IDM Issue 36 - Screen Format PDF

InDesign
M A G A Z I N E 36
June | July 2010
Treats
for
Everyone
See What’s Inside
Tame InDesign’s panels
Create carved wood effects
Find the coolest dingbats
Design with multiple page sizes
Review: eDocker
contents next page » full screen

OM
FR
W
NE
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contents « previous page next page » full screen 2

M A G A Z I N E 36 June | July 2010
MAGAZINE
Editorial From the Editorial

Director
Editor in Chief
Terri Stone, tstone@indesignmag.com
Editorial Director
David Blatner, david@indesignmag.com
Senior Editor Did you feel that earthquake? If the ground seems to the new multiple page sizes feature
Sandee Cohen, sandee@indesignmag.com
Contributing Writers
keep shifting beneath your feet, it’s probably just the works—including some excellent
Keith Gilbert, John Parsons, Pamela Pfiffner, Anne Marie fact that the entire publishing industry is in transition tips for ensuring your documents
Praetzel, Mike Rankin, Jeremy Schultz, Steve Werner once again. Back in the mid-1980s, typesetters will output properly for either
De s i g n & Te c h n o l o g y growled as they felt their livelihood threatened. In print or interactive display. Sandee Cohen’s regular
Design the late ‘90s we all groaned as the World Wide Web Q&A column returns to solve a mysterious problem
Rufus Deuchler, www.deuchler.net meant new workflows and technologies to learn (and involving text wrap and explain a hidden feature in the
Jennifer Steele, Steele Design
re-learn, and re-learn…). Now, in the second decade new CS5 Layers panel.
Business of the 21st century, we find ourselves at yet another On the lighter side, Mike Rankin shares with us his
Contact Information crossroads as Androids fight iPads, Nooks take on technique for simulating woodcarving in InDesign—
www.indesignmag.com/contact.php
Subscription Information
Kindles, and we all fight over flashy, pubby, rich docs. just another reason to stay inside InDesign instead of
www.indesignmag.com/purchase.php Salvidor Dali and Tristan Tzara would be so proud. relying on other programs. And Anne-Marie Praetzel
Fortunately, some things never change, such as expores the beautiful graphic work of InDesigner
Published by CreativePro.com, a division of PrintingForLess. the need for great typography and becoming ever- Andrew Faulkner, whose layouts you may have seen in
com. Copyright 2010 CreativePro.com. All rights reserved. more-efficient with our favorite layout tool, Adobe Adobe’s 10th Anniversary celebration book.
Reproduction and redistribution prohibited without approval. InDesign. So: InDesign Magazine to the rescue! For this Finally, we take a look at an add-on to InDesign:
For more information, contact permissions@indesignmag.com.
issue we’ve asked Pamela Pfiffner to uncover the wild eDocker, a brilliant way to add functionality to
InDesign Magazine is not endorsed or sponsored by Adobe world of “pi fonts” or dingbats. You’ll be amazed at the SWF files you export from InDesign. After all, when
Systems Incorporated, publisher of InDesign. InDesign is a
designs she has uncovered, from sublime to silly. the world starts to shake, it’s often the third-party
registered trademark of Adobe Systems Incorporated. All other
products and services are trademarks or registered trademarks We then asked Keith Gilbert to explain how developers who are best at helping tether us down
of their respective owners and are hereby acknowledged. users might make sense of the 55 (yes!) panels that and keep us productive.
InDesign presents us with each day. His discussion Here at InDesign Magazine, we like to say that when
of workspaces and panel management is essential the ground jiggles, make jello and enjoy the show.
reading for beginner and maven alike. There are no hard and fast answers in these changing
Of course, Adobe’s release of InDesign CS5 also times. The only solution is to learn as much as you can,
contributes to the shaky feeling in the industry. Steve stay nimble, and don’t worry: We’re here to help you
Werner helps ground us with an InDepth look at how tackle the challenges ahead.—David Blatner

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©2010 Adobe Systems Incorporated. All rights reserved. Adobe, Creative Suite, and the Adobe logo are registered trademarks or trademarks of Adobe Systems Incorporated in the United States and/or other countries.

InSide this Issue Print Solutions That
contents
7 Tame InDesign’s Panels

Will Make You
Keith Gilbert explains how to organize InDesign’s panel
profusion to avoid confusion.
17 We Heart Dingbats
Pamela Pfiffner takes us on a guided tour of dingbats,
picture fonts, and more.
26 InStep: Create Multiple Page Sizes in CS5

Steve Werner’s tutorial makes this new feature easy to use.
32 InDesign Effects: Create a Carved-Wood Effect
shine
Mike Rankin proves that you don’t need Photoshop to create
cool effects.
36 InDesigners: Andrew Faulkner

Anne-Marie Praetzel interviews the owner of afstudios.
42 InQuestion
You ask and Sandee Cohen answers!
45 InReview: eDocker
Jeremy Schultz looks at an app that adds various PrintingForLess.com’s PFLPro program is specifically
interactive features to electronic publications that begin designed to make it easy for you to offer your clients
their lives in InDesign.
professional quality marketing materials.
50 InTheNews: InDesign Secrets Print and
ePublishing Conference
Couldn’t make this InDesign-centric conference?
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John Parsons takes you there.
For more information call
800-930-3938
53 InDesign User Groups
55 InDex to All Past Issues
Or visit PFLPro.com by PrintingForLess.com

Adobe® InDesign® and Adobe ®
InCopy ®
WORLDWIDE INDESIGN USER GROUP COMMUNITY
Ten Steps for Building Your

InDesign and InCopy Expertise
1. Learn about what’s new with the InDesign Family of
products at www.adobe.com/go/indesignfamily
InDesign User Group. Join a chapter near you!
2. Keep up-to-date on the latest InDesign and InCopy
news at InDesignSecrets.com, an independent website
with expert podcasts, blogs, techniques, and more.
3. Sign up for a free InDesign tip of the week at
www.indesignmag.com.
4. Check out Total Training for Adobe InDesign CS5 at
www.totaltraining.com.
5. Attend a free Creative Suite 5 eSeminar and learn
what’s new in InDesign CS5 at www.adobe.com/events.
6. Skip over to Lynda.com to try their InDesign and
InCopy online training.
7. Tune into Adobe TV, your online video source featur-
ing innovative techniques and tips for getting the most
out of Adobe InDesign and InCopy at www.adobe.com/
go/adobetv.
8. Visit leading InDesign, Digital Publishing and Creative
Professional social media channels such as the InDesign
Facebook page, Adobe Digital Publishing blog and
Creative Suite Design Facebook page.
9. Locate Adobe Certified Instructors and Adobe
Authorized Training Centers in your area at partners.
adobe.com.
10. Go where the leading InDesign and InCopy industry
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www.mogo-media.com, and kelbytraininglive.com. Visit our website for meeting information, training resources, member discounts and more.
w w w.indesignusergroup.com
© 2010 Adobe Systems Incorporated. All rights reserved. Adobe, the Adobe logo, InDesign and InCopy are either registered trademarks or trademarks of Adobe Systems Incorporated in the United States and/or other countries. All other trademarks are the property of their respective owners.

By Keith Gilbert
TAME
INDESIGN’S
PANELS
InDesign CS3 has 41 panels, Although Adobe engineers have crafted a finely tuned
CS4 has 45 panels, and

user interface for InDesign, each new version in the past
10 years has more panels than the previous one. The
CS5 has a whopping 55 panels. way these panels (called "palettes" in CS3 and earlier)
Here's how to organize are positioned on the screen by default is meant to be a

starting point. To get the best application possible, you
them so that InDesign works need to make the interface your own, optimized for your
the way you want it to. unique needs and specific workflow.

Manage text changes in InDesign and InCopy
TAME INDESIGN’S PANELS
CtrlChanges tracks all text changes in a document as
it is being revised and displays added or deleted text
in the Layout view. CtrlChanges is available for both
Adobe InDesign and Adobe InCopy
However, many of us scatter a mishmash of panels paragraph styles, they’re over here, and when you
across the screen, then curse at them as they get in the need a color swatch, it’s over there (Figure 1). The feature for using Track Changes in “plain-text” view
way while we move around the page and zoom in and When you get dressed in the morning, you open the from Adobe has, until the release of InDesign CS5, only
out. We spend precious time and energy repeatedly correct drawer and pull out a pair of socks without even been available for InCopy users. CtrlChanges enhances this
closing, opening, and moving panels out of the way. thinking. You don’t need to open each drawer in your built-in feature and additionally presents changes in Layout
Not only is this inefficient, but because the panel dresser to find the one with your socks in it. view and lets users print and include them in PDFs.
locations are always changing, it robs our brains of That’s because your brain and body are working in sync
the repetition necessary to learn that when you need to remember where your socks are. But if someone snuck
CtrlChanges is available in three versions

CtrlChanges Light €49 $ 69
CtrlChanges Standard €199 $ 269
CtrlChanges Pro €299 $ 399
Suggested Retail Price.
Figure 1: Don’t let your InDesign work area look like this! For more information. please visit ctrlpublishing.com
CtrlPublishing develops and markets systems designed to improve your creation process

Note
TAME INDESIGN’S PANELS "The Application Frame" section applies only to

Macintosh users of InDesign CS4/5. Windows users and
anyone running CS3 on either platform can skip this.
into your bedroom and rearranged all your dresser your interface. Of course, your unique needs, work style, The Application Frame
drawers, you would indeed have to open each drawer right or left-handedness, and monitor size will all dictate In CS4 on Mac OS X, Adobe introduced the idea of the
one by one the next morning to find your socks. This the best panel setup for you. Use the ideas in this article Application Frame. It’s turned off by default, so you may
is exactly what happens if your panel arrangement is as a starting point for taking control of the user interface not have even noticed it. But if you choose Window >
constantly changing. You need to arrange your panels in in InDesign CS3–CS5 and making it your own. Bonus: Application Frame, you'll see a change on your screen. The
a manner that makes sense to you, and then keep them Since most Adobe products share a common interface, InDesign user interface, plus whatever document(s) you’re
that way so that you learn by rote where things are. most of the things you learn in this article also apply to working on, will be entirely contained in a single large self-
In this article I’ll help you understand the mechanics Illustrator and Photoshop. contained window. If you grab the gray bar at the top of
of how panels resize, group, dock and stack, and then the Window, all the bits and pieces of InDesign (except for
give you my opinion of how I think you should set up floating panels) move with the Window (Figure 2).
Figure 2: InDesign CS5 without (left) and with (right) the Application Frame turned on.

Macintosh users either love or hate the application The Panel Dock
frame. Some hate it because it makes InDesign look You may have noticed that some InDesign panels
and behave more like a Windows application. But the are free floating -- that is, you can position them
Application Frame does provide several benefits: anywhere on your screen -- while others are stuck to
❱❱ Its gray backdrop hides the clutter of your desktop as the right side of your screen (Figures 3 and 4). (Adobe
you work in InDesign. calls those stuck panels docked.) To understand how Figure 5: Grouping the Color
❱❱ It makes it easier to move InDesign from one location this works, drag any panel that's stuck to the right panel with the Stroke panel.
on the screen to another, or from one monitor to side of your screen away from the edge of the screen,
another on systems with multiple monitors “tearing” it off into a floating panel by dragging the
❱❱ It keeps panels out of the way of your document— tab that contains its name, and placing it somewhere Panel Groups
no more panels obscuring part of your page as you in the center of your screen. Repeat until you've To group panels together, drag one panel until the
zoom in. removed them all from the right side of the screen, tip of your cursor is next to the tab of another panel.
❱❱ It makes possible tiled-window layouts that automati- then grab one of your panels and drag it to the right (The tab is the part containing the name of the panel.)
cally adjust as you resize or move the window. until your cursor touches the right side of the screen You’ll see a blue box appear around the panel you’re
and a vertical blue bar appears. Release the mouse, dragging to. Release the mouse, and the two panels
Locate Your Panels and the panel will be docked or fastened to the right will appear adjacent to one another in a group. You
You can find all of the panels in the Window menu, side of the screen. (You can also dock panels to the can group as many panels together as you like, in
although some panels, such as Automation, Output, left side of the screen.) whatever order makes sense to you. You can group
and Type & Tables, are buried in sub-menus. This can Why should you care whether the panels are both floating and docked panels (Figure 5).
make it infuriating to locate a panel if you don’t know docked? For one, it's a consistent place to look for your To drag an entire group of panels into or out of the
what sub-menu it’s in. But of course, if you set up your panels. And when used with the Application Frame in panel dock, hold down the Option key (Macintosh) or
panels intelligently and keep them that way, you’ll CS4/5, your panels will never obscure the page you’re Alt key (Windows) while dragging one of the panels in
rarely need to visit the Window menu, right? working on as you pan and zoom around the page. the group.
Figure 3: The Effects panel in CS3 floating (left) and docked (right). Figure 4: The Effects panel in CS4/5 floating (left) and docked (right).

Panel Stacks To Collapse or Expand?

You can also stack floating and docked panels: Just Docked panels have two states, expanded or
drag one panel below another pane until the tip collapsed. To collapse or expand a panel, click on the
of your cursor touches the bottom of the panel double arrows in the upper right corner of the panel
you are dragging to. You’ll see a horizontal blue dock (Figure 7). In CS4/5, you can collapse undocked
line appear. Release the mouse, and the panels will panels also.
be glued together vertically (Figure 6). This way, When a panel is collapsed, you can change its
if you need to make the top panel longer, instead size by dragging the left edge of the panel to see the
of covering the panel underneath, it will push the panel's full name or just an icon (Figure 8).
bottom panel down. So you can collapse panels, but should you? In
my opinion, you should find space on your screen
where you can keep your core panels, the ones that
you use all the time, wide open. If you collapse all Figure 7: To collapse or
of your panels, you’ll be clicking every time that you expand the panels in the
dock, click on the double
want to see what is inside. This runs counter to the arrows in the upper right
way InDesign is designed. The panels in InDesign corner of the panel dock.
are intended to act as a sort of dashboard. You
should be able to select an object on the page and
then easily view the fill, stroke, typeface, and styles
applied to the object, as well as what page and layer
the object is on, and all its other attributes. If your
panels are collapsed, it’ll take multiple clicks to see
all this information.
Figure 6: Stacking
two panels.
Figure 8: To adjust the size of a

collapsed panel (above), drag the left
edge of the panel (right).

This is why dual monitor configurations are icon on some panels (such as the Character, Paragraph,
so common among InDesign users. It’s a huge Info, Stroke, Glyphs, Color, Text Wrap, Gradient and
productivity boon to be able to position all of your Align panels) selectively hides and shows some of
panels on one monitor (Figure 9), leaving your second the panel options (Figure 10). This can be painful if
monitor clutter-free to display your layout. you accidentally hide some panel options without
On some panels you’ll see a small vertical up/down knowing it and then can’t find them later.
arrow icon to the left of the panel name. Clicking on
this icon does a “collapsing” of sorts. On most
panels it simply changes the size of the panel
from wide open to viewing only the name
of the panel, which can make room for an
adjacent panel. But be careful. Clicking the
Figure 10: Each time you click on the icon next

to the name of the panel, some of the panel
options are hidden or shown.
TIP: Hit the Tab Key, Hide the Panels

Pressing the Tab key (when you’re not typing or editing text
with the Type tool) will hide all the panels on your screen.
Hitting the Tab key again will restore the panels. If you’ve
chosen Preferences > Interface > Auto-Show Hidden Panels
and you have some panels docked on the side of your
screen, hovering the mouse over the edge of the screen will
temporarily show the docked panels until you move the
Figure 9: When my laptop is docked to a second display, I configure it so the second monitor holds all the mouse away from the panels.
panels, while the main monitor contains only an uncluttered document.

Recommendations
Now that you've had an overview of how the
mechanics of the panels work, here are specific steps
you can follow to set up your ideal workspace.
1. Begin by choosing the Default Workspace in CS3
(Window > Workspace > Default Workspace) or
the Advanced workspace in CS4/5 (Window >
Workspace > Advanced).
2. Turn on the Application Frame (Window >
Application Frame).
3. Comb through the Window menu and display every
panel on your screen. Don’t worry about where to
put the panels—just spread them across your screen.
Next, close each panel that you don’t think you need
daily. If you can’t figure out a panel's purpose, you
probably don’t need it at this point. Watch for panels
that seem to be redundant. For example, many
users don't need to display the Character, Paragraph,
Figure 11: The core, daily-use panels Figure 12: Add a second column of panels Figure 13: The completed docked panels, with
Transform, or Align panels, as you can acess most of collapsed to icons for occasional-use panels. the Tools panel added.
grouped, stacked, and docked.
the functionality of these panels through the Control
panel at the top of the screen.
4. Separate the remaining panels into two groups: second column in the panel dock (Figure 12). 8. Choose Preferences > Interface and you’ll see
panels you’ll use all the time, and a second set of 7. You probably don’t have room to leave this column that you can choose whether Icon Panels auto-
nice-to-have-around, occasional-use panels. entirely open all the time, so click on the double collapse. If you check Auto-Collapse, the panel will
5. Dock, group, and stack the panels you’ll use all the arrows in the upper-right corner of the column to collapse whenever you click away from a panel that
time on the right side of your screen. A good core collapse it to an icon. Then drag the left edge of the is represented by an icon. Some people like this
group of panels for most designers includes Pages, panel to the right to make the icon view as small behavior. I prefer to leave it off.
Layers, Links, Color, Swatches, Stroke, Paragraph as possible. Drag additional occasional-use panels 9. Since you’ll be training your handw and eyes to
Styles, Character Styles, and Object Styles (Figure 11). to the bottom of the panel icon you just created move to the right side of the screen anyway, you
6. Take one of your occasional-use panels and drag it to create a stack of panel icons. I like to keep the might want to start a third column in the panel
until the tip of your cursor touches the left edge of Effects panel, the Glyphs panel and the Info panel dock for the Tools panel (Figure 13). The Tools panel
the panel dock and a vertical blue line appears on here, along with any media-specific panels such as can be docked like any another panel but can't be
the left edge of the panel dock. This will create a Bookmarks, Hyperlinks and Separation Preview. grouped or stacked. Click on the double arrows

Add 21 languages to your
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at the top of the Tools panel to switch between a

double-column Tools panel and a single column
Tools panel.
10. Visit the menu in the upper-right corner of each
panel, checking to see if there are options you can
change to make the panel display more friendly.
Be sure to choose Panel Options in the Pages panel
menu and change the options as shown in Figure 14.
11. If you have good eyesight, you may also wish to
choose “Small Panel Rows” in the panel menus for the
Layers, Links, Paragraph Styles, Character Styles and
Object Styles panels. In the Swatches panel menu you
Figure 15: Stretch the boundaries of the Glyphs panel to increase its
+
size, and click on the mountain range icon to increase the viewable
size of each glyph.
can choose “Small Name”. These commands let you

cram more panel items into a small amount of space,
leaving room for more panels!
12. f you use the Glyphs panel, it’s handy to make this Open the Borders of Your Writing
panel really large, and to have the individual glyphs in just one click!
displayed large within the panel, so take a moment
to configure this now (Figure 15).
Figure 14: This is how I like to set the options for the Pages panel
menu, to cram more pages into each square inch of the panel. winsoft-international.com

13. Go to the panel menu for the Control panel and

select which widgets you wish to display in the
control panel (Figure 16). If you don’t have a very
wide screen, you may benefit from turning off a
few widgets you don’t use so there's room in the
panel to display everything you do need.
14. Last but not least, save all this so you can easily
recall it if it gets messed up, or switch between a
couple different panel arrangements for different
tasks. To save the panel configuration, choose
Window > Workspace > Save Workspace (CS3)
or Window > Workspace > New Workspace
(CS4/5) and give the workspace a name you’ll
remember.
Figure 17: This is what my recommended general-purpose workspace looks like on a 15" laptop display.
Later, if you need to put this workspace back the We’re all wired a little differently. The way you like
way it was, choose Window > Workspace, and choose your workspace organized will probably be different
the name of your workspace in the menu (Figure 17). than mine. But I’m convinced that if you take some
In InDesign CS4/5, you may also need to choose time to consider some of the suggestions here and
Window > Workspace > Reset [your workspace name] organize your panels, you’ll be a happy, efficient user
to return the panels to the way they were. of Adobe InDesign!
Note that workspaces save which panels are
visible on the screen, which panels are hidden, the
arrangement and size of the panels on the screen, as Keith Gilbert has worked as an independent consultant and
educator in the design industry for 25 years for clients such as
well as the individual panel options for each panel. Apple, Adobe, Best Buy, Cargill, General Mills, Lands’ End, Medtronic,
Figure 16: Use the Control panel menu to turn individual Control Workspaces don’t save whether the Application frame Target and the United Nations. He is an Adobe Certified Instructor in
panel widgets on or off. is on or off. InDesign, InCopy, Illustrator, Photoshop and Acrobat. You can read
his Tips & Techniques Blog at blog.gilbertconsulting.com

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InDesignSecretsLive.com
We
♥
Join us on a guided tour
of dingbats, picture fonts,
pi fonts, ornaments,
and very special characters.
Dingbats
♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥
The term “dingbat” entered my life with the 1970s

sitcom “All in the Family,” in which Archie Bunker
used the word to describe his wife Edith, a seemingly
air-headed woman who was actually wise beneath
her spacey demeanor. Years later I discovered Zapf
Dingbats, one of the 35 PostScript fonts that came
with the original Apple LaserWriter. Zapf Dingbats
was a mystery to me. It contained no letters—only
tiny pictures of checkmarks, boxes, stars, hands, and
hearts—so how could it be a font? I didn’t know what
By Pamela Pfiffner
edge, especially considering that in the early days

of desktop publishing, there weren’t that many
digital dingbats. Most of the influential foundries
that were converting their lead libraries into pixels
and beziers put their energy into classic typefaces,
not non-critical dingbats. Smaller, cheekier foundries
who didn’t have to lug the baggage of typographic
history filled the void. Some font snobs viewed these
nouveau dingbats as another sign the apocalypse was
near. Cats sleeping with dogs! Traditional letterforms
a “zapf” was, but I assumed it was the name for the communing with uncurated pictures!
heart that looked like a flower with a vine-like stem (❦). I straddled the line: I desperately wanted to be a
(I soon learned what, er, who Zapf really was, and font snob, but my head was turned by those cute little
when I met Hermann Zapf in person, I immediately ‘faces. I loved looking at them and playing with them.
knew that he was no dingbat.) Still, I didn’t know how to use them to good effect. I
The novelty of Zapf Dingbats appealed to me, came to view illustrated fonts as frivolous rather than
and I found excuses to insert Zapf’s pointing fingers useful. Type dingbats became the Edith to my Archie.
into many documents. To do so seemed cutting But like that sitcom couple, I can’t divorce my dingbats.
♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥

✔ ☞ 
Figure 1: What would we do without friendly, familiar dingbats like
the checkmark and hand (Zapf Dingbats from Adobe) and the smiley
• •
Figure 2: Fonts like Carta (globe and road sign), and International Pi
(don’t drink the water, and the Great Britain symbol), symbolize what
face and square (Wingdings from Microsoft)? they represent. Both are from the Adobe type foundry.
A ’Bat By Any Other Name Would Look As Sweet
I remain confused as to how the dingbat got its name. Today, “dingbat” has become the default term to
A “dingbat” is defined as a nitwit or empty-headed
person (Edith!), an unnamable object, a typographic
ornament, a type of apartment building, a thrown
describe fonts comprised of symbols, ornaments, or
pictures. Here’s how I break them down:
Decorative elements that function as punctuation,
e V
Figure 3: Traditional ornaments infuse text layouts with elegance.
projectile, slang for male genitalia, and sundry such as a bullet to start a list or a checkmark to
From left: ITC Bodoni Ornaments, Font Bureau Ornaments Village,
insults. It’s trickier to discover the origins of the word, indicate a task (Figure 1). Adobe Caslon Ornaments, and P22 Arts and Crafts Ornaments Two.
especially as it pertains to typography. One intriguing Symbols that embody a person, place, thing, or concept All are available from fonts.com as well as their respective foundries.
idea is that it represents throwaway lead, with “ding” in a single element, like map markers or informational
sounding like lead dropping to the ground and “bat” symbols. Often called Symbol or Pi fonts (Figure 2).
suggesting tossing or hitting. Ornamental flourishes that embellish text. Usually
The best guess as to how the dingbat got its name incorporated into the font family as Ornaments or
is tied to its most profound meaning of the word: a Extras (Figure 3).
dingbat is something for which there is no word, akin to Illustrations that can stand on their own, like
adej
“thingamajig” or “doohickey.” In other words, a dingbat is little pieces of clip art. These are often categorized as
a typographical “whatchamacallit.”What’s certain is that picture fonts (Figure 4).
printers devised dingbats as a way to fill out short lines of It’s the illustration category that provokes
type. They had no purpose other than to take up space. the strongest reactions and gives dingbats a bad
Figure 4: Dingbats encompass a wide variety of styles, from the
In this interpretation it’s easier to see the type dingbat’s reputation in some type-abiding societies (Figure 5).
cartoonish ITC Fontoonies to the bookish Birds A Font by Emerald
connection to the spaced-out housewife Edith. Somebody call the serif! City Fontwerks.
Figure 5: Steer clear of dark galleys when Bad Hood Images are around. Sold as part of House Industries’ Bad Neighborhood Collection.

I still think of dingbats as visual clues to text, such
as the start of bullet list items, but in the hands of
some designers, even this use of dingbats can also be
art (Figures 6, 7, 8, 9, and 10).
At Sam’s House of
Appliances, you’ll find:
Microwaves!
Washers!
Projectors!
Figure 8: Designer Roberto De Vicq created these illustrations entirely from dingbats. “Fear” uses P22 Insectile Solid,
Figure 6: Ampersand Appliances can be a bullet substitute, and “Revolution” uses P22 Constructivist Extras, both available from Veer.com.
although some of the home electronics are a bit dated.
Figure 7: A dingbat from a Bad Hood becomes a productive Figure 9: In the same vein as De Vicq’s masterful illustrations, this
member of society by serving as the letter F. typeface—cleverly named KL Typefaces by Elsner+Flake—consists Figure 10: Press the letters j, k, and l in P22 Vincent and you’ll get
of faces made of type. Look closely and you can see the characters a reproduction of Van Gogh’s bedroom. P22 also sells dingbats for
that comprise each dingbat. I’m not sure how I’d use this, but it’s Leonardo DaVinci, Paul Cezanne, Claude Monet, and Paul Gaugin,
nifty nonetheless. among others. What could be artier?

A small corner of the ‘bat house is reserved for
designer dingbats, or picture fonts drawn with the
distinctive stamp of the artist. Émigré is known for
attracting talent like illustrator John Hersey, graphic
( " #
btnv
artist Ed Fella, and designers Eric Donelan and Bob
Aufuldish, who created the groundbreaking Big
Cheese and ZeitGuys dingbats (Figure 11).
Picture This
Picture dingbats range widely in both quality and
subject matter, from the cute to the eccentric to “What
were they thinking?” Commercial foundries—even
those who might have pooh-poohed dingbats years
cBHg
ago—are a wonderful source of high-quality dingbats
(the question of taste is another matter). The prices are
reasonable and many are bundled with text fonts of
the same family, thus guaranteeing harmony between
letter and picture. Many commercial foundries also
offer free dingbats to whet your appetite (Figure 12).
Figure 11: The slightly surreal Big Cheese (top) and ZeitGuys
(bottom), drawn in 1992 and 1994 respectively, were early examples
of artisan dingbats from Emigre.
eT@
Figure 12: Nerfect is a subversive little boutique foundry that offers close to three-dozen free fonts, including a handful of dingbats. Shown
here are four flavors of Crap*Magnet: from top to bottom, Original, Junior, Legacy, Returns!

Most commercial Web sites—especially font
amalgamators like fonts.com and veer.com—include
an on-the-fly typesetting feature so you can choose
your own words to test the font, although with
dingbats the letters hardly matter, especially because
character maps are usually on the site.
Free fonts are everywhere online. You’ll find the
largest selection on sites like Dingbat Depot, FontSpace,
and Fonts2U, which offer thousands of free dingbats
from enterprising designers. The quality and content
vary wildly, from baby booties to explicit erotica. Note
that some free fonts have use restrictions, and you may
have to pay to use them in commercial designs.
I’ve been looking at so many picture fonts
while researching this article that I now have ‘bats
in the belfry. A few that caught my fancy are in
Figures 13 through 25.
Figure 14:
Dingbatcave was
kind enough
to send me this
eyeful of dingbats
from its font
EyeEye Mate. The
abstract quality
of some of these
eyeballs make
Figure 13: Floralia is a well-crafted, all-purpose ornament font. them look like
And it’s free! graphic bullets.

I0i
Figure 15: Prominent eyes are a major focus of anime and manga characters. Fans of that genre
will find uses for Aduzings 1, a free font by Kiyohiko Azuma. Animal sidekick is included.
Figure 16: I usually shy away from cuteness, but these free panda-bats have an appealing “Hello Kitty” vibe.
And after the National Zoo’s giant pandas Tai Shan and Mei Lan’s departure to China, Pandamonium fills a void.
Figure 17: Given the name “Comic Strip Exclaim Regular” (Monotype Imaging), the rationale behind
this font is pretty obvious, but it’d be cool to see it used in a poster for an opera performance. (Love
the PFFF—a few more letters and my last name is a dingbat!)
Figure 18: We’ve all driven through towns like

those you can construct with Motorcity by Device
Fonts. Despite the dead-ends and the roads
that lead to nowhere, this font uses contextual
alternates so that each glyph adjusts to the one
next to it after deletion or insertion. You may need
a GPS to figure it out, however.

Figure 19: This Device Font typeface is named MenSwear.
a 4 s e8 p
Figure 20: These silhouettes of feisty femmes, from a free font called Actionwomen, put the “ding” in dingbat.
Figure 21: This font from T.26 is called Dingfatz, but perhaps as a nod to the early years it Figure 22: A “Dancing with the Stars” fan might get a kick out of Tangomaniacs Day and Night from
might have been called Zaftig Dingbats. I’d love to see one of these gals on a mudflap. Linotype. Some glyphs are a bit provocative, but then the tango is the dance of love.

Once you’ve installed your chosen font, open
InDesign's Glyph panel to see what pictures are
mapped to which keystroke (Figure 26). LIke other
fonts, dingbats are black and white vector outlines.
You can apply any single color to a dingbat glyph.
Now if someone would just design an Edith Bunker
Dingbat….
Pamela Pfiffner is a freelance writer and editor based in Portland,

Oregon. She needs a job to finance her font habit.
cd1l
Figure 23: With yoga studios springing up like mushrooms after a rainstorm, I bet Yogafont appears on class schedules around the globe.
Figure 24: The glyphs in B Movie Dings might be tricky to use in the context of a larger illustration, but they’d be perfect for a Sweet 16 party
or debutante cotillion.
Figure 25: The innocence in the faces of the Class of 1964 by Nerfect Type Laboratories is so sweet, but you know that some of these kids
Figure 26: Zapf DIngbats show in InDesign’s Glyph Panel. didn’t stay that way. I see a “Wanted” poster in this font.

InStep: Multiple Page Sizes
InStep: Create By Steve Werner
Multiple Page Sizes Producing an InDesign document with different page sizes
used to be tricky. To add a gatefold page to a magazine, for
pieces of an identity package—letterhead, envelope,
business card, and more—on the same spread so you
Flummoxed when making a example, you’d have to set up a separate document large can preview and work on them at the same time.
spine or gatefold? InDesign enough for all the adjacent pages, and manually create This how-to is broken into two parts: making a
guides and fold marks to indicate the different page areas. spine, and presenting multiple pieces on a spread.
CS5’s new feature lets you create While DTP Tools released a CS3/CS4 plug-in that
those easily—plus much more! allowed multiple page sizes within a document, Making a Spine
you had to pay for that plug-in. InDesign CS5 Designing a document with different page sizes that
accommodates multiple page sizes in a single file. touch each other—like a book cover with a spine—
Creating these documents is much easier, and they’re requires that you start with a facing page document,
more flexible to edit. Also, you can now present all the but with “shuffling” turned off.
1 Turn off Page Shuffling

Start by creating a two-page spread in a document
with Facing Pages turned on. These two pages will
be the front and back cover. To add the narrower spine
between front and back covers, you need to deselect Allow
Document Pages to Shuffle from the Pages panel menu.
2 Add a Page for a Spine

Insert a new page between the front and back
covers using the Pages panel menu. Initially it will
be the same size as the two covers. Then select the new
Page tool from the Tools panel. This tool lets you select
a single page or multiple pages in the document layout.
(Hold down Shift key to select contiguous pages, or the
Command/Control key to select discontiguous pages.)
Click on the new center page of the spread, the one that
will become the spine. InDesign highlights the selected
Figure 1: InDesign CS5’s new Page tool lets you select pages in a layout. This allows you to change their size or orientation. page with a light purple color (Figure 1).

Tip: If you have page items on a page when you change

its size, the Layout Adjustment settings control how
objects already on the page are affected. You can find this
3
feature in the Control panel (after selecting a page with the
Choose the New Page Size spine width changes (when more pages are added to Page tool) or by choosing Layout > Layout Adjustment.
Select the page with the Page tool to reveal a or removed from the book) you can simply change the Choosing from the Layout menu gives you more options,
however. For example, you may want to turn off the option
set of page controls on the Control panel. You width of the middle page. Note that you can save your
to Allow Graphics and Groups to resize.
can choose a new page size for the spine. There is a custom page sizes by selecting Custom Page Size at
popup menu with preset sizes, but in this case you the bottom of the popup menu.
should simply change the width value. I’ve changed Presenting Multiple Pieces on a Spread
the spine width to two inches (Figure 2). Later, if the InDesign handles different page sizes quite differently
when you have Facing Pages turned off. When a Facing
Pages document has spines, gatefolds, and the like, you
expect that pages will always share a common edge.
With non-facing page documents, once you resize the
pages, you can arrange the pages on the pasteboard
however you like. This is handy when, for example,
you’re creating a company identity package with a
letterhead, envelope, business card, and other items.
You might want to place the elements side-by-side.
1 Create Non-facing Page Spreads

To create such a layout, turn off Facing Pages
when creating the document. In this case, it
doesn’t matter what the document’s page size is, but
I usually choose the letterhead paper as the page
size. Include as many pages as there are pieces in
the identity package—in my example I’ve included a
letterhead, an envelope, and a business card. Initially,
when you click OK, InDesign creates the three pages
on three spreads.
Figure 2: With the center page of the spread selected, entering 2 inches for width on the Control panel adjusts the spine width for the book.
2 Resize the Pages
Deselect Allow Document Pages to Shuffle
on the Pages panel menu. Then, in the
Pages panel, drag page 2 (the envelope) and

page 3 (the business card) to the right of page 1

(the letterhead). Now all three items will display
as a three-page spread, and they share vertical
edges. Use the Page tool to resize the pages for
the envelope and the business card. I entered the
dimensions for a #10 envelope (9.5” x 4.125”), then
chose US Business Card from the page size preset
menu (Figure 3). Note that when you resize pages,
the reference point on the proxy at the left side
of the Control panel determines how the page is
resized. Also note that the Pages panel does not
Figure 3: When you turn on the Master Page Overlay option on the Control panel, you can move the master page items applied to the current
accurately reflect the change in page sizes!
page, even if it’s a different page size.
3 Arrange the Pages on the Pasteboard

Once you have resized the pages, the Page tool
takes on a new function: You can use it to move
the pages to any position on the pasteboard (Figure 4).
Don’t worry if the pasteboard isn’t big enough: If
you drag the over the edge of the pasteboard, it
automatically makes itself larger! If you then move the
pages back, the pasteboard shrinks.
If you’ve already placed artwork on the pages, be
sure to turn on the Objects Move with Page option on
the Control panel so the artwork moves with the page.
However, the Pages panel still doesn’t show you an
accurate representation of page position. Obviously,
the panel should be taken with a grain of salt.
4 Adjust Master Page Items

The new multiple page size feature also applies to
master pages. You can both view and adjust the
position of artwork coming from a master page to your Figure 4: After resizing the pages of the pieces in the identity package, they initially share a common edge.

Making Sure It Prints logo on a master page (I called it Logo master) and
You may be worried about how to print or create PDFs apply that master to each of your different-sized
from documents that have multiple page sizes. Don’t pages (Figure 6). Turn on the Master Page Overlay
worry. InDesign can manage the different page sizes option in the Control panel, and use the Page tool
just fine.
Also, if you want to print all the pages that are the
to move the logo to the appropriate position on
same size at the same time, InDesign makes it easy: each piece by dragging the highlighted edge of the
There’s a new button in the Print dialog box called Se- Master Page Overlay.
lect All Pages Matching Size of Current Page. (It’s just an Unfortunately, there’s no way to resize a single
icon, though, so you may need to hover over it to make master page item differently on different pages.
sure you have the right button.) Click the button and
then click the next/previous buttons around it to make In my example, one logo size works well on the
InDesign choose the page ranges for similar-sized letterhead and envelope but is too large for the
pages automatically. business card, forcing me to make a different Figure 5: You have almost unlimited control is how the pages of a
Creating PDF files of multiple page size documents master for a smaller logo. However, there is one non-facing page document can be arranged on the pasteboard.
is even easier because the PDF file format and Acrobat
have always supported mixing page sizes and orienta-
tions within the same document. In the case of the
identity package example, they appear virtually the
same in Acrobat when you choose View > Page Display
> Single Page Continuous as when you’re in InDesign
CS5’s Presentation Mode.
new page. In the Control panel, check Show Master

Page Overlay. A purple outline indicates the name
and dimensions of the current master page applied
to your page. Using the Page tool, click on the edge of
the purple outline, and you can reposition it and any
artwork on it relative to the current page (Figure 5).
5 Assign the Same Master Page to

Different-sized Pages
Say you’d like to apply a company logo to each
piece of the identity package. You can place the Figure 6: You can apply the same master page to different size pages. Here a logo is applied to a letterhead and an envelope.

clever way around this limitation, which I’ve

explained in the sidebar “The TransformMaster.” Steve Werner has developed and taught classes in InDesign,
Acrobat, Illustrator, and Photoshop since the early 1990s. He co-
authored Moving to InDesign with David Blatner and Christopher
Smith, and Real World Adobe Creative Suite 2 with Sandee Cohen.
The TransformMaster In the San Francisco Bay Area, he teaches at AcademyX and the
InDesign doesn't let you resize a single master page Printing Industry of Northern California. He is to co-founder of
item differently on different pages. Hopefully InDesign csmagic.com, which produces online classes to help you master the
CS7 will fix this, but in the meantime, there's the free Adobe Creative Suite.
TransformMaster plug-in from InDesign developer
Rorohiko.
Once you download and install the plug-in, you can
go to the Window > Extensions > TransformMaster
menu item to make the TransformMaster palette visible,
then use the Angle and Scale fields to rotate and scale
the master page item.
Download the plugin and get more details on its use
at http://www.rorohiko.com/wordpress/indesign-down-
loads/transformmaster/.
5 Turn on Presentation Mode

InDesign CS5 also introduces a new view option
called Presentation Mode, which is perfect for
showing off such a spread to a client. It puts InDesign
in full-screen mode, hides all UI elements, and shows
only the current spread. To switch to Presentation
mode, choose View > Screen Mode > Presentation,
or press Shift-W (Figure 7). When you’re done, press
Shift-W or Esc to return to normal display mode.
With the addition of multiple pages size to InDesign
CS5, Adobe has once again solved a longstanding
problem. Although this new feature isn’t perfect, it
should save a lot of time and effort for many designers. Figure 7: InDesign CS5’s new Presentation Mode is perfect for showing off the pieces of an identity package.

InDesign Effects: Wood Carving
Create a Carved-Wood By mike rankin
Effect in InDesign Making text or other objects look like they have been
carved into wood is “two” easy. To create somehting
similar to the example below, just use two effects
This excerpt from The (Bevel and Emboss, and Basic Feather), two blend
InDesignSecrets Guide to Graphic
Effects will make an effects wiz
modes (Multiply and Screen), and two copies of the
“carved” object. indesign
secrets
without touching Photoshop.
Duplicate the text outlines.
Start with a good photo of stained wood, placed

into InDesign.
Add some text over the photo, ideally using a
typeface with thick strokes or a blocky display face.
Fill the text with [Paper].
Select the text frame with the Selection tool and
choose Type > Create Outlines.

Select the top set of text outlines and in the Then apply Bevel and Emboss, and Basic Feather Select the Eyedropper tool and click on the wood
Effects panel, change the blend mode from Normal to effects with the settings similar to those shown. grain photo to sample a color. Save it as a swatch.
Multiply. Click OK to close the dialog boxes, and then choose Then use the new swatch to fill the bottom copy of
Edit > Deselect All. the outlined text.
Set the blend mode of the outlined text to Screen.
Lower the tint to taste.

Then apply Basic Feather with noise to make more Select both copies of the outlined text and align Variation
natural-looking edges. their horizontal and vertical centers by clicking on the Omit the Screened copy of the object to simulate
icons in the Control panel. dents or scratches that don’t penetrate the surface of
the wood.
Mike Rankin has 15 years of publishing experience, including

project management, layout, prepress, XML, support, and training.
He is the author of The InDesignSecrets Guide to the Adobe InDesign
ACE Exam and The InDesignSecrets Guide to Graphic Effects.
He is also the manager of workflow automation at Houghton
Mifflin Harcourt Publishing Co. He writes for InDesign Magazine,
InDesignSecrets.com, and his blog, Publicious.net.

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InDesigners: Andrew Faulkner
Having fun is a must. That’s one thing you need to be Faulkner takes the same approach to Web design,
Andrew Faulkner
clear on when dealing with designer Andrew Faulkner. treating the home page as the magazine cover.
afstudio design
Faulkner takes fun so seriously that his Craigslist ad “Especially with the Web, you have about five to ten
Owner
for new hires lists a sense of humor as a required seconds to pull them in. I have lots of respect for
Contact: http://afstudio.com/
qualification, right up there with excellent typography designers who specialize in subtlety and refinement,
skills and “being able to work with iTunes going 24/7.” but my strength is to go after the impact.”
“There’s a lot of nose-to-the grindstone studios that In turn, his ten years of Web design experience has
are like sweatshops, but we all have lives outside of affected Faulkner’s print work, because today’s print
the studio,” Faulkner says of the playful atmosphere at audience is what he calls “the short attention span
afstudio, his small northern California design business. theater: when it comes in the mail, if it doesn’t grab
Andrew started afstudio about 18 years ago after the viewer within ten seconds, they toss it in the trash.”
several years as a magazine designer, first at Macworld To help him keep up with trends in new media,
and then as art director for Electronic Musician Faulkner hires young students just out of art school.
magazine. Afstudio does both print and web design, “A good design studio has to have its hand on the
ndrew looks right at home in 3D glasses in front of a whimsical
A including a substantial amount of work for Adobe pulse of that area. And students bring a fresh eye. The
illustration by Louis Fishauf. Systems. Adobe expects the studio to use the latest designs and font choices the young interns come up
software, often beta versions, which keeps Andrew with may be fresher than what we might come up
further ahead of the technological curve than most with,” he explains.
designers. “Adobe asks for a very simple, clear product, One notable recent project was a coffee table
which mirrors my design philosophy,” he says. book for Adobe celebrating 10 years of InDesign.
He describe afstudio’s motto as “complexly simple. Working on it, Faulkner was strucky by the fact that
One of my key goals is to distill a message to its “InDesign is the gold standard around the world, not
simplest form to create the most impact.” To this end, just in the U.S. It’s a very mature program, and a
Faulkner values “strong, bold typography and a less-is- universally liked program, which wasn’t the case for
more approach—it’s a cliché, but it works nine out of years in the era of QuarkXPress and Pagemaker. It
ten times,” he says. used to be you had to take sides, but now there’s no
Faulkner’s magazine background also informs longer a choice: there’s just one program.“
his design sensibility. “I have the magazine approach Faulkner’s favorite InDesign features include
where you enter the design through the front ‘cover,’” the drop shadow feature; the pen tool’s masking
he explains. “The cover of a magazine is a poster for abilities; the ability to use layered PSDs; the
your design piece—it has to suck you in right away. If excellent typography tools; and how the program
it doesn’t, nothing will.” handles tables. “Tables used to be such a pain in

earlier programs. Plus, I love that I can draw icons in

Illustrator and copy and paste them into InDesign
files,“ he says.
Working closely with Adobe, Faulkner has
become more familiar with ID CS5 than most
designers. What does he look forward to using? “All
the Flash interactive stuff will save a lot of time and
money, especially with crossover projects that go
from print to Web. “
And how about a wish list for ID CS6? “My number
one priority would be better export to HTML, that
you could press Export and retain a lot of the
design,” he says. Also, “It’d be neat if there were more
automated reconfiguration.” Faulkner complains that
on Adobe projects he often has to create a U.S. and
European version, and there’s no way to convert
easily to say, an A4 size without having to redo all of
your design and guides.
And wouldn’t it be great if the program had a
built-in sense of humor? For now, Faulkner will just
have to make do with his own. “If people want a
“ We operate as sort of a satellite office for Adobe,” explains Faulkner, whose association
prankster, I’m all theirs,” he says. with the company began back in 1992 when he was asked to help develop content for
some Adobe how-to books. Today, he continues this role, developing content for the
highly popular Classroom-in-a-Book series (Photoshop and Aftereffects) as well a broad
Anne-Marie Praetzelis a graphic designer with experience in array of other Adobe projects, from brochures to video tutorials to coffee table books,
newspaper and magazine design. such as this spread from Inside the Publishing Revolution: The Adobe Story.

s the designer of Page By Page: 10 Years of Designing with Adobe InDesign, Faulkner featured work
A
from some of the best designers in the world. “It was really fun for me to reach out to all my heroes
of design and have this common tool that we all use.” The book was written by Pamela Pfiffner and
commissioned by Adobe. While Adobe usually asks that Adobe products use Adobe software and
feature Adobe typefaces (“their motto is, ‘We want to eat our own cooking’”), Faulkner requested an
exception for the book and used Museo, one of his favorite typeface families. The flexible layout’s
variable column lengths accommodated varying amounts of copy. That allowed him to work on the
design before the author provided him with text and he could fit whatever amount came in without
having to redo the layout.

nother spread from Page By Page: 10 Years of Designing with Adobe InDesign. You can
A
download a PDF of at http://www.indesign10anniversary.com/.

F aulkners’s magazine roots frequently show up in his work. “A lot of designers’ approach is that a piece has to
be aesthetically pleasing. But I go for high impact, even if some of the subtlety’s lost. Otherwise, you might
end up with a nice piece, but if it doesn’t jump off the ‘newsstand,’ what good is it?“ This coffee table book on
photographer Ruth Bernhard uses strong images and clean typography to pull the reader in.

T he Faulkner approach: High impact, bold typography. This special-edition magazine for Sunset on
outdoor living encapsulates Faulkner’s approach of using bold typography and strong images to create
high-impact designs.

InStep: HowAsk
InQuestion: to Grok
Sandee
GREP
Text Wraps, XPress Tags, By Sandee Cohen
and Panel Tweaks Find the Invisible Text Wrap

over the master pages to find the problem, I decided
InQuestion is a regular
column devoted to answering Q Help! I am going insane. I’ve got a document
where the text on every page creates a space
right in the middle of every page. I know it’s something
to use the Find/Change for objects to find the text
wrap objects.
First, I set the Find/Change dialog box to the Object
subscribers’ questions about with a text wrap because the space goes away when tab. I then clicked a small icon with the tool tip the
I turn on the preference, “Text Wrap Only Affects Text “Specify attributes to find” (Figure 1) to open the Find
working with InDesign. Beneath.” But I’ve searched all over the page and there’s Object Format Options (Figure 2). I chose the Text
nothing else on the page. Wrap & Other option and clicked the option to wrap
around the bounding box. I then clicked OK to go back
Figure 1: The Object tab of the Find/Change dialog box. A Fortunately, this question came up in a class
where I was able to look at the pages and the
affected text. An object with a text wrap was indeed
to the Find/Change dialog box.
I clicked the Find button but was a little surprised
when InDesign reported no matches. That didn’t seem
the culprit, but finding it wasn’t easy. right. I was going to try some of the other text wrap
The clue to the problem was that the space options when I remembered something in the Find/
occurred on every page. Things that happen on every Change dialog box.
page generally happen because of something on a
master page. However, instead of wildly clicking all
Figure 2: The Find Object
Format Options let you set
which object attributes should
be searched for.

InQuestion: Ask Sandee
At the bottom of the box there is an icon to set style the text. Does InDesign have anything like XPress Figure 4: XPress tags are formatted with an @ sign, the name of the
style, and then a colon.
the search to “Include Master Pages” (Figure 3). Aha! tags? And if it does, can we convert our XPress tags into
I clicked the icon to set it on, and ran the Find again. the InDesign ones?
Tah-dah! I was taken to the master page where a
single point from the Pen tool was sitting right in the
middle of the page. A There are several answers to your question.
The first answer starts with a question. What
type of text editor are the people who tag your text
Figure 3: The options for where the Find/Change searches allows you
to choose whether or not to include master pages during a search. using? If it’s a word processor such as Microsoft Word
or even an open-source product such OpenOffice,
they don’t have to use tags. They can simply use
Word’s own paragraph styles to format the text.
But if the styles are inserted using a database, you
do need tags. One option is the XTags for InDesign
plug-in from Em Software, which can read XPress Tags
files (and a whole lot more). However, if your budget is
Once Find/Change had found the errant points it tight, another way to make the conversion is to tell the
was easy to delete them, and the spaces around the database people to change the XPress tag formatting Figure 5: ID tags are formatted with the < and > signed containing
text disappeared. to the InDesign format. For example, the XPress tags ParaStyle: and then the name of the style.
If you’re wondering, I asked the student why she use the @ sign in front of the style name with a colon
had placed a single point in the middle of each master after the name (Figure 4).
page. She explained that she thought it was the best InDesign tags, however, use the less than and
way to show where the center was. I then showed her greater than signs to enclose the word ParaStyle:
how Smart Guides would do that automatically. She and then insert the name of the style after the colon
also didn’t realize that she had a default setting of text (Figure 5).
wrap turned on. Solving these little mysteries is what In addition to changing the formatting of the tags,
makes my life entertaining. they need to insert the following identifier lines at the
top of the document: <ASCII-MAC> or <ASCII-Win>
Convert QuarkXPress Tags to InDesign Tags depending on which platform the text will be inserted
The next line should read <Version:7> if they are
Q I’m trying to get the people in my company

to use InDesign instead of QuarkXPress. They
don’t want to switch because they use XPress tags to
using CS5 or <Version:6> for CS4. This lets you import
the tagged document into InDesign as you do with
the XPress Tagged files.

InQuestion: Ask Sandee
It’s possible that the database can’t be changed You can now place the text document into your Figure 8: A single click after selecting a object in the Layers panel
allows you to rename the object within the layer.
from XPress tags to ID tags (or that the database will InDesign template. The identifier lines tell InDesign
stubbornly refuse). In that case, import the text into to convert the tags into paragraph styles. As long
a plain InDesign document and use the GREP Find/ as the template contains the same names as the
Change to reformat the tags. In the Find What field, styles in the tagged text, the text will be converted
enter (@)([\l\u]*):. This finds the XPress @ tag as well as properly (Figure 7).
the name of the style and the colon.
For example, you can convert the paragraph Figure 7: InDesign’s paragraph styles need to match the paragraph
style names in the style tags.
style tags like this: In the Change to field, enter
<ParaStyle:$2>. This adds the InDesign formatting
and inserts the name of the style found in the Find
What field (Figure 6). Choose Change All to convert
the text.
Insert the two identifier lines mentioned previously
at the top of the document. Then, select the converted
text and export it out of InDesign as a Plain Text
document. (Don’t export it out as an InDesign Tagged
A This is one of those times where the usual
double-click isn’t the answer. Instead, click
once to select the layer. Now pause. Now, single-click
Text Document. That’s for exporting formatted text out again on the name. You’ll see it become part of a field
into its tags.) (Figure 8). You may now type whatever name you want.
Then press the Return/Enter key to apply the name.
Figure 6: Use InDesign’s GREP Find/Change formulas to change This technique is especially helpful for naming
XPress tags into the ID tag format. groups. However, unlike layers that add the word “copy”
when you duplicate them, the objects within the layer
can have the same name. So, you may want to rename
Rename Items in the New Layers Panel an object if you duplicate it on the spread.
Q I really like that InDesign CS5’s new Layers

panel shows the items on a layer. It’s great that
the graphics are labeled with their filenames. But the
Sandee Cohen is the only third-party author to have written
educational materials for all versions of InDesign. Her latest books
are the InDesign CS4 Visual QuickStart Guide and From Design Into
InDesign frames have generic names like <rectangle> Print: Preparing Graphics and Text for Professional Printing.
and <circle>. Is there any way to rename those items? I
tried to double-click the name, but it didn’t work.

InReview: Productivity Tools
By jeremy schultz
eDocker
PrePress Studio Oy One of the most popular cross-publishing products Fortunately, there are third-party products that can
www.prepress.fi/eDocker_eng/ online today is the digital flip-page publication: an add other desirable functions, such as search and
index.html electronic publication usually derived from a printed navigation. One such product is eDocker, from Finland-
€ 325 piece and published with Flash or other technologies. based PrePress Studio Oy.
Mac and Windows; InDesign CS4 Printed publications can easily be saved as PDF files I’ll look at eDocker from the perspective of
and CS5 and posted online with a variety of interactive features, InDesign users just beginning to take advantage of
Rating: but digital publications can sport page-turning InDesign’s interactive tools or those wanting to add
animation and data-driven functions such as text interactive functions to their publications.
search or dynamic linking from products on the page
to products on the Web site. The digital publication Components and Functions
has a variety of uses: eDocker is composed of three separate products or
❱❱ Major retailers produce eCatalogs, including components:
Coldwater Creek, Amazon.com, HP, and Target. ❱❱ eDocCreator, a script added to InDesign that
❱❱ Most book publishers produce eBooks and online produces the XML files eDocker uses for searchable
books for a variety of devices. text and table of contents (Figure 1). This is an
❱❱ Magazine and comic publishers publish their
periodicals online. Marvel Comics publishes their Figure 1: You can apply the eDocCreator script from the Scripts panel
in InDesign. Although the script is labeled “CS4,” it works in CS5, too.
comics online from the same files used to print them.
Condé Nast made news recently for publishing
WIRED magazine on the iPad with an Adobe-built
digital publishing system.
Scene7, now owned by Adobe, is a popular
provider of digital publications and other cross-media
solutions. A Flash developer can also produce these
Ratings Key publications on their own.
Not worth it even if it’s free The fact that InDesign can export SWF files with
Not recommended page-turning transitions right out of the box helps
Average users make digital publications, but all the other
Exceptionally good functions common to these publications need to be
A must-have built by hand or aren’t feasible with InDesign alone.

Figure 3: The eDocManager application

converts SWF and XML files into
complete digital publications.
optional component, but helpful if you need search transition to all pages in the
capability or a table of contents. InDesign file, but my tests
❱❱ eDocManager, the application necessary for showed you need only turn
generating digital publications. It is an Adobe AIR on the Include Interactive
application. Page Curl option in the
❱❱ eDocBrowser, the Flash SWFs that make up the user Export SWF dialog box. You
interface for browsing digital publications. You can don’t need to add or include
modify these to create a customized user experience. page transitions on export
❱❱ To prepare a layout for eDocker, you export it from (Figure 2).
InDesign the same as usual: Choose File > Export, The other export setting
then choose SWF from the Format popup menu to be changed is the SWF
(or, in CS5, choose Flash Player SWF). The eDocker height, which should be at least
functionality says you must apply the Page Turn 630 pixels. The eDocBrowser
interface will perform the same no matter what height

is specified, but a height of 630 pixels or higher does
keep the SWF at a good viewing resolution—my tests
with smaller pixels heights produced pages with
noticeably lower resolution.
The eDocManager Interface

InDesign exports a SWF and HTML file, but
eDocker needs only the SWF file. If you also run the
eDocCreator script (install it in InDesign’s Scripts >
Scripts Panel folder) you’ll output two XML files. The
eDocManager produces digital publications from
these files (Figure 3). The application works well, and
there are several things I like:
Figure 2: The Export SWF dialog box from InDesign CS4 (left) and
CS5 (right) both work with eDocker. The Interactive Page Curl is
required for page-turning animations. The height should be at least
630 pixels for good resolution.

Figure 5: The default eDockBrowser interface provides all the

features needed to navigate and view content. The interface is
totally customizable if you know Illustrator and Flash.
❱❱ You can save and open projects easily. assets for revising and
❱❱ You can add multiple SWFs to a single digital replacing the SWF files
publication and even set each to a different size. (Figure 4). eDocBrowser
❱❱ The application itself is simple and easy to use, automatically uses the
clearly showing what files to browse for. revised assets after
❱❱ The publication name can be added to the final the Web browser is
product with the Menu Label field. refreshed.
❱❱ The application supports single InDesign pages and The fact that assets
spreads. are SWF files and
You can also add a PDF file to a digital publication often require Flash
as alternative content—handy when you want to give or Illustrator to be
your audience a way to print your document. revised makes it more
It would be helpful if you could drag and drop files difficult for beginners
into the application window and use more keyboard to customize the
eDocBrowser. Not
Figure 4: The eDocker installation includes original files necessary everyone knows how to
for customizing its user interface. use Illustrator, and Flash
is even trickier. Some
new InDesign users don’t
have Flash or Illustrator,
making revisions
shortcuts, but overall eDocManager works well as impossible. Many
eDocker’s central interface. elements could have been JPEGs or GIFs instead of
SWFs, making revision a matter of opening graphics in
Customizing with eDocBrowser Photoshop or any other graphics application. If there
eDocker displays digital publications in Web browsers were interactive features such as rollovers or animated
with a customized interface called the eDocBrowser, buttons in the eDocker interface, it would make sense
which is composed of a set of Flash SWFs. Users to use SWFs, but there is only one animated button—
looking to produce branded digital publications the Help button, which has a pulsating red glow.
will want to redesign these SWFs to match their If you know Illustrator and Flash, you’ll find it
own branding, and, fortunately, Prepress Studio Oy fairly easy to revise eDocBrowser’s assets (Figure 5).
includes the original InDesign, Illustrator, and Flash The buttons and elements are fairly simple and the

eDocker documentation shows the size and placement Figure 7: Printing a digital publication can produce several artifacts Figure 8: Search results are shown in a list in a pop-up window.
since eDocker’s page are based on SWFs. Unfortunately, the eDocBrowser doesn’t provide any help finding
of common elements. It’s possible to add buttons and the words.
functions to the eDocBrowser interface but it takes
some skill to do.
The Final Output: Good, not Great

The digital publications produced by eDocker have all
the usual features:
❱❱ A drop-down menu with the table of contents
produced by the InDesign script (Figure 6)
❱❱ Keyword search
❱❱ PDF file download
❱❱ Full-screen and zoom in/out capability
❱❱ A tool for panning around the page after zooming in
❱❱ Page navigation—page-by-page, first/last page and
numeric input
❱❱ Page printing
Figure 6: When you produce a table of contents in InDesign, the

table items are saved as bookmarks. The eDocCreator script saves ❱❱ A help page that explains the interface features
the bookmarks as XML data, which eDocManager uses to produce a ❱❱ Page curling and “turning” with the mouse printing from a SWF file instead of a more printer-
drop-down table of contents. The results add a lot of to the SWF exported from friendly format (Figure 7).
InDesign, and even though InDesign can create a lot ❱❱ A page-turning glitch sometimes happens, with a
of interactive elements like buttons and page turns, black half-page flickering on the opposite side of a
eDocker goes well beyond that. This is good news to page corner when it’s highlighted. The actual page-
users frustrated by InDesign’s limitations. turning mechanism is unaffected.
However, digital publications produced by eDocker ❱❱ You can’t turn pages while zoomed in.
do have some limitations: ❱❱ The pop-up window produced by the keyword
❱❱ The Print feature can only print the page or spread search function doesn’t expand for large file names.
showing in the interface, not the entire document. ❱❱ The keyword search results don’t show where found
Printed output can also suffer from bad cropping, keywords are located (Figure 8). eDocker only lists
banding and transparency issues due to eDocker the pages and the number of instances the word

Learn. Earn.
has on the page. This is because eDocker uses the

XML file generated by the script to know what words
are in the publication, and the XML doesn’t specify
where words are found. SWF files can retain live text,
and some digital publishing products have search
functions that highlight found words.
❱❱ Publications generated with the Single Page page
type don’t seem to produce page numbers or accept
numeric input in the Go To Page interface.
I bet many beginners will either find ways around
some of these problems, remove the elements
altogether or just live with eDocker’s shortcomings—
even with their problems, eDocker still provides more
features than what InDesign can produce. The price is
low compared to a customized solution from a Flash
developer or a service like Scene7. This combination
of low price and features above and beyond InDesign
places eDocker in a position to help designers eager to
extend InDesign’s cross-publishing features.
Jeremy Schultz is a graphic designer and is the owner of his design

firm, Jeremy Schultz, specializing in graphic design, Web design and
illustration.
Download a free trial issue today. Every PDF issue

is filled with valuable information on using Adobe
InDesign. You’ll learn techniques that save you time
and expand your creative options. And this and ev-
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designers in the industry. There’s nothing like expert-
level tips and tricks at your fingertips. www.indesignmag.com

Print & ePublishing Conference
A Publishing Geekfest By John parsons
The InDesignSecrets Print and Conventional wisdom holds that live conferences are and experts. Although most of the attendees were
risky ventures, and that Webinars and other online expert-level InDesign users, there were a number of
ePublishing Conference Report venues have siphoned away demand for educational relative newcomers—who were provided with an
events. The successful InDesignSecrets Print and intensive “InDesign 101” workshop on the first day.
ePublishing Conference recently disproved those While covering a broad range of practical design and
assumptions, with sold-out attendance and a visibly production topics, the instructors were themselves
excited, engaged audience. The three-day event impressed by the caliber of the students’ questions
(held at the Adobe campus in Seattle, although not and observations, Blatner noted.
affiliated with Adobe) drew over 200 attendees from
as far away as New Zealand. Special Guests
Co-organizers David Blatner and Anne-Marie Understandably, the pro-Adobe (and anti-Quark)
Photo courtesy John Cornicello Concepción attributed the event’s success to several partisan spirit was much in evidence. Adobe
factors, including an improving spokesmen largely refrained from preaching to the
economy and the recent choir, however.
release of Creative Suite 5. One of the more impressive occurrences was a
However, he also noted that panel of InDesign engineers and project leaders,
the event’s two themes struck a who listened intently to questions and feature
chord with potential attendees. requests from the very knowledgeable audience—
The first, he said, was the clearly thinking ahead to the next version(s).
notion that InDesign—and Although Concepción describes CS5 as a major
particularly its new interactive release, she was impressed by Adobe’s awareness of
media features—is becoming the issues going forward.
more of a hub for cross- Shawn Duffy of WoodWing delivered another
media design. The second “message from our sponsor,” demonstrating his
was the sense that print and company’s impressive (and expensive) Smart
e-publishing are not mutually Magazines system for creating multiple media con-
exclusive, but both integral tent. Although the CMS-based system is out of reach
parts of the publishing whole. for smaller publications, it featured an extended
The event featured 24 InDesign feature set for creating both print and iPad
leading InDesign trainers versions of Time magazine.

Symptoms of iPad Fever good starting point for cross-media design. However, recommended that the next step for most InDesign
Speaking of the iPad, this writer noticed an unusually given the Apple-Adobe debates over Flash, and the users was to explore Flash.
high concentration of Apple’s über-gadget among print page-centric roots of InDesign, many in the room Other sessions were rich in practical advice on
attendees and presenters alike. Unfortunately, Apple’s felt that Adobe still has a long way to go. areas where In-Design is already strong, such as
anti-Flash policies chilled the discussions of InDesign’s Another speaker, trainer and erstwhile comedian table creation, nested styles, advanced grid usage
emerging strength as an origination platform for Russell Viers, made an excellent case for designers and Live Preflight. The latter was geared primarily
interactive digital editions. WoodWing’s approach breaking out of their “favorite” Creative Suite to print production, using profiles created by the
offered some hope, but there was clearly a lot of application and trying new project components in Belgian graphic arts organization VIGC (www.vigc.org).
frustration among attendees, many of whom were an unfamiliar one. By branching out to “learn the However, there was a spirited discussion about the
long-term fans of both Adobe and Apple. (One quipped, Suite,” he pointed out that while gaining a better potential for using pre-flight in non-print situations.
“I just hate it when Mommy and Daddy fight!”) understanding of Illustrator or Photoshop, page For the more adventurous, some sessions dealt
Clearly, the mobile publishing channel was designers would become better InDesign users. Viers with scripting and incorporation of XML and XSLT into
uppermost on every-one’s minds; many of the specialized InDesign workflows.
Photo courtesy John Cornicello
seminars touched on the iPad specifically and the
tablet/e-reader phenomenon in general. Besides the Workaround Central
Flash discussions, there was much attention paid to Many of the sessions
InDesign’s creation of interactive PDF and ePub files. dealt with some of the
(More on that later.) painful realities of current
publishing standards. For
Session Highlights example, the ubiquitous
The opening keynote by former InDesign group ePub standard (www.
product manager Michael Ninness (now with openebook.org) was
training company Lynda.com) stressed the event’s acknowledged as adequate
major focus—namely that InDesign can be a design for linear publications
hub for creating content for both digital and print but not for designed
dis-play. Citing numerous examples—some highly publications such as
experimental—Ninness remarked that the problems magazines. Several sessions
of “adaptive layout” and content-aware scaling are still were devoted to the arcane
on Adobe’s to-do list, for the most part. He stressed workarounds required
the claim that InDesign’s strengths in typography and to prepare and export
grid-based layout, combined with CS5’s animation InDesign files for satisfying
tools and interaction with Flash Professional, make it a ePub output. (HTML from

InDesign requires much of the same forethought.) certainly encouraged by the upsurge in interest—and For designers, the new CS5 is certainly a major
While the audience appreciated the work-around tips, the growing need for training and best practices. For release with much to be thankful for. According
the general feeling was that ePub needed to be more Adobe, the event was clearly a call to move for-ward to Concepción, the release successfully makes
robust, or that InDesign needed more “intelligence” on more flexible layout and output options. the products’ overwhelming feature sets more
during ePub export—or both. On the wish list side, Blatner expressed hope “discoverable” by ordinary users—thanks in large
A more troubling set of workarounds involved that Adobe would continue to make Creative Suite part to improvements in the interface. Although
InDesign’s new animation features. While the features a production hub for all forms of media. Practically, Creative Suite will always have secrets and esoteric
themselves were intuitive and well implemented, that includes a high-end PDF Reader for the iPhone/ workarounds, Concepción insists that its intrinsic value
exported files were problematic. Animations that iPad, better feature parity (where appropriate) for users is that very deep well of capabilities.
worked in Flash were not applicable to interactive be-tween PDF and SWF and an “article threads”
PDF, and vice versa. Although this was understandable, capability within InDesign—similar to WoodWing’s
given SWF’s and PDF’s separate histories, there was article dossier feature—that would allow publishers John Parsons is an independent consultant and the principal of
Byte Media Strategies LLC. He was formerly the Editorial Director for
considerable grumbling over the resulting complexity. to include e-reader versions of articles within their The Seybold Report. He can be reached at john@bytemedianews.com.
Other workarounds involved technology in which digital editions.
Adobe claims to have the upper hand: forms creation.
A session on InDesign-to-Acrobat forms creation Authors in action: Many well-known industry
experts attended, including (from left) Michael
was well received, but it highlighted some of the
Rankin (see his article on page 32), Keith Gilbert
manual steps that are still required to generate forms (see his article on page 7), and James Fritz.
efficiently. (A “” dingbat character was not recognized
as a checkbox, for example, and had to be globally
replaced with a graphic.)
Many of the workarounds were welcomed as “tricks
Photo courtesy Anne-Marie Concepción

of the trade,” rather than shortcomings on Adobe’s
part. As with any mature software, the overwhelming
complexity and depth of features dictates a need for
operators with esoteric knowledge. For designers, the
conference was a wealth of such knowledge.
What’s Next?
The InDesignSecrets group is planning to hold another
event next year, although the location and dates
have not yet been set. Blatner and other trainers were

InDesign User Groups
InDesign User Group Meetings Dallas New York City

Click the name of a chapter to go to its Web site. A.J. Wood Scott Citron
dallas@indesignusergroup.com newyorkcity@indesignusergroup.com
Please see your chapter Web site or contact the
chairperson for meeting dates and locations. For more
Denver* Orlando
information about InDesign User Groups, see www.
Erica Gamet Edward Feldman
indesignusergroup.com. denver@indesignusergroup.com orlando@indesignusergroup.com
Des Moines Portland

Canada United States Brian Cupp Paul Erdman
desmoines@indesignusergroup.com portland@indesignusergroup.com
Montreal Atlanta
Benoît Penneçot Paul Olmeda Detroit Reno
Jean-Claude Tremblay atlanta@indesignusergroup.com Donna Gniewek Jim Cooper
montreal@indesignusergroup.com detroit@indesignusergroup.com reno@indesignusergroup.com
Bay Area
Indianapolis Rochester
Ottawa Mark Atchley
Debbie Conway Rebecca Shick
Craig Boassaly sanfrancisco@indesignusergroup.com
indianapolis@indesignusergroup.com rochester@indesignusergroup.com
ottawa@indesignusergroup.com
Boston Los Angeles Seattle
Toronto Meg Young DeShawn Burton Heather Ueckert
Jason Lisi boston@indesignusergroup.com losangeles@indesignusergroup.com seattle@indesignusergroup.com
toronto@indesignusergroup.com
Central New Jersey Madison Tampa
Vancouver Alison Cattelona Cathy Palmer Sarah Greenlee Schweiger
Jeff Kew centralnj@indesignusergroup.com madison@indesignusergroup.com tampa@indesignusergroup.com
vancouver@indesignusergroup.com
Milwaukee Washington, D.C.
Chicago
Terry Rydberg Ken Chaletzky
Jim Maivald
milwaukee@indesignusergroup.com washingtondc@indesignusergroup.com
chicago@indesignusergroup.com
Minneapolis
Cleveland Keith Gilbert * See also www.idugdenver.
Mari Hulick minneapolis@indesignusergroup.com net
cleveland@indesignusergroup.com

InDesign User Groups
InDesign User Group Meetings Europe Stockholm

Click the name of a chapter to go to its Web site. Heath Horton
Please see your chapter Web site or contact the Amsterdam stockholm@indesignusergroup.com
chairperson for meeting dates and locations. For more Gabriel Powell
information about InDesign User Groups, see www. amsterdam@indesignusergroup.com Bern
indesignusergroup.com. Haeme Ulrich
Athens switzerland@indesignusergroup.com
Themis Chapsis
Africa Brisbane athens@indesignusergroup.com Latin America
Nerida Moll
Johannesburg brisbane@indesignusergroup.com Cardiff Colombia
Carla Scholtz Tony Harmer margarita velasco
johannesburg@indesignusergroup.com Melbourne cardiff@indesignusergroup.com colombia@indesignusergroup.com
Tricia Ho
Nairobi melbourne@indesignusergroup.com Cologne Costa Rica
Rahim Kara Frank Münschke dwb Carlos Garro
nairobi@indesignusergroup.com Perth cologne@indesignusergroup.com costarica@indesignusergroup.com
Cari Jansen
Port Elizabeth perth@indesignusergroup.com London, UK Mexico City
Stephen Walker Tony Harmer Fernando Villamil
portelizabeth@indesignusergroup.com Sydney london@indesignusergroup.com mexicocity@indesignusergroup.com
Eliot Harper
Asia sydney@indesignusergroup.com Munich São Paulo
’ Wolf Eigner Vitor Vicentini
Nagoya Caribbean munich@indesignusergroup.com saopaulo@indesignusergroup.com
http://study-room.info/id/
Puerto Rico Reggio Emilia Middle East
Australia & New Zealand José M. Ramos Leonardo Agosti
puertorico@indesignusergroup.com reggioemilia@indesignusergroup.com Tel Aviv
Auckland Guy Lev
Martinho da Gloria telaviv@indesignusergroup.com
auckland@indesignusergroup.com

InDex
The InDex The first issue of InDesign Magazine was published in

July 2004. Since then, we’ve cranked out thousands
However, with 36 issues to account for, that’s not
feasible. Instead, the InDex will live as a PDF you can
of pages on hundreds of related topics. download for free.
Can’t find that article you saw While it’s possible to use Acrobat to simul- If you come across a topic you want to know more
in an earlier issue? Wondering taneously search all past issues of the magazine for about, but it’s in an issue you don’t have, you’re not
whether we covered that one word or phrase, many readers have clamored for out of luck. We sell individual back issues at www.
a formal index at the back of each issue. indesignmag.com.
obscure plug-in? Never
fear, the InDex is here. Download the InDesign Magazine InDex here.
If the topic you’re looking for isn’t in the InDex,

you have one more way to search: that PDF trick I
mentioned. To make it work, all of your magazine
issue PDFs must be in one folder.
Open any issue in Acrobat, then hit Shift-
Command-F (Shift-Control-F on Windows). In the
Search window that appears, be sure that you click
the radio button that says “All PDF Documents in”,
and in the dropdown menu below that, choose the
folder in which you placed your magazine issues.
You’re on your way to finding anything in any PDF!

What a Treat!
While this PDF is for your eyes only, you can tell your friends
about the great discounts they can enjoy right now: $20 off
a one-year subscription (coupon code FRIEND), or $15 off a
two-year subscription (coupon code FRIEND2). These goodies
can be theirs at www.indesignmag.com/purchase.php.
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InDesign

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Editorial From the Editorial

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+ Express your ideas faster

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7 Tame InDesign’s Panels

26 InStep: Create Multiple Page Sizes in CS5

32 InDesign Effects: Create a Carved-Wood Effect

36 InDesigners: Andrew Faulkner

55 InDex to All Past Issues

Or visit PFLPro.com by PrintingForLess.com

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Ten Steps for Building Your

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CS4 has 45 panels, and

Here's how to organize are positioned on the screen by default is meant to be a

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CtrlChanges is available in three versions

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TAME INDESIGN’S PANELS "The Application Frame" section applies only to

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Panel Stacks To Collapse or Expand?

Figure 8: To adjust the size of a

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Figure 10: Each time you click on the icon next

TIP: Hit the Tab Key, Hide the Panels

contents « previous page next page » full screen 12

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at the top of the Tools panel to switch between a

can choose “Small Name”. These commands let you

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13. Go to the panel menu for the Control panel and

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TBA » Denver Sign Up Today! The May event in

for details, click here:

The term “dingbat” entered my life with the 1970s

edge, especially considering that in the early days

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Figure 18: We’ve all driven through towns like

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Pamela Pfiffner is a freelance writer and editor based in Portland,

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InStep: Create By Steve Werner

1 Turn off Page Shuffling

2 Add a Page for a Spine

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Tip: If you have page items on a page when you change

1 Create Non-facing Page Spreads

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page 3 (the business card) to the right of page 1

3 Arrange the Pages on the Pasteboard

4 Adjust Master Page Items

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new page. In the Control panel, check Show Master