The Ultimate InDesign 2020 Essential Training

1. The Ultimate InDesign 2020 Essential Training - Introduction: Look, I'm just going to say it in design is the coolest adobe app, because everything you make in photo shop or illustrator or even Microsoft Word it all comes together in in design. In design is a page layout app, but that means print and a directive. Books, magazines, forms Web pdf e books in design is the most important tool in publishing today. I'm David Blattner and an in design of central training. I'm going to get you up to speed fast so that you can be successful With Adobe in design, we're gonna show you some of our favorite in design tips and tricks like how to speed up your layout by copying text formatting from one place to another, working with photo shop to get great effects in a fraction of the time, making interactive elements like multistate buttons that they said couldn't be done, plus much, much more, and learn a tool that is sure to enhance your career and help you achieve your goals in design and publishing. 2. The Exercise Files & Getting Started: before we jump in and start learning about in designs, features and how to use thumb, let me say a quick word about the files that you'll see me using. Now those files have been broken down into chapters, and if you're following along, it's important to open the correct file for each chapter. Many of these files have the same or similar name but are in fact, significantly different. In order to show off for discuss particular features in the program, open a document, simply double click on it. If you see a dialog box like this that says there are modified links, go ahead and click update modified links. But if the message says the links are missing, then you can click. Don't update links because those files probably aren't necessary for this particular exercise. You may also see a dialog box that says you're missing fonts. As an adobe creative cloud subscriber, you should be able to click the activate button toe automatically download and install the fonts for the document, or you could use the find font feature to replace them with fonts that you already have on your system. Also, I should point out that If you open a file and you see the word converted in the title bar , that just indicates that you've opened the file in a slightly newer version of in design than the one I created it in. It's not a problem, and you can work with a file exactly the same way I do in the movie. Now. One more thing about these files at the end of each movie. After you have moved things or change the file, you should go to the file menu and shoes. Revert. That's what I dio. So you'll see a nice clean file at the beginning of each movie. And the reason I do this is so that you can jump right toe any movie you want and you won't be lost, even if it's in the middle of a chapter. Now there is one exception to this, and that's in Chapter one, where each movie does build on where we left off in the previous movie. On the other hand, if you don't have access to the exercise files, you can still learn by either just watching what I dio or by following along, using your own text and image files My goal in this first chapter is to get you acquainted enough within design that you could create a new in design file or edit one that somebody else has made. This is the basics of the basics. If your boss handed you a file and you need to open it and do something with it before lunch today, start here. Okay, let's dive in. When you first launch in design, you'll see this thing called the Home Page, which gives you quick access to any recently opened documents. You just need to click on any of these to open it, but in this case, we want to create a new file so you could click the create new button here. Or let's head up to the file menu, choose new and then choose document. The new document dialog box has a lot of options, but for right now, the first thing you need to think about is whether this document is going to be primarily for print or screen viewing. In this case, I'll choose print next. You want to choose a page size from this area on the left, or you can simply type in the width and height here. Note that if you work in inches or centimetres, you can choose that from this pop up menu here. Now, does your document have facing pages that is, doesn't have a left hand on the right hand page, like a book or a magazine? If it does not, then turn off the facing pages. Check box down here at the bottom of this dialog box, we see the margins. You may have to open this little twirly triangle to see them. The's just add margin guides there just guidelines. You can ignore them if you want. Now let's click. OK and in design creates a nice new clean document for us now. You could start with an empty in design document like this if you want, but I find it's usually easier to start with a template, something that's partially created, and then you can change the text and graphics as you work. We have a template to work within our exercise files folder, so let's head up to the file menu, choose open and then choose that file. There it is. This is the template we're going to use now. In the next few movies will be filling this out by adding text and graphics. This template comes with the exercise files, but there are a lot of other in designed templates available on the Web, including dozens of free ones at In Design Secrets or Creative pro dot com, these air sites that I run with Anne Marie Concepcion and Mike Rincon. This page, for example, includes dozens of free templates that you can download and use, including ones to create books, brochures, menus and more. Just download them, open them in and design, and you're good to go. In this case, though, let's switch back to in design. Of course, getting your document open is just the first step on the adventure called In Design. Next, we're going to learn how to get text and graphics in there and make it look the way you want. 3. Adding or editing text, moving objects & Exporting: Okay, we have our document open, but we have a problem. It's mostly empty. Empty document. Not good. Let's look at how we can get some text in here now. The main tool in in design from manipulating text is the type tool. That's the one with a little tea on it. Over here in the tool panel, the type tool lets us do two things and in design. It lets you create text frames that is, frames that are going to contain text, and it also lets you edit the text inside those frames. So first, let's take that type tool and draw out a rectangle over here in the middle of the page. When you let go over the mouse button, you'll see that the type tool created a text frame and the text cursor is flashing inside of here so you can start typing. Now. Another way to get texting in design is to place a text file, and you can place a text file or a word file or even an RTF file with fully formatted text inside any text frame. In this case, let's put the text into this frame over here so we'll click inside here with a type tool, Then go to the file menu and shoes place. Let's choose the file we want to import, which is this intro dot doc. Exe file. It's a Microsoft Word file, and then we'll click open that place is all of the formatted text inside the text frame, and that's because the text cursor was flashing in there when we placed it. Now, over here on the right, we have a text frame with some text in it. It says product overview, but it's too small, so I can't read it easily. Let's select it by dragging the type tool over the text. Then we're gonna format it, using the properties panel over here on the right side of the screen. Now, if for some reason you don't see the properties panel on your computer, you can always find it by choosing it here in the window menu. The properties panel changes depending on what you have selected on your page and what tool your using. If you have a frame selected, it lets you style the frame with feel and stroke and that kind of thing. But because we've selected some text, it gives us a bunch of options for formatting that text first, to make this text larger, let's use this text size field. You could pick a size from this pop up menu, but because I know that I want this to be exactly 28 points, we can just type that value in here. Then, when I pressed return or enter the text size changes, I can also set the line spacing what's called letting with this field over here on the right. Let's that facto 30 now let's change the color of the text. You can do that by choosing a fill color from this little pop up menu up here. This lists all the color swatches in this document, including paper. That's what in design calls white. I'll talk about color swatches and how to create new ones in a later chapter. In this case, let's go ahead and choose this brown color down here. Great. Now let's change the font. Here in the front field, you can click this little menu button to see all of your fonts, but in this case, I'm simply going to type M o N t. So, in design guesses, we want this monster up front. Then I'm going to click on the semi bold version down here. That's the one we want. Let's make one more little change. Click this little button down here, the one that looks like three dots. That means show me more options in this section and then down here. Click on the first tee tee icon, and that makes it all caps. That looks great. Okay, just one more little text formatting change here in this frame on the left. First, let's select a little bit of this text simply by dragging over it. Now let's zoom in on it so that we can see it better. I'll choose the zoom tool from the tool panel. That's the one that looks like a little magnifying glass, and I'll just drag to the right over this area. Okay, To make that selected text italic, let's head back to the properties panel and click on the font style menu. You can choose a Talic from this menu, or, if you prefer keyboard shortcuts, you can press command shift I on the Mac or control Shift I on windows. That makes it a talic. Now this document is starting to come together. But you know what would really help adding some pictures? Unfortunately, that's where we're headed. Next. We're starting off where we left off in the last movie, and you can see that we're still zoomed in. So let's zoom back by going to the view menu and choosing fit, page and window. There we go. Now you may be tempted to copy graphics out of some other program and paste them in here, but don't do it. Resist the urge. Instead, it's almost always better to place them, that is, go to the file menu and choose place. But wait. Before we do that, we should choose the selection tool. That's the first black arrow tool at the top of the tool panel and then click out here in the area called the Pace Board. Click where there's no objects just to make sure nothing is selected on your page. And I'll explain why in a minute. Okay, now let's go back to the file menu and choose place when you choose. Place in design gives you a list of all the different files that you can place inside this document. In this case, let's grab this file called HP logos dot ai. That's an adobe illustrator file. And then when you click open in design loads that file up onto what's called the place cursor, this place crusher lets you insert or place to this graphic inside of a frame that you already have, or it'll create a frame for you. But it's very important to pay attention to the place cursor icon right now, if you look closely, you can see that you have a sharp corner crusher like little dotted lines in a corner. And that means if I click, it's going to create a new frame for me. But if I move the cursor over one of these empty frames on the right, you'll see the cursor changes here. The cursor has little curved lines like parentheses, and that means if you click right now, the image is going to go into that empty frame behind the cursor. Let's move the cursor back here into the middle and then click. You can see that in design made of frame and put the image into it. But it's way too big, so let's undo that with a Command Z or controls the on windows and that reloads the place cursor. Instead, let's click and drag this way we can specify exactly how big we want this image to be. OK, now, let's get another graphic. But first notice that this frame, this graphic frame, is still selected. I'll go to the file menu and choose place. This time. Let's choose the making Broke a dot jpeg file When I click open What happened to my logo? Well, you see, the new image actually replaced that other logo because the frame was selected. That's why I made that point earlier about de selecting everything before you place. Now, this is not what I want. I wanted to put that image over here inside this frame. So let's press command or control Z to undo that. And that not only puts that logo back, but it also reloads the image onto the place cursor. Now I can click in this graphic frame over here on the right. The graphic goes into that frame is still too large for the frame, but we'll deal with that later. I should mention something. At this point, thes graphics look good on my screen, but if they're really Jaggi on your screen. You can fix that by opening the view menu, coming down here to display performance and then choosing high quality display. One other important thing I should point out here, and that is that in design is linking to these files on disk. Every time you place an image into in design, it doesn't actually embed the image into your document. It creates a link between the in design document and the high resolution file on disk, and you can see that link by opening the links panel, which you can find up here in the window menu. So now, here on the right side of the screen next to properties, we have the links panel, where we can see all the images that we've placed in this file because that J. Peg images selected on the page. It's also selected here in the links panel. There's so much more to say about pictures and graphics and links, and I'm going to cover all of that in detail in a later chapter. For now, we finally have a document that has text and graphics, but it's definitely far from finished. Next, I'm going to show you how to move these objects around to get just the look you want. We've been putting text and graphics onto this page, and it's kind of a mess, so let's go ahead and clean it up. The main tool that we're going to use to move objects around our page is the selection tool . That's the first tool in the tool panel. The selection tool lets you move objects around your page and even resize or rotate them. First, let's close the links panel by clicking on its little icon over here in the dock. Okay, now, if you slick this object here, this text frame, you can move it simply by dragging it, and you can rotate it by clicking just outside any of the four corners and dragging. In this case, I don't want that frame, so let's delete it by pressing the delete key on the keyboard. Now let's select this logo down here and move it, and you'll notice that as you drag it around, you see all these colored lines flashing on and off these air called smart guides, and they're a great way to make sure that objects are aligned or distributed on your page properly. So Let's drag this over until we see this pink vertical line. Then when I let go of the cursor, I know that this object is centered on the page. Now let's move this photograph over here. If I drag this frame over near the edge, you'll see the whole frame moves. Let's undo that with a commander Control Z. Instead, let's try dragging this little icon in the middle, the one that looks kind of like a doughnut that's called the content grabber. And the content grabber actually lets you move a picture inside the frame. Now, this is actually a very important thing for you to understand about In design. Images and frames are two separate things. Now I move the image inside the frame, but we currently still have the frame selected. On the other hand, if you double click anywhere inside this frame, it selects the image inside the frame. You'll notice that the highlight changed, and also the cursor changes toe a hand. And again, this means we're moving the image around, not the frame. Now let's double quick again so that the frame is selected the frame that contains the image. Of course, the selection tool also lets you change the size of frames. So I'll come over here and select this logo again, and then I'll move it down here and change the size of the frame by dragging one of the side or corner handles. Now the logo is far too large for the frame, so we're going to use the frame fitting buttons over here at the bottom of the properties panel. This first button is Phil Frame proportionally, and that almost works, but some of the logo is cropped out. The second button is fit, content proportionally, and that's perfect. Now the logo fits inside the frame. Of course, you can see that some of the text is behind that logo, and that's not so good. I want the text to run around the logo. To do that, we want to make sure the frame is selected, the graphic frame, not the text frame, and then we're going to go to the window menu and choose text rap. This panel has lots of options before. Right now, I'm just going to click on this second button at the top of the panel that forces the text to wrap around the rectangular graphic frame. Then I'll closes panel by clicking on the little X appear at the top. Now, if we move this logo, you'll see that the text wrap updates. Okay, this is finally really coming together. So the next important thing to know is how to print this document or exported as a PdF and in design document by itself is fun to look at, but ultimately you're gonna wanna print it or export it out as a Pdf so that other people can view it or print it. But before we print or export this file, let's see how it's going to look by jumping into preview mode. You can do that by pressing the W key on your keyboard is long as you don't have the text cursor inside a text frame, of course, and this is great because preview mode hides all the non printing objects that guides. Also, any objects that are hanging off the side of the page onto the paste board get clipped at the page edge. So this is what the final page is going to look like when you print it or export it to pdf . Now you can actually select objects and work on your document while you're in preview mode . But then, when you're done previewing, just press w again and you're back into the normal screen mode. Okay, now everybody knows that to print, you simply go to the file menu and choose print. But this dialog box looks different than the print dialog box. In most other programs. Now, most of it is pretty self explanatory. You choose the number of copies you want, the page range and so on, but notice that we have a list of different pains on the left side. Here, I'm going to choose the set up pain. And here's how you choose the right paper size for the printer that you're printing, too. And, of course, the orientation or the scaling. Now there are some features that you won't be able to find inside the print dialog box. For example, if you have a double sided printer duplex printer, you won't be able to find those printer specific features here. Instead, you need to go to the printer driver dialogue box, and you get there by clicking the printer button down here at the bottom. In design gives you a little warning but you can just click OK again. This is the printer driver dialog box, which will obviously look really different on Windows, but it works pretty much the same way. For example, you could turn on two sided here. Then, when you're done, simply click print and in design returns you back to its own dialogue box. Now, in this case, let's just cancel, because I don't really wanna print right now. Instead, I want to make a PdF in design lets you export pdf's directly right out of the program. To do that, you go back to the file menu and choose export. Then you can name it ensures a format. You'll notice that there are two different pdf to choose from. If your document contains buttons and movies and other interactive objects, then you'll choose interactive. But in most cases you're going to choose adobe PdF for print, then click save and up comes the Export pdf dialog box here. The first thing you should probably do is choose one of the adobe pdf presets. If you're sending this to a commercial printer, for example, you'd probably want to choose one of the pdf Exe presets. You really want to check with your printer or whoever you're sending the Pdf to to find out what they want. In a later chapter, I go into more detail about the options in this dialog box. But for right now, let's just make one change. I'm going to turn on the view. Pdf after exporting check box because we want to see how it looks when it's done. Now let's click the export button in design exports that pdf and it opens it in Acrobat. There we go. This looks great. So that's it for our first lesson. I hope you've enjoyed this very fast overview by now you know the basics enough to at least make a simple document. Maybe get yourself into a little trouble. But now that we've scratched the surface, it's time to really go ahead and learn in design. Now that you know your way around in design a little bit, it's time to make a new in design document. This here is called the Home Page, and you can make a new in design document by clicking this little create new button over on the left or head up to the file menu. Choose the new sub menu and then choose document. Now, if your new document dialog box looks really different from this one, you're probably using the old legacy style. You can change it back to this newer version by opening in designs, preferences dialog box and turning off the setting called Use Legacy New Document Dialog. Now the very first thing you need to decide on is what kind of preset to use when creating your new document in the old Legacy Dialog box. This is called the Intent, but here you choose either print, web or mobile in these buttons across the top. Now Web is a little bit of a misnomer. It does not mean Web like a Web page or HTML page. It just means a document that is going to be delivered on screen like an interactive file. They really should change that name. Now. Two things happen when you choose this Web preset first, of course, it shows you page sizes that are typical screen dimensions and measurements are set to pixels. Also, you should know that all your colors in the document are set toe RGB Mobile is really not that different from web, so I usually just ignore it and print well, just to be clear, print does not mean that you're necessarily going to be printing this document. For example, maybe you're making a pdf that you're putting up on your website for somebody to read, and then maybe they'll print it out like a product sheep for some business, you could still use print for that. Now, you can see down here that Adobe is offering you a number of templates from their Adobe stock service here. Some of these are pretty good, and some are, well, not the best quality. But I'm just going to start with creating a new file from scratch by clicking the view all presets button here and then choosing one of these page presets like, if you know you're going to be printing on a four paper, you know the final size will be a four. Then go ahead and choose that here. Or, if you want an American 18 half by 11 page click letter up here Now, these presets are just starting points. You can always adjust the settings over here like the width and the height of the page. You can just type accustom height and a width into these fields here, if you want, and you can change what measurement system you want over here, for example, I'll choose centimeters next. You can also click thes orientation buttons over here on the right. All these do is literally swapped the values in the width and the height fields. Next, you need to decide over here whether this document will be set up for facing pages now facing pages. Should Onley be used for documents that have a left hand and a right hand page of verso and recto, like a book or a magazine? If you're doing a one page flyer or maybe a two sided brochure or something, then you'll want to turn that off. Anything that does not truly have facing pages, turn it off. This next check box down here, primary text frame is used for things like books where you have a story that goes from one page to the next. Over a lot of pages, this primary text frame feature will automatically add a text frame to your master pages. I'm gonna be covering this in a later chapter, but for now I'm just going to tell you that unless you're making a book, you should probably leave that off. Down here we have columns. Most documents just have one column, but if you know that you're going to have two or more columns in your document, go ahead and change it here, for example. I'll set that to to the gutter amount is the amount of space between each column of your document, for example, I'll change this to two centimeters. Now, I should point out there are two other important settings in here, but a lot of people don't see them because they're hidden. You need to click on these little triangles like this one next to margins. And when you do that, you can see that this whole thing scrolls see like this. Make sure you check out all the options down here, so margins are just guidelines. There's nothing stopping you from putting objects outside the margins, but margins are helpful reminders of where you should put your text frames and your graphic frames and so on. And see this little button over here that looks like a chain that tells in designed to keep the values in all of these fields, the same if I click it, it unlinked those fields. So now if I changed just one of them, let's say the top to say four centimeters and then I hit Tab. You'll see that it changes independently of the other fields. I'm gonna talk about this last feature bleeding slug in a later chapter so great, I'm gonna go ahead and click. Create, and I'm good to go. There's the document. You can see the column guides and the margin guides, but after you create your document, you might realize that you need to make changes. Don't panic in a later chapter. I'll show you how you can change all of those settings. Making a new document with the proper settings is the first step in creating a strong foundation for your publication, but it's just the first step. Adding guides to your documents is really helpful because it maintains consistency, and it helps you lay out pages fast. Now the basic way to add a guide to a page is simply by dragging it out of the ruler. For example, I have my brochure document open from the Exercise Files folder, and I'm going to go up to this horizontal ruler at the top of my page and simply drag out a guide. If I let go of the mouse button. When I'm over the page, I get a page guide. Now this is a three page spread, so we just get that tiny little guide across one page now if I drag out another guide, but this time I let go of the mouse button when the cursor is over, the pace bored out here. Now I get a spread guide. Some people call this a paste board guide. This goes all the way across the pace board, including all the pages of the spread. Once I have a guide on my page, I can move it simply by clicking on it with the selection tool that's the black Aero tool in the tool panel and then dragging it around. If I know exactly where I want this guy to be, I can set the measurement over here in the properties panel, for example, all set this wife field 2.8 i m. That means inches. Note that Aiken type any measurement system I want in here, and then when I press return or enter the measurement updates two points, and the guide moves to just where I want it. Now. I'm going to select this text frame and drag it up until it snaps against that guide. That's what guides do. They snap objects to them. I'll move this frame over as well, and I'll move this image down here. In this case, the image is going to snap into place not just because there are column guides there, but also because of what's called smart guides. It sees that other image to the left, and it automatically aligns to it. That's what those green lines mean. As you can see, guides are all kind of magnetic, and that's usually very helpful. But sometimes you want to get close to a guide, but not snap to it. Unfortunately, you can turn off that snapping behavior. To do that, go to the View menu, come down to grids and guides and then turn off snap. Two guides in this case also turn off smart guides. Now, when I drag this image around, you'll see that I can get very close to guides without necessarily snapping to them. But snapped the guides is my friend, so I'm gonna go turn both of those back on snapped a guides and also ill turn on smart guides. There we go. I like having those things aligned perfectly. You know, I should mention something important about these rulers. See how these air all set to points and there's 72 points per inch. But what if you want to work in millimeters or inches? Well, no problem. The trick is to change your document preferences by going to the Preferences dialog box, and I can get there on the Mac by going to the in design menu up here and choosing from the Preferences sub menu on Windows. You'd find the preferences sub menu inside the edit menu, but in either case, I'm simply going to jump right to units and increments. Inside the units and increments tab, you'll see an area called Ruler Units. I'm going to change both the horizontal and the vertical units two centimeters. Now, when I click OK, you'll see that both the rulers and all of my measurement fields update. If you get tired of doing that for all your documents, here's a little tip. If you change your preference while no documents air open, it'll change it for all new documents that you make 4. Basic formatting, workspace & Importing graphics: There are probably a few people who use in design for pictures only, but most of us need to put text on our pages well. You cannot have text without a text frame, and the simplest way to make a text frame is to use the type tool. I'm going to scroll over to the left a little bit by holding down option space bar or all space bar on windows and then dragging. Now I want to add some text frames over here on the left over on the pace board. But I don't like that grey. So I'm going to go to the view menu and I'm going to turn off the match paste board to theme color feature. I just find this white paste board background easier to work with. Now. I choose the type tool from the tool panel and then simply click and drag notice that as I'm dragging, I get the measurements of that frame in a little field to the right of my cursor. That helps me create justice size I want when I let go of the mouse button, that text cursor is flashing inside the text frame, ready for me to start typing, by the way, some people call these text boxes, but the proper word is frame. Now there are several other tools for making frames as well. Down here in the tool panel, you'll see the rectangular frame tool, and if I click on that and hold for a moment, I'll see. Underneath that tool, there's a rectangle frame tool, the ellipse frame tool and the polygon frame tool. Now these technically make graphic frames. That is, if I choose this rectangle frame tool and click and drag out an area, I'll see a big accident, and that means it's supposed to have a graphic inside of it. But you know what? In design doesn't care. You can easily change one kind of frame into another simply by grabbing that type tool and then clicking on top of it. Now, before I click, notice what happens to the cursor as I move on top of the frame out here, where there's no frame it all, I get a kind of cursor that says, Well, I could make you a frame if you want, but as soon as I move the cursor on top of this frame, now I get a different cursor kind of a dotted circle. And that dotted line means that when I click, it's going to turn this frame this empty frame into a text frame. So it's always a good idea. Toe watch that little cursor because it's going to tell you what's gonna happen next. Now. When I clicked, it changed it into a text frame, and then, once again, I could just start typing. Now there's another set of tools down here that are technically for drying. Unassigned frames once again, a rectangle, ellipse and polygon. These are for drawing shapes. They're not really designed toe have text or graphics inside of them, but just like with graphic frames, if I make one, like all, use the Ellipse tool to draw out oval. Now I congrats my type tool. Click on top of it. Click once and now I'm typing inside of this ellipse. I'm going to clean up my pace board here a little bit by switching back to my selection tool that black arrow with the top and then all drag over all three of these objects and hit the delete key to delete thumb. Now there's one more way that you can make a text frame and in design, and that is Teoh import a Tech story like a word file or RTF file. That's what in design calls a bunch of text, by the way, a story. You know, this is a story. This is a story over here. Anyway. I'm going to import my new story onto the previous spread, so I'll go up to my layout menu and I'll choose previous spread. Now I'll go to the file menu and choose place. I'm going to go into much more detail about placing files in a later chapter, but for right now, all I'm going to do is select this file here from Microsoft Word and Click Open. You'll see that it changes my cursor into a place cursor with the story attached to it. Now, at this point, I have several options. I could just click and in design will make a frame for me and load the story into it. Or let me undo that Press Command Z or control Z on windows that reloads the place cursor, and this time I'm going to click and drag out of frame. When I do that, I can control exactly how large the text room should be. As soon as I let go of the mouse button in design places the story into the frame. Finally, if you already have a text frame like this one back here on the page, you can place a story into it once more. I'll undo with a command, see or control Z on windows. And now I'm going to move the cursor over this frame and notice how the curse is changing. Over here, you have one kind of cursor. But on top of this blank frame, this empty frame, I get a different kind of cursor. Now I simply click. Okay, so now that you know how to get a text frame and put some text into it, let's take the next step editing and then formatting the text inside the frame. I know people who have put away Microsoft Word and they use in design as their word processor. Really, that does seem a bit extreme to me. I mean, if you need an alternate word processor that works well within design, you should probably be using adobes in copy software. But that said in design does let you type and edit text pretty efficiently. Let me show you how I want to select some text over here in the middle of this page. So I'm going to select the frame, and then I'm going to zoom in to 200% by pressing command to on Mac or control two on Windows. And I'd like to place my text cursor inside this story. But instead of going all the way over to the tool panel to select the type tool, I'm going to use a shortcut. I'm just going to double click with a selection tool that tells in design to switch to the type tool and place the cursor exactly where I double clicked. It's so helpful to be able to do that quickly. If you want to select the frame again, all you have to do is press the escape key on the keyboard that switches back to the selection tool. All right, I'm going to double click again here to place my cursor inside this paragraph. So I'm inside the text frame and the cursor is flashing and everyone knows that you can click and drag over some text to select it right, and you probably know that you can double click on award to select it button in design. You also have triple clicks and quadruple clicks. A triple click selects the entire line, not the sentence, but just that one line from the left margin to the right, a quadruple click selects the entire paragraph. You have to be a little bit coordinated. To do that. You go 1234 There we go, the whole paragraph. There are also some keyboard shortcuts that you should try to memorize when working with text. First Command A or control A on Windows that select all the text of the story. Now the opposite is command Shift A or control shift A that D selects everything. It even D selects the frame. That's a good one to remember whenever you need to de select everything on your page. Okay, here's a couple other shortcuts that you should know. I'm going to click back inside the middle of that tech story there, and then a press the home button on my keyboard to jump to the beginning of the line, and then the end button will jump to the end of the line. But what I use most often is adding the command or control key. So, for example, command home or control home on Windows jumps to the beginning of the story, not just the line of the paragraph, but the whole story. The opposite, of course, is commander control End that takes you to the end of the story. Plus, if you add the shift key to any of those, shortcuts in design, will select instead of just move the cursor. For example, if I click here in the middle of this paragraph and I press command shift home or control shift home on Windows than in design selects from that position all the way to the beginning of the story, that shift key trick is really handy when you're trying to select text to format it. Editing text right on the document page is acceptable, but it's not always very efficient. In a later chapter, we're going to learn about the story editor feature, which can make editing text much simpler and still takes advantage of all of these shortcuts. Before we go any further, I want to make a couple of important changes that will really help when it comes to editing my in design documents. First, I'm going to come up here to the window menu, come down to the workspace sub menu and then choose advanced. I know that sounds scary, but you don't need to be an advanced user in order to use the advanced workspace. It just means you want to see these extra panels over here in the dock along the right side of the window. So, yes, I know you're just learning the essentials right now, but believe me, you're going to want all of these great features and in design, and in this course I'm going to be working in this advanced workspace. So I highly recommend that you do too. This workspace gives me all the formatting features I need right here at the top of the screen in what's called the control panel. You'll notice that in this workspace I cannot see the properties panel on the right side of the screen. Now, if you like using that panel and you're working on a large screen, you can go ahead and open it again by choosing it here inside the window menu. But I'm gonna leave it off for now because I prefer using the control panel. Now the control panel changes depending on what you have selected on the page and what tool your using. So, for example, if I select this text frame with the selection tool, I can control its with and its height, and it's scaling and so on. But if I choose the type tool and then select some text inside the text frame, now the control panel changes. It's showing me text formatting features. Now, technically, the control panel has two different modes. There's a character formatting mode and the paragraph formatting mode, and you can switch between them by clicking on this little A in the upper left corner or this little paragraph character. I'll be talking all about paragraph formatting in a later chapter, but this is where you'd set in dense and drop caps and stuff like that. Okay, let's make another change. In the next movie, I'll be talking about letting some people call letting line spacing because it controls the amount of space from one baseline to the previous baseline. You know, a baseline is the invisible line that each character on a word is sitting on, and in general, you almost always want the same, leading throughout the whole paragraph. Otherwise, the spacing would look uneven and kind of odd. But here's the thing in designs. Default settings make it really easy toe have inconsistent letting. Fortunately, you can change in design to work the way you'd expect toe apply leading to the entire paragraph evenly. Let me show you how I'm going to go to the Preferences Dialog box. I'll get there by going to the in design menu on the Mac or the Edit menu on Windows and then inside the Preferences sub menu. I'm going to jump right to the type preferences. Now there's a check box in here called Apply letting Toe Entire paragraphs, and I'm going to turn that on. That's it Easy. I have no idea why Adobe doesn't ship in design with that turned on. Unfortunately, this change on Lee applies to this one document, the one that's currently open. But if you change the preference while no documents air open, then it will apply to all new documents that you create. Actually, while I'm here inside this dialog box, I want to make one more change. I'll quick display performance and then all set the Greek type of low field to two points that way in design won't gray out small text on the page. It's just one of the in design settings that I always change in orderto work efficiently. All right, now I can click, OK, and we're good to go. We've seen how you can use the type tool to get text into in design and edit it. Now I want to talk about text formatting. I have the magazine file open from Exercise Files folder and I'm going to double click this frame over here on the right to place my text cursor inside the paragraph. Then all zoom in and center that at 400% by President Command for on the Mac or control for on Windows. Now I'll go ahead and select a little bit of this text. Now I want to make sure the control panel is set to character formatting. So over here on the left side of the control panel, a press this little a button. Now the first field in the control panel is the font menu. I can click on this pop up menu and choose any font I want you'll see that as soon as I hover over a font, it previews the font on the page. I can also click this little twirly triangle to the left of the font to see the font styles inside this family. Then, when I find when I like, I can simply click on it now, the first thing I noticed is that the font did change. But I'm also noticing that it's all highlighted. For example, I'll click over here and you can see that not only is the font changed, but I have this light blue color highlighting the whole thing. That highlight is a warning it won't print that way in design is just alerting me to the fact that I'm adding formatting over and above what's called the paragraph style. I'll be talking about paragraph styles in a later chapter, so Adobe is trying to be helpful here, but in this case, it's just confusing. So I'm going to show you how to turn off that crazy highlighting. If you see it over here in the dock on the right side of the screen, I want to click on paragraph styles. Now see this little button with an a in a plus sign. Just click that That turns off the alert and we can see our text normally. Okay, now I can close this panel by clicking on its name and said The doc and get on with formatting the text. I'll just select that text again, and now I'm going to choose a different font. But this time, instead of clicking on one, I'm going to come up here and click inside this field and start typing. For example, I'll just type G e o and in design filters out all my fonts down to a list of just the ones that have those letters in them. So it guesses that I want Georgia bold when I find that when I want, I can simply click on it in the list and in design applies it. Actually, I want to point out another trick. Here in the font menu, that is, you can click this little filter button toe, filter your front menu by classification or font properties. Or I could click on this little wavy line button over here in the right column, and that means find me all the fonts that are similar to the one that I chose. I can even click the fine more button here, and it shows me all the fonts that come with my creative cloud subscription, and I can activate them or deactivate them by clicking this little cloud icon. I'm not going to do that right now, but feel free to experiment with this. The next pop up menu in the control panel right underneath the font is the style. I already chose a talent when I chose the typeface, but if I wanted to choose a different front from the family, it would be easy to change it here. I should point out that an in design, there's often many ways to do the same thing, so you can also change the font by going to the type menu up here. Here's the same front menu, but in this case to change the style, I would look inside these little sub menus. By the way, if I look up here at the top of my menu, I see some other funds, those air fonts that I've used recently. They're up here at the top of the list so that I can get to them quickly now, in this case, I don't want to change the font again. What I want to do is change the size of this fund. That's the third item over here in the control panel. I could choose something from the pop up menu here if I wanted to, or I could simply type of value inside this field. Let's say 12 points. Then I hit, return or enter. Now I'll edit this fourth field. That's the leading field. I'm going to change it to, say 24 points. You'll see that the line spacing changes not just for the lines that contain the text that I had selected, but the whole paragraph. And that's because of the change in preferences that I made earlier on in this chapter. Now you can tell there are Ah, whole bunch of other features inside the control panel here, but I'm just going to do one more thing to the text. For now. Let's change the color. I can do that in the control panel to there are two widgets here in the middle, the ones that have a T in them. The top one is the fill color, and the bottom one is a stroke color. In this case, I'm going to change the fill to this purple color. Now I chose purple, but down here it looks green, and that's because the text is selected. But when I click over here to de select the text, you can see that I get the color that I wanted. Now, of course, font size, color, thes air, all just the beginning. When it comes to formatting text in a later chapter, we're gonna dive far deeper. When we explore more advanced character and paragraph styling, it's time to turn our attention to pictures, you know, graphics, images, whatever you want to call them. I have my magazine file open from the Exercise Files folder, and I want to jump to the last spread of the document, and I'll do that by clicking this little button in the lower left corner of the document window. That's the last spread button. Okay, now, the basic method for importing an image is to use the place command, which you confined underneath the file menu. Or you could press command D on the Mac or control D on windows when you choose. Place in design shows you a list of all the images or files that I could place. Right now, I'm going to look inside my Exercise Files folder and then inside the links folder. I'll scroll down until I find the image that I want. It's this Bellflower icon, and when I click open, you'll see that in design loads that image up into the place cursor. Now it's very important to pay attention to the place cursor. Before you click this place, Cursor tells me information about what's going to happen right now. I see that little twirly icon, and that shows me that this is an acrobat file or an illustrator file. They look the same. The edge of the place cursor is to dotted straight lines. And that indicates that if I click right now in design is going to create a new frame like that, or I'll undo that by President Command Z or Control Z to reload the place kosher. Now, if I move this place cursor over here on top of this blank frame, those lines change. This indicates that is going to place the image into a frame. In this case, I don't want it inside that frame, so instead I'm going to click and drag that way in design will make a new frame on top of the empty one, and it puts the image into it, so that looks really good. But on your computer, it might look Jaggi or rough. That's because you may not be in the high quality display mode. For example, I'll go to the View menu, go down to display performance and then choose typical display. Now I'll zoom into 200% by pressing command to or control two on Windows. Now you can see how bad that image looks, So if your image looks like that, you can fix it by going back to that same menu view display performance and then choosing high quality display there, that's much better. The typical display is good because it's fast, but I try and work in high quality mode when I can. I guess I should add that the high quality display on Lee works when your images are up to date in the links panel, modified or missing images will stay low. Rez. I'm gonna be talking about the links panel in a later chapter. For now, let's bring in one more image I'm gonna go to the view menu and choose fit, spread and window. Then I'll go back to the file menu and choose place. This time I'm going to choose this dahlias image. Now I want to point out something you always want to check. If this replaced selected item check boxes turned on. If you can't see these checked boxes, click the options button at the bottom of the dialogue box. Replace Selected Item tells in design whether or not you want this image to go into any frame that you currently have selected on your page. In this case, you can see that I do currently have a frame selected. So because this check boxes on my image will go into that same frame, not where I want to put it. So I'm going to turn off this check box. Then I click open and instead of going into the frame in design, loads the image onto my place cursor. I'm gonna go ahead and click on this empty frame here to place the image into it. Know that I'm not talking about how to copy and paste images from one application to another while you technically can copy and paste some vector artwork between in design and Illustrator. I strongly urge you not to copy images from Photoshopped or any other program other than illustrator. There are a number of technical reasons for this, and I discuss them all in detail in my title called In Design, Working with Photo shop and Illustrator Here in the online training library, however you choose to import your images in design tries to be as flexible as possible. And this is especially true when it comes to what file formats you can use in design supports all the regulars tiff, JPEG, PdF and so on, but it also supports native PSD files. That's Photoshopped files and most native illustrator files. I almost always used these kinds of Native files or pdf files when importing graphics into in design. Once you have a new document open or you're editing and already existing document, you should save it to disk, for example, also like this frame here and drag it into position. Now I've made a change to this document, and I can tell that I've changed the document because there's a little asterisk in the document tab right next to the document name. That asterisk means that this document has changed since the last time that I saved it. So let's go ahead and save the file. I'll go up to the file menu, and we concede that there are not one but three different options for saving this file. Save, save as and save a copy. So let me talk for a moment about what the differences are between the three save is pretty obvious. That's the same as any other software. It simply saves over the current document save. As is slightly different. It lets you rename the document to something else. If I choose that, you can see that in design lets me specify where I want the document to be saved, for example, are put it on my desktop and it lets me rename it. I'll put a B after the end. Finally, it gives you an option of what format. To save it in. You can choose an in design document template or this mysterious thing called in design CS four or later, otherwise known as idea Mel. You might use this last one idea Mel, if you want someone with an old copy of In design to be able to open your document, especially if they're using something like in design. CS six. But remember, using idea Mel to save backward to an earlier version is not seamless. Some things can get lost. For example, let's say your document contains more than one page size. That's something I'll explain how to do in a later chapter. Well, those different page sizes are completely lost. If you open an idea mouth file and say in design CS four because that old version doesn't know about multiple page sizes, it just doesn't have that feature, so all of your pages would end up being the same size. Nevertheless, in many situations idea, Mel works just fine, especially when you're working with simple documents, and you can't convince everyone you work with to upgrade. Okay, back up here and in designed document is just a regular in design file. Nothing special about it. You open it, you change it, you save it, and so on. A template, however, is a little bit different when you save an in design file as a template, you're telling in design that you're not expecting to make any changes to this document, in the future. That is, when you open the document, it'll open as untitled because you're using it as a base for future documents to work from . In this case, I'm going to save this as a regular in design document. You'll notice that the document tab now reflects the new name with an underscore. Be the third option in the file menu is save a copy and save a copy is kind of interesting . It means save the current state of this document out to my hard drive. But let me continue working on the document that I have open. For example. I'm working on version B of the file, right. That's just the one that I did a save as on. But now I could start making other changes. I could make all kinds of changes to this document. I'm simply dragging these frames around using the selection tool. Now I'll head back to the file menu and choose save a copy. I'm going to say this out as version see, But if you look up here in the document tab, you can see I'm still currently working on version. Be So this is what I call setting up a base camp. It's kind of like when you're climbing a mountain, you set base camps every so often that you could always return Teoh. That's what save a copy is about. I could make all kinds of additional changes to this document. But if I want Teoh, I could always go back to that version. See that I've saved off. That's one of my favorite things about in design. This ability to experiment and never feel like anything of done is set in stone. Now one more way that you can feel confident in making changes and experimenting on your pages is that there's an unlimited number of undoes. So if I start making all kinds of other changes, I'm really just gonna mess this up. But it's OK because I know that I can always undo what I've done by pressing Command Z or control Z on windows, and you can do it over and over. You can also redux by pressing command shift Z or control shift Z on windows. You can also get those from the edit menu, of course, undo and redo. Now, sometimes you really mess up a document. Maybe you're working for 1/2 an hour changing things, moving things all over the place and you realize you don't wanna undo ah, 100 times in a row. In those cases, you might consider using something else from the file menu up here, I can choose Revert, Revert means go all the way back to where the document was when you last saved it. In this case, it was all the way back to when I did the save, as when you choose referred in design confirms. Are you sure you want to do this? Because all of your changes air going to get lost if you click. OK, it actually closes this document and reopens the original one from disk look. Mistakes happen there inevitable. So teach yourself to save save, often save base camps, saved backups and then use undo and revert judiciously. When you need Teoh, you can use in design to make anything from a one sided business card to a book thousands of pages long. But as soon as you go beyond that one page business card, you're going to need to learn how to manage your pages, adding them, moving them around, deleting them, and so on and that's what we're going to cover here now, all of in designs. Page features show up in two places the pages sub menu underneath the layout menu or the pages panel over here on the right side of my screen. But the pages panel has all of the features from the menu, plus a lot more so we'll focus on that Now. This pages panel shows me little thumbnails of each page in my document, and if I want to go directly to the second spread, will simply scroll down a little bit and then double click on the numbers beneath the spread that takes me right to the spread, and it centers it in the window. But I hate having to scroll around inside this panel, so I'm going to make this pages panel a little bit larger by clicking and dragging in the lower left corner of the panel. And this layer in the panel where each spread is on top of the other is just not a very good use of screen real estate. Instead, I'm going to open the pages panel menu up here in the upper right corner. I'm gonna come down to view pages, and I'm going to change this to HORIZONTALLY. I think this is a much better layout, but you can do it either way. You want vertically or horizontally. Let's go ahead and make this a little bit smaller. Okay, so now if I want to go right to Page 28 I just double click on it. So the pages panel is a great way to move from page to page or spread to spread. Now I'm gonna add a new page by clicking the new page button down here. A. The bottom of the panel when I click that in Design adds a new page after whatever page is selected in the pages panel. I had double clicked on Page 28 right? So when I clicked the button, it added the new page after Page 28. Then all of the other pages shuffled, so they stay in two page spreads, and that's because this is a facing pages document. If I want to add more than one page at a time, I can come up here to the pages panel menu and choose insert pages. This lets me choose how many pages I want. Let's say two pages, and it lets me choose where I want to put thumb, for example. It could be after this page before this page or the start or end of the document. I'm gonna put these two blank pages at the end of the document. Another way to get a new page and in design is to duplicate one of the pages that you already have. I find this very useful when I'm laying out pages quickly because I often already have a page that looks approximately like what I want. And in this case, I want a duplicate of this spread up here pages 24 25. So I'm going to select both of those pages by clicking once on the numbers underneath the spread, and then I'll hold down the option or the altar key on the keyboard and drag these numbers until I see a little vertical line appear. When I see that line, it means put it here. After this spread, when I let go in design makes a duplicate of the spread right where I wanted it. Now, of course, the pages panel acts kind of like a slide tray. If you have a bunch of images or slides in a tray, you can move them around anywhere you want, right? So, for example, if I want this new spread someplace else, all I need to do is click and drag it. I'm gonna drag it down. In between the spreads, there's my duplicate. And once again, as soon as in design puts it into place, all the pages re flow to keep the documents as facing pages. Finally, sometimes you need to delete pages, and you can do that in the pages panel to I'll just select this page over here, this blank one. I select it by clicking once on it. Then I'm going to select these other blank pages that I added. So I'm going to hold down the command key on the Mac or control key on Windows and click on them. That lets me select pages that are not next to each other. Or if you hold on the shift key, you can actually select continuous pages, you know, like a range of pages. Now to delete them, all I have to do is click on that little trash can in the lower right corner in design, thinks those pages have something on them. So it warns May. And I'm gonna go ahead and click. OK, The more pages you have in your document, the more important it is to manage them. Well, so the better. You know that pages panel, the more efficient you'll be. 5. Changing page size, layout & text frame attributes: a master page is kind of like a template for your pages. Anything that you put on a master page will show up on your document pages. And that's why you should use master pages for things like page numbers, headers or a logo that you want on all or most of your pages. Every document has at least one master page, and you can find that in the pages panel. I'll open it up here in the dock and you can see it up here the top. It's called a master to see that master page. I simply double click on it now because this is a facing pages document that is, it has a left and a right hand page. I can see that the master page also has a left and a right hand page. So anything on the left side of the master page will show up on Lee on left handed pages of my document. If this were a single sided document like a non facing pages document, then I would see only one page here, and anything I put on that page would show up on all of my document pages. Here. We're working with a book, and books often have running headers and page numbers. I'm going to talk about how to add page numbers that update automatically a little later on in this chapter. But for right now I'm going to add some running headers, or I guess I should say footers down at the bottom of my page. I already have one down here that I've added with a section name variable in it. This variable will automatically pick up the name of the section and put it down here in the footer. These kinds of variables are really great, but they're kind of an advanced topic, So I discuss how you could make them in my title in design beyond the essentials here in the online training library. In this case, I'm going to add a footer on the left hand pages. To do that, I'll grab the type tool and then simply drag out a frame over here. When I let go of the mouse button, that text cursor starts flashing inside that text frame. So all type in the name of this book, and I happen to have it on my clipboard, so I'll just paste it very convenient. Let's zoom in by pressing command two or controlled to on Windows. Now I'm going to apply some formatting to it, and I have some formatting saved in a paragraph style. I talk about paragraph styles in a later chapter, but for now, just follow along and you'll get it. I'm going to come up to control panel will make sure that I'm in paragraph formatting mode , which I am. And then over here on the right side, I'm going to click on this pop up menu, which is the paragraph styles menu. I'm going to choose the paragraph style called Running Footer Left. There we go in design, added all of that formatting to this text. So OK, now let's take a look at our document pages to see if it works. I'm going to return to pages eight and nine, so I'll double click on those numbers and you can see down here that the book title was picked up from the Master page and put here on this left hand page. If I scroll over to the right, you'll see the name of this section over here. So this is terrific because it means that I don't have to add headers manually on every single spread throughout my document, which would be really annoying. The problem is that when I added that text frame to the master page, it applied it toe every left hand document page. Even on my front matter here, I'm going to jump to Page four by double clicking on it. And you can see that the name of the book is showing up here on my Table of Contents page. And I don't want that. So there are a couple of ways to remove master page items. For example, you could create a new master page and then apply it. Or you could just apply this none Master Page listed up here. The top of the page is panel to Apply the Nun Master page to Page four. I simply click and drag it onto page for, and you can see that when I did that, the running footer disappeared. I could do the same thing to other pages as well. You can kind of think of applying none as you're moving any master page from those document pages. If you look closely inside the pages panel, you can tell that There's no master Page applied to it because there's no little a in the corner on these other pages that a means that Master Page A has been applied to them. Also, when you hover over the page, you get a little tool tip that shows you what master is applied to it. So master pages are great. But when you start using them, there's one little thing that's going to drive you crazy. You cannot select master page objects while you're on your document pages. So in the next movie, I'm going to show you how to get around. That limitation, as I mentioned in the last movie in design, protects master page items. When you're on a document page, you can't move them. You can't delete them. You can't even select thumb. Now I've opened this document from my Exercise Files folder, and it's the long Doc version B, and this starts up where we left off in the last movie so you can see that I've already added my running headers down here or running footers or whatever you want to call them. Anyway, I'm going to zoom in on this text frame down here now, in an earlier chapter, I mentioned how you can use the zoom tool to zoom in, but I'm going to use a different trick. I'm going to hold down command space bar on the Mac or control space bar on Windows, and that gives me the zoom tool temporarily. Now on the MEC. I may also see the spotlight windows show up, but I'm just going to ignore that. Now. All I need to do is click and drag. When I drag to the right, I zoom in. When I drag to the left, it zooms out. Actually, I should point out that on some computers, this zoom trick works slightly differently. For technical reasons, the computer I'm using has, ah, high resolution monitor and a fast graphics card. But if your computer doesn't, then you may have to just drag out a rectangle. And then when you let go of the mouse button, it'll zoom in anyway. Now I can see this frame better. You know it's a master page item because it has a dotted line for a frame edge. So if I try and click on this with the selection tool, nothing happens. I can't edit it, can't move it. Nothing Well, but I thought in design was all about letting me express my creativity. What if I want to change it? Well, you can. You can. You just need to know the trick. And the trick is you have to hold down to modify our keys on your keyboard command shift on the Mac or control shift on windows. And when you hold down those modifier keys and then click in design overrides that object, it pulls it off the master page. And the frame now becomes a document page item. You can see that because there's no longer a dotted line around it. It becomes a really selectable object that I can move. I can edit. I can do anything I want. I'll scroll over to the right a little bit. And I'm going to do the same thing to this object command shift or control shift Click. That selects it. Now I'll just press the delete key and poof, they're gone. Well, but what if I didn't mean to delete thumb? What if that was a mistake? Well, don't panic. You can always get master page items back. And the way you do that is to open the pages panel over here, go to the pages panel menu, come down to the master Pages sub menu and then choose Remove all local overrides. It's kind of a double negative. There you're removing the overrides that you already made. In other words, you're putting back everything that was on the master page, setting it back to the way it was originally. So there we go. A press command option zero were control all zero to fit the spread in the window. And you can see that those frames air now back. Okay, so that's good. When it comes to building structured documents such as books and magazines, master pages are a necessity for an efficient workflow. And controlling each master page item is key to making sure that your final document ends up just the way you wanted it in design lets you change the size of a document or adjust its margin guides after you've created it. But before you try it, you always need to ask yourself two questions. First, do you want to change just one page or all the pages in the document? And second, do you want the objects on your page to move or scale when you change the document? Or do you just want them to stay the same? For example, here in this magazine document, I'm going to jump to the second spread by pressing option or alter page down. Now I can change the size of a single page by choosing the page tool in the tool panel. That's the third tool down. Next, click on the page that you want to adjust. When you do that, you'll see these little side and corner handles, and you can drag those handles to make it change the size of a page. But when you let go of the mouse button, the page size reverts back to the way it was. So the trick here is that if you really want to change the page size, you need to hold on the option or alter key when you drag. Or if you want to be more precise in how you're changing the page size, you can use the control panel up here, for example, all set the reference point to the lower left corner, which means lock that point and resize the page from there. Then I'll choose a four from the page size puppet menu here. Now Justice One page is set to a four. Okay, so let's say I want to change the margins. To do that, I first need to go to the pages panel and make sure that pages selected you see how it's kind of highlighted. I'll click on it once, just to make sure. Then I'll go to the layout menu and choose margins and columns. This lets me change my margin and column guides for whatever page or pages are selected in the pages panel. But look down here. See this check box called a Just lay out. Well, that's how you tell in design whether you want it to change the objects on your page, if it's on than in design, will try its best to scale or just the layout to fit the new size. I'm gonna leave it off for right now, and I'm going to change the bottom margin to something larger, say, 150 points. When I hit the tab key, you can see that the margin moves up. That's because the preview check boxes turned on inside this dialog box, but again because adjust latte was turned off. It does not move the items on the page. Let's see what happens. If I turn it on, I'll turn on a just lay out, and now you can see that the text frame moved and resized. I'll turn off the preview check box and you can see before I turn it back on and you can see after note that it's not just moving that text frame. The images moving to in design is doing its best to maintain the general layout of the page . Now, this is kind of a crazy thing to do for this particular document. So I'm going to click Cancel then ah, press command or control Z a couple of times to undo the changes I made in this case, I actually wanted change all the pages of the document, not just this one. Now this magazine is a non standard size, and let's say I've been asked by my boss to resize it to fit onto a regular letter sized page. To do that, I'm going to head up to the file menu, and I'm going to look down here if I do not want in designed to move or resize my page objects. Then I'll use documents set up. And you can see that this feature lets me change all kinds of things about my file, including whether this should be a facing pages document what the first page should be numbered and down here, the page size. If I change the page size here to letter, it changes the whole document, and it leaves all the text frames and graphic frames alone. It basically just centers them in the new spread size. Here, let's try a really big page like a three. And because that preview check boxes turned on, you can see that all the objects steak lumped in the middle and again, this changes every page in your file, even your master pages. Okay, I'm gonna cancel this because what I really want to do in this case is used a just lay out down here at the bottom of the file menu just lay out is a really cool system that makes intelligent guesses about how you probably want to move stuff around or resize it in order to fit a new page size. It's important to know that this is not perfect and Sometimes it makes crazy mistakes, so you should plan on doing some manual clean up afterward. But this feature is really good at getting you halfway there and sometimes even more. For example, let's choose the letter page size here. Now, down here, you can tell in design if you wanted to resize the text inside your text frames. This is helpful if you're making a really big change, like taking a large ad and re sizing it to be a small one. But in this case, I'm going to leave. That turned off and I'll just click. OK, this actually did a pretty good job. Let's refit the spread in the window with a command option. Zero were control all zero. I do notice that the text got cut off down here, which makes sense because the frames got smaller so again I would have to do some manual cleanup toe. Adjust the layout accordingly. The important thing is that in just a few clicks of resized, this whole document doing that manually would have taken a long time. So this adjust layout feature is such a relief. We've talked a lot about different kinds of guides that you can add to your document, but there are two more that are really important for print production bleed and slug guides . Now, if you're making an onscreen document like it's only going to be displayed on screen or it's only going to be printed on a desktop printer, then you can ignore bleeding slug settings. But for print documents that you'll be sending to be printed on a printing press, well, these can be really important, especially bleed guides. Bleed is for when you want a background color or an image to extend all the way to the edge of the page and C. In order for that to work on a printing press, you actually have to extend it past the edge of the page onto the pace board. If you don't, then when it ends up on press, you may see a white sliver down one side or the other, so to compensate, printers want you to extend the object off the page onto the pace board. This is called adding a bleed, and they print the whole thing on a larger sheet of paper, and then they trim it down to where the edge should be. But How far should you bleed off the page? Well, that's where bleed guides air helpful. You can add bleed guides in the new document dialog box when you're first creating your document. But if you forgot to, then you can just go up to the file menu and choose documents set up inside the documents. Set up Dolich box. You'll see an area called Bleed and slug. It may be closed, so you may have to click on this little twirly triangle to open it. Now, inside the first bleed field, I'm going to type nine p T. That's nine points or an eighth of an inch. Sure, about three millimeters. Then I just press tab and you'll see that because this little link icon has turned on, it gets added toe all of those fields. I'll turn on the preview check box, and you can see that the page updates back here. Now there's a red line that goes all the way around the spread. That's the bleed guides. While I'm here, I'm also going to add a slug area, which is kind of like bleeds, but it lets you put information about your document on the Pace board stuff. You may want to communicate to the printer, but you want them to trim off and throw away. Most documents don't have this, but this particular trifle does. So I'm going to add 36 points up here to the top of the document. Then our click. OK, of course. Now I need to extend these objects out so that they reach all the way to the bleed Guides on simply drag out thes side or corner handles. Let's get this one. And this one, there's a bunch of them on here, but you get the idea. Okay, that looks good. Now, when you print or export your file, you will need to turn on a check box that tells in design to include this bleed area. But I'll cover that more later on in this course, when we discuss printing and making pdf's. Oh, what about that slug guide? Well, if I scroll up just a little bit here, you can see that I have several text frames up here on the pace board. But see this light blue guide around them? That's the slug guide that I created. So because those frames air inside that guide, I have the option to include them when I print or make a PdF. And again that information is just for the printer. It'll get trimmed off later after the pieces printed. So bleed guides and slug guides do seem obscure at first. But if you're trying to make a good press ready document, you don't want to forget thumb when you're working on a book or a magazine or anything that has more than a few pages, you owe it to your readers. Toe add page numbers, but it's a hassle to add page numbers to each and every page. Right? Well, fortunately, in design makes page numbers easy. In this document, we want pages down by the footers on almost every page. So where should we put thumb? That's right, the master page. So I'm going to come over here, open my pages panel and double click on a master that jumps to this master page, and I'd like my page numbers at the bottom of the page down here. I could put it inside this text frame, but in this case I'm going to grab the type tool, and I'm going to drag out a new frame over here. Let's zoom in on this by President Command four or control for on Windows. Now I need to type my page number inside this frame. So what should I type the actual page number? No, you don't want a type. Riel numbers here. Instead, you want a stand in a marker, a symbol, something that's going to change on every page so that special character can be found inside the tight menu way down here inside the insert special character sub menu. Then look inside the marker sub menu. There it is current page number. When I select that in design in Search the current page number into the text frame. Now on this page, it just says a, but that's because we're on Master Page A. Don't worry. It'll change on the document pages automatically. Let's apply some formatting to this by going up to the control panel and choosing from the paragraph styles pop up menu. I'm going to choose page number left. I cover paragraph styles and how to make them in a later chapter. But in this case, this looks pretty good Now, obviously, I could duplicate this page number onto the right hand page but I'll leave that for you to do on your own time. For now, let's see if these page numbers are working. I'm going to come up here and double click on Page eight, and that takes me back to this document page and you can see the page number updated if I double click on page 14. The page number updates there, too. And the great things about these automatic page numbers is that a few later ad pages or remove pages they'll all automatically update. So you never have to worry about it again, which is awesome. Okay, let's say you have a text file such as this word document, and you need to get it into in design. Now. The easiest method is just a select some text and copy and paste at. And while this sometimes does work fine, especially for small amounts of simple, unformed, matted text, I really don't recommend it for anything more than a paragraph or two. And I certainly wouldn't use copy and paste for any text that was formatted or included foreign language or special characters. I have just seen too many problems over the years, with text showing up totally wrong after pasting it. Instead, I strongly recommend that you use the place, command and in design. It's far more reliable. Let me show you. I'm going to switch back to in design and then I'll go to the file menu and choose place. Or you could press command D on the Mac or control the on Windows. Now I'm going to select that text file from the Exercise Files folder. Like I said, this is simply a word document. But it could be any tax store, even rtf file. Then I'll click open because I had no frame selected on my page in design loads the place cursor with that story. Now, if I had an empty text frame selected, the story would have gone right into it. But here to place a story into my in design document, I'm going to move my cursor up to the upper left corner near these margin guides until I see a subtle but important change that tiny black arrow turns into a white arrow. You may have to squint to see it, but it's there, and that white cursor means that when I click is going to snap to the margin guides, so I'm going to get as close as I can to those margin guides. But I don't need to worry about placing it exactly Right now I click and in design makes it text frame and flows the text into it now. Like I said, this document had no text frame on the page. There's also no frame on the master page. It's basically just a blank page. Also, if I come over to my doc and open the pages panel, you can see that this page number seven is the last page of the document. However, I happen to know that this is a much longer story and it should have filled multiple pages . I really wish I could import the entire document at once. And fortunately, you can let me show you how I'm going toe undo this placement with a command Z or control Z on windows, and that reloads the place cursor. And now you can place this text file again, but with a modifier key. Hold down the shift key, and when you press the shift key down, the cursor changes a little bit. You get this kind of s shaped arrow in there, and that indicates that when I click is going to flow all of the text. So once again, move the cursor into the upper left corner and then shift. Click, this time in design, not only imports just that one page, but the whole text story, and it created a bunch of pages for me and on each one of those pages, it made a new text frame, and it threaded the text from one page to the next automatically. So that shift key modifier is really important when you're importing a long story. Now there is one more thing that I want to point out. Let's jump to the next spread. Look at the formatting in here. It looks much nicer than it did in my word processing program, right? Let me go back to a word and show. You see, here it's all in Calibri and Georgia. The formatting here inward makes it easy to edit, but it's not very pretty. But here and in design, it looks different. How did that happen? Well, I'm going to be talking about paragraph styles and character styles in a later chapter, but I do want to point out now that if the styles are named exactly the same between word and in design than in design will throw away the original boring formatting, and it will use the formatting that's defined an in design. Instead, In this case, I'll go over to the paragraph styles panel here in the dock, and you can see that I have a lot of styles in here and there, named exactly the same as they were inward. Now, a moment ago, I mentioned something about threading the fact that this story threads from one page to the next. Well, what's that about? How could you manually thread stories from one text frame to another? Well, that's what I'm going to cover in the next movie. 6. Editing, cropping and fitting graphics: it's time to talk about threatening text frames together. Now I've opened up this brochure file from the exercise folder, and I can see that I have a couple of text frames here, one that has Texan it and one that's empty down here in the lower right corner of the frame . On the left, I can see a symbol, a little red plus sign, and that plus sign isn't indicator that this text frame is over set. There's more text in this story than conf it in the frame. Now. We could make the text rain bigger, of course, but in this case we want the text to flow from this frame into the empty frame over here that's called threading. You thread from one text frame to another. Now you think you'd use that type tool to accomplish this. After all, you're dealing with text, but in fact, it won't work with the type tool. You have to use the selection tool that black aero tool. When you have the text frames selected with a selection tool, you'll notice in the upper left corner of every text frame a little box. It's very similar to the one in the lower right corner. I'm not talking about the corner handles. I'm talking about the little box next to it, and those little squares are called the ports. There's an import and an out port. All text flows into the import on the left and out the out port on the right. So to get text out of this text frame, I'm going to use the selection tool. Click once on the frame and then click once on the out port. That's the one with the red over set mark in it. Now notice that when I do that, it loads up the place cursor, and this place cursor lets you thread from one frame to any other frame, or it'll even let you create a new text frame. Notice how the text cursor changes, depending on where you place it over here, in between the frames where there's no frame at all, the cursor has a sharp edge, like a corner that indicates that it's going to thread into a new frame. All you have to do is click or click and drag, and it'll make a frame and thread the text into it. But if you move the cursor over here. On top of this empty frame, you get a completely different cursor. This means it's going to thread from that frame into this empty frame here. That's what I want. So I'm simply going to click and you'll see the threat happen. Now. This tech story is threading from the left frame into the right one, but it's kind of hard to tell that there's no visual indicator. So here's what you should dio go up to the view menu, come down to extras and then choose show text threads. When you do that, you'll get this little colored line that goes from one port to the next. So okay, that's great. But I still have an oversight marker down here, and in this case, I don't have any more blank frames. No problem. I'm gonna go ahead and click that out port, and it loads up the place cursor, and this time I'm going to make a new frame. By the way, I should point out that while the place cursor is loaded, I could even navigate to a different page like if I wanted to thread from this spread to the next. But here I'm just going to click and drag down here. That makes a new frame. And now I know there's no more texting the story because the out port on this new frame is empty. No oversight, mark. So we threaded all these frames together. But what if it was a mistake? What if you don't really want to have them threaded and you want to break it? How can we do that? Oh, it's really easy. All you have to do is click one of the ports Doesn't matter which I'll go ahead and click this one in the upper left corner of the new frame we made. Then I click once on the frame itself, and when I do that, it breaks the link and you can see that this text frame on the right is over. Set again. By the way, I should point out that some people call this linking text frames, which kind of makes sense because the cursor looks like a chain link. But linking actually means something different. In in design. Linking means maintaining a link to files on your hard drive, so that if they change in design changes to and I'll talk all about linking and much more detail in a later chapter. So remember, whenever you're talking about text flowing from one frame to another, you should always call it threading. If you've ever framed a photograph, you know that it's all about managing where the image sits inside the frame. How far from the edge and so on. Well, text is the same way, and you can control where in design positions text inside of a frame. Using the text frame Options Dialog box. Let me show you in this room, over here on the left, you can see that the text is pressed right up against the edge on the left and right sides , which is kind of ugly, so let's insert some space to do that. I'm going to select it, then go up to the object menu and choose text frame options. Or you could press command B or controlled beyond windows. Have an insect spacing section. In the middle of the style of box is where you can control how much space there should be. It's sort of like padding or margins between the edge of the frame and the text. If you wanna have different amounts of spacing on each of the four sides of the frame. Then click this button in the middle toe unlinked the fields. I'm going to change the left and right sides both to nine points. And now when I turn on the preview check box, you can see that the text is pushed in on the left and right sides in design even shows you a faint line to indicate where that Texan set is now. This looks good on the left and right, but I'd still like the top to be brought down a little bit, so it looks more centered in the frame now. I could just increase the top inset amount, but there's an easier way to do it. The vertical justification setting that lets us say where the text should sit inside the frame. Right now, it's aligned to top. That means that top of the text is going to be aligned with the inset at the top of the frame. But if you change this to say bottom now, you can see that the bottom of the text snaps to the bottom inset and all the extra space goes to the top. We could even change this to justify here in design, distributes extra space between each of the lines to stretch it out to feel the available space. But in this case, I'm just going to choose center. That looks good. So let's click. OK, now let's jump to the previous spread by pressing option or alter page up. I'm going to select this frame down here in the lower right corner, which you can see on. Lee has one column, but I want this text to be split into three columns. Of course, I could resize the frame and then make a couple of more empty text frames and thread them together. But again, there's a faster way. Let's go ahead and open the text frame options dialog box. You can do that from the object menu, or I'm just gonna press command or control be. You can see that up here at the top of the dialogue box. I can control the number of columns, so I'm going to set this to three columns. The gutter is the amount of space between the columns that should be fine. As you can see, this dialog box actually has a ton of features jammed into it because text frames are such an important part of in design layouts. For example, I could click on a column rules, and then I'll turn on this check box the top, and I'm gonna change the weight to something smaller, like half a point that tells in designed to place rules or lines in between each of the columns. When I click OK, you can see that I now have a three column text frame with rules or lines in the gutters. With all of these text frame options in design really helps you strike the right balance between creativity, flexibility and a tightly controlled design. Quick, tell me what the keyboard shortcut is to type the registered trademark symbol. Or how about an en dash or an em dash? If you don't use these characters very often, there's no reason to clutter your head with trying to remember the shortcuts because in design has a couple of features that make inserting special characters a breeze. I'm going to zoom in on this magazine article by first selecting the type tool, clicking inside this paragraph and then zooming into 200% by President Command two or controlled to on Windows. Now I'm going to click after this word pedal. Let's add a special character after the name of his company. To find it. Go to the type menu, come all the way down to the insert special character sub menu, then look inside the symbol sub menu and you can see that there are all kinds of characters in here. The bullet character copyright symbol. There is the one I was looking for, a registered trademark symbol when I select that in design types of character. Hey, let's do another one. I'm going to scroll down the page just a little bit here. Now this character here between these numbers is, ah, hyphen, a regular dash. But that's not right. It should be an en dash. You want to use an en dash instead of a normal dash or a hyphen when you're talking about a range of numbers or dates. But let's say I don't know how to type that kind of dash, so I'll delete this character, and now I head back up to the tight menu. You'll notice that there are several other sub menus down here as well, like insert white space or insert break character, but the character I'm looking for is inside insert special character. So in this case, I don't want to go to symbols, but instead hyphens and dashes. And there's the character. I want an end ash. Of course. Many of the fonts that you already use have special characters built into them ornaments and math symbols and all kinds of stuff, but you may not know how to type them. Fortunately, in design has a special feature called the Glitz Panel, and you can find it back here in the tight menu. Just choose cliffs. The glitz panel shows you every character that's inside the current font. It's really quite incredible. Here. Let's go ahead and make this a little bit bigger, and I can zoom in by clicking this little zoom button on the lower. Right now, you can scroll through this list and see every single character that's inside this font. Some of these characters I would have no idea how to type. I don't even know what some of these things are now for this document. I would like to place a special ornament, kind of a symbol at the end of each article, So I'm going to move this out of the way, and I'm going to click down here inside my story at the end. Right now, the current font is set to Montserrat, and I can see that in the control panel or down here at the bottom of the glass panel. I'm going to change that to a different font by replacing this with M i N. And you can see that in design guesses that I want Minion Pro, I'll change the style to regular. Now I'm seeing all of the different characters inside this font, but it's gonna take way too long to find just a character I want. So if you know the name of the character you want, you can type it inside this field up here. Or you can use the show menu to filter out all the characters down to just the ones you want. For example, I'm gonna set this toe ornaments. Now that's much easier. This one looks nice, so I'll simply double click on it. And you can see that in design places that inside my story also notice that in design, place that character up here in the recently used area. That's kind of cool, because I probably want to use that same character over and over again at the end of each of my other articles. Most fonts, especially the pro fonts from Adobe, have a lot of special characters, all kinds of ornaments and symbols. So take a little time to just scroll through that glyphs panel. See what kind of treasures air hiding in there. It's time for me to talk about one of my favorite features and in design. It's not really a flashy feature, but it's incredibly helpful. Toe. Anyone who needs to write or edit text inside in design and that feature is called Story editor. It's like having a little word processor built right into in design. Here, let me show you. I have my magazine file open from the Exercise Files folder, and I'm going to jump to the first page by clicking this little button in the lower left corner of the document window. Now I want to edit some text inside this story over here, But instead of zooming in and trying to find the text to edit, I'm simply going to select the frame itself with the selection tool then I'll go to the edit menu and come down here and choose Edit in story editor. Or you could press command. Why on the Mac or control Why on Windows? When I do that, up comes a nice neutral window, just like a text editor. I'm not distracted by colors or drop caps or anything like that. Just a neutral window, and I could make this as wide as I want or as narrow as I want. And the text just re flows. I will tell you that the one thing that I really dislike about Story editor is the default font that it ships with Who wants to read that fund? It's crazy. I'd rather use a font that I can read easily on screen. Fortunately, you can easily change that inside the Preferences Dialog box, and you can find that on the Mac under the in design menu and on Windows under the Edit menu. I'll just choose the Preferences sub menu and come down here to story editor display. Right now you can see that the font is set to a letter Gothic standard. I don't like that, so I'm going to click in there and change the font to something that looks good to me. Let's try Georgia. I'm also going to make this larger, maybe 16 points and change the line spacing 250% space. The last thing I always change inside this dialog box is to choose the bar bell cursor. You know how sometimes it's hard to find the cursor flashing on screen? Well, Bar Bell takes care of that. You'll see what I mean. I'll click OK, and you can see that the story editor updates. And then wherever I click, it's really easy to see that cursor now. As I said, the story editor does not show font or size or most other formatting of your text. What it does show is bold and a talent like thes words up here that are in italic. It shows that, and this text on the page is so small over here that it might be hard to see this. But I'm just going to grab some text from up here like just a few words, and I'm going to delete them by pressing the delete key. You'll see a very slight pause, and then, as soon as in design recognizes that you're done editing it updates it on the document page behind that way. The story Editor view and the document page You are always in sync. Let's undo that with a Command Z or Control Z on Windows. Now, I mentioned earlier that you can use command why or control wide open the story editor. You can also use the same thing to switch out of story editor to go back to the document page. And that turns out to be very useful because I can select some text inside the story here. And then I'll go back to the document page by pressing command wire control. Why on Windows and it swamps back and select exactly the same text. The shortcut always synchronizes the selection. Once again, I'll come over here and select some words, then press Commander Control. Why, up comes the story editor and the same words are selected. Story editor is great whenever you need to edit really tiny tax store text on a path. Or maybe Texas and the text frame so wide that it's hard to see all the text of the same time. But one of the best uses for story editor is when you have so much text that it can't fit inside the frame. For example, in this text frame, you can see that is over set. There's the little red plus sign, so that tells me I can't see all of the text of the document page, but I can see it in the story. Editor. The story editor knows no bounds. All this stuff down here that has a red line next to it. That's the over set stuff. It doesn't fit inside the frame, but I can still read it or copy it, paste it or even delete it, whatever I need to dio super helpful. Ultimately, whether you're editing really tiny four point text at the bottom of a legal contract or text on a path or a long story, the story editor makes life so much easier. Nobody spells everything right all the time. I mean, hey, that's what spell checking features air for right. Unfortunately, there's a good one built into in design. Now I have this long doc file open from my Exercise files folder, but before we send it to print would better check the spelling. You can do that by going up to the edit menu coming down to the spelling sub menu and then choosing check spelling. Or you could press command I on the Mac or control I on Windows. And as soon as you select that up comes a check spelling dialogue box, and it immediately starts showing me the suspect words. This first word is bell flowers, which I know is correct, So I'm gonna go ahead and click the skip button. Now the same word appears again, and I'm realizing this is going to get tiresome skipping that repeatedly. So instead you can click, ignore all ignore all is like pressing skip for every instance that it finds. In fact, not just in this check spelling, but every time you do a check spelling until you quit in design. Now, if you always want in designed to think this word is spelled correctly not just this time but tomorrow and next week and next month, then consider adding it to your user dictionary. You can do that by clicking this ad button down here. That's what I'm going to dio ah, click, add and in design, adds it to the user dictionary and then moves on to the next word. By the way, I should point out that you can spell check either forward or backward through your document. Now, in this case, this word is definitely wrong. Now I could type the correct version here in this field, but you can see down here that in design is giving me a few suggested words. So it's easier just to click on one of those and then click the change button. All right. Instead of checking one word at a time, there's another way to check my spelling. I'm going to click the done button and you can see that it's selected a word down here in this frame. So I'm going to zoom in on that by President Command to on the Mac or control two on Windows. In fact, let's go even closer by going command four or control for on Windows. That's 400%. Now I'm gonna head back up to the edit menu, choose the spelling sub menu again, but this time I'm going to choose dynamic spelling. I like dynamic spelling because you can see at a glance whether something is spelled incorrectly. For example, I'll click out here and you can see all the words that in design things were misspelled. Have a little red zigzag line under them. That way I can very quickly pan around looking for things that might be spelled wrong. Now I could just click in this word and change it, or I could place my cursor on top of it and then right, click or control, click with one button mouse and here up at the top of the context menu. It shows me some suggested words what it thinks we're trying to spell here, so I'll just choose flowers and it fixes the misspelling for me. But I also see a few words down here that have a green zigzag line. Green means they're not misspelled, but there's something else wrong with them. For example, down here it's obvious there's two words that are exactly the same right next to each other . So I'll just select one of those and delete it and you can see the zigzag goes away up here , it says there's something wrong with that word, too. Well, it's the most be capitalized, so I'll replace that tea with an upper case T. All right now, what's wrong down here. These words Air Spelling Oppa's misspelled, but I know they're not misspelled there just in Spanish. So how do I tell in design that these words are spelled correctly in a different language? The trick is to select them. Then up here, the top of the screen, make sure the control panel is set to character formatting. Then over here near the right side, check out this pop up menu. This shows all the different languages that in design knows about. There's Estonian and French and Greek and so on. And if we scroll down a little bit, they're Spanish. So if we choose Spanish for these words the ones that are selected on the page than in design checks, it's dictionaries and it says, Well, that is built correctly. Okay, so I'm going to show you one more language trick that you should know about. Let's move this page up a little bit so we can see what we're doing. See how in design thinks that this war down here is misspelled? Well, that's not misspelled. It's just a Web address, and you RL's and email addresses almost always show up as misspelled. But what you can do is to tell in designed to skip it by changing its language. For example, all selected this. Go back up to the language pop up menu. And this time I'm going to choose not one of these languages, but the very first item in the pop up menu. No language. When I choose that in design stops trying to spell check it. Anything set to know language will never show up is misspelled. Of course, just performing a spell check won't guarantee that your text is all correct. So finding a proof reader is always a good idea. But do yourself and them a favour and run in design. Spell checking features first. 7. Drawing path, adjusting corner options and creating text outline: I have my magazine document open here from the exercise files, and I want to find a word. So let's head up to the edit menu and come down and choose. Find change. Or you could press command F on the Mac or control F on Windows. Now you can see there are, ah, lot of features in the fine Change dialog box, so I'm going to start with just the basics here. Find what? And change, too. Let's say we want to search for the word end so you could just type that word in the Find what field and then click find Next in Design finds the first instance in my document. It's down here that's move this out of the way a little bit and also press command plus or control plus a few times to zoom in on it. Notice that I can zoom in and even edit this text while the Fine change dialog box is still open. That's really helpful. Now we can see that in design did in fact find the word end. But inside another word. And that's not what I was intending. I just wanted to find the word end. Unfortunately, in design lets me change the scope of what it's searching for. For example, I could come over here and click inside the search pop up menu, and you can see that in design lets me search this document or all documents. That means all the documents that I currently have open Sometimes if you have text already selected on your page, this search pop up menu will change to selection, which means in design will Onley search through the text that's currently selected, so that could be tricky. You just always need to check this little search pop up menu here. I can also adjust what it's searching for with his little buttons down here, and I have to be honest with you. It's hard for me to remember what all those icons are. So here's what I dio. I move my cursor on top of them until I see a little tool tip. Show up like this. 4th 1 is include master pages, so if that's on, it'll search master pages as well as document pages. This one over here is case sensitive, and this one here whole word. That's so when I'm looking for, I want to find the whole word end, so I'm going to click on that button and try again. I'll click find next, and it jumps to the first instance of the whole word end. By the way, notice that you can also search forward or backward here. That is, if your cursor is in the middle of the story like this one, you can control which direction in design will search from the position of the cursor. Of course, find what is only half the equation. Sometimes you want to find a word and change it to something else. For example, let's come up here and change this instead of end. I'm going to type two spaces in the Find What field? So we want to find everywhere that the author type two spaces instead of one. You know, for these kinds of proportional fonts, you should use Onley one space after punctuation, right, and we're going to change those two spaces into a single space just by typing that one space into the change to field. By the way, I see this little pop up menu over to the right, the one that has a little at symbol on it. This means special characters. So if you click on that, you can see all of the different special characters, the invisible characters, the special glitz and so on. All of those things that in design knows about that. You may not know how to type anyway. We're not looking for any of those right now, but it's good to know about. Okay, Now you can just click change all and it'll change all of them, right? But it just says to replacements made. I know there's more than that, so I'm gonna click. OK, well, remember just a moment ago, we told in design what the scope of our search should be, we told in designed to find only whole words. Well, two spaces aren't really a word, so I need to come over here and turn this button off, and now we'll try it again. I'll click change all and there we go in design, found more. That's great. I'll click. OK, now there's lots of other things that you can do in the fine change dialogue box. For example, you could find text with particular formatting and change it to some other formatting. I'm going to be covering that in a later chapter. You can also do this thing called grip find change, which is super helpful for finding complicated text patterns. The glitch If tab of the fine change dialog box lets you search for specific characters in your document and the last one object find change lets you find and change object formatting. For example, you might want to change all of your red frames into blue frames. You can do that with the object formatting find change. This fine changed. Our lockbox is incredibly powerful when you take the time to die, Elin, exactly what you're looking for and exactly what you want to change it to. I get asked this question all the time. How do I get text on a path instead of inside it? For example, inside this magazine document from the exercise files, I'm going to press, option or alter page up a couple of times to jump to an earlier spread and see this path here. I'm going to select it and zoom into 200% by President Command two or controlled to on Windows. Now I'm going to be talking about how to drop halfs like this in a later chapter. But for now, let's just put some text along this curve. At first, you think you'd want to use the normal type tool to put text on a path. But I'll tell you now it won't work. The regular type tool can only put text into a frame, not on the outside of it. Instead, you have to use the type on a path tool. But where the heck is that? Well, it's hiding underneath the type tool. To get it, you have to click and hold the type tool just for a moment. Then you get this little pop up menu that lets you choose either the type tool or the type on a path tool. Fast the trick, so choose the type on a path tool and then move your cursor over the edge of that path and you'll see a little plus sign appear. That means type is going to be added to this frame. Then, if you click, it will place the text on a path. See the little flashing crusher. Now you can just start typing. In this case, we already have the text that we want down here in this frame in the lower right corner. So I'm going to click inside that frame and then quadruple click to select the whole paragraph, cut it to the clipboard with a commander control X. Now we need to go back to that path. I still have the type on the path tool, but you can switch back to the regular type tool if you want. You only need the type on a path tool to convert the path and start putting text on the path. After that, you could just use the regular type tool, for example. Here, I'll just click and the cursor starts flashing on that path. Now I'm going to paste with command or control V. As you can see, the text is going along the outside of the path, so this looks good, but I don't like the position of the text. The easiest way to adjust that is to change the start and end points. Let me show you. I'm going to switch back to my selection tool, the Black Aero Tool, and when I do that, you'll see this little lines show up on the left and right edges of this path. See, you should think about text on a path like this. It's kind of like having a text frame wrapped along the edge of the path. And those two lines are the left and right edges of the frame. And the cool part is you can move those edges simply by dragging them. For example, I'm going to move my cursor over the left edge and then simply drag this over. That was a bit too far, and you can see that now that path is over set. There's more tax than can fit on the path, so let's move this back a little bit. You can see you have a lot of control about where the text is going to start and end on that path. Also, see this little white boxes along those edges. Those white boxes are the imports and out ports, so that means you can actually thread from a text frame to text on a path there. Just like text frames in design has a bunch of other options for text on a path which you confined by going to the type menu, coming down to type on a path and then choosing options. This dialog box lets you format that tax on a path in all kinds of really cool ways. Let me move this out of the way a little bit. Now. The first item here effect is kind of interesting. Right now it's set to rainbow, which means that the text is going to follow along the path as it curves. But if I change this to something else like skew, well, that's a really different effect. Skew kind of shares the text based on the angle of the path. It's pretty cool looking like that. There are a bunch of other options in here that you should experiment with. You can also adjust the spacing in here. It's kind of backward, but negative numbers actually spread out. The text and positive numbers track it closer together, so I'll choose a negative number and you'll see it spreads out just a little bit. I'll click OK, of course. The last thing you need to know is, if you don't like that, look anymore and you want to remove the text from the path. How do you do that? Well, it's easy. Just go back up to the type menu, choose type on a path and then choose delete type from path. Now this is just a regular object again. Setting text along a path is a wonderful way to create all kinds of special effects on your page. And as you can see, it's easy to dio. We've already discussed how to place an image into in design, but on Lee, just the basics. Now I want to show you a few important features that help you place multiple images quickly and give you more control over how images get placed. If you need to place a bunch of graphics, you don't wanna have to place them one at a time. For example, let's open the place dialog box by pressing command D on the Mac or control the on windows . From here, you can import several images at the same time by first selecting one. For example, this pink bouquet. Then hold on the command key on the Mac or control key on windows and then choose another image. Let's go ahead and grab another one down here, and I'll grab one more to again while holding down command or control. Now all four images air selected inside this dialog box, so I'll click open and you'll see that all the images get loaded up into the place cursor. You can tell that there are four because there's a little blue four inside parentheses next to the cursor. In fact, you can actually move through those one at a time by pressing the left or right arrow keys on the keyboard. Let's move through here until we find the one we want. Then just click on an empty frame. Now the cursor changed because I only have three more images to go. I'll go ahead and click down here. Click one more here and this image I decided I don't want after all, so I'm going to get rid of it by pressing the escape key on my keyboard. Okay, I'm going to show you two more techniques for importing images. First, I'll go back to the file menu and choose place. Now let's choose this image called HP Logos. Got a I. This is a native illustrator file with multiple art boards, but this same technique would also work with a PDF file that has multiple pages. When you have a file that has multiple pages or art boards, you comptel in design, which page or art board you actually want to import. To do that, turn on the show Import Options Check box here in the place Dialog box show Import Options tells in design that when you click the open button, it should open a new dialog box, one that gives you more options. Here. We can see that there are three total pages or art boards in this document, and we can move through them one at a time. But I should point out that I could actually bring all of them in. If I want Teoh by clicking the all button here or even just arrange. For example, I'll grab pages 1 to 2. Now let's click. OK and in design loads up both of those images into the place cursor. I'll scroll up to the previous spread, and I'm going to place one of those inside this frame here and this one. I decided I don't really want after all, so I'll hit the escape key to throw it away. Okay, lets import one more picture, but this time we're going to drag it right out of a folder on the desktop. First, I'll switch back to the finder or Windows Explorer, depending on your operating system by President Command Tab on the Mac or all tab on Windows. Here I have that same links folder open from the exercise files. From here. I'm simply going to grab that file and drag it on top of the in design window. When I let go of the mouse button, you can see that it imported that image onto the place crusher. That's the image that I had selected on the desktop. Now let's come over to the right side and drag out a rectangle in design, makes a frame for me and places the image into it. Graphics are a critical part of most in design work flows, and the more that you can control how you import from the more efficient you're going to be in this program. I'm going to open this document from the Exercise Files folder, the one that ends with Underscore. Be open it by double clicking on it and when in design opens the file. I get this alert dialog box. What's that about? Well, when you import a picture into in design, using place or by dragging in a file from disk in design, doesn't actually embed the image into your document. Instead, you get a thumbnail preview of the image and a link to the file on disk. This happens with any image file, whether you import a pdf or JPEG or a tiff or whatever. And so when I opened this document in design went looking for all the linked images on disk and one of them was totally missing, It just couldn't find it. And one of them had been modified. That is, somebody had edited the image since the last time I imported it. So in designs asking me what I want to dio If I click update links, it will update all the modified ones. It doesn't know what to do about the missing ones, but in this case, I'm actually not going to do that. I'm going to click Don't update links because I want to show you how to do this manually. The key to fixing these is the links panel over here in the dock, or you can open it from the window menu. The links panel is like the control central for all your linked graphics. All the link images that you have in your document will show up here, and it gives you information about those links as well. Let's go ahead and make this panel a little bit larger by dragging this lower left corner and also see how you can drag this little line at the top here. That gives me more space so I can read the names easier Here in the middle, you can see my two alerts the red one with a question Mark says it's missing, and the yellow one says it's modified. If there's nowhere alert icon at all, like all these other ones, it means that's okay. It knows where to find those files and their up to date. Now the links panel can actually tell you other information about your link images as well . For example, if I select this JPEG image here and then come down to the bottom and open this little twirly triangle, I can see a bunch of information about that image. It's a good idea to scroll through this information and look at all this link info to get a sense of what the images are inside your file. Now there are a couple more things I want to show you about the legs panel before we fix those image problems. First of all, you can see that our images up here are in page order from the beginning of the document to the end. But if I click this little status icon at the top well, now it groups all the problem images together. I just find that makes it easier to spot thumb. Okay, let's fix this modified one. I may not know where in my document this image is right now so I can click on this little page number on the right. That takes me right to the image. It even selects the image inside the frame. You'll notice that in the upper left corner of the frame, I see the same modified icon once again. This means that somebody has changed this image since the last time that I imported it into the document. So, in orderto update this to the new version, I have several different choices. I could click the update link button at the bottom of the links panel here, or I could double click on the icon up here, but I'm going to do it the fastest, easiest way, which is simply to come right over here to the frame and click once on the icon attached to the frame itself. As soon as I click it, it updates the image. Okay, now let's go. Take care of the missing image Here in the links panel, I can see that this image is missing. I'll click the page number to see where it is. It's this logo here. Now it's your job to tell in design where this images on disk so that we can re import it and have a good link. And again, there are multiple ways to re link this to a new image. I could link on the re link button down here, or double click on that little red dot. But once again, the fastest way is to click once on the icon attached to the frame. So now in design is asking me where I should find this image. Let's go look for it. It should be inside my exercise files inside the Links folder, and I see there's a helpful little clue here that you should pay attention to up here at the top of this dialog box in design shows me the name of the file that I'm looking for, and I can see that it's looking for something that ends with the word draft, and now I know what happened to it. That file was a draft version that I threw away a long time ago. We're never going to find it, but we can replace it with a new version. I'll scroll down here and choose the file I want, which is the final version of this logo. Then I'll click open and in design, throws away the old version and replaces it with a new one. So we're good to go. I want to be clear about something before you print or export your documents. It's important that your images all be up to date in the links panel. Not missing or modified or else in design will only be able to use the lower resolution preview, and your output may not look right. What happens after you put in image on your page and then realize you need to edit the image somehow, for example, I would like to change the color of the text in this logo on the right. Well, I could switch to illustrator and then open the logo, assuming I know where it saved on disk. But since I'm looking at it here in in design, it's far easier to use a feature in in design called Edit Original. And like so many other features and in design, you confined at original in several different places. For example, you could select that image and then go to the edit menu and choose edit original. Or you could open the links panel and then click on this little pencil icon down here. That pencil icon is the original button, but the fastest way to get to edit original is just toe option. Double click or all double click on the image. That's all you need to dio if you option double click or all double click on this image, it launches Illustrator and opens that graphic. Let's zoom in here a little bit now. This image is a group, so we'll double click on it to go into isolation mode. Then I can select these two objects, and I'll fill it with a different color. Say gold that's grabbed this one as well. That looks much better, so at this point, all you need to do is save this document and close it. Save and close. When you switch back to in design, the logo is automatically updated. I don't even have to go to the links panel and choose update. Why? Because when you choose Edit original in design knows you're going to be editing it. It's just watching the image, just sitting there, waiting for you to make a change. And as soon as you save it and come back to in design, it updates automatically. Now, the funny thing is that in design actually has no idea what the original application is for these files. It depends entirely on the Mac or Windows operating system for this information, basically, edit Original is the same thing as double clicking on the image in a folder. And that means that sometimes it opens up in the wrong program. For example, let's edifice image behind the logo. I'll select it and then option or all double click on it. You can see that it opens up here in preview on the Mac instead. That is not what I wanted. I wanted it in photo shop. The same thing can happen in windows. It can open in completely the wrong program. Fortunately, you can force in design toe open it in a particular program, so I'm going to close this. Go back to in design, make sure it's selected, and this time I'll go to the edit menu and choose edit with edit with Let's Me choose exactly which program I want to open the image in. In this case, it's Adobe Photoshopped. Now it's easy for me to make a change. I'll just go to the image menu, choose adjustments. And why don't we just change brightness? Contrast? I'll make this much brighter. I'll click. OK, then, once again, all I need to do is save it and close it. Come back to in design and it's automatically updated. So there's the brighter version of the image. Getting efficient within design isn't just about in design. It's about getting all of these programs working together as smoothly as possible. The edit, original and edit with features are a big part of making that happen 8. Moving objects, creating, controlling and alignment: When you place an image into an empty frame, it often doesn't appear at the correct size on your page. For example, let's go to the layout menu and choose next spread. Now I'm gonna put an image inside this frame, so I'll select it, then go to the place dialog box with a command D or control D on Windows. Now let's go ahead and choose one of these images like this 3rd 1 and I'll click open. I could tell immediately that this is not what I was hoping for. I wanted to fit the image inside this frame. It's important to remember that the frame is not the same as the image. They're two separate things, one inside the other. You can select the image inside the frame with the selection tool. In two ways, you can double click the image or just click once on that little doughnut shaped icon in the middle. Now we've selected the image inside the frame. You can see the top edge of the image way out here. It's much larger than the frame now, when the images selected, you can move it around inside the frame just by dragging it you can resize it inside the frame by changing the scaling field up here in the control panel, for example, I'll set this to 50%. Then, if you double click on the image again or press the escape key on your keyboard in design selects the whole frame again, both the frame and the image inside the frame. And now we could change the size of the frame out here by re sizing the frame. It crops the image differently. Actually, when I crop images like this, I like to use a little trick. Click and hold down the side or corner handle just for a moment or two before you drag. And when you do that, you suddenly enter what's called the live screen mode. Now, when you're dragging, you can see the whole image with a cropped out portions are kind of ghosted back. That could be very useful when you're cropping an image because you can get clear about what should and shouldn't be in the frame. Now. In this case, what I really want to do is fit this image, scale it down so that it fits into this frame better, so I'm going to head up to the object menu and come down to the fitting sub menu. There are a bunch of different options in here, for example, Phil frame proportionally. This means make sure that the image fills the frame. Even if some of the image is cropped out a little bit, it fills the frame. I should point out that the control panel actually includes all of those same frame fitting features, but Onley when your screen is wide enough to show them if you're working on a laptop, you may not be able to see these, but you can find them in the menu or in the properties panel. Okay, here. This first button is the fill frame. Proportionally. The second button is different. It's fit content proportionally. That means scale the image up or down until it fits inside the frame. But make sure none of it gets cropped out, even if it leaves some blank areas in the frame. The third option is fit content of frame, which means fit it, even if it means scaling it disproportionately. It's pretty rare that you'd ever use that That's undo this fit framed A content is kind of the opposite it changes the size of the frame so that it matches the current size of the image. That's super helpful. But again, I'm going to undo that with a commands. Ear Control Z on Windows. This last one on the top row is center content, which is obvious. It just centers the image inside the frame. But that wouldn't do anything right now. Finally, there's this content aware fit option, which is just like Phil Frame proportionally, but it tries to figure out the best placement of the image for you. It's not perfect, but it can be surprisingly good at finding what's important in an image and cropping to it in designs. Cropping and fitting features are essential for getting your graphics to look just the way you want them on your page. Take a few minutes to practice each of these techniques and you'll find yourself really heading toward in design mastery. I have my magazine file open from the Exercise Files folder, and I want to apply some color to this text frame on the first page. Now in design, just like illustrator lets you apply a Phil or a stroke color toe. Any object on your page, even text. To do that, I want to come up to my control panel and use these little pop up menu widgets here. The top one lets you control the fill color, and the bottom one lets you control the stroke color. Right now, they're both set to none. That's what that red diagonal line means. So let's go ahead and fill this. I'll click on this little pop up menu, and you can see a bunch of different swatches here. Registration looks like black, but it's not black. It's actually kind of dangerous to use this registration. Swatch. It's just for drawing crop marks on your page, which you'll probably never need to dio. So just ignore registration. Don't use it. Paper is what in design calls white. Let's just scroll down here and choose a different color. Maybe this science watch. Then to close the pop up menu, you can just press the escape key on your keyboard or just click anywhere else on your screen. Now let's change the stroke. First I'll apply the black color Swatch. Then let's look at this little pop up menu to the right. That's the thickness of the stroke. I'll pick something thick, like six points. Now that's a solid black stroke. You can change the style of the stroke by choosing the puppet menu below that there are all kinds of options in here. Let's just go ahead and pick this one here at the top, called Thick, Thick. Now the control panel is the fastest way to make all these kinds of changes. But I should point out that you can also make them over here in the swatches panel over in the DOT. This gives you the same kinds of controls. In fact, it looks almost exactly like the pop up menu as we saw in the control panel. But there's one big difference. And that's how do you choose between Phil and stroke? It all has to do with this little icon in the upper left corner of the panel. Whichever icon is on top is the one that you're changing. So right now the stroke icon is on top, so if I choose a swatch, it's going to change the color of the stroke. If you want to change the color of the fill, you need to click on that icon, and then that one comes to the top now, we could change the color. For example, I'll pick this red color. You can also change the tint of this color. Let's come up here and click on the word tint. That's just a short cut for selecting all the text inside that field in all types a 50 then hit, Return or enter. There we go. Now we've got a 50% red color swatch for the background. Phil. I'm going to be covering colors and how to create new color swatches later on in the chapter. By the way, if you squint, you'll see another tiny little icon up here in the upper left corner of the panel, it looks like a double headed arrow. You'll see the same thing at the bottom of the tool panel. Over here. That double headed arrow means swap the fill in the stroke colors, so if you click on that, it literally switches the colors. So what was the fill? Color becomes a stroke color and vice versa. Now, of course, that blacks not gonna work. So let's choose a different feel color like paper. Okay, now, as I'm looking at my beautiful masterpiece here I noticed that something is strange. Something's wrong here. The fill color kind of peeks out past this red line into the middle part. Here, let me zoom in. I'm going to hold down command space bar on the Mac or control space bar on windows and then dragged to the right. You see that space in between the lines that's called the gap of the stroke, and right now the gap is set to none or transparent, so you can see right through it to the edge of that little bit of white sticking out. I don't like that. So let's change it. And the way you find Tune Your Strokes is with a stroke panel over here in the dock. You can see down here that the type pop up menu is set to thick, thick and down at the bottom. The gap color is set to none. Now. You could change this gap color to any of your other color swatches, and that would fill it in. But in this case, I'm going to show you a different way to handle this. Instead of changing the gap color, you can change the alignment. In other words, where does the stroke sit on the path and right now you can see that the alignment is set to the centre of the path. But if you click over here on the third button in the align stroke area, you get a very different effect. Now the stroke is aligned it to the outside of the path. Click on the 2nd 1 and it's a line to the inside. I think that looks much better, by the way, if you ever need to make arrowheads, the stroke panel is also where you do that. You just draw a line and then use these controls down here toe add an arrowhead. Now, as I mentioned at the beginning of this movie, you can also apply Phil and stroke to text. Let me show you how first I'm gonna press command one or control one on Windows to jump back to 100% view. Then I'll scroll over to the right. I'll switch to the type tool, and I'm going to select just this e this drop cap. And now, actually, what? I zoom in here a little bit by President, Command plus or control Plus on windows. Once again, I could fill this inside the swatches panel. Or I could use the same filling stroke widgets up here in the control panel, for example, I'll fill this with a different color like blue. And remember how earlier I said you could swap the fill in the stroke? Well, why don't we do that over here in the swatches panel, I'll click that little double headed arrow, and now I've got a dark brown stroke with a nun fill you can literally see right through that text. There is so much more that you can do with fills and strokes, and that's what I'm going to be covering in the rest of this chapter. What's the number one coolest, most amazing feature and in design? Well, XML, of course. No, no, no, I'm just kidding. It's transparency. So let's look at how you can apply transparency, effects toe Any object in the in design. Now, I'd like to apply an interesting transparency effect to this graphic down here, so I'm gonna select it and then zoom into 200% by pressing command to on the Mac or control two on windows. Now we need to open the central headquarters for all transparency effects and that's called the effects panel is over here in the dock, or you can find it in the window menu. This panel lets you apply a transparency effect toe any object on your page, whether it's a graphic frame, a text frame, a line or whatever. Now the first thing we're going to do is change the opacity. That's how transparent this object should be. Right now, it's set to 100% so that zero transparency you can't see through it at all. But if I type, say, 50 in here and then hit, return or enter now, the whole object is 50% opaque or 50% transparent. You can also use this little slider to the right to make it more or less opaque. Now, the second transparency effect you can apply here is the blending mode. That's the pop up menu over here on the left. Right now, the blending mode is set to normal, but you can see that we have a lot of options here. Almost all of the options from photo shop and illustrator show up here, so, for example, we could change this to multiply that kind of burns the image into the background, but I can barely see it, so I better choose something different. Let's try. Scream Screen is the opposite of multiply. It's kind of like shining lights on a screen where multiply always makes an effect. Darker screen always makes it lighter. In this case, I'm gonna try the 3rd 1 overlay. I like that. It's kind of like a watermark on top of water. Now let's go ahead and zoom back to fit the page in the window by President Command zero or controlled zero on Windows. And I'll choose this text frame here, and I'm going to fill this with paper from the pop up menu in the control panel. Let's go ahead and give it a stroke to maybe a thick black stroke about six points. That looks pretty good, but in this case, I would like to see through that white a little bit. Now you could go to the effects panel and change the opacity to, say 80%. But the problem with this is that it makes the entire object semi transparent, even the stroke and the text. I don't want to do that, so let's go ahead and Press Command Z or Control Z to set it back to 100%. Instead, what I want to do is change the opacity of the background, Phil, but not the text or the stroke. Fortunately, the effects panel lets you do that. It all has to do with what selected down here inside the effects panel. Right now, object is selected, and that means the opacity and blending mode are going to be applied to the entire object. But in this case, I want to choose Phil. Now. Any change you make to the effects panel will only affect the fill of this object. So once again, let's change the opacity to say 80%. You might not be able to tell on scream, but believe me, this makes a big difference. The background feel is transparent, but the text and stroke is nice and solid, Of course, in design has a bunch of other transparency features to, like drop shadows. Everybody loves drop shadows because they make things pop. So while this frame is selected, let's go ahead and put a drop shadow behind it. First, I'm going to choose object inside the panel because I want that drop shadow to apply to the entire object. Then I'll click on this little affects menu down at the bottom of the effects panel. You can see all the different transparency effects here. Actually, I should point out that this same menu also shows up here in the control panel. That's convenient. Let's go ahead and choose drop shadow from this menu, and up comes the effects dialog box. This gives you a lot of control over where the drop shadow will sit and how it looks. I like making sure the preview check boxes turned on here so I can actually see the effect . While the dialog box is still open now, most of these features are pretty self explanatory. But one thing I wanted to mention, I almost always like adding a little bit of noise. Just three or 4%. You don't need very much, but it makes the shadows significantly more natural looking. Now we'll click OK, and you can see the drop shadow behind this text frame. By the way, you can see that there's a transparency effect applied to this frame, not just because you can see it on screen, but also because it's over here. Inside the effects panel, see that little FX icon now again, Thes effects aren't just for frames. For example, let's zoom into 200% here with a command to or control two on Windows. Then I'm going to click on text down here inside the panel. And now let's choose another special effect. For example, let's try bevel and emboss. I'm going to make the size of this a little bit smaller. That's a two points and let's go crazy and set the style to pillow in Boss. Now we'll click, OK, and you can see how it applied the effect to just a text inside the frame. Oh, I should point out that you can not apply transparency to individual bits of text like one word inside of a text frame. Just the whole object, all the text inside the frame. And finally, this is an important one. How can you get rid of a transparency effect after you've made it? The easiest way to do that just dragged that little effects icon in the panel down into the trash can. The swatches panel over here in the dock is central headquarters for your documents colors . And as we saw in an earlier movie, you can use it to apply fill or stroke colors, toe any object or text on your page. But what if you get tired of the colors listed here? What if you want more? Well, let's look at how you can create a new color swatch for your document. Whenever you create a new color swatch, you probably want to de select all the objects on your page. Just click out here on the pace board or someplace where there's no objects to make sure nothing is selected. Then open the swatches panel menu in the upper right corner, and you can choose new color swatch Here in the new color swatch dialog box. The first thing you need to decide is what color type to choose. There's two options. Process or spot and spot Should Onley be used If you're going to be printing on a printing press, and you know that your printer is using special Pantone inks those air spot inks or varnishes things like that. Most people don't need spot colors, but if you do want to make a spot color, choose spot and then choose one of the libraries from the color mode pop up menu, for example, I'll choose Pantone plus solid coated. You can type the Pantone number up here, for example. I like Pantone to 86 so I'll just type that and jumps right to it. Now you have a couple of choices. First, you need to decide whether this color swatch should also be saved in a C C library. Sisi libraries air cool because you can use them across not just in design documents, but in photo shop and illustrator and even some of adobe zaps on the iPad. But in this case, we don't want to do that. We just want it here in this document. So I'm gonna leave that off also if you click. OK, right now it'll add that swap should a swatches panel and close this dialog box. So in this case, let's just click Add that adds it to the swatches panel, but it keeps the dialog box open. Now, in the vast majority of cases, you're going to be creating process colors, not spot. So let's change this color mode back to see him like a or you could use RGB if your document is going to be printed. You almost certainly want to use C M Y que colors. But if it's mostly for on screen viewing, maybe printing to a desktop printer that an RGB color swatches fine. In this case, I'm gonna leave it set to see him Y que and I'll set the color type puppet menu back to process. From here, you can define your color. I'll just move these sliders around until I see a color I like Now. I do need to point out, though, that you should be very careful when picking colors on your screen because the colors that you see on screen are probably not going to match what you see in print. Believe me, I've been burned by that one myself. It's much better to pick C M y que colors from a printed Swatch book, such as the True Match or Pantone books, and then type in the values that the Swatch Book tells you to. But however you choose a color, you want to make sure you name it appropriately, like I could call this happy brown color. And once again, let's click, add and then choose a different color this time to name it. I'm going to turn on the name with color value check box and now I'm done, so I'll click. OK, so now we have three new color swatches in the swatches panel. Okay, here's a very big warning. If any object had been selected on my page when I created those color swatches, the last color I created would have been applied to that object. And that's the reason I recommend that you de select everything on your page before you create color swatches. Now let's go ahead and apply those colors, washes toe objects on our page. I'm going to select this text frame and let's make this swatches panel a little bit larger by dragging the lower edge. There's my happy brown color down here at the bottom, but before I click, I want to make sure the swatches panel is set to fill, not stroke. Now I'll click on happy Brown Color, and it applies it to that object. That's great. But now what if you want to edit those colors? What if we didn't get that brown just right? What do you do? Well, you've got two choices. You could double click on the swatch to edit it. But double clicking not only edits it, but also applies that color to anything I have selected on my page, so that can be a little dangerous. Instead of double clicking, I usually right click or control. Click with a one button mouse that opens the context menu, and then we can choose Swatch options. This really should be called edit color, because that's what it is. It lets you edit the color. Let's change the color to something else, maybe a little bit darker, a little bit more green. Then we'll click. OK, you can see that not only was this color change in the swatches panel, but any object that was filled or stroke with that color throughout the whole document is also changed. So the swatches panel is one way to create and apply colors and in design. There's another way to it's called the Colors panel, and then the next movie, I'm going to show you how to use that and why you might or might not want to 9. understanding text wrap, using anchored objects, and advanced character formatting: some people speck out all their colors, far ahead of ever applying them in their documents. Others like working Mawr Inter, actively playing with colors as they lay out a page. And you could work either way and in design. But if you're in the players, you go corner. You're probably going to like using the color panel. Now you confined the color panel by going to the window menu, scrolling down to color and then choosing color again from the sub menu to apply it color to this text frame I first selected with the selection tool. Then, before you choose a color inside the color panel, make sure you go to the color panel menu and choose which color mode you want to use. Usually see him walk A or RGB. You can use RGB if it's an on screen document, but in this case, let's go ahead and choose C. M. Y que. Now, from here, you can dial in the colors exactly the way you want them using the percentages, or you can click anywhere down here in this little color bar. Whatever color you click on is applied to that object. Now, as I've said, before. You need to be very careful when choosing colors from the scream. If you're sending your document to a commercial printer, you should definitely choose your colors in a printed Swatch book. Not trust what you see on screen. Actually, there are two other problems with using the color panel, even if you're typing colors in from a Swatch book first. If I hand this document to somebody else, they would not know if this was an RGB or a seem like a color. And that's because this color doesn't show up in the swatches panel anywhere. Second, the fact that it doesn't show up in this Watchers panel makes it really difficult to apply that same color elsewhere in your document. So if you care about consistency throughout your file, you want the same color on multiple pieces of tax store multiple objects. That's a big problem. So here's what you dio. It's really important if you're going to use the color panel to make these kinds of colors , which are called unnamed colors, by the way, then you really should go to the swatches panel, opened the panel menu and then down here at the bottom, choose add unnamed colors. This tales in designed to go through your whole document and find all the unnamed colors all the ones that you've created with the color panel, for example, and it adds them to the swatches panel, and it links them so that if you change this new color swatch here inside the panel, the frame would change as well. That's good. Okay, if you like working on the fly and you like this color panel thing, there are two other ways of making colors that I want to point out to you. One is the color picker. You can find the color picker by double clicking on the Phil icon inside the color panel or a little icon down at the bottom of the tool panel. Just double click and up comes the color picker, and some people really like this. Maybe because it kind of reminds them a photo shop. But you can click on any color in Here is long as you're aware that just because you click on it doesn't mean you're going to get that on a printing press. But you can just pick a color by clicking on it, and then you can click either OK or add seem like a swatch. That's what I recommend you dio click on that, and it adds it to the swatches panel, so it becomes a named color. Then you can click OK, now. The last Met that I want to show you is using the eyedropper tool, not that tool inside the color panel, but the actual eyedropper tool over here inside the tool panel. Now I should point out that the eyedropper tool and the color theme tool both occupy the same place in the tools panel. So if you don't see the eyedropper tool, you might have to click and hold for a moment and then choose it out of this little pop up menu. Now the great thing about the eyedropper tool is that you can pick up a color from anywhere on your page. For example, let's click on this green color from inside this image skin. You'll notice that the eyedropper cursor is now changed. It's black. It's like filled with that color. So in order to pick up a different color, you need to hold down the option or all to key on your keyboard. That changes it to a white or empty eyedropper. So, for example, let's try clicking on a different color, and you can see that the color updates automatically as long as you're holding down that option or off key. Now, once again, this is still an unnamed color, so we really should go back to the swatches panel, open the menu and choose add unnamed colors. Now that color shows up in the swatches panel as well, so we can breathe easy. Personally, I rarely use any of these methods to create colors. I'm in the camp that believes you should set up your colors in the swatches panel first, but if these tools work for you, then go for it. Grady INTs or blends or vignettes or whatever you want to call them. Everyone loves using color Grady INTs. But to be honest in design is kind of clunky when it comes to making and applying them. I have the magazine document open from my Exercise Files folder, and I'm going to jump to the last spread by clicking this little button in the lower left corner of the document window. Now I have a frame back here that I'm going to select, and I want to put my Grady in into that frame to do that. Open the Grady INT panel over here in the dock. The easiest way to put a Grady int into that frame is to just click this little Grady an icon here in the left side of the panel. You can see that we now have the default white to black Grady and applied to this object, which is fine but kind of boring. Let's spice it up a bit. Now you can choose whether you want this to be a linear ingredient or a radial Grady int. That's kind of cool, kind of an ellipse inside the frame. But I'm going to set this back to linear because it's easier to work with. Now you need to pay attention to the Grady Int ramp down here at the bottom of the panel. In fact, I'm going to drag this Grady int panel out by grabbing its little tab at the top. Let me just floated over here. Now I can close this panel. There we go. Now, these little doodads underneath the grating ramp or bar are called Grady Int stops. Those control the colors for example, you could click on this black stop on the right and then change its color in several ways. If you have the color panel open, you could just pick a color from there. Or, if you know you want a color that's already in your swatches panel, you can come over here. Open your swatches panel. Let's scroll down to the color you want and then hold down the option key on the Mac or all turkey on windows and click on the color swatch that applies that color swatch to the Grady int stop. You can also apply morgue radiant stops down here simply by clicking anywhere along the Grady Int ramp along the bottom. As soon as you click, it adds a great didn't stop. So now we could change this to yellow, for example, by option or alter clicking on that color swatch. Now our blend is going from white to yellow to red. And of course, you can move these Grady and stops around to change the effect. Now we have a little bit more yellow. Now we've got more red. You can also change these little diamonds up above the bar when you drag a diamond, you're changing what the halfway point is between the two. It's almost like pulling the middle of a rubber band back and forth. If you drag it to the right, you get more yellow and drag it to the left. You get more red now. In this case, I actually want white to red. So let's get rid of this yellow Grady Int stop simply by clicking on it and pulling it off of the ramp. So this is pretty good, but I'd rather the blend go from the bottom to the top, and you can do that by adjusting the angle field here, for example, all type in 90 and then hit, return or enter. That's good. But actually, I wanted the dark part on the bottom so you could type minus 90 degrees. Or instead, I'm just going to click this reverse button down here that swaps those two Grady int stops . Okay, that's the basics of making a Grady int, but a couple things you should know. First, there's no way to set the Grady. It's opacity in design, does not let you choose transparency inside of ingredient so it can't go from white to transparent. For example, if you need that kind of effect, you'd have to use one of the transparency effects, such as feathering. Also, once you make one of these, you're probably going to want to use it again somewhere else. So the good news is that you can save Grady INTs as swatches. To do that, make sure the object that has the great into selected and then open the swatches panel menu and choose new Grady INTs. Watch. You can see the Grady it reflected down here. Same stops, same colors. But one thing is missing. You cannot save an angle. Ingredients watch. I don't know why its first trading. So it always goes from left to right. Of course, it's always good to name your swatches something reasonable. So I'll call this white to red and then click OK to save it in design does have one other Grady Int feature that you should know about. It's the Grady Int Swatch tool, and it's over here in the tool panel, the great aunts watched Tool lets you really find tune the way you want your Grady in tow. Look, here's how it works. After you select an object like this frame, you click where you want the beginning point to be and then dragged to where you want the ending point to be. So that's kind of cool. Let's try it again. Ah, click and drag, click and drag. Great blends or Grady INTs are certainly the trickiest color feature and in designed to get right. But if you practice fine tuning them and using that Grady INTs watch tool in the great Ian Pannell, you'll soon become a blend. Master in Design has a wide variety of drawing tools, including a fully featured busy, a pen tool just like Illustrator. Now I wouldn't use in designed to do a detailed technical illustration, but it's perfect for basic drawing, such as most logos and relatively simple shapes. Let me show you how it's done. I have my magazine document open from the Exercise Files folder, and I'm going to hold down command space bar or control space bar on Windows, and I'll just click a few times in this upper right corner to zoom in here, give myself a little bit of room to draw. Also, let's open the view menu in turn off match paste Board a theme color. I just find it easier to work on this pace board that way. Now, over here in the tool panel, there are several tools that let you draw shapes. For example, the line tool, the line tool just draws simple lines. You can draw any angle you want. Of course, this line has no stroke, so it's basically invisible. That's not helpful. Here's a quick trick. Press the D key on your keyboard, and it assigns the default coloring, which is no fill in a one point black stroke. In fact, if I d select everything by pressing command, shift A or control, shift a on Windows and now press the D key, it assigns that same default formatting as my default for the document. So all lines, from now on, we'll have that formatting. Okay, let's draw another line. Noticed that if you hold down the shift key, it constrains the angle toe either horizontal, vertical or 45 degrees. Also see how it now has that black stroke. That's good. Next on down the tool panel, there's another tool, which is a little more interesting is the pen tool. This lets me click and drag to create busy A curves. All you need to do is click and drag, click and drag to simple is that now you might use a line like this for text along a path toe. Edit this path. You want to use the direct selection tool, also called the White Arrow tool, the 2nd 1 in the tool panel. When you choose the direct selection tool and Crestor cursor over a path it highlights now you can drag points along the curve. They're handles, or even the segment between points that changes the curve. Now here's another way to change the path. Let's switch back to the pen tool and now notice that whenever you place your cursor on top of the path it changes, you get a little plus sign next to it that indicates that it's actually going to add a point, are quick and drag, and you can see that it's adding a point onto that curve. On the other hand, if I move my cursor on top of a point that's already there, the cursor changes to have a little minus. And of course, that means if I click, it'll go away. Here's another trick. Whenever you're editing a path with a pen tool. You can always hold down the command key on the Mac or control key on Windows, and that switches you back to the last used selection tool in this case, the direct selection tool. And that way you can drag these points around. Even while you still have the pen tool, for example, I'll change this curve. Then, when I let go of the Commander Control key, it reverts back to the pen tool. Okay, let's draw some more paths. I'm simply going to click out here and click a few times, and you can see that you can very easily make a path with sharp corners. Then, when you're done, you can either switch to a different tool or command or control click in a different area to finish the path. In this case, I chose the selection tool, so I'm going to go to the object menu, come down to the Paths sub menu, and you can see that we have a bunch of different path features in here. This, that's you join two paths or you could close the path, you know, like turn it into a closed frame there are other path tools here to, like convert shape. I find these things really helpful. For example, it's very hard to draw a perfect triangle and in design. But if you select this mow boom, it's easy now. As you can tell, I'm not the greatest artist, but I do find these pen tools useful inside of in design, especially when I already have a frame that I want to tweak a little bit. You know something I want to make a little bit more interesting. For example, I'm going to scroll down here, and I want to make this text frame a little bit more interesting, something that will give it a little flare. So I'm gonna head over to the tool panel and choose the pen tool. Then I'm going to hold on the command or control key and click once on top of that frame that selects it. Now place that pencil right over the left edge of the frame and click and drag notice as I drag. It changes. The shape of the frame is still a frame, but the text will re flow into this new shape. Now that's much more interesting, of course, If you really need heavy duty illustration tools, you should switch to Adobe Illustrator. But in most cases, when you're just trying to make your design look interesting in design gives you everything you need. In the last movie, I discussed how to change the shape of objects on your page. Here's another way to change the shape, but this time we're only going to be changing the object corners. So I have my magazine document open from the Exercise Files folder and let's just jump to the first page of the document by choosing that from the layout menu. I'm gonna select this brown frame over here. And why don't we also press the W key to go into preview mode, which hides all those frame edges a little bit less distracting? And I'm going to zoom into 200% by President Command or Control, too. Okay, I want to change the shape of the corners on this object, so I'll head up to the object menu and choose corner options. Up comes the Corner Options Dialog box, and right now all four sides are set to sharp edge corners. But if you click on this little pop up menu. You can see that you can change this to fancy bevel inset, inverse, surrounded or rounded. Now most people just go with a rounded corner. So let's choose that, and you can see that when I choose it, all four of them have changed. You see how all the pop up menus air now rounded? That's because I have this link icon turned on. If you want to affect some corners and not others, you can turn that off. For example, I want to have a sharp edge in the lower left corner and also in the upper right, so I'll set those to none. Now, my upper left and lower right corners are supposed to be rounded, but it doesn't seem like they're rounded right. That's because of the radius value. Right now it's set to zero, so that doesn't help. You can think of this number as the radius of a circle that's placed in that corner. So, for example, if I set this to say 30 points in the upper left and lower right and then turn on the preview check box, you'll see. Now we have rounded corners, so that looks pretty good. But There's another, more interactive way. You can change the corners as well. Just click on this little yellow box in the upper right corner of the frame, and when you do that, you get four diamonds, one in each corner. That indicates that it's changed into the corner editing mode. The's yellow diamonds determine how each corner is going to appear. For example, if you drag this yellow corner up in the upper right corner, suddenly you have rounded corners on all four sides. Now, if you want to change the radius for just one single corner, hold down the shift key when you drag shift, drag lets me change the radius for a single corner without affecting the others. Now I should tell you that one of the coolest things about this corner options feature is that it doesn't only work on frames. You can use it on open paths as well. Here, let me show you. Let's scroll over to the paste board here with the option space bar or all space bar on windows, and then I'm gonna press W to jump out of the preview mode. Now let's choose the pen tool and with just a few clicks. I can make kind of out lightning bowl effect. I'll choose my selection tool hit the D key to apply the default formatting of a one point black stroke. And then let's go to the object menu and choose corner options. You'll notice that some of these fields air great out because in design knows that this is not a rectangular frame. But we can still change this to round it. And we should probably increase this a little bit. Maybe 24 points. And you can see that now all the corners have changed. They've all been rounded. Now, technically, these air still sharp corners, for example, click OK, switch back to my direct selection tool and you can see the original points. In fact, let me show you. I'll click out here on the paste board to de select this, then click once on the path, and now you can see that I can actually change this point on the curve. Even though I moved the point, it automatically updated the round corner. These kind of corner effects make it so easy to create great looking layouts and even better quickly update them later in an earlier movie, I mentioned that I can't draw very well. Unfortunately, we all have a huge library of cool shapes that somebody else drew for us. They're called fonts now in design lets you convert any text from any font into an editor bill path. In fact, there are two ways to convert text outlines, converting a whole frame or converting just some selected text here. Let's go ahead and select this text from the exercise file, and I'm going to zoom into 200% by pressing command or control, too. First, let's convert just a single letter to an outline. I'll double click on this text frame to switch to the type tool, and then I'll select this letter are now Let's head to the tight menu and choose create outlines. But when I select it, watch the spacing around that letter are. See how it changed a little bit. The space between the our and the letters around it got smaller. That's because back when this are was actual text in design could Kurnit properly with the other letters. It was adjusting the space between the characters based on information in the font. But now that this letter has been converted to outlines in design, doesn't know how to space it properly because it's not really text anymore. Now we can see that this is actually an outline by selecting the direct selection tool in the tool panel and then clicking once on that character, see all the little busy eight points on there. You can also see a little anchor icon attached to it, which means that this object is anchored inside the frame. I'll be talking about anchored objects in a later chapter. Now it's relatively rare that you'd want to convert a single letter or even a single word into outlines within a text frame. But there are times that you'd want to do it. For example, let's say you want to apply a particular transparency effect on Lee to that letter. To do that, you could head up to the control panel and say, Click on the little drop shadow button that puts a big, clunky drop shadow just on that one character. The outline text acts kind of like its own object inside this text frame so that you could apply an effect to it without affecting the rest of the text. in the frame. Okay, let's see the other way of converting text outlines. I'm gonna undo this by pressing Command Z or control Z a few times. That gets it back to the way it was. Now let's select the entire frame with the selection tool because we have the whole frame selected. When we go to the tight menu and choose create outlines, the spacing won't change. That's because all the text in the frame has been converted to outlines. I'll switch over to the direct selection tool, and you can see all the busy eight points on those paths. Now people have different reasons for converting text outlines, for example, sometimes you might want to change the shape of some text. I'm gonna de select this by pressing command, shift A or control shift A and then with the direct selection tool. Let's drag some of these points around. You can see you could make some really strange effects. You could also use the pen tool toe, add points or move points and edit this in all kinds of ways. So that's interesting. But really one of the best reasons to convert text outlines is to put something inside those outlines. For example, let's go back and choose the selection tool, then head up to the file menu and choose place. I'm going to grab one of these images just by random and then click the open button. You can see that in design treats thes outlines as a graphic frame, and it fills it with the image, which gives these letters are kind of interesting texture, So this is great for a special effect, but I want to be clear here. I do not recommend people converting a lot of their text outlines. For example, if someone tells you that you should convert everything in your document outlines, you probably should not do it. It's a very bad practice and almost always unnecessary. Plus, you may lose some really important stuff when converting text outlines, for example, I'm going to scroll over to the right here and let's convert one of these frames outlines. I'll select it with a selection tool, go to the tight menu and choose create outlines. As soon as I did that, something terrible happened. Sure, all the text was converted to outlines, but we lost a lot in the process. For example, that line along the left edge disappeared, and the reason is that that line was created with the border feature. That's a feature I'll talk about in a later chapter, but because it was part of the text and because borders and rules and background colors all disappear when you convert toe outlines, you're likely to completely mess up your design. If you convert everything outlines. You really have to be careful with this feature. But for the occasional letter or word something that you want to apply some kind of special effect, too well, create outlines is great for that kind of thing. 10. Using find fonts & formatting a paragraph: it seems like nothing's ever just the right size on your page, but that's okay. We can resize it. Let's talk about how to scale objects and what kind of gotchas you need to look out for. Actually, the first gotcha is staring right at us. See up here when you select an image, it says the scaling is 100% but I am positive that this image is scaled down. So what's going on there? Well, when in design scales airframe, it almost always sets this value back to 100%. But that's just a frame. The image inside the frame is not necessarily 100%. So remember, you can double click on an image with a selection tool to select the image inside the frame . And then if we look up in the control panel, we can see that this image inside the frame has been scaled down to 37%. Then, if you double click the image again, it goes back to the frame and you can see that this is at 100%. It's just something you need to be aware of most of the time when I want to scale an object or a group of objects. I just use the selection tool. Just click on the object, and then you can drag a corner handle. But that doesn't resize the contents. It just changes the size of the frame. So let me undo that Command Z or Control Z on Windows. In order to resize both the frame and its contents, you can hold on the command key on the Mac or the control key on Windows. That tells a selection tool to scale both the frame and what's inside the frame. So I'll command or control drag on this corner handle. But this scales it disproportionately, so we'd better undo that command or control Z. So instead, what you should do is add the shift key command shift or control shift that scales it proportionally. Now, if you need more precision instead of just dragging and eyeballing it, you can scale using the control panel. But before we use the scale features here, you want to make sure that the reference point is set properly. That's this feature way over on the left side of the control panel. The reference point tells in design what should anchor that is what should not move. Everything else will scale around that point. Right now, it's set to the centre and that's not right for this. I want the upper right corner to stay fixed, so let's click on that now. We could come over to the scale field and change this from the pop up menu or just type of value you want. I'll choose 75% but, as I said earlier in design automatically resets this back to say 100%. Now I want to point out one last option for scaling because it's not immediately obvious. I happen to know that I want this to be exactly 884 points wide. But don't try and set that up here in the with field, because that will just change the frame. It doesn't scale. So instead of typing it in the with field, you should use the scale field. For example, let's change this 100% here to say 884 points. We could just type that in now. This is a little strange. I'm replacing a percentage with an absolute value, but it works because when I hit return or enter the whole thing. Get scaled to that size. Of course, you could scale your texts and vector art like Illustrator aren't all you want but scaling bit mapped images like this Photoshopped JPEG image here. It does have an effect on its quality. If you scale a bit mapped, image up, the resolution goes down, scale it down in the resolution goes up. It's just something to keep in mind when scaling objects on your page. Okay, now let's rotate this frame down here. The easiest way to do that is to go up to the control panel and click on one of these rotation buttons. This one rotates counterclockwise, and this one to the left rotates it back clockwise. Now both of those go in 90 degree increments. If you want to rotate it in more fine increments, you can move to the left just a little bit and change this field here. That's the rotate field. You've got a pop up menu here, from which you can choose presets, or you can just type in your own value over here, like 25 degrees now when you hit, return or enter, why did this rotate around the upper right corner. Why was it anchored there and not someplace else like the middle? Once again, it's a reference point on the left side of the control panel, So let me undo that with a command Z or control Z. Now I'll click on the center point, go back and change this to 25 degrees once again. There you go. It rotates around the center. Of course, if you like working Mawr Interactive Lee, you can also select an object with the selection tool and then move your cursor just outside one of the corner handles. When you do that, the cursor changes into this little double headed arrow that indicates that if you click and drag, you'll be able to rotate it. But in this case, it always rotates around the center Point. Now, notice that while I'm dragging, you can see a tiny little displayed to the right of my cursor that shows you exactly what the angle is at. Then, when we let go, you'll see the object is rotated. Scaling and rotating your objects is essential when laying out your pages. Now, in the next movie will look at another important skill, making copies of your objects. There are more than a dozen ways to duplicate something in in design. My favorite way to copy and object is to select it like this frame here and then hold down the option or the old key and drag. Now, In this case, I'd like my duplicate to be exactly lined up with the first. So let's delete that by pressing the delete key on the keyboard and then try this again. This time, instead of just holding down the altar option key. Let's add the shift key option, shift, drag or all shift drag on windows. When you do that, it duplicates it and keeps it in perfect vertical or horizontal alignment. And when you see those little green smart guides, it means that the space between our new object and the one to the left of it matches the space between the other frames. Now another way to get a copy is just to use copy and paste right. But there's an even better paste feature that you should know about. Check this out first. Let's go ahead and jump to the second page of this file by pressing shift page down. Then let's select these two frames by clicking on one and then shift clicking on the other , and I'm going to copy them to the clipboard with a commander Control. See, I want to put these on the next page, So let's shift page down again. I would like to put those same objects in exactly the same place on the page here, but when you press Command V or Control V, it doesn't put them there at all. It centers them on the screen. That is really annoying. Let's go ahead and delete those this time instead of pasting. Let's go up to the edit menu and choose something different. Paste in place, Pace in place, tells in designed to remember where it was when you copied it, and it puts it in exactly the same location. Now I do need to point out that if this were a facing pages document, one that has a left hand in a right hand page, then same location means the same place on the same side page. So if I copied this off a right hand page and used pace in place on a left hand page, well, it's probably going to end up on the pace board, but in this case, it's a single cited documents, so we don't have to worry about that. Okay, one more way to duplicate objects because it is important. Let's select this image here and now I'll go back to the edit menu and choose step and repeat. Step on repeat is a great way to make a lot of copies. At the same time, you can make it either repeat in one direction or as a grid. Let's start by specifying how far down we want each object to go. How about we set the vertical offset to 14 pike and nine? Of course, you could use centimeters or inches or whatever you want. Now that's tab to the horizontal field and set that to zero. When I press tab again and I'll move this out of the way, you can see that in design. Made a copy of that object at a precise location on the page. Now we can choose how many copies we want right now, it said to just one. But let's bump this up to to, Of course, we can see what we're doing. Because the preview check boxes turned on in the dialog box. Now let's turn on, create as grid and let's change the horizontal offset as well. I'll make this 15 pike and nine, and let's make this a three by three grid. You can see that this is a great way to make a grid of duplicates. As you work in in design, you'll find yourself making copies of objects all the time because once you go through the trouble of getting one object to look right, it's just easier to duplicate the whole thing and then edit it. So no wonder there are so many ways to make copies. And in design, every object on your page is in a stack. It's like each object is a separate piece of paper in your document, and you can move them above and below each other. Now, here in the interactive document from the Exercise Files folder, let's jump to Page four by choosing it out of this little pop up menu in the lower left corner of the document window. Let's select this image here, but when I click on it, you'll see that the image is not selected. The text frame on top of the images selected. So how can you select what's behind that frame? Well, you could just click down here, of course, but let's pretend that this frame was totally covering up the image so you can select through one object to an object behind it by holding down the command key on the Mac or the control key on windows and then click Commander Control. Click once, and it selects through that frame to the next object down. Commander Control. Click again, and it selects the frame in the back. If I do it one more time, it re selects the top most object. That's because there's no more objects behind it. All right, one more Commander Control Click. Now that we have that image selected Weaken, go up to the object menu and choose from the arrange sub menu. Inside the arrange sub menu. You have several options, including bring to front and bring forward Let's try, bring forward. But it doesn't seem like anything happened, and that's because the stack is based on all the objects on the spread. That is, it did move on top of some other object, but we have no idea which one. However, if we go back to that object menu and choose, arrange, bring to front. Well, now it moves all the way to the top. It's on top of all the other objects. All right now, I'm going to click this gray box in the background. Let me go back to that arrange sub menu. Something's interesting here. You'll notice that send it back is not great out. That means that it's not actually the back most object on the spread. So let's go ahead and send it all the way to the back and wow, check that out. There was another object hiding back there. Now what would be really cool is if we could get some kind of visual on these stacks, showing us exactly which objects are above or below others, and then allowing us to control this visually instead of haphazardly with that menu command . And we're in luck because in design does offer that it's called the Layers panel in a complicated layout. It's always a good idea to create at least a couple of layers and then use them to organize your objects. Now every document starts with one layer called layer one. You can see that by opening your layers panel over here in the dock, there's Layer one, and all of our objects are currently on that layer. So let's start organizing this document by creating a couple more layers. First, I'll open the Layers panel menu and choose new layer, and we can give us a name like images. I'll click OK now. Another way to make a layer is to hold down the option or the all key and click the new layer button at the bottom of the panel that forces in designed to open the new layer dialogue box and this one I'll call text. Okay, so now we have three layers. So how do we get objects onto those layers? Actually, let's jump to the fourth page of this document by pressing command or control J and then typing four and then return or enter. Now, if you select one of the objects on the page, you'll see that in the layers panel, this little blue square lights up. That square is a proxy for whatever is selected on the page right now. And if you drag that square from where it is right now up to say that text layer. Then we can see that the Blue Square turned green and the object changed color as well. Now the object itself didn't change, but the frame edge highlighting did the edge. Highlighting always reflects the color of the layer. That text layer right now is green, so this object highlights is green again. The color change does not affect how this document will print or export to. Pdf it on Lee changes it on screen. All right, let's go ahead and move these pictures by clicking this one and then shift clicking this one. Then I'll drag that little blue square up to the images layer. If you were paying attention in the last movie, you know that there's another image hiding behind this one. So let's command or control. Click here to select through that object to the image below, and we could move that one up a swell. Now the text frame is still overlapping those images, and of course, that's because the text layer is sitting above the images layer. But we could move the text down below the images by clicking and dragging the whole layer down until you see a solid line between the layers. There you go. By the way, in the last movie, I talked about the sender back and bring to front features in the arrange sub menu. All of those commands refer just to the current layer, so send it back doesn't actually mean behind all the objects on the page. It just means send to the back of this particular layer. I just wanted to be clear about that now. The Layers panel gives us even more control over this document. For example, you can click these little ibo icons in the first column to show or hide all the objects on that layer on a complicated layout. When you're trying to manipulate a lot of objects being ableto hide all the distracting items is really helpful. But let's go ahead and turn this one back on. You can also lock these layers by clicking in the second column here that locks all the objects on that layer, and you can see that anything that's on a locked layer cannot be selected. For example, I clicked here on this image, but it selected right through it to the text frame below. Let's go ahead and unlock that now there's a couple more layers tricks that you should know one is. If you want to select all the objects on a particular layer, you can just click on that little selection proxy square over in the right column that selects all the objects on justice. One spread. The second trick, I want to point out is that you can double click on a layer toe, open the Layer Options Dialog box. Here you can change the name, the color or even various behaviors. For example, let's turn off the print layer check box and then click OK. This means that all objects on this layer will display on screen. But if you print or export of pdf, those objects will just disappear. Now you could see an indication of that in the Layers panel because the word images is in italics. A talic means they're non printing now. Whether you use lots of layers or only one, the Layers panel has one more super important trick up its sleeve. It lets you see and manipulate the stack of objects inside each layer, and you can do that by clicking this little triangle next to the layer. Name every object on my page or spread shows up here inside the layer, and we have the same controls that we had for layers, like being able to lock or unlock or even make objects invisible. This also gives us fine control over our stacking order because we could just drag these objects up or down, or even onto another layer. As you can probably tell, I'm a fanatic for having total control over each and every object on my page. After all, without control, how can you manage your design? I encourage you to use this layers panel, especially when you're working with complex layouts. One of the signs of professional design is the precision and consistency of how you align your objects on the page. So let's take a look at some great tricks for ensuring your objects lineup. First, let's open the pages panel, and I'll double click on Page five to jump to it. We have three images here that I want to align, and as we drag one of them, you'll see this little lines flash on and off the screen. Those air smart guides and they make life so much easier. For example, let's drag this until we see a magenta line appear, that means it's centered on the page. If I drag up a little bit, you'll see some green lines. Appear to those green lines along the top, middle and bottom of this object, and the one to the left means those two objects are lined. Now check it out. Let's track this other object until it'll lines with the others. But now, if you squint, you can also see too little double headed green arrows. Those arrows mean that the spaces between the objects are equal. That is super helpful. Smart guides are great for aligning two or three things, but if you had a lot of objects will line. It's much easier to use the Align panel. For example. Let's go ahead and Messi's up again, Then let's like all of them by shift clicking on them. Now we'll go to the window menu, come down to object and layout and choose a line that's moving off to the side a little bit . Okay to align these along their top edges, you can just click this button here. One click, and they're all aligned next to distribute the space between them equally so that we have the same amount of space between each one. You can click on the distribute horizontal space button. Notice that I'm not using the distribute objects buttons up here. A lot of people make that mistake. You want to use the distribute spacing feature because that means make sure there's an equal amount of space between each object. When you do that, the left and right objects remain exactly where they are, and the other objects move so that we have equal amount of space between them Now. Sometimes it's helpful to specify an exact amount of space that you want between objects. For example, maybe you want to millimeters between each of these graphics. To do that, you need to turn on the use spacing check box, then type the value inside this field. I'll just type two millimeters. Now click on the distribute spacing button again. I love that kind of precision. Okay, here's one more alignment trick that I need to show you. I'm gonna mess these up one more time just by moving these all over the place and now also like all of them by dragging a selection marquee over them and thisted time. I want to align to the bottom of this one, the one in the middle. First, let's turn off the use spacing check box down here. Now you'd think that you could just click on the Align bottom edges button here. But actually that would align to the bottom edge of this one down at the bottom because a line bottom always aligns to the bottom. Most object in the selected group, just like a line left, always alliance Little left, most object and so on. But in this case, I wanted to align to the object in the middle. So to make it a line on that one, you need to do one more thing. Before you click that button, you need to click the object. When you do that, it highlights with a heavy outline. Now this object is the key object, and all the other ones will align to it. I'll go over to the panel and click the button, and you can see that all those objects aligned to the one that I had selected you know, whenever you have two or more objects that need to stay together on your page, you might consider grouping them. So, for example, I never want one of these images to move without the other. So while they're all selected, I'll go up to the object menu and I'll choose group. Or you could press command G or controlled Jeon windows. You can always tell a group on your page because it has this dash line around it. Then if you drag any one of these objects, the other one's move to they always move together. In fact, in design actually treats this group as a single object. Now grouping is great, but it does come with one limitation that you should know about. All the objects in a group have to be on the same layer. If they're not on the same layer, grouping will actually put them on the same layer. I love in design because it gives me incredibly precise control over every object on my page, which is exactly what I need to build high quality documents 11. Using drop caps, adding rules and setting tabs: How do you get text to run around something on your page? For example, I want this text to run around this flower. How do you do that? Well, you need the text wrap panel and you can find that in the window menu. Just choose text rap. Next, you need to select the object that you want to cause. The rap, in this case is the image, and then you need to choose one of these textract buttons at the top of the panel. But first I want to point out that in design conduce text wrap, whether the images behind the text frame or on top of it, it doesn't matter now. This first button here, that means no rap. That's what we have right now. There's no text runaround going on right now, But if you click the second button, well, that means wrap around the graphic frame, the whole frame that looks great. You can actually see the text wrap area here with this light blue line. It's blue because it's on the blue layer right now. Now, if you want to find tune that text wrap, you can adjust the fields in the middle of the panel. Right now, it's set to 10 points. And remember, if you click on the Link icon in the middle, that means you can change those values independently. For example, I could set less text rap along the bottom edge. In this case, though, I don't want a rectangular wrap. I wanted to wrap around the flowers, so we want the third button wrap around the object shape. Now here's the problem. It did wrap around the image, but unfortunately, graphics are technically almost always rectangular, so we need to tell in design. Don't be so literal. Wrap around what the graphic looks like. That is the shape of the flowers, and we can do that by changing the Contour options pop up menu down here. Right now, it's set to Samos clipping, and this image doesn't have a clipping path, so that doesn't really help us. No, What we want is detect edges that asks in design to go in and find the edge around the image that looks much better. But let's increase the value in this first field. Here we only get one field to work with because it's a non rectangular rap. I'm just going to click the up arrow here and you can see the text wrapped grows. That looks good. Now there are some other options in this panel that you should know about. First, see how the rap to pop up menu is set to both right and left sides. Sometimes that causes problems in some layouts because the text will flow on both sides of an image so you can change this toe force the text of flow on just the right side or just the left side. In this case, let's leave it alone. Oh, also, I didn't mention these last two buttons in the text right panel option number four means jump over. In other words, there should never be any text on the left or right side, and the last button here means skip to the next column, which forces the text right out of the text frame. I find that both of those options that jump over or that pushed to next column are really most helpful when laying out books. So it's great that text wrapped forces text to run around an object, but sometimes it can get you into trouble. Let me show you what I mean, see this little frame here? Kind of a caption that zoom in on that by president, command or control, too. If I move that frame on top of the image, something happens. That text gets over set. See the oversight mark here It was literally forced out of the frame. And of course, that's because the flower image has text wrapped turned on. I want the text rap on, but I don't want the text wrap toe affect this little caption here. So we want to make an exception to the text wrap. Here's what you dio. While that frame is selected, go to the object menu and choose text frame options. Then inside the text frame Options Dialog box, you can turn on this check box. Ignore textract when you turn that on and click. OK, then this text frame will never be affected by text. Drop on my page. So these textract features do take some getting used to. But I love the way that the tech shop panel let's me precisely manage where my text will and won't flow on the page. This photo has been placed on my page and given a text wrap so that the text flows right past it. And this layout looks pretty good right now. Let's go ahead and zoom in by pressing Commander controlled, plus a couple of times, so great. But now what if we need to edit the text? The graphic and the text are supposed to stay together. But if I grab my type tool, select some text and say, Delete it well, now we have a problem. The text moved, but the graphic didn't. So how can we tell the picture to move along with the text? To do that, we need to make it an in line or anchored object first. Let's undo that to get our text back. To turn this frame into an in line object, I first need to select it with the selection tool. Now I'm going to cut it to the clipboard with a command or control X. Next, let's give it its own line, its own paragraph to sit on. So I'm going to grab the type tool click at the end of this first paragraph and hit, return or enter. Finally, I'm going to paste this in with Commander Control V. When you cut or copy with a selection tool and then paste with a type tool, the object becomes an in line object. It's sitting right there on that paragraph as though it were text. Now it doesn't look quite right, of course, and that's because this paragraph has absolute letting. That is, if I come up to my control panel and click on the character formatting mode I can see in the leading area. This paragraph has 13.75 point letting, but we can change that. I'll click on the pop up menu and choose instead auto letting. I almost always use an actual value for letting. But this auto letting feature is great for in line objects because it says, Well, just take however much space you need that's also go back to the paragraph formatting mode and center. This that looks much better Now. Remember, this object is in line, so if I make that same kind of edit like taking out a bunch of text, it'll flow with the text. If I add text simply by typing some gibberish here, you can see it moves down the page. It's important to remember that Inland Objects act just like a character of text. Okay, let's look at another example. I have a couple icons over here in the right margin, and I'd like to anchor those to the text. I could use that cut and paste method that I just showed you, but I'm gonna show you a different method. I'm gonna grab the selection tool and click on one of them. Now see that little blue box in the upper right corner? That's the anchor box. And when you dragged that little box into a text frame, something interesting happens. You get this dark black line. That line means this is where it's going to be anchored. But before you let go over the mouse button, you need to make a decision about if you want that object to be in line so that it actually moves into the frame at that position or if you want it to be anchored to that place. But stay where it is to leave it where it is. Just let go of the mouse button. See how it doesn't seem like anything's changed. But it did. It's anchored to the text where I dropped it. You can even see in the upper right corner. That blue box has turned to an anchor icon. Also, you might see this dash line that indicates where the object is anchored. If you don't see that, it means that your text threading is turned off. You can turn it on and off by going to the view menu, choosing extras and then choosing hide or show text threads. I'm gonna leave it turned on, because I like seeing that now we can still drag this anywhere we want on the page and it'll stay anchored. But if I grab my type tool and edit some text up here, you can see that it will move up and down the page. It won't move left or right, though. Okay, now let's anchor this object down here. I'll grab my selection tool, Select it and let's go ahead and zoom in just a little bit more. I just press command or control. Plus, this time I'll grab that anchor box and drag it to the beginning of this paragraph. But before I let go of the mouse button, I'm going to hold on the shift key. The shift key tells in design to make this an in line object, so it's treated just like a character in the story, just like that photo of the flowers earlier. But in this case, it's on the same line is the text now that I gone is too high, so you can just drag it down a little bit and let's go to the window menu, choose text wrap and then click on the second button to turn on the text. Wrap around that object now. One last thing. I should point out about these anchored objects, and that's how to get them unanchored again. To do that, you simply select the object with the selection tool, cut it to the clipboard with Commander Control X and then paste it with Commander Control V . This object is no longer anchor to the text Now there's a lot more that you can do with anchored and in line objects in your documents, but I think you can see that setting up these kinds of relationships between text and objects can really speed up your production work. In an earlier chapter, we looked at the basics of character formatting, including setting the font size and letting Now let's look at a few more important character styling options that you have. I have the type tool selected, and I'm going to come down here and select this heading inside this text frame. Then let's zoom into 400% by pressing Commander Control. For now, you remember that letting changes the spacing between lines of text, right? But what about changing the spacing between individual characters? I'm going to go up to the control panel, and I want to make sure that I'm in the character formatting mode. That's the button with a little A on it. And now let's take a look at Thies to pop up menus over here. The 1st 1 on top is Kern Ing and Kern. ING lets you adjust the amount of space between two letters on a line. The 2nd 1 is called Tracking. Tracking is the same as Kern ing, but it goes across a range of text. In fact, some people call tracking range churning, and technically they are both doing the same thing, adjusting the amount of space between characters. But again, you usually use Kern ing for just two characters at a time and tracking for more text. In this case, let's say We want to make the whole line tighter or looser. You could do that to the selected line by using the tracking field. I'll just choose the pop up menu and choose a value here, like 50 that opens it up a little. Now to the left of those fields are some buttons that make the characters look different, like superscript or small caps. Here, let's click this 1st 1 You can see this makes the text look like all caps under the hood. It's still upper and lower case, but it shows up as all caps here. There are a number of other character formatting attributes that you'll probably never use in here or perhaps should never use. Like over here in the middle of the panel. This field here, that's the skew or sheer field, and right now it's set to zero degrees. But if we set this to say 15 and hit, return or enter, you can see that it skews or shears the text to the right. It almost looks a tallix, but this is not a true italic. This is a fake italic. Some people call it oblique. If you have a really italic version, of your font. You should use that instead. Oh, back to these buttons. Here's a feature that you almost certainly will use sometime. The underlined style. That's this tea with an underscore. Let's click that. The problem is, the default underscore is usually kind of clunky. Fortunately, in design gives you some controls over how the Underland should look. Now you confined those controls in a couple of places. First, if we move all the way over to the right side of the control panel, there's a little menu button. I'll click in that. And here's what we're looking for underlying options. But the truth is, I don't usually choose underlying options from this menu, And that's because it's easier to just hold on the option key or Altan Windows and then click on that underlined button that forces in designed to show me all of the options, we can see that the underlying on check boxes turned on here in the dialogue box. Now let's go ahead and change this to something different. For example, let's change the color to something. How about this kind of dark pink color? Also, we could make this thicker maybe two points and even change the style. I'll choose this wavy line style down here. I should also change the offset. That's how far away from the baseline, the bottom of the text that the stroke is going to set. I'll choose two points as well. Now let's click, OK, and I'll click off here so we can see the result Well. We've looked at a lot of different formatting options, and we've really only scratched the surface of what you can do with character level formatting in the next movie will look at how you can search for and more importantly, change all the fonts in your document. How do you know what fonts are being used inside your document? It's kind of important information to know. Unfortunately, in design has one place that you can go to get all that information. It's called Find Font, and you can find it up here in the type menu. When you choose find font, up comes the fine font dialogue box, and that shows you a list of all the fonts that are in your document and not just a fonts, but even the styles within the family. So, for example, you can see that we have this font Montserrat, and it shows up as a Talic and light and light italic and so on. If I scroll down this list, you'll see that we also have myriad pro regular now. I don't think that's supposed to be in this document, so let's go and find out where it is. After I select it, I'll click the find first button and in design, jumps right to it and select Sit on the page. Let's move this out of the way. It's just one word down here, and that's obviously a mistake. Shouldn't be in that fund, but that would be hard to find if I were proving by I. So it's great that the find font dialog box can point it out for me. Of course, Find Font is great at finding fonts, but it's also good at replacing them. You could change that one instance manually, of course, but what if the font showed up a dozen times in the file? So to change one fund to another, just use this replace with area, for example, let's choose the proper funding here. I'll just type Montserrat there, and I'll set the font style toe light. I just typed L i G. And it gets the rest. Now whenever you do this, it's a good idea toe. Also turn on the redefine style when changing all check box. That's kind of a mouthful, but this forces in design not just to change it on my document pages and on the master pages, but also to go inside your paragraph and character styles and change it there, too. That's really important. I'll be talking about styles in a later chapter, but believe me, you want to turn that check box on. All right, let's go ahead and click The change. All button in design quickly goes through the entire document and changes all those funds. And you may also see this little warning saying Overrides have been applied to one or more styles. But you can just ignore that. Just close it and move on. One other thing, I want to point out. Let's go ahead and click of font here and you'll notice a more info button in the lower right corner when I click. That in design gives me all kinds of information about the font itself. What version? It is the fact that it came from adobe fonts and even what pages it shows up inside my document. In this case, it doesn't really help me that much, but I wanted to point out that this is there now. I always use find fund before finishing a document, because you would be surprised how often other fonts sneak in. Oh, there is one of the thing about find Font that I need to tell you. Sometimes when you open a document in design will alert you that the file contains a fund that you don't have. For example, let's click done here and then head up to the file menu and choose open. Let's open this magazine alternate document from the Exercise Files folder. When we do that, up comes the Missing Fonts Dialog box. Now, in this case in design, concede that the thought that's missing is part of my creative cloud subscription, and it's offering toe activate that front for us. We could do that, but it also offers to open the fine front dialog box. So let's do that. Up comes the fine font dialog box again, and here inside this list we can see the font that is looking for something called farmhand Regular. I know this fund is missing because it has this little alert symbol next to it. Actually, I want to show you one other way that you can see that the font is missing. I'm going to click done, and then I'm going to jump out of preview mode by pressing the W key. See how this text is all highlighted in pink? That's what in design professionals call the dreaded pink pink. Highlighting means the font is missing and in design doesn't know what to do. It just doesn't know how to display it. So to fix this, I'm gonna go back to find Funt, and then I'm going to select that font in here and click on the activate button. When we do, that creative cloud goes out, grabs the font, downloads it and installed it onto my computer. That might take 30 seconds or a minute, depending on your connection. But as soon as it's done, the fine font dialog box updates. The front gets turned on in the background here, and we're good to go. We've already talked about formatting that you can apply to individual characters such as Kern ing or underline. Now let's get into formatting that you apply to a whole paragraph. First, let's zoom in on the text on the right with command space bar or control space bar on Windows. Now I'm going to double click inside this heading paragraph that switches to the type tool in places the cursor into the headline. Now you may have noticed that I'm not selecting the entire paragraph. I just have the cursor flashing in there. That's all you need when you apply paragraph formatting. Of course, that's very different than character formatting, where you do need to select the characters that you want to change. Now, up here at the top of the screen, you can see that the control panel is currently set to character formatting. That's that little button up here that has an A on it. So let's click on the paragraph symbol to switch to paragraph formatting Now, Technically, when you switch from one mode to the other, you're really just switching what's on the left side of the panel. Because if your screen is wide enough, you can see both the paragraph and character formatting in the control panel. Those buttons just change, which is on the left side. Okay, so paragraph formatting Now the most basic paragraph formatting is the horizontal alignment . Right now, this is set toe left, a line that is the left edge of the text. Is that the left margin of the text frame? But we can change that by clicking on one of these other buttons in the control panel. For example, here's write a line or we could choose to center align this paragraph. Now I'm going to select a bunch of paragraphs here simply by dragging over them. Remember, you don't have to select the whole paragraph. Just part of it is okay we're gonna set that to justify because I want the text to be even down the left and right margins. Now let's click inside this paragraph in the right column and set its left in Dent. That's this field here, the first field at the top of the control panel. Right now it's at 20 But how about we change this to something bigger, say, 16 points? I'll just type that and press returner enter and you can see the entire paragraph is indented from the margin by 16 points I don't actually want to do that. So let's undo it with a command or control Z. What I do want to do is in den just the first line, and that is the second field down below the left in Dent. This is the first line indent. Let's go ahead and change that to 16 points. Now you can see that this added an in den, but only on the first line. When you're trying to invent the first line, you should definitely use that feature. Don't type a tab at the beginning or a bunch of spaces or something silly like that. Use this feature the way it's meant to be used. Also, I should point out that if you don't want in designed to hyphenate your text, you could turn that on and off for a whole paragraph at a time with this check box Over here on the right side of the control panel, Click that and boom, no more hyphens in the paragraph. All right now, I'm gonna go click inside this heading paragraph again, and I want to add a little space before the heading, and I know it's tempting to just add a blank character turn before that heading. But there's an unwritten rule that says, If you can help it, never type the same invisible character twice. And that means you should not type two spaces in a row or two paragraph returns in a row or even two tabs in a row. Instead, select the paragraph that you want to change like this heading then in the control panel, changed the space before or space after field. That's these fields up here. Let's change the space before to say 10 points, and then I'll tab over to the next field and add four points here. When they hit Returner enter. You can see that it added the space before and after the paragraph. That looks much better. Alignment in dense spacing. This is all just the beginning. In the next few movies, we're gonna look at spanning text across columns, creating drop caps, tabs and farm or text formatting 12. spanning and splitting, adding automatic bullets and changing text form: much of the art of design revolves around drawing the eye to where you want the reader to go. And one of the best ways to draw the eye to the beginning of a story or a section is with a drop cap. Now in design lets you easily apply a drop cap toe any paragraph, and the most direct path to a drop cap is the control panel. So let's place our cursor inside this first paragraph by double clicking. Then let's zoom into 200% by President Commander Control, too. Now remember, you don't have to select the whole paragraph to apply paragraph formatting. Just having the cursor flashing in there is enough. Next, we want to make sure that control panel is in the paragraph mode. Yep, there it is. And then let's come over here and change our drop cap field from one to something larger. There's two lines. There's three lines. This other field just below the first lets you control how many characters should drop down . Right now, it's set to just one, so we're just getting that letter E. But look what happens if I change this to say five characters now it's the whole word. Of course, this is still edible text, so let's go ahead and select it and change some formatting. I'll go back to the control panel and turn on the character formatting mode. Then let's go ahead and make this all caps and change the tracking to something tighter, maybe minus 25. Also, let's change the color of this to, say Brown, so that's looking pretty good. The only problem I'm seeing here is that the drop cap is too close to the text after it to adjust that you can place your cursor just before the word year. There's actually a little space before that word, and the cursor needs to be between the space and the word. Then we can come up to the control panel and change the Kern ing by adjusting the Kern ing . You can see that it pushes the text away from the drop cap not just that first line, but all the lines next to the drop cap. We can even make this drop cap bigger, turning it into what some people call a raised cap by selecting it and then increasing its size. So these characters are now both dropped and raised. You can create all kinds of interesting typographic effects with drop caps. Just let your imagination go wild. Many designs call for a line also called a rule, to sit above or below a paragraph, especially a heading. And you could spend all day drawing lines with a line tool. But you'd be a lot better off using in designs paragraph rules in this magazine document from my exercise files, I'm going to select this heading and zoom into 400%. I present command for control for on Windows. Now let's add some space above and below this in the control panel by going to the paragraph controls and then changing space above, to say, 10 points and space after his four points. That just gives ourselves some room to work with. Now this heading looks kind of dull. I want my eye to be more drawn to it, so I'm going to put a rule above it. To do that, let's head over to the right side of the control panel and open the control panel menu here . We're going to choose paragraph rules, or you could type command option J or control all J on Windows. Now the paragraph rules dialog box is actually two different dialogue boxes kind of combined into one. You choose each of them from this pop up menu here there's a rule above and rule below. You can only see one at a time. I want to create a rule above, so I'll choose that. Then all select the rule on check box. We should also turn on the preview check box so that we can see what we're doing. Let's go ahead and move this dialog box out of the way a little bit. Okay, Right now, we've got a one point solid line set to the same colors that text right at the baseline of the text. So let's change that. First, let's choose a different color from the color pop up menu. I'll choose this light blue color. Next. Let's make it thicker. How about five points? And now we need to change the offset. The offset is how far from the text baseline this rule should be. You can type of value, but I usually just press the up arrow key on my keyboard a few times until it looks right. So now it's above the text. You can also change how wide this rule should be, not how thick but how wide. For example, we can change the left in Dent to save five points. When I hit the tab key, you'll see that the line in dense five points. Or you could turn this around and make it minus five points. When I hit Tab, you'll see that the line actually gets pulled out into the margin. Now the other way that you can control how wide the rules should be is with the with pop up menu. Right now, it's set to column, so the line will go from one margin edge to the next. But if you change this to text, then the rule goes on. Lee, to the edge of the text in design, is smart enough to know how long that line of text is, and that's how long the rule will be, too. Now, if you want to, you can also apply Rule below. The same paragraph can have both a rule above and rule below if you want, but in this case, I think this is looking good. So let's click OK, adding rules or lines to your text can definitely help you draw the readers i two just where you want them to look and to separate one section from another. I'm just glad that it's so easy to create these within designs. Paragraph rules feature. We're in our long document file from the Exercise Files folder, and we're going to jump to a previous page by pressing option or alter page up. A couple of times now, I've placed tabs in this story to separate the numbers from the text, but I can't see the tab characters. Of course, you can't because Tabs air invisible right, But we can see them if we open the type menu and choose show hidden characters way down here at the bottom. Now we see all these little blue characters, like this blue paragraph symbol at the end of each line. And between the words and the numbers, you see this double angle bracket, and that is a symbol for a tab character. I often like working with these hidden characters turned on because it shows exactly what's in my text frame. And that's especially true when I'm working with tabs because I need to know where those tabs are to set them up right? So there's a problem here that I need to fix. The numbers don't line up, and that's because tabs by default always go to the nearest tab. Stop and tab stops air set up every half inch across the text frame. Now you might be tempted to come in here and start adding additional tabs, but don't do it. You only want one tab character at a time. Instead, you want to set up your own tab stop. So the first thing we need to do is select all the paragraphs that we want to effect. I'll double click to switch to the type tool and select those paragraphs. Now I'm going to zoom in by pressing command or control. Plus, a couple of times, we want to make sure that we can see the top of the text frame up here. You don't technically need to do that, but I find it's useful to see the top of the text frame when I'm working with tabs. Because now when we go to the type menu and choose tabs, the tab panel automatically snaps to the top of the text frame. It can't do that. If I don't see the top of the text frame instead, it just kind of floats around the page. Now toe add our first tab Stop. All you have to do is click in the blank area along the top of this ruler. Then, if you want to move it, just click and drag. You'll notice that as I'm dragging, you can see a black line that indicates exactly where the tab stop is going to be exactly where those numbers air going to align to. Let's move this over to the right. Then I'll let go of the mouse button. Now I would rather have those numbers line up along there, right edges. So let's change the tab. Stop while it selected up here and you can see it's kind of highlighted in blue. You can go over to the left side of the tabs panel and choose one of these other kinds of tab stops. I'm going to click on right Aligned Tab, Stop, and when you do that, it makes the text flush right at that point, so that looks better. So the only problem right now is that the space is really big. Your the space from the text to the number. It would be helpful to have some dots in there, something to lead my eye from one side to the other. And, of course, the key word there is lead. What we want is a leader. So once again with a tab stop still selected, let's click inside the leader field, and you can type any character you want in that field, and it will repeat it over and over again. In this case, let's just press a dot or a period and then just hit, return or enter. You can see how those dots actually fill in all the spaces. It's easier to see if I d select this by clicking over here. By the way, I should point out that you can select a tab just like any other character, just kind of drag over it, and now you conform at it. I'm going to zoom in by President, Command or Control, plus a few more times, and now I'll go up to my control panel and change it to character formatting mode. Let's make the size a little bit smaller, maybe 10 points, and that's also change the tracking value here to something enormous, like 200 points. I'll click over here and you can see that just looks a little bit more elegant. Tabs and tab stops aren't hard, but they do take some getting used. Teoh. Take a little time to practice, making tab stops in your document. And remember, don't type two tabs in a row. We looked at how to split text frames into multiple columns in an earlier chapter, for example, let's select this frame over on the right, and then I'll go to the object menu and choose text frame options. Let's set this to two columns. So great. Now we have two columns, but this heading at the top should only be one. That is. I want this paragraph to span across both of those columns. Now we could cut that paragraph out and put it into a different text frame when that's only a single column wide. But there's a much is your way to do it all. Double click inside this text frame to switch to the type tool, and I'm going to select both of these 1st 2 paragraphs now up in the control panel, I'll switch to the paragraph formatting mode, and I want to look over here on the right side for something called SPAN columns. Unfortunately, I don't see it up here because my screen isn't white enough right now, but on your screen you might see it. If not, then here's what you dio open up the control panel menu and then come down here to choose span columns. Now, inside this dialog box, you can see you have several options. Single column, which is what we have right now or span or even split. Let's choose span, and then we can control how many columns this textured spend. In this case. I only have two columns in the text frame, so it doesn't really matter which I choose. Let's just go ahead and click. OK, you can see that now. These two paragraphs spend both columns in the text frame, and it looks great. Now I should point out that this Span columns feature on Lee works in multi column Tex frames. If this were to different text frames that were threaded together, span columns would not work. Also, this works in the middle of a frame to like Let's come down here and span this paragraph. I'll choose it. Go to span columns and then set this to span columns. Now what's happening here isn't immediately obvious. So let me explain. When you choose SPAN, it breaks your text frame into zones. So we have one zone up here at the top with these two paragraphs. Then we have another zone down here. These four paragraphs that's in two columns because it's a two column text frame. Then we have 1/3 zone, which is the paragraph that we just changed that goes all the way across. And finally we have the rest of the story here, which is two columns that looks kind of awkward. So let's put a span on these two. But what about that other option? Split columns. Let's press option or alter page up to jump to the previous spread. Now see how I have this list down here. Let's select this and zoom in to 200%. It looks fine, but it's not a very good use of space because this column is so wide. I wish I could split that list into two little mini columns. And of course you can. With that same feature, while those paragraphs air selected. Let's go back to that feature by choosing span columns inside the control panel menu. This time, though, let's choose. Split column When I click. OK in design actually creates a new little zone inside this text frame, and it splits of that up into two columns. You can't really see the columns, but obviously the Texas flowing down the first column and then into the second column. In the old days, before we had a Span columns feature, you had to go through all kinds of crazy workarounds to span or split columns. Now it's just a quick menu item away. You use a computer so that it'll do the boring, mundane work for you, right? So next time you need to add a bunch of bullets or numbers in front of a list of paragraphs . Don't type them manually. It's far more efficient to let in design add them for you. I have my long document file open and let's press option or alter page down to jump to the next spread. Now let's double click on this frame to switch to the type tool, and then I'll just drag over these paragraphs Let's go ahead and zoom in by President, command or control plus a few times. Now, to add an automatic bullet, we want to make sure the control panel is set to paragraph mode, which it is. Then we'll just come over to the right and click this bulleted list button. That's it. They all get bullets automatically, and the bullets are all set up with what's called Ah, hanging indent. See how the bullet hangs out here and the text flows indented to the right of it. So now there's two men problems that I see first. The bullet is hanging really far away from the text, and second, we're using this really dumb looking round bullets. Everybody uses round bullets. I want something with a little bit more class. So to change those bullets, we need to go to the Bullets dialogue box. And to get there, just hold on the option or alter key on the keyboard and then click on the bullets button one more time. By holding down that modifier key. We get options for what our bullets are gonna look like. Down here, you can see a number of different bullet characters that we could use the regular old round one or an asterisk or a diamond. I don't know who would use those this one. I kind of like this one. That is, ah, double angle bracket. Let's select that and then turn on the preview check box and I'll move this Dolich box out of the way and you could see that looks pretty good. There's one more bullet character here, This thing that looks like an A with some accents, and I have no idea what that is. But I did finally figure out why it shows up for some people and not for others. If you're curious, you can go to my website, which is in design secrets dot com, And you can just use the search field to look for weird bullet character. It's kind of an interesting story anyway. If you see it, you can just ignore it. Now look at all these blank boxes those air for you to make your own custom bullets. Let's try it first. Click on the add button. Now bullets are always characters from within a font, so you need to tell in design what fought. You want to pull the character from. In this case, let's choose a font that has a lot of interesting characters like Minion Pro. I'll just type M i n and it guesses the rest. Then, in the font style field, I need to type regular so thes air all the characters inside that fund and you could just scroll through here until you find the one you want. This one's kind of nice. A triangle. I like it. Let's click it and click OK, and you'll see that it's added to our list here, so I'll go ahead and select that now. The last thing we need to do is change those in dense. Let's change the first line indent from minus one p six to just minus one. Pica. Obviously, you can use millimeters or any other measurement system here that looks good. I'll go ahead and click OK and click out here to de select it. C wasn't so hard to get cool bullets after all, but how about automatic numbers? Well, see up here right next to the bullets button. There's a numbered list button. Let's go ahead and select all this text again and choose that instead. If you're into Web design. You probably call this an ordered list. Now, if it's a very simple list like this, you're done. That's all you need to dio, and the good news is that this will update automatically. So, for example, if you click at the end of this paragraph, you could just hit a return or enter and start typing, and you'll see the numbers update automatically. Now let's say you didn't want that paragraph to be part of the list. It's easy to turn that number off. Just come up here and click that button one more time. Now that paragraph isn't being numbered. And if you want this paragraph number four to start over at number one again, just place your cursor in that paragraph, then right, click or control. Click with one button mouse and then choose Restart numbering from the context menu. So now you see 123 then skipping and then starting with one again. Okay, if you need to do anything more complex than what I just showed you, you need to visit the numbering dialog box. So let's press command Z a few times to go back to the way it was then. We'll select the whole list again, and this time I'll hold down the option or alter key when clicking on the number list button. Now, a lot of this is self explanatory, like you can set these to start it any particular number, or continue after the previous number. If you want things to be Roman numerals or letters instead of numbers, you can change that. Here. You can even choose a character style to apply to the numbers. I talk about styles in a later chapter, but we happen to have one already created in this document. So I'll choose this TOC page number style, and when I do that, you can see it changes the styling of the numbers. So that's it. Super simple. Super quick. Letting your computer update your bullets and numbering is the smart way to use in design so you can save your time for more important design decisions. I showed you the fine change feature back in an earlier chapter, but I focused just on finding and changing text throughout your document or even across multiple documents. Now I want to take it further. I want to talk about adding text formatting to the mix, For example, I have my magazine document open here, and my designer told me I need to format every instance of the word Portland a certain way , but it would be really tiresome to have to go in there and find every one of them and then change the formatting one at a time. So, of course, we want to use our friend the fine Change Dialog box by going to the edit menu and choosing fine change. Or, of course, you could press command or control f. So up here in the find what field we're going to type the word we're looking for, which is Portland. That way we'll find everywhere that that word shows up, and now we're going to apply formatting to it by changing the find format and the change format fields. If you don't see those at the bottom of the dialogue box, you need to click theme or options button. In this case, we want to change the formatting, so I'm going to click anywhere inside this blank change. For Matfield, up comes the Change Format Settings Dialog box, and this lets you specify exactly what you want the text to look like I'll click on the basic character formats pain, and I'm going to choose a font style. In this case, I'll just type M E D. And it guesses medium note that you can leave all these other fields blank and in design will just ignore them. Let's change the color to by clicking on the character color pain. And then let's choose, say, this light blue color, then click OK, and you can see that all that formatting shows up here in a list. All right, let's click the change all button. It says 12 replacements were made That's much faster than I could have done it manually and you can see these formatted on the page. Let's go ahead and click in here and zoom in to 400% by President Commander Control. For there we go. Okay, now what if the art director tells us that we should not use this color on any text? We should use a different color instead. Well, in that case would want to delete the text out of the find. What field when the find what and the change to fields or blank than in design is only going to find and change the formatting. It'll completely ignore the text itself, so any blue text will change. Let's click once in the fine format field and change the character color to that blue text . Then let's click OK and click down in the change for Matfield. In this case, I'm going to change the character color to something else like this purple color. Also, I'm gonna go back to the Basic character Formats field, and I'm going to delete this word medium because remember, whenever you have an empty field, it means don't pay attention to that at all. Just ignore it. Finally, let's click OK, and you can see that the dialogue boxes updated. All right, let's go ahead and click. Change all and in design says that once again, 12 replacements were made awesome, and you can see on the document page that all the colors got changed. Oh, I also want to point out that whenever you search for or change formatting in the fine changed Alec box, you're going to get this little eye icon up here. It looks almost like an information sign, but that I icon means that some formatting has been applied either to find what or change, too. If you want to clear out all that formatting, all you have to do is click on the little trash can icon down here. When you click on that, it simply strips away all the formatting and leaves it blank, using fine changes. One way to apply this kind of formatting. But I should mention that in design has more advanced features that can do this kind of formatting automatically, such as necessary aisles and grip styles. I cover those in my title here in the online training library called In Design Beyond the Essentials. 13. object styles, creating a table, and table adjustments: you can see these shaded areas that call out this paragraphs around the page. How do we create that kind of paragraph border or shading effect? Well, let's start by using the type tool to select a couple of these paragraphs over here on the right hand page. Remember, you don't have to select the whole paragraph to tell in design what you want to change. Let's go ahead and zoom into 200% by pressing Commander Control, too. To apply paragraph shading, just click on the shading check box up here in the control panel. Of course, that only shows up when the control panel is in paragraph formatting mode. We can also choose a color from the menu to the right. But this doesn't give you any real control over the size or tint of the shading toe. Actually, get the control you need. Hold down the option or Ault key and click on the little icon to the left of the menu. When you do that, up comes this big dialog box. Now, technically, this is two different features in one shading and border. I'm gonna focus on shading first and then I'll show you borders first, you need to make sure the shading check boxes turned on. Right now, this is set to this light grey, but you can change it to any color swatch you want in your document. It's a really light color, so let's change the tent to something darker like 70%. I'd better move this out of the way a little bit and turn on the preview check box so we can see what we're doing now. If you want, you could increase these offset values in order to push the box away from the text. For example, Outset Visto one pica. Ordinarily, I do something like that, but in this case, our design calls for zero offset. So I'm gonna change it back. Also, I should point out that sometimes when you run shading across more than one paragraph, you'll get some white space in the middle between the paragraphs, so you need to increase the top or bottom offset amounts until the shading overlaps and the space disappears. You can also control other aspects of the shading box, like you could give it rounded corners if you want, but I think this looks fine for right now. Let's click. OK, now what about that Borders thing? Borders Air basically just the same as shading, but it's a stroke instead of a fill. We could put a border around both of these paragraphs, but in this case I'm simply going to apply something to the second paragraph. So let's place the cursor in the text and then option or all to click on the icon next to border. Now you can turn on the border check box and you'll see that we have this one point black stroke around the paragraph. Once again, you could change the offsets to make it move a little bit farther away from the paragraph. But in this case, we want to use the stroke to make not a border, but just a line along one side. To do that, we want to change the stroke weights 20 on all four sides, then unlinked those fields and change the left field to say three points. That's also changed the color to Brown. Let's change these offset just a little bit. I'm going to unlinked these fields and then change these offsets, so goes a little bit higher and little bit lower. Then let's push the stroke over just a little bit. We use a negative number for that. Okay, that looks good. Oh, I should mention that if you're putting a border around two or more paragraphs you can make in design, merge them together into a single border by turning on this check box down here at the bottom of the dialogue box. But that only works when the borders or strokes are exactly the same thickness, color and so on. So anyway, when we click OK, you can see there's my border, that little line on the left, along with a shading. I really loved this paragraph, border and shading feature. I don't need it from most of the documents I make, but when I do need it, it just saves so much time. Styles are a way to take a whole bunch of formatting and give it a name, and in design lets you create styles for character formatting, paragraph formatting, object formatting, even table formatting and styles are important because they let you apply or change a whole lot of formatting with a single click. So they really boost productivity. For example, here in this book, you can see that a bunch of text over here needs to be formatted. And to do that, we should open our paragraph styles panel over here in the dock. Now, over here on the left hand page, I'm going to double click on the text to switch to the type tool. When I click in the text on the left, I can see in the paragraph styles that this has the basic paragraph style applied to it. Now we want to avoid Basic Paragraph is much as we can. It's much better to apply our own paragraph styles, and in this case we have one. Let's go ahead and make the paragraph styles panel longer. Now I'll click in the first paragraph in the text frame on the left, and then I'm going to apply flower headers to it simply by clicking Once on the paragraph style. You can see that it applied a whole bunch of formatting to that paragraph, including the font span columns and more now notice that I did not have to select the entire paragraph to apply it. You can if you want Teoh, but all you really have to do is click your cursor inside the paragraph. Okay, let's do a few more. First, we'll click in the next paragraph and then apply the common name style, and then these paragraphs down here, I'll just drag over a little of all of them. And those are all going to be a paragraph style called Body Copy. Now you can see that we were able to format this whole bunch of text really quickly if I had to do that manually, applying first the font and then the size and the leading and all that that would have taken much longer. By the way, later in this chapter, I'll talk about how you can edit these styles if you need to change the formatting. But first, let's talk about how to create your own new style. I want to create a new paragraph style for the information down here. This little fact and the easiest way to make a new style is to create an example that you're going to base your paragraph style off of now. Fortunately, we have one of those over here on the right. I've already formatted this with the right size and font and everything, so to make a paragraph style based on that example, you can just put your text cursor in it, then go to the paragraph styles panel menu and choose new paragraph style. Now here's the important thing. Because the cursor was inside that paragraph. It grabbed all of the formatting and it dropped it into this dialog box. So now all you really need to do is give it a name. I'll call this info now, of course, if you want to, you can go through each of these pains one at a time, setting the font in the style and the scaling and the in dense and all that. But as you can see, that would take a lot longer than just doing it once on your page and then sucking all of that information right up into this dialog box. Now, before we click. OK, let's go back to the general pain and I want to do one more thing. I'm going to turn on the apply style to selection check box. You don't have to do that, but it's convenient this way. It will make the style and apply it to whatever was selected on my page. Oh, also notice that you can apply a keyboard shortcut to your style here that can be super helpful for commonly used styles. But you just have to be sure that you're using a shortcut that isn't already reserved for some other in design feature or else it won't work. Okay, now, let's try applying it. I'll click. OK, place my cursor over here in this paragraph style, and then I'll click on the info paragraph style that we just created. Boom. It worked. And this shows one of the most important reasons to you styles, and that is consistency. Every time you apply it, you know you're getting exactly the same. Formatting paragraph styles are one of the most important productivity features and in design. The more you use them, the more efficient you'll get. Now that we know how to use paragraph styles, character styles will be a breeze. There's one big difference between defining a paragraph style and a character style. However, paragraph styles always define all the character in paragraph formatting the font, the size thean dense everything that describes a paragraph. But character styles are different. They could be set up to define just one attributes, like just the font or just the size or just the size and the color, but nothing else. Let's see how it's done. I'm going to jump up to the previous spread of this document by pressing option or all to page up. Now I'm going to double click on the text came over here to switch the type tool, and I'll place my cursor inside this paragraph to zoom into 200% on press Command or control, too, because we're going to be working with character styles. Would better open the character styles panel, which you confined over here, the bottom of the dock. If you don't see it in your doc, you could find it in the window menu. Now we have some character styles already created here, and we can apply one of these to some text just by making a selection and then clicking once on the character style, for example, Latin text. I'll click out here and you can see that it applied some formatting to that text. Nice. Now let's create a brand new character style, and just like when making paragraph styles, I prefer to make character styles by starting here on the page. So first, let's select a word here with a type tool. Now let's go ahead and change the formatting. For example, I'll come up to the control panel and I'll make this semi bold. Let's make this a little bit larger, maybe 11 points, and I'll change the color. How about this? Rose Red? So now that we've made an example, we can make the character style. While that text is still selected, let's go back to the character Styles panel, open the character styles panel menu and then choose new character style. Now all that formatting that we did is sucked up into this dialog box, the font, the color and so on. So really, all we need to do is give it a name. I'll call it Flowers, and then I like to turn on the apply style to selection check box. Then we'll click. OK, if you didn't turn on that apply style, the selection check box you'd now have to go back to the Character styles panel and click on the style to apply it. No big deal, but now every time you want to use that same character style, you can simply select some text and then click on it. I'll do it again over here. Now I want to be really, really clear about something here. Character styles should only be applied to one letter or one word, or maybe a sentence or two, but never an entire paragraph. This is really important. I find a lot of in design. Users go in and select an entire paragraph and then apply a character style to it. And that is not what character styles air for. And it can cause you headaches later. If you use them like that. Character styles are on Lee for a piece of a paragraph. If you need to apply formatting to an entire paragraph, use a paragraph style. That's what it's 40 Also, I should mention a common gotcha about character styles. You want to be careful to never click on one of these character styles when no Texas selected on the page because if you do whatever style you click on becomes the new default style for the whole document, and so you'll end up accidentally applying it every time you create a new text frame. It is incredibly annoying, and it's a common problem for in design users, so always be sure that the character style panel is set to none. Unless you're applying a style. Other than that, you can see that character styles air easy, and they make the process of formatting a document, really a breeze as long as you remember to use them. Now that we've talked about creating and applying paragraph and character styles, you need to know how to edit them. But first, let me talk about style overrides. I'm going to jump to the previous spread by pressing option or alter page up. And now I'm going to place my cursor in this paragraph over here on the right. When I opened my Paragraph Styles panel, you can see a little plus symbol right next to the style name, the one that's highlighted. In fact, anywhere we click inside this paragraph, I still see that plus sign, and that plus sign means there's formatting on top of the paragraph style, something different, and this is called a local override. And in fact, if you hover your cursor over that style, you can see a little tool tip that shows you the override Here. It says that the size and letting have been changed Now you can make local formatting or local overrides more obvious by clicking this little plus sign button up here, the upper right corner of the paragraph styles panel. When you do that, you get this blue highlighting That just means watch out. There's formatting on top of or different than the paragraph style. Now, if you ever have a document where you see that plus sign or that blue highlighting, you can do one of two things. You can redefine the style to match the new formatting, and I'll show you how to do that in just a moment. Or you can get rid of it by clicking inside the paragraph and then clicking on the remove local overrides button down at the bottom of the paragraph styles panel As soon as you click on remove overrides anything that was done to that paragraph on top of the paragraph style definition is removed. Now it's back to the way it's supposed to look, and that plus sign and the highlighting disappears. Now, up here in the previous paragraph, we have a different kind of override. This highlighting off to the left of the paragraph means the local override is paragraph formatting like someone changed the in dense or something. So let's go ahead and remove that to once again. I'll click the remove local overrides button. Okay, now I want to show you how to edit these styles. For example, the cursor is currently flashing inside this paragraph, and I'd like to change that formatting, not just here but the formatting of all of those kinds of paragraphs. There are two ways to edit a style either paragraph style or a character style. The first way is to change it on the page, for example, I'm going to quadruple click on that to select all the text. Then I'll change the style to say, Semi bold. I'm applying a local override, right? And now, while that Texas still selected, I'm going to go to the paragraph styles panel menu, and I'm going to choose redefine style. This takes the formatting from wherever the cursor is right now, and it redefines the style based on it. And boom. It's updated not just there but throughout my whole document. I love that. Sometimes, though, you want to make an edit toe a style, and you don't have an example toe work with. Or maybe you just prefer editing styles in the dialogue box. That's okay, so you can edit it right inside the paragraph for character styles panel Now you could double click on any style inside these panels to edit it. But I want to encourage you not to, because it's too easy to accidentally apply it to some text or make it your document default style, which might mess you up later. And that's especially true when editing styles in the character styles panel. So instead of double clicking on a style you should right click or control, click with a one button mouse that makes the context menu pop up. And now we can choose edit. In this case, I'm editing flower Headers. I'll come over here and click on the basic character formats and let's go ahead and change this to something else, like perhaps this month Surat and will make it semi bold. And why don't we change the color as well to make it dramatically different. Now let's click OK, and you can see that throughout the entire document, that style has been updated. I have to be honest. There's something that's almost magic to me about editing styles and in design. This ability to make a small change in one place that ripples throughout a document is incredibly powerful. So now that you're familiar with character styles and paragraph styles, it's time to talk about object styles. Yes, that's right. You can define an object style that, with a single click, will apply all sorts of object formatting such as Phil and stroke, transparency, effects and more. Let's make an object style in this document from the exercise Files folder. First, I'm going to press option or all page up two times to jump to a previous spread. Now we can select one of these images, like the one on the left, and will apply some formatting to it as an example. How about we apply a stroke here? Maybe this gray stroke? Let's make it thicker. How about eight points? Also, while we're at it, let's give it a drop shadow. Pull that out of the control panel that looks pretty good, so I'll click. OK, great. I like it. Let's make an object style. Based on that, the Object Styles panel is over here in the dock, and if you don't see it. Make sure you have the advanced workspace selected in the application bar, or you can choose it out of the window menu. Now we want to make a new object style based on the frame that we have selected on the page . To do that, go to the Object Styles panel menu and choose new object style. I'll give it a name up here. I'm just gonna call it photos. You can call it anything you want, and it's hard to tell at first. But all the formatting that I had applied to the object is pulled up here into this dialog box because I had it selected on the page, for example, I'll come up here and I'll click on the stroke pain and you can see. Yep, there's my eight point grey stroke down here. There's the drop shadow, and you could even add some cool additional features here in this dialog box, for example, I want to ensure that when I apply this object style, the image will always fill the frame so I'll scroll down here, click on frame fitting options and then set the fitting to fill frame proportionally. Let's also make sure the crop amount is set to zero. So I'll type zero in the first field and then click on this link icon. Great. Now let's go ahead and click, OK, and then we'll click on our new style in the panel toe. Actually apply it to that object. The next time you want to apply that object style, you can simply select a frame. Let's like this one and then all shift click on this one over here so I have both of them, and then I'll simply click on my object style. It's a simple is that all that formatting is now applied to those frames? Did you see that? It even set those images to fit properly inside the frames. Now, of course, just like paragraph and character styles, it's really easy to edit the styles to do that. Just change one of them on the page, for example, also like this one in the lower right corner, and I'll turn off the drop shadow by clicking the drop shadow button in the control panel. Also that scroll over here a little bit. Then I'll click on that yellow box, and that gives me the corner option diamonds so I can drag this over a little bit to the left, so I have rounded corners. Nice. So then, as we saw on the last movie, you could now make those changes apply toe all the other objects that have the style applied to them by opening the Object styles panel menu and choosing redefine style. Object styles are one of the most powerful but under used features and in design you can use in design without using styles. But you'll never be truly efficient unless you dio one of the most difficult design challenges is representing a lot of data. Clearly, it's easy to throw a bunch of numbers and dates on a page, but to make them readable, you typically need to format it all as a table. Now in design offers a number of features that make table making well, not fun, but at least pretty tolerable and sometimes even interesting. My friend Diane Burns has done a whole title on making cool looking tables here in the online training library. You should definitely check that out, but in the meantime, I'm going to show you the essentials, just what you need to get up and running with tables quickly. Now the first thing you need to know about tables and in design is that they're always anchored inside a text frame, sometimes in the middle of a story or sometimes as the only thing in the frame. Now I've already made a text frame to insert my table, so let's place our text cursor in there by double clicking. And then I'll head up to the table menu and choose insert table. The Insert Table dialog box lets you choose the number of rows and columns and also specifies header and footer Rose. I'll talk about those later on in the chapter. For now, Let's just go ahead and click, OK, and you can see in design places the table into the frame. It's a very basic table, but at least weaken types, um, data into it. I'll just type a few words and then hit the tab key, and I can type some more. Actually, I should point out that you don't have to make a text frame first. You can just choose insert table from the table menu. In that case, in design, would make a text for him for you and put the table into it. Either way works. In general, though you're not going to be typing in the cells manually. Data will probably come from somewhere else, like Word or Excel or some database. So let's go ahead and get rid of this table and start with a new one. You can delete a table just like you would delete text or unanchored objects. In fact, as I said, a table is anchored in the text, so if we click down here in the empty part of the frame, you'll see that the text cursor is placed immediately after the table. In fact, I could just start typing some more gibberish here, and you'll see that it adds it after the table. So to delete the table, we simply drag over it and then press the delete key. Okay, now let's bring in some real data. I'm going to go to the file menu and she was place. Then you can choose the table data file here from the Exercise Files folder and click open . Now all that data came into the text frame. It's definitely not pretty, by the way. In design can also import Excel documents, and if you do that. It'll import as a table already, but in this case, we're gonna turn this raw text into a table. By selecting it. You can just press command a on the Mac or control a on windows. And now, here in the table menu, choose convert text a table in designs, gonna ask you what's in between each row and column. In this case, the columns are broken down by tabs and the rose by paragraphs. So we'll just leave this set to the default settings and click OK. As you can see, we now have a table really quickly. But I remember seeing just a moment ago there was a lot more data than we can see in this table. So if you look down in the lower right corner of the text frame, you'll see an oversight mark. This text frame is now over set. The table is too long to fit in there, so I'm gonna go grab the selection tool and make this text frame a little bit longer. You can see a little bit more data there, but it's still over set, so let's thread this to a new frame by clicking on that over set marker. Come over here to the next page and clicking in design makes a new text frame and automatically threads from one frame to the next. And now you can see the continuation of that table. If you have a really long table, this could go on for pages. The other thing I'm noticing here and it's kind of interesting is that this table is wider than the text frame itself. This is one of the few instances, and in design where things can actually hang outside of a text frame. I'm gonna be talking about how to change the size of a table by adjusting his rows and columns later on in this chapter. But for right now, I just want to point out that each one of these cells is kind of like its own text frame, so you can switch to the type tool and click inside of here simply by double clicking on it . Now you could edit the text inside that frame. Now, I know this table isn't exactly pretty, but at least we now have a table toe work with in the next few movies. I'm going to explain how to adjust the rows and columns and then start formatting these cells 14. Hyperlinks, exporting to the web, and packaging: I have version B of this table document open from the exercise files, and this is where I left off in the last movie. Now I want to adjust these rows and columns. But if we choose the selection tool and then try and drag over one of these column dividers , it doesn't move that divider. It moves the whole frame. Let's undo that with a command Z or Control Z. So remember that tables are always inside text frames, and therefore you have to use the type tool to do almost anything inside of a table. So let's grab the type tool from the tool panel and then click inside the table. Now that the cursor is inside a cell, you can drag the Roman column lines. Let's make this a little bit wider, this one a little bit narrower. You get the idea. You could just move these around. Now. Notice that as you drag one of these column dividers, it changes a bunch of the columns in the table. They're all moving together. If you want to move a column divider without moving the other dividers, you can hold down the shift Key shift drag moves just that one column. That way you can change a column divider, and it won't change the width of the table Now, on the other hand, the shift key does something different. If you use it on the outside edge, dragging the outside edge of the table by itself with no modify, our key just changes that one column. That's because there's nothing to the right of it to change. But in this case, if you hold on the shift key, it does just the opposite shift. Drag moves all of the columns proportionally. Now, in this case, I just want the table toe fit inside my text frame. So let's drag this right edge without the shift key. If we want all three of these columns to be exactly the same with weaken, just select at least one cell from each column, which you can do by just dragging over them. Then go to the table menu and choose distribute columns evenly. Notice that when you choose one or more cells, the control panel at the top of the screen changes to give you a bunch of table formatting features over on the left. This controls that text formatting inside the cell, but here in the middle, you can adjust the number of rows and columns, see how you can add and remove Rose just by clicking on these arrows in designs, warning me that it's gonna delete some rose so I'll go ahead and click. OK, as I've mentioned before, the control panel gives you more features when your screen is whiter. So if you can't see some of these features, you can open the table panel by going to the window menu, coming down to type and tables and then choosing table. For example. This lets you set the width of the columns or the height of this row. Right now, the height is set to at least that means it's going to be at least this height. But if you put more text in there, it could grow, but it won't be smaller. Or if you want to specify an exact height for that row, you can change this from at least two exactly, and then specify the amount you want in here. I'm going to leave all of these. Set to at least there are several other ways to change the number of rows and columns in your table. For example, if you know that you want a new row in a specific place, just click inside one of the cells, then head up to the table menu and choose insert and then row. You can choose how many rows you want and whether that new rose should be above or below the current one. Of course, where you can add, you can delete to just place your cursor inside any rower column, head up to the table menu and choose delete. In this case, I'll delete the row that I just made. Okay, once you have your basic table structure down, it's time to start paying attention to formatting it, making it more attractive. At least I hope you want to make it more attractive than this. That's what I'm gonna cover in the next movie. Let's make this table look a tad bit better. The basic tool for formatting a table is a table options dialog box, and you can get there by placing your text cursor anywhere inside of a table, then going to the table menu, come down to table options and then choose tables. Set up the table Options Dialog box gives you a lot of control over your tables, but we're just going to take a look at the most important features here. Like the table border. That is, What is the border look like around the outside edges of my table? Right now, it shows a one point black stroke around the outside edges of his table. Let's go ahead and change it toe. Have no stroke. To do that, you can change the color to none. Now, let's go look at some of the other tabs along the top of this dialog box. How about Phil's? That's the most fun. Let's change the alternating pattern pop up menu to every other row. Also, I'm gonna turn on the preview check box so we can see what we're doing. You can see right away that every other row in the table is cull arised by default. It's set to 20% black. Let's go ahead and change that. I'm gonna use this light grace watch, and we're gonna make this say 70%. That way. It's just a little lighter than the background. Then let's change the second color to paper white. Okay, now let's tackle the strokes. The strokes that go in between every row and column. The problem is that when I look at this table right now, I'm just seeing blue lines. The blue lines are not the strokes, those air, the frame edges that show where the rows are. It's kind of hard to see the actual black strokes, so I'm going to click OK to close this dollar box. Then let's head up to the View menu, come down to extras and choose hide frame edges. Now we can see just the strokes by themselves. By the way, those frame edges were blue because this frame is on a layer and the layer is set to a blue color. Okay, now let's head back to the table menu, choose table options and then table set up. Let's click on Roe strokes. That is, what do you want tohave between every row in your table. Right now, we just have a thick one point black line, but in fact I don't want to have any stroke in between the rows. You think that in design would make it easy to just turn those off, But actually, you have to be a little sneaky to do it. You should change the alternating pattern to every other row, then set both colors of the alternating pattern to none. Now they all go away. Okay, let's do the columns. In this case, I do want to have a stroke between each one of them, but I want to make it a little bit thinner. So once again I'll change every other column. And then let's change the weight to say quarter point. All right, let's click. OK, this is looking pretty good, except for one thing that I'm noticing. This first row in the table is obviously ah, header, but it on Lee shows up on the left hand page. I'd also like to see it at the top of my right hand page. To do that, you need to put your cursor inside one of those cells, or you could just select the whole row. Let's do that by placing the cursor just little left of the row just so that you see that black arrow and then click. Now we'll head up to the table menu and choose convert rose and then toe header. Now click out here to de select that, and we can see that we have the same header at the top of both pages. This could be a 50 page long table, and you'd still have those headers on every single page. Okay, this table is looking a lot better already, but there's more work to be done. The next step is to format the data in the cells and also to apply some custom formatting to individual cells. In the last movie we explored formatting Ah, whole table in this movie will take it a step further and look at both formatting the data inside the cells and then the cells. Let's start by formatting the text inside the cell at the top. This header. To do that, we need the type tool, which you can get just by double clicking on one of these cells. Then let's zoom into 200% to see this better by President Command to or control two on windows. You can select all the text inside this cell simply by dragging over it. Or let's just press the escape key to select the cell itself. The escape key tug ALS back and forth between selecting the text and the cell. When you select one or more cells. You can change the format in all of them at the same time. First, let's go ahead and change the font. I'll click up here and change the font to M O N T. Yeah, months are up and I'll choose medium. Actually, you know it's gonna take too long to format this manually. So instead, let's just apply a paragraph style, which we already have inside this document. In fact, I'm going to select all the cells in this table by going to the table menu, choosing select and then choosing table. Now let's open the paragraph styles panel from the duck scroll down to the bottom and we can see a little table folder. I'll click on the triangle toe open that, and I'm going to apply the table content style toe all of these cells. Now I'm going to select just the first row by clicking to the left of it, and I'll apply the table, head or paragraph style to it. You'll notice a little plus appears here, and that's because of the font that I applied manually just a moment ago. I'm going to remove that by clicking on the remove local overrides button. Now this table is starting to come together. Except for one thing. This header looked like it disappeared, but that's just because the paragraph style set the color toe white. So let's go ahead and select those cells again. And now let's change the background color of just those cells. And you can do that by going to the swatches panel or up here in the control panel. I'll choose the fill to this brown color now. It's kind of annoying because we can't see the rial sell color until we click off event because those air selected There we go. That looks pretty good. Now let's turn our attention to the strokes. I like these black strokes between each of his columns, but I don't like them up in the header. So how do we get rid of those? Once again, I'm going to select all of those cells in the row, and now you need to pay attention to this weird looking icon up here in the control panel. When it comes to formatting tables, it's really important that you understand what that icon represents. Each of these blue lines represents one of the strokes inside the current selection of cells. So the bottom line in the top line represent the bottom most and top most lines in the selection. Not the whole table, just the selected cells. Same thing for left and right. The left and right lines inside this icon represent the left most and right most column strokes inside the selection and this line in the middle that represents the middle strokes . So if you want to change the strokes of each of his columns, you need to turn off all of these strokes except the one in the middle. You can turn on and off a stroke in that icon simply by clicking on it. Now let's set the stroke color to none. So they're the column. Strokes went away. Now I'm going to set this icon to just the bottom stroke, and I'll set this one to none as well. Now click out here and you can see that the strokes disappeared. Let's just do a few more things to fine tune this table. Once again, let's select all the table cells, and I'd like there to be more space around that text, so I'll go to the table menu come down to sell options and choose text. This cell options dialog box gives you all kinds of control over each cell that you've selected. For example, you can change the cell insets. That's how far the text is going to sit from the edge of the cell. I'm going to type eight points and then hit the tab key. And because this link icon has turned on, it'll make all four feels the same. Let's click OK here and click over here to de select the cells, and I can see a little red dot here. That red dot is the same as an oversight mark. It means there's too much text than can fit inside that cell. So let's place the cursor over the right edge of that column and I'll drag a little bit to the right. There we go. That's much better. Finally, all zoom out to view the whole spread by President Command Option zero or control all zero on Windows. You know it's amazing. Remember how this was just raw data a few movies ago? This table has really come a long way. Many people think of in design as a print tool, but in design is a tool for laying out pages, and those could be either print pages or interactive on screen pages. The three main interactive formats that in design supports our pdf e pub and publish online . And each one of these support different types of interactivity like E Pub and publish online support animation but not form fields. And you can make a PdF with interactive form fields right in in design. But Pdf doesn't currently support animation, but there's one thing that all these formats support very well. And that's hyperlinks. Let's see how in design lets you set up hyperlinks in your documents when anybody clicks on this logo, I'd like it to take them to a website. Now, when you're making ah hyperlink, you can either select text with the type tool or an object with a selection tool. In this case, I want the whole graphic, this whole area to be a link, so I'm selecting the frame. Now we need the hyperlinks panel, and we could find that by going to the window menu, coming down to interactive and then choosing hyperlinks. But there's actually a better way, so instead what I'm going to do is change my workspace in this pop up menu in the upper right corner. We've been using the advanced workspace for most of this course, but now that we're making interactive documents, let's choose interactive for pdf. When we do that, we get a bunch of different interactive panels over here in the dark, including the hyperlinks panel down here. You can see that this document has one hyperlink in it already. But now, to make a new hyperlink, all you need to do is type of Web address in this field at the top, or whenever you make a hyperlink in a document in design remembers it, and it shows up in this little poppet menu. So in this case, I'll just click on one. That's it. I'm done. That whole frame is now Ah, hyperlink, and you can see it listed in the panel. Now let's switch to the type tool, and I'm going to select some text down here in this text frame. Now, let's make a new hyperlink. This time, Instead of typing a Web address in the U. R L Field, let's click on the add hyperlink button at the bottom of the panel that brings up the new hyperlink dialogue box, and we have all kinds of options for our hyperlink here, for example, let's look inside the link to pop up menu this time, Instead of making a link to a you Earl, we're going to make one toe a page. Let's say Page four. I'll just choose that out of this pop up menu here. Now click OK, and you can see the hyperlink is inside the text frame. I'll click out here so we can see it. The problem is, is that in design, change the color of the text and put this big underline under it. That looks terrible. Why did it do that? Well, whenever you apply a hyperlink to text as opposed to a frame in design applies a character style to the text. Fortunately, you can easily edit the style in the character styles panel. Or you could just turn it off by double clicking the hyperlink here in the hyperlinks panel . See, when we made the hyperlink, it applied this character style called hyperlink to the text. So now you could change this to some other character style if you want, or you could choose none when you click, OK, you'll see that the text changed back to the way it used to look. It's still a hyperlink, though. I also want to point out a couple of things about the hyperlinks panel. First, let's take a look at the hyperlink we just created. See that icon in the right column? That icon tells me that this is a page link, and if I click on it, it'll actually take me to that page. There I am on page four. The number to the left of that is the source. That is where the actual hyperlink is in my document. In effect, click on that. It'll take me right back to the hyperlink. It even selects it on the page. Remember, it doesn't matter whether you select text or an object to make your hyperlink. They both work in that first hyperlink we created up here in the hyperlinks panel, you'll see a green dot green means the U. R L is currently active in design is going out across the Web to check if that your l works and it does so it makes it green. If it were read, it would mean the link was broken or you might be off line. As I said when you export to interactive pdf e pub or publish online, all of these hyperlinks will work great. There's actually a lot more you can do with hyperlinks and in design. And if you find yourself wanting to learn more about the subject, consider watching my title here in the online training library called In Design Interactive . Pdf's This interactive document from the Exercise Files folder is designed to be viewed on screen, and it looks pretty cool, but we want to take it to the next level by adding some interactivity. First, let's out a button. In fact, you can see that we have some navigation buttons down here at the bottom of the page. Of course, I want these buttons to be on all the pages of my document, so I put them on the master page. Let's go to the pages panel, double click on Master Page A, and we'll see the Master Page and the buttons down here. These are all just selectable objects. Now let's go ahead and zoom in on this part of the page by President Commander Control, for I want this to be my go to next page button. So to make it a button, we need to open the buttons and Forms panel here in the dock. As we saw in the last movie, we have most of the interactive panels in the dock because we're using the interactive for PdF workspace. Now this object is actually a group of two objects, but we can turn it into a single button by clicking on what I like to call the makeup button button down here at the bottom of the panel. You can convert any object or group of objects in in design into a button. And as soon as you do that, this panel springs to life and we can start adding actions to it first. It's a good idea to name your buttons something recognizable, not just Button 31 but I'll call this go to next page. Now we'll set this up so that it does something on a particular event. In this case, the event is on release or tap. That means when you either tap on a touch screen or when you release the mouse button on that event, do an action and you can see a list of all the actions here in this little plus pop up menu . In this case, all we wanted to do is go to the next page. This is now an interactive button, but let's give it a little bit more possess. How about we add a rollover effect toe? Add a rollover? All you need to do is click on the rollover state down here in the middle of the panel. Of course, right now, both normal and roll over look exactly the same. So we need to change the look of those objects while we're in the rollover state. In this case, to change something inside a group, you can double click on it. Now I have that text frames selected, and I can change the color of the text inside that frame quickly by going to the fill icon here in the control panel, clicking on this little T icon and then clicking on a color. Let's try this red swatch. Now I can click on this other object in the group, this little path, and I'll change its color as well. So that's it. I'll select that button one more time, and now we can see the normal color and the rollover color. All you need to do to see the difference is click on those states in the appearance list. Now, of course, this panel is called the Buttons and Forms Panel. So where's the form part? As I mentioned in the last movie, E Pub and Publish Online doesn't support forms, but PdF files dio, and it's incredibly easy to make an interactive form object here. Let's just jump to the last page of the document but clicking on it inside the pages panel . Now I'll zoom out to fit the page and window with a commander control zero. You can see we have a whole form here that needs form fields, and most of these have added already. But we do need a new form field for the first name to make a form field. You just draw out any object. You could use any of the frame tools, but I'll just choose this graphic frame tool. I'll just draw out of frame here. Now you can turn it into a button by opening the buttons and forms panel and now choosing the makeup button button. Now check this out up at the top, you can see the type pop up menu is currently set to button, but if we look inside there, you can see you can make this into all kinds of objects. You could make it into a check box or a list box. In this case, I'm going to choose Text Field. Of course, we should give it a name. Let's choose first name and there are a lot of other options in the panel, but I think we're good to go for now. Let's go ahead and export this PDF and see it in action. To do that, choose the file menu and then choose export. You'll notice down here in the format pop up menu that there are two different options for making a PdF PdF Interactive or PDF print. In this case, because we're using buttons and stuff like that, guess which one you want to choose? That's right, Interactive, then click Save. And now there's a number of other options in here, including the ability to set the view. For example, when I opened the pdf, I wanted to fit the whole page in the window. I also recommend clicking on compression and changing the resolution to something higher or typing your own value. In here, I usually use 150 p p I. That way, people can still get a pretty good quality image on high DP I screens or if they zoom in a little, all right. For now, let's just go ahead and click. Export in design will write this, pdf to disk, and then it will automatically open it up in Acrobat. Here we go. Oh, I should point out that you do have to have the flash player installed on your system in order to play some kinds of interactive media, such as movie and audio files. Also, some interactive features such as buttons may not work on tablets and mobile devices such as the iPad, but here, check it out. Down here at the bottom, we have the next button, and if I hover over it, you can see I get a rollover state. Then when you click, it does just what we wanted. It jumps to the next page. Now let's click this hyperlink to jump to the last page, and you can see the form feel that we added, and it works as cool as all of this is, I've only scratched the surface of all the amazing things you can do with interactive Pdf's I go into All of that and Maurin my title in Design Interactive Pdf's. 15. Print dialog and exporting: in the last movie we looked at how you can export an interactive Pdf from in design, a digital document with elements like buttons and links. So you might be asking. Okay, that's great. But how do we get that on a website not just as a PdF, but as actual really HTML that people could see in a browser adobes published online technology is their attempt at doing just that. You can export any in design file to publish online, and it appears on the Web, along with any interactivity you put in it, including hyperlinks, buttons, animations, video slide shows, even embedded HTML widgets like Google Maps. And best of all, it's really easy to Dio. For example, I've got version B of our interactive brochure document open from the Exercise Files folder , and I want to put this on the Web. But first, let's add a little bit of animation. Let's jump to the last page of the document by opening the pages panel and double clicking on that page. Then we'll select these three graphic frames by shift clicking on them now to animate them , we need the animation panel, which you confined by going to the window menu, choosing interactive and then choosing animation. This panel looks tricky at first, but it's actually super simple. The first step is to select this little preset menu over here, then choose one of the built in animations that's choose Fly in from right. That's basically it. There are other options here, but we're just going to use the default settings. For now, this menu here events is the trigger. That is what starts the animation. And as you can see, it's already set two on page load so the animation will happen as soon as we turn to this page. Let's go ahead and close this animation panel now we can't play the animation on our in design page, but in design does have a cool feature that can show us what it'll look like when we export it. Let's open that by going to the window menu, choosing interactive and then choosing eat pub interactivity. Preview When you open. This panel in design literally exports the current page to a local temporary HTML file and then opens it in the panel. This can take a few seconds, depending on the complexity of the page. Note that You can also click this button in the lower right corner of the panel to preview the whole document, but that takes way longer, so let's not do that right now. You can also make the panel bigger by dragging this corner. That makes it much more useful. Then, if you want to play the animation again, hold on the option or Ault Key when clicking on the play button. There you go in that amazing. Okay, now that's out a video that's jumped a page to by double clicking on that in the pages panel, and I'm going to close the Eat Pub Interactivity preview panel. For now, adding video is easy because you import it just like any other graphic. So let's head up to the file menu and choose place here in the Links folder from the Exercise Files folder, Let's scroll down and choose a movie. The movie is the one that ends with dot mp four. That's a movie format that in design can read. Then, when you click open in design, loads it up onto the place cursor. And just like any graphic, you can click this empty frame to place the movie into it not like animations. We can't actually watch the video on the page. We could use that Eat pub interactivity preview panel again. But in this case, let's just export this and see how it looks. Export. Using publish online, you can simply click the publish online button at the top of the screen or go to the file menu, come down here and choose published online. Now there are a few things you need to know about published online First, this is an adobe creative cloud service, and the files are hosted on adobe servers. That means you cannot export HTML and put it on your own server. If you need that, I have a suggestion, which I'll give you in a minute. Second, there's only one type of interactivity that it does not support yet, and that's form fields. I do hope they add that in the future, but here you could give it a name and you could tell it that this is a new document. The rest of this is pretty self explanatory. Let's just go ahead and click publish. You'll see that in design starts to export the file and upload it to the publish online server. The longer the document and the more complicated your design, the longer this will take. So, for example, the fact that we have a video file in this document will slow this down quite a bit. OK, it's done. Now. You can copy the U. R L in this field here, or share it via social media or just click View document to open it in your Web browser. Let's do that. There we go. It looks just like our in design page, including all the fonts, the layout and, best of all, interactivity. Let's click the next button here, and it jumps to the next page, and there's our video that we placed. Let's try playing it perfect Now. We could move through this by clicking the buttons or pressing the arrow keys on the keyboard. Or, if I click toggle thumbnails, you can see little thumbnails of our pages down here. Let's jump to the last page and see the animation we created. That looks great. Ah, one more thing, though. Let's go back to in design and you can see the dialog box is still open, so I'll click close. Now let's say we make some change, like jumping to the first page and moving this frame. So now you can upload this to publish online again, but this time, choose update existing document in the style of box. That way it will replace the original and the U. R L that you gave. Everyone will still be good. I'm not going to do that right now, so I'll just click. Cancel. I do want to point out, though, that here in the file menu you can jump right to recently published documents. Or you could choose the Publish online dashboard, which will show you all of the files you've uploaded. And it even gives you some basic analytics about your documents. Like how many times they've been viewed, so published online is cool, but like I said, it won't give you raw HTML that you can put on your own site or put into an app or something like that. If you need that, you should check out 1/3 party tool called in five from a jar productions dot com. It's really amazing, but in the meantime, I do encourage you to try Publish Online. Published online is probably the easiest and fastest way to get your documents on the Web. In an earlier chapter, I discussed how in design documents don't embed all your placed images. Rather, they just link to the original files on disk. Well, that means if you're going to archive your document or you want to send it to somebody else to edit or print, then you need to collect all of your linked files to. Unfortunately, you don't have to go and find and copy all those files manually. Instead, just go up to the file menu and choose package. But wait, I just noticed something. Look down here in the lower left corner of the document window. See that red dot That's a stop sign. That means there might be something wrong with our document to see what it's alerting us about. Let's click the little pop up menu next to it. Now choose preflight panel Here inside this panel, you can see that there's a text error and you can see what that error is by clicking the little twirly triangle next to it. Oh, I see. It's an over set text error. Now let's click this triangle and we can see that it's on a text frame that's on page 25. That's what that number is over here now. That number is also a hyperlink. So if you click on it, it takes you right to that page and select the offending frame. Let's move this out of the way. There it is. That's the frame that's over set. Now this is easy to fix. Let's simply just make it a little bit taller. There we go. Now the error disappears and we see a green light in the panel and also down at the bottom of the document window. The preflight panel is super helpful for checking all kinds of potential problems in your files. I talked about that in much more detail in my kettle in design, preflight and printing. Okay, let's close that panel and head back to the file menu. I'll choose package, and when you do that in design immediately shows you a summary of your document. And while this is kind of helpful to give you a sense of your document, it sometimes alerts you about stuff that you don't really need to worry about. Like here. It tells me that I'm using RGB images, and that's not a big deal in most situations, though, I guess it's nice to know I usually ignore all of this and I go right ahead and click package. Now, if your file has been saved in design will ask you to save it. Then it'll ask. What do you want to name the package folder by default? It names it based on the name of the file, and it lets you choose where to put it. I'm just gonna put mine on the desktop now. Down here, it's asking, What do you want to save? And this is important. Generally, you do want to copy both the fonts and the graphics, and actually, I should clarify something. Turning on this fonts check box will collect all of your fonts except for the ones from your creative cloud. Adobe Fonts subscription. What some people call type kit fonts in design won't package those. The idea is that anyone you'd send an in design file to is probably also going to have the creative cloud so they'll have access to all the same fonts you dio. So you don't really to send those funds. That said, this could be an issue for archival purposes. So it's important to know about down here. There are two more check boxes that you should think about first include idea Mel. As I mentioned in an earlier chapter idea, Mel is in designs way of letting you open your file in an earlier version. For example, if there's a chance that someone will need to open your file in in design CS six, then the idea Mel file would let them do that. Of course, it may not end up looking exactly the same, so be careful with that. The include PdF check box can also be really helpful. It exports a PdF and puts it in the same folder as the in Dissent file. Again, this is kind of like insurance, kind of like saying, Here's how my document looked when I packaged it. Of course, turning these checked boxes on adds to the time it takes to package the file because, you know it takes time to export. PDF and idea Mel files. If you have a huge file that could slow you down. But for small files, it's not usually a big deal. So finally, let's click the package button and in design alerts may saying, Hey, watch out, You're saving fonts into this folder. Make sure you have the rights to do that. Now I'm not a lawyer, and I know you cannot give your fonts to someone who doesn't have the right to use them. But if you're sending this to an output provider and all they're doing is printing your document, then it's typically fine. Check your front license. To be sure, though, let's go ahead and click OK, and now in design copies, a document and all of its graphics and fonts. Plus that I'd email version of the file and a PdF, and it puts it all into a folder on the desktop. Let's go take a look. Let's switch to the desktop and there's the folder that's double click on that, and inside you'll find a copy of the in design file, plus the Links folder that has all the images that we used and also the idea Mel File and the pdf file. Also, in some situations, you might find a folder in here called document Fonts. That's where all the copied fonts go. But if you're fonts, air from Creative Cloud like ours are, then you won't see that now. I mentioned earlier that one reason to use the package feature is for archiving your file because it collects all of your images into one place. But if you're doing this, beware of one thing. The package feature will not grab any images that are hiding on the paste. Board it on Lee takes linked images that are on your pages themselves. Other than that, it's a great help. While in design can be used for making on screen interactive files. For most of us, it all comes down to one thing. Can we get this thing to print? And the answer, of course, is yes. To do that, let's open the file menu and choose print. Up comes the print dialog box, and there are a lot of features in here. I'm not going to cover all of them here, but I do want to point out the most important ones. However, if you really want to understand what all these features do and how to use them at an advanced level, I recommend you watch my title in design, preflight and printing. But for now, the first thing we need to do of course is choose the proper printer. This lets us tell in design where we're going to be printing. Now. I know that if your printer does not support postscript, then you may not have access to some of the features in this dialog box. Okay, next, you can choose the number of copies and also what page rains you want to print. We want to print all the pages in this document, but note that our file is a trifle brochure, where each panel of the brochure was set up as an individual page so we can choose whether we want to print these as individual pages or spreads. Right now, we're just printing each a panel of the brochure as a separate page, and you can see that down here in the lower left corner. That's where we see the print preview. But if you choose spreads, then that means treat all the pages on each spread, as though it were a single page. So that's better. But you can see that there's a bit of a mismatch in size between the in design pages and the paper. That's okay. I'll fix it in a moment. Now let's click on the set up pain, and here you can choose the paper size. This means the paper that's actually in the printer, what we're actually printing on, and we could rotate our pages to be landscape or sideways. That's looking much better, but you can see the pages air still not fitting on the paper. Now. I could choose scale toe fit, and that would reduce them, and it might work well if you're just printing a proof, but in this case, I want to leave it set to 100%. Next, choose marks and bleed. Let's see what happens if we turn on all the printer marks. These checked boxes add marks and color bars around the outside of the page Now for this. Trifled, this is important because it includes marks where the page should be folded. If you're printing on a larger sheet and you're printing these marks, I encourage you to come over here to the offset field and set this to something larger like 12 points, because six points, in my opinion, is just too close to the page. Also, as we saw in an earlier chapter, this file does have objects that bleed off the side of the page. And also there's information on the paste board in the slug area. So what's again? If we were printing this on a larger sheet of paper, we would need to make sure that we turn on the used document bleeds Settings Check box and also the include slug area check box. That way in design will print anything that falls within the bleed and slug guide settings . You can see over in the preview area that, in design added a little bit of space on the top of the page. So by turning on that check box, the information that's out in that area will get printed, even though later it's going to get trimmed off by whomever is printing this. But today we're just printing this on our little desktop printer, and all of that stuff won't print. So let's go ahead and turn this off. There we go. And now that it's not printing the bleed anymore, you can see that it all fits onto the letter sized paper. Now the last thing I should point out is, if your printer has specific features that in design doesn't know about, then you want to click on the printer button down at the bottom of the dialogue box. You'll get this warning that says many of the things in the printer driver dialog box will be overridden by in designs own dialogue box. But that's fine. So click OK now. This is the printer driver dialog box. It's going to look very different on Windows, of course, but this is where you set up your printer specific features. Here on the Mac. I like to click the show details button so I can see all of the options. Like if it's a duplex printer, you can turn on two sided. Then, to close this dialog box, you can click the print button again and in design returns to its own print dialog box. As I said in design is designed to print on postscript printers. But if you have a non postscript printer, that's okay in design prints pretty well to those kinds of simple desktop printers to well , I think we're good to go. Time to click print. If you want to send a proof of your file to a client, you'll likely send them a pdf. If you want to send a finished document to a printer, you should probably send them a pdf, so it's crucially important that you be able to create robust PDF documents from in design . To make a PdF, just go to the file menu and choose export. Then, from the format menu, you'll have to choose between two different pdf formats. PDF Interactive or PDF print. The interactive option should only be used. If your document has movies or buttons or something like that for the vast majority of pdf's, you should choose the Adobe PDF print option. Even if you're using hyperlinks and bookmarks, that's a better choice. Now when you click save, you get a lot of options to choose from. And I go deep into the details of all of these features in my title here in the online training library in design print P d EFS. But I recommend that everybody's start by choosing one of the adobe PdF presets here at the top of the screen. For example, if you're sending this pdf to a commercial printing press, you're probably going to you want to use one of these pdf exe options. I know all of these sound geeky, but you need to ask your printer. Do they want a PdF X one A or something else? Now, if you're lucky, your printer will come back and say you can give us a pdf x four x four is a much better quality, more robust PdF. On the other hand, if you don't know who is going to be printing this like, maybe you're sending an ad to a magazine or newspaper and you have no idea where it will actually be printed, then the safest option is probably a PdF x one A. But what if you're making a PdF that's not going to a commercial press? Maybe you're simply going to be sending it for a proof. Or maybe you're posting it on your website for someone to view on screen, and then maybe they're going to print it out on their desktop printer. In that case, I recommend that you choose high quality print, but don't stop there. You should still customize it. For example, I almost always changed the compatibility to at least Acrobat six, if not later. Next. Of course, you could choose your page range. We could export the entire document, but let's keep it simple and just export pages. 32 31. If you have spreads that you want to end up on the same page, like in the trifle brochure we saw in the last movie, then turn on spreads. But in most cases, like for books and magazines, you want to leave the set to individual pages. If you're going to post your pdf on a website, I highly recommend that you turn on the create tag pdf CHUCK box because it allows for a much better Web seo. It also allows people with visual disabilities to use this. PDF With Screen READER software It's not perfect, but it helps also, if you've used a table of contents or made any hyperlinks or bookmarks, you want to turn on the bookmarks and hyperlinks. Check boxes. Note that these are the only interactive features that are saved out in a print. Pdf. Okay, let's jump to the compression pain because this is a pdf that I'm going to be putting on a website, and I'm expecting most people do view it on screen. Maybe some of them will print it. Let's go ahead and lower the resolution here. 300 maximum quality would be good for a commercial printing job. But let's change this to say, 150. And let's change the image quality to medium that's gonna make the PdF much smaller when we export at, then over here in the marks and bleed pain, you typically would not have these turned on for a pdf. That was for Web viewing, of course. But if we were sending this to a commercial printing press, I'd want to ask them, Do you want crop marks? Do you want registration marks? And so on These days, many printers don't want these things because they'll add them to the pdf themselves. But if you can definitely check with them now, certainly if you have a document that has objects that bleed off the page like this document does and you're sending this. Pdf to a commercial printing press, then you want to turn on the used document bleed settings Check box. But if you're just exporting this for screen or maybe a desktop printer, then you definitely don't want to have that check box on. You want it to be cropped off right at the edge of the page, so Let's leave this turned off okay. Once you're done with choosing all of these options, it's time to click export. But when I click this export button, I want you to look up at the top of the screen. You'll see a little animation for a moment, and that animation is the Pdf exporting because PdF's actually export in the background. And the only way to know that they're exporting is by watching for that little animation, especially on a really big file. All right, here we go, Click export. And there we go. There's a little animation. When it's done, we know that it's export of the PdF. Let's go find it on the desktop. I'll double click on it to open it. Then I'll press commander Control zero to fit it in the window. There's my first page, and there's the second looks Great. Making Pdf files isn't difficult at all from in design. What is sometimes difficult is making the right decisions for the quality that you're trying to achieve.