Indesign Tips And Tricks

Transcript

Nick a t grad. cerem ony Ma y 2006 n a h g e M t k- 1s Nic stli re te w sta at ’05 ng-d ck Ni ct ri t is r w 3 ’0 g- lin t es InDesign Tips and Tricks ard Color - Size 9 - 7-23456: sonja Lesson 1 Pages 4-9 Back to the basics: From how to use palettes, the InDesign tools, and my favorite quick keys—Lesson 1 goes over the basic essentials that all users MUST know in order to complete the lessons in this advanced curriculum. Color - Size 9 - 7-23456: sonja Lesson 2 Pages 10-13 Basics of using the Pen tool the right way: This lesson starts with understanding what makes a path and how using the Pen tool creates and affects paths. And of course, the appropriate way to use the pen tool. ne Lesson 3 Pages 14-17 Layout 1 lesson: This is an example layout that you can create with different options in the Transparency palette. r of fun with enly one. you wanted urned 2. n me-inwere 3. 4 why look at w you are your year y came and ed to the aboard and my throat oes so fast, erday you grew up, u walked n. So I’ll be as I can-the Man! Garrett!! ck Ni  -s en r io e ur ct pi 06 20 Lesson 4 Pages 18-35 Short and Sweet-but very hard to beat: This section is made up of quick, “dazzle ‘em” tips and tricks. As a sales representative, you can print the example exercises from the PDF to take into your schools and dazzle ‘em with your newly gained knowledge. **** Special thanks to computer support techs., Mike Smick, Eric Manto and Don Leonard for providing these ideas. To get started: 1. Copy the folder Originals from the summer sales CD. Paste this folder into the path _WPCYB07 > Pix. When asked to replace, say yes. NOTE: If there are already digital files within your Originals folder, these new files will just copy into the Originals folder as well. 2. Copy the folder summer sales from the summer sales CD. Paste this folder in the root of the _WPCYB07 folder. Contents of the CD: Pix > Originals -Various digital images that you will need to complete all of the assignments in your Advanced InDesign curriculum. summer sales folder- Contains different text documents for you to place; as well as, additional exercises. 06 sales adv InDesign.PDF- This is the printable version of the curriculum you will be using in the class. You can open this PDF and print any of the lessons for your own knowledge or to give to your schools.   Fill and Stroke InDesign provides a number of tools for applying color, including the Toolbox, the Swatches palette, the Color palette, and the Color Picker. Select the object you want to fill with color by doing one of the following: • For a path or frame, use the Selection tool or the Direct Selection tool, as necessary. • For text characters, use the Type tool to change the text color of a single word or the entire text within a frame. • To change the color of gaps in a dashed, dotted, or striped stroke, use the Stroke palette. • In the Toolbox or in the Color or Swatches palettes, select the Fill box or the Stroke box to specify the fill or stroke of the object. (If you selected an image, the Stroke box has no effect.) Fill and stroke area of the Toolbox A. Fill box B. Stroke box  Do one of the following: • Select a color, tint, or gradient using the Swatches or Gradient palettes. • Double-click either the Fill or Stroke box in the Toolbox or the Color palette to open the Color Picker. Select the desired color, and click OK.  Palettes Control Palette The Control palette offers quick access to options, commands, and other palettes related to the current page item or objects you select. By default, the Control palette is docked to the top of the document window; however, you can dock it to the bottom of the window, convert it to a floating palette, or hide it altogether. Most options displayed in the Control palette vary depending on the type of object you select. For example, when you select a frame, the Control palette displays options for resizing, repositioning, skewing, and rotating the frame, or applying an object style. When you select text inside a frame, the Control palette displays options for adjusting text attributes, such as font style, size, leading, and baseline shift. To format text, you can display either character or paragraph options. When you select a table cell, the Control palette displays options for adjusting row and column dimensions, merging cells, aligning text, and adding strokes. As the options in the Control palette change, you can get more information about each option using tool tips—pop‑up descriptions that appear when you hover over an icon or option label with the pointer. Control palette menu To display the palette menu, click the triangle icon to the right of the Control palette. To hide the Control palette, choose Window > Control to show or hide the Control palette.  Palette menus Most palettes have a menu in the upper right or left corner from which you can choose options. The location of the menu depends on where the palette is docked and whether it is collapsed. Docking palettes When you dock palettes to each other, the palettes move as a unit and are shown and hidden together. Palettes that are docked to each other remain fully visible. You can dock one palette to another palette or a group of palettes. However, you can’t dock a group of palettes to another palette unless you dock each of them individually, because docking involves dragging an individual palette’s tab and not the title bar. Note: You undock palettes the same way you dock them: by dragging a palette’s tab.  Workspace You can save the current work area arrangement as a workspace and reuse it later. For example, each individual user may use particular palettes whereas others might use a total different set of palettes. This also includes the positioning and size of palettes. 1. Close and open palettes. • Start by launching InDesign. • Click and drag all palette tabs from the docking area on the side of your screen to the center of your workspace. • Click the white X in the top of each palette to close each of them. • Under either the Window or Type menu, open the below palettes: • Pages • Swatches • Transparency • Object Styles • Character Styles • Paragraph Styles • Stroke • Layers • Pathfinder (Window > Object and Layout) • Text Wrap • Info 2.  Docking palettes. • If unwanted palettes are docked with the above palettes, drag the unwanted palette tab away from the needed palette, then close them. • Click and drag the open palettes tab to the side of your screen until they snap to the side of your screen. 3. Save your workspace. • Go to Window > Workspace > Save Workspace. • Name the workspace with your name. 4. Practice loading workspaces. • Go to Window > Workspace > [Default]. • Go to Window > Workspace and choose your name. Favorite Quick keys Function Windows key command Mac key command Fit page in window Control + 0 Command +0 Copy as you drag an object Hold the Alt key as you drag Hold Option key as you drag Move an object in a straight line Hold the Shift key as you move an either up or down object. Hold the Shift key as you move an object. Copy and move and object in a Shift and Alt. as you drag straight line Shift and Option as you drag Undo last move or moves Control + Z Command + Z Scroll around a spread with out changing to the Hand tool. Without the Type tool selected, click on the space bar and drag around the screen. Without the Type tool selected, click on the space bar and drag around the screen. Zoom in or out by 25% Control - or + Command - or + Without the Type tool selected, Zoom tool function with out the hold the Control key and the space zoom tool selected. bar. Without the Type tool selected, hold the Command key and the space bar. To resize both the frame and the content of the frame at the same time. Control + Shift while decreasing or increasing the image. Control + Shift while decreasing or increasing the image. To reset InDesign preferences Start InDesign and then press Shift+Ctrl+Alt. Say Yes to reset the preferences. Start InDesign and then press Shi ft+Option+Command+Control. Say Yes to reset the preferences. Hide all palettes except the Tool palette Without the Type tool selected, strike the Tab and Shift key. Without the Type tool selected, strike the Tab and Shift key. Hide all palettes Without the Type tool selected, strike the Tab key. Without the Type tool selected, strike the Tab key.  To draw curved segments with the Pen tool You create a curve using the Pen tool by adding an anchor point where a curve changes direction, and dragging the direction lines that shape the curve. When you draw curves using as few anchor points as possible, the curves are easier to edit, and your system can display and print them faster. Using too many points can also introduce unwanted bumps in a curve. Instead, draw widely spaced anchor points, and practice shaping curves by adjusting the lengths and angles of the direction lines. 1. Select the Pen tool. 2. Position the pen tip where you want the curve to begin. Hold down the mouse button. The first anchor point appears, and the pen tip changes to an arrowhead. 3. Drag to set the slope of the curve segment you’re creating. In general, extend the direction line about one-third of the distance to the next anchor point you plan to draw. Shiftdrag to constrain the direction line to multiples of 45°. Extending direction lines A. Positioning Pen tool B. Starting to drag (mouse button pressed) C. Dragging to extend direction lines 4. Release the mouse button. Note: The first segment will not be visible until you add a second anchor point. 5. Position the Pen tool where you want the curve segment to end, and then do one of the following: To create a C-shaped curve, drag in the opposite direction of to the previous direction line. Creating a C-shaped curve A. Starting to drag second smooth point B. Dragging away from previous direction line, to create a C-shaped curve C. Result after releasing mouse button 10 To create an S-shaped curve, drag in the same direction as the previous direction line. Creating an S-shaped curve A. Starting to drag new smooth point B. Dragging in same direction as previous direction line, to create an S-shaped curve C. Result after releasing mouse button Continue dragging the Pen tool from different locations to create additional smooth points. Complete the path by doing one of the following: To close the path, position the Pen tool over the first (hollow) anchor point. A small loop appears next to the Pen tool when it is positioned correctly. Click or drag to close the path. To leave the path open, Ctrl‑click (Windows) or Command-click (Mac OS) anywhere away from all objects, choose Edit > Deselect All, or select a different tool in the toolbox. **** For much more on how to use the Pen tool and about curves, see InDesign Help under the Help menu. 11 12 1. Open the exercise file • Go to File > Open. • Navigate to _WPCYB07 > summer sales. • Open the file Pen tool.indd. 2. Creating a path with the Pen tool • Select the Pen toolColor - Size 9 - 7-23456: sonja » Make the Stroke Black and the Fill None. » Make the weight in the Control palette 1pt. • Click on the dot with the arrow above it. This will create the first anchor point. • Click on the second dot and drag. Keep your eyes on the direction lines as to how and where the curve is being created. Continue with these steps until a path has been created around both shapes below. For more information on paths, see pages 10-11. • REMEMBER: You must end the last point where you started in order to close the path. Color - Size 9 - 7-23456: sonja 13 ol c Ni 14 as Layton Gardn er You were 6 months old and full of fun with a blink of my eye you were suddenly one. There were so many things that you wanted to do-I turned my head and you turned 2. At 2 you were very dependent on me-independence took over when you were 3. 4 was the year you really strived-why look at you now! You are already 5. Now you are ready for books and rulers-this is your year that you go to school. The big day came and you were anxious to go-we walked to the bus, oh so slow. As you climbed aboard and waved goodbye-I felt a lump in my throat and tears stung my eyes. Time goes so fast, it’s hard to believe-that just yesterday you were home here with me. As you grew up, you were hardly around-then you walked in the door in your cap and gown. So I’ll be holding to the moments as hard as I can-the next time I look...I’ll be seeing a Man! Author: Unknown Love-Dad, Mom, Ryan and Garrett!! h Transparency in InDesign: This example shows you InDesign functionality in the area of Transparency 1. Open a template. • Make the Start Page number 20 • The page will be four-color with the following formula colors - F1520 - F3020 - F3500 - F3520 - F3600 - F4590 - F4700 - F4760 • Save the file wherever you would like with any name. 2. Use any shape tool to create five shapes. • Arrange the five shapes one on top of the other but offset each shape randomly. • Fill each object with a different formula color. • Select one of the shapes with the Selection tool. Using the down-ward triangle in the top, left corner of the Transparency palette, randomly choose different blending mode options. • Use the Opacity slider in the top, right corner of the Transparency palette to change different %’s. Notice the differences between the modes chosen and the opacity chosen. Points to remember: • What does opacity do? When you create an object in InDesign, by default it appears solid; that is, it has an opacity of 100%. When you decrease an object’s opacity, the underlying artwork becomes visible through the surface of the object. • The difference between making an object opaque and tinting an object is that tinting lightens the color, whereas making it opaque just makes the object’s color less dense. 15 Blending mode options Blending modes control how the base color, the underlying color in the artwork, interacts with the blend color, the color of the selected object or group of objects. The resulting color is the color resulting from the blend. • Normal—colors the selection with the blend color, without interaction with the base color. This is the default mode. • Multiply—multiplies the base color by the blend color. The resulting color is always a darker color. Multiplying any color with black produces black. Multiplying any color with white leaves the color unchanged. The effect is similar to drawing on a page with multiple magic markers. • Screen—multiplies the inverse of the blend and base colors. The resulting color is always a lighter color. Screening with black leaves the color unchanged. Screening with white produces white. The effect is similar to projecting multiple slide images on top of each other. • Overlay—multiplies or screens the colors, depending on the base color. Patterns or colors overlay the existing artwork, preserving the highlights and shadows of the base color while mixing in the blend color to reflect the lightness or darkness of the original color. • Soft Light—darkens or lightens the colors, depending on the blend color. The effect is similar to shining a diffused spotlight on the artwork. • Hard Light—multiplies or screens the colors, depending on the blend color. The effect is similar to shining a harsh spotlight on the artwork. • Color Dodge—brightens the base color to reflect the blend color. Blending with black produces no change. • Color Burn—darkens the base color to reflect the blend color. Blending with white produces no change. • Darken—selects the base or blend color—whichever is darker—as the resulting color. Areas lighter than the blend color are replaced, and areas darker than the blend color do not change. • Lighten—selects the base or blend color—whichever is lighter—as the resulting color. Areas darker than the blend color are replaced, and areas lighter than the blend color do not change. • Difference—subtracts either the blend color from the base color or the base color from the blend color, depending on which has the greater brightness value. Blending with white inverts the base color values; blending with black produces no change. • Exclusion—creates an effect similar to, but lower in contrast than, the Difference mode. Blending with 16 • Hue—creates a color with the luminance and saturation of the base color and the hue of the blend color. • Saturation—creates a color with the luminance and hue of the base color and the saturation of the blend color. Painting with this mode in an area with no saturation (gray) produces no change. • Color—creates a color with the luminance of the base color and the hue and saturation of the blend color. This preserves the gray levels in the artwork, and is useful for coloring monochrome artwork and for tinting color artwork. • Luminosity—creates a color with the hue and saturation of the base color and the luminance of the blend color. This mode creates an inverse effect from that of the Color mode. Note: Avoid applying the Difference, Exclusion, Hue, Saturation, Color and Luminosity blending modes to objects with spot colors; doing so can add unwanted colors to a document. 17 Stroke palette options • Cap-Select a cap style to specify the appearance of both ends of an open path: • Join-Specify the appearance of the stroke at corner points: • Align Stroke-Click an icon to specify the position of the stroke relative to its path. • Type- Choose a stroke type in the menu. If you choose Dashed, a new set of options appears. • Start- Choose for the beginning of the path. • End-Choose for the end of the path. • Gap Color-Specify a color to appear in the space between dashes, dots, or multiple lines in a patterned stroke. • Gap Tint-Specify a tint (when a gap color is specified). Cap options Type, Start and End options Gap Color options 18 Stroke Styles 1. Go to Window > Stroke. 2. Open the Stroke palette option window and choose Stroke Styles. 3. Click on New. 4. For Name type one of the below choices. (make sure that the first letter of the new stroke style is a capital letter). Name: Happy Type: Dash Name: Feet Type: Dash Name: Woof Type: Dash Name: Lights Type: Dash Name: Rainbow Type: Stripe 19 Compound Paths Multiply effect 20 Meghan Broken Photo: Compound Paths: 1. With any shape tool, draw several image boxes. 2. Using the Selection tool, click and drag over the newly drawn image boxes to select them all. 3. Go to Object > Compound Paths > Make. 4. Click the Image Tag button in the Walsworth Control Center to tag the boxes. 5. Use Image Placer to place an image. 6. Apply creative effects in any of the following ways: • With all of the image boxes selected, go to Object > Corner Effects. • With all of the image boxes selected, go to Object > Drop Shadow. • With all of the image boxes selected, go to Object > Feather. Multiply effect: 1. Draw one image box. 2. Click the Image Tag button in the Walsworth Control Center to tag the box. 3. Use Image Placer to place an image. 4. Select any shape tool. Make the Fill-Paper and the Stroke-None. 5. Draw several boxes. For this example, step and repeat was used to create the squares. 6. Using the Selection tool, hold the Shift key and click on all of the newly drawn boxes. 7. In the Transparency palette, choose Multiply for the blend mode. Remember, the blending modes are found under the pull-down triangle in the top, left corner of the Transparency palette. 8. Go to Object > Drop Shadow. Click on the square next to Drop Shadow and click Ok. 9. The text block with the name “Meghan” was done the exact same way as steps 7-8 above. 21 22 “Images of You” 1. Draw a rectangle to place the “ghosted”, large image into. 2. Tag the image box and use Image Placer to place an image into the box (the example image is called chaise_paige.jpg). 3. On top of the large image, use the Rectangle tool and draw a small image box with a fill of Black and stroke of Paper. Hold the Alt/Opt. key and drag this new rectangle three more times. Holding Alt/Opt. will copy the object as you drag. 4. Arrange your image boxes on top of each other but do NOT rotate yet. 5. Use the Direct Selection tool and select the large, placed image. 6. Go to Edit > Copy. 7. Select the first small image box and go to Edit > Paste Into. 8. Select the second small image box and go to Edit > Paste Into. 9. Do steps 7 and 8 for the remaining two boxes. 10. Click on each of the smaller images with the Direction Selection tool and hold. When you slightly move the image, a “mirage” of the image will appear. Align the images so the different views of the smaller images line up with the views of the bigger image. 11. Again, use the Direct Selection tool to select the dominant image. 12. In the Transparency palette, top, left corner, change the Opacity to 50%. 13. To rotate the smaller image boxes with out rotating the images within: • Click on the first, small image box with the Selection tool. • Double-click the Rotate tool. • Type in the number of degrees you want to rotate the image box. Make sure to deselect the check mark by Rotate Content. Click OK. 14. Do the above step with all of the small image boxes on the page. 15. If desired, apply a Drop Shadow. 23 24 Quote Bubble 1. Draw a horizontal rectangle. 2. Tag the image box and use Image Placer to place the photo 199122_1758. jpg. 3. On top of the dominant image, use the Rectangle tool and draw a small box with a fill of Paper and a stroke of None. 4. In a blank area on the page, use the Type tool and create a text box with the word Brrrrr! Format the text to be AWPC Eddie Bold at 72 points. 5. Drag the text box on top of the paper filled box created in step 3. 6. Select the text and go to Type > Create Outlines. 7. Use the Shift key and select both the outlined text as well as the paper filled box. 8. Go to Object > Compound Paths > Make. This should make the text outline knock out of the paper filled box. 9. With the paper filled box still selected, go to Object > Corner Effects. Make the Effect Rounded and the Size 3p0. 10. Use the Add Anchor Point tool and add anchor points to the blue path around the paper filled rectangle. 11. Using both the Direct Selection tool and the Convert Direction Point tool, adjust the paper filled boxes’ path to look “breathy”. The point of the bubble can be created by using the Direct Selection tool to drag down the corner point. 12. Apply the following special effect. • Object > Feather. Width=3p0, Corners= Sharp, Noise=Adjust as needed. 25 Ni ck Nick a t grad. cerem ony Ma y 2006 t st a 1 k Nic 26 ni or pic tur e2 00 6 5 -’0 ling st wre e t a -se st st Ni c di k- tw c ri tli s re 3 ’0 ng Polaroid Photo exercise 1. Draw a box with a Paper fill and None for stroke. 2. On top of the Paper filled, box, draw an image box for the image to be placed into. Use the example to the left as a guide. 3. Hold the Shift key and select both the paper filled box and image box. 4. Go to Object > Group. 5. With the grouped boxes, go to Edit > Copy. 6. Go to Edit > Paste. Do this step for as many snapshots you will be creating. 7. With the Rotate tool, tilt each of the Polaroid photos slightly to give it that “thrown on the table” look. Since we grouped the objects in step 4, the rotation will apply to both the white part as well as the image box. 8. Select the first Polaroid photo and go to Object > Ungroup. Ungroup each of the photos. 9. Select the first image box and tag it. Do this to each image box. 10. Use Image Placer to place a photo into each image box. 11. Click on each of the paper filled boxes and apply a drop shadow. 12. Choose an awpc font that looks like writing and type the image caption in the white area of the Polaroid picture. Use the Rotate tool to rotate your captions onto the snapshots. 27 28 Image out of Photo exercise 1. Use Image Placer to place a photo. 2. Use the Pen tool to create a path around the subject in the photo. 3. Use the Direct Selection tool to select the original image and go to Edit > Copy to keep the entire photo like the example below. If you are creating a clipping path like the balloon example, you would go to Edit > Cut. 4. Select the path that was created with the Pen tool and go to Edit > Paste Into. Adjust the view of the image in the path to the same view as the original photo. 5. For the example below, use the Selection tool to select the original image and pull down the top half of the image. 29 30 Wavy photo 1. Use Image Placer to place a dominant photo. 2. Draw a long rectangle with the fill of Paper and None for stroke across the top of the placed photo. 3. Apply a drop shadow. 4. The blend mode in the Transparency palette (upside down arrow in the top, left of the Transparency palette) should be Multiply. 5. Use the Add Anchor Point tool, Direct Selection tool and the Convert Direction Point tool to make waves across the bottom of the rectangle. 6. Use either Step and Repeat, Copy and Paste or Alt/Opt. drag to copy the formatted rectangle all the way down your dominant photo. 31 32 Moon-Lit Evening exercise 1. Draw one large box and fill it with the color F3400. This will be the blue background. If you choose to make the color darker that is fine. 2. Draw each of the black filled buildings. 3. Draw each of the lighted windows on top of the black buildings. 3. Use the Ellipse tool to draw a paper filled moon. Apply a feather to the moon. 4. Use the Ellipse tool to create tiny little paper filled stars. After a large clump of stars is drawn, group them. 5. Copy and paste the grouped stars several times. Move each grouping where needed to appear as a star filled night. 6. To create the large starburst the pencil tool was used to create the different lines and rotation applied. 33 Bonus Layout: This is an example of what a little time and imagination can create in InDesign. Thanks to Mike Smick for creating this file for us! Now Playing 1 of 5 Lincoln High school Band 3:59 -1:31 MENU 34 Ut pratueriure dolor ad tie min erat dolor in vendit praesto do ex endrerit adipsum velis ad magnit, cor sed ese min henisl ut prat, venim in etum zzriustrud tat. Ut ametuerosto odolorem ipisl dunt irit ex exercin utat. Ut vel ulla fa Ut pratueriure dolor ad tie min erat dolor in vendit praesto do ex endrerit adipsum velis ad magnit, cor sed ese min henisl ut prat, venim in etum zzriustrud tat. Ut ametuerosto odolorem ipisl dunt irit ex exercin utat. Ut vel ulla fa 35