Adobe InDesign CC – Advanced tips and tricks | Tunnel Vision LTD | Skillshare

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Adobe InDesign CC – Advanced tips and tricks

teacher avatar Tunnel Vision LTD, Making Learning Easy

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.

      1 Course Intro


    • 2.

      2 Adding Footnotes


    • 3.

      3 Automatic Captions


    • 4.

      4 Black and White Text


    • 5.

      5 Blending Modes


    • 6.

      6 Colour Groups


    • 7.

      7 Converting InDesign to MS Word


    • 8.

      8 Data Merge 1


    • 9.

      9 Data Merge 2


    • 10.

      10 GREPS 1


    • 11.

      11 GREPS 2


    • 12.

      13 Grids 2 – Placing an Image into Multiple Frames


    • 13.

      14 Grids 3 – Creating a Grid of Linked Text Frames


    • 14.

      15 Keyboard shortcuts and menus


    • 15.

      16 Layout Secrets


    • 16.

      17 Optical Margin Alignment


    • 17.

      18 Page Tricks


    • 18.

      20 Putting Images into Text


    • 19.

      21 Scripts


    • 20.

      22 Snippets


    • 21.

      23 Story Jumps


    • 22.

      24 Tables – Basics – 1


    • 23.

      25 Tables – Basics – 2


    • 24.

      26 Tables – Advanced – 1


    • 25.

      27 Tables – Advanced – 2


    • 26.

      29 Track Changes


    • 27.

      30 Type on a Path


    • 28.

      31 Workflow Secrets


    • 29.

      12 Grids 1 – Placing Multiple Images


    • 30.

      19 PSD Import


    • 31.

      28 Tables – Advanced – 3


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About This Class

This course moves on from the basics and covers a wide range of useful advanced tips and tricks to help speed up your work. It covers creating and saving tables, story jumps, GREP searches, adding footnotes, CMYK and RGB blending modes, data marge, creating your own keyboard shortcuts and how to hide menu items that you don’t often use – and a whole lot more.

Meet Your Teacher

Teacher Profile Image

Tunnel Vision LTD

Making Learning Easy


Hello, I'm Mark Gatter from Tunnel Vision LTD. I've worked in commercial printing, as a freelance graphic designer and software trainer for the last 30 years. I've got 5 books published, three about software and two about growing vegetables – but don't worry, I don't get them mixed up. I've just uploaded a new course, 'Color Theory Essentials', aimed at anyone who needs to create a color theme for a project. Or, if you want to learn about Adobe InDesign I've got another course – Adobe InDesign CC: A Complete Introduction – that will take you from being a total beginner to someone who can work professionally in a commercial graphics studio or become a freelancer, faster than you would have believed possible. I'm happy to respond to everyone who wants to ask a ... See full profile

Level: Intermediate

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1. 1 Course Intro: Hi and thanks very much. You're checking out this intro to my series of videos on Adobe in design CC, advanced tips and tricks. This is a list of the videos that you'll find in there. Here, we've got adding footnotes. This is a slightly obscure thing that not many people will need. But if you do, this is how to do it. Automatic captions You put in a frame and the caption puts itself there. Good heart, black and white text. This is actually had a break up tech so it can flow across different objects in appear in different colors. Blending modes. Amazing color groups. Very, very easy Just how to simplify it. Us. Watches Window Many people want to convert in design documents to a word. I don't know why, but they do. Date emerged. There's two. Undated. Merged There's two on Grips. Grips is a very powerful search technique using code, and I'll show you how to do it now to build a code three videos on grids. Now there's different ways of creating grids with different things. You can create frame grids or text friend grids, and I think you'll enjoy these how to create your own keyboard shortcuts. How to change the appearance of the menus layout secrets. This is a really cool way of dealing with a long document, like a book by building the layouts that you want on master pages. Optical margin alignment. Vory very short. Very simple, but very effective. Some very cool page tricks if you want to do fold outs, things like that. What you can do when you import a PST image are putting images into text. You got a nice, bold heading. I want to put an image into it. This is how to do it. There's a lot of scripting and design. This shows you how to use some of them snippets again. Very simple. How to save a layout in an extremely efficient form that takes up very little space story jumps. Very good. If you're working on the magazine, then we've got five videos of how to create tables to our basic table creation, how to make him look nice and three on how to save the styles so that if you need to re import new data, you don't lose all of the appearance of your table. How to track changes very useful editorial stuff. Type on a party you can attach type to any drawn part in in design that includes the edge of a frame and workflow secrets. Again, if you're doing a long document and he got lots of big images to put in it, this one could save your life so altogether. I think you'll find that it's a fairly worthwhile bunch of stuff. Please feel free to leave feedback and ask questions, and I will get back to you, and I hope you have a good time. 2. 2 Adding Footnotes: If you're working on some kind of reference material, you may need to add footnotes. You may also need to add end notes instead and endnotes everything's collected together and put in a pilot. He end of the document. That's fairly easy put. Footnotes tend to be on the page with the text, so they take a little bit more work, and this is how you do them. First of all, I'm going to get the type tool and then click inside this little circle here the end of olive or and then choose type insert. Footnote And a couple of things happen. I get a tiny little one reference there in the text On then down below, there's a number one and a big gap in a flashing cursor and a short line above it. So then you type the footnote, and it looks pretty ugly, doesn't it? So the next thing we've got to do is format the footnote, so I'm going to go up to the type menu again and choose document footnote options. Now there are two tabs in this window. There's numbering and formatting and layout, so we'll do numbering and formatting first, and I'm going to use a style of 1234 while there are some pretty weird ones here. But 1234 at least I can understand and it's going to start at one now. If I wanted, I could restart the numbering, every page spread or section now Page. That's pretty obvious, isn't it? You hold out one piece of paper. How many pages is it? It's too, because it's got two sides. And if that was part of the book, they'd be number differently. On the spread is facing pages like the left on the right page when you open up a book or a magazine and a section is where you can redefine the numbering of I Okay, this just for a second and click on the pages window. You see that arrow up above page one? That is the start of a section, and you always get a section start on page one. But if you want, you can define a section, start anywhere in the document you like, and if you do so, it means that at that point you can redefine the numbering. Okay, so back to type and document footnote options and I'm gonna leave it is Paige. I'm not actually going to bother to re number it at all. If I wanted to add a prefix or suffix that something before or after the number down near the bottom, I could. But I'm not going to bother you. Type of many here apply superscript. That's what's happened to the little tiny number in the text. Superscript means it's very tiny, and it's lifted up like it's the two in four squared, and if it was dropped down below, it will be like the two in h 20 And if I wanted, I could apply character style to the footnote so I could create a color for the character style and apply that footnote formatting. And this means how they're footnote itself appears so right now it looks pretty much like the rest of it. It's got basic paragraph selected. Well, if I click here and say footnote, but let's turn on preview first or won't see anything. Footnote. And that's the footnotes style that I already created. It's smaller, it's italic and it looks pretty cramped, doesn't it? That whole thing. So let's go to lay out Super can fix that spanned footnotes across columns. Fine by me. Minimum space before first footnote zero. Which is this? Okay, well, let's put in three now. I'm gonna press the tab key and the tab key updates the screen without closing the window. Very useful. If I clicked, Okay, it would update the screen, but it would close the window. So that's what happened when I put in a three mil space, it didn't take out part of the line. It took out the whole thing. The rule of both is on, and it's one point and it's black and it's 25.4 millimeters wide. Okay, well, let's see. This page is about 100 and 50 millimeters wide. So if I said here, this is going to be 260 millimeters wide and press tab, all that happens is the line goes all the way across the page. It doesn't bother me saying, Well, what do you want to do with the extra? It just fills the page. So long as you put it enough to fill the column you find. Then if I wanted to lift the line up off the footnote, I could use the offset. Now I'm gonna put in a three millimeter offset, and that's lifted the line up about halfway the tab, the space between the number and the footnote itself. That's something I'm going to format with the paragraph style. So this looks OK. I'm going to click. OK, then I'm going to go to the paragraph styles window and double click on Footnote and I pull this over here a little bit and then I'll go to tabs. And I don't often use times in paragraph styles, but here I'm going to make an exception on I want a Left aligned tab roughly at the five millimeter point. So I'm going to click there and instantly the footnote jumps back. So it's now close to five mil and I was close 4.939 So be warned. That's measuring to 1/1000 of a millimeter. I want to highlight that and put in five and press tab, and that is now exactly the five millimeter point. Okay, I'm happy with that click. OK, so I'm going to create another footnote so a quick there in the text and then go up to the type menu again and down insert footnote and I get a little number two there and I get another space so I can type another, and that means I've got some more formatting to do. So let's go back into document footnote options. And now, in layout, I'm going to say I want space between the footnotes and I'm gonna put in two millimeters space between the footnotes tab. Now the line moved up the next lion of the text disappeared. And now of things got enough space to breathe on. That started to look OK, so that's basically how you format footnotes. They're pretty straightforward. 3. 3 Automatic Captions: This video is about an in design feature called Text Variables, which is also sometimes known as life captions. And the idea is this. Let's say that you're involved in the production workflow on a monthly magazine. So every month the magazine comes out and it looks similar to the other months. But it's different every time, but it's gotta look so it's recognizable. So how about if you only had to drop in the new pictures and all the captions updated automatically, And that's the idea of text variables. Now here's a caption that's generated automatically if I select this frame and drag it down a little bit, so it no longer touches the image. The tax changes Now, if I drag it up against what is touching the image now, it's giving me the text variable. Now this frame over here, I could tell it to do the same thing at first of all, clicking it with a type tool on that is basic paragraph type. So I'm going to go to paragraph styles window and click on caption, because this is going to give me the appearance of type that I want and then go up to the type menu and go down to text variables. Insert variable. And how about if I said image name and that's what this image is called. But I don't really want to do the image name. I'm going to come up with a different caption that says Tipu Sultan's Summer Palace. Because that's what this is a picture off. So first I'll go to bridge. So I've already got Bridge open at the folder containing the in design document and the two images inside it. And if I click once on this image, it appears in the preview area. Now, if I wanted to check the quality and the detail, I could click on it again, and that opens up a little loop window, which I can drag around and find out what I've really got in terms of image. If I want to close at a just click on the corner and then down below, I could choose to add metadata. File properties contain information that I can't change, okay, but I PTC core beneath um, you can see from the pencil icon. You are supposed to be able to change this stuff. So if I scroll down to description and then click on it. I could now type in Tipu Sultan Summer Palace. Yes, I already had that carpet into memory. Now, in order to attach that to the image when I've got to do is click on something else and it says, Do you want to apply these metadata changes to to J pig? Apply Now, I can go back to in design and then in design because I just changed something associated with that image. I've got this little yellow triangle which says the images being updated since it was put here. So I get the selection tool and click on that triangle on that now updated the image. Now it's still got the same name. So this didn't change. But now I'm gonna add a meta data description instead. Unfortunately, if I go to type text variables insert variable. I don't have one called description, so I'm gonna have to define it so quick, undefined and saying new and I'm going to call it description. It's a meta data caption. I don't need text before it. I don't need text are for it. What is the specific metadata item that I want to include? It is description. Okay, Nothing changed because I didn't actually put that in this frame yet. So I'm going to say, done on, then go to type text variables. Insert variable. Now, I've got description there. There it is. And that's what text variables could do, which could save you. Ah, whole lot of time. If you're in a production situation, Otherwise, they're probably not going to be very much used to you. But in the right situation, they're fantastic. 4. 4 Black and White Text: I didn't really know what to call this video, but I'll tell you what I'm going to do, and then you can decide what you want to call it. So I got this line of type overlapping this blue rectangle and where it's overlapping. The time's gonna become white and the rest of types going to stay black. Now you can't easily cut right down through lettering. Doesn't really allow it, but you can cut right down through a shape. So I'm gonna turn this text into a shape. And to do that, I'm going to select it and then go type, create outlines. Now that's no longer edit herbal type. The frame is completely different now is just a selection frame. Incidentally, this is Adobe Government Pro, and that's an emphasis end. And this is the clearest example that I've ever seen of how on anther sand is a stylized combination of the letters E and T and yet is Latin for and which is where the M percent came from. Now this green rectangle, if I put it there, you can see the still green line going up from the top right and corner, and that's an alignment line and because I've got smart guides on. So I go view grids and guides. There's smart guys their own. Anytime two objects, a line either has an edge or in the center, you get little green lion telling you another thing that smart guides do for use. If I wanted to put this object right up against the blue shape without any overlap whatsoever, I can. Which means I can put it over the top of this type right up against that blue shape. And before I do the next step, I'm going to make a duplicate of the type. So select the type and control command, see, followed by control or command shift. Old V is based in place on this are gonna nudge up out of the way a fixed amount. So I'm gonna hold down the shift key and tap on the up arrow key and count as I do it. 123456789 10. 12345 Great. Now I can select these two objects the green rectangle and the text block beneath it, and then go window objects and layout. Pathfinder and the second icon in the Pathfinder line is this one, which cuts the top object away from the bottom object like this, leaving me with the exact area of the type that overlapped. So if I select it and go to swatches and choose paper now that text appears is white and only have to do is select this one. Nudge it back down by holding down shift and tapping on the down arrow key and counting. 12345678 19 12345 followed by object Arrange sent back. Now that's very useful treatment for headings and things and maybe newsletters or layouts, and there you have it. I don't know what to call it, but it's pretty cool. 5. 5 Blending Modes: this video is about blending modes. Now, if you've used Adobe Photo Shop for some time, you may have run into blending modes there and the really useful well in in design. You've all set up lending words, but they work in a slightly different way. They're not quite as reliable in photo shop. When you apply blending mode, which effects two layers, you applied as an interaction between two layers, and what you see is pretty much what you're going to end up with. Well and in design. That is not necessarily the case, and I thought I'd show you not only where they are but how they work in a slightly strange way. So here I've got a san rectangle, and on top of it, there's a block of text known photo shop. You'll have layers within the same image, and the layer that's on the top is going to affect the layer beneath. In in design. You've got layers, but you've also got a hierarchy on the page. So everything that I put on a page is gonna land on top of everything that's already there . So I did the rectangle first, and then I drew a text rain and I filled it with placeholder type. I've also made it bigger and bolder, so you can see the result more easily. Now, of course, you can change the order things. I could send this text to the back. I could bring it to the front and so on, and that gives me a hierarchy of objects that is very similar to the layers in photo shop. Now, while the subject is selected, I'm going to go toe object menu down two effects and transparency, and this is where all the blending modes live. So if I apply a blending mode of screen, I would expect something to get later, because that's what screen does. And indeed, if I click OK, you'll see that the text where it runs across that scion rectangle has become white. Now the problem is, if I try and make a PdF of that, and I could make an RGB Pdf and a c M y que pdf and to show you some of the problems that can arise, I've created a couple of PDS that you can download as assets. With this course on. I'll show them to you, so I'm just gonna flip over to Acrobat, which I've got open here. And these are RGB blending modes. Now, what I've done is I've taken each the blending modes in turn and on the left I've got an example with a colored rectangle on top of an image and on the right, I've got an example with the image on top of the colored rectangle. So this one over here normal, no blending mode. Then we got multiplies, screen overlay, and so on. Then on page two, they continue. Now you can see that some of them are pretty wild there do things that you probably didn't expect they would do in C m Y que They're a little bit more sedate. So that's page to in C, um, way Kay and his page to an RGB, and you can see the difference is quite dramatic. So the blending more that I've used is screen. So if I go back to see M y que their screen, so it's making things lighter. Now the CME wake, a version says, doesn't matter where the images on top or underneath it's going to do the same thing. The RGB version says, Can you see that difference. There is quite a difference between the two. So how high output this is going to dramatically affect it. I'm gonna output this now as a C m y que pdf so file exports. Ah, cool This C m y que and I'm gonna choose Adobe Pdf print save pdf x one A is my favorite export option for print documents. Now click Export and there's a result and, as you can see, doesn't work. Looks like the rectangle is actually on top of the text. So close this I'll go back into in design. How about if I try RGB file export and I choose pdf Interactive Even though there's nothing interactive here that guarantees RGB output, So I just call it RGB and click Save. And there's the interactive window. I don't need to do anything. Just click export faint visibility of the lettering. But this doesn't work either, does it? So there's something wrong Now. Fortunately, there are other settings you can play around with. So go back into in design again, select that type and go back into object effects, transparency and as well as having the mode itself, I've got isolate, blending and knock out group. Let's try and knock out groups. See if that helps click. OK, then we'll go. Come on, E, which is the shortcut for export. I'm going to call the CME. Wake again. So changed that to print and safe. Yes, it already exists. So let's replace it. I don't want high quality print. You can't change the color output with high quality prints. So if you've got something that's RGB, you're stuck with it. So I'm going to switch that over. Two. Pdf x one A click Export still didn't work. Let's try the other one back to in design again. The type still selected object effects transparency and I'll uncheck Naka group and check. Isolate blending. I will try this one again. File. Export Call. It seemed like a once more click save replace, and this time it's locked onto pdf x one a again and we'll click export. How about that? It worked, so sometimes you gotta fiddle around with the settings. And yes, it's guaranteed to drive you nuts. But you should, in the end, be able to create the pdf that you want now. Occasionally you'll find that it doesn't even seem to be acting consistently. It probably is. It may be that the export setting has reverted to high quality print and you didn't notice . And so now you've got another variable thrown into the works, and that may affect things as well. I have actually had to do this. I've had a documents where I had a blending mode and I wanted to export it for print. And the blending mode didn't work. But when they exported it as an RGB PdF, it did work. So I took the RGB pdf and cropped it down to the object that I was having a problem with and placed it on top of that object. And then they out put the whole thing again as a c m y que pdf and it worked. So yet it'll drive you nuts, but you should be able to figure it out eventually. Good luck. 6. 6 Colour Groups: This is Ah, really quick little video about color groups, which you may already be quite aware of. It's just a way of simplifying what you've got in your swatches window. So, for example, down at the bottom of the swatches window, we've got the trash can. We've got that What I call the new whatever icon, which will give you new Swatch if you want on. We've also got this, which is creating new color group. So if I had these swatches in my swatch window, I could just decide. Well, I want these bottom three, which I've just added to go into a color group. Now there's a couple of ways of doing that. I can click on the color group icon. I could then double click on that to give it a name. So I just go this stuff. And then I could drag the colors that I want into it. Like so you can close the group. You can open it and there they are. Here's a different way of doing it. So no, I tried the colors back out of that and I'm going to delete this color group, which is now empty. You select the colors that you want to add to a color group. And then you hold down the old key and that works on windows as well as Mac. And then click on the color group icon and you give it a name, stuff and press enter and there you go, and now you colors automatically put into the color group that you want it, and that's all there is to it. But if you've got loads and loads of colors that you need to keep in your swatches window, this is a really good way of being able to keep track of them and simplify things. 7. 7 Converting InDesign to MS Word: in this video, I'm going to show you or try to show you how to convert an in design document into a Microsoft word document. So here I've got an example. This is Page One. I've got some text. I've got some images. I've got a background color. Then if I go to page two, I've got a couple of test objects on page to get a table at the top, and I've got two objects below it. Now the top one is ingredient Scion on the left and white on the right. On the bottom one looks pretty similar. But in fact, this one I've used the Grady int feather tool this tool over here on a non object that was just filled with Scion. So with Grady int feather tool, I dragged from the left end right across the right and end on when I let go. Of course, that means the right and then becomes progressively more and more transparent. So it be interesting to see how Microsoft Word deals with these. Let's go back to page one. The first thing that you have to do is create a pdf so Microsoft word doesn't do CM way k. I'm just going to create an interactive PdF. So I'm not worried about bleeds or slugs or anything like that. So I go up to file export and PdF interactive. That will be fine. Cucumber pickles. Pdf. That's, Ah, great save and all pages, and I'm just going to click Export. And there's a result off a do commander control zero that gives me a full page view. And there's Page two. Okay, now I can export this as a Microsoft Word document, which you can't do directly from in design. So file export to Microsoft. Word on, I could either choose the earlier version or the later version. Let's have the later version word document, and we'll call it Cucumber Pickles, Doc. Ex save. And here comes the result. Now this says it's 120%. Let's set that to 100%. And then if I scroll down a little bit, there's Page one that looks pretty good. Here's page to that looks pretty good as well. Oops, except for this one. So Microsoft Word does not support transparency caused by the Grady Int feather tool, but it did support the Grady int, and it did support the table. Well, that's good news. Let's just have a quick look back on page one again because there's something else interesting here. If I select this object, you see that it appears to include this object that has dragged this off to the left. And, yes, the heading and that other picture are now included as part of the same object. Where is this picture here? That's its own thing. This text that's its own thing. So it looks pretty good, but it changes the construction slightly, so you do have to be a little bit careful. But basically it does a pretty good job, and you can quite effectively export most in design documents through pdf into Microsoft Word. 8. 8 Data Merge 1: I'm gonna show you in this video a couple of different ways. You could use data merge. And the 1st 1 is, for example, if you've got a document like this. But visualize if you will from him. This is a beautiful layout. It's an invitation. And you've got a mailing list of, say, 50 different people and you want to personalize the invitation to each one of them so that each page that comes off the press has got the new name and company name and address and so on. And that's where you need data merge. So I've already got that list as an Excel spreadsheet. So I'm just gonna flip over to excel now so you can see it. And there it is. There's nothing much to it. You can see that I've got all the names here in one column, the company and aims and another the address, the street, the town and so on. So the heading of each column is what's going to show up in the data merge window in in design. So I'm not going to go back to in design so you can see what I mean. So the next thing to do is to open the date emerge window. So window, you tell it is data merge. There it is. And then I'm going to choose the data source. Click on the options button. Select data source. Now there. I've got a few possibilities you can see that here have got invites XLs sex. That's the document I had open in Excel for. What you have to do is save that as what's called a comma separated values document. Now that's easy enough. You just go file, save as and choose comma separated values. I'll show you in Excel. You go file, save as and you choose comma separated values here, and then you give it a name and tell it where you want to save it. That's it. That will go back to in design again. So this is the one that I want invites take open. So these are the headings from the different columns in the Excel spreadsheet. Now I'm going to draw a text frame, and there's the curse of flashing away and our click on name that's come in with a color that I wasn't really hoping for. I wanted to have that coming as black, so I could change it in a minute. So they're not going to press enter. And next we'll have company name and enter address ST Town. So that's how you put the data into the document? No. I can click on name and go to Pargo Styles and choose would you believe name and then company name and then address and ST I put those is the same on then town. Okay, now I'm ready to create my merged document. So now click on the options button again and say Create merge document and this window opens. Now, if I just wanted to have one record per page, I'm already set up ready to go. If I wanted have multiple records in each layout than first of all, I choose it down here and then went to choose multiple records. Aiken set up this spacing exactly as I want. However, in this case, I just want one record per page. All I have to do is click OK, and it tells me that no over set Texas generated win Virgin Records. Now it looks as if it's done the right thing. This is actually a new document. It quickly swiftly opened up a new document in which I've got five pages and each one of them has got the next set of data. So know if I was printing this document using digital printing out of my personalized invites, So that's the first part of using data merge. 9. 9 Data Merge 2: So for the second video on data merge, how about if you want to print raffle tickets and each ticket is gonna have a different number? Of course. So I've got all the numbers saved as an Excel spreadsheet, and I'll show you. So here I've got four columns and in the first column at the top, it says 1 to 100 the 2nd 1 is 101 to 202 100 to 303 101 to 400. So I'm gonna put all of these numbers into the in design document and then automatically through the data merge window, generate a pdf in which every page carries the next set of numbers. So now I'll go back to in design and here I'm going to import the data options buttons. Select data source, and it's 1 to 400. See SV. The Excel file was gold wonderful 100 XLs X, and I saved it. A CSP. You cannot use Excel files for doing data merge. You've got to say them as comma separated value format open. There's my set of data. So if I click in this first field and then click on that first number. That's what I get. I'm gonna put the same thing over here because, of course, on the left is the stub and on the right is the ticket itself. Nor click here and again on the ticket itself than the stuff for number three and on the ticket. And finally, the stuff in number four and again on the tickets. So this is a one page document, and now I'm going to generate a pdf of all the pages that I need. Options button export to pdf records to merge, all of thumb. And they only want one set of records per page, which is one page like the one I've got. OK, and of course, it would be a print documents, so I'd want a print format. Pdf. Normally, I choose pdf x one A. I never use high quality print, even though high quality print is what's offered to you as soon as you open up the export toe adobe pdf window because it doesn't do any kind of conversion. So if I've got an RGB image in the document, it goes through to the pdf as an RGB image, whereas PD effects when a will convert all your cars to see him like a Now, In this particular instance, I don't have any images. So I don't care about compression marks and bleeds. Yeah, let's have those or printers marks. I don't have a bleed. I don't have a slug output. It's gonna output it to coded fogger 39 which is the color management system I put in place before advanced. I don't need to change anything. Security. You cannot password protected. Pdf exe when a document and summary no one ever reads it. And all it is is a record of what I've just done. So I don't need to read it either. So, export, and I'll put it here on Uggla. Raffle tickets. Pdf on off it goes. No other set taxes generated when merging the records. Good. And there it is in Acrobat. Now I'm going to tap on the right arrow, which will send me through the pages one after another. When you see the numbers updating so worked No much of a raffle, though. Check out these prizes. I don't think I'm gonna buy any 10. 10 GREPS 1: this video is about grips, which sounds like a medical condition. But it isn't even though you might say, Well, I've got a bad case of the grabs today are got to get these grips seen to their bugging me , But grabs actually stands for global rational expression. Pass. That's p a r S e not be a double s. And it's a very powerful search technique. So here I've got a bunch of garbage text but hidden inside it I've got examples of dark chocolate. Now it's got an upper case t In the lower case C Dark chocolate locates the epic A C. I've got milk chocolate in here with lower and uppercase combinations. I've also got a couple of email addresses as someone at who dot co dot UK, and we've also got bozo at bozo dot co dot UK. And I've got an at symbol as well, just in case, and we'll see if grips configure out not to find that, but to find the email addresses instead and the way you work with grips, isas follows. First of all, you go up to the edit menu and you go down to find change. Now, this is an unusual window in that you can carry on working in your document, even though you've got to find change window open, I'm going to click on grips there and then I enter the code and tell it what to look for now as to what I want to change it to, I'm going to change its format now. This means it's going to act a little bit like a character style. But this is not a character style with a character style. You've got a block of text with the paragraphs, tell already applied to it and your highlight chunks of text and change them with character styles. This is different. This is going to find the examples you want to change without you needing to highlight thumb. So if I click on the change format icon here Ah, let's see, I'm going to go to basic character formats and I'll change the style too bold, and I'm going to change the color to say an and that's what I'm going to bother with. No, I'm going to put in a grip command and the code I'm going to put in. Is this the words dark and milk are enclosed by parentheses, and in between them there's a stick. So the parentheses mean that this is the variable, and the stick means either or so it's going to search either dark or milk. Chocolate sounds good. Now I'm going to click at the top of the text and then say changeable. And it only found two. Well, I know there's more than two. So it found these two because they've both got uppercase initials for both words, but it didn't find any of the examples where it had a lower case initial for one of the words. Okay, so I need to update the code. So I've got some more code in memory and that is going to enable me to find all examples of dark or milk chocolate. I've got a whole bunch of variables. There's lower or upper case D lower or upper case M lower or upper case C. Each one of those terms is enclosed in parentheses. There's a stick between them indicating, either or in each case and dark, and milk is enclosed in another set of parentheses, so this should find every example whether they've got uppercase initials or not. So again, I'll click in the beginning of the type and changeable. And this time it found five. And there they will are pretty powerful stuff. Now, don't do that again. And now I'm gonna ask it to look for an email address, so I'll get the type tool and highlight this and put in the code for the email address. No, don't worry. I'm gonna tell you about how to find these codes in just a minute and I'll click at the beginning of the type and I'll click changeable. And it found to So I found bozo bozo dot co dot UK someone at who dot co dot UK. It didn't find the solitary at symbol. 11. 11 GREPS 2: Now what these terms are, that's a lower case, and that's an uppercase letter, and that's a digit on that's a full stop on the plus symbol indicates any number off, followed by an at followed by the same again. So where do you find these while highlight these and delete them. If I click on the at symbol at the end of the line and go down to wild cards any digit, they're slash t. Any letter slash l slash you. Now it's got square brackets around it cause there was more than one term, so actually want to put this slash d inside that, rather than leave it hanging out outside now. I also want to put in full stops because there's full stops involved in email addresses and any number thereof is a plus symbol. Then the at symbol. And then I'm going to copy this whole thing copy paste again, and that is how you find the code that you need. You go looking in here, and there's all kinds of bizarre stuff that you can find that you can search for. Grapes are incredibly powerful now. Here's a really useful way to use grips. If you receive copy from somebody for a document. Now, if that person learned how to type on a typewriter, then every time they hit the full stop the period they made a double space because each letter on a typewriter is given the same fixed width. A lower case. I has the same width as a capital W, which is just weird. But if they learn to type on a computer, every letters got its own with. You don't need a double space after the end of a sentence. So how about if you wanted to search for multiple spaces? Now? What I used to have to do was set up a search for double space and then go through the whole document and then go through it again and again because somebody may have put in three spaces or even four without realizing it, and only when it no longer finds any double spaces. Would I know that I got rid of them all. What if you go up here to query and click on that drop down arrow? How about this one multiple space to single space Now, good luck coming up with that code for yourself. Fortunately, someone else did it for you. And if you search online, you'll find the lots of people have come up with really complicated codes and decided they wanted to share them with the rest of the world for free. Great. So this is going to look for all examples of more than one space and change it to a single space. And that means you've only got to go through the document once. So grabs a very, very powerful tool, but it will probably drive you nuts trying to figure out the code. 12. 13 Grids 2 – Placing an Image into Multiple Frames: There's one or two of these videos that deal with making some kind of a grid of objects, and this is one of them. This on and calling mosaic and you'll see why. So I'm going to get the rectangle tool and ologists click and drag an are not holding down any keys on the keyboard. But if I wanted that to be a square, of course I'd have to hold down the shift key. No, I'm gonna tap on the right arrow key and then I'll drag across a bit now gonna tap on the up arrow key. And there's a grid of 16 squares. Now, if I let go of the mouse there, they all are on. This is the default color settings. No Phil Black stroke. And that's what I've got. Now I'm going to switch back to the selection tool and drag this carefully over to the right. And that magenta vertical line means I'm now the horizontal center of the page. And if I drag it down a bit, that horizontal magenta line means that grid is now dead Center. Great. Copy it. Command or control. See? Now I'm going to go to the layers window and make a new layer new layer. This is fine. There it is Are going to turn off layer one and go toe led to and command shift. All V is paste in place. So I've got Borders on there, too. Great. I'm gonna turn that one off, go back to layer one again and select everything which I can do by clicking on this little blip here and tell it in the swatches window that I don't want these toe have boarders at all. So the board is going to be supplied by the copies on the new layer. Now, if I go back to layers again, I want yet another new layer because I'm going to do something else with those. So I'll click on the options button. New layer. It's going to come in above layer one, and I can choose whatever color I want. No, I know that if I let it choose green, which is the default color for the third layer, I'm not gonna be able to see the edges of these objects very easily. So I'm gonna choose something else that's have gray. Then at least I'll be able to see them Okay, now alternate Flare one and do command old Shift V yet again. And there's my copies on layer three. Well, I don't actually want these that have borders either. So they're all selected on. Just go straight into swatches and say, Let's not bother with the borders. No. I'm going to select a few of these that say, this one and this one and maybe this one, this one and in swatches are going to tell those two have a fill color of san. Then I have those, too. And this one down here, they're going to be magenta. And that's have this one and this one and this one, they're going to be green. And this one and this one are going to be yellow, OK, And I'm going to get rid of the others because I don't need them. And then I'm going to select that whole lot and go toe object effects transparency and give them a blending mode off Hugh. Okay, then I'll turn that layer off again. Now let's go back to low one. I want all these now to act as a single object cause right now that all individual objects , but if I select them all by clicking on that little square and then go to object. Paths make compound path. These are all now one object. The role outlines on the same object on that means if I put an image into it, the image will go into all of them. So no, I'll do final place, which is command or control D. And that's the image that I want open. And there it is. So if I turn on these other layers, Layer three gives me those squares with the hue blending road applied and then layer to up the top gives me the borders. And if I press W that's what I've got Kind of nice, isn't it? You can have a lot of fun with Mosaic. You don't have to draw squares. Of course, you draw any shape you want, really, and you don't have the droid as a grid. If you select multiple shapes and then just goto object path, make compound path, they'll all become outlines on the same object, and you can fill them all with a single image. You can even do it with text. You turn the text into an outline and then you can put an image into the text. You can create all kinds of beautiful effects with this 13. 14 Grids 3 – Creating a Grid of Linked Text Frames: This is another video that stealing with a grid. So this time it's going to be a text frame grid. So get the type tool. So draw a little text rain. I'm gonna hold down the shift key to make it square, and I'll tap on the right arrow key. Now, there are seven days in the week. Right? So there we go. Seven squares, no tap on the up arrow key. So now I could use this is the basis for a calendar. If I wanted, I let go of the mouse. Now there's all my squares. If I press the letter d, they've all got a black outline. And if I choose type filled with placeholder text, you can see that they're all linked already. That all linked I don't have to create links between them that already linked. Now this raises some interesting possibilities. I'm going to do, command or control Zed to undo that. And then while they're all still selected, I'll go to object Text frame options. Now this window will allow me to create inset spacing which will restrict the area within any one of these squares where type can appear. Okay, I'm going to cancel that for a second. And I'm just clicking here with a type tool and press the number one. No, I'm gonna increase the size of that. Now, this right now is basic paragraph because I don't have anything else. Well, let's make this a bit bigger. So I go to basic character formats, and I'm gonna make this 24 point and I'm also going to go toe in dense and spacing and tell it to be centered. Okay, Now select. Order the squares and go back to text frame options. No, I don't want the inset spacing to be linked. I do want preview on. I'm gonna move this down so it's more in the center, and I don't usually use vertical justification. Who is that? Will put it in the exact center, and that just looks wrong. So I'm going to use these instead, maybe like that eight millimeter inset, and I'm going to leave it at that for now. Okay, so that's what basic paragraph would do. I'm going to double click in here to switch back to the type tool, and backspace wants to delete that, leaving me with a cursor. No double click on basic paragraph again and open that back up. On this time, I'm going to go to bullets and numbering and I'll choose a less type off numbers. No, here it says it's going to put a full stop after the number. If I don't want that, I could just black space over the full stop and then click. OK, and now I don't actually have to type. Anything wanna have to do is press enter. How about that? And of course, I could now go back in to tax frame options and create a left in Dent to move the numbers across the more central. If I wanted, I could create a larger left indent on the single digit numbers than I did on the double digit numbers. That's no problem. I can select all of these separately, the only linked in terms of linking text between them. They're not linked in the same where they would be if I chose paths create compound paths, so they're separate objects, but the text flow between them is linked so I can adjust the in dent on each one of them individually. If I wish. If I'm using this saves the basis for a calendar. And this is Monday, Tuesday, Wednesday, Thursday and so on, and the month happens to start on a Friday. One I've got to do is select those four and hit backspace, and that's now the first frame in the Siri's, so you can use this to create your own calendars. If you want all kinds of other things, it's a useful thing to know. 14. 15 Keyboard shortcuts and menus: So once upon a time, Adobe decided that they were gonna help everybody out by deleting a few of the not so often used. Many whitens Well, they didn't delete them. They just made him invisible. They hid them. So when he went to the menu there they were gone and down at the bottom. There was little item that said Show all menu items and you had to click on that to get it , or you had to go turn it back on again. Now you can turn on and off menu items, and you can also create your own shortcuts for stuff. So I'm gonna show you how to do both of those. If I go to the edit menu down at the bottom, it says keyboard shortcuts and menus. Let's do menus first. How about if I thought, Well, no one ever uses the copy command, I'm going to get rid of it. I'll hide it. So in the category, I'm going to go toe application menus and then to edit. And there's copy, and I'm going to turn off the I icon opposite copy, which means it won't show. Now click. OK, and now if I go to the edit menu. Copy isn't there, but down at the bottom, it says, show all menu items. If I click on that coffee returned. This is not something that I find particularly useful, especially as the menus tend to fit on the page anyway. And if they don't, you get an arrow down at the bottom. You can just hover over on the menu scrolls up, allowing you to see the whole thing. Okay, let's have a look at shortcuts now. I happen to know that if I go to the Link menu and select this image, and if I wanted to embed it, there is nothing right now that allows me to embed it. There's no shortcut. So how about if I want to create one? So let's go to edit and keyboard shortcuts. No, it's not an application menu. It's a panel menu in panel menus. I'm going to scroll down until I find links. So there's see Azaz d e. It was quite a ways down, and there's links. Okay, so what we want in bed link Now, if I use a shortcut such as, for example, command shift zero, it tells me that one currently is unassigned to anything. I can use it. It's not going to create confusion. So if I click a sign it will then tell me. Well, you've got to create a new default set a new copy of the default set that you'll now using . So yep, that's fine. And it's gonna be called whatever I want to call it. Default Copy. One is okay by me. Okay, And that's the one that I'm currently using. Now I'm going to okay it enough. I go back in bed link, and there's my shortcut. Command shift zero I love Short got. So I'm just going to use that so command shift zero. And there is the embed icon because that's now on embedded image, and it's no longer linked. If you want to turn a menu item on again that's being turned off, you just go back to edit and menus and it's the application menu. It's edit its copy and you turn the I like on back on and you click OK, and now it's back, and that's how you do it 15. 16 Layout Secrets: If you're working with a long document, then usually at some point you've got to import a long Juncker text, and I've got a long chunk of text ready its load to play soldier type pages and pages and pages of garbage. Now here I got a one page document. It's a facing page document. There's a long line there on the left hand edge. That's the spine, and when you bring in type, you can place it in one of three different ways. There's manual, semi automatic and automatic. So if I do command or control D and there's all my type and open and I'll put the curse wrap here just inside the top left corner, the margins and click. And that's manual. I've got a red cross of the bottom because obviously there's a lot more tax that could be placed. It's not here yet, and the curse is turned back into a regular cursor. Okay, Commander controls it takes me back, and this time I put the ghost in the same place. I'm gonna hold on the altar key now that changed it slightly. It's not sort of wiggly line, but it's kind of a broken up line that beginning and I'm gonna click, Do you spot the difference? There's no Red Cross at the bottom on the type is still in the cursor, so I could go to Page two and through the same thing again and then Page three and the same thing again. And so on that semiautomatic. No, I'm going to do fully automatic commands. It controls it, and I put the curse in the same place but not gonna hold down the shift key, and I get the same wiggly line, but it's not broken. Click and stand back and it's created all the pages it needed to place all of my text. And I've now got an 18 page document, and it's just page after page after page of text, which, from a layout point of view, is not that special, is it? So if I was doing a paperback book, maybe this would be great, but otherwise, no. So how about if you're working on a layout instead? Now I'm going to do undo again. I'm going to clear this text on the cursor, so click on the selection tool and it's gone. No, I'm going to go to the A master page, and there they are. And if I get the type tool and click and drag here on the left hand page on, then to it again and then do it again and then I'll go over the page and create another frame and another frame. Okay, None of these rains are connected, and there's no type in any of them. But if I click on this 1st 1 is the import center, the out ports empty. If I click on the out port, there's something different happened. If I hover of this next frame, the cursor turns into a link icon, and now those two frames are linked. The imports go Little blue arrow, the out port in this one now has little blue arrow, and I can link all of these frames like so one after another. So now they're all linked a bit again. There's no text at all. Now go back to Page one. I can see the frames that I had on the right and master page because, of course, page ones, right and page, I can't select him. There must a page objects. I haven't unlocked them, so I can't select Um, no. I'm going to go get that text again. Come on, De Control de select loads of dark txt. And there it is. Now, if I look at the cursor right now, it looks one way. If I hover over the frame, it changes slightly. You see that? So if I click in this frame and then let go after a few seconds, it does exactly what Automatic did the last time. It's filling that configuration of frames on every page, and I've now got a 22 page document. So how about if I decided? Okay, we'll Chapter two needs to start on page 11 and I don't want this layout. I want a different layout, so I got to create a new master page, so I go to the options. But in the pages window, New Master on, it'll be called B, and that's fine. Everything else is the same, and there's my be master, and here they are, so in the right and page, I'm going to draw a single tax rate like that and now go back to page 11. I don't want these two frames anymore, and now that they're filled with type, they are available to me in the document so I can get rid of them. And now I'm going to apply the beam master to that page. Click and drag on the A in the top right corner. Changes to a B, and I could just see the outline of my be master rectangle here, the text frame. So if I click on the previous frame on page 10 and then click on the out port on, then click in this frame on, let's find out if it really did it properly. View extras, show text threads and zoom out a bit. Yep, it really did. It's just linked out frame in right along with all the others. But how about I hear you say, I don't want Chapter one toe end right at the end of this frame? It needs to end. Let's say here like they're So then this is going to be Chapter two. Okay, No problem. And now this one is Chapter two, and that's the end of Chapter one on all the frames link up like they should. You can do quite a complicated layout just by doing this and what you got to do having set up the master pages to do what you want, bringing all the text and then work on it like this, and it will get you through a long lay out much, much faster then you might have thought possible. 16. 17 Optical Margin Alignment: This video is about a thing called optical margin alignment, which is adobes very own, and I'm sure they're very proud of it. And it's pretty clever. Adobe know a thing or two about type. They started out as a type company. They just did type for quite a few years, and I have great respect for what they can do with type. These two text rains look pretty similar to begin with, but look at the alignment on the left hand edge. I think this one on the left looks kind of like it bows out a little bit down the left hand side was, I don't think that's the case with the one on the right. Now, if I look at that closely, I have to say well, yet different, going to be strictly accurate. It's not quite perfectly aligned, but the visual balance is good and the visual balance on the left is maybe not so good. No, I've got print preview on, so I'm going to press W and turn that off, which means now you can see the edges of the frames. And on this on the left, in fact, perfectly aligned everything just butts up to the left and edge perfectly. This one on the right? No, they don't look its way out to the left hand side. The tip of the A's off to the left. This is kind of strange, isn't it? So what's the difference between them? The difference between them is optical margin alignment. If I select this one and then go type story, it opens up the optical margin alignment window and I can check that and it moves everything around as well as this. I can tell it what size type I'm using. Well, this is 60 points. Okay, let's change that to 60. I could tell it whatever size I want, I'm not limited to what's on this list. I could highlight the number and type in whatever I wanted, whatever I happened to be using, and it will juggle the alignment like this. So if you've got a multiple land heading and you just want to take a little bit more care over how it looks, I strongly recommend that you check out optical margin alignment. You won't always want to use it, but sometimes just for that little bit of finesse, it's really good 17. 18 Page Tricks: this video is going to deal with a single page shuffle, which you may not be familiar with if I go to the pages window. I've currently got a 16 page document facing pages and nothing on any of the pages. If I wanted to add another page, say, between pages nine and 10. So I'll drag one down from the master page icons here, and you can see I can drop it between them, but it won't land between them. Instead, it becomes the new Page 10 and everything gets moved along one. So now I've got a 17 page document instead, which really wasn't quite what I intended. If I want to be able to put a page either between them on its own or at either end No, I can't do that either. At the moment, it can only go between them. I can't put it at the end of the preceding spread or at the beginning of the following spread. All it allow me to do is format those bages with masturbate a well, most of a J is already formatting those pages. However, if I go to the options, button and uncheck allow document pages to shuffle. Now, if I drag that down, I could drop it in the middle or I can drop it at the end of the preceding spread or the beginning of the following spread. So I'll drop is the end of the preceding spread. Now, I've got a foldout made up of that additional right and page. Now, of course, I would need to add another page at the beginning of the following spread. Otherwise, I've got a one sided page, which is impossible. So now I've got two of these one with the extended page on the right one with the extended page on the left. No, I'm gonna focus on this one. There would be a problem if you try to do this because these pages are all the same size. The right and edge of this page would land right there on the spine. And when you close the book, the whole thing would just sort of go scrunch, so that won't work. So what I have to do instead is get the pages to which of this tool over here, and when you got the pages tool selected, you can click on a page and you get handles at the midpoint on all four sides. If I drag that handle, I can change the size of the page. You can see in the pages window all of the right and pages changed as soon as I let go. Buoying it jumps back to its original position. If I hold down the bulky when I do that, then again all the right hand pages scrunch up. At this time. When I let go, they'll stay there because I was holding down the Elke. I'm gonna one do that. Commander controls it. The other alternative is once you've got the page selector with a page tool, you come up here onto the control bar and this is the width and height off the page I have selected. Now. If I made this 200 instead and I'm now going to press enter, it only changes that page. It didn't change any of the others. Just this page. Now would that help if that was 200 millimeters wide when it folded over, this edge would be 10 millimeters shy of landing in that spine. Great, but there's another problem. If you look at a book, you'll see that It's nice and neat, and on one edge is the spine on on the other three edges. It's being trimmed to make it nice and neat. It's been given a three sided trim. That's pretty much the last thing that happens to a booklet. What if we gave this a three sided trim? It will trim this fold right off. So I've got to make this page smaller so that it moves the fold left, which means when they do the three sided trim, it won't cut through the fold, and it will leave this right and Beiji attached. So it also had to select this page, maybe say that one's going to be 205 and then press enter. And that did it. And now I've got this page on the left is a four. This page in the middle is 205 millimeters wide. On this page on the right is 200 millimeters wide. Then I'd have to repeat the process sort of in reverse for the next spread. One word of warning about this. If you do this in a publication, your printers will love you forever because this is so expensive that we're going to get rich. This section has to be done as a separate print run on. Then it's probably gonna be bound in by hand. So you're asking for a hefty invoice if you try and had a print of this one. But still paid. Shuffle is very neat, and you can make all the pages individual sizes if you re size them up here on the control bar. If you try and resize them in the document area, you're going to resize every left or right and page in your document. 18. 20 Putting Images into Text: How about if you want to put an image into frame that looks like a word? Well, the first thing we're gonna need is the word. So I'm going to get the type tool and click and drag and make a little type frame. And then I'm gonna type the word bluebells into it in all caps, and I'll highlight that and maybe change the front, too. Ariel is pretty good, but there go aerial black. That'll do better. The bolt of the better and they're gonna make that a bit bigger. Just so it's kind of easy enough to work with now. If you never inherited work that other people have started, you probably found that one. The most irritating things is people tend to leave text friends really big tax frames, overlapping all kinds of other stuff. And you go click on something and you don't select it. You select something else completely because the text rain happens to be overlaying what you wanted to select. And would it be nice if you could just closed down the text frame around the contents? Well, guess what you can if you double click on the bottom right hand corner There you go now. It doesn't always work in the way that I've just shown. If you've got a multi line paragraph, it's probably going to change the line ending somewhat. But with something like this, a single word. Yeah, great. Not gonna park that over on the left here. And if I hold down control and shift or command and shift, I can hold over a corner and then click and wait for a second and then drag. And that is going to make sure that the frame and the contents expand together. Now this is still taxed. So the next thing is, I'm going to go type, create outlines. It's now just a frame, the shape of the letters, and it's all one thing. If I click away from it, then click on it. It's all still one thing. So enough ago file place, which is control. Oh, come on D and then choose this image. Bluebells. There it is now. It doesn't completely fill the frame. You can see it ends, and then the black background takes over again. But if I click on that icon in the middle, that's my image. And if I hold down the old key and the shift key and then click and drag on a corner after waiting a moment, cause then you get a live preview like this. Holding down the bulky expands the image from the center. Now, when I let go, there's my bluebells and I can tap him up. There we go. You can just see in the background. There they are. Bless their hearts, and that's how you can put an image into text, which is really effective. You could also. Then, if you want it, add some special effects like perhaps a drop shadow. Let's turn on preview so I can see what it's going to do. That's what it's going to do. Okay. W for print preview. Kind of nice. 19. 21 Scripts: in design contains a whole bunch of scripts that you can run on documents. Some of them aren't really necessary anymore. There's one that says you can use it to place a multi page PdF. Well, you can do that anyway. Now you couldn't do it at the time that that script was added. So Adobe haven't really got around to updating them very much. Now here I've got a set of four business cards on a page and I've got the borders on one layer and I've got the contents on another so I can turn. The board is off and I consumed the contents off. And the idea is that I want to add to this trend Marks and maybe registration marks as well , and scripts enabled me to do that. Now I'll show you first of all, that. There's a very useful thing within design. If I go to a blank page and just draw a rectangle and I don't know what size that IHS Well , let's see. It's 90.5 wide and it's 67.5 tool. So let's say we want this to be 85 wide, so I'll highlight that number and type in 85 Now, before I pressed. Enter the reference point grid has got the central point selected. That means this point of the object is locked and any change in size is gonna happen around it. So a change in with is going to affect both sides of the object. Half that amount on each sides of her press enter. There is my new width enough. I say height is 55 and press center again. It cut it off of the top and the bottom equally. If I'd selected one of the left hand points on the reference point grid that locks this point in position. So now if they change the width to is that say 100 percent, it will only expand on the right. I'm gonna put it back to 85. So reference point rate is pretty useful. Also, the fact that in design can measure toe 1/1000 of a millimeter, which is a lot better than I can do. So there's my border now. What I would probably then do is build one business card with the border around it so I can see where things are going to be in the business card. Then I would make sure that the border was on one layer on. The contents were on another so that I can turn them on and off individually. Then let's select the whole lot. Hold on the old key, which gives me a duplicate. See that double cursor happening and the shift key on, then drag to the right, maybe to about there, and then select him both and hold on the old key and drag down. Holding down the shift gears well to about there. No, I've got a set of four business cards. They're all identical. They've all got all the contents as well, and I could edit the contents to make them individual on. Then perhaps I could select the whole lot and drag them. Know if I've got smart guides on which I do. As soon as I drag it to the horizontal central, the page, this vertical magenta line appears. And if I drag it up a little bit there, this is now a scented exactly on the page, which might be useful. And that's what I've got on page one. So I'm gonna go back to page one. So how do I had the trim marks. Well, the first thing is to go into layers and turn off the contents so that we can't see them anymore. That means I can't select. Um, either. Now I can say selectable command or control A and that select all. Then I go to the window menu down to utilities and scripts. Now, the script window contains a user folder which can contain any scripts that you've added. And it's also got the application folder for scripts that come with in design. And in there we've got samples. Now, if you're on a Windows machine, you got visual basic and JavaScript. And if you're on a Mac like I am, you got Apple script and JavaScript they're the same scripts. In each case. I'm going to open up JavaScript and scroll down and look for one called crop marks. Now, the way that you add a script is you double click on it. So now I'm going to double click on it. And in this window I can choose to add crop marks and or registration marks. I'm gonna turn registration marks off right now, and these measurements, a really tiny a point, is a 72nd of an inch, which is minuscule, and that lion weight is very, very light. So I'm gonna change it to that. And I want crop marks around each object individual. You know, if I click OK, there they are. Even better, They've come in on their own layer so I can turn them on and off. And if I want, I can turn off the borders. So of course, in the end, this is what I'm going to send to the printer. Well, a pdf of this, they don't need the borders. They don't want them. They want to be able to trim to the trim marks. Now, to help the print out a little further, I'm gonna add registration marks. And in order to select all the borders are click on this little square The end of the lay on that select everything on that layer. No, I can double click on the script again. And this time, when I don't need crime, Max again, I've already got them, But I do want registration marks. And again, these measurements are really, really tiny. So I'm gonna increase the whole bunch fairly random choice of numbers and just making all bigger. I don't want crop marks around every object here. I want one set around the entire selection. Okay, there they are. So that means that I can turn on contents, turn off borders and go ahead and make my pdf No, even better. If you're familiar with offset printing, let's say for some reason you're going to do thousands of these business cards, not just 50 or 60 or so. If I click on this crop, mark here and then go to swatches and click on the stroke icon. It tells me that it's registration color. That means all of the's crop marks and registration marks are made up of 100% of saying magenta, yellow and black, which means if you're doing offset printing, printing, using plates and ink, those marks will appear on all four plates. So if one of the plates was out of position, you'd see that maybe the magenta mark will be off to one side. The printer could manipulate that plate and bring it back into the correct position, and then the jobs in register and they can run the job very helpful 20. 22 Snippets: this video deals with something called a snippet and a snippet is yet another kind of in design file. While it's compatible with in design, it's compatible with one or two other things as well. But it's compatible with in design, and the idea is that all of the information in a layout is converted into XML on That's bundled together as a snippet, and this is how it works. If I open up a document, this one now ignore the design and the text. Let's say I wanted to say this entire thing is a snippet Now, at the moment, it's made up of individual selectable objects. So in order to make it into a snippet, what I've got to do is group everything together to begin with our select everything. That's commander control A. And then I'll do Commander Control G and that's group. You find it under the object menu now, in order to export it as a snippet. All they have to do is drag it onto the desktop and the desktops here. So I'm just going to drag that whole thing and you see the little green circle with a plus sign in it and the name. Okay, there it is not gonna open up a new document, and I'm gonna have a landscape a four page not facing pages create. And to get hold of that snippet, I could just drag it in from the desktop. Or if I had it on a disk. Perhaps I could go file place and look for it in the list here. So it's gonna be under s. There it is. No, I know it's a four. I could click and drag and they could any size I want. Or I could just put it up here in the top, left corner and click. And there it is, my entire layout, all the images a linked. But you're going to send this to someone else. You're probably going to need to send the images as well. I could in bed the images to the snip. It would be a whole lot bigger if I did that. It would probably be much too big for me to email, but you can archive entire layouts like this. You can send them to other people who are working on part of the project. It's a very versatile format. 21. 23 Story Jumps: this video is about a single story jumps and story jumps a particularly useful if you're producing something like a magazine or a publication where you've got one story and the story is a Siris of linked frames with one contiguous tax flow between them jumping from page to page with maybe gaps so that you'd need to say at the bottom of one of the pages continued on. Whatever. And then on those pages, you'd want to say, continued from wherever. So in this document, I've got a story divided between Pages one and Page six over here, and I've already created a little textbook here, saying continued on page blank. So I'm gonna go get the tight tool and then click at the end of that. You'll see that I've left. A space here is well, and then I'll choose the type menu. Insert special character markers next page number, and it puts the one they're the reason it puts a one. There is because there's no overlap between the two frames right now. But if I drag this down to the bottom and position it so that there is an overlap between the two frames, it changes to number six. If I go to Page six, I've already got a little block of type, is saying continued from Page Blank. So again, I'll get the type tool, and I'll click at the end of the line. And then again, I'll choose type insert special character, Marcus previous page number and again because there's no overlap. It just tells me what page I'm on now. Going to put this up at the top here and again created overlap, and then it changes to page one, so it's keeping track now. The idea of story jumps is, of course, when you buy a magazine near the beginning, there's a story and down at the bottom, it'll say, continued on page 53 or whatever. And between where you are on page 53 are all the ads that paid for the magazine on. What they want you to do is a leaf through them and hope that you suddenly find something and think, Oh, I cannot possibly live without this and buy it, which keeps everybody happy. But in the production workflow, things change all the time, so maybe they get more ads in. They need to add more pages between the beginning of the story in its continuation. And so story jumps keeps track of where those stories are automatically so you don't have to worry about it. I'll show you how this works. I'll go to Page two and then if I click on the options button, I can say insert pages and I'm going to add a why. Don't know. Let's see 197 pages after page, too. Okay? And there they all are. So let's scroll down and find out where the story continues now, and it now continues on page 203. Okay, let's go find out if it updated. Double click on Page one and it says continued on page, 203. So it works, So this means that you don't have to keep track of it. It does it automatically, and that's really the big benefit. The less things you have to keep track of, the less it seabed see details that you've got to take care of, the more you can think about how it looks on the design, and now people are going to react to it. There's no need to get caught up in details like this, so why not let in design take care of it for you? 22. 24 Tables – Basics – 1: making a table in in design is easy enough. So first I'm just going to show you how to convert a chunk of text like this into a table and how to make the table look nice on. Then we'll get onto how you actually saved the table so that you can import stuff again. Because if you don't as soon as you import stuff, everything reverts to basic paragraph and the original appearance of the table. What if your colors will be lost or the cell Phil shading will be lost? Everything is lost. So let's first, we'll just deal with making a nice little table out of a chunk of text like this. So I'm gonna zoom in on this so we can see it a bit more clearly and select it and then I'll choose type. Show his characters. And these are the hidden characters that backwards p means the end of a paragraph. The dot means a space, and this little double arrow that means a tab command, so it's already got time commands to break it up. Now that means that I can turn it into a table because tables look for tab commands to break up columns and paragraph end commands to break up lines. So if I highlight this type and then go to table convert text to table and you see that's the default, A tab command and a paragraph command, I can't choose a table stop because I don't have any yet, so I just leave it on Basic table, OK, and that's basic table. Great, huh? First of all, I'm gonna turn a show in characters off again type, and that's a show. Hide Tuggle, and you can move things around with a type tool. So if I hover over these vertical divisions, I can drag them and you see all the ones to the right move as well. If I just wanted to move one on its own, I would hold down the shift key, and then you can move it individually. Obviously, my table is not deep enough to accommodate all the copy. There's a Red cross here. If I select that with a selection tool, you'll see it a little bit more clearly. The width of the frame, oddly enough, doesn't matter. The depth of the frame does, and this first column isn't quite wide enough, so There we go. Now I'm going to select all of these cells in the top row and go to a table. Merge cells better. Then I'm gonna highlight everything and tell it to be Ariel regular and I'll make it nine point. Except for this top line, that's gonna be the heading. That's going to be 14 point and bold. Okay, I can click and drag and select any combination of rows and cells that I want. So if I decided that these three columns needed to be centered, I could select them all on go up to the center alignment icon in the control bar. And now they're centered. If I want to give all the type a little bit more space above and below the cell contents, I'd highlight everything and then go table cell options text. And in this window here, the cell insets. Now, I don't think I need extra on the left or the right, but I do want Mawr at the top on the bottom, and I've got preview turned on, so I just click on the up arrow there once and the up arrow on the bottom once and okay, now I've got a bit more space 23. 25 Tables – Basics – 2: now, if this was a really big table and it needed to extend over more than one page, what would happen would be that at the end of page one, I would have this Red Cross that indicated over set text. And if I clicked on that toe load, the rest of the table on then clicked and dragged on the next page, there would be the continuation of my table, but they're heading didn't come with it. So there's another alternative. If I highlight the heading on its own on, then go table convert row toe header. Now I cannot include that with any other cells that I highlight its excluded. It's a special thing on what that means is if I click on the Red Cross to continue the table over the page, the head incomes as well, so that's a hetero You can also add foot arose as well, if you want very useful feature. So how do you counter tables? Will you select the item that you want to change and then you change it? I'm going to select the entire table, and of course, I can't select the hetero ignore this guy up on the control Barker's right now. It is not telling me the truth. Instead, I'm going to go a table cell options, strokes and fills, and this version is telling me the truth. This one is now. But it wasn't before because the internal vertical and horizontal lines were gray. Now they're all selected here. They're all blue, and that means that all being formatted by the information beneath, so order them are one point black line. If I decided that I didn't want lines around the outside of my table, I would de select the internal horizontal and vertical rows by clicking on them on them, telling the weight to be zero. And if I click OK and then click away from the table and then press W, you can see that that's exactly what I just did. I'm going to do the same with the hetero, the top, select that sell table, sell options, strokes and fills. There are no internal vertical and horizontal rows in this single cell. All of the external borders is selected, so I'm going to tell them to be zero done. But I can also say, Well, let's have a fill color. I'm going to give it a cell fell off Scion, but full strength will be a bit alarming. So I'm gonna make that a 40% tent, okay? And if I click away from it, that's what I've now got. So far, so good. I'll highlight the rest of the table, go back into table cell options, strokes and fills. And I'm going to tell the internal vertical rows to be three point science are going to de select everything else by clicking on it and turning it gray. It's a bit fiddly sometimes to do that, and this is kind of counterintuitive. It takes a while to get the hang of it. Now I can change that to three and change the color to San on. I'll make that 40% tent as well. Okay, and that's a conform at tables. You can also subdivide cells vertically or horizontally, and you can usually come up with pretty much the table that you want. You can also color alternate rows white, pink, white, pink, which is quite often done with large tables because it makes it easy to find your way around. But if you needed to save this and then update the data. A year later, you're out of luck. Because in order to do that, this table must show up in the links window and it doesn't. So in the next video, I'll show you how to deal with that. 24. 26 Tables – Advanced – 1: So in this video, I'm going to show you how to bring in table data so that you do have it show up in the links window and then how to update it with new data without losing all your formatting. So to begin with, I need to make a preference change, and I'll go in design preferences on all the way down to file handling. And this is the item that, as a default is not checked. But I want to check it now, create links when placing taxed and spreadsheet files. And, of course, my data is a spreadsheet file. It's come from Excel. Okay. The other thing that I'll need to do, I'll do in a second as I bring the data in. So then I do Commander Control DE to place a file, and the 1st 1 that I want to get is this one table text one x l s X. And before he open it, I'm going to turn on show import options. Normally, I don't want that turned on. It really slows me down. But in this case, I do open. These are the import options, and at this point, it's not that important. But when I update the data, I can tell it what table style I wanted to use on. By that time, I'm gonna have a table style. So for now I'm going to leave it on unformed, matted table and just click OK, and there it is, loaded in the cursor and off a click and drag. There's my table that's already somewhat formatted. I have less work to do with that. Then I had to do with the one in the last video. So I'm going to zoom in a bit. And if I get the tight tool, I can pull these vertical divisions around a little. Close up the space somewhat. I'll extended on the right and side to try and get it just around a one line. There we go. And then I'm gonna highlight the whole thing. And as I did before, change that to Ariel nine point on, then the heading is going to be 14 points and bold. And then if I want, I can start to actually format the appearance within the table. So first of all these are gonna be centered. Then I'm going to select the whole thing and of course, I didn't designate the heading as a hetero yet. So, Aiken, snack that as well. Table sell options. Text first of all, and as before, I'll increase the space above and below everything a little bit. And then I'll go to strokes and fills. And I'm going to de select the internal vertical and horizontal until what's left The borders toe have no with Adul. And then I'm going to select the internal vertical rows. You see, you can do this all at the same time. You don't have to close the window after each one, and these internal vertical rows are going to be three points san, but 40% now I'm going to okay that, and then I'll come back and just select the hetero on its own. And give that a fill or 40% scion until the borders to be zero. Okay, 25. 27 Tables – Advanced – 2: so that's pretty much what I ended up with last time. Now I'm gonna start saving this as styles on. The first thing I need to do is save paragraph styles. So if I just click inside this top heading and then go to the paragraph styles window, new paragraph style and it's gonna be cooled. Hedda, apply start a selection is checked at Assisi Library isn't because it's going to slow me down a lot. And all I need to do now is click. OK, I've got a couple of different styles here. This one. I'm going to say that as table right. Okay. And these are also table right, But these our table centered. Okay, so now I've got everything saved as paragraph styles. Now I need to save table cell styles, so go to the window menu and down to type and tables and table and sell styles are in here . So it's quick on cell styles. We don't have any yet. Okay, let's make a few cell styles. So if I highlight these cells and I'll click on the options button and say new cell style and I call that table right, what paragraphs style did I use. I use the paragraph style called Table right. Okay, now there's no apply style to selection check box here. And that means that although I've created this style, it's not yet applied to this text. And as soon as I click on it, a little plus sign will appear at the end of the words, indicating there's something different here. Now if I highlight these cells, they appear to be the pure style. If I just click in this one at the bottom, that's where the plus sign comes from on the reason is there is no black lion underneath. The text on this cell on there is on all the others. I've just gotta hope that it doesn't cause too much of a problem. Now I'm going to highlight these in the middle new cell style table centered and again, there's no check box, but the paragraph star was table centered. Okay, and now quick on it to apply it, and I instantly get the little plus sign for the same reason. Now select these over here, and these are going to be table left. As far as the paragraphs start is concerned, it's the same as table right, But as far as the cell position is concerned, it's not. So these are table left and the paragraphs Donna used was cool table, right? Okay, click on it to apply it. And again I get the little plus sign. And then this is the head of new cell style cooled header, using a paragraph style off header. Okay, and then I'll click on it, and that's it for cell styles. Now I've got to create a table style, and for that I don't want anything selected. 26. 29 Track Changes: being able to track changes is a very useful editorial tool. It's been very useful for me. So if I'm doing some freelance work for a client, I'll put it all together. Then I'll send it back to them for approval. And sometimes they want to make some changes to the text and they send it back to me and I need to be able to see what they've changed on. This is how you can do it in in design. So here we've got a little bit of rubbish text and I've got the type tool selected, and I'm just going to click inside that. And there's the curse of flashing away. Now that means that in design knows what chunk of type I'm talking about. So if I go to window editorial track changes, there's the track changes window. Now, once I've got a cursor in some type, I can click on this button, which means I'm going to track the changes, and that means I'm going to be able to see them. So let's make a couple of changes. Ah, I'm going to delete the word now and then change that lower case I to a capital I And then at the end, I'm going to add a little bit of a question. Now I'm going to go to in it edit and story editor. This is not my favorite window and in design, but the tracking changes it's downright useful. So if I click in the type, say here before the first change occurred, then in the track changes window, I can say Go find the next change and that's the first change. It's found the capital I that I put in to replace the lower case I. So I'm going to accept that. Go to the next one, and that's the deleted now in the lower case, I and I'm going to accept that as well and then go to the next one. I'm going to say no to that change. Now you notice that at the beginning of every line where there is a change, there's this scion highlight, and it first shows me the changes in orange, and then when it finds them, it highlights them in blue. Or if I say no, I don't want this one. It deletes it. And a couple of seconds later, the in design document updates as well, and that's pretty much all there is to it. It's very easy to track changes, whether they're additions or deletions. 27. 30 Type on a Path: No. I'm going to show you how to put type on a path. And it could be any drawn part that could be aligned straight lion, A squiggly lion. It could be an enclosed shape. Anything you want to draw, you can then at type two that outline that stroke. So I'm gonna start within the lips, and I want a perfect circle. So I'm gonna hold down the shift key as I draw it. And then I get the type tool, but not just the type tool. It's the 2nd 1 down on the flout, the type of a path tool. And if I hover over the edge of that shape, you'll see a little plus sign appear. And if I click, there is a cursor insertion point. So I'm gonna type and I'm gonna make that a bit bigger, so selected all and then tell it to be 48 point. And there it is. You'll see that there's a stick of the beginning with two squares hanging off it halfway up . Now, if I hover on the left hand side of the sticks, I get little vertical line with an arrow pointing to the left that is the end of my type block, and if I move this slightly to the right, it changes. Now it's a vertical line with an arrow pointing to the right on. That is the beginning of the type lock. And if I click and drag that repositions it and the type moves accordingly. And if I click and drag this one around wherever I leave it, that's kind of the end of the type. Lock it. If I pull it too far, then of course I get the Red Cross indicating over set text, and I would have to deal with it. So I'm going to drag that back around again. Now, if you imagine the midpoint between these two and then drew a line right to the center of the circle out the other side somewhere here and I'm on it right now but can barely see it . There's a little stick icon. You see that tiny little blue thing, and when I hover over it, there's a tiny horizontal line with an arrow pointing up. Now that means right now that the text is outside the shape, I could drag that and pull it inside the shape and the text will move now. Sometimes it's impossible to see that little line because there's type right over the top of it. What do you do then? Then you go type type of the path options and the flip box here is that little stick? No, if I had type inside a frame, it was too cramped like this looks too cramped now. I could use tracking to spread it out, and I would use a positive number to spread it out. And indeed, that's what happens here. However, if the type is outside the path, it's reverse. If I use a positive number now, it's going to scrunch it up. So if you're aware of that, you won't be fooled. Now there's several different ways that the type will be positioned on the line. This is called Rainbow. We've also got skew three D ribbon, stair step and gravity, which is identical to Rainbow. And you've got different ways aligning it to that stroke. This is a line to the baseline. This is an Ascender. Here's a de sander. This is centered. How about this? I want part of the type to run around this shape, but then I wanted to leave and continue on a drawn line. So I'm going to draw a line. I'll get the pencil tool and or do a line like this that should work at the moment. That's just the line, and I couldn't attach type to it. But if I get the type of a path tool and hover over it again, there's the plus sign in a fake click. I could now add type to that path. Okay, so I'll select this again and there's the end of my type and I'll pull it round two Here. There's the Red Cross. Click on it, hover over the path link icon, click and there's the rest of my type. Looks a bit squish, doesn't it? Well, let's drag this up first to roughly where it's gonna be. And then I could go type type of the path options. No, In this case, I want to give that a positive number to spread it out a bit more, Which it did. How about if I then wanted it toe link into a regular frame? Well, I'm going to need a bit more type to begin with because I don't have enough. So if I get the regular type tool and click of the end of that, and then type is very, very cool indeed. Wasn't room for the whole thing was there, and I've got that red cross against ing over set text. So now I'm going to draw a regular type frame on, then click on the Red Cross and click inside the frame. And there's the rest of my type, and I could drag it up to here. May be rotated a bit, make the angle a little bit more believable. And, of course, I don't really want to see these lions. So if I click on that and go to the swatches window, there's no indication here that that color refers to the text that refers to the line. If I click on none, it's gone. And if I do the same thing on this shape, that's Ghana's well, now press W to go into print preview, and I think that says it pretty well. Type in a power really is very cool. You could do lots of fun stuff with it 28. 31 Workflow Secrets: if you're working on a long document that involves quite a lot of fairly large hires cm like a images, you'll find that it can get frustrating because each image slows in design down just a little. Now there's a point where it runs out of RAM and it starts using space on your hard drive. And at that point in design slows to a crawl. And if you move anything, then the whole screen re drawers very, very slowly indeed. And of course, the closer you get to the deadline, the worst this becomes so. I've seen a room full of designers tearing their hair out. There was some serious danger of heart attack in that room, and I thought, There's got to be a better way and this is it. No, I've already opened up. One of the higher is images that I want to place in Photoshopped. So now I'm going to go over to photo shop, and here it is. Now, if I go up to the image menu and down to image size, you can see this is 300 pixels per inch, so it's high enough for offset printing and there's the measurements. OK, Now I'm going to turn this into a low rez RGB copy. And that's what I'm going to use to build the document in in design. And then finally, I'm going to re link them all to the CME. Wake A versions. So the first thing to do is to create an action that will render this as a 72 d p i RGB copy window actions. And I want a new action because I don't have one here in the default set that's going to do what I want. So a cook in the options button new action, and I'm going to call that 300 c m y que to 72 rgb. Now you notice it doesn't say Save it says record. And as soon as I click on this, it's going to pick up pretty much everything I do. So a click record. Now I'm going to go straight away to the image menu and choose mode. RGB Color RGB is the computer's color environment, and everything's quicker in RGB. No, I'm going to go change the resolution image, image size. Now I want width and height to be linked, but I don't want them to be linked to resolution. If re sample was unchecked, they would be and anything I changed of any of those three. The others will juggle to meet them. So I want that to stay checked. I'm going to highlight 300 type in 72 click. Okay, now, that's what I needed. So now I'm going to stop the action options button, stop recording. And then you close the image and you do not save it. Because if you saved it, you just hammered one of your nice, higher SCM wakey images. So close that and I won't save it. Now I'm going to tell Photoshopped to run that same action on the whole folder with all of my cm like a images in it. So file automate batch. And in this window, it's got the last action he worked with the listed. Usually you can always go search on the list, but that's the one I want. And the source is a folder. No, I have to choose it. And it's this one cm wake a images. So that's good. I'll click choose and there's the path. Now I've got to define a destination. And that too is a folder. So now I'm going to choose that it's in the folder before that called RGB copies. Now that's an empty folder. Right now, you can see there's nothing in there a tool choose. Okay, enamel set up to go. I'm not going to tell it to suppress the color profile warnings because all of these cm wacky images were saved under the same kind of profile on I'm not going to change this stuff at all, which means they're gonna have the same name as the images in the high rez folder on. That's why I can relate to them later, Okay? And it opens them one by one and renders them. You can just see that flickering happening announced finish, rendering all of those into the smaller RGB copies. And it's closed a lot. So I'm done. I can go back to in design and then place them so file place and I'm gonna bring them all in together. I don't want the c m y que images. I want the RGB copies. So I'll bring in the whole lot together open and there's the little number eight on the top image. So if I hold down command and shift. I get this sort of grid and our click and drag and there's nine rectangles right now, so I've only got eight images. So when I let go with a mouse there, they all are unearth ago, object fitting fit, frame to content. I've got a lot. And of course, then I would build my document and some of these I may want to make them bigger, and maybe I want to rotate one or two of them. And maybe I want to run a Grady int feather on some of them. Now, when you've got it ready, when you think that is absolutely perfect, I need to send that to print. Now, you save it, file save as, and I'm just going to call this test and OK, and then you close it and then you delete all the RGB images. Now, I don't normally delete them. I normally put them on a memory stick and get him off the computer in case they need them again later. But for now, I'm just gonna been the whole lot, so I'm gonna grab that entire I G B folder and drag it into the trash and delete it and then returned to in design and go file open recent. And there's the document that I had opened most recently. Oh, it's got eight links broken. What a surprise. Okay, And there they will are with a red circle in the question mark in it, indicating in design has no idea where to get these images. So I'll select this one and then go to the links window. And that's when I just clicked on. Now I'm going to re link it to the high res copy, which is in the CME like a folder. And it's cold number 10. Okay, open and then design thinks for a minute. And then it finds all of the others. So it's found in real ink. Seven missing links. Okay, all of those images are now. Hi, Rosie. Um, like, if I click on this one, it will tell me down below. It's a J peg its CM way k. It's 300 dp I. It's no longer a small RGB copy. And if my work was finished, I could make the pdf and I'm done. And it never slowed me down on that one could save your life 29. 12 Grids 1 – Placing Multiple Images: How about if you want to bring in a whole bunch of images simultaneously, you don't want to just bring in one at a time. You want to bring them all in, maybe park them over off the page on the left or right and side. So they're ready for you when you need them. But you don't have to go through the import process every time. You just do it once. Well, this is how you do it. As usual, You'd start the place process with Commander Control D. And I'm gonna slept all of these images and then click open. And there's a thumbnail. No, if I just went click, click, click, click. I've place each of the images one by one. You see the little number 13 there on that thumbnail that indicates how maney images I've got. If I hold down Commander Control and the shift key, the curse of becomes this sort of grid. Now, if I click and drag, you can see there's a grid of nine rectangles there with a bit of space between them. No, I'm not gonna let go of the mouse. Really? I'm gonna let go with my hand on the keys and then I'm gonna tap on the right arrow. No, I got four columns, so I had 13 images, didn't I? Ok, so if I do another click on the right arrow now go five columns. I could click on the left arrow and turn it back to four. Enough! I click on the up arrow. I've added a new row and I got 16 down. Arrow takes her away so you can see how this works. Now, the other thing I could do with this if I was feeling fairly ambidextrous. If I hold down the command or the control key, and I'm going to start tapping on the right hand arrow and you can see the space between the columns is getting wider on the left hand arrow, the space between the condoms gets narrower. And if I do the up arrow than the space between the rows gets wider on, the downer of the space between the rows gets narrower. So you got some spacing abilities here as well. So as soon as I let go of the mouse, there are my images and you can see that each one of them has got the same size frame around it, so the frames are not size to the individual images. So if I now go object fitting fit framed a content while they're all selected. Bang. There we go on. I could just park them off the page to the right or the left and bring them in any time I want. I'll click away from them now, so they're all de selected. They go. That's how you can bring in multiple images. It sure saves a lot of time. 30. 19 PSD Import: So here's a nice picture taken on the Stratfor Leven Canal, which is a beautiful place to spend a day, and it's appear Steve File is not a J pegs, not it. If it's a PST and PST stands for Photoshopped document. So it's the Native Photoshopped file format, and what makes PSD Files special is that they could be multiple layers on. What makes them special in in design is that you can turn those layers on and off, which means it opens. The door is rather wide on design possibilities on this is how you do it. If I select this image and then go to object object layer options, you can see the layers listed. No sheep is not yet turned on visibly. Okay, let's turn it on and then click OK on. That is Lily. Lady is a so a sheep, and she was one of the residents when I had a farm in Wales. She wasn't 40 feet tools. She didn't hang out in canals the whole time. She's just on a layer added courtesy of photo shop, which I can turn on and off. And look, here's something else. If they go back in and I'm going to turn off the layer called background, leaving soft background. A soft background is opaque in the middle, but it fades to transparency at the edges. That is true transparency. Now if I draw a rectangle and I'll fill that with a color, so let's go to swatches. I feel like on Let's have Scion and I park that on top of the image. But then send it to the back objects. Arrange center back. You can see that That is true transparency. No. If I wasn't able to import a PST file, which will allow me to do this, I would have had to create that entire appearance as one image. A no page a peg, probably. But now, because I can bring in appear Steve file. I've got all these other possibilities available to me, including a transparent fade from completely transparent to opaque PSD files. A really versatile, they can support Pantone colors. They can support multiple layers as many as you want. They could be RGB or see um, way Kay and you're gonna also render them is gray scale 31. 28 Tables – Advanced – 3: I'll just go to table styles and click on the options button. Say New table style and I'll just call this one and it wants to know what sell style are used for. The head arose when I used a cell style called Header and the foot arose. Why? Didn't have any? So that's none on the body. Rose. What are the body rose? They're what's not the left on the right column. In other words, the centered columns in the middle. So body rose. Ah, table centered Left column is table left, right column is table right, and that's it. So now the table style access is all of the cell styles on the cell styles. Access all the paragraph styles. So that should mean I've got all the formatting saved right the way through. Now click OK, and I close this window. And now if I go to the links window, there is my table because I told it to link spread shoot files. But now I want to update it to the new data and the new data is table text to XLs open. And there's my import options window, which means I can now choose my new table style, and that's the key to the whole thing. Okay, And there it is, completely updated with a new text on. I didn't lose any formatting at all on that is how you do it.