to a client to review on-screen.
1 Choose Edit > Deselect All to make sure that nothing is selected in your layout, and
then choose File > Export.
2 In the Export dialog box, in Save In (Windows, Mac OS 9) or Where (Mac OS 10.1),
open the ID_07 folder in your IDCIB folder. Type 07_Menu to name the file. In Save As
Type, select Adobe PDF from the pop-up menu. Then click Save.

3 In the Export PDF dialog box, use the following options:

• Under Pages, select Range and type 1.
• Under Compatibility, select Acrobat 5.0.
262 LESSON 7
Working with Transparency

• Deselect the Include eBook Tags, Include Hyperlinks, and Include Bookmarks check
boxes if they are selected.
• Select the View PDF after Exporting check box to automatically open the file in Acrobat.
Or, if you want to view the PDF later, you can leave this option unselected.
 ADOBE INDESIGN 2.0 263
Classroom in a Book

4 Click Compression in the list on the left side of the Export PDF dialog box. Under
Color Bitmap Images, for Quality, select Medium.

5 Click Export. The Generating PDF dialog box appears, showing you the status of the
exporting process.
6 When the PDF file opens in Acrobat 5.0, the transparencies appear as they did in
InDesign.
If you prepare PDFs to go to commercial printing, you’ll use settings appropriate for press
work. For detailed information, see Chapter 14, “Creating Adobe PDF Files” in the Adobe
InDesign 2.0 User Guide.
To see your work as it will look when printed, select the Preview Mode button in the lower
right corner of the toolbox.
Congratulations! You have now completed this lesson.
Like all the other lessons in this Classroom in a Book, this material serves as an intro-
duction to the features and functions available in InDesign 2.0. For details and in-depth
information, see the Adobe InDesign 2.0 User Guide, InDesign 2.0 online Help, and the
Adobe Web site.
264 LESSON 7
Working with Transparency

On your own
Try some of the following ideas for working with InDesign transparency options:
1 Scroll to a blank area of the pasteboard and create some shapes (using the drawing
tools or by importing new copies of some of the image files used in this lesson). Position
your shapes so that they overlap each other, at least partially. Then:
• Select the topmost object in your arrangement of shapes and experiment with other
blending modes, such as Luminosity, Hard Light, and Difference, by selecting them in the
Transparency palette. Then select a different object and select the same blending modes
to compare the results. When you have a sense of what the various modes do, select all
your objects and select Normal as the blending mode.
• In the Transparency palette, change the Opacity value of some of the objects but not
others. Then select different objects in your arrangement and use the Object > Send
Backwards and Object > Bring Forward commands to observe different results.
• Experiment with combinations of different opacities and different blending modes
applied to an object. Then do the same with other objects that partially overlap the first
object to explore the enormous number of different effects you can create.
2 Double-click the page 1 icon in the Pages palette to center it in the document window.
Then try clicking the eye icons for the different Art layers one at a time, to see the differ-
ences this creates in the overall effect of the project.
3 Choose Help > InDesign Help. At the top of the left pane of the Help window, click
Search. Then in the Find Pages Containing box, type Creating, saving, and loading, and
then click Search. After a short wait, click “Creating, saving, and loading custom flattener
styles” in the lower area of the left pane to open that topic in the right pane. Then follow
the procedure described there for creating a flattener style for exporting transparency
pages to PDF.
 ADOBE INDESIGN 2.0 265
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Review questions
1 How do you change the color of the white areas of a black-and-white image? The black
areas?
2 How can you change transparency effects without changing the Opacity value of an
object?
3 What is the importance of the stacking order of layers and of objects within layers when
you work with transparency?
4 Will the transparency effects you create in InDesign 2.0 appear in a PDF that you
export from InDesign?

Review answers
1 To change the white areas, select the object with the selection tool ( ) and then select
the color in the Swatches palette. To change the black areas, select the object with the
direct-selection tool ( ) and then select the color you want to use in the Swatches palette.
2 Besides selecting the object and changing the Opacity value in the Transparency
palette, you can also create transparency effects by changing the blending mode, feath-
ering the edges of the object, or adding drop shadows that have transparency settings.
Blending modes determine how the base color and the blend color will be combined to
produce a resulting color. For more information about blending modes, see “Selecting
blending modes” in InDesign online Help.
3 The transparency of an object affects the view of objects below (behind) it in the
stacking order. For example, objects below a semitransparent object can be seen behind
it—like objects behind a colored plastic film. Opaque objects block the view of the area
behind them in the stacking order, regardless of whether the objects behind them have
reduced Opacity values, feathering, or blending modes.
4 Yes, if you open the PDF in Adobe Acrobat 5.0 or Adobe Acrobat Reader 5.0 (or later).
In earlier versions of Acrobat, the objects appear with all objects at 100% opacity.
8 Importing and Editing Text

One of the most powerful features of

Adobe InDesign is the ability to import
text, thread it through frames, and edit
text within the frames. Once you import
text, you can create and apply styles, find
and replace text and formatting, and use
different language dictionaries to spell-
check any part of your document.
270 LESSON 8
Importing and Editing Text

In this introduction to importing and editing text, you’ll learn how to do the following:
• Flow text manually and automatically.
• Load styles from another document and apply them.
• Thread text.
• Use semi-autoflow to place text frames.
• Find and change text and formatting.
• Find and change a missing font.
• Spell-check a document.

Getting started
In this lesson, you’ll work on an 8-page newsletter for the Sonata Cycles, a fictitious chain
of bicycle stores. Several pages of the newsletter have already been completed. Now that
the final article for the newsletter has been written, you’re ready to flow the article into the
document and add the finishing touches to the newsletter. Before you begin, you’ll need
to make several preparations:
• If you have not already copied the resource files for this lesson from the ID_08 folder of
the Adobe InDesign 2.0 Classroom in a Book CD, do so now. See “Copying the Classroom
in a Book files” on page 3.
• Make sure that you have installed the Classroom in a Book fonts. See “Installing the
Classroom in a Book fonts” on page 2.
• Restore the default preferences for Adobe InDesign, as described in step 1, below.
When your preparations are complete, you’re ready to start work on the lesson.
1 To ensure that the tools and palettes function exactly as described in this lesson, delete
or deactivate (by renaming) the InDesign Defaults file and the InDesign SavedData file.
See “Restoring default preferences” on page 4.
2 Start Adobe InDesign.
To begin working, you’ll open an existing InDesign document. We have added a font to this
document that you do not have on your system. You will replace this font later in this lesson.
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Classroom in a Book

3 Choose File > Open, and open the 08_a.indd file in the ID_08 folder, located inside the
Lessons folder within the IDCIB folder on your hard disk. If an alert message appears that
asks which dictionary file you want to use, click No (Windows) or Document (Mac OS).
When you open a file that includes fonts not installed on your system, an alert message
indicates which font is missing. The text that uses this missing font will be highlighted in
pink. You will fix this missing font problem later in this lesson by replacing the missing
font with an available font.

4 Click OK to close the alert message.

If you turn the pages in the document, you will notice that pages 5 through 8 have already
been completed. The missing font is found on page 8. In this lesson, you will complete the
first four pages of the newsletter.
5 Choose File > Save As, name the file 08_News, and save it in the ID_08 folder.
272 LESSON 8
Importing and Editing Text

6 If you want to see what the finished document will look like, open the 08_b.indd file in
the same folder. If you prefer, you can leave the document open to act as a guide as you
work. When you’re ready to resume working on the lesson document, choose its name
from the Window menu.

Flowing text
The process of making imported text appear in designated parts of a page or pages is called
flowing text. InDesign lets you flow text manually for greater control or automatically for
greater time-saving.

Tips on flowing text

When your pointer becomes a loaded text icon ( ) after you place text or click an in port or out port, you
are ready to flow text onto your pages. When you position the loaded text icon over a text frame, parentheses
enclose the icon ( ).
In addition, the icon can appear in one of three forms, which correspond to the method you choose for con-
trolling the flow of text on your pages:
Manual text flow ( ) adds text one frame at a time. It stops flowing text at the bottom of a text frame, or
at the last of a series of linked frames. You must reload the text icon to continue flowing text.
Semi-autoflow ( ) works like manual text flow, except that the pointer reloads as a loaded text icon each
time the end of a frame is reached, until all text is flowed into your document.
Autoflow ( ) adds pages and frames until all the text is flowed into your document.

––From Adobe InDesign User Guide, Chapter 3

 ADOBE INDESIGN 2.0 273
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Flowing text manually

To flow text manually, you can drag to create a frame, or you can click anywhere on the
page to create a text frame in a column. Now you will use both methods to flow the text
into the columns on the first page of the newsletter.
1 In the Pages palette, double-click the page 1 icon to center the first page in the
document window.
2 Choose File > Place. Make sure that Retain Format is selected. When this option is
selected, the text will be imported with the formatting that was applied in the word-
processing application.
3 Locate and double-click 08_c.doc in the ID_08 folder. The pointer becomes a loaded
text icon.
You will now create a text frame between the light blue guides below the banner.
4 Create a text frame in the left column of page 1 by positioning the loaded text icon next
to the left margin just below the 21p (21-pica) guide and dragging down to the right side
of the first column at the 30p guide.

Dragging to create a text frame

Notice that the text frame includes an out port in the lower part of the right side. The red
plus sign indicates that there is overset text, that is, more text than fits into the existing text
frame. You will now flow this text into the second column on page 1.
5 Using the selection tool ( ), click the out port of the frame you just created.
274 LESSON 8
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If you change your mind and decide you don’t want to flow overset text, you can click any
tool in the toolbox to cancel the loaded text icon. No text will be deleted.
6 Position the loaded text icon in the upper left corner of the second column just below
the 21p guide, and click.

The text flows into a new frame from where you clicked to the bottom of the second
column. The out port in the new column contains a red plus sign, again indicating that
there is still overset text.

Flowing text automatically

You will use autoflow to flow the rest of the overset text into the document. When you
autoflow text, InDesign creates new text frames within column guides on subsequent
pages until all the overset text is flowed in. If there are not enough pages in your document
when you use autoflow, InDesign adds new pages until all the text is placed. A connected
series of text frames is called a story.
1 Using the selection tool ( ), click the out port of the frame you just created in the
second column on page 1.
While the loaded text icon is active, you can do many actions, including turning pages,
creating new pages, and zooming in and out.
2 In the Pages palette, double-click the page 2 icon to center page 2 in the document
window. (You may need to scroll down the palette to find the icon for page 2.) Notice that
there are no text frames on page 2. Also notice that the text icon is still loaded.
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3 Holding down Shift, position the loaded text icon in the upper left corner of the left
column on page 2, and click. Release the Shift key.

Holding down Shift lets you autoflow text into your document.

Notice that two new text frames were added to each page within the column guides. This
is because you held down Shift to autoflow text. All the text in the story is now placed on
pages 2 through 4.
Note: If text frames do not appear on pages 2 and 3, you did not autoflow the text. If this is
the case, click the outport in the last text frame that contains text, and hold down Shift as you
click in the upper left corner of the next column. Make sure that all the text flows into the
document pages.

Resizing a text frame

When you create a text frame by clicking the loaded text icon, InDesign bases the width
of the new text frame on the column width. Although these frames are placed within the
column margins, you can move, resize, and reshape any of these text frames.
1 Turn to page 4.
Notice that the text frame in the left column covers the photograph that was placed on
this page. When you autoflow text, the text frames are created within the column settings
regardless of whether objects appear in those columns. You can fix this overlap problem
by adding a text wrap or by resizing the text frame.
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2 Using the selection tool ( ), click the text frame in the left column on page 4 to select
the text frame, and then drag the lower middle handle of the text frame above the photo-
graph to approximately the 31p location (you can look at the vertical ruler as you drag).

Before and after resizing text frame

3 Choose File > Save.

About updating linked text files

When you place text, the name of the text file appears in the Links palette, which you can use to update and
manage the file. When you update a linked text file, any editing or formatting changes applied within
InDesign are lost. Because of this risk, linked text files are not automatically updated when the original file
is edited. However, you can easily update the linked file using the Links palette.

––From Adobe InDesign User Guide, Chapter 3

Flowing text into an existing frame

When you place text, you can flow text into a new frame or into an existing frame. To flow
text into an existing frame, you can click an insertion point to flow text at that point, or
you can click the loaded text icon in an existing frame, which replaces its contents.
The first page of the newsletter includes a placeholder frame for a sidebar. You’ll place the
text in this frame that announces upcoming cycling events.
1 Turn to the first page of the newsletter.
2 Choose Edit > Deselect All.
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If you place text when a frame is selected, the text replaces the contents of the frame; if you
place text with an insertion point, the placed text appears at the insertion point. If you forget
to deselect while placing text, choose Edit > Undo Replace, and then click the loaded text icon
where you want the text to appear.
3 Choose File > Place. Locate and double-click 08_d.doc in the ID_08 folder.
The pointer becomes a loaded text icon ( ). When you move the loaded text icon over
an empty text frame, parentheses enclose the icon ( ).
4 Position the loaded text icon over the placeholder frame near the bottom of page 1,
and click.

Placing a text file into an existing frame

You will apply styles to this sidebar text later in this lesson.
5 Choose File > Save.
Note: If the text formatting in your file looks different than the illustration above, don’t worry
about it. You’ll be changing all the formatting for this text block in the next procedures.

Working with styles

Styles make it easy to format documents that repeat characteristics in several places. Styles
can save time when you apply and revise text formatting and can help provide a consistent
look to your documents.
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Applying a style
To make the appearance of the article consistent with the other articles in the newsletter,
you will apply a paragraph style called Body Copy. We created this style for formatting the
body text of the main articles in the newsletter.
1 Click the Paragraph Styles palette (or choose Type > Paragraph Styles) to make the
palette visible, if it is not already shown.

The Paragraph Styles palette includes four styles: Body Copy, Head 1, Head 2, and Normal.
The Normal style has a disk icon next to it, indicating that the style was imported from a
different application. In this case, Normal is a Microsoft Word style that was imported when
you placed the article. You’ll now apply the InDesign style, Body Copy, to the text.
2 Using the type tool ( ), click an insertion point anywhere in the main article you
placed. Then choose Edit > Select All to select all the body text in the story. Notice that
the sidebar text is not selected; this text belongs to a different story.
3 Once all the text is selected, select Body Copy in the Paragraph Styles palette.
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4 Choose Edit > Deselect All. The article is now formatted in a different font, and each
paragraph is now indented.

Before and after style is applied

Creating a headline and applying a style

In the blank area between the banner, “Sonata Cycles News,” and the beginning of the
article, you’ll create a text frame for the article headline, “Team Sonata Captures 24 Hours
Race.” This headline text frame will span the two columns. You’ll then apply a headline
style to the newsletter.
1 Click the zoom tool ( ) on page 1 to increase the magnification to 100%.
2 To mark the location of the top of your headline frame, hold down Shift and drag a
guide from the horizontal ruler to the 18p6 (18 picas, 6 points) location on page 1. To help
you position the guide, watch the Y value in the Transform palette as you drag. Holding
down Shift constrains the position of the guide in 6-point increments.
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3 Using the type tool ( ), position the type cursor next to the left margin over the 18p6
guide. The horizontal crossbar on the type cursor should be at 18p6.

4 Drag to create a text frame in the blank area below the 18p6 guide and above the 21p
guide. The text frame should span the two columns, and the top of the frame should snap
to the 18p6 guide.

If you need to resize the frame, select the selection tool, and drag the top edge of the frame
to snap to the 18p6 guide. Then select the type tool and click inside the frame.
After you draw a text frame, the insertion point appears, ready for you to begin typing.
5 In the text frame you just created, type Team Sonata Captures 24 Hours Race.
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To make this headline consistent with other headlines used in the newsletter, you’ll apply
the Head 1 style. When you apply a paragraph style, you can place the insertion point
anywhere in the paragraph or select any part of the paragraph.
6 With the insertion point anywhere in the headline text you just typed, select Head 1 in
the Paragraph Styles palette.

7 Save the file.

Loading styles from another document

Styles appear only in the document in which you create them. However, it’s easy to load,
or import, styles from other InDesign documents. Another Sonata Cycles document
includes a couple of sidebar styles that will work well for the sidebars in this newsletter.
Instead of re-creating these styles, you’ll load the styles from the other document and
apply them to text in the newsletter.
1 Click the palette menu button (to the right of the Paragraph Styles tab), and choose
Load All Styles from the Paragraph Styles palette menu.
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Importing and Editing Text

2 In the Open a File dialog box, double-click Styles.indd from the ID_08 folder. In the
Paragraph Styles palette, notice the new styles called Sidebar Copy and Sidebar Head (you
may need to scroll through the list or resize the palette).

3 In the document window, change the view so that you can see the sidebar (“Upcoming
Cycling Events”) on page 1.
4 Using the type tool ( ), click an insertion point in the sidebar, and then choose Edit >
Select All.
5 Select the Sidebar Copy style in the Paragraph Styles palette.
6 Click an insertion point in the sidebar heading, “Upcoming Cycling Events.”
7 In the Paragraph Styles palette, select Sidebar Head.

Before and after applying Sidebar Head paragraph style

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Aligning text vertically

To remove the white space at the bottom of the sidebar text frame, you will justify the text
vertically.
1 With the insertion point anywhere in the sidebar frame, choose Object > Text Frame
Options.
2 Under Vertical Justification, for Align, select Justify, and then click OK.
A blank line still appears at the bottom of the text frame. This blank line is caused by a
hard return at the end of the last paragraph. You can see this end-of-paragraph marker
and other nonprinting characters by showing hidden characters.
3 Choose Type > Show Hidden Characters. Notice the end-of-paragraph marker at the
end of the last line of text.

4 Move the insertion point to the end of the text in the story. The pound sign (#)
indicates the end of a story.
5 Press Backspace (Windows) or Delete (Mac OS) to delete the end-of-paragraph
character at the end of “Springfield Road Race.” The text is now vertically justified within
the frame.
Note: If the text frame extends over the green artwork framing the text, you may not be able
to read the bottom line of text. To fix this, you can select the middle handle at the lower edge
of the frame and drag it upwards, just as you did in “Resizing a text frame” on page 275.
Because the text is set to be justified vertically, the spacing between lines re-adjusts when you
release the mouse.
6 Choose Type > Show Hidden Characters to deselect that command and remove its
checkmark. Then save the file.
You have finished formatting the first page of the newsletter.
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Importing and Editing Text

Threading text
When you autoflowed text into the document, InDesign created links between the frames
so that text would flow from one frame to another. These links are called threads. You can
break the threads between frames, add new frames between the threaded frames, and
rearrange how frames are threaded.
1 In the Pages palette, double-click the numbers below the page 2–3 icons. If the entire
spread does not automatically appear in the document window, choose View > Fit Spread
in Window to view the spread.
2 Select the selection tool ( ), and then click the text frame in the right column on page 2
to select it.
3 Choose View > Show Text Threads. Blue lines appear that represent the connections
(threads) between text frames in the selected story. Each thread goes from the out port of
one frame to the in port of the next frame in the sequence.
4 With the text frame in the right column of page 2 still selected, press Backspace or
Delete. Select a different frame in the story to display the text threads.

After deleting a threaded frame

Notice that the text flows from the left column on page 2 to the left column on page 3.
Although the text frame was deleted, no text in the story was deleted—it flowed into the
next frame.
5 Click an empty area of the pasteboard, or choose Edit > Deselect All.
Now you’ll import a picture. It’s faster to open the Place dialog box using a keyboard
shortcut.
6 Press Ctrl+D (Windows) or Command+D (Mac OS) to open the Place dialog box.
Locate and double-click 08_e.tif in the ID_08 folder.
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7 Click the loaded graphics icon in the upper left corner of the blank column, just below
the guide. If necessary, drag the graphic so that it snaps to the top margin of the column.

You’ll fill the space under the picture by creating a new text frame and threading the
placed story through the new frame. To thread a new frame in the middle of a story, you
can click the out port of the previous frame or the in port of the subsequent frame.
8 Holding down Ctrl (Windows) or Command (Mac OS) to apply the guide across the
entire spread, drag a guide from the horizontal ruler to the 28p mark.

For accuracy, hold down Shift as you drag to move the guide in 1p increments, or you can
select the guide with the selection tool and then type 28p in the Y box of the Transform palette.
9 Click the left text frame on page 2 to select it, and then click the out port of that frame,
which appears as a blue arrow, indicating that the story is continued in another frame.
10 Position the loaded text icon just below the 28p guide near the bottom of the right
column, and click to create a frame that fills the rest of the column.

Threading a new text frame in the middle of a story

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Importing and Editing Text

A text frame is created that is the width of the column. You have now completed page 2
of the newsletter.
11 Choose View > Hide Text Threads.
Now you’ll use a keyboard shortcut for deselecting instead of using a menu.
12 Press Shift+Ctrl+A (Windows) or Shift+Command+A (Mac OS) to deselect every-
thing. Then save the file.

Changing the number of columns on a page

You will now create a full-page sidebar on page 3 that provides three different bike routes
for the newsletter readers. To simplify creating the three text frames for these routes, you
will change the number of columns on page 3.
1 In the Pages palette, double-click the page 3 icon to center the page in the document
window. Make sure that only page 3 in the Pages palette is highlighted so that the column
change will affect only page 3. If necessary, click another page icon, and then click the
page 3 icon.
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2 Choose Layout > Margins and Columns. Under Columns, type 3 for Number and
click OK.

Even though the number of columns changed, the widths of the existing text frames did not change.

Notice that the text frames are independent of the number of columns. Column margins
can determine how text frames are created, but the frame widths do not change when you
redefine columns. One exception to this rule is when Layout Adjustment is turned on—
you can learn more about Layout Adjustment in “On your own” at the end of this lesson.
3 Using the selection tool ( ), select a text frame on page 3 and press Backspace or Delete.
4 Select the other text frame on page 3 and press Backspace or Delete. Both text frames
on page 3 should be deleted.
Once again, you have deleted text frames, but you did not delete any text; the text flowed
into the text frames on page 4. Now you’ll place an Adobe Illustrator file that has been
sized to fit within the newsletter page.
5 Press Ctrl+D (Windows) or Command+D (Mac OS) to open the Place dialog box.
Locate and double-click 08_f.ai in the ID_08 folder.
6 Click the loaded graphics icon in the upper left corner of page 3. If necessary, drag the
illustration so that it snaps to the margin guides at the top, left, and right sides of the page.
288 LESSON 8
Importing and Editing Text

Using semi-autoflow to place text frames

Now you will use semi-autoflow to place a text file into the three columns below the map
illustration. Semi-autoflow lets you create text frames one at a time without having to
reload the text icon.
1 Press Shift+Ctrl+A (Windows) or Shift+Command+A (Mac OS) to make sure that no
objects are selected.
2 Choose File > Place to open the Place dialog box, and then locate and double-click
08_g.doc in the ID_08 folder.
3 Holding down Alt (Windows) or Option (Mac OS), position the loaded text icon in the
left column just below the 28p guide, and click.

Flowing text semi-automatically

The text flows into the left column. Because you held down Alt or Option, the pointer is
still a loaded text icon, ready for you to flow text into another frame.
4 Holding down Alt or Option, position the loaded text icon in the second column just
below the guide, and click. Release the Alt or Option key.
Now you will create the final column. You won’t hold down Alt or Option since there will
only be three frames in this story.
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5 Position the loaded text icon in the third column just below the guide, and click.

The text is overset in the third column, but after you format the text with styles, the text
should fit within the frames.

Applying and editing the sidebar styles

To make the text consistent with the rest of the newsletter, you’ll apply the sidebar styles
to the text you just added. You will also edit the Sidebar Head style so that each heading
starts at the top of the next column. You’ll start by using the keyboard to select all the text
in the story.
1 Using the type tool ( ), click an insertion point in the sidebar. Then press Ctrl+A
(Windows) or Command+A (Mac OS) to select all the text in the story.
2 Select the Sidebar Copy style in the Paragraph Styles palette.
3 Click an insertion point inside the “Wacatchee State Trail” heading, and then select the
Sidebar Head style in the Paragraph Styles palette.
4 Apply the Sidebar Head style to the other two headings, “Bear Hollow” and “Ridge Trail.”
Notice that the headings don’t appear at the top of each frame. To make the headings
appear at the top of each frame, you’ll edit the sidebar heading.
5 Before you edit the style, deselect all text.
6 In the Paragraph Styles palette, double-click Sidebar Head to open the Modify
Paragraph Style Options dialog box for that style.
290 LESSON 8
Importing and Editing Text

7 In the left panel, select Keep Options and then select In Next Column from the Start
Paragraph pop-up menu. Then click OK.

The sidebar headings on page 3 now appear at the top of each column. Now that you’ve
finished placing text and graphics in the newsletter, you’ll use some of InDesign’s word-
processing features to add finishing touches to the text throughout the newsletter.
8 Save the file.

The context menu gives you another way to move text to the beginning of the next
column. To do this, make sure that the cursor is in the place where you want to create the
break, and then right-click (Windows) or Control-click (Mac OS) the text frame to open the
context menu. Choose Insert Break Character > Column Break. You can also use context
menu commands to move text to the next frame, page, odd page, or even page.

Adding a page continuation note

You split up the flow of the main newsletter article when you added the full-page sidebar
on page 3. To let readers know where they can resume reading when they get to the
bottom of page 2, you will add a “(Continued on page x)” frame. You can add a jump line
page number to automatically update the number of the page containing the story’s next
text frame.
1 Center page 2 in the document window by scrolling or using the Pages palette.
2 Drag a guide from the horizontal ruler down to the 46p location. Zoom in so that you
can read the text in the column easily.
 ADOBE INDESIGN 2.0 291
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3 Select the selection tool ( ), click the text frame in the right column on page 2, and
then drag the lower middle handle up to the 46p guide.

4 Select the type tool ( ), and then drag to create a text frame that fills the space at the
bottom of the right-most column on page 2.
5 With a text insertion point active in the new text frame, type (Continued on page ),
including the space and the parentheses. Then use the left arrow key to move the insertion
point to the left of the close parenthesis.
6 Right-click (Windows) or Control-click (Mac OS) the text frame, and in the context
menu that appears, choose Insert Special Character > Next Page Number. The text now
reads “(Continued on page 4).”
7 If necessary, select the selection tool, and then drag the top of the new text frame up so
that it snaps to the text frame above it.
292 LESSON 8
Importing and Editing Text

8 With the selection tool, click the jump line text frame and then Shift-click to select the
text frame immediately above it. Then choose Object > Group. This keeps the story and
its jump line together if you move them.

Changing horizontal and vertical text alignment

The jump line text is probably formatted with the Sidebar Head paragraph style. Next,
you’ll reformat that text.
1 Select the type tool ( ), and then triple-click “(Continued on page 4)” to select the text.
2 In the Paragraph Styles palette, click Body Copy.
3 In the Character palette, select Italic from the Type Style menu.

Notice that the Body Copy style has a plus sign (+) next to it in the Paragraph palette. The
plus sign next to a style indicates that the current text has been formatted differently from
the style.
4 Click the Paragraph palette tab, and then click the Align Right ( ) option.

Now you will align the text at the bottom of the frame.
5 Choose Object > Text Frame Options.
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6 In the Align pop-up menu under Vertical Justification, select Bottom. Then click OK.

7 Press Shift+Ctrl+A (Windows) or Shift+Command+A (Mac OS) to deselect the text.

Then save the file.

Creating and applying a character style

In this lesson, you have applied and loaded paragraph styles. Now you’ll learn how to
create a character style. A character style can be applied to specified text within the body
text. You can use the same methods to create character styles and paragraph styles: You
can create a style based on formatted text, or you can create a style using the New
Character Style dialog box.
Here you’ll apply formatting to text and create a new character style based on that text.
You’ll then apply it to bicycle names in a text frame.
1 In the Pages palette, double-click the page 7 icon. Using the zoom tool ( ), zoom in
to a level that allows you to read the type in the left column of page 7.
2 Using the type tool ( ), select “Road Bikes—” (including the em dash) at the
beginning of the second paragraph below “New Series of Bicycles” on page 7.
First you will use the Character palette to format the text. Then you will use the Character
Styles palette to create a style based on the formatted text.
294 LESSON 8
Importing and Editing Text

3 Click the Character palette tab (or choose Window > Type > Character to make the
palette visible). Leave the font set in Myriad and select Bold Condensed.

Before and after applying a character style to text within a paragraph

4 Click the Character Styles tab (or choose Window > Type > Character Styles to make
the palette visible). Make sure that the formatted text is still selected.
5 In the Character Styles palette, click the New Style icon ( ). Then scroll down the
palette so that you can see the new style, named Character Style 1, the default name.
6 Double-click Character Style 1 to open the Modify Character Style Options dialog box.
In Style Name, delete the default name and type Inline Head. Then click OK.
7 With the type tool still selected, select “Mountain Bikes—” later in the same column
on page 7. Select Inline Head in the Character Styles palette. Then deselect the words and
view the new formatting.
The words automatically take on all the formatting attributes you selected for the Inline
Head style. Notice that only the selected text was formatted with the style, not the entire
paragraph.
8 Apply the Inline Head character style to “Specialty Bikes—” in the second column on
page 7.
9 Save the file.
 ADOBE INDESIGN 2.0 295
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Finding and changing

Like most popular word processors, InDesign lets you find text and replace it. You can also
search for and change formatting and special characters.

Finding text
You will search for occurrences of the word “Lincoln” in this document. Make sure that
your view-magnification level is set so that you can easily read the text and see the
formatting. You do not have to have anything selected for this procedure.
1 Choose Edit > Find/Change. For Find What, type Lincoln.
2 For Search, choose Document to search the entire document.
3 Click Find Next to display the next occurrence of the word.
4 Click Done to close the Find/Change dialog box.
Even when the Find/Change dialog box is closed, you can still search for the next occur-
rence of the most recent search.
5 Press Ctrl+Alt+F (Windows) or Command+Option+F (Mac OS) to find the next
occurrence of the word “Lincoln”.
6 Repeat the previous step several times. Notice that some occurrences of “Lincoln” are
underlined and others are not. Stop on an underlined occurrence of “Lincoln.”

Finding and changing formatting

The author of the main article used underline instead of italics to indicate the title of the
book, Lincoln. You want to remove the underlining and replace it with italics.
1 Choose Edit > Find/Change. Notice that the text from the previous search, “Lincoln,”
still appears in the Find What box.
2 Press Tab to move to the Change To box, and then type Lincoln in the Change To box.
For Search, make sure Document is selected.
3 Click More Options to display additional formatting options in the dialog box.
4 Under Find Format Settings, click Format to open another dialog box.
296 LESSON 8
Importing and Editing Text

5 In the left side of the Find Format Settings dialog box, select Basic Character Formats.
Then in the right side, click the Underline check box to place a black check mark,
indicating that it is selected.

6 Leave the other check boxes as they are: either with grayed-out check marks
(Windows) or dashes (Mac OS). These marks indicate attributes that are irrelevant to the
search—they will not act as criteria for the search. Click OK to return to the Find/Change
dialog box.
Notice the alert icon above the Find What box. This icon indicates that InDesign will
search for text containing the specified formatting. In this case, InDesign will search for
underlined occurrences of “Lincoln.”
7 Under Change Style Settings, click Format to open the Change Format Settings dialog
box, and set all the following options:
• On the left side of the dialog box, choose Basic Character Formats.
• On the right side, use the pop-up menus to select Adobe Garamond for Font and Italic
for the font style. (Adobe Garamond is alphabetized on the list under “G,” not “A.”)
• For Size, select 11 pt.
• For Leading, select 12 pt.
• Click the Underline check box twice to clear it.
 ADOBE INDESIGN 2.0 297
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• Click OK.

8 Click Change All. A message appears, telling you that InDesign found and changed the
three occurrences of underlined “Lincoln.”
9 Click OK to close the message, and then click Done to close the Find/Change dialog
box. Then save the file.

Before and after finding and changing attributes

Finding and changing special characters

The text in the sidebar on page 1 uses hyphens between date numbers (such as August 8-
9) instead of en dashes. You will replace these hyphens (-) with en dashes (–).
1 Turn to page 1, and use the zoom tool ( ) to magnify the “Upcoming Cycling Events”
text frame.
2 Using the type tool ( ), click inside the “Upcoming Cycling Events” sidebar.
3 Press Ctrl+F (Windows) or Command+F (Mac OS) to open the Find/Change
dialog box.
298 LESSON 8
Importing and Editing Text

In this case, you want InDesign to replace only the hyphens in the text frame on the first
page, so you will limit the search range to only the story, which consists of only the
sidebar frame.
4 For Search, choose Story to narrow the search to only the sidebar.
5 For Find What, delete the word “Lincoln” and type - (a hyphen).
6 Press Tab to shift focus to the Change To box. Click the arrow button ( ) to the right
of the Change To box and choose En Dash from the pop-up menu. The word “Lincoln”
is replaced by ^= (a caret and equal sign), a code for the en dash character.
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7 Click Change All.

A message appears indicating that InDesign did not make any changes. The problem is
that InDesign is looking for underlined hyphens because that is the formatting you
specified in your last search, as indicated by the alert icons. Let’s clear the formatting and
try again.
8 Click OK to close the alert message.
9 Under Find Style Settings, click Clear. Then click Clear under Change Style Settings.
10 Click Change All.
The four hyphens (-) are replaced by en dashes (–) in the sidebar.
Note: If you are notified that considerably more than four changes were made, you may have
forgotten to choose Story instead of Document for search, or you didn’t click an insertion point
inside the sidebar frame. Choose Edit > Undo Replace All Text and try again.
11 Click OK to close the message, and then click Done to close the Find/Change dialog
box. Save the file.

Finding and changing a missing font

When you opened the document based on the template, the GracelessSans font was
missing. You will search for text containing the GracelessSans font and replace it with the
Myriad font.
1 In the Pages palette, double-click the page 8 icon (you may need to scroll in the Pages
palette). Choose View > Fit Page in Window. The pink highlight indicates that the text is
formatted with a missing font. Also notice the blank box characters in the headline.
2 Choose Type > Find Font to open the Find Font dialog box.
300 LESSON 8
Importing and Editing Text

3 Select Graceless Sans in the list.

4 For Replace With, select Myriad Bold.
5 Click Change All. Click Done to close the dialog box and see the replaced font in the
document.
Note: For some projects, you may need to add the missing font to your system instead of
replacing the missing font. You can fix missing fonts by installing the font on your system, by
activating the font using ATM Deluxe or another font manager, or by adding the font files to
the InDesign Fonts folder. For more information, see the Adobe InDesign 2.0 User Guide.

Spell-checking a story
The text in the “Bad Clams” story on page 5 includes Spanish and Italian phrases. Before
you spell-check the story, you will assign the appropriate language to each phrase.
1 In the document window, turn to page 5. Change your view so that you can
comfortably read the paragraph below the image in the right column.
2 In the paragraph in the right column beginning “William Johnson,” use the type tool
( ) to select “¡Yo tengo un cuaderno rojo!”
3 In the Character palette, choose Spanish: Castilian from the Language menu.

Note: If you do not see the Spanish and other dictionaries on the Language menu, either your
dictionaries have been deleted from your hard disk or your installation of InDesign did not
include them. To install the dictionaries you need for this task, save your file, quit all
programs, and insert your InDesign application CD into your computer CD-ROM drive.
Open the CD and double-click the installation icon. Follow the on-screen instructions for a
custom installation, specifying only the dictionaries. You do not need to reinstall the InDesign
program. Then reopen your 08_News.indd file and resume your work.
 ADOBE INDESIGN 2.0 301
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4 In the same paragraph, select “Sono il campione dell mondo” (misspelled). In the
Character palette, choose Italian from the Language menu.
Notice that the text shifted when you applied the language attribute. This occurs because
hyphenation rules are different for English and Italian.
5 Make sure that the insertion point is in the same paragraph, and choose Edit > Check
Spelling.
6 For Search, select Story so you don’t have to spell-check the entire document.
7 Click Start. When “dell” is highlighted, select “del” under Suggested Corrections, and
then click Change. When you finish spell-checking, click Done.
8 Save the file.

Creating text on a path

You can create type that flows along the edge of an open or closed path of any shape. For
this lesson, you will draw a circle around the Mr. Tuneup graphic on page 8, and then flow
type around the circle.
1 Choose 8 from the Page pop-up menu at the bottom of the document window to turn
to page 8.
2 Using the selection tool ( ), click the graphic above “It’s Mr. Tuneup.” Notice the
center point of the graphic. You will use this center point to help you draw the circle.
3 Hold down the mouse on the rectangle tool in the toolbox, and select the ellipse tool
( ). Make sure that None is selected in the toolbox Fill box.
302 LESSON 8
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4 Holding down Alt+Shift (Windows) or Option+Shift (Mac OS), place the pointer over
the center point of the graphic and drag outward to create a circle slightly larger than the
Mr. Tuneup graphic (about 19 picas, as shown in the Transform palette for W and H).

The Shift key constrains the shape to a circle; the Alt or Option key makes the center of
the circle the starting point of your drawing so that you draw outward from the center.
5 Using the type tool ( ), select the first two lines below the graphic, “It’s Mr. Tuneup!
The Maestro Mechanic of Sonata Cycles.”
6 Choose Edit > Copy.
7 Click and hold the mouse pointer over the type tool in the toolbox, and then select the
path type tool ( ).
8 Position the pointer over the upper left part of the circle until a small plus sign appears
next to the pointer ( ), and drag an arc to the other side of the circle.
If you click an insertion point on a path, the range of type will extend along the entire
path. If you drag, type will appear only along the length specified when you dragged.
 ADOBE INDESIGN 2.0 303
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9 Choose Edit > Paste.

The plus sign (+) in the out port at the end of the text on the path indicates overset text.
To display all the text on the path, you will adjust the path type’s start and end indicators,
which are the blue lines that appear before and after the pasted text.
10 Select the direct-selection tool ( ) and move it over the blue indicator at the
beginning of the text path. When the direct-selection pointer is properly positioned, it
appears as a solid arrowhead with a small vertical line and plus sign ( ).
11 Drag the start indicator line (not the in port) down to the left center of the circle.
Then drag the end indicator line (not the out port) down until all the text appears.
304 LESSON 8
Importing and Editing Text

Finishing up
To complete the newsletter, you will clean up the design on page 8 by removing the circle’s
stroke and deleting the text box from which you copied the text that is now on the path.
1 Select the selection tool ( ), and then click the text on the path.
2 Select the Stroke box ( ) in the toolbox, and then click the None button ( ).
3 Using the selection tool, click the text frame below the graphic from which you copied
the text, and press Backspace or Delete.

4 Save the file.

Congratulations. You have finished the lesson.

On your own
Follow these steps to learn more about layout adjustment and styles.
When you changed the number of columns in this lesson, the size of the text frames
remained unchanged. However, if you need to change your document setup after you’ve
begun laying out your document, you can turn on the Layout Adjustment option, which
can save you time in reformatting your document. Try this:
1 Go to page 4 and choose Layout > Layout Adjustment. Select Enable Layout
Adjustment and click OK. Now change the number of columns.
Notice that the photograph is resized and the two text frames shrink to fit the first two
columns.
 ADOBE INDESIGN 2.0 305
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2 Resize the text frames and graphics frame to clean up the page. Add threaded text
frames as necessary to finish the redesign.

Before column change (left), after column change with Layout Adjustment turned on (middle),
and finished redesign (right)

In this lesson, we covered only the basics of creating and applying styles. If you do a lot of
your writing in InDesign, you’ll want to learn how Next Style works and how to apply
styles using shortcut keystrokes.
Note: In Windows, Num Lock must be on for the following shortcut keystrokes to work.
3 With no text selected, double-click the Head 2 style in the Paragraph Styles palette.
Click an insertion point in the Shortcut text box. Using numbers from only the keypad,
press Ctrl+Alt+2 (Windows) or Command+Option+2 (Mac OS). For Next Style, select
Body Copy. Click OK to close the dialog box. Now practice applying the Head 2 style
using your keyboard shortcut. Notice that when you press Enter or Return at the end of
a Head 2 paragraph, the next paragraph automatically has the Body Copy style.
Note: If text does not appear in the Shortcut text box, make sure that you use the numbers
from the numeric keypad. In Windows, make sure that Num Lock is on.
4 Some designers prefer not to indent the first paragraph after a heading. Create a
paragraph style called “Body Copy No Indent” that is based on Body Copy and does not
have a first-line indent. For the Next Style option in Body Copy No Indent, select Body
Copy. Edit the heading styles so that the Next Style option is set to Body Copy No Indent.
306 LESSON 8
Importing and Editing Text

Review questions
1 How do you autoflow text? How do you flow text one frame at a time?
2 How can using styles save time?
3 When searching for text, you get a “Cannot find match” message. What are some
reasons InDesign failed to find a match?
4 While spell-checking your document, InDesign flags words used in other languages.
How can you fix this problem?

Review answers
1 When the loaded text icon appears after using the Place command or clicking an out
port, hold down Shift and click. To flow text one frame at a time, you can hold down
Alt (Windows) or Option (Mac OS) to reload the text icon after you click or drag to
create a frame.
2 Styles save time by letting you keep a group of formatting attributes together that you
can quickly apply to text. If you need to update the text, you don’t have to change each
paragraph formatted with the style individually. Instead, you can simply modify the style.
3 If you get a “Cannot find match” message, you may not have typed the text properly,
you may have selected Whole Word or Case Sensitive, or you may not have cleared
formatting used in a previous search. Another possibility is that you selected Story for
Search while the text you’re looking for is in a different story. Finally, you may be
searching for text that does not exist in your document.
4 Before you spell-check your document, select any phrase from a different language and
use the Character palette to specify the language for that text.
9 Working with Typography

Using InDesign tools, you can precisely

control the type and formatting of your
document. Palettes make it easy to change
fonts and type styles, modify the align-
ment, add tabs and indents, and apply
gradients and strokes to text.
310 LESSON 9
Working with Typography

In this lesson, you’ll learn how to do the following:

• Prepare and use a baseline grid.
• Change type spacing and appearance.
• Create special characters.
• Create a tabbed table with tab leaders and hanging indents.
• Insert glyphs in text using Open Type fonts.

Getting started
In this lesson, you’ll create one two-page spread for the annual report of the Sonata Cycles
company. Your work in this sample file will involve using one of the Open Type fonts that
shipped on the application CD with Adobe InDesign 2.0. Before you begin, make sure
that you have Adobe Caslon Pro installed on your machine, or install it now. See the
documentation for Open Type fonts on your InDesign application CD, and also see
“Installing the Classroom in a Book fonts” on page 2 of this Classroom in a Book.
Before you begin, you should restore the default preferences for Adobe InDesign.
1 To ensure that the tools and palettes function exactly as described in this lesson, delete
or deactivate (by renaming) the InDesign Defaults file and the InDesign SavedData file.
See “Restoring default preferences” on page 4.
2 Start Adobe InDesign.
To begin working, you’ll open an existing InDesign document.
3 Choose File > Open, and open the 09_a.indd file in the ID_09 folder, located inside the
Lessons folder within the IDCIB folder on your hard disk. If an alert message appears that
asks which dictionary file you want to use, click No (Windows) or Document (Mac OS).
Note: If you have not already copied the resource files for this lesson onto your hard disk from
the ID_09 folder from the Adobe InDesign 2.0 Classroom in a Book CD, do so now. See
“Copying the Classroom in a Book files” on page 3.
4 Choose File > Save As, rename the file 09_report.indd, and save it in the ID_09 folder.
 ADOBE INDESIGN 2.0 311
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5 If you want to see what the finished document will look like, open the 09_b.indd file in
the same folder. You can leave this document open to act as a guide as you work. When
you’re ready to resume working on the lesson document, choose its name from the
Window menu.

Adjusting vertical spacing

InDesign provides several options for customizing and adjusting the vertical spacing in
your document. You can automatically set the space between all lines of text using a
baseline grid. You can also set the space between each line or each paragraph separately,
using the Leading option in the Character palette or the Space Before/Space After options
in the Paragraph palette. In addition, you can use the Vertical Justification options in the
Text Frame Options dialog box to align text within a frame.
In this section of the lesson, you will use the baseline grid to align text.

Using a baseline grid to align text

One of the first things you may want to do, once you’ve decided on the font size and
leading for your document’s body text, is to set up a baseline grid (also called a leading
grid) for the entire document. Baseline grids represent the leading for your document’s
body text and are used to align the baselines of one column of text with the baselines of
neighboring columns.
Before you set the baseline grid, you’ll want to check the margin value for the top of your
document and the leading value for the body text, so that these elements work with the
grid in a cohesive design.
312 LESSON 9
Working with Typography

1 To view the top margin value for the document, choose Layout > Margins and Columns.
The top margin is set to 6p0 (6 picas, 0 points). Click Cancel to close the dialog box.
2 To determine the leading value, select the type tool ( ) in the toolbox and click in a
body-text paragraph. Then click the Character palette tab (or choose Type > Character)
to make the palette visible. Check the leading value ( ) in the Character palette. The
leading is set to 14 pt (14 points).
3 Choose Edit > Preferences > Grids (Windows, Mac OS 9) or InDesign > Preferences >
Grids (Mac OS 10.1) to set your grid options. In the Baseline Grid section, type 6 for Start
to match your top margin setting of 6p0. This option sets the location of the first grid line
for the document. If you use InDesign’s default value of 3p0, the first grid line would
appear above the top margin.
4 For Increment every, type 14pt to match your leading. When you select another
option, InDesign automatically converts the points value to picas (to 1p2).
5 Choose 100% for View Threshold.

The View Threshold option sets the minimum value at which you can see the grid on-
screen. At 100%, the grid appears in the document window only at magnifications of
100% or higher.
6 Click OK to close the dialog box.
 ADOBE INDESIGN 2.0 313
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Viewing the baseline grid

Now you’ll make the grid you just set up visible on-screen.
1 To view the grid in the document window, choose View > Show Baseline Grid. The grid
does not appear because the document view is lower than the grid’s View Threshold value.
Choose 100% from the magnification menu at the lower left corner of the document
window—the grid now appears on-screen.

Now you’ll use the Paragraph palette to align all the text to the grid. You can align multiple
stories independently of one another or all at once. You’ll align all the stories in this spread
simultaneously.
2 Click the Paragraph tab (or choose Type > Paragraph) to make the palette visible.

3 With the type tool still selected, click an insertion point anywhere in the first paragraph
on the spread, and then choose Edit > Select All to select all the text in the main story.
314 LESSON 9
Working with Typography

When applying paragraph attributes, it is not necessary to select an entire paragraph with
the type tool. Just select a portion of the paragraph or paragraphs you want to format. If you
are formatting only one paragraph, you can simply click in the paragraph to make an
insertion point.
4 In the Paragraph palette, click the Align to Baseline Grid button ( ). The text shifts so
that the baselines of the characters rest on the grid lines.

Before and after aligning the text to the baseline grid

5 If necessary, scroll to the left side of the spread so you can see the pull quote on the side
of the page; then click an insertion point in the pull quote.
6 In the Paragraph palette, click the Align to Baseline Grid button. Because this text is
formatted using 18 point leading, not the baseline grid leading value of 14pt or 1p2, aligning
to the grid causes the text to expand to every other grid line (using 28 point leading).

Before and after aligning the pull quote to the baseline grid

7 Save the file.

 ADOBE INDESIGN 2.0 315
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Changing the spacing above and below paragraphs

When you apply a space before or after a paragraph that you have previously aligned to
grid, the space automatically adjusts to the next highest multiple of the grid value. For
example, if your grid is set to 14 points (1p2) and you specify Space After of any value
under 14, InDesign automatically increases the space value to 14; if you specify a value
over 14, such as 16, InDesign increases it to the next higher multiple—28. You can use the
Space Before or Space After value instead of the Baseline Grid value, by selecting the Do
Not Align to Baseline Grid option for the affected paragraph.

No space (left), space adjusted to fit grid at 28 pt (middle), and actual space value at 16 pt (right)

Here you’ll increase the space below the second paragraph of the main story. All other
paragraphs in the spread have already been formatted with a 1p2 Space After value.
1 Make sure that the type tool ( ) is still selected, and click anywhere in the second
paragraph on the page on the left (page 2).
2 In the Paragraph palette, type 1p2 for Space After ( ) and press Enter or Return. The
text in the next heading shifts automatically to the next grid line.

Before and after applying a Space After value to the upper paragraph
316 LESSON 9
Working with Typography

Now you’ll increase the space before the heading “The Dos Ventanas Cycling Partnership”
to give it even more space.
3 Click an insertion point in the heading “The Dos Ventanas Cycling Partnership.” In the
Paragraph palette, type 0p6 for Space Before ( ) and then press Enter or Return. Because
you previously aligned the heading to the baseline grid, the Space Before jumps to
14 points instead of 6 points.
To use the 0p6 value instead of 14, and to add more space between the heading and the
following paragraph, you’ll unalign the heading from the grid.
4 With an insertion point still in the heading “The Dos Ventanas Cycling Partnership,”
click the Do Not Align to Baseline Grid button ( ) in the Paragraph palette. The
heading shifts upward a bit, away from the body text below.

Before and after unaligning the heading from the baseline grid

This heading and the heading on the page on the right (page 3) are formatted using the
Head 1 style. To automatically update the second heading so that it uses the same spacing
values as the heading you just edited, you’ll redefine the style.
5 Click the Paragraph Styles palette tab (or choose Type > Paragraph Styles) to make the
palette visible.
6 Click an insertion point in the heading “The Dos Ventanas Cycling Partnership.”
Notice that a plus sign (+) appears after the Head 1 style name in the palette. This sign
indicates that the formatting for the selected text is different from the original formatting
for the style.
 ADOBE INDESIGN 2.0 317
Classroom in a Book

7 Click the palette menu button (to the right of the Paragraph Styles tab), and choose
Redefine Style from the Paragraph Styles palette menu. The Head 1 style now takes on the
formatting of the current text.

Notice that the plus sign disappears and that space is added above the heading on page 3.
8 To apply all the same alignment characteristics to another heading, click the type tool
in the “Our New Chain of Stores” heading on page 3, and then select the Head 1 style in
the Paragraph Styles palette to apply the redefined style.
9 Save the file.

Changing fonts and type style

Changing the fonts and type styles of text can make a dramatic difference in the
appearance of your document. Here you’ll change the font family, type style, and size for
the text in one of the pull quotes along the border of the spread. You’ll make these changes
using the Character palette.

About fonts
A font is a complete set of characters—letters, numbers, and symbols—that share a common weight, width,
and style, such as 10-pt Adobe Garamond Bold.
Typefaces (often called type families or font families) are collections of fonts that share an overall
appearance, and are designed to be used together, such as Adobe Garamond.
A type style is a variant version of an individual font in a font family. Typically, the Roman or Plain (the
actual name varies from family to family) member of a font family is the base font, which may include type
styles such as regular, bold, semibold, italic, and bold italic.

–From the Adobe InDesign User Guide, Chapter 4

318 LESSON 9
Working with Typography

1 Click the Character palette tab (or choose Type > Character).
2 Using the type tool ( ), click inside the pull quote on the left side of page 2, and then
choose Edit > Select All to select the entire paragraph.

3 In the Character palette, select Adobe Caslon Pro from the Font Family menu and
Semibold Italic from the Type Style menu.
4 In Font Size ( ), type 15 and press Enter or Return.

5 Choose Edit > Deselect All to deselect the text. Notice how the text stays aligned to the
grid even after changing these attributes.
Because Adobe Caslon Pro is an Open Type font, you can use the Glyph palette to select
alternatives for many characters.
6 Select the first character (the “W”) of the pull quote, and then choose Type > Insert
Glyphs.
 ADOBE INDESIGN 2.0 319
Classroom in a Book

7 In the Glyphs palette, select Alternates for Selection in the pop-up menu, to see just the
alternates for “W.” Then double-click the more script-like “W” alternate to replace the
original character in the pullquote.

8 You won’t be using the baseline grid for the remainder of the lesson, so you can hide it
from view. To hide it, choose View > Hide Baseline Grid. Then save the file.

Changing paragraph alignment

You can easily manipulate how a paragraph fits in its text frame by changing the
alignment. You can align text with one or both edges of a text frame or text-frame inset.
Justifying text aligns both edges. In this section, you’ll justify the pull quote.
1 Using the type tool ( ), click an insertion point in the pull quote on page 2.
320 LESSON 9
Working with Typography

2 Click the Paragraph palette tab (or choose Type > Paragraph), and then click the Justify
All Lines button ( ).

Before and after justifying text

Adding a decorative font and special character

Now you’ll add a decorative font character and a flush space (special character) to the end
of the pull quote. Used together, a decorative font and flush space can make a dramatic
difference in the look of a justified paragraph.
1 Using the type tool ( ), click an insertion point in the pull quote, just after the final
period.
2 If the Glyph palette is not still open, choose Type > Insert Glyph.
3 In the Glyph palette, for Show, select Entire Font, and then scroll down the pop-up
menu in the lower left corner and select Adobe Wood Type.
 ADOBE INDESIGN 2.0 321
Classroom in a Book

4 Select Adobe Wood Type for the font family and Ornaments 2 for the type style.

5 From the scrollable list select the first character in the first row and double-click to
insert the character. The character appears at the insertion point in the document. You’re
finished with the Glyph palette for this lesson so you can close it now, and then save your
work.

Notice how the word spacing in the last line of the pull quote has an overly large space in
the center. You can address this by adding a flush space to the end of the paragraph. A
flush space adds a variable amount of space to the last line of a fully justified paragraph.
You’ll insert the flush space between the period and the decorative end-of-story character
you just added.
322 LESSON 9
Working with Typography

You could add a flush space using the Type menu, but this time you’ll use the context
menu to do the job.
6 Using the type tool, click an insertion point between the final period and the Wood
Type decorative character.
7 Right-click (Windows) or Control-click (Mac OS) and choose Insert White Space >
Flush Space.

Before and after applying a flush space

 ADOBE INDESIGN 2.0 323
Classroom in a Book

Applying special font features

You can add creative touches to your document using the special InDesign font features.
For example, you can make the first character or word in a paragraph a drop cap, or apply
a gradient or color fill to text. Other features include superscript and subscript characters,
plus ligatures and oldstyle numerals for fonts families with those features.

Applying a gradient to text

InDesign makes it easy to apply gradients to the fill and stroke of text characters. You can
apply gradients to an entire text frame or to different character ranges within a frame.
Here you’ll apply a gradient to the pull quote on page 2. You’ll use a gradient swatch that
was previously created and added to the Swatches palette.

About adjusting text gradients

A gradient’s endpoints are always anchored in relation to the bounding box of the gradient’s path or text
frame. Individual text characters display the part of the gradient over which they are positioned. If you resize
the text frame or make other changes that cause text characters to reflow, the characters are redistributed
across the gradient, and the colors of individual characters change accordingly.

colored pieces captiv

the center of couldn’t stop investig
as he took piece fron with the past.
treasure to make the
coolly looked aroun
seemed not to notic the center of
the island. as he took piece fron
treasure to make the
coolly looked aroun
A B C

If you want to adjust a gradient so that its complete color range spans a specific range of text characters, you
have two options:
• Use the gradient tool to reset the gradient’s endpoints so that they span only the characters you selected
when you applied the gradient.
• Select the text and convert it to outlines (editable paths), and then apply a gradient to the resulting
outlines.

–From the Adobe InDesign User Guide, Chapter 11

324 LESSON 9
Working with Typography

1 Click the Swatches palette tab (or choose Window > Swatches) to make the palette visible.

2 Make sure that the type tool ( ) is still selected, triple-click in the first line of the pull
quote on page 2, and then drag to select all of the text in the paragraph.

By default, a triple-click of the type tool selects only one line of text. You can change this
setting in the Preferences dialog box so that a triple-click selects an entire paragraph. To do
this, choose Edit > Preferences > Text (Windows, Mac OS 9) or InDesign > Preferences >
Text (Mac OS 10.1) and deselect the Triple Click to Select a Line check box.
3 Select the Fill box ( ) in the toolbox, and then select the Text Gradient swatch in the
Swatches palette (you may need to scroll). To see the gradient, choose Edit > Deselect All.

Applying a gradient swatch to selected text creates a left-to-right gradient fill.

 ADOBE INDESIGN 2.0 325
Classroom in a Book

Notice how the gradient flows from the left to right. If you want to change the direction
of the gradient, you can use the gradient tool. You’ll do that now to make the gradient flow
from top to bottom, like the pull quote on page 3.
4 Using the type tool, reselect all of the text in the pull quote.
5 Select the gradient tool (not the Gradient button) in the toolbox ( ), and drag a line
from the top to the bottom of the highlighted text. To ensure that you draw a straight line,
hold down the Shift key as you drag.

The gradient tool (left) lets you set the direction of the gradient fill.

To view the gradient fill, you’ll use a keyboard shortcut to deselect all the text.
6 Press Shift+Ctrl+A (Windows) or Shift+Command+A (Mac OS) to deselect the text.
326 LESSON 9
Working with Typography

Creating a drop cap

Here you’ll create a three-letter drop cap in the first paragraph of the document.
1 Using the type tool ( ), click an insertion point anywhere in the first paragraph on
page 2.
2 In the Paragraph palette, type 3 for Drop Cap Number of Lines ( ) to make the letters
drop down three lines. Then type 3 for Drop Cap One or More Characters ( ) to enlarge
the first three letters. Press Enter or Return.

Before and after applying the drop cap

Applying a fill and stroke to text

Next, you’ll add a fill and stroke to the drop cap letters you just created.
1 With the type tool ( ) still selected, select the drop cap characters on page 2.
2 If necessary, select the Fill box in the toolbox ( ).
3 In the Swatches palette, select Sonata Red. InDesign fills the letters with red, though
you can’t see it yet because the text is still selected.
Note: If you don’t see Sonata Red in the palette, click the Show All Swatches button ( ).
4 Select the Stroke box in the toolbox ( ).
5 In the Swatches palette, select Black. A stroke appears around each of the letters.
The default size of the stroke is 1 point, which is a little heavy for the letters. You’ll change
it to a half point.
6 Choose Window > Stroke to open the Stroke palette.
 ADOBE INDESIGN 2.0 327
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7 In the Stroke palette, choose 0.5 pt for Weight. Then, press Shift+Ctrl+A (Windows)
or Shift+Command+A (Mac OS) to deselect the text to view the fill and stroke effect.

Original drop cap (left), drop cap with color fill (middle), and drop cap with fill and stroke (right)

8 Close the Stroke palette, and then save the file.

Adjusting letter and word spacing

You can change the spacing between words and letters using InDesign’s kerning and
tracking features. You can also control the overall spacing of text in a paragraph by using
the single-line or multi-line composers.

About tracking and kerning

Kerning is the process of adding or subtracting space between specific pairs of characters. Tracking is the pro-
cess of loosening or tightening a block of text.
You can automatically kern type using metrics kerning or optical kerning. Metrics kerning uses kern pairs,
which are included with most fonts. Kern pairs contain information about the spacing of specific pairs of
characters. A sample of these are: LA, P., To, Tr, Ta, Tu, Te, Ty, Wa, WA, We, Wo, Ya, Yo, and yo. InDesign
uses metrics kerning by default so kern pairs are automatically honored when you import or type text.
Some fonts include robust kern-pair specifications. However, when a font includes only minimal built-in
kerning or none at all, or if you use two different typefaces or sizes in one or more words on a line, you may
want to use the optical kerning option. Optical kerning adjusts the spacing between adjacent characters based
on their shapes.

–From the Adobe InDesign User Guide, Chapter 4

328 LESSON 9
Working with Typography

Adjusting the kerning and tracking

In InDesign you can control the space between letters by using the kerning and tracking
features. Kerning is the process of adding or subtracting space between specific letter
pairs. Tracking is the process of creating an equal amount of spacing across a range of
letters. You can use both features on the same text.
Here you’ll manually kern some letters in the heading “The Dos Ventanas Cycling
Partnership” to close up noticeable gaps. Then you’ll track the heading to bring it all onto
one line.
1 To distinguish the amount of space between letters more easily and to see the results of
the kerning more clearly, select the zoom tool ( ) in the toolbox and drag a marquee
around the heading “The Dos Ventanas Cycling Partnership.”
2 If necessary, adjust the zoom level in the magnification menu in the lower left corner
of the document window.
3 Select the type tool ( ) and click an insertion point between the “V” and the “e” in the
word “Ventanas.”
4 Press Alt+Left Arrow (Windows) or Option+Left Arrow (Mac OS) to move the letter
“e” to the left. Press this key combination repeatedly until the two adjacent letters look
visually pleasing to you. We pressed it four times.
Note: The kerning value changes in the Character palette as you press the key combination.

Before and after kerning

5 If you’ve moved the letter too far, press Alt+Right Arrow (Windows) or Option+Right
Arrow (Mac OS) to move the letter to the right.
6 Click an insertion point between the “P” and the “a” in the word “Partnership.”
 ADOBE INDESIGN 2.0 329
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7 Press Alt/Option+Left Arrow to move the letter “a” to the left. Press this key combi-
nation repeatedly until the two adjacent letters look visually pleasing to you. We pressed
it four times.

Before and after kerning

Now you’ll set a tracking value for the entire heading “The Dos Ventanas Cycling
Partnership” to condense the overall spacing and bring it all onto one line. To set tracking
you must first select the entire range of characters you want to track.
8 Choose 200% from the magnification menu at the lower left corner of the document
window to view more of the page on-screen.
9 Triple-click “The Dos Ventanas Cycling Partnership” to select the entire heading.
10 Click the Character palette tab (or choose Type > Character). Then select -5 for
Tracking ( ) and press Enter or Return.

Before and after tracking

Now you’ll use a keyboard shortcut to deselect the text.

11 Press Shift+Ctrl+A (Windows) or Shift+Command+A (Mac OS).
12 Press Ctrl+1 (Windows) or Command+1 (Mac OS) to return to a 100% view.
13 Save the file.
330 LESSON 9
Working with Typography

Applying the paragraph and single-line composers

The density of a paragraph (sometimes called its color) is determined by the composition
method used. When composing text, InDesign considers the word spacing, letter spacing,
glyph scaling, and hyphenation options you’ve selected, and then evaluates and chooses
the best line breaks. InDesign provides two options for composing text: the paragraph
composer, which looks at all the lines in the paragraph, or the single-line composer,
which looks separately at each individual line.
When you use the paragraph composer, InDesign composes a line by considering the
impact on the other lines in the paragraph; in the end, the best overall arrangement of the
paragraph is established. As you change type in a given line, previous and subsequent
lines in the same paragraph may break differently, making the overall paragraph appear
more evenly spaced. When you use the single-line composer, which is the standard for
other layout and word-processing programs, only the lines following the edited text are
recomposed.
The text in this lesson was composed using the default, the Adobe Paragraph Composer.
To see the difference between the two, you’ll recompose the pull quote text using the
single-line composer.
1 With the type tool ( ) still selected, click an insertion point in the pull quote on
page 2.
2 Click the Paragraph tab (or choose Type > Paragraph). Choose Adobe Single-line
Composer from the Paragraph palette menu.

Notice that the text no longer fits in the text frame and each line has a different density.
The single-line composer looks at each line individually and, consequently, can make
some lines in a paragraph appear more dense or sparse than others.
 ADOBE INDESIGN 2.0 331
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Because the paragraph composer looks at multiple lines at once, it makes the density of
the lines in a paragraph more consistent.
3 On the Paragraph palette menu, choose Adobe Paragraph Composer. Notice that the
lines of text now have a consistent density and all the text fits neatly in the text frame.

Pull quote formatted using the Adobe Single-line Composer (left), and the Adobe Paragraph Composer (right)

Working with tabs

You can use tabs to position text in specific horizontal locations in a frame. Using the Tabs
palette, you can organize text and create tab leaders, indents, and hanging indents. Here
you’ll format the information at the top of page 3 using the Tabs palette. The tab markers
have already been entered in the text, so all you will be doing is setting the final location
of the text.
1 If necessary, scroll to the top of page 3 until the table appears on-screen.
2 (Optional) If you want to view the tab markers in the table, choose Type > Show
Hidden Characters, and make sure that Normal View Mode ( ) is selected in the toolbox.
If you decide not to keep them showing as you work, choose Type > Show Hidden
Characters again.
3 Using the type tool ( ), click in the word “Category” at the top of the table.
332 LESSON 9
Working with Typography

4 Choose Type > Tabs to open the Tabs palette. When an insertion point is in a text
frame, the Tabs palette snaps to the border of the frame so that the measurements in the
palette’s ruler exactly match the text.
5 To center the page on your screen, double-click the page 3 icon in the Pages palette.
Because the Tabs palette moves independently of the table, the two are no longer aligned.
6 Click the magnet icon ( ) in the Tabs palette to realign the palette with the text.

Clicking the magnet icon in the Tabs palette aligns the ruler with the selected text.

Note: If the Tabs palette did not snap to the table, part of the text block may be hidden from
view, or there may not be enough room for the Tabs palette between the table and the top of
the document window. Scroll as necessary, and then click the magnet icon ( ) again.
7 Using the type tool, select all of the text in the table’s text frame, from the word
“Category” to the number “$110,000.”
8 In the Tabs palette, click the Center-Justified Tab button ( ) so that when you set the
new tab positions, they will align from the center.
 ADOBE INDESIGN 2.0 333
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9 In the Tabs palette, position the pointer in the top third of the ruler, just above the
numbers, and then click to set tab markers at the following locations: 24, 29, 34, 40, and 45.
You can view the location of the pointer on the ruler in the X: text box (above the left side
of the ruler). To precisely set the value, drag in the ruler while watching the X value before
releasing the mouse button.

The value in the X: text box indicates the location of the selected tab.

Note: If you don’t get the tab locations correct the first time, you can select the tab in the ruler
and type the location in the text box.
10 Press Shift+Ctrl+A (Windows) or Shift+Command+A (Mac OS) to deselect the text
and view the new tab settings.

Now you’ll set a tab leader for some of the tabs.

334 LESSON 9
Working with Typography

11 Select all the text in the table from “Mountain” to “$110,000.”

12 In the Tabs palette, click the first tab arrow along the ruler to select it so that the leader
you create will affect any selected tabs at that tab marker.

13 In the Leader text box, type ._ (period, space) and press Enter or Return. You can use
any character as a tab leader. We used a space between periods to create a more open dot
sequence.

14 Deselect the table text and view the leaders.

 ADOBE INDESIGN 2.0 335
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Creating a hanging indent

Now you’ll use the Tabs palette to create hanging indents. The text frame for this table has
an inset value of 6 points at the top and 9 points on the sides and bottom. (To see the inset
values, choose Object > Text Frame Options.) An inset sets the text apart from the frame;
now you’ll set it apart even more by indenting the three categories in the table.
You can set an indent in the Tabs palette or the Paragraph palette. You’ll keep the
Paragraph palette visible so you can see how the values change there, too.
1 Make sure that the Paragraph palette is visible.
2 In the table, use the type tool ( ) to select all the text from “Mountain” to “$110,000.”
3 Make sure that the Tabs palette is still aligned directly above the table. If it has moved,
click the magnet icon ( ).
4 In the Tabs palette, drag the indent markers ( ) on the left side of the ruler to the right
until the X value is 2p0. Dragging the bottom marker moves both at once. Notice how all
the text shifts to the right and the indent option in the Paragraph palette changes to 2p0.
Don’t deselect the text yet.

Now you’ll bring just the category headings back to their original location in the table to
create a hanging indent.
336 LESSON 9
Working with Typography

5 In the Tabs palette, drag the top half of the indent marker to the left until the X: value
is -2p0. Deselect the text and view the hanging indent.

6 Close the Tabs palette and save the file.

Note: You can also create tables of information using the Table menu and Table palette. For
more information, see Lesson 10, “Creating Tables.”

Adding a rule below a paragraph

You can also add a rule, or line, above or below a paragraph. Rules change in size in
relation to changes to the paragraph’s text frame. For example, if you make the text frame
wider, the rule also becomes wider. Here you’ll add a rule under the table headings.
1 Using the type tool ( ), click an insertion point in the word Category in the table.
2 From the Paragraph palette menu, choose Paragraph Rules.

3 In the Paragraph Rules dialog box, choose Rule Below from the menu at the top of the
dialog box, and then select Rule On to activate the rule.
 ADOBE INDESIGN 2.0 337
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4 To view the rule as you select your options, select Preview and move the dialog box so
that it is not obstructing your view of the heading.
5 For Weight, choose 1 pt; for Color, choose Sonata Red; for Width, choose Column; and
for Offset, type 0p9. Then click OK.

6 Save the file.

On your own
Now that you have learned the basics of formatting text in an InDesign document, you're
ready to apply these skills on your own. Try the following tasks to improve your typog-
raphy skills.
1 Create a one-letter, three-line raised cap (as opposed to a drop cap) for the word “The”
that appears at the beginning of the last paragraph on page 2 of the final 09_report.indd
file. The basic steps to achieve this effect are: (A) Create a three-line drop cap for the
paragraph. (B) Click an insertion point after the first letter in the paragraph, and then
press Enter/Return twice to move the text down. Another drop cap is created. (C) Set the
new Drop Cap values to 0.
338 LESSON 9
Working with Typography

2 Refine the appearance of the raised cap by kerning the first and second letters as shown:

Original drop cap (left), second drop cap, created to make raised cap (middle), raised cap (right)

3 Use the eyedropper tool ( ) to apply the color from the bicycle photo in the left
column to the raised cap. The basic steps to achieve this effect are: (A) Use the type tool
to select the raised cap. (B) Click the eyedropper tool. (C) Click the bicycle photo. You
may also want to experiment with using the eyedropper tool to apply text formatting to
other text.

Use the eyedropper tool to apply an image’s color to text.

4 Use the context menu to add a copyright symbol to the end of the company name
“Sonata Cycles” in the first paragraph on page 2.
5 Apply Optical Margin Alignment to each paragraph in the main story (everything
except the pull quotes and table). You can access the Optical Margin Alignment feature
from the Story command in the Type menu. Make sure that to set the font size correctly.
 ADOBE INDESIGN 2.0 339
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Review questions
1 How do you view a baseline grid?
2 When and where do you use a flush space?
3 How do you apply a gradient to only a few words or characters in a paragraph?
4 What is the difference between the multi-line composer and the single-line composer?

Review answers
1 To view a baseline grid, choose View > Show Baseline Grid. The current document
view must be at or above the View Threshold set in the Baseline Grid preferences. By
default, that value is 75%.
2 You use a flush space on justified text. For example, if used with a special character or
decorative font at the end of a paragraph, it absorbs any extra space in the last line.
3 To apply a gradient to a specific range of characters, you first select the text with the
type tool. Next, you apply the gradient to the text. If the entire range of colors does not
appear, select the gradient tool and drag from one end of the selected text to the other in
the direction you want the gradient to flow.
4 The multi-line composer evaluates multiple lines at once when determining the best
possible line breaks. The single-line composer looks at only one line at a time when deter-
mining a line break.
10 Creating Tables

Although tables are an efficient and effec-

tive way to communicate large amounts
of information, that doesn’t mean that
they can’t be visually rich and easy to
develop. With the new InDesign 2.0 table
features, you can quickly create your own
tables or import tables from other appli-
cations.
344 LESSON 10
Creating Tables

In this lesson you’ll learn how to do the following:

• Import formatted tables from other applications, such as Microsoft Word and
Microsoft Excel.
• Format tables with alternating row colors.
• Format cell and border strokes.
• Apply colors to individual rows.
• Delete and resize columns.
• Set precise column dimensions.
• Place single or multiple graphics within a cell.
• Format text in tables by columns and by rows.
• Work with tables embedded in frames that contain other text.

Getting started
In this lesson you’ll work on a fictional magazine spread that takes tables of information
and brings them into the world of effective visual design. You’ll work with tables using the
new Table palette that gives you complete control over true table features.
To ensure that the tools and palettes function exactly as described in this lesson, delete
or deactivate (by renaming) the InDesign Defaults file and the InDesign SavedData
file. See “Restoring default preferences” on page 4.
1 Start Adobe InDesign.
2 Choose File > Open, and open the 10_a.indd file in the ID_10 folder inside the Lessons
folder located in the IDCIB folder on your hard disk. If an alert message appears that asks
which dictionary file you want to use, click No (Windows) or Document (Mac OS).
Note: If you have not already copied the resource files for this lesson onto your hard disk from
the ID_10 folder from the Adobe InDesign 2.0 Classroom in a Book CD, do so now. See
“Copying the Classroom in a Book files” on page 3.
3 Choose File > Save As, name the file 10_Gardens, and save it in the ID_10 folder in the
IDCIB folder on your hard disk.
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4 If you want to see what the finished document will look like, open the 10_b.indd file in
the same folder. You can leave this document open to act as a guide as you work. When
you’re ready to resume working on the lesson document, choose Window >
10_Gardens.indd.

In the Pages palette of your 10_Gardens.indd document, notice that page 1 and page 2 are
on different spreads. You want those pages to face each other in a single spread,
numbering them pages 2 and 3.
5 Choose Layout > Numbering & Section Options, and then select the Start Page
Numbering At option and type 2. Click OK to close the dialog box.
346 LESSON 10
Creating Tables

6 On the Pages palette menu, choose Keep Spread Together.

7 Open the Layers palette, and make the following adjustments:

• (Optional) Click the eye icon ( ) for the Background layer to hide that layer. This will
make it easier to see guides and frame edges.
• Select the Table layer to target it.
• Leave the Text and Trees layers locked ( ) so that you don’t accidentally change them
while you work on the first table.
 ADOBE INDESIGN 2.0 347
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Importing and formatting a table

If you’ve worked with tables before, you already know that tables are grids of individual
cells set in rows (horizontal) and columns (vertical). The border of the table is a stroke
that lies on the outside perimeter of the entire table. Cell strokes are lines within the table
that set the individual cells apart from each other. Many tables include special rows or
columns that describe the category of information it contains. Typically, these are in the
top row, the first column, or both.
InDesign 2.0 can import tables from various other applications, including Microsoft
Word and Microsoft Excel. In this section, you’ll import a table that was created in Word.
This table contains all the information about the garden tour that you want in your
InDesign layout, organized into rows and columns.
1 In the Pages palette, double-click page 3 to center it in the document window.
2 On the View menu, make sure that the Snap to Guides command is selected, as
indicated by a checkmark. If the Show Guides command is available, select it now.
3 Choose File > Place, and then navigate to the ID_10 folder and double-click the
10_c.doc file.
4 Move the pointer, which now appears as a loaded text icon ( ), to the intersection of
the left margin of page 3 and the guide, at the 1.5-inch mark of the vertical ruler. Click
once to place the table document.

The table is there, not just as text but in table format with rows, columns, and cells.
Because it is a table, text wraps within the cells and you can make selections according to
rows, columns, or the entire table.
348 LESSON 10
Creating Tables

The frame for the table fills the page from margin to margin, although the table itself does
not cover that much space. Leave the frame in its current size because your table will grow
larger as you set cell dimensions, add graphics, and format text.

Formatting borders and alternating row colors

InDesign 2.0 includes many easy-to-use formatting options for tables. You can use these
to make your tables both attractive and easy for readers to understand, so that they find
the information they need quickly and comfortably.
1 Choose Window > Links to open the Links palette, and examine it to be sure that the
10_c.doc file is selected or select it now. Then, on the Links palette menu, choose Unlink.

The reason for unlinking the table file now is that you are about to begin formatting the
table within InDesign. If you change the formatting of an imported table in InDesign and
then update the link to the original file, all of your InDesign formatting work is lost.
2 Using the zoom tool, click the upper left area of page 3 to increase the magnification to
100% or more. Then select the type tool ( ).
 ADOBE INDESIGN 2.0 349
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3 Move the pointer to the upper left corner of the imported table, so that the pointer
appears as a heavy diagonal arrow, and click once to select the entire table.

Increase the magnification if you experience difficulty getting the diagonal arrow to
appear. An alternate way to select an entire table is to click the type tool anywhere in the table
and then choose Table > Select > Table. If the type tool is not selected, this command is not
available.
4 Choose Table > Table Options > Table Setup. (Or, choose the same commands on the
Table palette menu.) The Table Options dialog box opens at the Table Setup tab.
5 Under Table Border, set the following options: the Weight as 1, the Type as Solid, and
the Color as [Black].
350 LESSON 10
Creating Tables

6 Then click the Fills tab and set the following options:
• For Alternating Pattern, select Every Other Row.
• Under First, select Color as C=75 M=5 Y=100 K=0, and then type 25% for Tint.
• Under Next, select Color as [Paper].
• In Skip First, type 1 so that the alternating colors start on row 2 (the row below the
headings).

7 Click OK to close the dialog box, and then choose Edit > Deselect All so that you can
see the results.
Now the even-numbered rows have a pale green fill color behind the black text.

Adding cell strokes

Another way you can help your readers to interpret table information is to add strokes
around each cell.
1 Select the type tool ( ) and again move the pointer to the upper left corner of the table
until it turns into a diagonal arrow, and then click to select the entire table.
2 Choose Table > Cell Options > Strokes and Fills.
 ADOBE INDESIGN 2.0 351
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3 In the Cell Stroke area of the dialog box, select the following options:
• For Weight, type 0.5" , using the quotation mark to designate inches, or type 0.5 in.
• For Type, select Solid.
• For Color, select [Black], and then click OK.

4 Choose Edit > Deselect All to see the results of your formatting.

Formatting the heading cells

Another element that makes reading a table easier is to set the categories apart from the
table data. By making the categories visually distinctive, your readers are more likely to
comprehend the table in a glance and find information quickly. In this procedure, you’ll
set insets, so that the text doesn’t crash with the cell strokes, and then give the heading row
of cells a unique color fill.
352 LESSON 10
Creating Tables

1 Using the type tool ( ), move the pointer over the left edge of the first row until it
appears as a heavy horizontal arrow ( ). Then click to select the entire first row.

2 Choose Table > Cell Options > Text.

3 On the Text tab, set the following options:
• Under Cell Insets, type 0.086" (or 0.086 in) for Bottom. If the Top, Left, and Right
values are not already 0.0556", type that number in each of those options.
• Under Vertical Justification, for Align, select Bottom.
• For First Baseline, make sure that the Offset is set as Ascent. Leave the dialog box open.
 ADOBE INDESIGN 2.0 353
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4 On the Strokes and Fills tab, leave the Cell Stroke value as it is (0.5 pt, Solid, [Black],
100%). For the Color option under Cell Fill, select C=15 M=100 Y=100 K=0. Leave the
Tint at 100%, and leave the dialog box open.

5 On the Rows and Columns tab, for Row Height, select Exactly on the pop-up menu,
and then type 0.5".

6 Click OK to close the dialog box, and then deselect to see the results of your work.
The heading row of the table now appears formatted with white type against a deep red
background.
354 LESSON 10
Creating Tables

Deleting a column
After you create or import a table, you can add or delete entire rows or columns to or from
your table structure. Sometimes, you’ll want to delete just the contents of a cell, row, or
column. Other times, you’ll want to delete the cell, row, or column itself, including its
contents. The techniques for these two procedures differ slightly so that you make the
exact edits that you intend.
The information in the column on the far right of this table is out of date and no longer
relevant, so you’ll delete the entire column now.
1 Using the type tool ( ), move the pointer to the top edge of column 6 (the last column,
on the right) until the pointer turns into a heavy downward-pointing arrow ( ). Then
click to select the entire column.

2 Press Delete. The selected text disappears but the column of now-empty cells is still in
the table. Obviously, you need to do something else to remove the entire column. Select
Edit > Undo.
3 If the column is not still selected, click the type tool in any of the text in one of the cells
in column 6. (You do not have to select the whole column.)
4 Choose Table > Delete > Delete Column. Now the entire column disappears.

You’ll find more commands on the Table menu and Table palette menu for inserting
additional columns and rows, for deleting rows and entire tables, and for selecting rows,
columns, cells, and entire tables.
 ADOBE INDESIGN 2.0 355
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Using graphics within tables

As a designer, you know that the visual display of information is a powerful way to
communicate because it is easy to read and understand. You can use InDesign tables to
create effective tables that combine text, photographs, and illustrations. The techniques
involved are as easy as working with text.
In this section, you’ll adjust your table formatting so that the cells are the correct sizes for
the graphics you’ll place in them. Then you’ll put graphics into those cells.

Setting fixed column and row dimensions

You can define the sizes of cells, columns, or rows to fit precise measurements. In this
topic, you will adjust the size of the first column so that the one-inch photographic
images fit nicely within the cells.
1 Using the type tool ( ), select the first column, either by dragging from top to bottom
or by clicking the top edge of the column when the heavy downward-pointing arrow
appears ( ). Or, you can click in any cell of the column and select Table > Select >
Column.
2 Choose Window > Table to show the Table palette, if it is not already visible. In the
Column Width option ( ), type 1.15 in (or 1.15"), and press Enter. Then click anywhere
in the table to deselect the column.
3 Again using the type tool, drag down from the second cell in column 1 to select all the
cells except the heading cell at the top of the column.
356 LESSON 10
Creating Tables

4 In the Table palette, select Exactly in the Row Height option and type 1.15 in. Press
Enter.

Placing graphics in table cells

To save you some time, most of the images you’ll place within the table are already placed
on the pasteboard of the lesson file. In this procedure, you’ll just cut and paste these
images one by one into the cells of the first table column. To begin, you’ll import one
image that is not yet part of the InDesign file.
1 Using the type tool, click to place the insertion point in the first cell in the second row
(just below the “Detail” cell).
2 Choose File > Place, and locate the 10_d.tif file in your ID_10 folder. Double-click to
open the file. The photographic image appears in the first cell.

3 Adjust the document-window magnification and scroll horizontally as needed so that

you can see both column 1 and the vertical row of photographs on the pasteboard, just to
the right of page 3.
 ADOBE INDESIGN 2.0 357
Classroom in a Book

4 Using the selection tool ( ), select the top photograph on the pasteboard to the right
of the spread. Then choose Edit > Cut.

5 Switch to the type tool and click to place a cursor in the next table cell below the photo-
graph you placed in step 2 (that is, in the third row of column 1).
6 Choose Edit > Paste.

7 Continue cutting and pasting to place each of the remaining five photographs into the
empty cells in column 1, proceeding from top to bottom.
Note: You cannot simply drag items into table cells. Dragging would merely position the item
above or below the table in the layout stacking order, not place the item within a cell. It is the
nature of tables that this work requires you to use the type tool as you place or paste content
into cells.
358 LESSON 10
Creating Tables

Placing multiple graphics in a cell

Essentially, the images you place or paste into table cells are inline graphics in text.
Because of this, you can add as many images to a single cell as the dimensions of the cell
can accommodate.
1 Using the selection tool ( ), select the wheelchair graphic on the pasteboard.

2 Choose Edit > Copy.

3 Switch to the type tool, and look in column 5 for the first instance of the word disabled.
Double-click the select the entire word and the comma. It is probably easiest to also select
the space between that word and the next one.
 ADOBE INDESIGN 2.0 359
Classroom in a Book

4 Choose Edit > Paste. If you selected the space after the comma, press the spacebar to
add a space after the graphic.

5 Find the remaining instances of the word Disabled in the remaining cells of that
column, select them, and paste to replace the text with the wheelchair graphic.
6 Repeat this entire process for each of the remaining words and icons: Baby, Bus, Taxi,
Lockers, Retail, Coffee, and Dining.

Note: If you are unsure which icon is which, select the icon with the selection tool and then
look at the Links palette to see which file is selected. The icon files have descriptive names.
Because you haven’t yet adjusted the column widths, your icons may overlap each other
vertically at this phase of your work. You’ll fix that in the next section.
360 LESSON 10
Creating Tables

Formatting text within a table

All that remains in your table project is to make some final adjustments so that the text,
graphics, and table spacing harmonize with the rest of the spread.

Apply Character Styles to text in a table

If you are already comfortable formatting text in text frames, then formatting text in
tables will be an easy and natural extension of your InDesign skills.
1 Using the type tool ( ), click anywhere in the words Garden name in the first row of
your table. Then choose Table > Select > Row.
2 Choose Type > Character Styles to make the Character Styles palette visible, and then
select the Table Head character style in that palette to apply that style to the first-row text.
3 In the second column, double-click the name Anreuten-Wynne to select it and then
drag down to select all the garden names in that column, being careful not to include the
text in the header.

4 In the Character Styles palette, select Table Names to apply that style to the selected
text.
 ADOBE INDESIGN 2.0 361
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5 Using the same technique as in step 3, select all the cells in columns 3 and 4 except those
in the first row. Then use the Character Styles palette to apply the style Table Details to
this text.

6 Select all the text cells except the headings in columns 2, 3, and 4.

7 In Table palette, under Top Cell Insert ( ), type 0.08" and press Enter.
Notice that some of the text no longer fits well into the cells. You’ll fix that next.

Dragging to adjust column size

When an ordinary text frame contains a story that doesn’t completely fit into the assigned
space, the out port for the frame displays a red plus sign (+), indicating that there is
overset text. You would solve that either by enlarging the text frame or continuing the
story in another text frame.
362 LESSON 10
Creating Tables

In tables, text or graphics that don’t fit into their cells are also called overset, indicated by
a small colored circle in the lower right corner of the cell. Unlike ordinary frames, you
can’t just carry over the excess data into another cell of the table. Instead, you must either
resize the cell to hold the information or resize the content (by scaling the graphic or
deleting some of the text).
For this table, you’ll resize the columns so that everything fits nicely into the table.
1 Choose View > Fit Page in Window.
2 Move the type tool over the vertical line separating columns 2 and 3 until the pointer
icon becomes a double arrow ( ), and then drag the column margin to resize it until the
words Garden and name fit on the same line.

3 Moving from left to right, resize each of the columns so that the contents fit inside and
the right edge of the table snaps to the vertical margin guide on the right side of the page.
Make sure that the final column is wide enough so that all the services icons fit on a single
line, as shown in the illustration.

4 Choose View > Fit Spread in Window, and then save your work.
 ADOBE INDESIGN 2.0 363
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Working with tables within existing text frames

The imported table you’ve been working on is the only text in its frame. Next, you’ll make
a minor adjustment that affects the other table in the two-page spread. That table, on page
2, is part of the content in a frame that includes other text.
1 In the Layers palette, click the empty box between the eye icon and the Table layer name
to lock that layer. Then unlock and select the Text layer.
2 In the Pages palette, double-click the page 2 icon to center the page in the document
window.
3 Using the type tool ( ), click to place an insertion point immediately in front of the
words “As always” (about two-thirds of the way down the long paragraph). Notice the
position of the table near the bottom of the page.

4 Press Enter to separate the text into two paragraphs.

Notice how the table moves down the page, adjusting to the new spacing.
364 LESSON 10
Creating Tables

Finishing up
You’re almost finished with your work on this lesson.
1 Choose View > Fit Spread in Window.
2 In the Layers palette, make sure that all layers are visible, with the eye icon displayed
for each one.
3 In the toolbox, click the Preview Mode button.

4 Press Tab to hide all the palettes and review the results of your work.
Congratulations! You have now completed this lesson.
For more information about working with tables, see the Adobe InDesign 2.0 User Guide,
InDesign 2.0 online Help, and the Adobe Web site.

On your own
Now that you’re skilled in the basics of working with tables in InDesign, you can exper-
iment with other techniques to expand your table-building abilities.
1 To create a new table, scroll beyond the spread to the pasteboard, and drag the type tool
to create a new text frame. Then choose Table > Insert Table and enter the number of rows
and columns you want in your table.
2 To enter information in your table, make sure that the blinking insertion point is in the
first frame and then type. To move forward to the next cell in the row, press Tab. To move
to the next cell down in the column, press the down arrow key.
 ADOBE INDESIGN 2.0 365
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3 To add a column by dragging, move the type tool over the right edge of one of the
columns in your table, so that the pointer becomes a double-headed arrow. Hold down
Alt (Windows) or Option (Mac OS) and drag a short distance to the right, perhaps half
an inch or so. When you release the mouse button, a new column appears, having the
same width as the distance you dragged.
4 To combine several cells into one cell, select all the cells in the new column you created
in the previous “On your own” exercise (number 3). Then choose Table > Merge Cells.
5 To create rotated text, click the type tool inside the merged cell you created “One your
own” exercise number 4. Choose Window > Table to bring the Table palette forward, and
select the Rotate Text 270° option ( ). Then type the text you want in this cell.
6 Drag one of the column edges so that it is less than an inch wide. Then place an image
file (such as one of the flower photographs from the table on page 3) in one of the cells in
that row. Then select the image with the direct-selection tool ( ) and hold down Shift
while you drag to resize the image so that it fits within the horizontal dimensions of the
cell.
366 LESSON 10
Creating Tables

Review questions
1 What are the advantages of using tables rather than just typing text and using tabs to
separate the columns?
2 When might you get an overset cell?
3 What tool is used most frequently when you work with tables?

Review answers
1 Tables give you much more flexibility and are far easier to format. In a table, text can
wrap within a cell, so you don’t have to add extra lines to accommodate cells with many
words. Also, you can assign styles to individual rows, columns, and cells, including
character styles and even paragraph styles, because each cell is considered a separate
paragraph.
2 Overset cells occur when the dimensions of the cell are limited and the contents don’t
fit inside it. For this to occur, you must actively define the width and height of the cell (or
its row and column). Otherwise, when you place text in the cell, the text will wrap within
the cell, which then expands vertically to accommodate the text. When you place a
graphic in a cell that does not have defined size limits, the cell also expands vertically but
not horizontally, so that the row column keeps its original width.
3 The type tool must be selected to do any work with the table. You can use other tools
to work with the graphics within table cells, but to work with the table itself, such as
selecting rows or columns, inserting text or graphic content, adjusting table dimensions,
and so forth, you use the type tool.
11 Publishing with XML

Do you publish content in more than one

medium? You can make your workflow
more efficient and cost-effective by build-
ing an XML-based structure into your
documents. XML makes it much easier to
repurpose the content for publication in
other InDesign layouts, the Web, and
handheld devices.
370 LESSON 11
Publishing with XML

In this lesson you’ll learn how to do the following:

• Create XML tags.
• Import XML tags from another document.
• Tag items in a publication.
• Work in the Structure pane.
• Map styles to tags.
• Export and import XML files.
• Autoflow XML content.
• Map XML tags to styles.

Getting started
In this lesson you’ll format a complete newspaper spread with XML tags in one InDesign
document, and then flow the tagged article into a different layout in another InDesign
document.
To ensure that the tools and palettes function exactly as described in this lesson, delete or
deactivate (by renaming) the InDesign Defaults file and the InDesign SavedData file. See
“Restoring default preferences” on page 4.
You must install the cross-media plug-in on your computer in order to do the procedures
in this lesson. This plug-in is not installed automatically when you install InDesign. The
process is very simple to do, but you need to use your InDesign 2.0 application CD, so
have it handy now. (The plug-in is not on the Classroom in a Book CD.)
1 Insert the InDesign 2.0 application CD into the CD drive on your computer.
2 Using the Explorer (Windows) or Finder (Mac OS), locate and open the CD Content
folder so that you can see the Cross-Media Plug-ins folder inside it.
3 Drag the entire Cross-Media Plug-ins folder (including the folder itself) into the Plug-
ins folder inside the Adobe InDesign 2.0 folder on your computer. Typically, the path will
be C:\\Programs\Adobe InDesign 2.0\Plug-ins\Cross-Media Plug-ins (Windows) or
[hard disk name]\Applications\Adobe InDesign 2.0\Plug-ins\Cross-Media Plug-ins
(Mac OS). Open the Cross-Media Plug-ins folder and make sure that the XMediaUI
plug-in is inside.
 ADOBE INDESIGN 2.0 371
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4 Start Adobe InDesign.

5 Choose File > Open, and open the 11_a.indd file in the ID_11 folder, located inside the
Lessons folder within the IDCIB folder on your hard disk. If an alert message appears that
asks which dictionary file you want to use, click No (Windows) or Document (Mac OS).
Note: If you have not already copied the resource files for this lesson onto your hard disk from
the ID_11 folder from the Adobe InDesign 2.0 Classroom in a Book CD, do so now. See
“Copying the Classroom in a Book files” on page 3.
6 Choose File > Save As, name the file 11_Desserts.indd, and save it in the ID_11 folder.
7 If you want to see the final result—how the repurposed content looks in cookbook
format—open the 11_b.indd file in the same folder and scroll to pages 148–151. You can
then close this sample document or leave it open for reference and choose Window >
11_Desserts.indd when you’re ready to resume working on the lesson.

About XML tags

Extensible Markup Language (XML) is a universal framework for structured documents
and data. Some markup languages and formatting tools, such as HTML, paragraph styles,
and character specifications, determine what the lettering on the page looks like. XML is
different: You use XML tags to define different types of content that make up the pages,
and to assign that content to various positions on the page. If you are not publishing the
same content material to different layouts and media, there is not much point in going to
the trouble of adding XML tags. However, using XML tags makes the task of publishing
all or some of the same subject matter in a variety of layouts and publication media very
streamlined and efficient.
372 LESSON 11
Publishing with XML

You assign XML tags to the frames in your layout. If frames are linked, such as for a story
that flows through several frames, assigning a tag to any one of those frames assigns that
tag to every linked frame in the story. Assigning an XML tag to the frame has no effect on
the paragraph styles or character formatting that you apply to text.
In this lesson scenario, your project involves a cookbook that you’re assembling from a
long-running series of cooking articles in a daily newspaper. You’ll assign and structure a
series of XML tags to individual recipes in the newspaper layout. Then you’ll export the
document content as an XML file and import it into a template for the cookbook. The
same XML document could also be imported into other XML-aware applications, such
as Adobe GoLive®, to be used on the Web or in handheld devices.

Defining XML tags

Another difference between XML and some other markup languages is that you can
create your own tags, using any terminology that is useful to your work. For example, you
can define tags that reflect the type of content, such as “ingredients,” “author,” and “bibli-
ography,” or use the same names for tags that you use for your paragraph styles, such as
“head1,” “head2,” and “caption.” In team situations, it is essential that all members of the
team use the same set of tag names defined for that group.
Once the tags have been defined, it’s easy to import them into an InDesign document.

Creating new tags

The Tags palette appears under the Window menu only if the Cross-Media plug-in is
properly installed. You’ll use this palette to prepare documents for XML exporting.
1 Choose Window > Tags to open the Tags palette.
Note: The “Root” listing appears by default. This is not a tag that you will apply to content
in the document.
 ADOBE INDESIGN 2.0 373
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2 In the Tags palette menu, select New Tag.

3 In the New Tag dialog box, type Credits as the tag name, and then click OK.

4 Using the same process, create another new tag and name it List_Head.
Note: Spaces, tabs, and some punctuation characters cannot be used in XML tag names.
Using the underscore character as a substitute for a space makes it easier to create user-
friendly tag names. If you use a character that is not allowed, a message appears, identifying
the unacceptable character. In that case, just click OK and retype the tag name without that
character.

Importing tags from another document

If you collaborate with a team for a publication, your group probably has a set of XML tag
names that all team members use. Instead of creating these tags in each new document,
you can simply import just the tags from any another document that uses those tags. The
11_c.indd file contains the rest of the tags you’ll need for this lesson.
1 In the Tags palette menu, select Load Tags.
2 In the Open a File dialog box, for Files of Type, select InDesign. Then look in the ID_11
file in you IDCIB Lessons folder, and double-click the 11_c.indd file to load the tags that
are already in that document into your current document.
374 LESSON 11
Publishing with XML

3 Resize the Tags palette so that you can see all the imported tags. Notice that the tags
appear in alphabetical order, not in the order in which you created or imported them.

Tagging frames
You can tag nearly every content item on your page: text frames, graphics frames, and
even nested frames. There are several ways to assign tags. You’ll use two different methods
in this procedure, and then get more practice in whichever method you prefer. Later in
this lesson, you’ll learn other techniques, involving nested frames and Structure view.
1 Using the zoom tool ( ), increase the magnification of the page so that you can
comfortably see and read all parts of the recipe at the top of the page.
2 Using the selection tool ( ), select the “Persimmon Pudding” text frame.
3 In the Tags palette, select the Heading tag. The Heading tag is now assigned to the
“Persimmon Pudding” text frame, but you’ll see no difference in the appearance of the
text frame in the layout.

4 Choose Edit > Deselect All.

 ADOBE INDESIGN 2.0 375
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5 In the Tags palette, select the Paragraph tag and drag it to the large text frame with
descriptive text immediately under the “Persimmon Pudding” text frame. When you
release the mouse, the tag is assigned to that frame, but again you’ll see no difference in
the appearance of the layout.

6 Choose View > Show Tagged Frames. The two frames you’ve assigned tags to now
appear with a non-printing tinted background and colored border. These colors match
the color codes in the Tags palette and help you identify which elements have already been
tagged and which still need to have tags assigned.

Note: You can also verify the tag assignment of an individual frame by selecting the frame and
looking to see which tag is highlighted in the Tags palette.
376 LESSON 11
Publishing with XML

7 Continue assigning tags to the frames on the Persimmon Pudding article, as follows:
• For the “6 SERVINGS” text frame, assign the Servings tag.
• For the caption text frame below the photograph, assign the Photo_text tag.
• For the text frame below the ingredients, beginning “Chef Jean Neuhouse,” assign the
Credits tag.
• For any one of the three text frames listing the ingredients, assign the List tag.
Notice that InDesign automatically assigns the List tag to all three of the text frames that
make up the list of ingredients. You do not have to select and tag each frame.
8 Save your file.
Depending on your goals, it is not necessary to tag every frame on the page, but you must
tag all the frames you want to export to other XML publications. In this file, you’ll leave
the photograph untagged for now.

Tagging paragraphs
You can also apply XML tags to individual paragraphs within a tagged text frame. This
optional process is useful when you have multiple paragraph styles within the frame and
you want the style to have different definitions in other layouts, such as a different font or
font size.
In the text frame under the title to which you assigned the Paragraph tag, the text includes
two distinct paragraph styles: The first paragraph has a different first-line indentation
setting than the other paragraphs. You’ll assign paragraph tags to the two types of
paragraphs in that text. Later in the lesson, you’ll see how this added level of coding can
contribute to the design and aesthetic of the cookbook.
1 In the toolbox, select the type tool ( ).
2 In the large text frame, select the entire first paragraph, and then click Text_1 in the
Tags palette to assign that tag to the paragraph.

You can double-click the type tool to select an entire word or triple-click to select an entire
line of type. You can configure InDesign to select an entire paragraph when you triple-click.
To do this, choose Edit > Preferences > Text (Windows, Mac OS 9) or InDesign >
Preferences > Text (Mac OS 10.1) and then select the Triple Click to Select a Line check box.
 ADOBE INDESIGN 2.0 377
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3 Choose Edit > Deselect All, and then choose View > Show Tag Markers. Look closely
to see the colored brackets that appear before the first paragraph and at the beginning of
the next one.These brackets indicate the tagging assignment.

The bracket at the beginning of this unindented paragraph is obscured by the colored
border in Show Tagged Frames view. To see the markers clearly, choose View > Hide
Tagged Frames. After reviewing the markers, choose View > Show Tagged Frames.
4 Select all the text in the next two paragraphs of the same text frame, from “Many
maintain...” to “...for 90 minutes.” In the Tag palette, click Text_2.
5 Using the type tool, select the word Filling at the top of the list of ingredients. In the
Tags palette, select List_Head to assign the tag to that heading.
6 Select all the ingredients listed under Filling and click List_Body in the Tags palette to
assign that tag.
378 LESSON 11
Publishing with XML

7 Using the techniques described in steps 4 and 5, assign the List_Head tags to the word
Topping and the List_body tag to the two ingredients listed under Topping.

Working with the Structure pane

The Structure pane displays a hierarchical tree of tagged page items. The structure is
important because of the way XML treats tagged items when you import or export
content. You can select and move elements in the Structure pane to define the sequence
and hierarchy of page items to be exported and to further organize your content.

Tagging an item by adding it to the Structure pane

The large photograph in the first recipe layout is still untagged. To tag it, you’ll use a new
technique: selecting a tag from a context menu after dragging the frame into the Structure
pane.
1 Choose View > Show Structure. The Structure pane appears on the left side of the
document window. If necessary, adjust the magnification in the document window.
2 Using the selection tool ( ), select the large photograph of the cherry cobbler from the
layout and drag it into the Structure pane. When you release the mouse, a contextual
menu automatically appears.
 ADOBE INDESIGN 2.0 379
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3 On the contextual menu, choose Image to assign that tag to the graphic frame.
The Image tag now appears on the structure list, expanded so that you can see the path to
the photograph file immediately below the Image listing. After you review the image-path
information, you can click the down-pointing arrow next to Image to collapse that part
of the structure list.

Arranging elements in the Structure pane

Before you export an XML file from InDesign, it’s important that the hierarchy and
sequence of elements in the Structure pane in this document—which is the source—
matches the hierarchical sequence in the target document. In many production environ-
ments, an order is specified for the entire team, so that the XML exporting flows perfectly.
Note: The order in which frames appear in the layout—such as at the top of the page, middle,
left, right, or bottom—are completely independent of the order in the Structure pane. If that
page order is unambiguous and convenient for your publication, your group can adopt that
kind of order for the Structure pane, but it is not required.
Your structure can also be organized in containers for easier management. In this
procedure, you’ll create a container for all the tags for the Persimmon Pudding article.
1 In the Structure pane, drag the Image item just above the Credits item on the list.
380 LESSON 11
Publishing with XML

2 On the Tags palette menu, choose New Tag. Then name the tag Persm_Pudding, and
click OK.
3 In the Structure pane, select the Root. Then, on the Structure pane menu, choose New
Element.
4 In the Select Tag for Element dialog box, select Persm_Pudding, and then click OK.

5 In the Structure pane, select the Heading element and then Shift+click the Credits
element to select the entire group (except the Persm_Pudding element).
6 Drag all the selected elements to the Persm_Pudding element so that it becomes
highlighted, and then release the mouse button. Now all the tagged elements move into
the Persm_Pudding container element.
7 Click the arrow next to Persm_Pudding to expand it so that you can see all the other
elements nested inside the container. Then deselect all and save your file.
 ADOBE INDESIGN 2.0 381
Classroom in a Book

Adding keyword attributes

You have already seen one kind of attribute: the path to the graphic file in the Image
element. You can also add keywords for searching. If you are familiar with Web work,
you’ll recognize these as metatags. This text is not displayed on the Web pages, but can be
found by Internet search engines that help users find information.
1 In the Structure pane, select the Heading element, and then choose New Attribute on
the Structure pane menu.
2 In the New Attribute dialog box, type keywords in Name.
3 In Value, type Neuhouse, 07/30/00 to create two keywords, and then click OK.

In the Structure pane, the Heading element expands so that you can see the attributes.
4 Save your work and choose File > Close to close the 11_Desserts.indd file.
You will use a different version of the Desserts newspaper layout file in the remaining
parts of this lesson.

Exporting to XML
Now you’re ready to export the document to an XML document. After you’ve exported,
the XML file is not used by itself, but is a resource that you import into other XML-aware
applications, such as Adobe GoLive for Web page authoring or into other InDesign files
with different layouts. In this lesson, you’ll do the latter, importing tagged content into a
template for a cookbook that has placeholder frames and some placeholder text.

Creating the XML file

In the final section of this lesson, you’ll use another version of the newspaper document
file. To save you the trouble of repeating the steps for each of the remaining recipes, the
new version already includes those tags.
1 Choose File > Open, and then locate and open the 11_d.indd file in your ID_11 folder.
382 LESSON 11
Publishing with XML

2 Choose View > Show Structure. Notice that there are now four containers in the
Structure pane, one for each recipe currently in the book. You can click the arrows beside
each container to see the tagged elements within it.
3 Choose File > Export.
4 In the Export dialog box, do the following:
• Specify the ID_11 folder on your computer as the file location.
• In Save As Type (Windows) or Formats (Mac OS), select XML from the pop-up list.
• In File Name, type 11_Desserts.xml.

5 Click Save. The Export dialog box closes and the Export XML dialog box appears.
6 In the dialog box, select the View XML Using check box, and then select your preferred
browser on the pop-up menu. Leave the other settings as they are and click OK.

Note: If you do not want to examine the XML-coded file, do not do step 6.
 ADOBE INDESIGN 2.0 383
Classroom in a Book

7 When your browser opens the file, you’ll see the raw code for the XML, which looks
something like HTML code—not very attractive as a publishing method in itself.
However, this is not the end product of the XML work flow. Close the browser or switch
back to InDesign.

8 You can now close the 11_d.indd file.

Importing an XML file into another InDesign document

The XML file is now ready to be imported into another document, which is a template for
the cookbook with placeholder titles for the recipes that you will import. When you
import under these circumstances, you must specify whether the imported elements
should replace the existing content or be added to that content.
1 Choose File > Open, and then locate and open the 11_e.indd file in your ID_11 folder.
2 Choose File > Save As, and type 11_Cookbook.indd as the File Name, saving it in the
ID_11 folder.
384 LESSON 11
Publishing with XML

3 Choose View > Show Tagged Frames, if it is not already selected. Then scroll through
pages 148–151 and notice that the placeholder frames are already tagged so that they are
similar to those in the 11_Desserts.indd file.

4 When you finish reviewing these, choose View > Hide Tagged Frames and double-click
page 148 in the Pages palette to center it in the document window.
5 Choose View > Show Structure to open the Structure pane. If necessary, adjust the
view so that page 148 is still centered in the document window.
Notice that the list of elements appears in the same order as in the 11_d.indd file you used
when you exported the content to XML.
6 Click the arrow to expand the Persm_Pudding element and notice that the names and
listing order of the tags that have been placed there for you are also identical to those used
in the 11_Desserts.indd and the 11_j.indd files.
7 Choose File > Import XML.
 ADOBE INDESIGN 2.0 385
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8 In the Import XML dialog box, select the 11_Desserts.xml file that you created in the
previous procedure. Then select the Replace Content button, if it is not already selected,
and click Open (Windows, Mac OS 9) or Choose (Mac OS 10.1).

You can now scroll through the document again and see that the recipes from the
newspaper file flow into their assigned places in the cookbook.

Mapping tags to styles after importing content

Although the paragraph-style names in this document are identical to those in the
original newspaper, the text-style definitions are not the same: different fonts, different
font sizes, and so forth. When you import the XML file, InDesign automatically applies
formatting at the frame level. In order to apply the designated formatting to individually
tagged paragraphs, you can map the tags to paragraph-style definitions, so that InDesign
will apply those styles to text wherever you have designated them in the original
document.
1 In the Pages palette, double-click the page 148 icon, if necessary, so that it is centered
in the document window.
2 In the Structure pane, expand the Persm_Pudding element and then the Paragraph and
List tags, and notice that the four individual paragraph tags (List_Body, List_Head,
Text_1, and Text_2) appear in the structure.
386 LESSON 11
Publishing with XML

3 On the Structure pane menu (which you open by clicking the small arrow button at the
upper right corner of the pane), select Map Tags to Styles.

4 In the Map Tags to Styles dialog box, scroll down to find the Text_1 tag.
5 Then, in the Paragraph Styles column, select Body_first from the pop-up menu for the
Text_1 tag.

6 Using the same techniques as in steps 4 and 5, map the following:

 ADOBE INDESIGN 2.0 387
Classroom in a Book

• For the Text_2 tag, select Body_next paragraph style.

• For the List_Head tag, select Recipe head.
• For the List_Body tag, select Recipe.
7 Click OK to close the dialog box.
Now as you scroll through the document, you’ll see that the text-block paragraphs have
been updated with new paragraph styles. For example, the first paragraph in the large text
blocks now begins with a drop cap and the headings in the recipes have a different font.
These differences now appear in all four imported recipes, not just the Persimmon
Pudding recipe.
Note: You can make further adjustments to the text formatting using the normal methods for
working with text and type.
Congratulations; you have now completed this lesson. Like all the other lessons in this
Classroom in a Book, this material serves as an introduction to the features and functions
available in InDesign 2.0. For details and in-depth information, see the InDesign 2.0 User
Guide, InDesign 2.0 online Help, and the Adobe Web site.

On your own
1 Try out more drag-and-drop techniques for XML. Open InDesign and choose File >
New > Document. Set up any options you want for the document, and then choose File >
Import XML and select the XML document you created earlier in this lesson. Although
you’ll see no difference in the document window, choose View > Show Structure and
you’ll see the entire content list.
At this point, you can try out two different techniques:
• Use the rectangle tool and rectangle frame tool to create some placeholder frames on
the blank page. Then drag the tagged content from the Structure pane and drop it into the
placeholder frames.
• Simply drag the tagged content from the Structure pane and drop it onto the blank
page. Using the selection tool, resize the frames and move them into position, as needed.
2 If you have Adobe GoLive installed on your computer, create a Web page layout for the
recipes and assign tags. Then import the 11_Desserts.xml file into that layout.
388 LESSON 11
Publishing with XML

3 Experiment with exporting one of your documents, pages, or images in SVG format.
Scalable Vector Graphics (SVG) is ideal for on-screen viewing, such as Web pages, because
it ensures that your vector graphics will always appear in the highest-quality resolution.
With SVG, your readers can zoom in to any magnification and still see crisp, sharp edges
on SVG objects.
To export specific pages to SVG, choose File > Export. Then select SVG or SVG
Compressed in Save As Type (Windows) or Format (Mac OS). In the SVG Options dialog
box, select Range and type the page numbers that you want to export.
To export a single object to SVG, use the selection tool to select the object, choose File >
Export, and then specify SVG or SVG Compressed, as described above. In the SVG
Options dialog box, under Pages, select the Export Selection check box.
For information about other settings in the SVG Options dialog box, see “Exporting pages
to SVG format” in InDesign online Help.
 ADOBE INDESIGN 2.0 389
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Review questions
1 What is the difference between XML tags and paragraph styles?
2 How can XML tags and paragraph styles be related?

Review answers
1 A tag designates a type of content that you define. It does not directly affect formatting,
that is, how the text looks, such as its font family, font size, justification, indentation, and
so forth. Those characteristics can be specified in the paragraph style or character style,
neither of which affect the content definition.
2 If you import an XML document into a new document, all text formatting is lost,
because XML tags denote the content, not the formatting. Consequently, all text appears
with the default settings for that application. However, if you create new paragraph-style
definitions in the importing document and give those styles the same names as in the
original document, you can automatically apply the formatting as you import by
mapping the tags to those styles.
12 Combining Files into Books

Now you can assemble your individual

InDesign documents into long multi-file
books. Automatic page numbering from
file to file is just the beginning—you can
also create items that span the full length
of your book, such as tables of contents,
indexes, convenient printing controls,
and more.
394 LESSON 12
Combining Files into Books

In this lesson you’ll learn how to do the following:

• Associate multiple InDesign documents into a book.
• Specify page numbering throughout the book.
• Create a Table of Contents document for a book.
• Create a Table of Contents page for a chapter of a book.
• Assign a file to act as the governing source document for style definitions.
• Update book files after changing page count, style definitions, and headings.
• Imbed multi-tiered index references and specify options.
• Generate an index file and sort entries.
• Edit index references.

Getting started
This lesson focuses on the cookbook scenario featured in Lesson 11, but you do not have
to complete that lesson before you work on this one. In this project, you’ll gather together
a collection of several InDesign documents, each representing one chapter of the cook-
book. Using InDesign 2.0, you’ll assemble these chapters into a book so that you can easily
create common elements, such as a table of contents, index, unified page numbering,
styles, and color definitions.
To ensure that the tools and palettes function exactly as described in this lesson, delete or
deactivate (by renaming) the InDesign Defaults file and the InDesign SavedData file. See
“Restoring default preferences” on page 4.
Note: If you have not already copied the resource files for this lesson onto your hard disk from
the ID_12 folder from the Adobe InDesign 2.0 Classroom in a Book CD, do so now. See
“Copying the Classroom in a Book files” on page 3. Do not use the similar files in Lesson 11
to work on Lesson 12, because there are important differences between those sets of files.
 ADOBE INDESIGN 2.0 395
Classroom in a Book

Defining a book
Your project is to pull together four existing chapters into a book. In InDesign, defining a
book means that you specify the relationships among multiple existing files, including
which files are included in the book and in what order they appear.
The sample files you’ll use for this project are works in progress, so most of the pages are
merely placeholders for content that would be added at some future date. Because of this,
you’ll see many blank or nearly blank pages if you open and scroll through the various
chapters.
As a first step, you’ll duplicate and rename the project files.
1 Using your Explorer (Windows) or Finder (Mac OS), open the ID_12 folder inside the
Lessons folder in the IDCIB folder that you copied from the Adobe InDesign 2.0
Classroom in a Book CD to your hard disk.
2 Select the 12_c.indd file, and then choose Edit > Copy and then Edit > Paste
(Windows) or choose File > Duplicate (Mac OS).
3 Unlock the copy of the original file, using the procedure for your operating system:
• (Windows) Right-click the “Copy of 12_c.indd” file and choose Properties. Then
deselect the Read-Only check box and click OK.
• (Mac OS) Select the “12_c.indd copy” file and choose File > Get Info > General Infor-
mation. Then deselect the Locked check box and close the Info window.
4 Rename the copied file 12_Starters.indd.
5 Using the process described in steps 2–4, duplicate, unlock, and rename five additional
files as follows:
• Rename a copy of 12_d.indd 12_Entrees.indd.
• Rename a copy of 12_e.indd 12_Nibbles.indd.
• Rename a copy of 12_f.indd 12_Finishes.indd.
• Rename a copy of 12_g.indd 12_TOC.indd.
• Rename a copy of 12_h.indd 12_Index.indd.
Now you can start building a book using the first four of these copied files.
396 LESSON 12
Combining Files into Books

Creating a book file

The next task is to define which InDesign files will be part of the book.
1 Start Adobe InDesign.
2 Choose File > New > Book.
3 In the New Book dialog box, type12_Book.indb as the filename and save the file in the
ID_12 folder. The Book palette opens, but its contents are empty.
Note: An .indb file is not like other InDesign documents. If you double-click an .indb file in
your desktop or Finder, no document window opens, but the Book palette does appear. This
Book palette is the essence of what makes a book a book in InDesign.
4 In the Book palette menu, choose Add Document, to open the Add Documents
dialog box.

5 Open the ID_12 folder and select four of the documents you renamed in the previous
topic: 12_Starters.indd, 12_Entrees.indd, 12_Nibbles.indd, and 12_Finishes.indd. Do
not add the index or table of contents files at this time.

To select, click one of the four documents and then Ctrl+click (Windows) or Shift+click
(Mac OS 9) or Command+click (Mac OS 10.1) each of the other three files. Or, you can add
documents one at a time, repeating steps 4–6 for each of the four files.
 ADOBE INDESIGN 2.0 397
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6 With all four files selected, click Add (Windows, Mac OS 9) or Open (Mac OS 10.1).
The four document names now appear in the Book palette. Notice that the pages for each
chapter also appear in the palette.

7 Examine each of the four open documents and notice the order in which the files
appear. (The order in your Book palette may differ from the illustration above, depending
on the order in which you selected and added the files.)

Setting the order and pagination

The plan for the cookbook is to organize the chapters by the order they would be served
in a meal, beginning with appetizers (“Nibbles”) and progressing on to desserts
(“Finishes”). Your next task is to organize the chapters in the order you want for the book,
so that the sequence and page numbering flow appropriately.
1 In the Book palette, drag the 12_Nibbles.indd file to the top of the list. When a black
bar appears just under the Book tab, release the mouse. Notice that the pagination has
changed to reflect the page-count difference between this file and the file that was previ-
ously in the top position on the list.

2 As necessary, drag the other files into position on the list so that they appear in the
following order (from top to bottom): 12_Nibbles, 12_Starters, 12_Entrees, 12_Finishes.
Notice that some of the chapters start on odd-numbered pages. You want each chapter to
start on an even numbered page so that the left page of the first spread is a photograph
and the right page is the chapter title page. You’ll fix that next.
398 LESSON 12
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3 In the Book palette menu, choose Book Page Numbering Options.

4 In the dialog box that appears, select Continue on Next Even Page, and then click OK.
All chapters except the first one begin on even-numbered pages.
5 In the Book palette, double-click the page numbers for the 12_Nibbles file to open the
Document Page Numbering Options dialog box, or choose Document Page Numbering
Options from the Book palette menu.
Note: Double-clicking the document in the Book palette or selecting the Document Page
Number Options command in the Book palette menu will also automatically open the file.
6 Select the Start Page Numbering At option and type 2 so that the first page of the
document appears on page 2. Then click OK.

7 Choose File > Save and then choose File > Close to close the 12_Nibbles document,
but do not close the Book palette.
 ADOBE INDESIGN 2.0 399
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Working with a table of contents

A table of contents (TOC) for a book can be a separate InDesign document or it can be
placed in an existing document that is part of the book. In this project you’ll create both
kinds: a high-level table of contents for the entire book and more detailed content lists for
each chapter.

Adding the table of contents file

When you create a new file just for the book TOC, you should carefully select all the same
document-setup specifications that you use in the other chapters of your book, such as
the page size, paper orientation, and so forth. For this lesson, that file has already been
created for you but it has no content yet.
1 In the Book palette, choose Add Document, and then locate and double-click the
12_TOC.indd file in your ID_12 folder.
2 Drag the 12_TOC.indd file to the top of the Book palette list.
3 In the Book palette, double-click the 12_TOC.indd file name to open it in the
document window. At this point, this document is a single, blank page.
4 On the Book palette menu, choose Document Page Numbering Options, or simply
double-click the page number for the 12_TOC file in the Book palette list.
5 Under Style in the Document Page Numbering Options dialog box, select the
lowercase roman numerals option, i, ii, iii, iv..., and then click OK.
6 Save your work.
400 LESSON 12
Combining Files into Books

Generating a table of contents for the book

Your table-of-contents file is ready to go, so you can now have InDesign create the listings
for you.
1 With the 12_TOC.indd file open, choose Layout > Table of Contents.
2 At the top of the dialog box, type Comfort Food as the Title for the table of contents
and select TOC Book Title for Style. (You may need to scroll in the Style pop-up menu to
find the TOC Book Title paragraph style.) The words Comfort Food will appear at the top
of the table-of-contents page, formatted in the TOC Book Title paragraph style.
3 Under the Other Styles list on the right side of the dialog box, select Chapter Title, and
then click the Add button to place the Chapter Title in the Include Paragraph Styles list.
With this selection, you designate that all paragraphs in the book that are formatted in
the Chapter Title paragraph style will be listed in the table of contents.
4 Click More Options.
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5 Under Style: Chapter Title, select the following formatting options:

• For Entry Style, select TOC Head 1 to apply that paragraph style to the listing of chapter
titles in the table of contents.
• For Page Number, select No Page Number.
Note: If you do not see these options, make sure that you clicked the More Options button.

6 Using the same area of the dialog box as in step 3, double-click Chapter Section in the
Other Styles list to add it to the Include Paragraph Styles list.
7 Under Style: Chapter Section, select TOC Head 2 for Style. In the Page Number option,
make sure that After Entry is selected, or select it now.
402 LESSON 12
Combining Files into Books

8 Under Options, select the Include Book Documents check box, and then click OK
because you’re ready to generate and place the table of contents in the file.

9 Move the loaded-text icon to the upper left margins of page 1, and click to place the
text. The TOC flows into the page, showing the four chapters and major subdivisions
within each one. Save your file.

Note: In this file, custom paragraph styles for the table of contents have been created for you.
When you create your own documents, you can adjust and format the text and style defini-
tions as you would for any other text frame.
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Creating a table of contents for an individual chapter

The table of contents in the front of the book is limited to broad categories. Next, you’ll
create a secondary table of contents for an individual chapter. This subordinate TOC will
include the next level of interest: the recipe names.
1 Choose File > Open and select the 12_Finishes.indd file in your ID_12 folder. On
page 143, click the selection tool ( ) in the right side of the page to select the placeholder
text frame.

2 Choose Layout > Table of Contents, and type Recipes as the Title. Then for Style, select
Chapter Section as the formatting style for the TOC title.

3 In the Other Styles list, double-click Chapter Section to place it in the Paragraph Styles
list.
404 LESSON 12
Combining Files into Books

4 Under Style: Chapter Section, select the following options:

• For Entry Style, select TOC Chapter Section.
• For Page Number, select No Page Number.
Now all chapter sections, such as “Pastries,” “Cookies,” and so forth will appear in the
table of contents for the chapter but without page references.
5 Repeat step 3 but this time double-click Recipe Name, and then select following style
options:
• For Entry Style, select TOC Recipe Name.
• For Page Number, select After Entry.
• For Between Entry and Number, type . . . (space, period, space, period, space, period)
to create three spaced leader dots before the page numbers in the chapter table of
contents.
• Select the Sort Entries in Alphabetical Order check box.

6 In the lower left corner of the dialog box, deselect the Include Book Documents check
box if it is currently selected, so that only recipes in this chapter appear in this table of
contents. Then click OK (Windows, Mac OS 9) or Done (Mac OS 10.1).
 ADOBE INDESIGN 2.0 405
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7 Click the loaded-text icon inside the text frame you selected in step 1. Then save your
file but leave it open for now.

Maintaining consistency in a book

In order to create a unified look for your long publication, you want to make sure that the
same paragraph-style specifications and color definitions are consistent throughout the
book. To make this easier to manage, InDesign designates one of the files as the style
source document. By default, the first file that you place in the book becomes the style
source. This is not necessarily the file at the top of the list in the Book palette.
You can tell which file is the style source by looking in the Book palette. A Style Source
icon ( ) appears in the box to the left of the designated source file. This box is empty for
all other book files.

Reassigning the style source

Designating a different file as the style source couldn’t be easier: Here you’ll make the
TOC file the style source file with just one click.
• In the Book palette, click the empty box to the left of the 12_TOC file.

The style source indicator now appears in the box next to the TOC file.
406 LESSON 12
Combining Files into Books

Synchronizing styles
When you synchronize styles, InDesign automatically searches all the style and swatch
definitions in the selected files and compares them to the definitions in the designated
style source file. When the set of definitions in a file does not match the set in the style
source file, InDesign adds, removes, and edits the definitions in the selected file so that
they match the style-source-file definitions. After synchronizing, all documents in the
book have identical sets of styles, ensuring consistency throughout the book.
Currently, the paragraph definitions for several of the paragraph styles are defined differ-
ently in the 12_TOC file and the other chapters. You’ll update the definitions of each style
list in each chapter in one simple process. By leaving the 12_Finishes file open to page 143
(its table of contents) you’ll be able to see the changes in style easily.
1 Make sure that the style source icon ( ) appears next to the 12_TOC file in the Book
palette, indicating that it is the designated style source file.
2 Holding down Shift and clicking, select the four files in the Book palette: 12_Nibbles,
12_Starters, 12_Entrees, and 12_Finishes. (It is not necessary to select the 12_TOC file.)
3 In the Book palette menu, select Synchronize Selected Documents.

4 After a short delay, a message appears, telling you that synchronization was successful
and that some documents may have changed. Click OK.
 ADOBE INDESIGN 2.0 407
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Notice the dramatic change in the table of contents for the 12_Finishes table of contents
page: The chapter title now appears flush right instead of flush left and with 30-point type
instead of 18-point type. The chapter sections and recipe names are now set in Myriad,
a sans serif font, and are also aligned on the right side of the page.

Updating the table of contents after editing

In most real-world situations, projects often need last-minute changes. When a heading
or subheading requires such changes, all TOC and cross-references must be updated, too,
to match the rewording in the heading. Fortunately, updating in InDesign is not difficult.
1 If the desserts chapter is not open, choose Window > 12_Finishes.indd to open it.
2 Using the type tool ( ), select the words Final Thoughts on page 143, and type Sweet
Finishes to change the chapter title.
3 Choose File > Save.
4 Choose Window > 12_TOC.indd to make that file active, and then use the selection
tool ( ) to select the table-of-contents text block.
5 Choose Layout > Update Table of Contents.
6 After short delay, a message appears telling you that the table of contents has been
updated successfully. Click OK.
The table of contents now reflects the new chapter title for the final chapter in the book.
7 Choose File > Save, and then close the 12_TOC.indd file. Leave the “Sweet Finishes”
file (12_Finishes.indd) open for more work in the next topics.
408 LESSON 12
Combining Files into Books

Indexing the book

Creating a good index is an art, as every reader who has tried to find a reference to a
specific topic appreciates. Indexing is also a work that traditionally requires extraordinary
attention to detail, with precise checking and rechecking of the entries. InDesign makes
the job easier by facilitating the mechanical aspects of the process.
To create an index in InDesign, you embed index references right in the text. When you
add or delete text or entire pages in the document so that the pagination changes, the
index reference flows along with the text so that the updated index always shows the
correct page. You can switch your view of these markers on and off as you work, but the
markers themselves never appear in the printed document.
You can create indexes for individual chapters, but usually you’ll want to publish just one
index at the end of this book, covering the entire contents.

Creating index references

Some indexing has already been embedded in the project documents for this lesson. You’ll
add some index markers so you’ll know how to do this yourself.
1 In the Pages palette, double-click the icon for page 146 to center that page—the
“Persimmon Pudding” recipe—in the document window.
2 Choose Window > Index to open the Index palette.
3 Select the type tool ( ) in the toolbox, and select the words Persimmon Pudding in the
recipe title.
 ADOBE INDESIGN 2.0 409
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4 Press Ctrl+Alt+U (Windows) or Command+Option+U (Mac OS). The entry

“Persimmon Pudding” is added to the Index palette. If necessary, scroll down the list to
the letter P and click the arrow to see the new page reference. Make sure that the Reference
option is selected at the top of the Index palette.

5 Choose New Page Reference on the Index palette menu to begin adding another index
reference to page 146.

6 In the dialog box that opens, Under Topic Levels, type puddings in the box labeled “1.”
410 LESSON 12
Combining Files into Books

7 In the 2 box under Topic Levels, type persimmon, creating a sublevel entry under
puddings. Then click Add. The new listing now appears in the large box at the bottom of
the dialog box, under the letter P.

8 Create another new index entry by typing fruit desserts in level 1 and persimmon
pudding in level 2. Click Add again. Then click OK (Windows, Mac OS 9) or Done
(Mac OS 10.1) to close the New Page Reference dialog box.
9 In the Index palette, scroll to review your new page references in the index list. If
necessary, click the arrows by letters to expand and collapse items in the index list.

Creating index cross-references

Many indexes include cross-references to other listings within the index, especially for
common synonyms for a term used in the text. In this procedure, you’ll add a cross-
reference directing readers who are looking in the index for entries under “sweets” to look
under “desserts” instead.
1 In the 12_Finishes.indd file, choose Edit > Deselect All.
2 In the Index palette menu, choose New Cross-reference.
3 In Topic Level 1, type sweets.
4 In the Type pop-up menu, select See.
 ADOBE INDESIGN 2.0 411
Classroom in a Book

5 Scroll down the list in the bottom of the dialog box and find the page reference to
“desserts” under the letter “D.” Then drag the “desserts” index entry into the Referenced
box.

6 Click Add, and then click OK (Windows, Mac OS 9) or Done (Mac OS 10.1).
7 Scroll down the list in the Index palette to see the new cross-reference. Then save your
work.

Generating the index

Like the table of contents, you can place the index in a separate InDesign file or on pages
of a file in the book that also contains other content. In this project, you’ll put the index
in a separate file.
1 In the Book palette, click an empty area to deselect all files, and then in the Book
palette menu, choose Add Document.
2 Locate the 12_Index.indd file in your ID_12 folder and double-click to add the file to
the book. If the 12_Index file is not at the bottom of the list in the Book palette, drag it
to that position now.
3 In the Book palette, double-click the 12_Index file name to open the index document.
4 If the Index palette is not already open, choose Window > Index, and then select
Generate Index on the Index palette menu.
5 In the Generate Index dialog box, do the following:
412 LESSON 12
Combining Files into Books

• In Title, delete the word Index so that the box is empty. The title Index already appears
on the page, so you don’t need to include it a second time.
• Select the Include Book Documents check box.
• Click OK.

6 After a short pause, the pointer appears as a loaded text icon. Move it to the inter-
section of the left margin and the horizontal guide (at about 12 picas on the vertical
ruler). Hold down Alt (Windows) or Option (Mac OS) and click to begin placing the
index in one column after another until you finish filling all three columns.
7 Save your file.
The index combines all index references embedded in the book files into one unified
index.

Always use the Index palette to enter and edit index entries. Although you can edit the
index directly, like any other text frame, those changes will be lost when you regenerate the
index.
Congratulations; you have completed this lesson.
For more information about refining and formatting your tables of contents and index
files, see Chapter 6, “Creating Books, Tables of Contents, and Indexes” in the Adobe
InDesign 2.0 User Guide.
 ADOBE INDESIGN 2.0 413
Classroom in a Book

On your own
1 Open the 12_Nibbles file and delete several pages at random. Save the file. Then update
your book numbering by doing the following:
• On the Book palette menu, choose Repaginate.
• In the 12_Index file, on the Index palette menu, choose Generate Index. Make sure
that the Replace Existing Index and the Include Book Documents check boxes are
selected, and click OK.
• In the 12_TOC file, select the table-of-contents text frame and choose Layout > Update
Table of Contents.
In each case, notice the changes in the page numbering on the Book palette, index refer-
ences, and table-of-contents references, respectively.
2 Explore the icons at the bottom of the Book palette by resting the pointer over each one
until the tooltip appears, indicating the function of the icon.
3 Examine the available options when you select all the files in the Book palette and
then choose the following commands (one at a time)on the Book palette menu:
• Preflight Book
• Package Book
• Export Book to PDF
• Print Book
In each case, click Cancel after you finish reviewing the dialog boxes.
4 Create an index reference for a range of pages. For example, in the 12_Starters file,
select the word Salads on page 41 and choose New Page Reference on the Index palette
menu. Then, under Type, select the To End of Section option to create an index reference
from pages 41 to 59.
414 LESSON 12
Combining Files into Books

Review questions
1 What are the advantages of the book feature in InDesign 2.0?
2 Describe the process and the results of removing a chapter file from a book.
3 What is the best way to edit an index? Why?

Review answers
1 The book feature makes it easy to coordinate related elements in a long document
that consists of multiple files. By defining documents as a book, you can automate what
would otherwise be time-consuming detail work, including the following tasks:
• Maintaining the proper sequence of documents.
• Updating the pagination of the entire book after adding or removing pages.
• Generating a book-wide index and table of contents with accurate page references.
• Specifying options for preflight, packaging, exporting, and printing the entire book.
2 To remove a file from a book, first select the file in the Book palette. Then, on the Book
palette menu, choose Remove Document. The result of removing a chapter is that the
book no longer appears in the list of files included in the Book palette. When you repag-
inate the book, update the index, and update the table of contents, all page references
that involve pages that were below the removed file now change. Although the file is
removed from the book, the file is not deleted; it is still stored on your hard disk.
3 Always update index page references in the Index palette. To do this, double-click the
index reference you want to edit in the Index palette (or select it and choose Page
Reference Options on the Index palette menu), and then make your changes in the
dialog box and click OK. When you finish making changes to index references, open the
Index file. Then, on the Index palette menu, choose Generate Index and replace the
existing index for all book documents.
It is important to do your editing in the Index palette instead of simply editing the index
text directly. The reason is that any edits you make directly in the index text will be lost
when you regenerate the index. If you then make changes in the book pagination, you risk
having many incorrect index page references. If you edit in the Index palette, all those
references are automatically updated when you generate a new index to update the
existing one.
13 Setting Up Your Monitor for
Color Management

The most basic requirement for color

management is to calibrate your monitor
and create an ICC profile for it. Applica-
tions that support color management will
use your monitor’s ICC profile to display
color graphics consistently. If you don’t
have a hardware-based calibration and
profiling utility, you can get reasonably
accurate results using Adobe Gamma.
418 LESSON 13
Setting Up Your Monitor for Color Management

In this lesson, you’ll learn how to do the following:

• Examine the principles associated with color management.
• Calibrate your monitor using Adobe Gamma®.
• Create an ICC profile for your monitor using Adobe Gamma.
Note: You can skip this lesson if you have already calibrated your monitor using a hardware-
based tool or an ICC-compliant calibration tool such as the Adobe Gamma utility included
with InDesign 1.0 and later, Photoshop 5.0 and later, or Illustrator 8.0 and later, and if you
haven’t changed your video card or monitor settings. However, you can review the basic color-
management principles in the first main section of this lesson, “Color management: An
overview” on page 419.

Getting started
In this lesson, you’ll learn some basic color- management concepts and terminology. In
addition, you’ll calibrate your monitor to a known color standard, and then create an ICC
profile that describes your monitor’s specific color characteristics. Before you begin, you’ll
need to restore the default preferences for Adobe InDesign.
To ensure that the tools and palettes function exactly as described in this lesson, delete or
deactivate (by renaming) the InDesign Defaults file and the InDesign SavedData file. See
“Restoring default preferences” on page 4.
 ADOBE INDESIGN 2.0 419
Classroom in a Book

Color management: An overview

Devices and graphics have different color gamuts. Although all color gamuts overlap, they
don’t match exactly, which is why some colors on your monitor can’t be reproduced in
print or online. The colors that can’t be reproduced in print are called out-of-gamut colors
because they are outside the spectrum of printable colors. For example, you can create a
large percentage of colors in the visible spectrum using programs such as InDesign,
Photoshop, and Illustrator, but you can reproduce only a subset of those colors on a
desktop printer. The printer has a smaller color space or gamut (the range of colors that
can be displayed or printed) than the application that created the color.

RGB CMYK

Visible spectrum containing millions of colors (far left) compared with color gamuts of various devices
and graphics

To compensate for these differences and to ensure the closest match between on-screen
colors and printed colors, applications use a color management system (CMS). Using a
color management engine, the CMS translates colors from the color space of one device
into a device-independent color space, such as CIE (Commission Internationale
d’Éclairage) LAB. From the device-independent color space, the CMS fits that color infor-
mation to another device’s color space by a process called color mapping, or gamut
mapping. The CMS makes any adjustments necessary to represent the color consistently
among devices.
420 LESSON 13
Setting Up Your Monitor for Color Management

A CMS uses three components to map colors across devices:

• A device-independent (or reference) color space.
• ICC profiles that define the color characteristics of different devices and graphics.
• A color management engine that translates colors from one device’s color space to
another.

A B C D

RGB Device RGB

Adobe RGB CMYK

CMYK SWOP CMYK

CMYK Device
CMYK

A. Scanners and software applications create color documents B. ICC source profiles describe
document color spaces. C. A color management engine uses ICC source profiles to map document
colors to a device-independent color space through supporting applications. D. The color management
engine maps document colors from the device-independent color space to output-device color spaces
using destination profiles.
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About the device-independent color space

To successfully compare gamuts and make adjustments, a color management system must
use a reference color space—an objective way of defining color. Most CMSs use the CIE
(Commission Internationale d’Éclairage) LAB color model, which exists independently of
any device and is big enough to reproduce any color visible to the human eye. For this
reason, CIE LAB is considered device-independent.

About ICC profiles

An ICC profile describes how a particular device or standard reproduces color using a
cross-platform standard defined by the International Color Consortium (ICC). ICC
profiles ensure that images appear correctly in any ICC-compliant applications and on
color devices. This is accomplished by embedding the profile information in the original
file or assigning the profile in your application.
At a minimum, you must have one source profile for the device (such as a scanner or digital
camera) or standard (such as SWOP or Adobe RGB) used to create the color, and one
destination profile for the device (such as monitor or contract proofing) or standard
(SWOP or TOYO, for example) that you will use to reproduce the color.

About color management engines

Sometimes called the color matching module (CMM), the color management engine
interprets ICC profiles. Acting as a translator, the color management engine converts the
out-of-gamut colors from the source device to the range of colors that can be produced
by the destination device. The color management engine may be included with the CMS
or may be a separate part of the operating system.
Translating to a gamut—particularly a smaller gamut—usually involves a compromise, so
multiple translation methods are available. For example, a color-translation method that
preserves correct relationships among colors in a photograph will usually alter the colors
in a logo. Color Management engines provide a choice of translation methods, known as
rendering intents, so that you can apply a method appropriate to the intended use of a color
graphic. Examples of common rendering intents include Perceptual (Images) for preserving
color relationships the way the eye does, Saturation (Graphics) for preserving vivid colors
at the expense of color accuracy, and Relative and Absolute Colorimetric for preserving
color accuracy at the expense of color relationships.
422 LESSON 13
Setting Up Your Monitor for Color Management

Other information resources for color management

You can find additional information on color management on the Web and in print. Here
are a few resources that are available as of the date of publication of this book:
• At the Adobe Web site (www.adobe.com), search for color management.
• At the Apple Web site (www.apple.com), search for ColorSync.
• At the LinoColor Web site (www.linocolor.com), open the “Color Manager Manual.”
• At the Agfa Web site (www.agfa.com), search for the publication, “The Secrets of Color
Management.”
• At the ColorBlind Web site (www.color.com), click Color Resources.
• At your local library or bookstore, look for GATF Practical Guide to Color Management,
by Richard Adams and Joshua Weisberg (May 1998); ISBN 0883622025.

Calibrating and profiling your monitor using Adobe Gamma

The first requirement for color management is to calibrate your monitor and create an
accurate ICC profile for it. Although this doesn’t address your entire workflow, at least it
ensures that your monitor displays colors as precisely as it can. Calibration is the process
of setting your monitor, or any device, to a standard or set of known color conditions.
Profiling, also known as characterization, is the process of creating an ICC profile that
describes the unique color characteristics of your device in relation to a standard. Always
calibrate your monitor, or any device, before creating a profile for it.
Although monitor calibration and profiling are best done with specialized software and
hardware, you can get reasonably accurate results with the newest version of the Adobe
Gamma utility included with your Adobe product. If you are satisfied with your existing
monitor profile, you do not need to use Adobe Gamma, as Adobe Gamma will overwrite
those settings.

You may find it helpful to have your monitor’s user guide handy while using Adobe
Gamma.
1 If you have the Mac OS Gamma control panel (included with Adobe Photoshop 4.0
and earlier) or the Monitor Setup utility (included with PageMaker® 6.0) for Windows,
remove it because it is obsolete. Use the latest Adobe Gamma utility instead.
 ADOBE INDESIGN 2.0 423
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2 Make sure that your monitor has been turned on for at least a half hour. This gives it
sufficient time to warm up for a more accurate color reading.
3 Make sure that your monitor is displaying thousands of colors or more.
4 Set the room lighting to the level you plan to maintain consistently.
5 Remove colorful background patterns on your monitor desktop. Busy or bright patterns
surrounding a document interfere with accurate color perception. Set your desktop to
display neutral grays only, using RGB values of 128. For more information, see the manual
for your operating system.
6 If your monitor has digital controls for choosing the white point of your monitor from
a range of preset values, set those controls before starting Adobe Gamma. Later, in Adobe
Gamma, you’ll set the white point to match your monitor’s current setting. Be sure to set
the digital controls before you start Adobe Gamma. If you set them after you begin the
calibration process in Adobe Gamma, you’ll need to begin the process again.

For more information on controlling the colors and light in your work environment,
see “Creating a viewing environment for color management” in the Adobe InDesign
online Help.

Calibrating the monitor

On Windows, you’ll use the Adobe Gamma utility to calibrate and profile your monitor.
On Mac OS, you can use the built-in Apple monitor calibration utility in the Control
Panel. The resulting ICC profile uses the calibration settings to precisely describe how
your monitor reproduces color. In this section, you’ll load an existing monitor profile as
a starting point for calibrating your monitor.
Note: Adobe Gamma can profile, but not calibrate, monitors used with Windows NT. Its
ability to calibrate settings in Windows 98 depends on the video card and video driver
software. In such cases, some calibration options documented here may not be available. For
example, if you’re only profiling your monitor, you’ll be able to specify the monitor’s current
white point and gamma, but not the target calibration settings.
424 LESSON 13
Setting Up Your Monitor for Color Management

1 Do one of the following:

• In Windows, choose Start > Settings > Control Panel, and then double-click Adobe
Gamma.
• In Mac OS, from the Apple menu, choose Control Panels > Monitor. Select the Color
icon at the top of the window.
2 (Windows) Do one of the following:
• If your monitor is listed in the Description area at the top of the control panel, select it.
• Click the Load button for a list of other available profiles, and then locate and open the
monitor ICC profile that most closely matches your monitor. To see an ICC profile’s full
name at the bottom of the Open Monitor Profile dialog box, select a file. (Windows profile
filenames have either the .icc or .icm extension, which you may not see if extension display
is off.) Make your choice and then click Open.
• Click the Load button, and then locate and open Adobe RGB (1998).

Adobe Gamma utility control panel

3 (Mac OS) Under ColorSync Profiles, select the profile for your monitor or select Adobe
RGB (1998). Then click Calibrate and follow the instructions in the Monitor Calibration
Assistant.
 ADOBE INDESIGN 2.0 425
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Adding device profiles to the color management system

The InDesign installer lets you choose from manufacturer-supplied device profiles for some commonly used
equipment. This is useful if you don’t have access to hardware-based calibration tools. It is not possible for
the installer to supply profiles for all devices. If the installer did not install a profile for your device, create one,
or contact the device manufacturer to obtain one.
To minimize the potential for confusion when you’re working with profiles, delete any profiles for devices you
or your workgroup aren’t using.

To add profiles to your system

Do one of the following:
• In Windows NT 4.0, copy profiles into the WinNT\System32|Color folder.
• In Windows 2000, copy profiles into the WinNT\System32\spool\drivers\color folder.
• In Windows 98, open the Windows\System\Color folder.
• In Mac OS 9, open the ColorSync Profiles folder in the System Folder (ColorSync 2.5 or later), or System
Folder/Preferences/ColorSync™ Profiles (ColorSync versions earlier than 2.5).
• In Mac OS 10.1, copy profiles into either of two locations, depending on your requirements. The main loca-
tion is <OSX Disk> Library/ColorSync/Profiles. If you want your profiles to be seen only by you, copy them
into <OSX Disk> /Users/<user>/Library/ColorSync/Profiles.
Note: If you use ColorSync 2.5 but have used earlier versions, some profiles may still be stored in System
Folder/Preferences/ColorSync™ Profiles on your hard disk. For compatibility with ColorSync 2.5 or later,
store profiles in the ColorSync Profiles folder in the System Folder.

–From the Adobe InDesign User Guide, Chapter 13

426 LESSON 13
Setting Up Your Monitor for Color Management

Setting the optimal brightness and contrast

Now you’ll adjust the monitor’s overall level and range of display intensity. These controls
work just as they do on a television. Adjusting the monitor’s brightness and contrast
enables the most accurate screen representation for the gamma adjustment that follows.
1 With Adobe Gamma running, set your monitor’s contrast control to its highest setting.
2 Adjust the brightness control on your monitor as you watch the alternating pattern of
black and gray squares across the top half of the Brightness and Contrast rectangle in Adobe
Gamma. Make the gray squares in the top bar as dark as possible without matching the
black squares, while keeping the bottom area a bright white. If you can’t see a difference
between the black and gray squares while keeping the bottom area white, your monitor’s
screen phosphors may be fading.

A. Gray squares too light B. Gray squares too dark and white area too gray
C. Gray squares and white area correctly adjusted

Do not adjust the brightness and contrast controls on your monitor again unless you are
about to update the monitor profile. Adjusting the controls invalidates the monitor profile.
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Selecting phosphor data

The chemical phosphors on your monitor screen determine the range of colors you see
on your screen.
Do one of the following from the Phosphors menu:
• Choose the exact phosphor type used by the monitor you are calibrating. The two most
common phosphor types are EBU/ITU and Trinitron.

• If the correct type is not listed but you were provided with chromaticity coordinates
with your monitor, choose Custom and enter the red, green, and blue chromaticity
coordinates of the monitor’s phosphors.
• If you’re not sure which phosphors your monitor uses, see the monitor’s documen-
tation, contact the manufacturer, or use a color-measuring instrument such as a
colorimeter or spectrophotometer to determine them.
428 LESSON 13
Setting Up Your Monitor for Color Management

Setting the midtones

The gamma setting defines midtone brightness. You can adjust the gamma based on a single
combined gamma reading (the View Single Gamma Only option). Or, you can individ-
ually adjust the midtones for red, green, and blue. The second method produces a more
accurate setting, so you will use that method here.
For the Gamma option in the Adobe Gamma utility, deselect the View Single Gamma
Only option. Drag the slider under each box until the shape in the center blends in with
the background as much as possible. It may help to squint or move back from the monitor.

Single gamma not calibrated (left) and calibrated (right)

Make adjustments carefully and in small increments; imprecise adjustments can result in
a color cast not visible until you print.

Selecting a target gamma

You may also have an option for specifying a separate gamma for viewing graphics.
Note: This option is not available in Windows NT, due to its hardware-protection shield that
prevents Adobe Gamma from communicating with your computer video card.
If you have this option, choose one of the following from the Desired menu:
• Windows Default for Windows systems. Leave the setting at 2.2.
• Macintosh Default for Mac OS computers. Leave the setting at 1.8.
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Setting the monitor white point

Now you’ll adjust the hardware white point, the whitest white that a monitor is capable of
displaying. The white point is a measurement of color temperature in degrees Kelvin and
determines whether you are using a warm or cool white.
In this part of the lesson, you’ll make sure that the white-point setting matches the white
point of your monitor. Do one of the following:
• If you know the white point of your monitor in its current state, you can select it from
the Hardware menu in the White Point section. If your monitor is new, select 9300° K, the
default white point of most monitors and televisions.

• If you started from a manufacturer’s profile for your monitor, you can use the default
value. However, the older your monitor, the less likely it is that its white point still matches
the manufacturer’s profile.
• If your monitor is equipped with digital controls for setting the white point, and you
already set those controls before starting Adobe Gamma, make sure that the Hardware
menu matches your monitor’s current setting. Remember, though, that if you adjust these
hardware controls at this point in the calibration process, you’ll need to start over,
beginning with the procedure in “Setting the optimal brightness and contrast” on
page 426.
• If you don’t know the white point, you can use the Measure option to visually estimate
it. If you choose this option, continue to step 1.

To get precise values, you need to measure the white point with a desktop colorimeter or
spectrophotometer and enter those values directly using the Custom option.
If you were unable to choose a hardware setting as described above, do the following
experiment.
1 For best results, eliminate all ambient light before proceeding.
430 LESSON 13
Setting Up Your Monitor for Color Management

2 Click Measure and then click OK (Windows) or Next (Mac OS). Three squares will
appear.
The goal here is to make the center square as neutral gray as possible. You’ll train your eyes
to see the contrasts between the extreme blue (cooler) white and warm (yellow) white, and
then adjust the colors in the squares to find the most neutral gray between them.
3 Click the left square several times until it disappears, leaving the middle and right
squares. Study the contrast between the remaining blueish squares.

Clicking the left square will reset all the squares

a shade cooler.

4 Click the right square several times until it disappears, and study the contrast between
the remaining yellowish squares.

Clicking the right square will reset all the squares

a shade warmer.
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5 Click the left or right square until the center square is a neutral gray. When complete,
commit the changes by clicking the center square.

Setting an adjusted white point

This option, when available, sets a working white point for monitor display, if that value
differs from the hardware white point. For example, if your hardware white point is
6500°K (daylight), but you want to edit an image at 5000°K (warm white) because that
most closely represents the environment in which the image will be viewed, you can set
your adjusted white point to 5000°K. Adobe Gamma will change the monitor display
accordingly.
Do one of the following to specify a separate white point for viewing graphics:
• To use the current white point of your monitor, choose Same as Hardware from the
Adjusted menu.
• To specify your monitor’s white point to a target value other than the Hardware value,
choose the color temperature setting you want from the Adjusted menu.
432 LESSON 13
Setting Up Your Monitor for Color Management

Saving the monitor profile

Now that you have calibrated for your monitor, you will save the ICC profile you have
created. Applications that support color management will use this monitor profile to
display color graphics. First, you’ll give the monitor profile a unique descriptive name.
1 In the Adobe Gamma dialog box, in Description, type a name for the monitor profile.
(The sample uses My Monitor.) When you type a description here, it appears by default
when you start Adobe Gamma. Applications that support color management will also
display this descriptive name in their color-settings dialog boxes.

2 Click OK (Windows) or click the Close button (Mac OS). In Mac OS, click Save when
prompted.
Now you’ll give the profile a filename so that you can identify it when using Explorer
(Windows) or Finder (Mac OS).
3 In the Save As dialog box, type the same name that you used in step 1 and save the
profile in the Color folder (Windows) or the ColorSync Profiles folder (Mac OS).
Adobe Gamma makes the new monitor profile the default. You can use this profile in any
application that supports ICC-compliant color management. In Mac OS, the profile infor-
mation will be supplied to Apple ColorSync as the default monitor setting.
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Review questions
1 What does the color management engine do?
2 What is calibration?
3 What is profiling?
4 What are the four main monitor settings you adjust when you run the Adobe Gamma
utility, and why do you adjust them?

Review answers
1 The color management engine translates colors from the color space of one device to
another device’s color space by a process called color mapping.
2 Calibration is the process of setting a device to known color conditions.
3 Profiling, or characterization, is the process of creating an ICC profile that describes
the unique color characteristics of a particular device. You should always calibrate a
device before creating a profile for it.
4 Using Adobe Gamma, you adjust the brightness and contrast, phosphors (color
characteristics), gamma (color contrast), and white point (extreme highlight) of the
monitor. You adjust these settings to calibrate your monitor. Adobe Gamma uses those
settings to create an ICC monitor profile that defines your monitor’s color space for
working on graphics.
14 Ensuring Consistent Color

When your document must meet color

standards set by clients and designers,
viewing and editing color consistently
becomes critical, all the way from scanning
source images to creating final output. A
color management system reconciles color
differences among devices so that you can
be reasonably certain of the colors your
system ultimately produces.
438 LESSON 14
Ensuring Consistent Color

In this lesson, you’ll learn how to do the following:

• Specify a color management engine.
• Specify default source ICC profiles.
• Assign ICC profiles in InDesign.
• Embed ICC profiles in graphics created in other Adobe programs.
Note: This lesson is designed for users who work with InDesign in environments that also
involve Adobe Illustrator 9 or later and Adobe Photoshop 5.0 or later. If you do not have those
programs installed on your computer, you can still set up default source and destination ICC
profiles in InDesign, but you will skip some of these step-by-step instructions for color-
managing graphics from Illustrator and Photoshop.

Getting started
Color management is important in environments where you must evaluate image color
reliably in the context of your final output. Color correction is a different issue that involves
images with tonal or color-balance problems, and is usually handled in the original graphics
application, such as Photoshop.
In this lesson, you’ll set up color management for an advertisement for a fictitious chocolate
company called Tifflins Truffles. The ad will run in a variety of publications, so getting
consistent and predictable color is of primary concern. You will set up the color management
system using a CMYK press-oriented workflow, build the document using graphics from
other Adobe products, and specify ICC profiles for individual graphics to ensure color
integrity.
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Do you need color management?

Use the following guidelines to determine whether or not you need color management:
• Color accuracy in your working environment isn’t required if you rely completely on prepress service pro-
viders and commercial printers for all of your color work.
• Color management is recommended for maintaining color accuracy in monitor display, the ability to soft-
proof colors, and color consistency in large workgroups.
• Color management is recommended if you reuse color graphics for print and online media, use various
kinds of devices within a single medium (such as different printing presses), or print to different domestic and
international presses.
If you decide to use color management, consult with your production partners—such as graphic artists and
prepress service providers—to ensure that all aspects of your color management workflow integrate with
theirs.

–From the Adobe InDesign User Guide, chapter 13

See also “About color management” in the Adobe InDesign online Help.
Important: Successfully calibrating and characterizing your monitor as explained in Lesson 13
is a prerequisite for doing this lesson. Therefore, do not restore the InDesign default preferences
in this lesson as you have done in other lessons or you will override the calibration settings and
monitor profile. If you skip Lesson 13, the on-screen colors will be unreliable.
1 Start Adobe InDesign.
To begin working, you’ll open an existing InDesign document.
2 Choose File > Open, and open the 14_a.indd file in the ID_14 folder, located inside the
Lessons folder within the IDCIB folder on your hard disk. If an alert message appears that
asks which dictionary file you want to use, click No (Windows) or Document (Mac OS).
Notice that the brown colors and images look muddy and lack clarity, and the overall
color is saturated. This is because you have not enabled color management.
3 Choose File > Save As, rename the file 14_truffles.indd, and save it in the ID_14 folder.
440 LESSON 14
Ensuring Consistent Color

4 If you want to see what the finished document will look like, open the 14_b.indd file in
the Final folder in the ID_14 folder. The ad consists of graphics created in InDesign and
other Adobe applications. You will color-manage those graphics to achieve consistent
color output from InDesign.
Note: Although color management is turned on for this document, the colors may still lack
clarity because you have not yet set up color management for your computer or set a Preferences
setting for displaying all available high-resolution image data.

A. InDesign object B. Photoshop PSD file C. Legacy (archived) CMYK file D. Illustrator file exported as a bitmap

5 When you’re ready to resume work on the lesson document, choose its name from the
Window menu.

Components of a CMYK press-oriented workflow

In a CMYK workflow, you work with CMYK images prepared for a specific printing press or
proofing device, or legacy (archived) CMYK images. You generate a source profile based on
your press or contract-proofing standard and embed it into the CMYK images or assign the
profile in InDesign. The profile enables consistent CMYK printing at other color-
managed sites, such as when printing a widely distributed magazine on presses in many
different cities. Because you use color management, the reliability and consistency of color
display improves across all of your workstations. For final printed output, you select a printer
profile in the Print dialog box that describes your contract-proofing standard or your printing
press.
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Setting up color management in InDesign

No mechanical device can produce the full range of color visible to the human eye: no
monitor, film, printer, copier, or printing press. Each device has a specific capability, so
that different devices make different kinds of compromises in reproducing color images.
The unique color-rendering abilities of a specific output device are known collectively as
its gamut or color space.
InDesign and other graphics applications, such as Adobe Photoshop, Adobe Illustrator,
and others, use color numbers to describe the color of each pixel in an image. The color
numbers correspond to the color model, such as the familiar RGB values for red, green,
and blue or the CMYK values for cyan, magenta, yellow, and black.
Color management is simply the designation of a consistent way of translating the color
numbers for each pixel from the source (the document or image stored on your
computer) to the output device (such as your monitor, color printer, or high-resolution
printing press, each with its own specific gamut).
In an ICC workflow—that is, one that follows the conventions of the International Color
Consortium (ICC)—you specify a color management engine and a color profile. The color
management engine is the software feature or module that does the work of reading and
translating colors between different color spaces. A color profile is the description of how
the color numbers map to the color space (capabilities) of output devices.
In this section, you’ll activate and select a color management engine and a working space
(predefined color profile) for the chocolate-truffles advertisement.

Specifying the Adobe ACE engine

Different companies have developed various ways to manage color. To provide you with a
choice, you use a color management system to designate a color management engine that
represents the approach you want to use. Remember that the color management engine
translates colors from the source. InDesign 2.0 now offers the Adobe ACE engine as one
of your choices. This engine uses the same architecture as in Photoshop and Illustrator,
so that your color management choices are integrated across these Adobe graphics appli-
cations.
1 Choose Edit > Color Settings.
The color management engine and other settings you choose in the Color Settings dialog
box are saved with InDesign and apply to all InDesign documents you work on in the
future.
442 LESSON 14
Ensuring Consistent Color

2 Select the Enable Color Management check box.

By default, color management for the document is turned off, because successful color
management requires that you set it up properly before depending on it.
3 Under Conversion Options in the lower part of the dialog box, select Adobe (ACE) in
the Engine pop-up menu.
4 For Intent, select Perceptual from the pop-up menu. Later in this lesson, you’ll explore
the Intent options in more detail.
5 Leave the dialog box open so you can use it in the next section.

Choose Adobe ACE unless your prepress service provider recommends another engine. Use
the same engine throughout your workflow.
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Setting up default working spaces

To complete the application-wide color management setup, you’ll choose profiles for the
devices you will use to reproduce the color, including your monitor, composite proofing
device, and final separations standard. InDesign refers to these preset profiles as working
spaces. These working spaces are also available in other Adobe graphics applications,
including Illustrator and Photoshop. Once you designate the same working space in all
three applications, then you’ve automatically set up consistent color for illustration,
digital images, and document layouts.

A. Monitor profile B. Composite profile C. Separations profile (which can be

an output device or press standard, such as SWOP or TOYO)

First, you’ll select a monitor profile. If the Color Settings dialog box is not still open from
the previous procedure, reopen it now.
1 Under Working Spaces, select U.S Web Coated (SWOP) v2.
In a later section, you’ll set the on-screen display of images to full resolution so that
InDesign can color-manage all available image data.
2 Move the dialog box out of your way and study the colors in the ad.
Notice the heavy use of brown. You’ll see a noticeable difference in the browns when you
apply color management by closing the dialog box in the next step.
3 Click OK.
444 LESSON 14
Ensuring Consistent Color

Several colors change in the ad, but most noticeably the browns; they appear to have more
detail. It’s important to note that although the images look better than they did when you
opened the document, the images themselves have not been altered—only the display of the
images has changed. Specifically, what you see now represents the color characteristics of
the following devices:
• The program or scanner that saved the image, using the source profile embedded in the
image.
• The final output device for the document, using the destination profile you set up
earlier in the lesson.
• The monitor on which you’re viewing the document, using the monitor profile you
created using Adobe Gamma in Lesson 13.
Note: If you turn on color management after you open a document, color management settings
apply only to the current document. For color management to become the InDesign default,
turn it on when no documents are open.
It’s easy to see that the success of color management ultimately depends on the accuracy
of your profiles.

Assigning source profiles

Source profiles describe the color space InDesign uses when you create colors in InDesign
and apply them to objects, or when you import an RGB, CMYK, or LAB color graphic that
wasn’t saved with an embedded profile. When you import an image with embedded profiles,
InDesign will color-manage the image using the embedded profiles rather than the profiles
you choose here, unless you override the embedded profiles for an individual image.

A. LAB profile B. RGB profile C. CMYK profile D. InDesign document applying a

profile that matches the color model of each image that lacks a profile
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If the Color Settings dialog box is not still open from the previous procedure, reopen it
now.
1 Choose Edit > Assign Properties.
2 In both the RGB Profile and CMYK Profile areas of the dialog box, select the Assign
Current Working Space options.
Notice that the text following the words “working space” contains the same working-
space information that you entered in the Color Settings dialog box. With these settings,
the Adobe ACE engine won’t unnecessarily convert colors you’ve specified with your final
output already taken into account.

3 Leave the dialog box open so you can use it in the next section.

Specifying the rendering intent

The rendering intent determines how the color management engine converts colors,
based on the source and destination profiles you specify in InDesign. You’ll specify the
color-translation method for the InDesign color management engine to apply to the
graphics in the advertisment.
1 In the lower area of the Assign Profiles dialog box, leave Relative Colorimetric selected
for the Solid Color Intent option. This option preserves individual colors at the expense
of color relationships, so it’s appropriate for business logos and other such graphics.
446 LESSON 14
Ensuring Consistent Color

2 Make sure that Use Color Settings Intent is selected in both the Default Image Intent
and After-Blending Intent options. These options are appropriate for this photo-intensive
page spread.
3 Click OK to close the Assign Profiles dialog box, and then save your work.

Using full-resolution display with color management

When you use image-display resolutions lower than High Quality so that screen redraw
is faster, image-color display is also made faster by displaying their colors less precisely.
Image colors display most precisely when you view images at the fullest resolution (in
addition to turning on color management).
1 Choose Edit > Preferences > Display Performance (Windows, Mac OS 9) or
InDesign > Preferences > Display Performance (Mac OS 10.1).
2 For Default View Settings, select High Quality on the pop-up menu, and then click OK.
It’s especially important to view color-managed images at full resolution when you work
with duotones.
3 Choose File > Save.
When color management is on, image display is set to full resolution, and you use
accurate profiles that are applied properly, you see the best possible color representation
that your monitor is capable of showing.
Note: To save disk space, the sample files for this lesson are 150 pixels per inch (ppi), so the
colors are not as precise as they would be using a higher resolution.

Color-managing imported graphics in InDesign

When you import a graphic, you can control its color management in your document. If
you know that an imported graphic contains an accurate embedded profile with an appro-
priate rendering intent, you just import it and continue working. InDesign will read and
apply the embedded profile to the graphic, integrating it into the CMS for the document. If
an imported bitmap image does not include an embedded profile, InDesign applies the
default source profile (CMYK, RGB, or LAB) to the image.
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InDesign also applies a default source profile to InDesign-drawn objects. You can assign a
different profile within InDesign—using Edit > Assign Profiles to open the Assign Profiles
dialog box—or open the graphic in the original application and embed the profile there.
The ad already includes two images that were saved without embedded profiles. You’ll
integrate those images into the document CMS using two different methods: assigning
a profile within InDesign and opening the original image so that you can embed the
profile. Later in the lesson, you’ll import two additional graphics and practice two
methods of assigning a profile before you place them in the ad.

Assigning a profile after importing an image

When you import images that were saved without embedded profiles into InDesign,
InDesign applies its default source profile to the image. If an imported image was not
created in the default color space, you should assign the profile that describes the image’s
original color space.

InDesign applies its default source profile to any bitmap image without embedded profiles.

You’ll work with an image that was imported into InDesign before you turned on color
management. First, you’ll confirm the default profile InDesign is using to color-manage
the image. Then, within InDesign, you’ll assign a new profile because the image’s original
color space is different from the default color space.
448 LESSON 14
Ensuring Consistent Color

1 Using the selection tool ( ), select the plate of truffles on the left side of the ad.

2 Choose Object > Image Color Settings.

Notice that the Enable Color Management check box is selected and that Use Document
Default is selected for Profile. InDesign enables color management for each imported
image and assigns the default source profile you set up earlier in this lesson. You can
disable color management for individual images using the Image Color Settings dialog
box. You can also assign a new profile here. Because you are assigning the profile within
InDesign, the change will apply only to the selected image in this document.
3 For Profile, choose Light GCR 280 UCR CMYK US Negative Proofing to match the
image’s original color space. This profile represents the color-lookup tables used by the
scanner operator who originally scanned this as a CMYK image.
Note: If this option is not available, select another profile, such as U.S. Web Coated
(SWOP) v2.
4 Leave the Rendering Intent set as Use Document Image Intent, and click OK. The
colors deepen noticeably.
InDesign will color-manage the image using the newly assigned profile.
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Embedding a profile in a Photoshop TIFF image

As a general rule, you should embed ICC profiles in files before importing the files into
another document that uses color management. That way, images with embedded profiles
will more likely appear as intended in InDesign or other color-managed programs
without requiring any additional work.
In this section, you’ll work with a previously imported, color bitmap image that does not
contain an embedded profile.

A B C

A. Image’s working CMYK color space B. Image with embedded ICC profile C. InDesign uses embedded profile

Note: If you don’t have Photoshop installed on your system, you can use the Photoshop files
provided in the lesson folder. The steps indicate when to do so.

Setting up color management in Photoshop

First, you’ll define the working color spaces (used for viewing and editing) for the image’s
RGB and CMYK color modes.
1 Start Photoshop, and choose Edit > Color Settings.
2 For Settings, select U.S. Prepress Defaults on the pop-up menu.
450 LESSON 14
Ensuring Consistent Color

3 For the CMYK option under Working Spaces, select U.S. Web Coated (SWOP) v2 if it
is not already selected, so that the embedded profile matches the default separations
profile you specified in InDesign 2.0.

4 Leave the other settings as they are, and click OK.

Embedding the profile

Now that you have specified the working color spaces for the Photoshop image, you’ll
embed the specified profile.
1 In InDesign, use the selection tool ( ) to select the large chocolate image in the upper
right area of the ad.

2 Choose Window > Links to display the Links palette. The 14_d.psd file is highlighted
because that image is selected in the document window.
 ADOBE INDESIGN 2.0 451
Classroom in a Book

3 With the image still selected, do one of the following:

• If you don’t have Photoshop, you can read the information in this section and the next
one, and then skip ahead to step 2 in “Updating the image within InDesign” on page 451
to use the Photoshop file provided in the lesson folder.
• If you have Photoshop and enough memory to run both InDesign and Photoshop
simultaneously, open the Links palette menu and select Edit Original to open the image
in Photoshop. The image has been converted to CMYK so you can use it in your CMYK
press-oriented workflow. If the image were RGB, you would need to convert it before
continuing.
4 In Photoshop, the Missing Profile dialog box appears. Select Assign Working CMYK.
Notice that it is already set to U.S. Web Coated (SWOP) v2, which is the profile you
selected in the previous procedure, “Setting up color management in Photoshop” on
page 449. Click OK.

5 To embed the profile, choose File > Save As. Select your ID_14 folder in your IDCIB
folder, and then type 14_dprof.tif for File Name. Make sure that the ICC Profile: U.S. Web
Coated (SWOP) v2 check box (Windows) or the Embed Color Profile check box
(Mac OS) is selected, and click OK.
6 In the TIFF Options dialog box, click OK to accept the default.
7 Close the image and exit Photoshop.

Updating the image within InDesign

Now that you’ve embedded the ICC profile in the Photoshop file, you can update the
image in InDesign. InDesign will color-manage the image using the embedded profile.
1 In InDesign, select the large chocolate image.
452 LESSON 14
Ensuring Consistent Color

2 Do one of the following:

• If you followed Photoshop instructions in the previous sections, click the Relink button
( ) at the bottom of the Links palette. Click Browse and locate the 14_dprof.tif file you
just saved in the ID_14 folder. Double-click the file.
• If you don’t have Photoshop or skipped the previous two sections, click the Relink
button ( ) at the bottom of the Links palette. Click Browse and locate 14_dprof.tif in
the Final folder (you may need to select All Files for Files of Type). Double-click the file.
3 To confirm that the embedded profile is being used, open the Links palette menu
(choose Window > Links if the Links palette is not visible), and choose Link Information.
In the Link Information dialog box, make sure that the Profile says U.S. Web Coated
(SWOP) v2, and then click Done.

A quick way to check profiles for all graphics in a document is by using the Preflight
feature to view document components.
Now that you have fixed existing graphics in the document, you will finish the ad by
importing two additional graphics and setting options as you import.

Assigning a profile while importing a graphic

If you know that a color-managed image uses a color space that is different from the color
space described by the default source profile, you can assign a profile to it while you’re
importing the image into InDesign. In this section, you’ll import a legacy (archived)
CMYK image scanned without a profile, and assign a profile before you place it in the ad.

You can assign a profile while you import an image.

1 In InDesign, choose View > Show Frame Edges to show the outline of the frame for the
graphic you’re about to place—and the outlines for all the graphics frames in the ad.
 ADOBE INDESIGN 2.0 453
Classroom in a Book

2 If necessary, adjust your view so that you can easily see the frames in the lower right
area of the spread. Using the selection tool ( ), select the topmost of these three frames.

3 Choose File > Place to open the Place dialog box, and do the following:
• Open ID_14 folder in the IDCIB folder and select the 14_e.psd file.
• Select the Show Import Options check box, so that you’ll have an opportunity to specify
a profile.
• Click Open.
4 In the Image Import Options dialog box, select Color Settings on the left side of the
dialog box.
5 On the right side of the dialog box, make sure that Enable Color Management is
selected. Then select the following options:
• For Profile, select Light GCR 280 UCR CMYK US Negative Proofing to match the
image’s original color space.
Note: If you selected a different Profile in “Assigning a profile after importing an image” on
page 447, select the same profile here.
• For Rendering Intent, select Perceptual (Images).
• Click OK.
454 LESSON 14
Ensuring Consistent Color

The image appears in the selected frame. InDesign will color-manage the image using the
profile you assigned.

Embedding a profile in an Illustrator graphic

In this lesson, you’ll set up Illustrator 10 (or Illustrator 9) so that its color-management
settings match InDesign. You’ll then save a color-managed Illustrator graphic and place it
in an InDesign document.
InDesign can color-manage vector graphics created in Illustrator 9 or later when you save
them in formats that embed profiles, such as PDF or TIFF. In this lesson, you’ll save a file
as PDF and then place the graphic in InDesign.
Note: If you don’t have Illustrator 9 or 10 installed on your system, you can read the infor-
mation in the next two sections, and then skip to step 2 in “Placing a color-managed Illus-
trator file into InDesign” on page 456 to use the Illustrator file provided in the ID_14 folder.

InDesign color-manages a PDF file using the profiles saved with the PDF version of the file.

Setting up color management in Illustrator

Now you’ll set up color management in Illustrator so that it matches color management
settings in InDesign. This ensures that the colors are consistent from Illustrator to InDesign
on-screen and in print. Setting up color management in Illustrator also enables you to
embed an ICC profile in an exported version of the Illustrator file. When you place the
exported Illustrator file in the InDesign layout, InDesign color-manages the logo using the
embedded profile.
Note: This procedure is written for Illustrator 9 or later. If you are using Illustrator 8, the color
settings required for this lesson are significantly different. For more information, visit the
Knowledge Base pages of the Adobe Web site.
 ADOBE INDESIGN 2.0 455
Classroom in a Book

1 Start Adobe Illustrator, and choose Edit > Color Settings.

2 In the Color Settings dialog box, select U.S. Prepress Defaults, and then select the
Advanced Mode check box to expand the dialog box so that you see more options.
3 Under Working Spaces, for RGB select the profile you created earlier. Leave CMYK set
for U.S. Web Coated (SWOP) v2.
4 Review the settings and make sure that U.S. Prepress Defaults, the Adobe (ACE)
engine, and Relative Colorimetric intent are selected.
5 Click OK.
You have finished setting up color management in Illustrator.

Embedding a profile in a graphic from Illustrator

You can embed an ICC profile in files that you create in Illustrator and export in PDF or
bitmap (.bmp) formats. Then, InDesign can use the profile to color-manage the graphic.
In this task, you’ll export a file to PDF format, and then place the graphic in an InDesign
document.
1 In Illustrator 9 or later, choose File > Open. Locate and double-click the 14_f.ai file in
the ID_14 folder inside the IDCIB folder on your hard disk.
2 When the Missing Profile dialog box opens, select Assign current working space: U.S.
Web Coated (SWOP) v2, and click OK.

3 In Illustrator, choose Window > Links to display the Links palette.

4 Choose File > Save As.
5 Name the file 14_Logo.pdf, and choose Acrobat PDF from the Save as Type (Windows)
or Format (Mac OS) menu. Make sure that the ID_14 folder is targeted, and then click
Save to close the Save As dialog box and open the Adobe PDF Format Options dialog box.
6 Make sure that the PDF compression options are appropriate for your final print
production.
456 LESSON 14
Ensuring Consistent Color

7 For Compatibility, choose Acrobat 5.0, if it is not already selected. This setting ensures
that the profile is saved with the PDF file. Then click OK.

8 Close the file and quit Illustrator.

Placing a color-managed Illustrator file into InDesign

Now that you have created a PDF file of the Illustrator document, you’ll place it in
InDesign.
1 In InDesign, select the remaining empty frame in the bottom right area of the ad.
 ADOBE INDESIGN 2.0 457
Classroom in a Book

2 Do one of the following:

• If you followed Illustrator instructions in the previous sections, choose File > Place and
select the 14_Logo.pdf file that you created.
• If you don’t have Illustrator or skipped the previous two sections, choose File > Place
and select the 14_Logo.pdf file in the Final folder in the ID_14 folder, located inside the
Lessons folder within the IDCIB folder on your hard disk. Make sure that Show Import
Options is selected before you click Open.

3 In the Place PDF dialog box, for Crop To, choose Bounding Box. This option places
only the logo’s bounding box—the minimum area that encloses the logo.
4 Make sure that Transparent Background is selected, so that you can see any text or
graphics behind the bounding box, and then click OK.
458 LESSON 14
Ensuring Consistent Color

The logo appears in the selected frame. InDesign will color-manage the PDF file using the
embedded profile.

5 Save the file.

In this lesson, you have learned how to set up color management across three Adobe
applications—an admirable achievement. You have learned several methods for incorpo-
rating graphics so that they can be color-managed when placed in InDesign documents.
Because you described your color environment to the other Adobe applications whose
graphics you imported, you can expect predictable, consistent color for those graphics
across the applications.
At this time, you could either hand off the native InDesign file with all the linked files, or
export the InDesign file as PDF, embedding the ICC profiles you assigned. If you create a
PDF file of the document, the colors in the ad will look the same across all publications
that use the ad, regardless of the color-management settings used by the publication’s layout
application. Other users can preview and proof your color-managed files more accurately
and repurpose them for different print conditions when that is useful, or when it is a
requirement of your project.
 ADOBE INDESIGN 2.0 459
Classroom in a Book

A E

C D

A. Image with embedded CMYK profile B. Image with CMYK profile assigned in
InDesign C. InDesign document using a CMYK profile based on a separation profile
D. Separation profile E. Different separation profiles when targeting different presses
460 LESSON 14
Ensuring Consistent Color

Review questions
1 What do source profiles describe?
2 What are three ways to attach an ICC profile to a graphic so that InDesign can
color-manage the graphic?
3 Why would you embed an ICC profile in a graphic?
4 Which file formats embed ICC profiles for use in both Windows and Mac OS?

Review answers
1 Source profiles selected in the Assign Profiles dialog box describe the color space
InDesign assigns to objects you create using the drawing tools, or when you import an
RGB, CMYK, or LAB color graphic that wasn’t saved with an embedded profile.
2 You can embed the profile in the original file, assign a profile within InDesign, or
use the default profile you specified when you set up color management in InDesign.
3 Embedding an ICC profile ensures that the graphic displays correctly in any appli-
cation that uses ICC-compliant color management. The application that uses the
graphic honors the embedded profile rather than applying a default one.
4 A growing number of formats can contain an embedded ICC profile, but the most
widely supported formats to use with embedded ICC profiles at this time are bitmap
image formats such as Photoshop (PSD), TIFF, and JPEG.
 461

Index
A Alphabetical Order 404 bounding boxes 113
Absolute Colorimetric option 421 alternating pattern (table break characters 290
Actual Size command 52 formatting) 350 Brightness option 426
adding anchor points 113, 114 bringing objects forward 264
documents to a book 396 direction lines and 217 bringing objects forward See also
files to a book 396 direction points and 217 layers
to object libraries 192 drawing straight lines 201 browser 383
Adjusted menu (Adobe Gamma) 431 repositioning while drawing 220 browser (for InDesign Help) 63
Adobe Acrobat Apply Master to Pages command
(Pages palette) 95 C
exporting to 261, 337
arrowheads 232 calibrating monitors 422
installing 261
assigning carriage returns 283
viewing InDesign Help 63
style source 405 cell options 350
Adobe Gamma utility 422
XML tags 372 cell strokes 347
Adobe GoLive 372, 387
attributes (XML) 381 center point 204
Adobe Illustrator
Auto Page Number command 81 Center-Justified tab button 332
color managing 454
autoflowing text 272 chapters 397
importing files from 186
automatic page insertion 272 chapters, tables of contents for 403
matching CMS to InDesign 454
automatic text box. See autoflowing Character palette 312, 317
on-screen display of 186 text
Adobe Online 65 character styles 20, 23
automatic text chain. See autoflowing
Adobe Photoshop text Character Styles palette 294
color management 449 characterization, defined 422
importing files from 176 B Choose 344
matching CMS to InDesign 449 background, removing 178 clearing, table contents 354
paths 184 baseline grid 311 Clipping Path command 178
Align Right option 83, 292 bitmap images 171, 188 clipping paths
Align to Baseline Grid button 314 color management 446 creating with InDesign 178
aligning black-and-white images, Inset Frame option 180
text 83, 292, 313 colorizing 233, 249 overview 178
text in table cells 352 bleeds 47 Photoshop paths converted to 182,
blending modes 185
text vertically in frame 292
Color Burn 258 Threshold option 179
alpha channels 178
Color Dodge 255 Tolerance option 180
converting to clipping paths 182,
185 Multiply 252 CMM. See color matching module
viewing in Photoshop 184 Book Page Numbering Options 398 CMS. See color management

Book palette 396 collapse box (Mac OS) 50

books, defining 395, 397 Color box 44, 45

borders, of tables 347 Color Burn blending mode 258

462 INDEX

Color Dodge blending mode 255 ColorSync Profiles folder 425 D

Color folder for Windows profiles 425 columns Dash option 147
color management breaking 290 dashed strokes 146
Adobe Illustrator 454 changing page columns 286, 287 decorative font character 320
Adobe Photoshop 449 within text frames 92 defaults, restoring 3
application default 444 columns (tables) 347 defining
assigning profiles 452 adding by dragging 365 character styles 20
calibrating monitors 422 deleting 354 files in a book 396
color-lookup tables 448 dimensions 355 XML tags 372
disabling for specific images 448 dragging to adjust 361 deleting, table contents 354
embedding profiles 449 composing text 330 Deselect All command 144
imported graphics 446 compound paths Desired menu (Adobe Gamma) 428
legacy CMYK images 440, 447 making 227 destination profile, defined 421
objects created in InDesign 447 subpaths in 229 device-independent color 419, 421
parts of system 420 containers, frames as 113 device-independent color space 420
profiles. See ICC profiles context menus 61 dictionaries 300
rendering intents 445 continuation notes 290 dingbats 235
separations profile 443 contract proof 440 direction lines 216, 243
setting up in Illustrator 454 Contrast option 426 direction points 217
using across applications 442 convert-direction-point tool 222 direct-selection tool
workflows 440 copying defined 24
color management engine 441 formatting using eyedropper 338 editing paths 243
color mapping, defined 419 frames 83, 124 editing paths using 113
color matching module 421 lesson files 2 keyboard shortcut 115
Color Mode option 142 objects 206 Do Not Align to Baseline Grid
Color Settings command 455 corner points 243 button 316
Color Settings option 453 Create Guides command 75 docking palettes 49
color space 419, 420 creating document grid 200
Color Type option 142 book files 396 Document Setup dialog box 73
colorizing 233, 249 character styles 20 document window, defined 45
colors index references 408 documents
adding to Swatches palette 141 object libraries 192 creating 73
alternating, in tables 350 tables 364 facing pages 73
applying to images 233 XML files 381 setting up 71
applying to objects 143 XML tags 372 spell-checking 300
applying to text 154 Crop To option (PDF import) 457 dragging
device-independent 419, 421 cropping images 30 to adjust table columns 361
drag-and-drop 156 crossed-out pencil icon 60, 116 to create a new column 365
naming using color values 142 cross-media plug-in 370 to create guides 78
out-of-gamut 152, 419 cross-references (indexes) 410 to duplicate an object 124
Paper 146 Custom option 429 and tables 357
process 152 draw graphics 170
spot 151, 152
unnamed 141
 463

drawing F frame insets 18

and center points 204 facing pages 73, 345 frames
closed, open paths 201, 208 Facing Pages option 73 adding text on a path 301
constraining lines 201 feathering 254 changing the shape of 119
controlling corner angles 224 Fidelity option (pencil tool) 211 copying and pasting 83
curved, straight segments 201, 215, files, unlocking 395 in ports, text 285
217 Fill box 43, 326 inset spacing for 18
editing 221 Find Font command 299 out ports, text 285
semicircles 229 Find Style Settings option 295 paths and 113
Drop Cap Number of Lines Find/Change command 295 placeholder 85
option 326
finding resizing with contents 121
Drop Cap One or More Characters
option 326 missing fonts 299 rotating 28, 87

drop caps, creating 326 special characters 297 tagging, for XML 374

drop shadows 259 text 295 wrapping text around 123

duplicating Fit Guides To option 76

by dragging 124 Fit Page in Window command 48, 52 G

objects 206 Fit Spread in Window command 52 gamma 422, 428
scaling and 229 Flip Horizontal command (Transform Gamma option 428
palette) 240 Gamma utility 422
See also copying
flowing gamut, color 152, 419
dynamic preview (ghosted
images) 119 autoflowing text 274 generating
defined 272 indexes 411
manually 273 tables of contents 400
E
Edit Original button 183, 451 semi-autoflowing text 288 ghosted images 119
editing master pages 102 text 10 Go Back command 56
Enable Layout Adjustment option 304 text into existing frame 276 Go To Link button 172, 174
Encapsulated PostScript. See EPS files Flush Space command (context Gradient box 45
menu) 322
end of paragraph marker 283 gradient tool 149, 323, 325
flush spaces, adding 320, 321
end shapes for paths 232 gradients
Font Family menu 318
Entire Pasteboard command 47 across multiple objects 160
Font Size text box 318
EPS files adjusting direction of 149
fonts
on-screen display 186 applying to text 323
applying to text 82
transparency of 254 defined 147
installing 2
expand box (Mac OS) 50 endpoints and 323
missing 271
exporting using more than two colors in 157
footers 80
to Adobe Acrobat (PDF) 261, 337 graphics
for position only (proxies) 176
in SVG format 388 archived, legacy 452
formats. See PDF, SVG
to XML 381 color managing 446
formatting
Extensible Markup Language frames 116
(XML) 371 finding and changing 295
importing 98
eyedropper tool 145, 338 tables 348
in tables 356
text 82
linking 170
text in tables 360–362
locating 172
FPO (proxies) 176
464 INDEX

on-screen display of 176 importing K

updating 173 by drag-and-drop 182, 187 kerning 327, 328
grids files with transparencies 257 keywords 381
baseline 311 graphics 284
document 200 from object libraries 191 L
Grids command 200, 312 styles 281 language dictionaries 300
grouping tables 347 layers
compared with compound text 273 color codes 204
paths 227 XML files 383 locking 60, 111
objects 24 XML tags 373 overview 59
guides 75, 78–80 in ports, of text frames 285 stacking order 60
creating 75, 78 inches, designating 351 targeting 27
locking 90 indent markers, in Tabs palette 335 Layers palette 59
placing in back 82 indenting 331–336 Layout Adjustment command 287,
showing 10 See also insets 304
indexes 408 leading (of text) 311
H creating references 408 lesson files, installing 2
hand tool 57 cross-references in 410 letter spacing 311
handheld devices 372 editing 412 libraries, object 190–193
hanging indents 335 generating an index 411 Link Information option 452
hard returns 283 levels and sublevels 410 links
Hardware menu (Adobe Gamma) 429 ranges of pages 413 in Help 63
Hardware option 429 updating 413 imported graphics 170
height, rows in tables 353 inline graphics 235 managing 171
Help 63 Insert Character command 320 updating 173
Hide Baseline Grid command 319 Insert Special Character Links option 450
Hide Text Threads command 286 command 322 Links palette
hiding insets overview 170, 276
frame edges 40 graphics in frames 180 sorting 173
palettes 48, 364 in table cells 352 updating a link 173
text threads 286 text in frames 18, 335 viewing link status 174
High Quality Display 188 installing Load All Styles option 281
holes. See compound paths Adobe Acrobat 261 Load Tags 373
HTML and XML 371 Adobe InDesign 2.0 2 loaded text icon
Classroom in a Book fonts 2 canceling 14
I cross-media plug-in 370 defined 11
ICC profiles 421, 444 dictionaries 300 pausing 274
Image Color Settings option 448 lesson files 2 loading styles 281
images local overrides 103
colorizing 233, 249 J Lock Guides command 90
cropping 30 jump lines 290 lock icon 116
feathering edges of 254 justification 83, 322 Lock Position command 144
See also graphics Justify All Lines button 320
 465

locking missing fonts odd-numbered pages 397

guides 90 adding to system 2, 300 offset values, drop shadows 260
layers 60, 111 alert message concerning 271 online Help 63
objects 144 finding and changing 299 online publishing 152
monitor profiles online services 65
M creating 422 opacity
magnet icon, in Tabs palette 332 default 432 of graphics 251–258
magnification menu 52 saving 432 of image edges 254
Make command (compound Monitor Setup utility 422 slider 251
paths) 228 Multiply blending mode 252 of text 258
managing colors. See color Opacity option 251
management
N optical kerning 327
manual kerning 327
Name with Color Value option 142 optical margin alignment 19
manual text flow 272
Navigator palette 58 orientation, page 73
mapping tags to styles 385
negative numbers, for offset out ports 273, 285
margin alignment 19 values 260 out-of-gamut colors 419
margins New Color Swatch command overriding master page objects 34, 100
alignment 19 (Swatches palette) 142
overset
frame 18 New Gradient Swatch command
table cells 362
page 73, 287, 312 (Swatches palette) 148
text in frames 11, 273
Margins and Columns command 287, New Master command (Pages
312 palette) 78, 84
marquee zoom 53 New Page Reference 409 P
master pages New Tag command 380 page box 56

applying 33, 94, 95 New Tint Swatch command (Swatches page breaks 290
palette) 151 page numbering of books 398
creating 78, 84
New Window command 45 page ruler 79
defined 75
Next Page Number command 291 page size 73
editing 31, 75, 102
next-page button 56 pages
footers 80
None (master pages) 95 adding page continuation notes 290
None 95
Number of Pages option 73 changing number of columns
overriding 34, 100
number of Undo steps 212 on 287
placeholder frames 84, 85
Numbering & Section Options 97, 345 facing 73, 345
renaming 76, 97
numbering, of pages 96, 397 margins 73
sections and 96
numbering 96, 398
measurements 74
O ranges, in index 413
merging paths. See also compound
paths 213 object libraries 190–193 selecting and targeting 54, 286, 287

metatags 381 objects specifying how many 73

metrics kerning 327 copying and pasting 83 starting page number 397

Microsoft Excel, and tables 347 deselecting 144 story breaks 290

Microsoft Word, and tables 347 locking 144 Pages palette 50, 54, 74, 332

Minimize/Maximize button sending forward and backward 264 pagination, in books 397
(Windows) 50 wrapping text around 123 palette menus 51
466 INDEX

palettes drawing using 26 R

collapsing and expanding 50 loop icon and 209 Read-Only files 395
docking 49 related tools 43 rectangle frame tool 88
hiding 364 slash icon and 208 rectangle tool 88
overview 48–51 pencil tool 210–215 red outline (Navigator palette) 58
See also color tables, color pickers, Pencil Tool Preferences dialog box 211 Redefine Style command (Paragraph
names of individual palettes Perceptual (Images) option 421 Styles palette) 317
paper color 146 Phosphors option 427 reference color space 420
paper size 73 picas 74 reflecting objects 239
paragraph attributes 314 Place command 98 Relative Colorimetric 421, 445
paragraph composer 330 placeholders 113 Relink button 452
Paragraph palette 313 placing renaming master pages 76
paragraph rules 336 graphics 24, 98 rendering intents
paragraph styles 20, 278 graphics in tables 356 purpose of 445
mapping and XML tags 385 tables 347 specifying default 445
in tables of contents 400 text 10, 98 Repaginate command 413
Paragraph Styles palette 278 points 74 Retain Format option 273
paragraphs Portable Document Format. See PDF rotating
rules below 336 files frames 87
tagging for XML 376 preferences, restoring defaults 3 images 28
pasteboard 47 press standard 440 text in tables 365
path type tool 302 Preview Mode 35 rows (in tables) 347
paths Previous Page command 56 dimensions 353, 355
compound 227 process colors 152 selecting 352
drawing 198 profiles ruler 79
end shapes for 232 assigning while importing a
ending 209 graphic 452 S
of frames 113 confirming use of 452 Same as Hardware option 431
placing text on 301 creating 422 Saturation (Graphics) 421
reversing direction of 233 defined 421 saving money 141
PDF files destination 443 Scalable Vector Graphics (SVG) 388
cropping as you import 189 embedding 449, 450, 454, 460 Scale X Percentage option 230
defined 337 embedding in PDF 455 scaling
embedding profiles in 454 guidelines for monitors 422 duplicating and 229
exporting to 261 loading in Adobe Gamma 424 stroke weight and 230
import options for 189 monitor 422 scissors tool 230
importing 188, 456 source 444 scrolling 57
See also Adobe Acrobat storage location 425 sections 96
pen tool proxy icon 29, 230, 243 selecting 113
adding points to frames 120 proxy images 176 by drawing a marquee 207
caret icon and 204 objects behind other objects 255
drawing curved segments 215 Q pages 54
drawing straight segments 202 quotation marks as inches 74, 351 rows in tables 352
 467

spreads 54 Sort by Page command (Links loading 281

tables 349, 352 palette) 173 mapping XML tags to 385
tools 42 source profiles 421, 444 Next Style option for 305
See also targeting Space After option 311, 315 paragraph 278
selection marquee 207 Space Before option 311, 315 redefining 316
selection tool space, flush 321 synchronizing 406
compared with direct-selection spacing subpaths 229
tool 243 letter 311 swatches
defined 24 vertical 311 applying to objects 143
keyboard shortcut 42, 115 word and letter 330 gradient 147
selecting objects using 113 special characters 297, 320 Paper 146
semi-autoflowing text 272, 288 spell-checking 300 tint 150
semicircles, drawing 229 spot colors 151–152 Swatches palette 141, 323
sending objects backward 264 spread ruler 79
sending objects backward See also spreads 54 T
layers numbering pages for 345 Tab key
setting up starting page 345 hiding palettes 364
Classroom in a Book files 2 stacking order and tables 364
Classroom in a Book fonts 2 changing 264 tab leaders 334
documents 71 See also layers tab markers 333
shadows, creating 259 starting page 345 Table Options dialog box 349
shortcut keystrokes story Table Setup tab 349
for selection tools 115 continuing (jump lines) 290 tables 343–366
for styles 305 defined 274 aligning cell content 352
Show All Swatches button 326 spell-checking 300 borders. See also cell strokes 347
Show Baseline Grid command 313 Stroke box 44, 326 cell insets 352
Show Frame Edges option 452 Stroke command 146 cell strokes 347
Show Hidden Characters Stroke palette 146, 232
command 283, 331 creating 364
stroke weight deleting columns 354
Show Import Options 453
bounding box and 207 formatting 348, 355
Show Library Subset button 191
scaling and 230 importing 347
Show Tag Markers 377
strokes placing graphics in 356
Show Text Threads command 284
applying gradients to 323 rotating text 365
Show/Hide Document Grid
command 201 applying to text 326 row height 353
single-line composer 330 dashed 146 selecting 349
slicing paths 230 Structure pane 378, 379 selecting rows 352
smooth points 243 style source document 405 type tool 366
smooth tool 214 styles unlinking 348
Smoothness option (pencil tool) 211 applying 20, 278 using tabs for 331–334
Snap To Document Grid character 293 tables of contents 399–405
command 201, 203 creating 23, 293 generating 400
Solid Color rendering intent defined 20, 277 for individual chapters 403
option 445 editing 289
468 INDEX

updating 407 resizing 111, 275 V

using alphabetical order 404 rotating 87 vector graphics
tabs 331 showing threads for 284 defined 170
Tabs palette 331 threading 10, 284 PDF files and 188
tagging (XML) Text Wrap command 123 SVG 388
from the Structure pane 378 texture effect 233 Vertical Justification option 293
frames 374–376 threading text through frames 10, 284 View menu 52
overview 371–372 threads 284 View Single Gamma Only option 428
paragraphs 376–378 Tile command 46
Tags palette 372 tints 150 W
targeting toolbox 42 Weight Changes Bounding Box
layers 27 tools 42, 43 command 207
pages 54 tracking 328, 329 weight, of strokes 207
spreads 54 Transform palette white point (setting for monitor) 423,
429
See also selecting proxy icon 230, 243
width, of table columns 361
text reflecting 240
word spacing 311
aligning 83 scaling and duplicating 230
work area 41
applying color to 154 transformations, centering 243
working color spaces 449
autoflowing 272 transparency 250
wrapping text 15
density of 330 drop shadows 259
wrapping text around objects 122
finding and changing 295 in imported images 257
See also type on a path
flowing 10 of object edges 254
formatting 82 Transparency palette 251
X
manually flowing 272 Transparent Background option 457
XML (Extensible Markup
on a path 301 type on a path 301
Language) 371
opacity of 258 Type Style menu 318
XML files
overset 273 type tool 113
creating 381
PDF files and 188 using for tables 366
exporting to 381
placing 10, 98
importing 383
rotating in tables 365 U opening in browser 383
semi-autoflowing 272 Undo command 212
XML tags 371–374
threading 10, 284 Ungroup command 144
importing 373
updating linked text files 276 units of measurement 74
mapping to styles 385
wrapping around object 122 unlinking files 348
order of, in Structure pane 378, 379
Text Frame Options command 335 unlocking files 395
overview 371–372
text frames unnamed colors 141
unallowed characters 373
columns 92 Update Link button 175
creating 279 updating
Z
in port 285 book files 413
Zoom In command 52
modifying 111 linked files 173, 276
Zoom Out command 52
out port of 273 tables of contents 407
zoom tool 46, 52, 119
reshaping using anchor points 114