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Includes 15 hands-on lessons that use clear, step-by-step instructions with screenshots to teach students how to build web pages using Dreamweaver CC. Adobe InDesign CC Classroom in a Book contains 15 lessons that cover the basics and beyond, providing countless tips and techniques to help learners become more productive with the program.

The online companion files include all the necessary assets for students to complete the projects featured in each chapter as well as ebook updates when Adobe releases new features for Creative Cloud customers. Includes full access to the Web Edition: a Web-based version of the complete ebook enhanced with video and multiple-choice quizzes. Official training series from Adobe Systems Inc. Adobe's official full-color Lightroom and Photoshop CC training resource for every digital photography student.

Use the latest versions of Lightroom and Photoshop CC together to achieve extraordinary results and unprecedented productivity. Step-by-step tutorials and lesson files illustrated with video in the web edition -- all developed with the full support of Adobe's product experts.

Comprehensive, project-based lessons teach key concepts for working efficiently with Adobe Photoshop tools, filters, and effects to touch up, modify, and transform images. Updated and new lessons throughout address new features in Photoshop CC.

The online companion files include all the necessary assets for students to complete the projects featured in each chapter. This text is the fastest, easiest, most comprehensive way for students to learn Adobe Photoshop Elements. Comprehensive, project-based lessons teach key concepts for editing digital images. Official training series from Adobe, developed with the support of Adobe product expert.

Includes hands-on lessons that use clear, step-by-step instructions with accompanying screenshots to explain how to efficiently edit video in Premiere Pro. Offers an end-to-end approach to the software for beginning students, from ingesting footage to exporting the final product. Online files includes sample media files for all of the book's projects. Bestselling Classroom in a Book series is the ideal way for readers to learn how to design and prototype for websites and mobile apps using project-based lessons.

Aimed at beginning users and designed to teach Adobe XD features, such as visual design, prototyping, wireframing, testing, and sharing. Kelly Kordes Anton has written and edited dozens of books and training resources on publishing technologies and InDesign, including seven previous editions of the Adobe InDesign Classroom in a Book. Kelly lives in Littleton, Colorado. Customer Reviews, including Product Star Ratings help customers to learn more about the product and decide whether it is the right product for them.

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Choose items to buy together. Only 19 left in stock - order soon. Get it as soon as Monday, Aug In Stock. Get it Aug 16 - Customers who viewed this item also viewed. Page 1 of 1 Start over Page 1 of 1. Adobe InDesign Classroom in a Book release. Kelly Anton. Andrew Faulkner. Brian Wood. Stephen Laskevitch. Tina DeJarld. Adobe Illustrator Classroom in a Book release. Adobe After Effects CC Classroom in a Book Includes hands-on lessons that use clear, step-by-step instructions with screenshots to teach students key concepts for creating cinematic visual effects and sophisticated motion graphics using After Effects CC.

Adobe Animate CC Classroom in a Book Bestselling Classroom in a Book series is the ideal way for students to learn how to create high-quality animation and interactivity for the Web using project-based lessons. Adobe Dreamweaver CC Classroom in a Book Includes 15 hands-on lessons that use clear, step-by-step instructions with screenshots to teach students how to build web pages using Dreamweaver CC. Adobe Photoshop CC Classroom in a Book Comprehensive, project-based lessons teach key concepts for working efficiently with Adobe Photoshop tools, filters, and effects to touch up, modify, and transform images.

Adobe Premiere Pro CC Classroom in a Book Includes hands-on lessons that use clear, step-by-step instructions with accompanying screenshots to explain how to efficiently edit video in Premiere Pro. Adobe XD CC Classroom in a Book Bestselling Classroom in a Book series is the ideal way for readers to learn how to design and prototype for websites and mobile apps using project-based lessons.

The Mobile option sometimes called Digital Publishing in older versions of InDesign , lets you prepare documents as independent apps or eBooks targeting specific device form factors.

You can also specify a custom screen size for your device. Selecting the Right Measurements If you are comfortable with other scales of measurement, you can change them by going to the Edit menu, Preferences and selecting Units and Increments. InDesign gives you a whole range of units to choose from.

The Facing Pages option should only be selected if your document has left and right pages that face each other like in a book. If you are only going to create a single page document or a document that has different information in different pages such as a brochure, it is better to turn the option off.

The Primary Text Frame adds a text frame to your Master Page which is useful if the text flows from chapter to chapter like in a book. This can be left off by default. Setting the Number of Pages and the Page Size You can also set the number of pages the document will contain. This can also be left at 1 and additional pages added later. If you are working on a multi-chapter book, you can choose to select from which page of the book you want to start from.

Again, this can also be set later. The Page Size field is important to determine how this document will be printed. Selecting the right page size is important so that the printer knows the exact measurements of the printed page.

You can choose from a set of default page sizes or define your own. Notice that the Width and Height will change automatically based on the chosen option. You can input the values in a measurement of your choice and InDesign will automatically convert that into the current measurement used in the document as defined in the Units and Measurements preferences. Say, for example, you input a value of 10 inches in the Width field by entering 10in and pressing the TAB key.

InDesign will automatically convert that value to 60p0 60 picas which is the default measurement unit for this document. You can also toggle the Orientation between landscape or portrait which essentially swaps the Width and Height values. The Columns area helps you define how many columns are to be created in the document.

The default is 1. The Gutter helps in defining the separation space between these columns. You can obviously go outside the margins with your content but defining the margins helps in providing a perspective to your document. Notice that there is a chain icon in the middle, which means that the values are linked.

If you change a value for the Top margin, then the other values will also change. You can also toggle the chain icon to decouple the values of the margins if you want custom margins on each side. There is a Bleed and Slug option that is usually collapsed but can be revealed by clicking the arrow beside it. Slug is the space where you enter information for the printer to understand such as the color space used or the number of pages, etc. Saving a Document Preset As one works with a lot of document types and dimensions, you may find the need to recall the settings in a click for each of the document types you work with.

You can save each of your settings as a custom preset and recall them whenever necessary. Click the Save Document Preset icon right next to the Document Preset field and give a name that you can remember so that it becomes easy to recall the settings later. You can also delete the preset by clicking the Delete Document Preset icon right next to the Save Document Preset icon.

Viewing the Document Display The final two-column document looks like this and you can start adding your assets to this document. Your workspace may vary a bit but that can be easily customized too. It is imperative to get the right document settings in order to get the most out of InDesign.

InDesign provides a lot of easy ways to insert, remove, or duplicate pages. Most of these functions are accessed from the Pages menu under the Layout main menu. However, we will use the Pages panel in the Panel Bar as it is much easier and intuitive. The Pages Panel We see that this document has two pages in two spreads. Clicking the Pages button on the Panel Bar opens the flyout showing various options that are possible with this document. Let us explore some of the options available in this panel.

The bottom of the Pages panel has three buttons. The first button is called Edit page size. The second button is called Create new page. This allows you to create a page right next to the page currently selected in the Pages panel. The third button is called Delete selected pages and allows you to delete the selected pages.

You can create pages and re-arrange them simply by dragging and dropping them as desired within the Pages panel. You can also select multiple pages by pressing Ctrl on Windows or Command on Mac and selecting the desired pages.

Clicking the menu button on the Pages panel opens up a menu, which allows you to have more control over page management. If you want to insert more than 1 page in the document, click the Insert Pages… command in the menu. This opens up a dialog box wherein you can specify exactly how many pages you want to insert and where you want them to be inserted. Say, for example, you want to insert a page after page number 2, specify them in this box to insert the page.

You can also choose to insert the pages before, after, at the start, or at the end of the document. You can specify the page number that you want to move and the page number that you want to either move after, before, or at the start or end of the document. Of course, you can also click and drag the pages to the desired position. A neat feature is that you can also move pages from one open document to other.

Using the Page Tool You can change the page dimensions of the pages in your document by going to the File menu and selecting Document Setup… You can then specify your new Width and Height values here. Do keep in mind that all the pages in the document will be affected by this. The Page tool on the toolbar is your answer. You might want to change the dimensions of a specific page if you are preparing flyers or brochures that fold at specific pages. Using the Page tool is simple and straightforward but you must remember to set the correct reference point.

The above screenshot shows a two-page spread. If you look carefully, the first page on the left-hand side has some handles along its four sides. This is the indication that the Page tool is active on this particular page. Now, on the Control Panel at the top, you can specify your desired dimensions. Remember the reference point, we discussed earlier?

That is the left most button with the 9 small spheres. Each sphere is a reference from which the rest of the adjustments to the dimensions are made. Say, for example, you want to reduce the page size towards the right, you would put a reference point in any of the left most spheres to ensure that the left part of the page is kept constant, while the right side is adjusted.

This helps to avoid gaps in the page which can look out of place in the finished document. Master Pages A master page, like the name suggests, defines the overall layout of the document. Any changes to the size or number of pages on the master page affects the whole document. You can have any number of master pages, but the first master is called the A-Master.

There is also a None master page which is devoid of the schema of the other master pages. Master pages are very essential when working with books or magazines where the content flows from one page to the other. Double-clicking on the A-Master opens the two-page spread master page which is basically blank. Notice that the individual pages in the panel show an A symbol. That means that the A-Master master page is applied to them. You can specify items on the master page such as header, footer, page numbers, or design layouts that would apply to all the other pages to which this master page is applied.

No problem. Simply drag the None master page in the Pages panel onto your desired page to remove any master page defined layouts. Since you would want the page numbers to appear on every page, you need to specify the location of page numbers in the master page.

Say, for example, you want to number the pages in a book. Open the master page as described earlier, and select a location for the display of your page numbers. Let us select the bottom of the page for this example and draw a text bar at the bottom by clicking the Type icon in the toolbar and dragging the textbox to the bottom of the page. What you do is, tell InDesign that you want page numbers to appear in that position.

This will insert a symbol A in the textbox referring to the master page, A. In the above document, it can be seen that InDesign has automatically designated page number 6 to the 6th page. Page number assignment is dynamic. As you add or delete pages, the numbers are adjusted automatically saving you the trouble of manually verifying them. The section and numbering options can be accessed from the menu of the Pages panel.

You can also choose the style of numbering. The pages will follow the numbering system that you have chosen till you select another page and repeat the same process. The new section will start from the new selected page and this time you can select another page numbering scheme.

Like with every object in InDesign, text is composed in frames called text frames. Creating Text Frames You can use the Type tool to create a text frame in which you can write the text.

This frame can be adjusted on the fly or even later. It is also possible to convert a shape into a text frame. Simply draw the shape on to the document, select the Type tool from the toolbar and click inside the shape.

Note that the cursor changes indicating that the shape is now being converted into a text frame. You can enter text into the shape. Go to the File menu and click on Place This opens the Place dialog box. Select any Word, RTF or text document that you want to insert into the document. InDesign will analyze the document and show you a cursor with the text attached which you can click on a desired area to directly place on the document or drag the cursor to place it in a desired frame size.

Note that some formatting changes might occur when you place the Word document. Note: The Place command places the document within the defined text frame even if it contains many pages.

If your document has multiple pages of text and you want everything to be imported into InDesign, press and hold the Shift key while using the Place command. You will notice that all the required pages are populated with your imported content. The Story Editor presents an easy to read, alternative layout for editing text. The default font in the Story Editor may put off a lot of people but it can be changed in the Story Editor Display section in Preferences.

In this section, you can change the font, line spacing, text color, background, and the theme. Note: The changes are limited only to the Story Editor window and will not affect the font in the actual text frame.

The Story Editor also shows the entire text even if the actual text frame has only limited text in it. Another ease of using the Story Editor can be seen by opening the Info panel, going to the Window menu, and selecting Info.

Just like your regular word processor, InDesign also has integrated spellchecking capabilities with a few tricks up its sleeve. This will open the Check Spelling dialog box. The Check Spelling dialog box scans the entire document and lists all the potential corrections for a wrongly spelled word.

You can either explore the corrections or skip the word or if you know it to be correct, you can add the word to the dictionary. InDesign also has a feature called Dynamic Spelling, which shows all the misspelt words as you type. You can enable this by going to the Edit menu and selecting Dynamic Spelling. Sometimes, you might need to use words from a different language to enhance the vocabulary, which InDesign might interpret as a mistake.

For example, something like Merci, which means thanks in French. Fortunately, you can tell InDesign that this is a different language by first selecting the word, then going to the Control Panel on the top and selecting the desired language. You can find and change literally anything — even obscure stuff such as finding multiple spaces and converting them to a single space or even changing frames from one type to the other.

The most important part of this dialog box is defining the search criteria, which is highlighted in yellow. You can confine your search using these options to locked layers, hidden objects, footnotes, or even master pages. You can also limit your search to case sensitive words or search only for specific words. GREP in itself, requires a separate tutorial but in short, GREP is a standard for finding patterns in text and is derived from a UNIX command line utility called grep which stands for globally search a regular expression and print.

InDesign makes it easy to use GREP to find expression patterns in text such as special characters or spaces or simply to apply character styles. In this example, we want to find all dashes within the text and convert them into endashes. An en-dash is slightly longer than a hyphen but shorter than an em-dash. It is not possible to type an en-dash using a regular computer keyboard as it is a special character.

Most word processors convert a double hyphen into an em-dash but not an endash. Now just press the Change All button. In this case, InDesign has scanned the entire document and made 31 replacements, i. This can be very useful when working with large bodies of text where it is practically impossible to scan each and every line of text to make changes. Of course, you can copy paste between image programs and InDesign but it is better to use the Place function instead, which offers more flexibility.

Go to the Place command in the File menu and select the image or images you want. Then click anywhere inside the document where you want to insert the image or drag the frame to insert the image within the frame dimensions.

Note, that the aspect ratio is maintained while dragging the frame. You can directly drop an image into a frame, like a shape frame, if you already have one in the document. You can also select multiple images and cycle through them. Selecting multiple images can be especially useful if you want to stack them up vertically or horizontally.

Select the required number of images and click Open in the Place dialog box to see the Place cursor. Now, while holding down the left mouse button, draw a frame and press the Up Arrow key to create a vertical stack or the Right Arrow key to create a column.

You can keep doing this till you are able to accommodate all your objects together. When you leave the mouse button, the images will be stacked in the columns you have chosen.

What does that mean? Whenever you import or place an image or object into InDesign, you are not actually placing the entire object or image but only a reference to it.

InDesign assumes that the original image or object is located separately on the disk. In most cases, you can just press Update Links and InDesign will update any references of the modified links provided you have them. It cannot however update the missing links — that has to be done by ourselves. However, if you want to know which are the exact objects that have gone missing or modified, you need to use the Links panel.

These are seen collapsed under a single link which when expanded, shows us the modified links the ones with an exclamation mark in a yellow triangle icon and the corresponding page numbers.

Clicking on the page numbers directly takes us to the link that is modified. The Links panel has functions to relink the files or create new ones. It also shows information about the link such as the resolution, ICC profile, size, etc. InDesign gives you two options to edit your images — Edit original and Edit with, both available in the Edit menu. This enables a lot of flexibility when it comes to editing images. When you choose Edit original, InDesign opens the image in an image editor.

Just make the required changes, save and close the image editor and the changes will instantly reflect in your document because it is linked. No need to even relink the images. Now, InDesign does not know that you have an editor such as Photoshop or Illustrator installed. It merely relies on the file associations defined in your OS. Therefore, the Edit original does not always open the right program, which is why we have Edit with.

Edit with enables you to select the editing program of your choice. Simply, open the file, save the changes and close it.

InDesign offers tools to ensure that you are able to fit the images exactly within the frames you want. To do this, go to the Objects menu and then to the Fitting submenu.

You will see that there are a few fitting options for you. The Fill Frame Proportionally command adjusts the image in the frame so that it fills the frame completely.

However, this can result in some of the image being cropped off as shown in the following example. Fit Frame to Content changes the frame size with respect to the size of the image. Fit Content to Frame scales the image to fit in the frame. However, use this only when needed as the scaling can be disproportionate. Centre Content centers the image within the frame. There are two ways to get the separate image or the alpha channel from the background and for both of these, we need to switch over to Photoshop.

One of the ways is to use the Clipping tool in Photoshop to draw a path around the object we want to isolate from the background. This method, although useful, can result in sharp edges and might not look professional especially when the clipped image is inserted into the document.

Hence, we will focus on the other way which is to isolate the alpha layer from within Photoshop to get a better anti-aliased object that blends with the document. In this example, let us say that you want to isolate the bird from the background.

Place the image into InDesign and go to the Edit menu and select Edit with and in the submenu, choose Adobe Photoshop. You can also choose any other image editor you are accustomed to, if it shows up in the Edit with menu. In this case, the selection of the bird has been made using the Magnetic Lasso tool you can also use the Pen tool if you need more precise cut outs and loaded the selected part of the image as a new Alpha channel called Alpha1.

Next, go the Layers tab and click on Add layer mask icon to create a layer mask with the transparency be sure to unlock the layer if its locked. Is your mouse hand tired yet? When you finally release the mouse yay! In this case, the latter is likely best. Gridify Text Frames Delete those images and choose the Type tool.

Start dragging as you would to create a single text frame, but tap the up or right arrow keys before releasing the mouse. You have created multiple text frames, each linked to the next. If you paste text into the first frame, it will flow into the subsequent ones. Most of us use this feature using only the right arrow key to create a few text frames to serve as columns. Select one of them, then use either the Properties panel or the Control panel to change the Appearance attributes.

Click on the Fill and Stroke color boxes to change them. Change the stroke weight and type, too, if you wish. I chose a 4 pt dotted stroke. Keep that object selected for the next part. Open its panel menu in its upper-right corner and choose New Object Style…. This will yield an intimidatingly large dialog box. You have just recorded every attribute of that shape in a way that can be applied to other objects with a single click!

To be certain that the original shape is also governed by the style, be sure to check the checkbox at the bottom: Apply Style to Selection. Once checked, it will be checked by default when you create new styles. The same is true of the Preview checkbox. The list of Basic Attributes on the left is so long you need to scroll to see them all.

For now, just look at two: Fill and Stroke. Clicking the checkbox next to one may cause the object style to ignore that attribute! Clicking OK or pressing the Enter key accepts your changes and closes the dialog box. Note: If you need to edit that style, do so safely by right-clicking the name of the style, and choosing Edit. Consider this: an object style can record any attribute of any kind of object!

Lesson E: Creating Swatches To augment your choice of consistent colors in a document, you can build swatches or steal them from other documents.

To specify a useful name, uncheck Name with Color Value. Most swatches you will make should be process colors: that is, if printed, made from dots of cyan, magenta, yellow, and black ink. Although this feature claims to see swatches in Adobe Illustrator files, I have had trouble getting it to do so.

This method allows you to choose just the swatches you really want. Choosing RGB gives two benefits: you can use hexadecimal notation ask your favorite web designer about that method of specifying color and an eyedropper. To sample a color on your screen, hover the cursor over the dropper, press down on the mouse button, and keep the button held down as you move the cursor over any part of the screen. Only when creating a swatch you wish to access from another device should you choose to add that one to your CC Library.

I know no one who adds all their new swatches to this online storage. Navigate to a document called Stealing Swatches. That natural and healthy impulse should be slightly tempered with the knowledge of how defaults work in this program.

Consider the preferences I suggested you change. By setting them with no documents open, those preferences are set for all future documents you create.

The scary part? Since nothing is selected, none of these changes are apparent until you create something new by drawing a shape or adding a text frame. With the Selection tool active and using the Control panel, choose a Fill color, a Stroke color, and Stroke weight.

Switch to the Type tool. Now choose a font and size. Right-click in it and choose Fill with Placeholder Text. That text will use the settings you chose a minute ago. Yes, it uses the attributes you selected with nothing selected and will continue to do so until you change the defaults in this document again.

The usual pitfall is accidentally or absentmindedly setting something as a default. You may later create something and be startled that it looks a particular way or affects other content in unexpected ways. You then not only have to fix that specific object, but you also have to deselect and make that fix again for all your future objects. The first tells us that there are modified and missing links.

Missing Fonts and Find Font The second message interrupts our dealing with the modified and missing links. This message tells us that there are missing fonts, too. In the poster project, we used this dialog box to activate fonts from the Adobe Fonts service. And if you open any document whose fonts are missing, but are available via that service, you should take advantage of that. However, in this case, neither missing font is available through Adobe Fonts.

If you completed the poster project, then you have two fonts that might serve. The text that is set in the missing fonts is highlighted in pink and another font has been used. Notice that the Activate checkboxes are unavailable. For Font Style, choose Regular. Styles allow us to capture and quickly reapply styling to text and are the subject of the next chapter. The body copy has now changed to Jenson, and since that font is not missing, that text is no longer highlighted in pink.

We need to repeat the process for the missing header font, Balford Base. The missing fonts are dealt with! Click Done. Notice that each has a different icon in its upper-left corner.

When your cursor hovers over the scarier icons, a useful note appears. Hovering over the modified link icon reveals a note that tells us to simply click the icon to update the image.

Happy and colorful! It may really be deleted, gone. If it has been moved, InDesign will report it as missing. Another common trigger for this warning is if an image has been renamed. This is the last known location of the missing file. Hey, psssst… Ah, so it did find its way into a subfolder! Notice the checkbox at the bottom of the dialog box that says Search for Missing Links in This Folder. In fact, I think styles are easily the most important feature in InDesign. Instead of struggling to be consistent when applying formatting to paragraphs, we can record the formatting as paragraph and character styles.

That said, you should spend a little time not reading text, but appreciating type. Below are URLs to sites that either celebrate type, sell fonts, or both. The Adobe Fonts website has links to all the foundries whose fonts they feature—more than ! Most of these do not provide many if any free fonts.

Badly built fonts can cause hard-to-diagnose computer issues, and some free fonts may not be as wellmade as professionally crafted ones.

I usually stick to purchased fonts. You have access to the fonts in this service right from the font menu click Find More as well as through the Creative Cloud application. If you find a font you want, click the cloud-like Activate icon to its right.

It then installs itself. On a Windows system, simply right-click a downloaded font and choose Install. On a Mac, doubleclick a font file and it will open a window in the Font Book app. Click the Install button. Then go to page 2 of the document. Also find the Alignment options and the various indents. Hover your cursor over the more cryptic icons to determine which option is which. Some of these options will affect the entire paragraph in which your cursor is located, even if no text is highlighted.

We call these paragraph-level attributes. Others often require text to be highlighted to specify what should be affected—these are character-level attributes.

Try the different alignment options. Notice that the entire paragraph shifts. The Align towards spine and Align away from spine options appear to be like Align left and Align right, respectively. Had we been working on page 2, each of those alignment options would do the opposite. Locate and adjust the First Line Left Indent as well. We call this a hanging indent. Do the same with the next line which is also a paragraph. However, you can adjust its Space Before. This makes leading a paragraph-level option.

Kerning Kerning is the spacing between two characters. Be kind. Use arrow keys alone to move the cursor. It is measured as a proportion of the font size in thousandths of an em. Tracking Tracking is often confused with kerning because it also concerns the spacing between letters. However, tracking is applied to a range of selected text to either squeeze it or expand it.

Adjust its width so that it fits within the margins. The text becomes overset see the little red plus sign? Like kerning, it is measured as a proportion of the font size in thousandths of an em. Lesson C: Building Paragraph Styles By Example: Emulating a Style Guide When either working out ideas or emulating the formatting used in other applications, we create placeholder text and format it.

The paragraphs on page 4 are formatted to prepare to create styles that record that formatting so it can be applied to other text easily. At the top of that panel, be sure the Paragraph Styles button is active, then click Create Style. This will highlight the provisional and generic name in the field above.

This new Paragraph Style is now created and applied to that paragraph. It is applied to the entirety of the two paragraphs that contain the highlighted text. Click Create Style in the Properties paneland name this style excerpt.

The Properties panel will show that the name of the style applied to this paragraph is the default [Basic Paragraph]. Click the drop-down menu arrow to the right of the name and choose heading from the list. Highlight some or all of that paragraph recall that double-clicking selects a word, triple-clicking a line, and quadruple-clicking the whole paragraph.

This change is a style override. Since we use styles to achieve consistency, these are useful indicators! You may now deselect your text and InDesign will continue to show overrides anywhere on the spread by highlighting them in vibrant teal.

There is a completely different approach that gives you full access to every attribute a paragraph style controls. Rather than making an override, and then redefining the style to match, you can tweak the definition directly.

In the large dialog box that appears, be sure to check the Preview checkbox lower left. Different situations dictate that answer, so it may not always be the same. In general, however, I choose the style likely to be applied to the most content. Of the styles we just created, that would be rambling, a cheeky name for body copy. Notice that rambling is the style it uses. We are going to build three paragraph styles and three character styles. The process I describe here is somewhat realistic, and therefore nonlinear.

The other styles may be based on this one. The Properties panel will show you both object and type options because this is a text frame. In the figure, I chose Myriad Pro Regular at 11 points and left alignment. I chose this font because I also own the italic and bold. This one will be a header. You may format it as simply larger and perhaps bolder than body copy. I chose Museo Slab at 12 points and center alignment. Almost predictable. However, our third paragraph style will seem silly at first.

Yes, for the moment, subtopic and body copy are identical. To prevent the use of bold and italics from being flagged as paragraph style overrides discussed a few pages ago , we need to protect them with character styles. We are going to make three character styles: one to bold text, one to italicize it, and one to make text hot pink. In the Properties panel, I changed only the font style by choosing Bold from the list.

This is why, when we created the body copy paragraph style, I had you choose a font family that included a bold style.

Then click the Create Style button. Give the style a better name—I chose my bold. Notice that the paragraph style does not gain a plus sign next to it. InDesign assumes that any text fully governed by styles must have authorized formatting. Safely Editing Character Styles If you think the my bold style is too bold, and you have a less heavy font to choose like semibold , you can redefine the character style.

I highlighted something with my bold applied to it. As with paragraph styles, there is a different approach that gives you full access to every attribute a character style controls. In the dialog box that appears, be sure to check the Previewcheckbox lower left. Frankly, make any change you like. You can monitor it because the Preview is enabled. If you dislike your choices, you can always click Cancel. Go to either the Properties panel or the Paragraph Styles panel and choose the body copy paragraph style.

If you use the Properties panel, you may have to first click the Paragraph Styles button near the top so that the list of styles contains the right type.

This redefines body copy to be the size we chose. You should notice that change on page 6 Double-click in the text frame to enable the Type tool cursor. Keep Options Note where your cursor is. Is it blinking in a paragraph? Or perhaps you have pressed the esc key and thus the entire frame is selected.

We are going to get that word to be formatted with our spicy character style automatically. Then click elsewhere in the dialog box.

You would build a character style for that formatting, and then create a GREP style in the paragraph styles used where the word or phrase will appear.

This, too, is a menu. To see the result, click elsewhere in the dialog box. The first sentence of each paragraph to which you applied the subtopic style is now bold. I am aware that the names are a bit random. Make a mental note of the visual differences between the text in this document and the text in the other one.

Load Command Have you read the text you just pasted? They are all checked, so click OK. Paste without Formatting If you copy text that uses one style and then paste it into a paragraph that uses another, the formatting is usually preserved, creating a style override in the paragraph in which you pasted it. However, there is a special form of paste that prevents this. First, try a standard paste, and confirm that the formatting is preserved, but the style shows an override. The style now appears in the CC Libraries panel.

There will be six topics, most with a few subtopics, and some body copy. Some of the text will be italicized, some bold, and the word InDesign will need to be hot pink.

They may be hard to see since they have no text in them and they are coincident with the margins. Select the frame on page Look at either the Control panel or the Properties panel the latter requiring you to scroll down to the Text Framesection and note that this frame has only one column:.

Using the Selection tool, click the out port: the small box just above the lower-right corner of the frame. Now you have six columns for the six topics coming your way. In the Paragraph Styles panel, highlight body copy. In the Character Styles panel, click [None]. Example 1: In a Perfect World If the Microsoft Word document was made by someone who uses paragraph and character styles thoroughly, life can be good for the person doing the layout in InDesign.

It can be very good, indeed, if the styles in Word are named identically to those in the destination InDesign document. If one of the two text frames is selected, the Word content will flow into them both as soon as we use the Place command.

While nothing is selected, be sure the style body copy is highlighted and set to be the default. This is extremely important when placing any kind of text file so you can control whether and how formatting comes with the text. Highlight it and click Open, or simply double-click the name. As if that was a bad thing! I recall that we made three paragraph and three character styles for a total of six. Now that is unfortunate.

At the bottom of the list is a character style without a match to ours. The Word user chose a more sober name for that style for InDesign. We went with spicy. If the styles apply as they should, the formatting is done! A second undo will leave you with the empty but ready text frames.

If the writer wants a header, they just change the font, size, and weight. Later, if they want another header, they hope they do the same again consistently. But should the writer be concerned about the look and feel of a document? Since most content is passed to InDesign, where styles are commonly used, the writer really only needs to indicate what text should be a header or subheader, etc. We, the InDesign users, can then apply well-chosen styles with consistency. Thus, a much more common workflow includes Word docs that are probably badly formatted, but contain notations we can use to identify what formatting should be applied and where.

Different writers or workplaces will use different notation. Some may not use it for everything. For example, a system called Markdown and its derivatives uses different symbols either surrounding or prefixing text to indicate its later formatting. Bold would be indicated by two asterisks. The Word file in this exercise is less formally and less completely marked up, and thus offers more challenges. Those should be easy to find and change. The writer assumed that leaving some text italicized or bold would be more helpful than marking it.

This real world example uses text that is neither. So we need to also Preserve Local Overrides to maintain character overrides like italics and bold. Unfortunately, other, sometimes bizarre, overrides come with Word docs, too. Click OK. Hopefully, the text mostly looks like our definition of body copy. We should see the text in the font and at the size we chose. Also, we should see some bold and italicized text here and there. So far, it may seem that no other overrides slipped in from Word.

The following is a gentle introduction to its more powerful features. If nothing is selected, it will default to searching the entire document: note the menu labeled Search. If the text cursor is blinking in a story, the scope of the search will most likely be Story. Be very careful if you highlight any text because that tends to set the scope of the search to only the highlighted text and nothing else! But much more powerfully, we can change formatting with it.

The initial section of the Find Format Settings dialog is for finding text that uses character or paragraph styles. But we are looking for text that does not yet have a character style applied, but is italicized.

To confirm that something happened, insert the cursor in italicized text. The Character Styles panel should show you that my italic is applied now. The Find Format Settings dialog opens.

The Change Format Settings dialog box opens. This time, we are choosing a style to apply to bold text to keep it that way. To confirm that something happened, insert the cursor in bold text. The Character Styles panel should show you that my bold is applied. The engineers have populated that menu with some useful queries for you, too. Grep uses code and the engineers who wrote that query know the code.

This search text looks even more strange and daunting. Nonetheless, click Change All to get rid of over 50 useless spaces. Check it out! Last, we search for the markup the writer inserted to find and format headers and subheads. But we no longer need that prefix. Since there was nothing in the Change to or Change Format fields, InDesign assumes you are replacing text with literally nothing. Now for the subtopics. Our text should be formatted correctly now and free from any overrides from Word.

Lesson A: Tabs At the dawn of the twentieth century, typewriters were given a key that would move the carriage that held the paper to a predetermined location. Those positions, called tab stops, could be adjusted with some fiddling at the back of the machine. Today, when we press the Tab key in InDesign, a tab character is produced in the text. The position to which any text after a tab character is aligned is also set by a tab stop.

So unlike a space, which is relative to the current point size, tabs move text to a fixed position. The default position the nearest half inch is rarely useful, however, so we set our own. We will set tab stops in this paragraph first, and then get that info to the other paragraphs. The other paragraphs using this paragraph style will then literally fall in line. Note the presence of small double arrows in each paragraph in that frame. Those are the tab characters for which we need tab stops.

This is the only panel not accessible from the Window menu! It will be positioned nicely along the top of the active frame. This position can be fine-tuned with the field labeled X: the tab stop position field. However, we want the text following that first tab character to center around the position of its stop.

Now the text between the two tab characters is centered around your first tab stop. We want the last bit of text after the second tab character to be right-aligned at the 7-inch position. Ignore the fact that text may have wrapped onto the next line! With that new stop still highlighted, click on the icon for the third type: Right-justified. Only that one paragraph, which uses a paragraph style called product list, is affected by our labor.

Setting those stops has triggered an override condition on that style, too. The other paragraphs should line up with the one we edited, including the top one whose style is based on the one we redefined.

On the left is a table that has a table style applied to it. Before continuing, exit preview mode so you can see the cell edges again. On the right page 5 is a text frame that contains a bit of tab delimited text. Each future row is separated by a paragraph return.

Text like this can be generated by exporting a table from Microsoft Excel. Either can be converted to a table in InDesign.

Also, to see why I chose to make a table style, we will leave that last menu set to [Basic Table]. Do not tap backspace or the whole table will disappear! Tables are type objects and are edited entirely with the Type tool. Using that tool, click in any cell of the table. Style Waterfall Rather than making you create a table style from scratch, we will apply an existing one and note that cell styles get applied as well. We will edit these so that they, in turn, apply paragraph styles.

Later, applying the table style will then apply a cascade of styles: four cell and four paragraph styles. The Cell Styles panel will be in the same small window. The table now enjoys a pattern of alternating row colors.

When it changes to an arrow, click. You are now seeing the effect of at least two cell styles, automatically applied by the table style. Be sure to enable the Preview. Often, the main job of a table style to apply cell styles for us. This one is no exception.

Note which cell styles are chosen for which cells. I named them in a way to make it easier for you. Try different colors! Earlier, I claimed that the cell content would be distinguished by typography. That is not yet the case here. Note that at the bottom of the General section, is a menu for choosing a paragraph style. Lucky for you, I built one of those, too. In that menu, choose table header cell text. The Inset values push the content from the edges and make the cells a bit larger.

Just in case you make the row taller more on that soon , I set the Vertical Justification to Align Center as well. These settings are similar to the Text Frame Options; we can think of cells as tiny text frames. In case the content is a graphic rather than text, you can specify a different inset. I wanted my header cells to have a color that contrasted with the blue of the zebra-striping below them, so I chose orange as the Cell Fill. Choose what you like and click OK.

Choose the appropriate paragraph style for each body cell textfor the body cells cell style, for example. Those will be the paragraph styles to redefine to suit your style guidelines.

When it becomes a two-headed arrow, drag slowly to the left and to the right. Notice how both the columns to the right move, not just the dividing line. Try it, but start by shift-dragging the bottom edge downward to make all the rows taller.

A row can be no shorter than its content and inset will allow. Create Tables by Placing Spreadsheets Above, we converted text to a table. If you have an Excel file — compatible. Check the box to Show Import Options! Navigate to the file called speakers. In Excel, I made the table small enough to hide all the empty cells. We have something else in mind…. Note that the header repeats itself automatically! Before we proceed to any particular page, take a look at the bottom of page 1. The Preflight panel opens with a listed Text error.

Click its disclosure arrow to see that the culprit is a text frame on page 2. That troublesome frame will even be selected for you. Click it! A kind Adobe employee wrote possible fixes for many of the common issues that can trigger errors. Drag its left-side handle to widen it so that it occupies two columns of space as indicated by the guides on that page.

Of course, this reduces the amount of overset text. The Info panel will show how many characters, words, lines, and paragraphs are in the story. The values shown after the plus sign are how many of these are overset. The values to the left are for the ones that are visible. To adjust text frame options using the Properties panel or the Control panel, we need to have the frame selected.

Toggling the Preview will cause the Info panel to recalculate the values it monitors often with a delay.

Often, but interestingly not in this case, adding a column or two to a wide frame results in a more efficient fit.

This is the space between the columns and will affect copy-fit. Set the Gutter to 1p0 and the Columns to 2, then click OK. We will examine that dialog box further a little later.