09 Book in Design

InDesign
Warren Butler
Hunter Institute
Ourimbah Campus
InDesign Toolbox and Tools
Swap Fill and stroke

colours
Various tools
Using
Ruler guides
Ruler guides can be positioned freely on a page or
on a pasteboard to help you line up objects. You
can create two kinds of ruler guides: page guides,
which appear only on the page on which you create
them, or spread guides, which span all pages and the
pasteboard of a multiple-page spread. You can drag
any ruler guide to the pasteboard.
1. To display ruler guides on-screen, choose View
-> Show Guides. This will display the cyan
ruler guides you create along with the magenta
master guides (which indicate the margins and
columns you specified in the New Document
dialog box). You can also press Ctrl+; to show
and hide guides. Later, to see how a document
will look when printed, you can choose
View> Hide Guides or tick the Preview icon at
the bottom of the toolbox..
2. To create guides, the rulers must be showing.
If necessary, choose View> Show Rulers. Click
on the horizontal ruler that spans the top of the
page, then drag down. You’ll see a blue line,
which indicates the placement of the guide.
You can use the tick marks on the vertical
ruler or the Y value in the Transform pane to
determine where to place the guide. Release
the mouse button to place the
cyan guide on the page. To create
a vertical guide, click the vertical
ruler and drag to the right.
3. To move a guide, click the
Selection or Direct Selection
tool, then click on the guide
and drag to move it; release the
mouse button to place the guide
in its new location. If objects
on the page are making it difficult to select guides, try selecting the guide in the
margin where no objects exist.
IC P P P 2 3 2 A – E lect r oni cal l y combi ne dat a 1

4. To delete guides, first you need to select them. To select a guide, click on it with
the Selection or Direct Selection tool (Shift+click to select multiple guides), then,
press Backspace. You can also delete a guide by grabbing it and dragging it back
to the ruler.
5. The Snap to Guides feature helps you easily align objects with guides. If Snap to
Guides is not checked in the View menu, choose View>Snap to Guides to activate
the feature. By default, when you drag an object within 6 pixels of any type of
guide, the object automatically aligns with it.
6. Guides are useful, but too
many can cause clutter. To
prevent this, you can control
the view scale at which they
display. To create a single
guide that displays only at or
above the current view scale, press Alt while you create. To change the display of
selected guides, choose Layout >Ruler Guides. The Threshold field/menu lets you
specify a view scale below which guides don’t display, you can also change the
colour of your guides. If you change this with no guides selected, it applies to all
future guides you create.
7. To modify the default
aspects of guides, choose
Edit>Preferences>Guides. To
change the color of Margin
or Column guides, choose
an option from the menus or
double-click the color boxes.
To display guides behind
objects (which makes it
easier to see objects but more
difficult to select guides),
check Guides in Back. To
change the magnetic field
around guides when Snap to
Guides is on, enter a pixel
value from 1 to 36 in the field.
8. To create a grid of guides in one step, use the Create Guides dialog box (Layout
menu). Use the Rows area
to specify the number of
horizontal guides, and the
Columns area to specify the
number of Vertical guides.
The Gutter fields let you
specify how much space to
place between guides. In the
same step, you can delete any
guides already on the page by
checking Remove Existing
Ruler Guides.
2 ICP P P 224A — Pr oduce pa ges usi ng DTP

a l l y so
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s e gui es ac the Y-
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Set re are guides
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a
99mm 128mm 140mm 179mm
275mm
215mm
210mm
162mm
Landscape page, position guides and draw boxes to represent

the various elements on this page
Rulers and
zero points
By default, rulers run across the top and down the left side of the document window.
Using the horizontal and vertical rulers, you can easily see the dimensions of the
physical page and judge where to place objects. If the rulers are not showing, choose
View -> Show Rulers. To hide the rulers for more space on-screen, choose View -> Hide
Rulers. You can also press the shortcut combination Ctrl+R to show and hide the rulers.
You can also change the measuring system used by your rulers by selecting
Edit>Preferences>Units.
1. On the Toolbox, select the Rectangle tool. Drag the mouse over the page and notice that
guides on the rulers indicate the cursor’s position on the page.
With the guides both touching the 30mm marks on the ruler,
click and drag to create a frame of any size.
2. On the Toolbox, click the Selection tool. Click on the new frame
to select it. Drag an edge of the frame around and notice how
guides on the rulers continue to indicate the frame’s position.
Release the mouse button when the guides are both touching
the 60mm marks on the ruler. The frame is now 60mm from the
top of the page and 60mm from the left. Create and select other
objects to practice aligning them with the rulers.
3. By default, zero points on the ruler intersect at the top left corner of each page. You can
change the zero point to position objects in relation to the margins
or other objects on the page. To do this, click the zero point (the
intersecting lines in the upper left corner) and drag it to another location
on the page. Use the tick marks on the ruler as a reference or the X and
Y fields on the Transform pane. When you release the mouse button,
notice the new zero points on the horizontal and vertical rulers.
4. To restore the zero point to the top left corner of the page, double-click the zero point.
Objects on the page will not move, but their X and Y values will change.
5. InDesign lets you lock the zero point of the ruler so it cannot
be changed inadvertently. You might also wish to lock the zero
point in templates or shared documents with others to ensure that
other users are not randomly changing the zero point. To lock it,
Right+click the zero point to display a menu. Choose Lock Zero
Point from the menu. If you need to unlock it, display the menu
again and choose Unlock Zero Point.

The top left corner for this
box is 30mm across and
30mm down
Rectangle 1

120mm down
Rectangle 2

200mm down
Rectangle 3

50mm
50 and 180mm across
80 and 100mm down
30mm
110 and 170mm across
120 and 200mm down
6pt dotted
200mm
100mm

80mm
80mm
50mm
diameter
X = 20
Y=0
Width = 60
Depth = 150
X = -30
Y= -30
Width = 60
Height = 60
Use the small black circles to

position your zero point ready to
create the next object

Using the
drawing tools
Sometimes referred to as “rules,” lines are design elements you add to pages. Frames are
primarily rectangular containers for text and graphics, but they can be any shape or size and
serve exclusively as design elements. You can stroke the edges of lines and frames, and you
can specify a stroke style such as stripes or dashes. While you’re working with InDesign, it is
important that you understand the differences between lines, frames, and paths.
1. Drawing a line:- Move the mouse pointer over the Line tool and single-click to select it.
(you can point at each tool to learn its
name.) If the Line tool is not selected,
you can press the \ shortcut. Click and
drag in any direction to create a line;
release the mouse button to complete
it. The X, Y, W, and H fields in the
Transform pane (Window menu) show
the position of the line’s bounding
box and the length of the line. Note:
To constrain the Line tool to creating
straight, vertical, or 45o lines, press Shift
while you click and drag.
To move your line you can just move the
mouse pointer over the Direct Selection
tool and single-click to select it. You can
also press A. Click on a line to select it,
then drag it in any direction.
Resizing a line is accomplished with the Selection tool (V). This tool lets you reshape and
resize objects. Click on a line to select it; small boxes called handles display at the sides and
corners of the line’s bounding box. Pull on a handle to resize
the line; pull up or down to change the angle of the line.
2. Formatting lines:- To specify the thickness of the line, enter

a value between 0 and 800 pt., then press Enter. You can also
choose a value from the field’s menu or click the arrows on
the field. Note that a stroke thinner than .25 point may not be
visible in print.
From the Window menu in the Stroke pane – or the slide-out
pane, choose an option for the line style. You can choose
from one of the first six stripe styles, Dashed, or Solid.
10 IC P P P 224A — Pr oduce pa ges usi ng DTP

You can place circles, squares, arrows, and other shapes at each end of a selected line.
Choose an option for the left side of the line from the Start menu, and choose an option for
the right side from the End menu.
3. Changing the shape of your polygon:- From the Rectangle tool or the Rectangle
Frame tool pop-outs, select a polygon
tool (the six-sided shape). When the tool
is showing in the Toolbox, double-click
it to display the Polygon Settings dialog
box. Enter a value in the Number of Sides
field to specify how many edges the frame
should have. If you’re creating a star shape,
type a value in the Star Inset field to specify
the depth of the inner parts of the star (50%
is a good starting place, higher values
create pointier stars). Click OK.
Once you’ve specified Polygon Settings,
click and drag a polygon tool to create
a frame. Press the Shift key to constrain
the polygon’s bounding box to a square,
creating a perfectly symmetrical polygon.
4. Stroking your frame:- Using the Selection tool or the Direct Selection tool
(one of the two arrow tools at the top of the Toolbox), click on any frame to
select it. To create a border on the selected frame, use the Stroke pane. Choose
Window>Stroke. To expand the pane to show
the full formatting options, you may need to
choose Show Options from the Stroke pane’s
palette menu.
To specify the thickness of the stroke, enter a
value between 0 and 800 pt., then press Enter.
You can also choose a value from the field’s
menu or click the arrows on the field. Note that a
stroke thinner than .25 point may not be visible
in print. From the Type menu in the Stroke pane,
choose an option for the line style. You can
choose from a range of stroke types.
Use the Cap buttons to customize the ends of
each dash segment. Click Butt for square ends,
Round for semicircular ends that extend into the
gap area, and Projecting for ends that extend into
the gap area.

Each of these lines is 100mm wide
1pt Stroke
6pt Stroke
Thick-thin-thick 10pt Stroke
Dashed (3and2) 20pt Stroke
Circle and barbed 10pt Stroke
Round capped 10pt Stroke
12pt dash and 6 pt space — 3pt Stroke
Square solid and triangle wide 6pt Stroke
Dotted 10pt Stroke
Wavy line type with 6pt Stroke
Left hand hash with 6pt Stroke

Original star is 80mm
Final star is 160mm

Pencil Tool
Smooth Tool
Erase Tool

Working
with text
InDesign works with text quite differently to the way you are, perhaps, used to. To input text
onto a page you firstly need the T Tool from the toolbox, but then (most importantly) you need a
"textbox", of the size and position you require, placed on the page so you can type into it.
You can input this textbox a couple of ways: you can use the frame drawing tool (with a X in
it), or even the rectangle tool from the toolbox, or you can "draw" a textbox using the T Tool
itself. One of the advantages of using the frame drawing tool is that you can then have your text
conform to the shape of the box — circles, polygons, etc, and the stroke is set to zero.
1. Using one of the box drawing tools:- select the rectangular box drawing tool with a X in it
(if you hold on the tool for a few seconds you will be shown a "flyout" selection from which
to choose. Move onto your page and draw a rectangle which is 100mm square — it doesn't
matter where it is positioned on the page.
2. Now single-click on the T Tool and move the icon

over the text box you just drew. You must make sure
the box is active before you start inputting text (you
can tell when it is active when it has handles along its
perimeter).
3. Once your cursor is over the text box you can single
click your T Tool icon and then start typing. Try
inputting some text, it doesn't matter what it says.
The inputting of text is very similar to using a simple
word processing software.
• you let the computer control where the line breaks are — DON'T press the Enter Key at the
end of each line, only at the end of paragraphs.
• mistakes are fixed by clicking on the position of the error then either deleting the
"offending" letters, or simply typing in the new letters.
1. Using your T Tool to create a text box:- InDesign is unique in that you can use the typing
tool to create the actual area in which the text is to be input. It is exactly the same as drawing
a box, only you use the T Tool.
2. Select the T Tool, then move out onto your page and draw a box which is also 100mm
square. Again, it doesn't matter where it is placed (as long as it is not on top of the first box
you drew. When you finish the box your text icon will start flashing at the top of the box,
and you are ready to start typing. Again, just type in some text so you can see how the words
"wrap" at the end of the box and start a new line automatically.

Your first name
Today's date
Create a box 150mm wide by 100mm deep

Create a 12 point border of your choice
Type your First Name and today's date in two lines and
align them centred in the box
Type is to be in 24 point bold in a typeface of your choice
Make sure the box is active, then move to
Object>Text Frame Options. Now select the Vertical
Alignment and set this to Center

Applying
typography
After you have typed in the text required, you are now ready to apply the necessary typography.
This would include the typeface, pointsize, type style, alignment, etc.
All of these features are applied to the text only after it has been selected by the T Tool. To
select the text this way you need to move your T Tool cursor over the text, then press your
mouse button, hold it down, and then sweep either left or right to select (your text will show that
is selected when it turns into a black background with white type). If you are selecting a whole
line of text, you will have to start at either the beginning or end of the line, and then "sweep"
from there.
1. Using either method, draw a text box which is 75mm wide by 50mm
deep. Then move into this box and type the words (Hunter Institute of
Technology).
2. Now use your T Tool icon to click at either the start or end of the words,
click and hold your mouse button, then sweep across all the text. If your
words move from selected to unselected, it is usually because you are not
sweeping across in a straight line.
3. To change the typography you will need to use the Character palette open
on your screen. If it is not showing move to Window>Type>Character.
You now have a range of options available to you, including the more
common options, to more advanced options. These advanced options will
be addressed in later exercises.
4. Using the character palette change your Character (typeface) to Arial

Black, the Typestyle to Roman, the Pointsize to 18pt.
5. Now move to the Paragraph tab at the top of the palette and select the
centred option.
48pt Times
Arial
Bold
Italic
Bold Italic
36pt Arial
30pt Arial
24pt Arial
18pt Arial
14pt Arial
12pt Arial
10pt Arial
8pt Arial

8 point Adobe InDesign
60 point Adobe InDesig
72 point Adobe InDes
100 point Adobe In
120 point Adobe
Adobe InDesign
Arial
Adobe InDesign
Bookman Old Style
Adobe InDesign
Caflisch Script Pro
Adobe InDesign
Elephant
Adobe InDesign
Franklin Gothic Heavy Italic
Adobe InDesign
Giddyup Standard
Adobe InDesign
Harlow Solid Italic
Adobe InDesign
Impact
Adobe InDesign
Lucida Calligraphic
Adobe InDesign
Magneto Bold
Adobe InDesign
Onyx
Adobe InDesign
Poor Richard
Adobe InDesign
Rosewood
Adobe InDesign
Symbol T1
24pt and 12pt - the typeface name always stays as 12pt Arial.
Take particular note of the x-heights, descenders, and width
of the various typefaces

Other typography
options
In addition to the "standard" typography options you have already seen, InDesign also has a
range of options which allow you to take full control of the typography of your text. This is
what sets a proper Desktop Publishing package apart from "vanilla" word processing packages.
1. Leading:- In publishing, the space between baselines in a

paragraph is known as “leading.” By default, InDesign uses
auto leading, which places 120% of the font size between
lines. For example, if you have 10-pt text, InDesign uses
12-pt leading, which results in 2 points of space between
lines (descender to ascender). To adjust leading, highlight
the value in the Leading field, enter a new value from 0 to
5,000 points, and press Enter. You can also select a value
from the Leading menu on the Character pane.
2. Kerning:- When you have a character selected, you can

adjust the space between it and the next letter; this process
is called “kerning.” When a range of text is highlighted,
you can adjust the space between all the characters; this
process is called “tracking.” To adjust kerning, select the
first charqacter in the pair and enter a value in the Kerning
field. To adjust tracking, highlight a range text and enter a
value in the Tracking field. You can choose values from the
menus, or click the arrows on the fields to adjust kerning or
tracking by 1 point.
3. Scaling:- InDesign lets you expand or condense text from 1%

to 1,000% for special design effects. To expand text, enter
a value in the Horizontal Scale field. To condense text, you
can also enter a value in the Vertical Scale field. To see the
changes, press Enter.
4. Other formatting:- In addition to the basic character formats,

you can use the Baseline Shift field to nudge
text up or down and use the Skewing field to
slant text. If you click the palette menu on the
Character pane, you can apply the All Caps, Small
Caps, Superscript, Subscript, Underline, and
Strikethrough styles to text.

Horizontal Scale
Vertical Scale
Kerning WAVA
Skewing
all caps
Small Caps
Superscript
Subscript
Underline
Strikethrough
24pt Arial on 48pt leading
W
B
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by using the Type>Fill with Placeholder
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Times Placeholder text, by using the
Type>Fill with Placeholder Text option.
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SPACING No kerning or tracking
SPACING Tracked to 100
SPACING Tracked to -100
SPACING P & A pair kerned -100
SPACING P & A selected, kerned -100
WAToFORD Optical kerned

WAToFORD Metrics kerned
WAToFORD No kerning
Metrics kerning applies the kerning pairs built into the font (tucking the o under the top of the T in
the word To).
Optical kerning evaluates the shapes of the letters and applies kerning to balance spacing
differences between characters.

DTP Applications Normal
DTP Applications Bols
DTP Applications Italic
DTP Applications Bold Italic
DTP Applications Underline
DTP Applications Word Underline
DTP Applications Strikethrough
DTP Applications Small Caps
DTP Applications All Caps
DTP Applications Superscript
DTP Applications Subscript
DTP Applications -45 degree skew
DTP Applications 45 degree skew
DTP Applications 125% horizontal scale
DTP Applications 125% Vertical Scale

DTP Applications + and - baseline shifts of 3pt
snoitacilppA PTD Flip horizontal and vertical.
DTP Applications Note that the whole text box

fllips, not just the text
tions
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TPP Applica
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T Applications
DT
DTP
DD Rotated 20 degrees – bottom left
corner in the proxy.

Positioning text
in a frame
InDesign calls the textboxes you create to hold text, frames. As you have learned, you can draw
these frames using either the dedicated frame tool, or by using the T Tool itself.
Once you have your text into the frame you have a number of options that can be used to
position that text inside the frame. You can have the text align to the Top, Middle or Bottom
of the frame, as well as create columns, and move the Baseline of the text relative to the frame
itself.
1. These options are available in the

Text Frame Options dialog box,
to get to this you must make sure
the frame is active, then select
the Object>Text Frame Options
command. You will notice a
Preview tick box at the top right,
this will allow you to see the
result of your data input before
you click OK.
2. The top of this dialog box relates

to breaking the text frame into a
specific number of columns (like
a newspaper page). You can also
input the space you want between
each column (gutter) or input
specific widths for the columns.
3. The next part of the dialog box allows you to put in a specific "stand off" which your would
like your text to have from specific edges of the text frame .
4. The next area relates to how you want the baseline of your first line of text to be positioned.
The options include Ascent, Cap Height, Leading, X height and Fixed.
5. The bottom area allows you to position the lines within the frame at the Top, Middle,
Bottom, or (if 2 or more lines) to Justify right from top to bottom.
6. Down the bottom left of the dialog box is an Ignore Text Wrap tick box, this will be useful
during later exercises when we move on to shape wrapping text around objects.

This 24pt text is Centred and
positioned in the middle
This Arial same

text can't be problem
positioned in the
middle because it is a
circle
This 24pt text is Centred and
in justified position
Aligned left, ragged right
Paragraphs can be formatted to assume the shape that you desire and this shape can be made
by using either the Control Palette or the Paragraph dialog box. You can justify, align left, align
right, or centre the paragraph. Indentations can also be applied; left, right, both, first line, or
hanging. Space before and after can also be applied.
Aligned right, ragged left

justified
Paragraphs can be formatted to assume the shape that you desire and this shape can be made by
using either the Control Palette or the Paragraph dialog box. You can justify, align left, align right,
or centre the paragraph. Indentations can also be applied; left, right, both, first line, or hanging.
Space before and after can also be applied.
centred
force justified
Paragraphs can be formatted to assume the shape that you desire and this shape
can be made by using either the Control Palette or the Paragraph dialog box. You can
justify, align left, align right, or centre the paragraph. Indentations can also be applied;
left, right, both, first line, or hanging. Space before and after can also be applied.
indent left of 10mm

Paragraphs can be formatted to assume the shape that you desire and this shape can
be made by using either the Control Palette or the Paragraph dialog box. You can justify,
align left, align right, or centre the paragraph. Indentations can also be applied; left, right,
both, first line, or hanging. Space before and after can also be applied.
indent right of 10mm

Paragraphs can be formatted to assume the shape that you desire and this shape can
be made by using either the Control Palette or the Paragraph dialog box. You can justify,
align left, align right, or centre the paragraph. Indentations can also be applied; left, right,
both, first line, or hanging. Space before and after can also be applied.
10mm PARAGRAPH INDENT

Paragraphs can be formatted to assume the shape that you desire and this shape can be
made by using either the Control Palette or the Paragraph dialog box. You can justify, align left,
align right, or centre the paragraph. Indentations can also be applied; left, right, both, first line,
or hanging. Space before and after can also be applied.
HANGING INDENT of 10mm

by using either the Control Palette or the Paragraph dialog box. You can justify, align left,
align right, or centre the paragraph. Indentations can also be applied; left, right, both, first
line, or hanging. Space before and after can also be applied.

Times Arial
Leading is the amount of space that occurs between lines Leading is the amount of space that occurs between
of type, measured from the baseline of one to the baseline lines of type, measured from the baseline of one
of the next. In the days of hot metal presses, leading was to the baseline of the next. In the days of hot metal
exactly that, strips of lead inserted between the lines of presses, leading was exactly that, strips of lead
type to space them out. Leading is the amount of space that inserted between the lines of type to space them
occurs between lines of type, measured from the baseline out. Leading is the amount of space that occurs
of one to the baseline of the next. In the days of hot metal between lines of type, measured from the baseline
presses, leading was exactly that, strips of lead inserted of one to the baseline of the next. In the days of hot
between the lines of type to space them out. metal presses, leading was exactly that, strips of lead
10 Point Solid inserted between the lines of type to space them out.
10 Point Solid
Leading is the amount of space that occurs between lines
of type, measured from the baseline of one to the baseline Leading is the amount of space that occurs between
of the next. In the days of hot metal presses, leading was lines of type, measured from the baseline of one
exactly that, strips of lead inserted between the lines of to the baseline of the next. In the days of hot metal
type to space them out. Leading is the amount of space that presses, leading was exactly that, strips of lead
occurs between lines of type, measured from the baseline inserted between the lines of type to space them
of one to the baseline of the next. In the days of hot metal out. Leading is the amount of space that occurs
presses, leading was exactly that, strips of lead inserted between lines of type, measured from the baseline
between the lines of type to space them out. of one to the baseline of the next. In the days of hot
10 Point on 11 Point leading — 10/11 metal presses, leading was exactly that, strips of lead
inserted between the lines of type to space them out.
Leading is the amount of space that occurs between lines 10 Point on 11 Point leading — 10/11
of type, measured from the baseline of one to the baseline
of the next. In the days of hot metal presses, leading was Leading is the amount of space that occurs between
exactly that, strips of lead inserted between the lines of lines of type, measured from the baseline of one
type to space them out. Leading is the amount of space that to the baseline of the next. In the days of hot metal
occurs between lines of type, measured from the baseline presses, leading was exactly that, strips of lead
of one to the baseline of the next. In the days of hot metal inserted between the lines of type to space them
presses, leading was exactly that, strips of lead inserted out. Leading is the amount of space that occurs
between the lines of type to space them out. between lines of type, measured from the baseline
10 Point on 12 Point leading — 10/12 of one to the baseline of the next. In the days of hot
metal presses, leading was exactly that, strips of lead
Leading is the amount of space that occurs between lines inserted between the lines of type to space them out.
of type, measured from the baseline of one to the baseline
of the next. In the days of hot metal presses, leading was 10 Point on 12 Point leading — 10/12
exactly that, strips of lead inserted between the lines of
type to space them out. Leading is the amount of space that Leading is the amount of space that occurs between
occurs between lines of type, measured from the baseline lines of type, measured from the baseline of one
of one to the baseline of the next. In the days of hot metal to the baseline of the next. In the days of hot metal
presses, leading was exactly that, strips of lead inserted presses, leading was exactly that, strips of lead
between the lines of type to space them out. inserted between the lines of type to space them
10 Point on 9 Point leading — 10/9 (negative leading) out. Leading is the amount of space that occurs
between lines of type, measured from the baseline
of one to the baseline of the next. In the days of hot
Leading is the amount of space that occurs between lines metal presses, leading was exactly that, strips of lead
of type, measured from the baseline of one to the baseline inserted between the lines of type to space them out.
of the next. In the days of hot metal presses, leading was
exactly that, strips of lead inserted between the lines of 10 Point on 9 Point leading — 10/9 (negative leading)
type to space them out. Leading is the amount of space that
occurs between lines of type, measured from the baseline Leading is the amount of space that occurs between
of one to the baseline of the next. In the days of hot metal lines of type, measured from the baseline of one
presses, leading was exactly that, strips of lead inserted to the baseline of the next. In the days of hot metal
between the lines of type to space them out. presses, leading was exactly that, strips of lead
10 Point on 8 Point leading — 10/8 (negative leading) inserted between the lines of type to space them
out. Leading is the amount of space that occurs
between lines of type, measured from the baseline
of one to the baseline of the next. In the days of hot
metal presses, leading was exactly that, strips of lead
inserted between the lines of type to space them out.
10 Point on 8 Point leading — 10/8 (negative leading)

The
State of
origin
are you
running out
of space
COMMON SENSE
PROMOTE . DEMAND . EXPECT
WWW.COMMONSENSE.COM.AU

THE SPELLCHECKER
I have a spelling checker,
It came with my PC,
It plainly marks four my revue,
Miss steaks I cannot sea,
I've run this poem threw it,
I'm sure your please too no,
Its letter perfect in it's weigh,
My checker tolled me sew.
— Quoted by Penny Harper
Using the spellchecker, plus Text Frame Options and Inset Spacing to
have the heading aligned in the centre of its box.

The Amazing Human Mind
I cdnuolt blveiee taht I cluod aulaclty
uesdnatnrd waht I was rdgnieg The phaonmneal
pweor of the hmuan mnid Aodccrnig to a
rscheearch at Cmabrigde Uinervtisy, it dnsoe’t
mttaer in waht oredr the ltteers in a wrod are,
the olny iprmoatnt tihng is taht the frist and lsat
ltteer be in the rghit pclae. The rset can be a
taotl mses and you can sitll raed it wouthit a
porbelm. Tihs is bcuseae the hmuan mnid deos
not raed ervey lteter by istlef, but the wrod
as a wlohe. Azmanig huh? Yaeh and I awlyas
tghuoht slpeling was ipmorantt
Text set in caps and lowercase, roman style, is much easier to read
that large blocks of capital letters. And masses of italic setting
makes the capitals even harder to read.
The Amazing Human Mind

I cdnuolt blveiee taht I cluod aulaclty uesdnatnrd waht I was
rdgnieg The phaonmneal pweor of the hmuan mnid Aodccrnig to a
rscheearch at Cmabrigde Uinervtisy, it dnsoe’t mttaer in waht oredr
the ltteers in a wrod are, the olny iprmoatnt tihng is taht the frist
and lsat ltteer be in the rghit pclae. The rset can be a taotl mses and
you can sitll raed it wouthit a porbelm. Tihs is bcuseae the hmuan
mnid deos not raed ervey lteter by istlef, but the wrod as a wlohe.
Azmanig huh? Yaeh and I awlyas tghuoht slpeling was ipmorantt

Using Step
and Repeat
If you need to duplicate an object more than once, you can save time by using the Step and
Repeat command, which allows you to specify how many copies you want, how you want them
to be arranged on the working area, and how far apart they should be from each other.
When using Step and Repeat you don’t have to first copy the object as it is only the currently
active object or text which is used.
You just have to select the object and
click Edit>Step and Repeat, and once
this dialog box opens you are given
options about the number of objects
you want to create, how far each
object is to move vertically, and how
far each object is to move horizontally.
You can use the Step and Repeat

command to instantly create rows or columns of duplicates. For example, you can fill a page
with evenly spaced duplicates of a single business card design.
To duplicate an object:
• Select the object, and choose Edit >Duplicate. You can also use Alt/Drag to create a
copy.
To duplicate selected objects into rows or columns:

1. Choose Edit > Step and Repeat.
2. For Repeat Count, specify how many duplicates you want to make, not counting the
original.
3. For Horizontal Offset and Vertical Offset, specify how far to shift the position of each
new duplicate from the previous duplicate along the x and y axes respectively, and
click OK.
To create a page full of duplicates, first use Step and Repeat with Vertical Offset set to 0 (zero)
and the appropriate Horizontal Offset — this will create one row of duplicates. Then select the
entire row and use Step and Repeat with Horizontal Offset set to 0 and the appropriate Vertical
Offset — this will repeat the row down the page.

To complete this exercise:
1. Draw a rectangle using the x=25 and y=40 coordinates (using mm as the measuring system).
Make the rectangle 160wide by 80mm deep. use a 1 point border.
2. Reposition the zero point to the top left corner of this box.
3. Draw a 1 point horizontal rule, positioned at x=0 and y=20, to a width of 160mm. This will
position the rule 20mm from the top of the box, and as wide as the box.
4. While the rule is active, go to the Edit Menu and select the Step & Repeat function. Select a
repeat count of 2, a horizontal offset of 0, and a vertical offset of 20mm. This will draw two more
rules aligned to the original and 20mm apart below it.
5. Draw a 1 point vertical rule, positioned at x=40 and y=0, to a depth of 80mm.
6. Use the Step and Repeat function to set up specifications of repeat count of 2, horizontal offset
of 40, and vertical offset of 0.
Now try this one:

1. Horizontal rules are 5 and 2.5mm apart. Vertical rules are 15mm apart.

I weigh I weigh
250 kilos 25 kilos
140% Set Width 45% Set Width
Drop
Shadow
Palm
Palm Trees
Trees
Solid and 40% Drop Shadow Solid and 40% Tint with 40 Skew
PPointsize
e
e
siz
ize This text is aligned

siz
t s
int
in
t
ize
Poo
n
PPointsize on the left and has a

s
Poo
i
t
int
in
Poo
siz
PPointsize
PPointsize
ragged right-hand side
Poo
e
int
int
siz
in
on the text block

e
siz
t s ize
14pt Bold, multiple paste of 0 & 0, anchored at

bottom left corner in proxy, rotated extra 30 degrees
18pt — aligned left with no hyphenation
This text is aligned This text is aligned

on the right and has a on the centre and is
ragged left-hand side ragged on both sides of
on the text block the text block
18pt aligned right with no hyphenation 18pt — aligned centre with no hyphenation

My study timetable
Dates to complete each subject
Subject One:
Subject Two:
Subject Three:
Subject Four:
Subject Five:
Subject Six:
Subject Seven:
Subject Eight:
Subject Nine:
Subject Ten:

Working
with graphics
At its simplest level, working with graphics is very similar to working with inputting text.
You first should draw a box, then place the graphic inside this box. The box then works like a
container, you can resize the box, but the graphic doesn't automatically resize with it.
Unlike text, you don't really need a box drawn first, because when you place the graphic and
click your mouse, the graphic creates its own box to the actual size of the graphic itself. You can
then rezise this box, but to rezise your graphic to fit into the newly sized box, you need to follow
a few simple commands.
1. Drawing a graphic frame:- Move the pointer over the Rectangle Frame
tool in the Toolbox and single-click the mouse button. If the tool is not
selected, you can press F to select the Rectangle Frame tool.
Click anywhere on the page, then drag down and to the right. Release the
mouse button to create the graphic frame. To create a perfect square, press
the Shift key while you click and drag. Note: A large X displays inside
graphic frames, making them easy to recognise.
2. Click and hold on the Rectangle Frame tool to view more graphic frame
tools. To select the Ellipse Frame tool, slide the mouse to the right and
release the mouse button over the circle with the X in it. Click and drag
to create an additional graphic frame. To create a perfect circle, press the
Shift key while you click and drag.
3. Selecting and resizing graphic frames:- Press V to select the Selection

tool. Click on any graphic frame to select it, then drag it in any direction
to move it (if your frame has no fill you will need
to click exactly on a border). Click on another
graphic frame to select it; small boxes called
handles display at the sides and corners. Move the
pointer over one of the handles and pull on it to
resize the frame.
4. Stroking your frame:- Using the Selection

tool or the Direct Selection tool (one of the two
arrow tools at the top of the Toolbox), click on
any frame to select it. To create a border on the
selected frame, use the Stroke pane. Choose
Window>Stroke. To expand the pane to show the
full formatting options, choose Show Options from
the Stroke pane’s palette menu.
To specify the thickness of the stroke, enter a value

between 0 and 800 pt., then press Enter. You can also choose a value from the field’s menu
or click the arrows on the field. Note that a stroke thinner than .25 point may not be visible
in print. From the Type menu in the Stroke pane, choose an option for the line style. You
can choose from one of the first six stripe styles, Dotted, Dashed, or Solid.
5. Placing a graphic inside your frame:- First, make

sure you have a graphic file on your hard drive. With the
correct frame selected, choose File>Place. You can also
press the same command you use to import text: Ctrl+D.
In the Place dialog box, navigate to a graphic file and
select it. If necessary, click the Show Preview button to
confirm that you’re importing the correct image. Click
Open.
6. Using Copy and Paste with a graphic:- To reuse

the same graphic in a document, you can copy and paste
it. If you select the graphic with the Selection tool, you
can paste the graphic along with its current frame.After
selection you can press Ctrl+C to copy it then press
Ctrl+V to paste it on the page.
7. Replacing an existing graphic:- If you import a graphic into a frame that already
contains another graphic, that graphic is replaced. Use the Selection tool to select a frame
containing a graphic. Choose File>Place, select another graphic file, then click Open. If you
accidentally have a frame active when you place a graphic, you can simply
select Edit>Undo (shortcut Ctrl/Z, and the graphic will be withrawn from
the frame and you will be shown the "loaded graphic icon". Now simply
click and the graphic will appear inside a new frame.
8. Scaling graphics:- When you import a graphic into an existing frame, it’s rare that the
graphic fits it perfectly. Plus, the graphic is placed in the
upper left corner and scaled at 100%, neither of which may
work for the size and shape of the selected frame. InDesign
provides an easy method for matching the graphic to the
frame. Click on a graphic with the Selection or Direct
Selection tool, then choose Object>Fitting. Choose an option,
such as Fit Content Proportionally, from the submenu. (The
“content” is the graphic.)
9. Positioning graphics:- When the Direct Selection tool

is in use, you can move a graphic around within its frame.
Click inside a frame containing a graphic to display the
"hand" moving icon. Drag over the graphic to reposition it
within the frame. When you do this, you’ll notice the X and
Y values in the Transform pane change to reflect the graphic’s
position on the page and within the frame.
10. Rotating graphics:- When the Direct Selection tool is in use, you can rotate a graphic
within its frame from 0 to 360 degrees. To do this, click on a graphic frame containing a
graphic and locate the Rotation angle field on the Transform pane. Change the value in the
field, then press Enter. The rotation value may cause the graphic to be positioned outside
the boundaries of the frame, so you may need to drag it back into sight.

Create a 100mm square
1 graphic frame, then place
the Image called Morning
Glass. Copy and Paste this
four times.
1. Fit content proportionally

2. Fit content to frame
3. Fit frame to content
4. Centre content
4
THE CLOCK OF LIFE
The Clock of Life is wound but once,
And no-one has the power;
To tell just when the hands will stop,
At late or early hour.
To lose one's wealth is sad indeed,

To lose one's health is more,
To lose one's soul is such a loss,
That no-one can restore.
The present only is our own,
IC P P P 2 3 2 A – E lect r oni cal l y combi ne dat a

Live — love — toil with a will,
Place no faith in tomorrow,
For the Clock may then be still
45
achtung
alles lookenpeepers
Dies Machine is nicht fur
gerfingerpoken and mittengraben.
Is easy schnappen der
springenwerk, blowenfusen
und poppencorken mit spitzen
sparken. Is nicht fur gewerken
by das dumkopfen. Das rubber
necken sightseeren keepen hans
in das pockets, relaxen, und watch
das blinken lights.

gAd Graphic Arts
Department
This is to Certify that
has attended the
Certificate in Desktop Publishing
during 2007
dtp

Working
with tabs
Tabs position text at specific horizontal locations in a frame. There are a series of default tab
already setup in InDesign, with the settings depending on the unit of measurement selected in
the preferences dialog box. When using millimetres as your measure unit the default tabs are
12.5mm wide (which equals half an inch in the “old measurements”). Tabs apply to an entire
paragraph. The first tab you set deletes all default tab stops to its left. Subsequent tabs delete all
default tabs between the tabs you set.
When setting up tabs you must remember that you require two operations to make the tabs
successful. The first thing you need is an actual Tab Keystroke (next to the Q on your keyboard),
the next thing you need is the actual setting of the tab position in the Tabs Palette. Without these
two ingredients you will have trouble having your tabs setup correctly.
With this in mind, you mustn’t fall for the trap of trying to line up text when you are just
completing Stepl. What will happen is that when you move along to Step2 your tabs won’t line
up any more.
Using the tab keystroke (step1)

* Carefully check your text to make sure of the positions where you would like
horizontal space added to allow you to achieve an
alignment. This text >>and this text >>to
align with >>this >>and
* Press Tab in the lines or paragraphs where you want
then >>in the next >>line up
to add horizontal space.
with this. >>I >>ignore
* If you look at the example on the right you can see how >>the actual >>text lines up
how I’ve purposely ignored how the text looks as setting >>up all >>the tabs
I am adding the tab keystroke. It is hard to stop
yourself at times but it will make the completion of
your tabs much easier if you can.
Using the tab palette (step2)

After you have typed in your tab keystrokes in the correct position, it is time to set up the actual
alignment of the text which follows the keystroke. The tabs palette is available in Window/Type
and Tables/Tabs. When the palette opens it will adjust its width to the width of the text-frame
you currently have active.
If you look closely at the palette you will see that the ruler has a zero point (with two small
triangles for setting indents) and a large arrowhead at the right (this is the width of your text
frame and can also be used to set right indents). At top left you will see a series of arrows (used
to set alignments, left, centre, right and decimal) there is a window marked x: (you can input the
precise measurement of the tab position, a window marked Leader (to input repeating characters
between tabs), and a window called Align On (to control decimal tabs).

* If you look at .the example you can see that now I have
set up two tab positions to take control of the two tab
keystrokes I had previously typed. These tab settings are
at 20mm and 47mrn, and control the text which was typed
after both the tab keystrokes. And now it all lines up.
Various alignments of tabs

The tab arrows do exactly as their icon says they will. And if you
remember that the tab position controls the text which comes after the tab stop you shouldn’t
have many problems.
Left align tabs:- Left >>Left >>Left >>Left
Right align tabs:- >>Right >>Right >>Right >>Right
Centre align tabs:- >>Centre >>Centre >>Centre >>Centre
Decimal align tabs:- >>1.345 >>123.4 >>12.456 >>0.4567

>>987.5 >>8.78945 >>9876 >>8765.222
Repeating tabs
The Repeat Tab command creates
multiple tabs based on the distance
between the tab and the left indent
or the previous tab stop.
To repeat a tab you simply have to
select a tab on the tab ruler. Then choose Repeat Tab in the Tabs palette menu.
Setting up leaders
A tab leader is a repeated pattern of characters, such as a series of dots or dashes, between a tab
and the following text. To add a tab leader to a tab:
• In the Tabs palette, select a tab on the tab ruler. Leader.................................. 1
• Type a pattern of as many as eight characters in Leader***************** 2
the Leader box, and then press Enter or Return. Leader:::::::::::::::::::::::::::::: 3
lnDesign repeats the characters you entered Leader$$$$$$$$$$$$$$$$$ 4
across the width of the tab.
• To change the font or other formatting of the tab leader, select the tab character in the
text frame, and use the Character palette or Type menu to apply formatting.
Setting indents with the tab palette

The tabs palette gives you another option to setting up tabs. You can always use the Paragraph
Palette to add your indents, but sometimes it is more convenient to :use the Tabs Palette. To
create indents in this way:
• Choose Window/Type&Tables/Tabs to display the Tabs palette.
• Do one of the following to the indent markers in the Tabs palette :
Drag the top marker to indent the first line of text. Drag the bottom marker to move
both markers and indent the entire paragraph.
Select the top marker and type a value for X to indent the first
line of text. Select the bottom marker and type a value for X to
move both markers and indent the entire paragraph.
A left indent of 10mm, with a first line indent of
minus 10 (-10) — this is called a Hanging Indent

Tabs aligned on the left of the column
Name Occupation Town Country
Ita Buttose Journalist Sydney Australia
Colin Bell Footballer Heddon England
Don Bradman Criketer Cootamundra Australia
Tabs aligned on the right of the column

Tabs aligned on the centre of the column

Aligned left, centred and right in the same table
Manufacturer Model Price

Holden Commodore $32,000
Ford Falcon $31,500
Mitsubishi Magna $30,000
Aligned on the decimal point
Retail Price Cost Price

$27.00 $21.50
$150.76 $118.00
$1,450.67 $970.30

painting supervisor
Due to the continued expansion of our NSW operation, Australia’s
leading property maintenance organisation has a vacancy for an
experienced supervisor/co-ordinator to join our Sydney office.
Applicants should have:
• a sound painting background
• extensive knowledge of paints and application techniques
• ability to control labour and liaise with clients.
Opportunities for advancement are excellent and it is expected
that the successful applicant will be willing to take advantage of
these prospects.
An attractive salary package is offered including air conditioned
vehicle.
Apply in writing to:
the state manager
po box 33 concord nsw 2137
Text box: 251/2 x 15 picas

Text is indented 5 picas from left margin and 1 pica from right
Pointsizes are 18, 8/9 and 10pt
TOP HAT DESKTOP

PUBLISHING
Kincumber
Desktop Publishing Guru

A desktop publishing career awaits you if you have what it
takes. This future career is available with a r rapidly expanding
company on the Central Coast. As well as obviously being
a self-motivator, and an absolute genius on the computer
keyboard, you should be:
PC and Mac oriented
DTP, Graphics, Image program competent
A person with a burning desire to succeed
Please apply to:
Bill Butler
top Hat Desktop Publishing
P.O. Box 33 Kincumber NSW 2251
Box: 108 x 130 mm

Text is indented 1 pica from left margin and 1 pica from right
Pointsizes are 24, 14, 14 and 10/12

bill peach's true north 6
vikings of the sunrise 8
the big apple's soft core 12
hong kong, softly softly 15
beguiling island 18
the holiday and travel show 24
lake of constant charm 27
pre-package isles 32
tokyo kaleidoscope 35
backyard holidays 39
fashion for all seasons 43
Text is 12/24 Times Bold set to a maximum measure of 120mm
Rules are 0.5pt to a measure of 120mm

Create and
apply colours
You use the Swatches palette to apply, modify and save colours, tints and gradients in your
document. You can create and apply process and spot colours. You can also apply tints and
blended gradients to frames, borders and text outlines and infills.
When creating and applying colours within a document, it’s always best to know the printing
requirements for that particular job. Costly mistakes are made when desktop publishers create
process (cmyk) colours for a spot-colour printed document or create a spot colour within a job
intended to be printed using the process colours.
Adding colours to the Swatches palette

InDesign bases its colour work flow around the Swatches
palette. There are other ways of selecting a colour (via
the Colour palette) but if changes are required, there is no
quick way of updating these “unnamed” colours and each
would need to be updated individually, which is not an
efficient use of time.
Whenever you are creating a colour in the Swatches

palette, ensure that no objects are selected. The Swatches
palette has some ‘default’ colours already in place. Any
you create will be added to the list.
1. Choose New Colour Swatch from the Swatches

palette menu.
2. There are two options for naming the colour. If

you choose “Name with Colour Value” (only
available when creating a CMYK / Process
colour) the name will consist of the cmyk make-
up of that colour. If you edit that colour, the
name will update automatically. If you deselect
“Name with Colour Value”, you will be able
to give the colour a name that you can easily
identify.
3. For this example, Deselect “Name with Colour

Value”, type in the name “Purple” and the
values C = 67; M = 74; Y = 19; K = 12, then
click OK. You will notice that the dialogue box
disappears and the colour is added to the Swatches palette.

4. Adding more than one colour at a time: Choose
New Colour Swatch from the Swatches palette
menu. Deselect “Name with Colour Value”.
Type in the name “Red”, then the values C = 0;
M = 69; Y = 60; K = 12 then click “Add”.
You will notice that the colour is added to the
Swatches palette but the dialogue box remains
open and the name will have changed to “Red
copy”.
5. Add the following colours to the Swatches palette using the “Add” button until the last
colour when you should use the OK button.
Green: C = 51; M = 19; Y = 91; K = 12 Gold: C = 0; M = 31; Y = 81; K = 4
Orange: C = 0; M = 50; Y = 100; K = 0 Blue: C = 100; M = 80; Y = 5; K = 15
If you make a mistake with any of the colour values, or forget to type in the name before
clicking “Add” or “OK” - don’t panic. Double-click on the swatch, make the correction
or change then click OK.
Creating a new Spot Colour

To add a new Spot colour to the Swatch is very similar to the steps in creating a process (cmyk)
colour.
1. Ensure that no objects or text are selected, then

choose New Colour Swatch from the Swatches
palette menu.
2. In the New Colour Swatch dialogue box, select

Spot from the Colour Type pop-up menu.
3. Select Pantone Solid Matte in the Colour Mode

pop-up menu.
4. In the Pantone M box, type in the PMS number

that you require, in this case 321. You will notice
that the full name appears in the Swatch Name
area, plus the colour is highlighted in the swatch
menu. You could also scroll down through the
swatch menu in the dialogue box to find the
colour you want – but this is much slower than
keying in the number as described in this step.
5. As before, if this is the only colour you wish to

add to the Swatches palette at this stage, just click
OK. If, however, you have other spot/Pantone
colours to add, just click the Add button to
continue.
Take note of the different appearance of the Spot colour in

the Swatches palette, compared to the CMYK colours you
previously created.

Applying a Colour to Text or an Object
There are three basic steps in applying a colour to Text stroke Object stroke
an object. and fill and fill
1. Select the desired text or object to be changed.
2. Select either Stroke (outline) or Fill in the toolbox.
3. Select the colour in the Swatches palette.
Creating a Tint
As well as creating/adding colours, you can add tints to the Swatches palette. A tint is a screened
(lighter) version of a colour. Creating Swatch Tints in
InDesign is very helpful as it keeps the relationship
between the original, or parent, colour and its tint. This
means that, if you decide to change the parent colour,
the tint will automatically change to a lighter version
of the new parent colour. This reduces the time it takes
to change all objects with that lighter colour as well
as reducing the risk of errors occurring by missing an
object that needs changing.
1. Ensure that all objects and text are deselected.
2. Click one of the colours you have created in the Swatches palette, eg Purple.
3. Choose New Tint Swatch from the Swatches palette menu.
4. In the Tint Percentage area, drag the slider to 30.

Click OK.
The new tint swatch appears in the Swatches palette.

Take note that it has named the Swatch Purple
30%.
You can created Tints of both CMYK and Pantone/spot

colours using the same simple steps. To apply a tint to an
object or text, follow the same steps as applying a colour,
shown previously.
Creating and Applying Gradients

A gradient is a graduated blend between two or more colours, or between tints of the same
colour.
Gradients can be either Linear or Radial.

Every InDesign gradient must have at least two colour stops. When you edit the colour mix of
each stop, or create additional colour stops, you can create your own custom gradients. A “stop”
is the point at which a gradient changes from one colour to next and is identified by a square
below the gradient bar.
1. Make sure no objects are selected when selecting New Gradient Swatches from the
Swatches palette menu.
2. Give the Swatch a name, ie Green/Gold Gradient. Select “Linear” for Gradient Type.
3. Click the left stop marker and select Swatches in the “Stop Colour” drop-down
menu. Scroll down through the colours until you reach the Green colour you created
earlier.
4. Click the right stop marker, ensure that the Stop Colour is “Swatches”, then scroll
down to the Gold colour your created earlier. If this is the only Gradient Swatch you
wish to created, then click OK. If you wish to create more Gradient Swatches, then
click Add – just like you did when you were creating more than one colour.
Experiment:
Use the above steps to create a “radial” gradient by selected “Radial” in Type drop-down menu.
Add extra “stops” to the Gradient Ramp by clicking on the bottom edge of the Ramp. Apply
different swatch colours to create gradients of more than two colours. Don’t forget to name them
in a way that you’ll know what it is when you look at the Swatches palette later.
To apply the gradient to the Fill of an object: As with applying colour to an object, there are
three simple steps to applying a gradient fill to an object.
1. Select the desired object.
2. Make sure Fill is selected in the toolbox.
3. Click on the Green/Gold (or desired) Gradient in the Swatches palette.
Making Adjustments to the Appearance of the Gradient Fill

Once you have filled an object with a gradient, you can make modifications by using the
Gradient Tool to “repaint” the fill along an imaginary line you drag. This tools allows you to
change the direction of the gradient according to where you start and finish dragging the line.
1. Select the object with the gradient fill.
2. Select the gradient tool from the tool box.
3. Click and drag from the top left of the object diagonally to
the bottom right. Notice how the direction of the gradient has changed.
Experiment:
Try dragging the gradient tool from different areas across the object and note the different
effects.

Try dragging the gradient tool for short and long distances and note the different effects this
makes to gradient fill.
Special Considerations when using Spot and Process

colour types
A spot colour is a special, pre-mixed, ink that is used instead of (or in addition to) CMYK
process inks. Spot colours require their own printing plate on the press. Spot colours are usually
specified when only one, two or three printing colours are required in a job, or where a specific
corporate colour is used whose colour cannot be replicated using the process printing colours.
The exact appearance of a spot colour is determined by the ink mixing formula supplied by the
ink company or on the Pantone Colour Matching System charts. These may not be accurately
represented by your monitor or by your desktop output device. This is why it is imperative to
make an ink colour decision by referring to up-to-date Pantone Colour Matching System charts.
Process colour is printed using a combination of four process printing inks, ie cyan, magenta,
yellow and black (cmyk). Process colour is used when a job requires so many colours that
making individual plates for each colour would make it cost-prohibitive, or when full-colour
graphics/photos need to be reproduced. There are certain considerations when ‘creating’ or
‘specifying’ process colours in a job and the following guidelines are worth remembering:
• For best results in the final printed product, specify process colours using CMYK values
printed in a process colour reference chart. These are often available for viewing at a
commercial printing house or available to purchase from a print supply company.
• Never specify a process colour by the way it looks on your monitor – unless you have paid
for a high quality monitor, keep it accurately calibrated, set up a colour management system
properly and understand its limitations for previewing colour.
• Never judge the accuracy of your specified colour by its representation on your desktop
output device. For colour proofing, always take your file to your commercial printer who
can run a 99.9% accurate colour proof for checking. This should always be the very last
step before allowing the job to be printed. All errors and adjustments should have been
made before final colour proofing.
Experiment:
Choose some spot colours from the Pantone Colour Matching swatch/chart and add them to
your Swatches palette.
Create some Tints and Gradients using the colours you have added to the Swatches palette.
Using the Rectangle/Ellipse/Polygon tools, create some shapes with strokes and apply colours to
the Strokes/Outlines and Fills.
Using the Text tool, create a ‘headline’ and experiment with different fills and fills and strokes to
see the effects you can make.

Experiment:
Try dragging the gradient tool from different areas across the object and note the different
effects.
Try dragging the gradient tool for short and long distances and note the different effects this
makes to gradient fill.
Special Considerations when using Spot and Process colour types
A spot colour is a special, pre-mixed, ink that is used instead of (or in addition to) CMYK
process inks. Spot colours require their own printing plate on the press. Spot colours are
usually specified when only one, two or three printing colours are required in a job, or where a
specific corporate colour is used whose colour cannot be replicated using the process printing
colours. The exact appearance of a spot colour is determined by the ink mixing formula
supplied by the ink company or on the Pantone Colour Matching System charts. These may
not be accurately represented by your monitor or by your desktop output device. This is why
it is imperative to make an ink colour decision by referring to up-to-date Pantone Colour
Matching System charts.
Process colour is printed using a combination of four process printing inks, ie cyan, magenta,
yellow and black (cmyk). Process colour is used when a job requires so many colours that
making individual plates for each colour would make it cost-prohibitive, or when full-colour
graphics/photos need to be reproduced. There are certain considerations when ‘creating’ or
‘specifying’ process colours in a job and the following guidelines are worth remembering:
• For best results in the final printed product, specify process colours using CMYK values
printed in a process colour reference chart. These are often available for viewing at a
commercial printing house or available to purchase from a print supply company.
• Never specify a process colour by the way it looks on your monitor – unless you
have paid for a high quality monitor, keep it accurately calibrated, set up a colour
management system properly and understand its limitations for previewing colour.
• Never judge the accuracy of your specified colour by its representation on your desktop
output device. For colour proofing, always take your file to your commercial printer
who can run a 99.9% accurate colour proof for checking. This should always be the very
last step before allowing the job to be printed. All errors and adjustments should have
been made before final colour proofing.
Experiment:
Choose some spot colours from the Pantone Colour Matching swatch/chart and add them to
your Swatches palette.
Create some Tints and Gradients using the colours you have added to the Swatches palette.
Using the Rectangle/Ellipse/Polygon tools, create some shapes with strokes and apply colours
to the Strokes/Outlines and Fills.
Using the Text tool, create a ‘headline’ and experiment with different fills and fills and strokes
to see the effects you can make.
o l o u r
C
The Colour Wheel
Each plate in the

process colour set
has its dots/pixels
arranged at a different
angle to prevent
‘moire’ interference in
the image
Use the Non-Printing option
in the Attributes Panel to have
these instructions for the printing
company only appear on the
screen, not on the printout.
FRED DE GLYNN
National Retail Manager
& ASSOCIATES Consumer Products • Outstanding International reputation
Our client is renowned for their global marketing, manufacturing, research
and development expertise. This position demands a professional with
extensive experience in dealing with major retail establishments at Head
CONSULTING
Office level. You will require:
• A successful consumer product sales record

• Strong people management and interpersonal skills to facilitate
understanding
• Proven experience in business planning, budgeting and negotiating
trade deals
• Excellent communication and motivation skills with “hands on” talent.
FRED DE GLYNN & ASSOCIATES
458 THOMAS STREET, This unique career opportunity offers an attractive remuneration
NORTH SYDNEY 2060 package. If you believe you have the ability to meet the demands
of this challenging position, please contact, in confidence,
Des Power 92174128 or fax 9217 3910.

Outstanding Management
Consulting Opportunities
A.T. Power is the fifth largest management consultancy in the
world with offices across the globe.
Founded in 1923, our reputation is built upon delivering tangible
results by creating practical management solutions.
A.T. Power’s mission is to help our clients gain and sustain
competitive advantage. We differentiate ourselves from
our competition by our ability to add significant value. We
strive to excel by delivering tangible results through a strong
implementation focus.
All applications Following our unprecedented growth in our Asia-Pacific practice
will be treated and the opening of offices in Sydney and Melbourne, A.T. Power
in the strictest has immediate openings for business analysts and strategic
confidence. management consultants, in Melbourne, Sydney, Singapore,
Hong Kong, and Tokyo.
Send your Business analysts must possess an undergraduate degree in a
Curriculum Vitae to: quantitative discipline and a minimum of 2-3 years experience
in multinational corporations or consulting in functions such as
Personnel Manager, business planning, marketing, logistics or manufacturing as well
A.T. Power Inc.., as a postgraduate qualification.
Level 2 Because we offer a superior service to our clients, we only
Thomas Street employ superior people. The high calibre people that we seek
Ultimo 2007 will therefore combine problem solving capabilities, effective
communication and interpersonal skills with initiative,
Tel: (02) 9217 248 inquisitiveness and the ability to think laterally.
Fax: (02) 9217 4001
ATPOWER
NOTE:
This logo is to
be printed in
corporate colour
PMS638CVC

Using the
Styles Palette
A character style is a collection of character formatting attributes that can be applied to either
a single, or a selected range of text. A paragraph style includes both character and paragraph
formatting attributes, and can be applied to a selected paragraph or range of paragraphs.
Styles can save time when you apply and revise text formatting, and they give your documents a
consistent look. When you change the formatting of a style, all text to which the style has been
applied will be updated with the new format.
Using the Styles palettes

Paragraph styles and character styles are found on separate palettes. However, the palettes are
nearly identical in appearance. When you select text or click
an insertion point, the style that has been applied to that text
(if any) is highlighted in the Styles palette. If you select a
range of text covering multiple styles, no style is highlighted
in the Styles palette.
Defining a new style

If you want to base your new style on the formatting of
existing text, select the text.
Do one of the following:
• Choose New Style in the Character Styles or Paragraph

Styles palette menu.
• Click the Create New Style button in the Character

Styles or Paragraph Styles palette. To change the style,
double-click the new style name in the palette.
To add a shortcut keystroke, make sure Num Lock is turned on in Windows. Then hold down
any combination of Shift and Ctrl, and press a number on the numeric keypad. You cannot use
letters or non-keypad numbers for defining style shortcuts.
On the left side of the dialog box, select the group of attributes you want to modify. Specify the
desired formatting attributes for your new style.
Click OK. The style name appears in the palette. Any changes you made to the formatting
options are applied to selected text.

Applying a style
Applying a character or paragraph style is similar to applying a character or paragraph attribute.
If you have selected text, the formatting attributes affect the selection or selected paragraph. If
you did not, the next character you type appears with the formatting attributes.
By default, applying a style won’t remove any existing character and paragraph formatting
or character styles applied to the text, although you have the option of removing existing
formatting when you apply a style. A plus sign (+) appears next to the current style in the Styles
palette if the selected text uses a character or paragraph style and also uses additional formatting
that isn’t part of the applied style.
Note: After you apply a style to text, applying No Paragraph Style or No Character Style to the
text removes the style but leaves the formatting intact.

Editing styles
You can change the definition of a character or paragraph style at any time. When you change
the definition of a style, all of the text formatted with that style changes to match the new style
definition.
To edit a style using the styles palette:

• Double-click the style name in the Styles palette. Note that this applies the style to any
selected text or text frame or, if no text or text frame is selected, sets the style as the default
style for any new text you type. If you don’t want the style to be applied to selected text,
hold down Shift+Ctrl when you double-click the style name.
• Select the style in the palette, and then choose Style Options in the Styles palette menu.
Adjust settings in the Modify Style Options dialog box, and then click OK.
When specifying a Character Color in the Modify Style Options dialog box, you can create a
new color by double-clicking the fill or stroke box.
To redefine the currently selected style based on selected text:

• Using the type tool, select the text formatted with the style you want to redefine.
• Make changes to the paragraph or character attributes.
• Choose Redefine Style in the Styles palette menu.
To select unused styles:

• Choose Select All Unused Styles in the Styles palette menu.

Setting the Next Style
You can automatically apply styles as you type text. If, for example, your document’s design
calls for the style “body text” to follow a heading style named “heading 1,” you can set the Next
Style option for heading 1 to “body text.” After you’ve typed a paragraph styled with “heading
1,” pressing Enter or Return starts a new paragraph styled with the style “body text.”
The style you choose in the Next Style menu is only applied when you type text.
Note: If you select No Paragraph Style as the Next Style, the formatting of the style remains
intact when you press Enter or Return. To remove the style’s formatting, select the text, hold
down Alt and then click No Paragraph Style.
To set a style that will apply to the next paragraph you type:
• Double-click a style name in the Paragraph Styles palette.
• Choose a style in the Next Style menu, and then click OK.
Basing Styles on other Styles

Many document designs feature hierarchies of styles sharing certain attributes. The headings
and subheads, for example, often use the same font. You can easily create links between similar
styles by creating a “base” or “parent” style. When you change the base style, the attributes you
change that appear in the related styles will change as well. Attributes that are not shared among
the styles are left unchanged in the related styles.
To define a new style based on an existing style:

• Create a new style. In the New Paragraph Style dialog box, select the “parent” style in the
Based On menu. The new style becomes the “child” style.
Removing assigned styles from text

You can break the link between text and its assigned style. The text’s formatting does not
change, but any changes you make to the style will not be reflected in the text. You can also
remove both the style and the formatting from text to which a style has been applied.
To break the link between text and its style:

• Select the text whose style you want to remove. Do one of the following:
• To remove the style but leave the formatting, click [No Character Style] or [No Paragraph
Style] in the Styles palette.
• To remove the style and whatever formatting was applied with the style, hold down Alt, and
then click [No Character Style] or [No Paragraph Style] in the Styles palette.

Loading Styles from another document
You can load (import) paragraph styles, character styles, or both from another InDesign 1.x
or 2.0 document into the active document. If you load a style from another document that has
the same name as an existing style in the current document, the loaded style will overwrite the
existing style and apply its new attributes to all text in the current document that uses the old
style.To load styles from another InDesign document:
In the Styles palette, do one of the following:
• Choose Load Character Styles or Load Paragraph Styles in the Styles palette menu.
• Choose Load All Styles in the Styles palette menu to load both character and paragraph
styles.
Double-click the InDesign document containing the styles you want to import.

This piece of type has been set in 12pt Times Roman Bold, you will notice
that it is 3 picas in from the left hand edge of the 150mm wide text window.
It also has 1pica of space beneath it. Because the text is based on a style, it is
easily changed.
This piece of type has been set in 18pt

Bookman Old Style, you will notice that it
is 4 picas in from the right hand edge of
the 150mm wide text window. It also has
1pica of space beneath it. Because the text
is based on a style, it is easily changed.
This piece of type has been set in 10pt Verdana, you will notice
that it is 8 picas in from the left hand edge of the 150mm wide
text window. It also has 1pica of space beneath it. Because the
text is based on a style, it is easily changed.
This piece of type has been set in 14pt Arial Black, you
will notice that it is level with both edges of the 150mm
wide text window. It also has 1pica of space beneath
it. Because the text is based on a style, it is easily
changed.
This piece of type has been set in 14pt Pepetua, you will notice that
it is 6 picas in from the right hand edge of the 150mm wide text
window. It also has 1pica of space beneath it. Because the text is based
on a style, it is easily changed.
This piece of type has been set in 20pt

Bookman Old Style, you will notice
that it is 3 picas in from the left hand
edge of the 150mm wide text window.
It also has a paragraph rule above
and below the paragraph.
If you have completed this exercise correctly, using Paragraph Styles, you will now be able to
edit the various typography of the different paragraphs with just a simple click of a button.
Do that now — reverse the order of the exercise (Yes! I know! The wording inside the
paragraphs will not match the actual typestyle itself, but you can always change it back again
— just as simply). You can also over-ride a Style at any time by selecting the text and making
any changes you feel like — try making a few changes this way and see what happens to your
Style name.

Tomatoes
$2per kg
Oranges
$5
per dozen
CD Disks
$3each
Printer Paper
$7
per ream
Baby Powder
$2.50 each
This simple exercise is used to demonstrate the

uses of the Next Style and Based On options in
the Paragraph Styles area

Document Size: 12x18cm
Text typography: Arial Black

- 14pt -
Colour: Light Grey and

C = 22
M=9
Y = 78
K=0
Congratulations: Bookman Old Style, 24pt Bold Italic, 150%
C = 11
M = 45
Y=0
K=0
Graphic: Guitar.jpg – requires masking and manipulation in PhotoShop
Background: Background.jpg – requires manipulation and sizing in PhotoShop
Style Sheet: Set up a Paragraph style for the main text, and a Character Style for the ‘congratualtions’.

Document Size: 8x15cm
Text typography: Arial Black - 48pt - 60%

Arial Black –14pt– 90%
Arial Black – 18pt – 120%
Colour: Pantone Blue 072U; Black; White
Graphics: speedingbullet.psd; locomotive.
psd; gift.psd – require cropping and
manipulation in PhotoShop
Style Sheet: Set up a Paragraph style for
the project.
Document Size: 6.5 x 14cm
Text typography: Arial Black - 10pt - 120%

- letterspaced
Arial Black –18pt– 85%
Arial Black – 36pt
and 54pt – Scale to suit
Arial - 12pt Bold
– letterspaced
Colour: White and
C = 100
M = 56
Y = 19
K=2
Graphics: Golf Ball and Logo
Style Sheet: Set up a series of
Paragraph styles for the project – use the
Based On option for the main text.

Setting up
Object Styles
Just as you use paragraph and character styles to quickly format text, you can use object
styles to quickly format graphics and frames. Object styles include settings for stroke, colour,
transparency, drop shadows, paragraph styles, text wrap, and more.
You can apply object styles to objects, groups, and frames (including text frames). A style can
either clear and replace all object settings or it can replace only specific settings, leaving other
settings unchanged. You control which settings the style affects by including or excluding a
category of settings in the definition.
When creating styles, you might find that several styles share some of the same characteristics.
Rather than setting those characteristics each time you define the next style, you can base one
object style on another. When you change the base style, any shared attributes that appear in the
“parent” style change in the “child” style as well.
Object style categories

When you’re creating or editing an object style, the style ignores categories you uncheck. For
example, unchecking Drop Shadow & Feather doesn’t turn off drop shadows on objects; it
ignores that attribute. If you add a drop shadow to an object to which the style is applied, the
drop shadow isn’t considered a style override.
To have the style reset all attributes of an object or text frame, make sure that each category
is selected. If you want the style to apply only certain attributes, leaving any other settings
untouched, make sure that only the categories you want the style to control are selected.
The Paragraph Styles category is turned off by default, even if you’re creating a text frame. This
category is applicable only if the object is an unthreaded text frame.
To apply object styles

Select an object, frame, or group. Then select an object style in the Control palette or the Object
Styles palette.
Drag the object style from the Object Styles palette onto an object in the document window.
When the pointer changes to a fist with a plus sign, release the mouse. (The object does not need
to be selected first.)
Note: Once you apply a style, you can apply any other settings to the object as needed. Although
you may override a setting defined in the style, you do not lose the connection to the style.
If a group is selected when you apply an object style, the style is applied to each object in the
group.

To use default object styles
For each new document, the Object Styles palette lists a default set of object styles. Whenever
you create an object, an object style is applied to it. By default, if you create a text frame, the
[Basic Text Frame] object style is applied. If you draw a path or shape, the [Basic Graphics
Frame] object style is applied. If you place an image or draw a placeholder shape that has an
X in it, the [None] object style is applied. You can select a different object style to use as the
default for each of these object types.
To change the default style for a text frame, choose Default Text Frame Style from the Object
Styles palette menu, and then select the object style.
To change the default style for a graphics frame, choose Default Graphics Frame Style from the
Object Styles palette menu, and then select the object style.
To change the default style for any object type, drag the icon that marks the default object type
from one object style to another.
Note: If you select an object style when no frame is selected, that object style becomes the new
default object style for text or graphics, depending on which tool is selected in the toolbox.
You can edit the [Basic] styles, but you cannot delete them.

Garden
Flower
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Using an Object Style with 50% transparency on
each of the flowers

Centred on each Each shape
other using the filled with
align options a different
colour
Multiply mode Screen mode Difference mode

Setting type
on a path
Adobe InDesign has included the ability to flow text on a path, which works in a similar manner
to how this process works in Adobe Illustrator. There are a few differences to Illustrator which
are basically directed at the DTP process.
Path type basics

The Path Type tool lives in the fly-out area of
the Type tool in the tool palette. By clicking
and holding on the Type tool icon, the Path
Type tool is displayed.
By selecting the Path Type tool , then moving

your mouse directly over a path, a small ‘+’
sign appears in the Path Type tool cursor. This
is a visual indicator which tells you that you
can now click on that point to create a Path Type text frame.
When you click on a path, you will create a Path Type text frame that runs the entire length of
the path. But if you click and drag along the path, you can control the size of the Path Type text
frame.
Resizing the frame

When you create a Path Type text frame, the handle of each end of the text frame can be used to
resize the frame. The handle in the middle of the frame can be used to push the frame along the
path so that you can position the frame exactly where you want it.
If you resize the handles, or

increase the pointsize too much, the
text frame will move into Overflow
mode. This works exactly the same
as in an “ordinary” text frame —
you can resize the curve, reduce the
pointsize, or click on the overflow
“icon” to place the overset text into
a different text frame.

Path Type effects 3D Ribbo
n
Once you have flowed your text on a ef
fe
path, you have several options available ct
to you which will influence how the text Stair Step Grav
i t
is “drawn” on that path. These different Ef
ye
fe
drawing options are called Effects in the ct
ffect
Path Type Options dialog box.
Effects are available in the Object>Path

Type>Options menu command, or in the
‘right-click’ contextual menu.
You have a number of options in the

Path Type Options dialog box. The default is Rainbow, but you have other options such as Skew,
3D ribbon, Stair step, and Gravity.
Positioning and flipping your Path Type

When you have placed your text along the path, you will notice a short stroke, and small box,
at either end of the text line, these can be used to push the text along the path to do some fine
positioning. There is also a short stroke which shows you the centre of your type, this can also
be used to drag your type along the path.
To flip your text, the Path Type

options dialog box has a checkbox Left side
that enables you to flip the type
you’ve set on a path. But there is Right side
also another way to do this — the
centre handle in the Path Type
text frame can also be used to flip
your type. Just click on the handle
and drag it up or down to flip
the handle. This centre handle is Centre
very hard to see, you may have to
zoom in quite a bit before you can
actually see it.
Once you have the Path Type flipped and positioned you can then use other options to further
refine its position. You can use the Align and the To Path options in the Path Type Options
dialog box to align your text by ascender, descender, centre, or baseline of the type to the top,
bottom or centre of the drawn path. You could even use Baseline Shift to move your text away
from the path.

Flowing path type
The InDesign path type feature also enables you to flow text from one path to another. You can
flow text in and out of frames and paths, and around frames already full of text.
To force the text to flow and link to another path, you should first click on the new path with the
Path Type tool to establish a position. Now you can click on the Out Port of your first path and
then click on the new path — text will now flow and can be positioned as require
Using the path to create Path Graphics

Another way to push the envelope of InDesign’s Path Type feature is to use it with Inline
Graphics. As you remember, and Inline Graphic is a graphic which has been placed when the
text cursor was positioned inside a text frame. What this does is cause the graphic to act just like
a character — it can’t be moved except to
move on its baseline.
Once a graphic has been placed Inline,

it can still be edited and transformed
like a normal graphic. You can
rotate and skew the Inline graphic,
as well as apply the range of
Effects which are available in
the Path Type Options dialog
box.
The bottom line is that InDesign’s

Path Type feature is very powerful
and flexible, and gives you a host of
creative opportunities to explore.

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Using InDesign
layers
What you use layers for
Each document includes at least one named layer. By using multiple layers, you can create and
edit specific areas or kinds of content in your document without affecting other areas or kinds of
content. For example, if your document prints slowly because it contains many large graphics,
you can use one layer for just the text in your document; then, when it’s time to proofread the
text, you can hide all other layers and quickly print the text layer only. You can also use layers
to display alternate design ideas for the same layout, or versions of advertisements for different
regions.
Layers are also very handy if you are required to produce a number of designs in different
languages. Simply create a new layer for each language, then only show one of these layers
when it comes time for printing. For the next printout hide the first layer, and show another
language layer.
About the Layers palette

The Layers palette lists layers with the frontmost layer appearing at the top of the palette. Use
the palette to create and delete layers, hide and lock them, merge them, and specify options
that determine how layers are displayed and printed. You can also change the stacking order of
layers and move objects from one layer to another.
Think of layers as transparent sheets stacked on top of each other. If a layer doesn’t have
objects completely covering it, you can see through it to any objects on layers behind it.
A. Target layer for next new

object
B. Show/Hide (currently
visible)
C. Hidden layer (eye icon
hidden)
D. Lock/unlock (currently
locked)
E. Layers selected for next
layer command
F. Layers containing
selected objects
G. New Layer button
H. Trash button

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More InDesign
layers
What you use layers for
Remember that each document includes at least one named layer (default name of Layer1). By
adding and using multiple layers, you can create and edit specific areas or kinds of content in
your document without affecting other areas or kinds of content. For example, if your document
prints slowly because it contains many large graphics, you can use one layer for just the text
in your document; then, when it’s time to proofread the text, you can hide all other layers and
quickly print the text layer only. You can also use layers to display alternate design ideas for the
same layout, or versions of advertisements for different regions.
language layer.
Another use
Another handy reason for using layers is for cutting Photoshop “out of the loop” a little bit.
What does that mean?
Instead of compositing a complete graphic/photo in Photoshop, then placing this final

composited image into InDesign (where the layers in the Photoshop document are effectively
“glued” together), you can do the compositing in InDesign. This means that you can still
have “Photoshop type” layers in your InDesign document which work just like the Photoshop
software.
The layers palette is shown by
using Windows/Layers or the
shortcut F7
To rename a layer, or change its

options, you double-click on the
layer name in the Layers palette
New Layer icon Delete Layer icon

The example magazine spread
In the magazine spread that we are designing for a quality publication, it would be good to have
the option of moving the truck independently of the petrol pump. This will make sure it fits in
with the text box and final layout.
Because we have created a separate truck graphic, and a separate petrol pump graphic, it is
possible to place these onto different layers. Now you can move each layer independently of the
other layers, and move objects around at will.
To keep the layers ability going in this design, the text has been given separate layers as well.
The pull quote is a separate layer, the heading is a separate layer, the intro is a separate layer,
and the text itself is on another separate layer.
Now we have the creative freedom to lock and unlock layers, and move them independently to
create a layout which is just right.
The “hanging punctuation”

Punctuation marks and letters such as “W” can make the left or right edges of a column appear
to be misaligned. Optical Margin Alignment controls whether punctuation marks (such as
periods, commas, quotation marks, and dashes) and edges of letters (such as W and A) hang
outside the text margins, so that the type looks aligned.
1. Select a text frame, or click anywhere in the story.
2. Choose Type > Story.
3. Select Optical Margin Alignment.
4. Select a font size to set the appropriate amount of overhang for the size of type in your
story. For optimal results, use the same size as the text.
Lining up the heading

If you look closely you will notice that the “,” doesn’t do exactly what you want at the end
of your heading. If you look even more closely you will notice that the only letter different
between the two lines is the letter “G”. What you will have to do is highlight just the letter “G”
and put a very small squeeze on it to make the second line line-up perfectly with the first line.

The graphics
To achieve the final layout, you will need to do some work in Photoshop. Remember that we
are trying to cut Photoshop out of the loop if possible, but that doesn’t mean that Photoshop
isn’t the best graphics software in the world. All the “heavy duty” image editing will be done in
Photoshop, only the final compositing will be done in InDesign.
The truck has been cropped, the background removed, then its image size altered. Then a
suitable typeface to suit a “graffiti” effect was selected, and the wording applied to the side of
the truck.
The petrol pump has had similar work done on it, with a final Gaussian Blur applied to give the
illusion of a “depth of field” photograph. This gives the final composition a dynamic feel, and
appears as a 3D effect.

SHAREDPAIN,
Truckers, Shippers, and the “Capacity Crunch”
SHAREDGAIN
Tightening capacity, rising toll surcharges, and an ongoing
driver shortage threatens timely delivery nation wide. How
are motor carriers and shippers responding? By crunching
numbers and working together to create innovative solutions
that alter late stress and improve reliability. by Warren Butler
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Using layers
for floating
Panels Floating Over a Ghosted Image
In the last exercise we “Created a Window Through Your Brochure Cover.” The steps involved
in creating the die cut look of the layout, resulted in some interesting effects. One pondering
point from this exercise would be – “Is there a way to create a transparent look within InDesign
using an image in the background with panels floating above it which contain the same image
perfectly lined up with the original image beneath?”
In this exercise, we will set up a document, using Margins, Columns and Ruler Guides, the
Paste Into command, Compound Paths, Ghosting an image and Drop Shadows.
Setting Up Simplicity
Set up a new A4 document (File > New) with four columns and 5mm gutters, but no
text frame. Make the Margins 10mm on the top, left and right, and 75mm on the bottom
and click OK. Drag Ruler Guides to 18mm and 190mm on the X axis, and 18mm and
210mm on the Y Axis. The Margins, Column Guides and Ruler Guides will make it
simple to line everything up perfectly in our layout as we move forward.

Building Our Look from the Bottom Up.
Draw a Picture Frame using the Rectangle Frame tool (F) that fills the Margins to the
left, right, top, and bottom. Place an image in this Frame (File > Place).
Preparing to Panel Your Picture.
Draw four additional Picture Frames over the top of the original Frame using the
Margin and the Column Guides for size and position. To make them easier to see, add
a white fill by selecting “Paper” from the Swatches palette. These Frames will become
your floating panels.

How Can Four Picture Frames Contain One Picture?
Select your four “panel” Frames and make them into a Compound Path.
(Object>Compound Path>Make) This will combine the four “panel” Frames into one
Compound Frame, so there will be just one X going through all four combined Frames.
An Original Look Starts with a Copy.
Click between two of panels to select your big background image Frame with the Direct
Selection tool. Then Copy the image (Edit > Copy).

Paste a Little Magic.
Select your combined “panels” Frame with your Selection tool and go to Edit > Paste
Into. This will paste your image (copied from the back Frame) into the combined front
Frame at exactly the same size and position as in your back Frame.
Making Panels Float Above a Ghost.
With the panels still selected, apply a Drop Shadow (Object > Drop Shadows) to the
panels to make them float above the page. Then select the back image and lower it’s
Opacity to 30% in the Transparency palette.

Re-sizing Your Panels Is A Snap.
Select the combined “panel” Frame with your Selection tool and drag the sides of the
Bounding Box in, snapping to the Ruler Guides that you drew in Step 1. This should
position your panels 1/2” in from the original background Frame on all sides). And
don’t worry, only the Compound frame will re-size. The size and position of the picture
will not change at all.
Some Impossible Tweaks Add Interest.
Just to make our panels a little more interesting you can try varying the size and position
up and down vertically. But is it possible to select and change the individual parts of a
Compound Path. Yes!
First select your panels with your Selection tool (V), and switch to your Direct Selection
tool (A). Using the Direct Selection tool, click on the top side of the first panel and click
the Down Arrow on your keyboard. Or you also can click on this top segment and Shift-
Drag straight down the page. The Shift key constrains your re-sizing vertically down the
page. Vary the other panels, up or down, using the same method.

A Blooming Beautiful Finish.
All that’s left is adding your type and you’re finished creating quite an interesting image
entirely in InDesign as part of a layout.

Bill Chapman
Chapman Farm
Fred Glynn
The Nursery
Des Pope
Flowers are us
Warren Butler
Flower Garden
Our panel of
distinguished judges
The Annual Ourimbah Flower Show Contest
Using layers
for cutouts
Using layers with other “stuff”
One area of Adobe InDesign that sets it apart from any other layout program is Transparent
Effects. In this exercise we’ll see how it’s possible to cut a window right through your page to
a beautiful picture below using Layers, Custom Grids, soft Drop Shadows and the Pathfinder
palette. It’s a quick way to simulate a die cut without adding any production cost.
language layer.
Layers of simplicity
The best way to start any page design that will involve a complex stacking order of
objects is to set up Layers. It will make working on your layout as simple as 1-2-3.
In your Layers palette (Window > Layers), Double-click on Layer 1 and change the
name to “Background Picture” and click OK. Then under the Options (arrow) menu of
the Layers palette, choose New Layer, name the Layer “Grid Window” and click OK.
Create one last Layer (on top) called “Type and Top Objects.”

A Marginal Beginning to a Sure Success
To begin setting up a grid for what will become the “panes of a window” through your
page, first we have to move the page margins. Go to the Layout menu > Margins and
Columns… and in the window that opens, change the Top, Left, and Right Margins to
25mm, and the Bottom Margin 75mm. Check Preview to see the new position of your
Margins and click OK.
Grid-Like Accuracy
Now we’re ready to set up our guides for a grid of window panes. Go to the Layout
menu > Create Guides… and in the window that opens, set up 3 Rows and 3 Columns
with 5mm Gutters for both. In the Options section of the window, next to “Fit Guides
to,” choose Margins. Check Preview to see your work and click OK. You have just set
up a perfect 3 X 3 Grid of Guides in seconds, without a ruler or a calculator.

Let’s Get Organized
Before you start getting too far ahead of yourself, you’d better get organised. Start by
selecting all your Text Frames and look at your Layers palette to see which Layer they
are in. A selection indicator (small square) to the right of a Layer will let you know on
which Layer(s) your type is located. Click and drag the indicator(s), one at a time, to the
top Layer.
You’re also going to have to add Bleed to your layout. Even though your layout will
not look like it bleeds off the page, it really will. You’ll see what I mean as we move
forward. To set up a 3mm Bleed, go to the File menu > Document Setup and in the
Bleed section of the window, select the first fill-in box and press the Up Arrow on your
keyboard twice, now click the “link” icon to the right (which should make all Bleeds
3mm”), and click OK.
Building a Window Frame
Start by clicking on the “Grid Window” Layer to activate it as your working Layer. You
will see the Pen icon move, letting you know that you will now be “writing to” that
Layer. Select your Rectangle tool (M), then click and drag from the upper left Bleed to
the lower right Bleed. Fill the rectangle with Paper colour (white) from the Swatches
palette (Window > Swatches).

Painless Panes
Click and drag with the Rectangle tool (M) to create a rectangle that fills the upper
left grid section. It should snap right to your Guides. Fill it with any colour from the
Swatches palette (temporarily) just to make it easy to see and select. Alt.-Drag the first
Rectangle to create a second rectangle, making sure it snaps to the next Grid Guides.
With the second Rectangle selected, Alt.-Drag to create a third rectangle.
Now select All three rectangles in the top row and Alt.-Drag them to copy a second row.
Repeat with the second row to create a bottom row.

Use Your Rectangles to Cut Glass
Marquee across your white background and all of your individual colour-filled
rectangles. Then Shift-Click on the white background object to deselect it – leaving
just your “panes” selected. Open your Pathfinder palette (Window > Pathfinder). With
all your “panes” selected, click on the first Pathfinder button on the left (A) - Add. This
combines all selected objects into ONE object.
Now, Shift-Click on the white background to add it to your selection and click the
second button from the left in the Pathfinder palette (B) – Subtract. This “subtracts”
your frontmost object (the combined panes) from the backmost object (the background).
Don’t expect the results to make you scream, “WOW!” A white object, with panes cut
through it on a white background can’t be seen.
Click on your object, and in your Object menu, go to Drop Shadow. In the Drop Shadow
window, check to turn the Effect on, and click OK. Now that’s a “WOW!”
Place Some Flowers Outside
Now that we have a “window,” let’s Place an image of some flowers “outside.” In the
Layers palette, click on the “Background Picture” Layer to Activate it. Draw a Picture
Frame using the Rectangle Frame tool (F). With the new frame selected, go to File >
Place, find your image and click OK. Make just a few minor tweaks to the sizing of the
image and the Drop Shadow Effect and, “Voila!” – a beautiful cover layout.

Your window of
opportunity
opening up at the Ourimbah Flower Show
InDesign text
wrapping
Wrapping text around objects — from basic shapes or frames to images with clipping paths
— can give any publication a unique look and feel. In this exercise you’ll learn several ways to
work with text wrap to achieve the look you want.
Wrap text around “regular” objects.

Choose Window >Text Wrap to display the Text Wrap
palette. Using the Selection tool, click an object to select
it. Choose Wrap Around Bounding Box in the Text Wrap
palette. Now you can enter the distances you wish the
text wrap to “stand off” from the edge of the object. This
creates a text-wrap boundary that is the same “regular”
shape as the object’s frame.
Wrap text around “irregular” objects.

Choose Window >Text Wrap to display the Text Wrap
palette. Using the Selection tool, click an object to select it.
Choose Wrap Around Object Shape in the Text Wrap palette.
Now you can enter the distance you wish the text wrap to
“stand off” from the “shape” edge of the object.
You now need one more step to create a text wrap which will
conform to an irregular shape. You will notice in the Text
Wrap dialog box that – after you click on the Wrap Around
Object Shape button – that you are given a Type Option at
the bottom of the dialog box. The options you have in here
are:-
• “Bounding Box” which will shape to the box around the

object.
• “Detect Edges” which will move the text wrap to the

required distance away from the edge of the object.
• “Alpha Channel” and “Photoshop Path” both of which

work with a graphic which has been created in Photoshop.

• “Graphic Frame” and “Same As Clipping” allow you to further refine the area of the
graphic which is used as the text wrap.
Following these steps creates a text-wrap boundary that is “irregularly” shaped around an
object.
Adjust the text wrap path for text wrapping.

Using the Direct Selection tool, select the image.
Drag any of the anchor points to adjust the
image to create the look you want. Here we have
adjusted the text wrap path so that it appears as
if someone has taken a bite out of the apple. As
you adjust the text wrap path, notice how the text
automatically adjusts to the new path.
You can use the Pen tool to add or remove anchor

points along the clipping path. You can also use
the Pen tool to convert smooth points and corner
points.
Ignore text wrap within a

frame.
The text wrap you create in InDesign also works on the inside of the graphic — in other words
the text is “repelled” from both the outside as well as the inside of the text wrap boundary.
In this step, we want to add text to the label for the apple. Because the apple has text wrap
applied to it, we’ll need to turn off the text wrap for the new text frame so that it appears on top
of the orange’s label. Select the Type tool. Drag to create a new text frame so that it appears on
top of the object that has text wrap applied. Type text in the text frame. Choose Object > Text
Frame Options. In the Text Frame Options dialog box, choose Ignore Text Wrap, and then click
OK. The text appears on top of the object and does not wrap around it. Don’t worry if you can’t
see the text at first; once you apply the Ignore Text Wrap option, the text will show up.

Create a clipping path text wrap for an imported
image.
Using the Selection tool, select the image, choose Object > Clipping Path, and then choose
Detect Edges. Make sure that Preview is selected. Drag the Threshold and Tolerance sliders
to hide as much of the coloured or white background as possible without hiding parts of the
subject. For Inset Frame, you can specify a value that closes up any remaining background
areas. The image’s “frame” is automatically reshaped to mask the image. Use the Direct
Selection tool and click the image to see the new path.
If you now move to the Text Wrap dialog box, and click on the Wrap Around Object Shape, then
ask for the Same As Clipping option, you have created your new text wrap.

Music in the Park
December 22nd
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Kibble Park Gosford
After you have finished this exercise recreate it using the graphic called guitar.psd (which
has a full colour background). Use the Object>Clipping Path dialog box to “take away” the
background before applying a text wrap.

New Product
Announcement
Announcing the new Built-in Orderly Organized Knowledge device,
otherwise known as the BOOK.
It’s a revolutionary breakthrough in technology: no wires, no electric circuits, no
batteries, nothing to be connected or switched on. It’s so easy to use even a child can
operate it. Juﬆ lift its cover. Compact and portable, it can be used anywhere --
even sitting in an armchair by the fire -- yet it is powerful enough to hold ass much
information as a - disk.
Here’s how it works: each  is conﬆructed of sequentially numbered sheets of paper
(recyclable), each capable of holding thousands of bits of information. These pages are
locked together with a cuﬆom-fit device called a binder which keeps the sheets in their
correct sequence. By using both sides of each sheet, manufacturers are able to cut coﬆs
in half.
Each sheet is scanned optically, regiﬆering information directly into your brain. A
flick of the finger takes you to the next sheet. The  may be taken up at any time
and used by merely opening it. The “Browse” feature allows you to move inﬆantly to
any sheet, and move forward or backward as you wish. Moﬆ come with an “index”
feature, which pinpoints the exact location of any selected information for inﬆant
retrieval.
An optional “mark” accessory allows you to open the to
the exact place you left it in a previous session -- even if the
 has been closed. BOOKmarks fit universal design
ﬆandards; thus a single mark can be used in
s by various manufacturers.
Portable, durable and affordable,
the  is the entertainment
wave of the future, and
many new titles are
expected soon, due to
the surge in popularity
of its programming
tool, the Portable
Erasable-Nib Cryptic
Intercommunication
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Homer Simpson
“ Shaken . . . not stired
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James Bond
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NEED
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Total size of advertisement is 55 picas wide x 36 picas deep. Graphics used are bitsNpieces.psd
TextwrapEarphones.indd 1 24/10/2006 3:11:23 PM
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Using
Paste Into
Like most basic layout ingredients, the Paste command is an essential workhorse, but it’s
not particularly interesting on its own. After all, Paste usually just places the contents of the
clipboard in the centre of your document window. However, InDesign offers some variations
on the Paste command — Paste in Place and Paste Into — that yield a range of exciting visual
possibilities.
The Paste in Place command

This adds variety in that it remembers the location of an object that’s copied (or cut) into the
Clipboard, and pastes it in the exact same position, relative to the object’s location on the
spread. The nice thing about Paste in Place is that it lets you paste the Clipboard contents on a
different layer, on a different page in the same document, or on a page in a different document,
while maintaining the position of the copied item.
The Paste Into command

But it’s the Paste Into command that can be the most enticing for the DTP operator. Paste Into,
as its name implies, lets you paste the Clipboard’s contents inside, or into, any frame or path,
thus allowing the frame to act as a kind of mask for the pasted object. The command works with
any item created in InDesign, including text, graphics, or grouped objects.
In fact, using the Paste Into command is the only way to get multiple items
into a frame, which can be done by simply grouping the items before copying
them into the Clipboard (text in Figure 1). And while frames can act as a
mask for placed graphics (using File > Place), the Paste Into command allows
frames to act as a mask for text, too, an effect that cannot be achieved by
simply placing text in a frame (Figure 2).
Figure 2: You can mask text by using the
Paste Into command. The text frame on the Figure 1
left was copied and pasted inside the circle
on the right; the circle acts like a window,
letting only a portion of the text frame show
through (including the drop cap)
To use Paste Into requires two other pieces of information. If you Copy an object to the
Clipboard after first selecting it with the Selection tool (black arrow), both the content and the
frame will be pasted into the target frame. If you select the object with the Direct Selection tool
(white arrow) — or the Text tool — before copying, only the selection (the content or the frame/
text) will be pasted.
Also, if the copied or cut object is not touching the target frame, the object’s upper left-hand

corner is positioned at the upper left-hand corner of the target frame, similar to the Place
command. But if the copied object overlaps the target frame even a little, it behaves like the
Paste in Place command, by pasting the copied object inside the target frame in the exact same
position.
There are endless possibilities for special effects you can use with Paste Into.
Headline Noir et Blanc (Black and White)

• 1 letterform in your favorite font (e.g., Berthold City)
• The Create Outlines command
• The Paste in Place command
• The Edit Paste Into command
• The Direct Selection tool, for stirring
DIRECTIONS: Type a capital letter in a text frame. Increase size as desired. Click on the frame
with the Selection tool and convert to outlines (Type > Create Outlines). Create the headline
text in a separate text frame, and position over the capital letter.
Select the headline text with the Direct Selection tool, and copy it (Edit > Copy). Use
Edit > Paste in Place to create a duplicate of the text that is positioned over the original.
Apply white (or color of your choice) to the duplicated text, and Cut the duplicated text
frame.
With the Direct Selection tool, click on the large capital letter, then use Edit > Paste Into to paste
the white text inside the letterform. Select the original headline text and use
Object > Arrange > Send Backward (or To Back) to position it behind the duplicate text.
If you need to re-position the text, use the Direct Selection tool to move the large capital
letter, then group all elements.
Text in Puzzle Blocks

• Several letterforms
• The Create Outlines command
• The Paste Into command
DIRECTIONS: This simple exercise is a real crowd-

pleaser. Type several letters, each in its own
text frame.
Increase size and apply colour as desired. Draw several frames (e.g., in the shapes of squares)
and apply various fill colors. Select one of the individual letters with the Direct Selection
tool, and Edit > Cut (or Copy). Select one of the empty frames and use Edit > Paste Into to
put the letter inside the frame.
Select the letter inside the frame with the Direct Selection tool, and position it freely within the
frame.

What the
Sushi
Chef
Said
o nt
Donald Blemmer has always enjoyed challenges — after all, he
s
turned the complex novels more than you know and Kealte fish into
m
critically acclaimed films. But now he has taken on the challenge
of a lifetime by directing controversial rapper Jomamba in his movie
debut, See me, will blemmer manage to come out on top yet again?
by Laura
Rednick
a
d ri g the
director in hollywood

Print preparation
and printing
There are several important considerations when preparing a file for print – whether it is to a
local black & white laserprinter or colour inkjet, or whether it is in preparation for output to film
or plate for printing on the press. In this lesson, you will be learning how to check and confirm
that your InDesign file and all its elements are ready for printing. You will also gather all the
necessary files ready for sending to your print supplier. You will make a test-run proof print and
test-run a colour-separated print.
Preflight
Adobe InDesign has integrated controls for checking the availability of all the files necessary
for successfully outputting a document. You can use these controls to “Preflight” the document,
confirming that all the graphics and fonts used within the document are available for printing.
These controls also allow you to check the colour usage within the document, including those
used within placed graphics. This is especially important if the document is intended only for
CMYK print with no extra spot colours – you can check to ensure that none of your specified
colours have been allocated as spot colour
and, if they have, you can change it at this
stage. The same applies if the document
is to be printed in only 2 spot colours and
you can Preflight to ensure that no RGB or
CMYK graphics have been included and
not previously been converted to Greyscale
or Duotone. Let’s have a look at how
Preflight works…
1. Choose File > Preflight
2. The first panel you will see in

the Preflight dialogue box is
the Summary. InDesign will
alert you to potential concerns,
which will be shown by a yellow
triangle adjacent to the relevant
information. The summary panel
pictured is showing a problem
with “changed” images. These
will need to be rectified before
proceeding.

To get more information about the problem areas, you can click on the relevant option
in the left-hand panel.
3. Click on the Fonts option, you will see a list of fonts used within the document.
The information panel also shows what kind of font it is – TrueType, PostScript or
OpenType; whether it is OK for printing (or missing or incomplete); and, whether the
font is protected from embedding.
When InDesign cannot embed a font, due to the font vendor’s settings, and someone
who opens or prints an Adobe PDF file does not have access to the original font,
InDesign temporarily substitutes a Multiple Master typeface: either AdobeSerMM for a
missing serif font, or AdobeSanMM for a missing sans serif font. This means that your
document will not view or print the same as you have set it up!
4. Click on the Links and Images

option. This is where you will
find more information about the
graphics that Preflight feels has
problems attached.
So that we can focus just on the

problem areas, click on the check-
box “Show Problems Only”.
You will notice that three images

have been modified – these will
need to be located and re-linked
before the document can be assembled for output.
5. Click the “Repair All” button. Because InDesign knows where these modified images
originally came from, there is no need to navigate your way to the folder containing
the required graphic files and double-clicking to update the link.
NB: You cannot use the Repair All to update problems with colour space of a placed
graphic. You will need to open the file in PhotoShop, change the Colour Mode to
CMYK and then update the link via the Links palette.
6. Click the Colours and Inks option. You will notice that the four process (subtractive
primary) colours are listed: Cyan, Magenta, Yellow and Black. The dialog box will also
report on the resolution of each colour LinesPerInch of each image.
7. Click the Cancel button. Although you can go direct to “Package” from here, at this
stage it is better to work through Packaging step-by-step as a separate process.
Package
The package command gathers a copy of the InDesign document, a copy of all the linked items
(including graphics and text) and a copy of the fonts needed for printing the file.
1. Choose File > Package. An alert dialogue box will warn you of the potential problems
with the file, click “Continue” to proceed to Packaging.
2. A Printing Instructions window will appear, in which you can add contact details and

specific instructions
for the print supplier.
For this example,
just type in the
filename of your
file and your name
in the “Contact”
space. InDesign
will use this
information to create
an “instructions”
text file which will
be gathered with the
document, graphics
and fonts to be sent
to your print supplier.
Click “Continue”.
3. In the Create Package

Folder dialogue
box which appears,
navigate to your
work folder and
confirm that InDesign
has created a folder name based upon the name of your file. eg “Print Output Exercise
Folder”.
4. Confirm that Copy Fonts, Copy

Linked Graphics and Update
Graphic Links in Package are all
ticked.
5. Click the “Save” button.

A Font Alert message will
appear informing you of the
various font licensing laws and
restrictions that may affect your
ability to copy fonts. To continue
with the Packaging process,
click “OK”.
6. Minimise InDesign and browse through the folders to your work folder, then find the
folder you just created during the packaging process. Click on that folder and take note
of the items that InDesign has packaged ready for output – a duplicate of the original
document, a copy of all graphics and a copy of the fonts used. When you packaged
the document, you ticked “Update Graphics Links in Package”, this means that when
the file is sent to the print supplier, the Preflight will instantly recognise where all the
linked graphics are, without the need for updating.

Preflight Fonts option
The Fonts option is also an ideal way of changing the fonts used within a document that are not
utilising the Styles options. eg If you have selected to use Adobe Garamond Pro fonts within the
document, then the client decides that they prefer Adobe Caslon Pro, it is a simple matter of…
1. Clicking the “Find font” button, then selecting the font to be changed.
2. In the lower part of the dialogue box,

find the required font in the Font
Family drop-down menu, then select
the Font Style required from its drop-
down menu.
3. You then have the option to “Find

First” to highlight the text using the
fonts, then “Change”; or “Change
All” to allow InDesign to search the
document for all occurrences of the
old font and automatically change to
the new font. Follow this step for all
fonts that require replacing and, when
completed, click the “Done” button to
return to the Preflight dialogue box.
Click Cancel to close the Preflight dialogue box.
Separation Preview
When you have a document that will require printing in more than one colour, you will probably
need to — at some stage — print colour separations. It is always advisable to print a test-run of
colour separations, wherever possible, before you send the packaged file to the print supplier.
This allows you to confirm that you have everything in order, and that nothing goes missing in
the process before the expense of running film or plates.
Adobe InDesign allows a preview of the colour separations, which is especially useful for
large or multi-page documents for which a test-run printout would be costly in both time and
resources.

1. Choose Window > Output > Separations.
2. Click “Separations” in the View pop-up menu. Click on the eye icon adjacent to
colours to hide or view. Notice how your document then previews just that printing
colour.
3. Notice, also, that when you hover the cursor over an area of your document, percentage
values appear adjacent to the various colours in the Separations Preview palette.
This is giving you (and the print supplier) an idea of the level of ink coverage on
that particular part of the paper. Notice that areas that are printed in CMYK show the
individual percentages of the four process colours plus the total ink coverage next to
the combined CMYK icon. You can see from this that it is possible to have more than
100% ink coverage!
Transparency Flattener Preview

One of the graphics placed in the “Print output exercise” document has had transparency effects
applied to it. You can use the Transparency Flattener Preview to check how this might affect
other objects on the page.
1. Choose Window > Output Preview >

Flattener.
2. In the Highlight drop-down menu, choose

“All Affected Objects” and High Resolution
from the Preset drop-down menu. You will
notice a red highlight appear over some of
the objects on the page. These are the objects
that will be affected by the transparency
applied to some of the graphics. There may
be some objects that you do not wish to
be affected and this will help identify them and allow you the opportunity to make
changes to rectify the situation.
3. To return your document to its ‘normal’ preview, select “None” in the Highlight drop-
down menu.

Outputting a Black & White Laserprint or Inkjet Proof
In this part of the lesson, you will print a Black & White, or Greyscale, composite proof of the
“Women in Transportation” document.
It is important that, during the proofing process, prints are sent to a black & white laser or inkjet
printer. This saves valuable resources (colour inks and money) whilst checking for general
layout, spelling and typographical errors.
You will also print out a colour separated version of the document, which also is sent to a black
& white printer. If you would like to also print out a colour copy for your portfolio, that would
be good.
1. Choose File > Print.
2. Select your printer from the Printer drop-

down menu. (eg 1063). Notice that InDesign
automatically selects the PPD associated with that
printer from when it was originally installed onto
your computer. If a PPD doesn’t show, it means that
it is embedded.
3. Click the “Setup” option from the panel on the

left of the dialogue box. Choose A4 as the paper
size and ensure that the orientation is set correctly
(portrait or landscape, according to the individual
document). If you leave the Scale option at 100%
you have the option of positioning the print where
you want on the paper. If you click the “Scale to
Fit” button, it will automatically reduce or enlarge
the document and place it in the centre of the output
page.
4. Click the “Marks and Bleeds” option and ensure

that the following are enabled: Crop Marks, Colour
Bars and Page Information. You will probably need
to move back to the Scale to Fit option to make sure
both the print, as well as the marks, fit on the paper.
5. Click the Output option. Check that the Colour is

set to Composite Greyscale in the Colour drop-
down menu. You can also tick the “Simulate
Overprint” box to show how colours which overlap
will affect each other.
6. Click the Graphics option and ensure that

“Optimised Subsampling” is selected from the
Send Data drop-down menu. This option allows
InDesign to send only the image data necessary
for the printer you have selected. This enables
quick output for proofing purposes. To have the
entire high resolution image information sent to the

printer, which will most likely take longer to download and print, select “All” from the
Send Data menu. If necessary, select “Complete” from the Fonts Download drop-down
menu.
7. Click the Advanced option and set the Transparency Flattener Preset to High
Resolution from its drop-down menu.
8. Click the “Save Preset…” button at the bottom of the Print Dialogue box. Name the
preset “B&W Proof” and click OK.
9. Click “Print” to send the document to the laserprinter.
Choosing to save the Print settings as a Preset means that all the options you changed for this
job can be applied to any file you wish to print as a black & white proof, without the tedium of
making the changes again & again. All you will have to do is choose “B&W Proof” in the Print
Preset drop-down menu at the top of the Print Dialogue box – easy!
Research
Utilising the Adobe InDesign CS Help, find information on:
• the different settings for the Graphics Send Data options;
• the Font Download options; and
• the affect the various Transparency Flattener Presets have on the output of a document.
Type up this information and insert into your notes for future reference.
Outputting a Colour Separated Laser or Inkjet Proof:

In effect, because you are still printing a proof version of the document, you can utilise many of
the same settings previously set up in the “B&W Proof” preset.
1. Choose File > Print and select “B&W Proof” from the Print Preset drop-down menu.
2. Select the Setup option and confirm that the Paper Size is still A4 and that the “Scale to
Fit” option is selected.
3. Select the Marks and Bleed option and tick the “Colour Bars” option in the Marks
area. This is an extra piece of information that you will see on the printout, and is very
important when the final file is sent to the print supplier,.
4. Select the Output option and choose “Separations” from the Colour drop-down menu.
If you can’t access the Separations option, it is because you are printing to a Black and
White printer. To overcome this problem, select Adobe PDF as your printer type.
5. If you had extra colours over the CMYK default, you could click the Ink Manager
button, select the offending colour, then click on Ink Manager. In this area you could
apply and Ink Alias which will take the place of the problem colour.
6. Click “Save Preset…” and name it “Separations Proof” and click OK.

7. Click “Print” to download the document to the laserprinter — or to Adobe Acrobat.
Notice how many pages print out and compare them to the on-screen “Separations
Preview”.
Outputting a Colour Proof to an Inkjet or Laserprinter:

You are now printing a colour proof version of the document. Therefore, you can utilise many of
the same settings previously set up in the “B&W Proof” preset.
1. Choose File > Print and select “B&W Proof” from the Print Preset drop-down menu.
2. Select the colour output device to which you will be sending the file. Ensure that the
PPD matches.
3. Select the Setup option and confirm

that the Paper Size is still A4 and that
the “Scale to Fit” option is selected.
4. Select the Marks and Bleed option

and tick the “Colour Bars” option in
the Marks area. This is an extra piece
of information that you will see on
the printout, and is very important
when the final file is sent to the print
supplier,.
5. Select the Output option and choose

“Composite CMYK” from the Colour
drop-down menu.
6. Tick the “Simulate Overprint” box.

This will enable you to see, more
accurately, how the final printed product
will appear. Sometimes inks that
overprint will create a new colour – this
can be good or bad and this is the stage at
which you decide.
7. Click “Save Preset…” and name it

“Colour Proof” and click OK.
8. Click “Print” to download the document

to the colour laserprinter.

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Women in Transportation.indd 1 24/10/2006 3:43:38 PM
Designing a
distinctive table
InDesign takes the humble tab to higher heights by allowing you to format tables around
the tabs. This means that when working with complex data, you can easily line up rows and
columns and format them in striking ways.
The steps to create the 'magazine page' overleaf are fairly simple, just follow them exactly.
1. Start a new A4 document with 13mm margins, now place the graphic called Coffeeman.jpg.
Resize the pic to the width of the page, not worrying about the depth at this time.
2. Position the picture at the bottom of your page guides. Draw a box which fills the space
between the top of the picture and the top margin guide. Use your eyedropper tool to select
a colour which is close to the top of the picture, then fill the new box with this colour.
3. Use your T Tool to draw a text box which is positioned in a similar position to the magazine
page, make the size of this text box roughly 110 x 70mm. Make sure your cursor is blinking
inside this textbox then select the Table>Insert
Table command. Specify 14 rows and 4 columns.
A table grid will appear with the columns evenly
distributed across the width, and the height of
each row determined by the default text size. To
add rows or columns after you have created a
table you can use the Table>Insert>Row/Column.
4. You can distribute your rows evenly within your text box by holding down the Shift key
and hovering over the bottom row of the table until your T cursor changes into a double-
headed arrow. Then drag the cursor to the bottom edge of the text box. You can also change
sizes manually by using the Table>Cell Options>Rows and Columns options.
5. Use your type tool to type any text at all into the cells you have created. If you had been
supplied this text (say as an Excel or Tabbed Word file) you could use the Place option and
then highlight the text and select Table>Convert to Table, the text will format into cells.
6. To create a "tabular pattern" similar
to the example, choose Table>Table
Options>Table Setup and use the
tabs across the top of this dialog box
to set up your table appropriately.
If you wanted to manually select a
range of cells, you click and drag with
your T tool then use the Table>Cell
Options>Strokes and Fills.
7. To finalise the magazine page, open the
Transparency dialog box to reduce the
transparency of the entire table appropriately. For a 'bit of a giggle' you can try the various
Mode options in the transparency dialog box — they work just like PhotoShop.
126 modul e name and/or number

A short list of this
man’s problems
Country 20 30 40
Australia 215 555 411
Austria 215 215 215
Belgium 215 215 215
Brazil 215 215 215
Canada 215 215 215
Denmark 215 215 215
Eastern Europe 215 215 215
Finland 215 215 215
France 215 215 215
Contents
Destinations
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Wondrous Gardens
E x p lo r at i o n s at a G l a n ce
Detail Garden name Location Description Services

Anreuten-Wynne Looten Small gardens; outbuildings and historical ornament
of note; guided tours provided Tues–Sat at noon;
bookstore with publications on gardening and on
Anreuten-Wynne.
Bilsettre Manor Mornay Mansion estate; unusual collection of rare

peonies and topiary; open only April through
October
Caledonia Place Caledonia Former college; five buildings and reflecting

pool, sculpture garden
Ducca D’oro Arepa Garden reflects designs of original owners,

landscape designers with French formal
gardening background.
Dveenolde Pilke Denham Unusual greenhouse and rare blooming plants.
Filbenne Grand Gardens Sutton Very grand garden estate currently undergoing
major renovations; most areas open.
G’honoré-Wyatt Limson Mansion, extensive gardens.

True Type, PS and
Open Type fonts
One of the first things you learn in Desktop Publishing is that fonts can be a pain. There is a
range of different “font types” and each of them has its place in the DTP workflow. The basic
fonts you will be working with are True Type, PostScript, and the newer Open Type.
PostScript (PS) and TrueType (TT) are both outline font standards which describe letter shapes
(“glyphs”) by means of points, which in turn define lines and curves. The outlines are resolution
independent, meaning that the outlines can be scaled to nearly any arbitrary size. Open Type
(OT) is the latest combination of the best features of both TT and PS.
An outline font must be represented by the dots of the output device, whether it is screen pixels
or the dots of a laser printer. This process of converting the outline to a pattern of dots on the
“device grid” is called “rasterisation”.
When there aren’t enough dots to make up the glyphs (such as small sizes or low resolution),
there can be inconsistencies in the representation of certain letter features. The most common
form of this is that the width of the letter stems can vary when they shouldn’t, making the
typography faulty.
Sometimes these typographical problems can be dealt with by using a built-in process called
“hinting”, which is additional information encoded into the font to help “shape” the letter
correctly.
Glyphs
There is a distinction between characters and glyphs,
which is important to understand. A character is The character ‘a’ and
just that, a letter/number/punctuation/etc which some glyphs
can be printed, a glyph is the specific form that the
AAAaªa
character can take. One character can correspond to
several glyphs — a lowercase ‘a’, an uppercase ‘A’ ÆÁÂÄÀÅÃáâäàåã
and a small cap ‘a’ are all the same character but are
three separate glyphs.
Adobe PostScript
These fonts come in different types, with the most common in use being the Type1 PS font
with quite a few Type3 PS fonts in use as well. These PS fonts were developed by Adobe to
take advantage of the language which is used to talk to most DTP printers – PostScript. Adobe
actually developed this language, and then designed fonts to take advantage of PostScript’s
ability to ‘rasterise’ the language to draw an exact copy of the user’s screen onto a sheet of paper.

Adobe did not release the ‘interpreter specifications’ to allow other companies to build fonts
to compete with Adobe. Microsoft and Apple saw this as a drawback as they wanted to have
scaleable font technology supported at the operating system level.
TrueType
As Apple disliked the thought of having a key piece of their system software controlled by an
outside company, they developed their own scaleable font technology, called TrueType. Apple
then traded the technology with Microsoft in exchange for their TrueImage PostScript clone.
So the two technologies were combined and released into the next versions of the Mac and
Windows operating systems in 1991.
As time went on Adobe responded by releasing Adobe Type Manager (ATM) which scaled
the PS fonts very similarly to TT fonts. The TT fonts are built into operating systems used by
over 95% of the computers worldwide, while PS fonts are supported directly by most high-
end output devices. So the practical differences between TT and PS begin to blur, and with the
release of PS2 and PS3 the font wars became a bit of a stalemate.
OpenType
This font specification is Microsoft and Adobe’s
collaborative attempt to end the font wars, by unifying OpenType ligatures,
the competing formats of TT and PS fonts. The theory oldstyle figures, etc.
is that users will no long need to concern themselves
with the type of font, although there will always be a ﬅ ſh fi fl ſſ ffi ffl ffj Th Ţh Ťh
place for TT-OT to be used on screens, and PS-OT to ct ﬆ ƒ
be used on older PostScript output devices. In fact OT %‰0
can be viewed as a superset of TT and PS, with added
capabilities for advanced typography.
OpenType fonts use the same advanced glyph substitution and layout features as the other font
types, along with the ability to create a larger “glyph range” than both PS and TT. The font
coding is based on Unicode, which gives it a model to support any of the world’s languages.
OT is also “truly” cross platform independent, which means that fonts can be freely moved back
and forth between platforms, with a noticeable improvement in cross-platform portability for
any document using OT.
OpenType also supports other exciting typographic capabilities such as arbitrary ligatures, real
(not scaled) small caps, old-style figures, arbitrary fractions, and much more in the one font.

Open Type is a combination of
TrueType and PostScript, and is
cross-platform independent.
Open Type supports a larger range

of glyphs and other
languages.
The computer has caught up the HotMetal days

OpenType is an important step in the evolution of digital typography. But it is odd that it’s
taken so long for desktop publishers to have the capacity to deliver what hand and mechanical
typesetters could hundreds of years ago.
Gutenberg developed swashes, discretionary hyphens, fractions, ordinals, etc. hundreds of years
ago, but these typographical niceties had been forgotten up until the development of OT.
Who has OT support?

From Windows 2000, Microsoft operating systems support OT fonts at the system level. Apple
OSX also supports OT fonts at the system level. This means that the fonts are installed and used
exactly the same as both PS and TT fonts. Earlier versions of Windows, and Apple OS require
‘support programs’ such as ATM to work efficiently with OT fonts.
Adobe InDesign is an “OT-savvy” application which can make use of advanced OT features.
This means you can turn on OT layout features that automatically substitute alternate glyphs,
ligatures, and old-style figures.

Using Open Type fonts in InDesign
Installation: To install an OpenType font into Windows you use the Fonts option in the Control
Panel. Select the Install New Font option then navigate to the folder/disk on which you have
the OpenType stored. InDesign comes with a number of OpenType fonts, including Adobe
Garamond Pro, Adobe Caslon Pro, and Caflish Script Pro.
Applying Swashes: Select your type and apply an OpenType font from the Character palette.
Now choose OpenType>Swash from the arrowhead at the top of the Character palette box. If the
swash option is shown in square brackets [swash], it means that swashes aren’t available in that
particular typestyle. Typically swashes are most obvious in capital letters and flourishes at the
end of a word.
Discretionary hyphens, fractions, etc: These options are applied in the same manner as with
swashes. When you have fractions and ordinals enabled, InDesign automatically replaces sets of
numbers such as “1 1/2” with superscripted fractions. Ordinals are created by superscripting the
“st” or “th” that follows a number.
Manual glyph insertion: In addition to the automatic glyph substitutions you can effect using
character formatting, InDesign also enables easy access to all the specialised glyphs in an
OpenType font via manual insertion. The option Type>InsertGlyphs allows you do choose the
available characters via a dialog box. You insert a glyph by double-clicking on it, and if there is
a flyout arrow you can click-hold to select the desired alternate glyph.
The glyph chosen will be inserted in your document wherever your text cursor was positioned.

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135
Working
with pages
The default page setup when you first start a New Document in InDesign is for one single page. But
it is a relatively simple procedure to add extra pages to create a multi-page document.
You can add pages straight into the New dialog box (if you know how many pages you need at the
start), or you can add pages later on when working in your document, as the need arises.
1. Using the New dialog box:- Choose File >New

Document or press Control+N. In the New
Document dialog box, enter the number of pages in
the publication in the Number of Pages field. Use
the Page Size area, the Margins area, the Columns
area, and the other controls to set up the pages, then
click OK to create the document.
If you are creating a booklet, newletter, etc., type of
document you can use the Facing Pages option to
have your pages show as reader's spreads on your
computer monitor. If you have saved a "special"
page setup, you can call this using the Document Preset field.
2. The other option in this New dialog box is the option to have
an automatic Master Text Frame. What this does is create a
text frame which fits exactly onto the margins you set up. If
you were creating a publication which was a simple design,
such as a novel, this would mean that every page would be
automatically ready to add text.
3. Using the pages palette:- Choose Window>Pages to open

the Pages palette, or click on the Slide-out tab on the side of
your screen – you could take this opportunity to point at the
controls on the Pages pane to learn what they do. When you
add a page, it is added after the active page. To activate a page,
double-click its icon in the Pages pane. To add a page after it,
click the Create New Page icon. The new page will be based
on the master page of the active page, and inserting it shuffles
any following pages. Note: If you’re working in a facing-page
document, it’s best to add pages in pairs or the objects on the
pages may shuffle to pages with different margins.
You can also add pages by dragging the Master Page icon from
In this non-facing page document

the new page is going to be
inserted between pages 1 and 2

the top of the palette into position at the bottom of the palette. You will notice a line appear
when dragging, this will help you position the new page efficiently.
4. Using the Insert pages command:- To add extra pages to your document, you also have
the Insert pages command option, which is located in
the fly-out listing from the arrow at the top right of
the Pages Palette. This will allow you to specify the
number of pages you want added.
5. Using the Insert Pages command also give you the option on where you want the new pages
to be positioned. This can be very handy in a larger, more complex document.
6. Deleting pages:- Before you delete pages, consider

whether you want to keep any of the objects on those
pages. If you do, you use the File>New>Library dialog
box to give the library a name. Now you can use the
Selection tool to drag those objects to that library
(Window>Library Name if it is not opened). Note: If
you delete pages that contain part of a text chain, the text
remains within other frames in the chain.
In the Pages palette, click to select the icon of the page
you want to delete. Press Shift+click the first and last
page in the range to select a range of pages. To select
noncontiguous pages, press Control+click the page icons.
Drag the selected pages to the Trash button on the Pages
pane. You can also click the Trash button to delete the
selected pages.
7. Rearranging pages:- In the Pages pane, click to select

the icon of the page you want to move. To select a range
of pages, such as 3-5, click to select the first page in the
range. Shift+click the last page in the range. To select
a variety of non-contiguous pages, such as 1, 3, and 7,
Control+click the page icons. Within the Pages pane, drag
the selected pages to a new location. The vertical bar and
arrows indicate where the moved pages will be placed.
Pages are reshuffled accordingly and any automatically
created page numbers are updated.

Set up a New single page document, then use
a range of techniques to add pages until have
created four pages. Now practice various
options like delete, move, etc to become
familiar with the pages commands
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Some Dummy
Text to fit on
the page
academic careers sitting with our bodies twisted
The clockwise so we could write on those stupid righ-

handed desks.
Danger I
was feeling good that I have this daydream in which the inventor, passing
morning. I woke up to happy through a remote jungle, waves at some natives in
discovery that not one major what he thinks is a friendly manner, unaware that
of appliance had broken overnight

and we still had running water.
this is the fierce Wagoondi tribe, and if you wave at
them with your left hand, they treat you like a god,
Life
Then I got both dogs all the but if you wave with your right hand, they play
way outside without getting the The Happy Snake Game with your intestines.
Weewee of Joy on my feet. It Not that I am bitter about being a leftie. But I
on was set to be a great day.

Then I picked up the newspaper.
have to admit that I am a little bitter about this
business of dying nine years early. According
the
you should never pick up a to the researchers, a major reason for this is
newspaper when you’re feeling that left-handers have a lot more accidents than
good, because every newspaper right-handers. I know why this is: we read books
Left has a special department,

called
Desk,
Bummer
which
backward. This saves us a lot of time with murder
mysteries, but it’s a bad habit when we’re reading,
say, the instructions for operating a barbecue grill,
is responsible and we begin with “Step 147: ignite gas”.
for digging up I myself have always been accident-prone,
depressing front- especially when I attempt to use tools designed for
page stories with right-handed people, the extreme example being
headlines like “Doorbell use chainsaws, the sale of which to left-handers should
linked to leukamia” and “Ozone layer completely be made illegal. I had one back during the energy
gone directly over your house”. consumption by covering the entire household with
On this particular morning the story that punched a thick insulation layer of soot. Near our house
me right in the eyeballs was headline: “Lefties’ was a large tree, which I realised could supply soot
lives shorter? Study say so”. needs for the better part of winter.
On this particular morning the story that punched So, one day I strode out and, drawing on my skills
me right in the eyeballs was headlined: “Lefties’ as an English major, started making strategic cuts
lives shorter? Study says so”. designed to cause the tree to fall away from the
You probably read about this. A study showed that house. The tree, which was clearly right-handed,
left-handed people live an average nine years less fell in the exact wrong direction, chuckling audibly
than right handed people. This was very alarming all the way down and missing the living room by
to me becaus I’m left-handed, along with 10 maybe 10 centimetres.
per cent of the population, as well as Napoleon, My wife, who thought I had planned this, said:
Leonardo da Vinci and Flipper. President Bush is “That was great!” And I replied: “Wurg”, or words
also left-handed, which has raised a troblesome to that effect, because my brain was busy trying
constitutional issue because everytime he signs a to get my heart going again. Speaking of which:
bill into law he drags his hand through his signature some scientists think that left-handed people’s
and messes it up. Nobody knows whether this is brains work completely differently from right-
legal. handed people’s brains. I read an article once that
Because of the way we write, most lefties go theorised that left-handers are a different species
through life with big ink smears on the edges of from right-handers.
our left hands. In fact, I thought the cause of lefties Isn’t that silly? As if we were aliens or something.
dying sooner would be ink absorption. Or maybe it What nonsense! Planet foolish this over take will
would be related to the fact that we spent our entire we day one.
Auktje Chudleigh Page 1

BCT
Theatre
for the
Ear
Bill Chapman Theatre produces plays
that are not only provocative and entertaining,
but they're also geared to listeners.
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Using InDesign
Master Pages
What is a Master Page?
A master page is like a background that you can quickly apply to many pages. Objects on
a master appear on all pages with that master applied. Changes you make to a master are
automatically applied to associated pages.
Masters commonly contain repeating logos, page numbers, headers, and footers. They can also
contain empty text or graphic frames that serve as placeholders on document pages.
Masters can have multiple layers, just like pages in your document. Objects on a master page
layer appear behind objects assigned to the same layer in the document page.
Creating masters
You can create a new master from scratch, or base a new master on an existing master.
Any changes made to the source master carry forward to the masters that are based on it. With
careful planning, this provides an easy way to make layout changes to multiple pages across
your document.
To create a master and specify options for it:

1. Choose New Master in the palette
menu.
2. Specify the following options, and
click OK:
* For Prefix, type a prefix that
identifies the applied master for
each page in the Pages palette.
You can type as many as four
characters.
* For Name, type a name for the
master spread.
* For Based on Master, choose an existing master spread on which you’ll base this master
spread (see Basing one master on another), or choose None.
* For Number of Pages, type a value for the number of pages you want in the master spread
(as many as ten).

To create a new master spread from an existing page or spread:
Drag an entire spread from the Pages section of the Pages palette to the Masters section. Any
objects on the original page or spread become part of the new master. If the original page used a
master, the new master is based on the original page’s master.
Applying masters
Manage masters by using the master icons in the Masters section (upper half) of the Pages
palette (default) or the commands in the Pages palette menu. Every master has a name and a
prefix, which appears in the icons of the pages using that master.
To apply a master to a document page or spread:

* To apply a master to one page, drag the master
page icon to a page icon in the Pages palette.
When a black rectangle surrounds the desired
page, release the mouse button.
* To apply a master to a spread, drag the master
page icon to a corner of the spread in the Pages
palette. When a black rectangle surrounds all
pages in the desired spread, release the mouse button.
To apply a master to multiple pages:

1. (Optional) In the Pages palette, select the pages to which you want to apply a new master.
2. Do one of the following:
* If you selected pages, press Alt (Windows) or Option (Mac OS) as you click a master.
* If you didn’t select pages, choose Apply Master to Pages in the Pages palette menu, select
a master for Apply Master, make sure that the page ranges in the To Pages option are
the ones you want, and click OK. You can apply a master to multiple pages at once.
For example, you can type 5, 7-9, 13-16 to apply the same master to pages 5, 7-9, and
13-16.

Editing masters
You can edit the layout of master pages at any time; changes you make are automatically
reflected on all pages with that master applied.
You can also edit master page options to change the name or prefix of the master, base the
master on another master, or change the number of pages in the master spread.
Note: When you override or detach a master page object on a particular page, that object
may not update to reflect changes made on the master page. (See Overriding and detaching
master objects.)
To edit the options of an existing master:

1. In the Pages palette, click the name of a master spread to select it.
2. Choose Master Options For [master spread name] in the Pages palette menu.
To edit the layout of a master:

1. In the Pages palette, double-click the icon for
the master you want to edit, or select the master
page from the text box list at the bottom of the
document window. The master spread appears
in the document window.
2. Make changes to the master. InDesign
automatically updates any pages using that master.
Removing masters
When you remove a master from a page, its layout no longer applies. You can also remove
unused masters from a document to avoid confusion.
Note: If a master contains most of the elements you want, but you need to customize the
appearance of a few pages, you can override master page objects on those pages, instead of
removing the master.
To remove a master from document pages:

Apply the None master from the Masters section of
the Pages palette using the same procedures you’d use in
applying any other master.
If you only want to remove the view of the items on a
master page, you have the option of using the
View/Hide Master Items option.

To delete a master from a document:
1. In the Pages palette, select one or more master page icons. To select all unused master
pages, choose Select Unused Masters in the Page palette menu.
2. Do one of the following:
* Drag a selected master page or spread icon to the Trash button Remove Pages button at
the bottom of the palette.
* Click the Trash button at the bottom of the palette.
* Choose Delete Master Spread [spread name] in the palette menu.
Bring master items forward on a text page

If you want a master object to appear in front of objects on the document page, assign a higher
layer to the object on the master. An object on a higher layer of a master page appears at the
back of that layer on a document page, and in front of all objects on lower layers. Because
master objects and document page objects alternate in the layer stacking order, merging layers
will move master objects of an upper layer behind document page objects of a lower layer.
To override master objects

To override a single master object, press Ctrl+Shift as you select any master page object on a
spread. Change the object as desired. The object can now be selected as any other page object
but retains its association with the master page.
To override all master page items, target a spread, and then choose Override All Master Page
Items in the Pages palette menu. You can now select and modify any and all master page items
as you wish.
To detach master objects

To detach a single master object from its master, press Ctrl+Shift (Windows) or Command+Shift
(Mac OS) as you select any master page object on a spread. Then choose Detach Selection from
Master in the Pages palette menu.
Specifications for master page exercise

Page size:A5
Margins for Opening page: Inside 10, Outside 20, Head 85, Bottom 30
Margins for Text pages: Inside 10, Outside 20, Head 15, Bottom 30
Typography: Bodytext 10pt Times, Justified, .5mm Paragraph After spacing
Chapter Head: 12pt Arial
Main Head: 36pt Arial
Page folios: 9pt Arial

CHAPTER ONE
The Folly of Man
SPITSBERGEN seldom gets hot summers, but 1930 was an exception. That August
two men from a Norwegian scientific mission went ashore on small, barren White
Island. They could see large patches of earth through the melted ice Ð and then a glint
of reflected sunlight caught their attention.
It came from the aluminium lid of a cooking pot.
The men looked at each other in astonishment. How in the world could such a thing
have got to this uninhabited hump of land, usually ice-covered? They were still
speculating on this when they noted a black object near by. A boat!
Thus began the unravelling of a mystery that had long baffled the world.
Ultimately the trail led to the mortal remains of three intrepid aerial pioneers who had
vanished 33 years earlier. From record they had kept and undeveloped photographs
they had taken it was possible to reconstruct their tragic adventure in amazing detail.
The story began in the early 1890Õs when the dream of reaching the North Pole was a
challenge to manÕs ingenuity, persistence and courage. For three centuries explorers
had tried to penetrate the Arctic wastes Ð by ship, by dog sled, on foot. All had failed;
many had not returned.
When, in 1894, a 40-year-old Swedish engineer, Salomon August Andree, announced
his intention of flying a balloon from Spitsbergen to the Pole, his listeners were
incredulous. At the time the longest balloon flight ever made over land and water had
been from Paris to Lifjell, Norway Ð some 800 miles. From Spitsbergen to the North
Pole and back would be about 1500 miles.
The Folly of Man 1

Andree was well aware of the dangers. But he had also tremendous confidence in the
balloon and in the ingenious system he had developed to guide its course by means of
sails and guide ropes. According to his calculations, he could attain an average speed
of 17.5 m.p.h., which would carry him to the North Pole from Spitsbergen in about 43
hours. His calm assurance gradually won him much support, including Alfred Nobel
(founder of the Noel Prizes), provided the backing necessary to construct the balloon;
the contract was given to a French firm.
In December, 1895, the balloon was exhibited in Paris and attracted crowds of
sightseers. By contemporary standards it was large indeed; almost 10 feet high and 65
feet in diameter. The envelope, made of varnished pongee silk in two of three layers,
possessed great tensile strength. Most impressive was the gondola which had a roof
and a sort of maintop with a horizontal mast, a foresail and two jibs, having a total
surface of 845 square feet.
In the spring the deflated balloon was brought by ship to Danes Island. There the
gondola was loaded with supplies and equipment, including three Arctic sledges and
a collapsible canvas boat. By August the hydrogen-filled mass of Ornen (Eagle), as
the balloon had been christened, was outlined against the sky, above the walls of the
hanger that had been erected to protect it from the weather.
All they needed now was a south wind. But the wind did not come, and with the even of
cold weather the Ornen had to be deflated and the take-off postponed. It was not until
the middle of the following year that the would-be explorers returned to Spitsbergen.
Finally, on July 11, 1897, gusts from the south appeared and they took off.
With Andree were two companions he had selected: Knut Fraenkel, an aeronautical
engineer; and Nils Strindberg, a young, handsome, blue-eyed Viking, who was
something of an expert in photography and meteorology.
As the giant balloon rose uncertainly over Danes Island, the basket-like gondola
swayed perilously while the men stared aghast at a pile of ropes on the ground. The
tugging of the balloon as it rose had stripped away two-thirds of the screw-joined
ropes with which the three aeronauts had reckoned to guide their craft! Nevertheless,
the vast sphere sailed off, and gradually grew smaller and smaller until finally it
disappeared into the northern sky.
“DonÕt be disturbed if you hear nothing of us for, say, a year,Ó Andree had said. Even
the most optimistic had estimated that, should he reach the polar regions, he would
have to winter there. He had taken 32 carrier pigeons to be released at stated intervals,
although there was grave doubt that the birds could survive the Arctic climate. Only
one, released a short time after take-off, ever returned. It carried the message, “All
well on board. Making good speedÓ.
The winter of 1897-98 passed with no further word. And when whalers and seal
hunters returned to their bases in the spring reported no sign of the Ornen, rescue
2 The Folly of Man

expeditions were organised, one led by the American explorer Peary. None found a
trace of Andree and his companions. Then on May 14, 1899, off the northern coast of
Iceland, fishermen found a buoy containing a note: “Dropped from AndreeÕs balloon
on July 11, 1897, at 10.55 p.m.Ó. In September, 1899, the main buoy, which Andree
was to have dropped over the North Pole, was washed ashore on Kong Karls Land in
Spitsbergen with no message.
Years passed. Then, in August, 1930, came the eventful discovery of the aluminium lid
and the boat on White Island. When the Norwegians examined the canvas boat, they
found inside it: kitchen utensils, tins of food, navigation instruments, a canvas bag. On
the bag, just decipherable, were the words “AndreeÕs Polar Exhibition, 1896Ó.
Carefully they removed other objects from the icy slush in the boat Ð more tins of
food, rifles, an anemometer, an oil stove. Then, under the melting ice and snow,
they saw the body of a man, his fleshless kneebones showing through torn trousers.
“LookÓ, exclaimed Gunnar Horn, the expeditionÕs leader, “thereÕs an initial inside
the jacket. ItÕs an A. WeÕve found AndreeÕs body!Ó
About 20 yards away they found another body, covered Arctic fashion with a cairn of
stones. An S on his clothes told the story. This was the tomb of young Strindberg.
The news caused a sensation in Sweden. But some newspapers were frankly sceptical.
Where was FraenkelÕs body? And why hadnÕt Horn searched more carefully? In
September a party of journalists went to White Island to investigate. Soon the body of
Fraenkel was uncovered. The remains of the three aeronauts were placed aboard the
Swedish gunboat Svenskund, the same ship that in 1897 had carried them to Danes
Island for their take-off. All along the Norwegian coast, church bells tolled as she
passed. On September 30, 1930, 75,000 people waited in Goteberg harbour as the
warship slid towards her moorings.
From Goteberg, escorted by other vessels, she made her funereal way to Stockholm.
There the King of Sweden and his nation paid homage to the three brave men who,
thirty three years before, had set out to conquer the grim Arctic skies.
The full story comes out
Now, at last, the world was to know the full story of their tragic adventure, for among
the findings on White Island had been a water-logged notebook, its pages stuck
together but decipherable. Most important of all, a camera Ð probably StrindbergÕs Ð
its exposed films undamaged, turned up. The logbook and the developed photographs
told the strangest of all polar tragedies. Bad luck had dogged the flight from the start.
Andree, using the few guide ropes still intact, found it difficult to maintain an even
course in the shifting winds. Heavy mists obscured the view beneath. Suddenly, on the
afternoon of July 12 (the day after they started), the men felt two jolts. The gondola
was bumping and scraping on ice. Hurriedly they pitched sacks of ballast overboard.
For a moment the Ornen rose, then began to lose altitude again. By some means the
The Folly of Man 3

weight had to be lightened further. Andree noticed the great buoy which was to be
dropped over the Pole as a symbol of their triumph. A moment later the men heard it
crash on the ice.
When the balloon rose again, one of the remaining guide ropes caught round a block
of ice and held fast. The balloon floated motionless. Andree hesitated. Should he cut
the guide rope? To do so would be to surrender all possibility of directing the balloon.
They waited throughout a sleepless night. Next morning bright sunshine melted the
ice and the Ornen broke free. The balloonists celebrated their liberty with a good
meal: soup, chateaubriand, beer, chocolate, biscuits and raspberry juice.
Their joy was short-lived. Three hours later they were scraping the ice again. “We are
experiencing shock after shockÓ, wrote Andree. Desperately they tossed out more
and more supplies. In the end they realized it was hopeless. On the morning of July
14 they scrambled out of the gondola. A photograph found in StrindbergÕs camera
shows the half-distended balloon lying on the ice lice the gigantic body of a dying
animal. Their flight had lasted 65 hours and 33 minutes and they were still 500 miles
from the Pole.
To reach the nearest land, Franz Josef Land, they faced a 200-mile trip, dragging their
sledges over broken ice full of fissures and crevasses. But there were seals, gulls and
even bears to be shot. So as they loaded their sledges, the men were in good spirits.
Others had survived a winter on drift ice; if necessary, they could to.
For days they marched. At every jagged crevasse they had to fill the gaps with lumps
of ice in order to pull the loaded sledges across. “As far as the eye can seeÓ, Strindberg
wrote in a diary he kept for his fiancee, “there is nothing but ice, great hummocks of
it, with channels of water running between.
By the end of July their hope of survival was almost shattered. Calculating their
position, they found that instead of heading for the west as they had supposed, they
had been travelling eastwards, a direction from which they could expect no help
whatever. Supplies were growing short; they had to abandon some food to lighten
their load. In their notes the men now began to pay as much attention to food as they
did to scientific matters. One day Strindberg wrote: “Coffee Ð one teaspoonful each,
strictly measured, to two and a half pints of water (grounds are not wastedÓ.
In August they killed a bear, which raised their spirits. Then on September 18 the Arctic
silence was broken by their cheers. Land ahead! They were sure they had arrived at
White Island. The ice floe they were on seemed to be wedged into the ice foreshore.
Hoping that the floe would gradually drift southwards towards White IslandÕs shore,
they apparently decided to stay on it, and immediately Strindberg turned himself into
an ice-mason. Mixing fresh water with snow, he built walls for a compact hut. On
September 28 they moved in and felt safe for the first time since their departure.
But fate was already closing in. Early in the morning of October 2, while they were
4 The Folly of Man

sleeping, a tremendous crackling sound caused them to leap up in alarm. The walls
of the hut broke open, the roof split, the floor heaved up and water was everywhere.
Desperately they sprang from block to block trying to rescue their scattered stores.
After that, everything is in doubt and speculation. Obviously the three men reached
the shore of White Island. The last decipherable words in the record are fragmentary:
“bscurity ... snow hut ... transporting our things ... difficult jobÓ. The final moments
are shrouded in mystery. Only one thing is certain: young Strindberg must have died
first, for his companions gave him a proper resting place. As for Andree and Fraenkel,
it is to be hoped that the cold took them gently, in their sleep.
The Folly of Man 5

Using baseline
grids
The baseline grid represents the leading for body text in a document. You can use multiples
of this leading value for all elements of the page to ensure that text always lines up between
columns and from page to page. In other words, if your entire text is 10/12 pt type, you can set
the baseline grid to 12pts spacing, then all your baselines across your columns will perfectly
align.
But, if you have varying leading, or have a subhead of a different size and leading, the baselines
will still align, but the program will need to add an extra line of spacing to maintain this
alignment.For example, if the body text in your document has 12-point leading, you would need
to give your sub-heading text 18-point leading, as well as add add 6 points of space before the
paragraphs that follow the headings.
Baseline grids are used to ensure consistency in the location of text elements on a page. You
change settings for the baseline grid by using the Grids section of the Preferences dialog box.
You can also align only the first line of a paragraph to the baseline grid, allowing the rest of the
lines to follow the specified leading values.

To view the baseline grid:
Choose ViewView>Grids & Guides>Show/Hide Baseline Grid.
Note: The baseline grid is visible only if the document zoom level is greater than the view threshold
setting in Grids Preferences. You may need to zoom in to view the baseline grid.
To align selected paragraphs to the baseline grid:

In the Paragraph palette or Control palette, click Align to Baseline Grid .
To ensure that the leading of your text does not change, set the baseline grid leading to the same
leading value as your text, or to a multiple thereof.
To align only the first line to the baseline grid:

Choose Only Align First Line to Grid from the Control palette menu or the Paragraph palette
menu.

Creating a grid
Two kinds of nonprinting grids are available: a baseline grid for aligning columns of text, and
a document grid for aligning objects. On the screen, a baseline grid resembles ruled notebook
paper, and a document grid resembles graph paper. You can customize both kinds of grids.
Baseline grid (left) and document grid (right)
When a grid is visible, you can observe the following characteristics:
• The baseline grid covers entire spreads, but the document grid covers the entire pasteboard.
• Grids appear on every spread and cannot be assigned to any master.
• The document grid can appear in front of or behind all guides, layers, and objects, but
cannot be assigned to any layer.
To set up a baseline grid:

Choose Edit > Preferences > Grids. Specify a baseline grid color by choosing a color in the
Color menu. You can also choose Custom in the Color menu.
For Start, type a value to offset the grid from the top of the page, usually to account for the top
margin. If you have trouble aligning the vertical ruler to this grid, try starting with a value of
zero.
For Increment Every, type a value for the spacing between grid lines. In most cases, type a value
that equals your body text leading, so that lines of text align perfectly to this grid.
Baseline grid in document window

A. First grid line
B. Increment between grid lines

For View Threshold, type a value to specify the magnification below which the grid does
not appear, and click OK. Increase the view threshold to prevent crowded grid lines at lower
magnifications.
To set up a document grid:

Choose Edit > Preferences > Grids. Specify a document grid color by choosing a color in the
Color menu. You can also choose Custom in the Color menu.
To set horizontal grid spacing, specify a value for Gridline Every in the Horizontal section of the
Document Grid section, and then specify a value for Subdivisions between each grid line.
Baseline grid at magnification below view threshold (left) and above view threshold (right)
To set vertical grid spacing, specify a value for Gridline Every in the Vertical section of the
Document Grid section, and then specify a value for Subdivisions between each grid line.
Do one of the following, and click OK:
• To put the document and baseline grids behind all other objects, make sure that Grids in
Back is selected.
• To put the document and baseline grids in front of all other objects, deselect Grids in Back.
• You can also choose Guides in Back in the context menu that appears when you select a
guide, and then right-click an empty area of the document window, in order that objects will
appear in front of the guides.
To show or hide the grids:

To show or hide the baseline grid, choose View > Show/Hide Baseline Grid. To show or hide
the document grid, choose View > Show/Hide Document Grid.

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This page uses a Baseline grid of 14.4pt which is the

distance for Auto leading of 12pt.
The Start of the baseline grid matches the position of the first line’s baseline
(measured from the top of the page)

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Look what happens when you

place just 1mm between each paragraph

Susan Sontag
author
“Before a problem can be solved
it must be identified.”
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Swap Fill and stroke

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Landscape page, position guides and draw boxes to represent

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The top left corner for this

The top left corner for this

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50 and 180mm across

80 and 100mm down

110 and 170mm across

120 and 200mm down

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Use the small black circles to

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2. Formatting lines:- To specify the thickness of the line, enter

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Thick-thin-thick 10pt Stroke

Dashed (3and2) 20pt Stroke

Circle and barbed 10pt Stroke

Round capped 10pt Stroke

12pt dash and 6 pt space — 3pt Stroke

Square solid and triangle wide 6pt Stroke

Dotted 10pt Stroke

Wavy line type with 6pt Stroke

Left hand hash with 6pt Stroke

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2. Now single-click on the T Tool and move the icon

18 ICP P P 224A — Pr oduce pa ges usi ng DTP

Create a box 150mm wide by 100mm deep

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4. Using the character palette change your Character (typeface) to Arial

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1. Leading:- In publishing, the space between baselines in a

2. Kerning:- When you have a character selected, you can

3. Scaling:- InDesign lets you expand or condense text from 1%

4. Other formatting:- In addition to the basic character formats,

24 ICP P P 224A — Pr oduce pa ges usi ng DTP

This polygon has been filled with 10pt

26 ICP P P 224A — Pr oduce pa ges usi ng DTP

SPACING Tracked to 100

SPACING Tracked to -100

SPACING P & A pair kerned -100

SPACING P & A selected, kerned -100

WAToFORD Optical kerned

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DTP Applications Bols

DTP Applications Italic

DTP Applications Bold Italic

DTP Applications Underline

DTP Applications Word Underline

DTP Applications Strikethrough

DTP Applications Small Caps

DTP Applications All Caps

DTP Applications Superscript

DTP Applications Subscript

DTP Applications -45 degree skew

DTP Applications 45 degree skew

DTP Applications 125% horizontal scale

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2 ICP P P 224A — Pr oduce pa ges usi ng DTP

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10 IC P P P 224A — Pr oduce pa ges usi ng DTP

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12 ICP P P 224A — Pr oduce pa ges usi ng DTP

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24 ICP P P 224A — Pr oduce pa ges usi ng DTP

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34 ICP P P 224A — Pr oduce pa ges usi ng DTP

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IC P P P 2 3 2 A – E lect r oni cal l y combi ne dat a

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50 ICP P P 224A — Pr oduce pa ges usi ng DTP