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MAGAZINE

October | November 2011

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Creative Folding for Every Budget


Master InDesign Video The Elegance of Optical Alignment Reviews: ID2Oce and Annotations
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Celebrating the art of print design


Technology may be evolving, but the design fundamentals remain critical. Learn about Adobe Creative Suite 5.5 Design Standard and all the new features to speed up and simplify the design process, at adobe.com/go/design

2011 Adobe Systems Incorporated. All rights reserved. Adobe, the Adobe logo, and Creative Suite are trademarks or registered trademarks of Adobe Systems Incorporated in the United States and/or other countries.All other trademarks are the property of their respective owners.

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MAGAZINE

EDITORIAL Editor in Chief Terri Stone, tstone@indesignmag.com Editorial Director David Blatner, david@indesignmag.com Senior Editor Sandee Cohen, sandee@indesignmag.com Contributing Writers Pariah Burke, Nigel French, kEvin Friberg, Je Gamet, Jamie McKee, Pamela Pner, Trish Witkowski, Steve Werner

From the Editor in Chief


InDesign began as application people used to make things that would end up in print. And although I dont have hard statistics at my ngertips, I think thats still how most of you reading this magazine use the program most of the time. I make this promise to you print-centric InDesigners: We will always include tutorials and inspiration for you. However, both InDesign and information technology have taken major evolutionary strides since version 1.0. Whether you want to explore these new branches or your clients are pushing you there, we have the information you need to succeed. For example, video: This issues Lights! Camera! Action! feature explains how to include video and output the results to PDF, SWF, ePUB, and iPad apps. But as promised, this issue also has plenty of print-oriented information. Creative Folding for Every Budget proves that you dont need to be a high roller to make eyecatching pieces. The feature includes many examples and other helpful resources. Sophisticated typography is an edge that print still has over most online media, and InType: Optical Alignment and Hanging Punctuation shows you one easy way to achieve it. Read InTips: InDesigns Spot Color Lies for a cautionary tale that could save you much frustration (and money). For pure eye candy, check out Fritz Klaetkes work for the Smithsonians record label. Its amazing. To round out the issue, theres the InQuestion Q&A column, two reviews of promising plug-ins, and the usual InBrief collection of new and updated products. Something for everyone, in fact.Terri Stone

DESIGN W+W Design, www.wplusw.com Rufus Deuchler, rufus.deuchler.net BUSINESS Contact Information www.indesignmag.com/contact.php Subscription Information www.indesignmag.com/purchase.php
Published by CreativePro.com, a division of PrintingForLess. com. Copyright 2011 CreativePro.com. All rights reserved. Reproduction and redistribution prohibited without approval. For more information, contact permissions@indesignmag.com. InDesign Magazine is not endorsed or sponsored by Adobe Systems Incorporated, publisher of InDesign. InDesign is a registered trademark of Adobe Systems Incorporated. All other products and services are trademarks or registered trademarks of their respective owners and are hereby acknowledged.

I N D E S I G N M A G A Z I N E 43 August | September 2011

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contents

InSide: Table of Contents

Creative Folding for Every Budget Whether your budget is big or small, Trish Witkowski has a fold for your next print project.

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InReview: ID2Oce Can this app successfully convert documents from Microsoft O ce formats to good ol INDD? kEvin Friberg weighs in.

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Lights, Camera, Action! Steve Werner explains what you need to know to place video in InDesign and output the results to PDF, SWF, ePUB, and iPad apps. 48 InReview: Annotations Jamie McKee says that if you work a lot with annotated Acrobat les, this app is a great buy. 53 InDesigner: Fritz Klaetke Fritz Klaetke has designed scores of projects for the Smithsonian, including the gorgeous JAZZ anthology. Pamela P ner talks to Fritz about his work.

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InType: Optical Alignment and Hanging Punctuation Nigel French shows you one simple thing to do that will dramatically improve your type.

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InQuestion Sandee Cohen solves your InDesign problems. InTips: InDesigns Spot Color Lies Its true! InDesign sometimes lies about the appearance of spot colors in your les. David Blatner helps you get to the bottom of it all.

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InBrief: New & Improved Products Je Gamet looks at tools to help you with publishing in print, online, on mobile devices, and more.

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Adobe InDesign and Adobe InCopyUSER GROUP COMMUNITY WORLDWIDE INDESIGN


Ten Steps for Building Your InDesign and InCopy Expertise


1. Learn about whats new with the InDesign Family of products at www.adobe.com/go/indesignfamily 2. Keep up-to-date on the latest InDesign and InCopy news at InDesignSecrets.com, an independent website with expert podcasts, blogs, techniques, and more. 3. Sign up for a free InDesign tip of the week at www.indesignmag.com. 4. Check out Total Training for Adobe InDesign CS5 at www.totaltraining.com. 5. Attend a free Creative Suite 5 eSeminar and learn whats new in InDesign CS5 at www.adobe.com/events.

InDesign User Group. Join a chapter near you!

6. Skip over to Lynda.com to try their InDesign and InCopy online training. 7. Tune into Adobe TV, your online video source featuring innovative techniques and tips for getting the most out of Adobe InDesign and InCopy at www.adobe.com/ go/adobetv. 8. Visit leading InDesign, Digital Publishing and Creative Professional social media channels such as the InDesign Facebook page, Adobe Digital Publishing blog and Creative Suite Design Facebook page. 9. Locate Adobe Certified Instructors and Adobe Authorized Training Centers in your area at partners. adobe.com. 10. Go where the leading InDesign and InCopy industry experts gather. Check out upcoming InDesign and Creative Suite conferences at indesignsecretslive.com, www.mogo-media.com, and kelbytraininglive.com.

Visit our website for meeting information, training resources, member discounts and more.
w w w.indesignusergroup.com

2010 Adobe Systems Incorporated. All rights reserved. Adobe, the Adobe logo, InDesign and InCopy are either registered trademarks or trademarks of Adobe Systems Incorporated in the United States and/or other countries. All other trademarks are the property of their respective owners.

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Creative Folding for Every Budget


Some print projects demand that you work within a small budget. Others give you room to try more unusual techniques. But whether youre a high roller or watching every penny, theres something here for you.
By Trish Witkowski For almost everything we design and print, we want the nished piece to be noticed. The best way to get that attention depends on several variables, but eye-catching folds are one good option. Designers tend to be in one of two camps when it comes to folding: Either they feel like their hands are tied by a tight budget and they cant do much beyond the safe and economical tri-fold, or they have the budget and opportunity to do something creative, but theyre uncertain of their folding options. So this will be a two-part article: Part one for the cheapos, and part two for the high rollers.

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Part One: Creative Folding for Cheapskates


I know what youre thinkingall the good stu will be in Part Two because you cant do much on a budget. And to that I say, No way! These tricks and techniques will get you the high impact you want on even the smallest budget. attention getter, but its also beyond most small budgets. To achieve the e ect without the cost, try a simple guillotine trim, which just slices o an edge of the page (Figure 1). It could be anything from a straight short trim on a cover or fold-in panel, to an angled trim along the top of an accordion fold, which gives a waterfall e ect. Make cutting corners a good thing! Figure 2 is a four-panel accordion with the upper right and lower left corners cut at angles. It makes an interesting shape when at and folded.

Directional and Format Changes


The least expensive way to give your project a fresh look is also the simplest: Change the orientation of your art and panels (Figure 3). If you dont believe me, take the usual 4 x 9 tri-fold brochure, make it 9 x 4, and see what that does to your layout (and your mind).

Simple Guillotine Trims


Paper that has been cut into an unusual shape with a metal die is certainly an

Figure 1: Examples of guillotine trims.

Figure 2: Accordion fold with cut corners by Design Ranch, Kansas City, MO.

Figure 3: An easy way to bring the unusual to a printed piece is to change its format from the expected.

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Cheapskate Folds in Motion


Now, take some other basic folds and make them longer, shorter, wider. Rotate them 90 degrees. In most cases, its the same fold to your printerits just your art and panel orientation that changes (Figure 4). The most critical issue to keep in mind when changing formats is to understand the end use of your product. Sometimes a brochure is speci ed in a certain size and format for usability issues, or to t into a literature rack, or for mailing purposes. Maybe it has to t into a custom envelope, folder, or binder. Do your research and get the green light before changing formats. One critical production note: Sometimes when you make a dramatic format change, it a ects things from a production standpoint. For example, your project might need to run di erently on pressmaybe against the grain instead of with the grainwhich means you may have to score the piece, when previously that wasnt a requirement. There are also minimum and maximum tolerances on print nishing equipment, so be kind to your printer, communicate carefully and early in the process, and dont make a quick left turn without warning. As par t of my website, FoldFactory, I post a lot of videos showcasing cool folds. Most of the videos focus on high roller

folds, since those are more technically tricky, but I show many lessexpensive folds, too: * Accordion

* Asymmetrical gate * Broadside fold * Roll fold * Inver ted shor t fold * Shor t fold

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Figure 4: A brochure as tall and skinny as this one will get a second look just because its out of the norm.

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Asymmetry
Asymmetry gets attention because its unexpected. Figure 5 is a sample of a double-parallel fold folded in such a way that it creates a stepped e ect along one side. The manner in which it was folded (two parallel folds) doesnt change, just the size of the sheet and placement of the folds. What is most exciting about a stepped double parallel fold is that truly stepped folding styles, such as stepped accordion folds with tapering panels, can be complex specialty folds, but this

folding trick achieves the look of a stepped folding style without the price tag. Asymmetry also works with gatefolds. On a standard gate, push the break between the panels to o center (Figure 6). Interesting! On a closed gate, make the two leftmost panels shorter, and the rightmost panels longer to create a short cover and a step on the right edge.

Figure 6: Above, two examples of asymmetrical gatefolds that dont cost much but can make a real impact. For example, the asymmetrical gatefold pictured below is bound to cause a stir.

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Figure 5: Stepped double parallel. Design and illustration by Kelsey Grafton, Lewiston, Idaho.

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Broadside Folds and Short Folds


A folding style can take on a totally di erent personality when its in a broadside format; that is, printed on one side only. The broadside format doubles the total area for a spacious, poster-style interior, yet it folds down neatly into a tailored package. Take it a step further using one of my favorite tricks: Trim one corner at an angle for a peek at whats below. It looks like a die cut, but its actually just an angled trim (Figure 7)!

Short folds are broadside folds that dont meet at a ush edge (Figure 8). Theyre shortened by whatever length you want, and you get a banner e ect along the bottom of the piece (on the inside or outside). Usually, short folds are designed to lift up, but a fun trick is to design the short fold to pull down insteadits called an inverted short fold. If
Figure 8: Short folds, whether regular (left) or inverted, are your friends (right).

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thats not enough, turn the inverted short fold into a pocket to hold a sell sheet or smaller brochure. The pocket technique creates a nice little package without the extra cost of a die or glue (Figure 9).

Figure 7: An inexpensive trim can look like a pricey die cut.

Figure 9: This example of an inverted short fold creates a pocket to hold materials. No gluing required!

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Visual Tricks
Landscape designers know that gardens are more interesting when you cant see everything in the space at once. You can accomplish that slow reveal with folding, too. For instance, an old Verizon piece in my collection has one short-trimmed panel and on that short panel is a phone on a cradle (Figure 10). The designer placed an image of the front of the phone on the underside of the short panel. The resulting trompe-loiel e ect is that when you lift the panel, the phone is o the cradle and in your hand, and the image revealed by the panel is an empty cradle. So, utilizing a basic short trim and interesting imagery, you can also amuse and captivate the recipient.

can often be done inline on a folding machine, which cuts costs. Die cuts dont have to be elaborate, either (Figure 11). Sometimes just a simple slit to tuck the cover panel can make a standard roll or tri-fold more exciting. Remember that every printers capabilities are di erent, so it pays to ask the question. You may be avoiding something that is totally within your budget.
Figure 10: A canny use of a simple fold adds a fun reveal to your piece.

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Die Cuts
Youre probably wondering why die cuts are in the cheap tricks category. Although in many cases die cuts can be an expensive process, the simpler forms of die-cutting

Figure 11: Roll fold with simple die-cut cover by Neenah Paper.

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The Print & ePublishing Conference


The other frugal die-cutting secret involves materials and labor. Much of the expense in the more complex forms of diecutting comes down to the labor and materials required to create a die in a custom shape. Printers save their dies, so ask your printers about their die inventoryyou may be able to save money by utilizing a die made for someone else. a fun graphic teaser, a tab for information or branding. Its an unexpected technique that adds no cost from a production perspective (Figure 12). Do you see what I mean? There are so many great e ects you can accomplish on the cheap, so start folding!

Learn from the masters

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Network with the makers

Extended Panels
The rst cheap trick focused on trimming panels, and the last cheap trick is about extending them. This trick is for certain types of folds that have open trailing edges, like double parallels and accordions. (Rolls, trifolds and gates dont qualify because their panels tuck.) The concept is simplein the case of an accordion, make the nal trailing panel longer so that it extends past the others. For a double parallel, extend either one of the panels on the open edge. The e ect is a sidebar of sorts, a place for a shot of color,

Enjoy the City by the Bay


Get personal instruction from the biggest names in the business, including David Blatner, Anne-Marie Concepcin, Russell Viers, Diane Burns, Michael Ninness, James Fritz, Liz Castro, and more! Theyre not just on stagetheyre eating lunch with you, in discussions with you, answering questions and exploring solutions! Whether you specialize in print, ePub, PDF, DPS, or a bit of it all, youll come away with invaluable information to keep you at the top of your game.

Figure 12: Extend one panel to give yourself a sidebar, a graphic teaser, or a tab.

May 1416, 2012 San Francisco, California

pepconference.com
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Part 2: Creative Folding for High Rollers


You lucky dog. Youve landed a great projectthe kind every designer wants. Good client, good content, and the budget to make it happen. While its going to be fun, the pressures on. With great projects come great expectations. Your client wants not only a beautiful piece, but a piece that gets the desired response, whether thats great attendance at an event, a boost in sales, etc. No need to panic. Ill not only open your eyes to creatively complex folds, but Ill also point out places where unprepared designers falter and give you a plan for testing the success of your design before you go to print. standalone nuggets of content. But if your project has continuous text that should be read in a certain order, these folds wont give the recipient a positive experience. The contents pacing will be wrong. Before you get too far in the design process, you should also check into things like mailing costs. I see a lot of specialty folds nishing to square formatssome because they have to, some just because. But if its going in the United States mail, that square format adds an extra 20 cents per piece in non-machinable surcharges. High-budget project or not, thats a lot of money to waste if you dont have to. Many specialty folds can be modi ed into mail-friendly formats, so do your client a favor and explore those opportunities before going square. My most important word of advice is also the most obvious: Dont spring a specialty fold on your printer at the last second. Get your printer involved early; if possible, before you sell the concept to your client. Most specialty folds involve tricky fold placement, critical dielines, or other issues that greatly bene t from a discussion with an experienced print professional.

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Iron Crosses
The standard Iron Cross folds out into a plus or cross shape (Figure 13). But go beyond

The Process
Designers often collect inspiring print samples. While one of these samples may work for your own high-end project, try not to force it into a certain format just for the wow factor. The type of content and the audience should dictate the format. Lets say youre in love with a snake fold or an iron cross. Both are well suited to smaller,

Figure 13: This example shows the standard Iron Cross fold with the addition of carefully placed die cut windows.

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this standard and youll nd a lot of exibility. You can add panels in any direction to roll inward toward the center. Add panels to the left and right of the top and bottom panels and its called a reveal folder. Iron crosses can also take on di erent forms, such as L-shapes (Figure 14), the L-Cross or T-shapes. I even have a hexagonshaped iron cross in my collection.

printers and specialty binderies can fold by machine. Ask your printer if they can.

Twist Folds
Twist folds o er a spectacular show (Figure 15). Perpendicular folds and scores work together to allow the piece to twist down into a compact size. Theyre memorable because theyre fun to play with and quite rare. Twists are great carrier pieces, as a natural cavity that can hold materials is created when the piece is folded down. All variations of twist folds must nish into a square format. Plan for: The folding style requires scoring and hand folding in most cases; however, I know of one specialty bindery in Canada that can fold the standard twist by machine.

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Iron crosses are most commonly built into a square format, but they can easily convert to rectangular formats that are direct mail-friendly. Plan for: Die, score, and hand folding in most instances; however, some

Figure 14: This L-shaped piece is a variant on the Iron Cross.

Figure 15: Twist folds combine perpendicular folds and scores to allow the piece to twist down into a small size thats fun to play with.

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High Roller Folds in Motion


While still images are good, moving images are best for grasping the complexities of some folds. Ive demonstrated examples of all of the high roller folds I talk about in this article, plus a few more. Each video runs only 60 seconds or less, and since they can help you grasp tricky techniques, theyre well worth the time: Iron Cross Snake Fold Traveling Snake Stepped Accordion Meandering Accordion

Snake Folds
Snake folds are always a hit. The standard snake fold rolls around itself counterclockwise from the center panel (Figure 16). Theres a great discovery experience with this folding style. You can also create whats called a Traveling Snake Fold, and the traveling snake wanders anywhere you want it to go, rather than in a predictable path. Plan for: The dieline for a snake fold is extremely di cult, so work closely with a

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L-shape T-shape Twist Fold

Figure 16: A piece that uses a snake fold slowly reveals the content on its panels.

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printer at the earliest stages. Snake folds are always hand-folded.

di cult than others; for example, a stepped accordion that has steps on both edges (no ush edge) is more di cult than when the edge opposite the stepped e ect is ush. This principle is a little tough to explain without getting technical, so its best to ask your printer if you want to go down this road. Another example is the meandering accordion (Figure 18), which uses accordion folding and a simple die to create a fabulous fold that changes direction 180 degrees.
Figure 18: The meandering accordion includes a simple die cut that lets the piece change direction 180 degrees.

Modified Accordion Folds


The accordion family of folding styles is large and varied, and within this family there are several exciting specialty variations. Stepped accordion folds incorporate tapering panels to create steps on one or both sides of the

Plan for: Early production planning with your printer. Depending greatly on which accordion format you choose, there may be hand-folding, scoring, and die-cutting. There are many, many other exciting high budget optionstoo many to mention in one article, but these should get you started. For more ideas, visit foldfactory.com. You may also want to check out our Fold Picker publication at the foldfactory store.

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piece (Figure 17). There are several stepped accordion formats, and some are more

Figure 17: Two views of a stepped accordion fold.

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Getting Results
Before your special folded piece goes to print, you should test it. Every specialty fold o ers a unique experience to the recipient, and you need to be sure that the visuals and distribution of content make sense and provoke the desired action. To test it, mock up your piece and pass it to a few people who arent associated with the project. Watch them experience the piece and then ask them what message they took away (visit a website, respond, buy, etc.). If they cant tell you, then you have a problem. Watch facial expressions, too. Do they seem to be straining to read it? Do they look unsure of where theyre going next? Do they look pleased, confused, intrigued, annoyed? All of these expressions will give you clues regarding whether youre on the right track or on a path to wasting a lot of money. Enjoy this exciting opportunity. Think it through, choose something that works with your concept, test it, and go for it. And if your next project doesnt have this kind of budget, dont worry! Remember, there are amazing things that can be done on low to moderate budgets, as well.

Trish Witkowski is a graphic designer with a masters degree in printing and a passion for folding. She is the author of the book A Field Guide to Folding and the driving force behind the website FoldFactory.com.

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Lights, Camera, Action!


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What you need to know to place video in InDesign for PDFs, SWFs, ePUBS, and iPad apps.
By Steve Werner

ETS SAY YOURE TRYING TO LEARN a complicated cooking technique. Would you rather read about it, see a diagram of it, or watch an expert demonstrate it in a video? Most people would choose the latter.

While you may not think of InDesign as a video tool, youve actually been able to place video into InDesign since CS2. With InDesign CS5 and 5.5, you can output video-enhanced InDesign les as Flash-based PDFs, SWFs, EPUBs, and even Android and iPad apps.

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Video has its own terminology. Heres a But just because InDesign lets you do pick a video le from your desktop doesnt mean its the right format or the right size. In this article, Ill explore your options, make recommendations, and show you how to set up your InDesign document properly when working with video les. Since InDesign CS5 and 5.5 added more video capabilities, Ill focus on those versions of the app.
Figure 1: Legacy Format Warning

Video Terminology

quick glossary: Frame rate: The number of frames that appear each second (measured in frames per second, or fps). Higher frame ratesup to 60 fps in this menu play more smoothly but require more bandwidth and le size. Data rate (bitrate): The amount of information, or detail, that is stored per unit of time of a video. The data rate depends on sampling frequency, the encoding scheme, and compression algorithms. It is measured in Mbps (megabits per second) or, smaller and more commonly, kbps (kilobits per second). Choosing higher data rates will create video of higher quality but also larger size and longer transmission time. Key frames: Complete video frames (or images) that are inserted at a consistent interval in a video clip. If you use Adobe Media Encoder, it automatically determines the key frame interval based on the frame rate. Aspect ratio: The ratio of the width of an image to its height. The most common ratios are 4:3 (standard television) and 16:9 (widescreen and highdenition television).

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Choosing The Best Video Format Prior to CS5, InDesign only supported what are now called legacy formats: legacyencoded QuickTime (.mov), AVI (.avi), and MPEG (.mpeg). You can still use these formats in interactive PDF les, but youll see a warning dialog when you place them (Figure 1), and viewers of your PDF must have QuickTime 6.0 or later installed to play those formats. Better formats to use are either Flashbased videoFLV (. v) or F4V (.f4v) or H.264 encoded videoincluding MP4 (.mp4), M4V (.m4v) and, somewhat confusingly, H.264-encoded QuickTime (.mov). (QuickTime is a container format than can include di erent encodings.) Adobe Reader 9 or higher and Acrobat 9 or higher play these formats using an embedded copy of Flash Player, so playback is identical on di erent computer platforms. Because of the rapid ascent of the iPad which doesnt support the FLV or F4V formatsas well as other tablets and smartphones, I recommend the H.264-encoded video formats; that is, MP4 or M4V.

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Creating Video With The Proper Size Video le sizes are far larger than audio, images, and text. For most digital publishing projectsespecially those targeted at mobile devicesits crucial to keep video clips to a reasonably small le size. To reduce le size, try these tips: Make your clips as short as possible, trimming whatever isnt essential. Avoid rapid movement in the video. Video compression is partly achieved by comparing the pixels in subsequent video frames. Rapid camera movements mean the pixels change a lot from frame to frame, so less compression is possible.) Make the video dimensions appropriate for the device that will display it. For example, for a tablet with a 4:3 aspect ratio, a common size is 400 300 pixels. For a 16:9 aspect ratio, a common size is 640 360 pixels. For full-screen videos in an Adobe Digital Publishing Suite project, make the width 1024 pixels. But this would likely be

too large for an EPUB le where the overall le size is more constrained. Adjust your compression settings by choosing from the presets in Adobe Media Encoder (see the next section). I dont recommend manual settings unless youre a video professional. Using Adobe Media Encoder To Convert Video Adobe Media Encoder is a stand-alone video encoding application that lets you encode audio and video in a variety of formats. It can convert legacy video formats to Flash video and H.264 video formats. You can also choose presets for di erent media output that allow you to choose di erent aspect ratios and data rate settings. Media Encoder comes with Adobe Creative Suite Design Premium, Web Premium, and Production Premium. If you dont have the Media Encoder, a Web search will yield many other media conversion applications, many of them free. To convert your

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Figure 2: Adobe Media video clip. Click to play the movie.

video, take these steps:

Open Adobe Media Encoder 5 or 5.5. Youll


see a single window (Figure 2, click to play video clip). In the top Queue section, click the + button to add the le you want to encode (for example, a legacy QuickTime le). Or, even easier, just drag the le into the large central area.

Choose the video format youre aiming


for from the Format menuin this example, H.264. Click the Preset menu to select a preset that best represents your

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Figure 4: Media Panel in InDesign CS5 and 5.5

target output; for example, the Apple iPad. If youre not showing a video fullscreen, you may choose a video aspect ratio thats di erent from the devices aspect ratio. You might keep the ratio of the video source le to avoid a letterbox e ect (black bars on the sides of the frame). Some outputs have more than one aspect ratio or data rate setting

Additional Resources sidebar.

For more control over the encoding, rightclick the source le name and choose Export Settings. This opens the Export Settings dialog where you can tweak a variety of video settings (Figure 3).

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for the same device, so try out di erent settings to see which produces the best result at the lowest le size.

Choose File > Place, or click the Place a Video or Audio File button at the bottom of the Media panel (Window > Interactive > Media). Either way, its best to just click or drag the Place icon to create the media frame (rather than place it inside an existing frame) so the video doesnt appear cropped. Make sure the center of the video, at least, is on the page, or it wont export. You control video play in three InDesign panels: The Media panel, the Buttons panel, and the Preview panel. The Media Panel (Figure 4) lets you set options for how your video will play once youve output your

Click the Start Queue button to create a


new, usually smaller, video le. Figure 2 shows me selecting a high-datarate, legacy-encoded video that is 8 seconds long. Its original data rate is 21.57 Mbps and it has a 22 MB le size. After re-encoding to H.264 at 400 224 pixels and a data rate of 800 kpbs, its le size drops to 852 KB. The frame rate was unchanged at 29.97 frames per second. For more technical details on bit rate and fps changes le size, see the

Figure 3: Media Encoder Export Settings.

Placing and Controlling Video Play in InDesign You can place a video or audio le into your InDesign document in one of two ways:

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Navigation Points
project. It also lets you preview a video with the scrubber control located under the video preview. Some controls are output-dependent: Most Media panel controls work when exported to Interactive PDF and SWF les. However, the Loop feature is supported in SWF export only. Media panel settings wont a ect video placed in EPUB les. For Adobe Digital Publishing Suite projects, additional video controls are on the Overlay Creator panel. Overlay Creator settings override Media panel settings. Playing Video: Clicking on a video in an interactive PDF or SWF le prompts it to play. You can also create buttons that control video play (Figure 5). With the Button panel, you can set Video actions to Play, Stop, Pause, Resume, Play from Navigation Point, or Stop All (the latter is SWF only). Caveat: Buttons dont work in EPUB les. A user must tap a movie to make it play. For interactive PDF or SWF les, you can create navigation points in a video le and use buttons to start the video at a particular frame.
1. Place the video in your InDesign document, and view it in the Media panel. 2. Use the scrubber control on the Media panel to advance to the rst point you want to mark. 3. Click the + button under Navigation Points. The time code of the point appears and a eld initially called Point 1 appears. Edit the name to something meaningful. 4. Repeat steps 2 and 3 to create more navigation points. 5. Create a button using the Buttons panel for each navigation point.
Figure 5: Play Video Button.

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To start a video as soon as a page is loaded, check Play on Page Load on the Media panel. In SWF output only, the video can be repeated by checking Loop. To begin a video at a frame other than the rst one, create navigation points that can be triggered by a button. (See the Navigation Points sidebar to the right.)

6. For each button, choose the Video action. Select the video name. In the Options menu, select Play from Navigation Point. Select the name of the navigation point that the button will trigger. 7. Theres no way to set a navigation point as a stopping point. The viewer will need to use the Stop or Pause controls on the Controller.

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Poster Image: A movie poster is the image on a page that marks the position of the video. Think of it like a book cover. By default, InDesign displays the rst frame of the video. To pick another, go to the Media panel and choose from four options in the Poster menu:

triangle or a movie clip icon to the poster in Photoshop. Controller: When you place a Flashbased or H.264-encoded video, you can choose from a long list of skins: controllers that appear over the video. You can make the controller appear only on rollover by checking Show Controller on Rollover. These are Flash skins, so they wont work when you export to DPS or EPUB. Legacy Format Controls: You cant preview legacy video formats in the Media panel or Preview panel. You cant create a poster image from a frame of the video, though you can select a le for a poster image. You also cant use Flash-based skins; you can only select a simpler controller with play, pause, stop, and start commands. PDF-Only Controls: Video in interactive PDF has some additional controls (see Video in Interactive PDF on page 26). Testing Video Playback: If youre outputting to interactive PDF or SWF, test the

appearance of your video, poster image, and controller in InDesigns Preview panel. One quick way to open the Preview panel is to click the Preview Spread button at the lower left corner of the Media panel. Since the Preview panel is Flash-based, it cant preview DPS- or PDF-only video behavior. Embedded Video Versus Streaming Video Most of the video were talking about in this article is embedded video. The larger your embedded video le, the larger your exported le size. However, for interactive PDF and SWF les, there is another option: streaming video. Theyll keep a PDF or SWF le size smaller, but your viewer must have access to the Internet to play this video. Streaming video les reside on a Web server or on a Flash Media Server or Flash Streaming Service. Streaming video les must be in a Flash video format or H.264-encoded.

None shows a blank space you might

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choose when the video covers a background image you dont want to obscure.

Standard shows a small lmstrip icon. From Current Frame lets you choose a
frame by scrubbing through the video using the scrubber control. Click the double-arrow button to the right of the menu to use a current frame.

Choose Image... lets you select a poster


image you create and save as a bitmapped format supported by your digital publishing output. The separate poster image le should have the same pixel dimensions as the video. To give your audience a helpful usage hint, add a play

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To set up your document for streaming video, start by creating an empty frame or select a video you want to replace. Choose Video from URL from the Media panel menu. Specify the URL and click OK. Note that the URL must point to a le that ends in the appropriate le extension; for example, http://www.fakeURL.com/videos/ Intro_Video.f4v for a le on a web server. Use rtmp:// in the URL for a video on the Flash Media Server or Flash Streaming Service. Video In Interactive PDF Files Several Media options pertain only to videos in PDF les (Figure 6). You can add a description that appears when a PDF cant be played and acts as alternative text for visually impaired viewers. You can also select the Play Video in Floating Window option and specify the size ratio and position on the screen. Be aware that video in a PDF le performs better on desktop computers than on

Figure 6: PDF Options.

However, a SWF le will only play on devices where Flash is installed, so the iPad is out of the picture. For SWF output, you can place artwork over only part of your video content, as long as some of the video is clickable. This isnt possible for interactive PDF les or Digital Publishing Suite projects because they always put interactive elements above page objects. Video In EPUB Files While its possible to embed video les in an exported EPUB le, there are several limitations: You need InDesign CS5.5. With InDesign CS5 or earlier, you have to manually edit the exported EPUB le to insert a video le. Only the iBooks app for iOS devices and the Nook eBook reader can display the video. The Kindle doesnt accept les in the EPUB format, regardless of whether they have video.

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mobile devices. Adobe Reader for Mobile (Android, Blackberry, Palm, etc.) doesnt display video, and only one iOS PDF reader app, ezPDF Reader, can display video embedded in a PDF. Video In SWF Files When you export a SWF le that contains video, it can be viewed in Adobe Flash Player and in a Web browser that supports the Flash Player plug-in. You can use all the controls in the Media, Buttons, and Preview panels to preview and control video play.

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Additional Resources
Check out the following links for more Anything you set in the Media panel will be lost when you export to EPUB, which makes some tasks much more di cult. For example, to include a poster image, you must add a reference to the poster image in the <video> tag, add the poster image le to EPUB images folder, and edit the manifest in the content.opf le to include the video le. For information create a folio le, all non-interactive page items are compressed into a single background image. Interactive objects like video appear on top of the background image. You use the Overlay Creator panel (Window > Extensions > Overlay Creator) to create interactive objects. First, place an H.264-encoded video like MP4 in InDesign. Create a separate poster image with the same dimensions as the video and select it as the poster image in the Media panel. Select the video and go to Audio & Video in the Overlay Creator panel (Figure 7, next page). Choose Auto Play to play on page load. You can also select to play a video full screen. If you want to stream video, youll have to use the Web Content overlay. how-tos on adding and troubleshooting video in documents that begin in InDesign.
Adobe Media Encoder Help Audio and Video in EPUB: Straight to the Point Miniguide 2. eBook available from http://www.elizabethcastro.com/epub/ Fearless Flash, Claudia McCue (Peachpit, 2011) Digital Publishing Suite Tips app for iPad (free), Bob Bringhurst, Apple iTunes Store Video encoding tips on http://www.adobe. com/devnet/video/encoding.html Should You use Legacy or Flash Media in CS5? by James Fritz Picking the Best Video Format for Digital Publishing by Steve Werner Importing Movies into InDesign by David Blatner (for older versions)

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on editing EPUB les, see Gabriel Powells article Editing eBooks in InDesign Magazine #32 and Elizabeth Castros eBook listed in Additional Resources (right). Video In Digital Publishing Suite Projects The Adobe Digital Publishing Suite (DPS) is a publishing solution to create and publish apps for the iPad and other tablets. DPS is made up of free InDesign plug-ins for creation, and a paid Folio Producer Service to manage and publish interactive content. In DPS projects, video les and other interactive objects are called overlays. When you

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The Time to Learn Video Is Now As we use InDesign to create more digital publishing of di erent kinds, well be including a lot more video in our les. The recent versions of InDesign and the Adobe Media Encoder are making that process a lot easier.

Figure 8: Overlay Creator. Steve Werner is a trainer, consultant, and author. His latest venture is CS Magic, a training company that aims to help you Master the Magic of the Adobe Creative Suite. Sign up for an online webinar at www.cs-magic.com.

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InType: Alignment

By Nigel French

The Eye Has It: Optical Alignment and Hanging Punctuation


Sometimes little things can make a big dierence. When it comes to typography this is especially true. One of the simplest enhancements you can make to your type especially if youre working with justied typeis to use Optical Margin Alignment.
What is Optical Margin Alignment? Have you ever noticed how punctuation at the margin of a text frame can make the left or right sides of a column appear misaligned? When a line begins with punctuation, like an opening quotation mark, or ends with a comma, period, or hyphen, you get a visual hole. Once, this was regarded as the price of progress. We could do so much more with our page layout programsdid it matter that we had to forgo a few niceties? But today, with InDesigns Optical Margin Alignment, we can easily ensure that punctuation, as well as the edges of letters, hangs outside the text frame or column margins so that the column edge remains ush (Figure 1). This makes Optical Margin Alignment especially bene cial when working with justi ed text, but even with left-aligned text, the rst character of the line will hang outside the text frame.

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Figure 1: The text is the same; the margin alignment is not.

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InType: Alignment

Optical margin alignment isnt to everyones taste. Some consider the look of optically aligned text too fussy, preferring instead to have everything contained within the text frame. Perhaps they became accustomed to text columns that werent optically aligned during the early days of desktop publishing because it wasnt possible, in the same way as some people have become so accustomed to the taste of instant co ee

tool, choose Story from the Type menu, check the box and youre good to go. The only user-de ned option is the font size, which determines the amount of overhang. Theoretically, the amount of hang should be set to the same size as the text, but in practice youll probably just want to eyeball it. Optical Margin Alignment is technically a story-wide attribute (not paragraph- or frame-based). Thats why it shows up in the Story panel, and you wont nd it in your Paragraph Style Options. If you want to apply it globally (and consistently), youll need to incorporate it into an Object Style de nition, which you can then apply to
Figure 2 (left): To apply Optical Margin Alignment, just choose Type>Story and check the box. The point size should correspond to the size of your type, but 12pt works well for Align Left Edge. Figure 3: Incorporating Optical Margin Alignment into an Object Style.

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that they prefer it to the real thing. How to Use It Optical margin alignment is controlled through the Story panel, which is perhaps the simplest panel in InDesign (Figure 2). You select the story you want to align, either with the Selection tool or the Type

your text frames (Figure 3). While youre de ning an Object Style for your text frame, you may also want to incorporate additional specs, such as the number of columns in your text frame, a text wrap, or the Paragraph style that is applied to the content of the frame. If your text is very structured, you can even specify the Next style option, so that you apply a sequence

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InType: Alignment

of styles to your text. But Im getting a bit o topic; thats another story... When to Avoid Optical Margin Alignment There are certain types of paragraph that wont bene t from optical margin alignment. The left edges of bullets and numbered lists, for example, should remain ush. To do this, choose the Ignore Optical Margin Alignment option in your Paragraph Style Options (Figure 4). Or, if you want to turn it o manuallyas a local override to a particular paragraphyou can select

Ignore Optical Margin from the Control or Paragraph panel menu. Hanging Punctuation A couple other InDesign features are closely related to Optical Margin Alignment. The rst is the Indent to Here character, which can be used to good e ect on display text especially pull quotes and callouts that begin with a quote markto create a hanging indent and thus maintain the ushed edge of the text (Figure 5). You can hang an opening quote mark using the Indent to

Figure 5: A hanging quotation, before and after. The Indent to Here character is inserted after the opening quote mark.

Here character: Cmd+\ (Ctrl+\). This special character indents all subsequent lines in the paragraph to the point where you add the character, xing the optical hole on the left edge of the text.

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Figure 4: In both examples to the right, Optical Margin alignment is turned on for the story. But in the example on the far right, the numbered paragraphs ignore Optical Margin Alignment. Note how the 1s align better.

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InType: Alignment

The second related feature is the Align Left Edge checkbox thats part of the Drop Cap and Nested Style options. This ensures that your opening character is ush with the left edge of the text frame, again avoiding the problem of a visual hole (Figure 6). Anyone who remembers the workaround of adding a space before such characters and

then kerning back over the space to achieve an optically aligned look will appreciate the convenience of this feature. Theyre small things, but Optical Margin Alignment, hanging punctuation, and its related features are quick and easy ways to add panache to your type. Doing so shows attention to detail and gives your text a

sophisticated look and, consequently, more credibility with its readers.

Nigel French is a graphic designer, photographer, author, and teacher living in Brighton, UK. He is the author of InDesign Type and Photoshop Unmasked, both from Adobe Press, as well as several titles for the Lynda.com online training library.

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Figure 6: Click the Align Left Edge checkbox to keep opening characters ush with the left edge of the text frame.

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InQuestion: Send Sandee Your Queries

By Sandee Cohen

InQuestion is a regular column devoted to answering your questions about working with InDesign.
Centering the Longest Line of Poetry Q. I want to set poetry so that the longest line is centered within the column, and the the text to nd the longest line, as shown in Figure 2. (This is the only eyeballing youll have to do.)

InQuestion

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rest of the text is ush left. How can I set poetry this way? A. Sadly, the core InDesign application doesnt provide a way to automatically set text with the sort of alignment you see in Figure 1. But here are the steps you can follow to align the text manually. Start by setting all the lines of the poem to centered alignment. Visually examine
Figure 1 (left): A common way to set poetry is ush left with the longest line centered within the column. Figure 2 (right): With the poetry centered, nd the longest line in the text.

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InQuestion: Send Sandee Your Queries

Click to place an insertion point at the start of that longest line. Look at the Control panel for the setting for X position of the text shown in Figure 3. (This amount is also in the Info panel as the X measurement.) Unfortunately, you cant copy this text. Youll have to keep it in your head or write it down. The next step is to set all the text in the poem back to ush left. Then, set the left indent to the X position amount you wrote or remembered in the previous step. Your text is now set correctly. For more information, read David Blatners excellent blog post on InDesign Secrets. What I like about this post is that some people wrote about how mechanically setting the text to the
Figure 3: The X position of the insertion point is shown in the Control panel. Here the setting is 3p1.676.

longest line isnt necessarily the most aesthetic way to align poetry. In addition, David points to scripts that let set the text automatically. Click here to download the best of these scripts.) Sort a Phone List from the Second Text Column Q. I need to sort a tab-delimited phone directory alphabetically. I found the SortParagraphs.jsx script in the Scripts panel but it only sorts according to the rst word in the paragraph, whereas I want to sort according to the last names, which are in the second column after the tab character. How can I sort the text using the second column? A. As youve discovered, the SortParagraphs script uses the rst word of the paragraph to sort the text. This causes problems, as shown in Figure 4. If the text were listed with the last names in the rst column, the script would work

Figure 4: When the SortParagraphs script is run on the top text, the script sorts the text according to the rst names of the list, not the last names.

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correctly. While its not possible to select and move the columns in tabbed-delimited text, its relatively easy to do so with tables. The rst step in this workaround is to select all the columns of text and choose Table > Convert Text to Table. This converts the tab columns into table columns. Use

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InQuestion: Send Sandee Your Queries

the cursor to select the rst table column as shown in Figure 5 and cut it from the table.
Figure 5: When text is converted into a table, its easy to select an individual column.

get back to tabbed text. You can now run the script to correctly sort the text. In my opinion, you should keep the text displayed with the last name in the rst column, as shown in Figure 7. However, if house style requires that rst names be in the rst column, youll need to redo all the steps by converting the text back into a table, cutting and pasting the

Figure 7: With the last names in the rst column, the tabbed text can be sorted correctly.

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columns, and then converting the table back into tabbed text. All this may be a little too much to handle With the insertion point in the next column, choose Table > Insert > Column to the right of the column. Then select that column and choose Copy > Paste. Delete the empty column. What used to be the rst column now occupies the second position in the table, as shown in Figure 6. It would be great if the SortParagraphs script works on tables, but it doesnt. So you have to select the table and then use the command Table > Convert Table to Text to in the middle of ordinary work. Fortunately I have some friends at Premedia Systems
Figure 6: Using a table, you can move the rst column of tabbed text to the second position.

who graciously looked at this problem for me. They have adapted the SortParagraphs script so that you can specify which column of tabbed-delimited text you want to sort. To download the adapted script, go to their website, http://www.premediasystems.com. Click on Products and then on Scripts. This is a perfect example of how you can hire scripters to modify an existing script. Instead of creating a script from scratch, they can use whats already out there as a start. This saves them time and you money.

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Problem with OpenType Fractions Q. I recently applied the OpenType Fractions command to Myriad Pro for the ingredients in a cookbook. When I applied the command to the text, it converted all the numbers that arent fractions to numerators. The Help le says: Numbers separated by a slash (such as 1/2) are converted to a fraction character, when fractions are available. Is something wrong with my font? A. Some OpenType fonts are more clever than others when it comes to fractions. As youve discovered, applying the fraction command to all the text converts whole numbers to numerators. This is because Myriad Pro wasnt designed to di erentiate between a fraction (indicated by a slash) and a whole number. Since Myriad Pro isnt the smartest font, avoid the problem by applying the OpenType fractions command only to numbers around a slash. Youll get the bene ts

of the OpenType fractions with the numerator and denominator nicely reduced and moved, and the slash will be converted to a proper fraction solidus (fancy term for the less steep slash used in fractions). Instead of searching and replacing each one of the fractions in your text, create an easy GREP style to do the grunt work. Simply click the GREP Style area of the paragraph style formatting and insert the GREP formula \d\d*/\d\d*. This code breaks down as follows: The \d tells InDesign to look for a digit (numbers 0 to 9). This digit has to appear. The \d* says another digit may appear zero or more times. The / tells InDesign to look
Figure 8: This is the GREP code for applying a character style to fractions.

for a slash. The English for this code would be written as Find the numbers around a slash that are de nitely one digit numerators and one-digit denominators, but which may have other digits in the numerators or denominators. You then apply a character style that applies the OpenType fractions command as shown in Figure 8. This easy-to-make GREP style automatically converts the digits around a slash into OpenType fractions.

Sandee Cohen is the only third-party author to have written educational materials for all versions of InDesign. Her latest books are the InDesign CS5 Visual QuickStart Guide and From Design Into Print: Preparing Graphics and Text for Professional Printing.

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InTips: Spot Colors

By David Blatner

InDesign sometimes lies to you about how colors appear on your page. This article will help you reveal reality.
In the previous issue of this magazine, Chuck Green waxed poetic about the wondrous

InDesigns Onscreen Untruths

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abilities of spot color inks (Get Creative with Spot Colors, Issue 43 August/September 2011). There is no doubt that spot colors can help you achieve striking, e ective designs. But spot colors have a dark underside, too; a not-so-obvious behavior that needs to be understood or else it can bite you. Case in point: The other day, I received an email from a printer who was ranting about a clients artwork. The client had designed an identity package (letterhead, envelope, and so on) that was beautiful but completely unprintable. The trouble was with a background pattern built with several overlapping InDesign frames, each lled with a Pantone color or a gradient of that color (Figure 1, though I changed the design and logo to protect the identity of the semi-innocent). When I say it was unprintable, I mean that while the page would technically print, it would look very di erent than it appeared in InDesign. This is a case of WYSINWYG (what you see is not what you get)! Its not entirely InDesigns fault. Some spot colors are di cult, or even impossible to represent properly on screen. Varnishes

Figure 1: The original design looks dramatic in InDesign. Too bad it wont print like that!

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InTips: Spot Colors


Figure 2: After exporting a PDF of this le and opening it Acrobat Pro, the colors are atter and more boring than they were in InDesign. Here, the Output Preview palette in Acrobat shows that the color underneath the crosshairs is solid spot color.

and metallic and uorescent inks are obvious examples of thistheres no way youll get an accurate preview of one of those on a computer screen. Other very bold, rich colorslike bright teals and orangesare similarly impossible to preview in the RGB gamut of most monitors. However, in this case, the designer stumbled on a very di erent limitation of InDesign: the softwares handling of spot colors and transparency e ects. Its All About Overprint When you take two process colors (such as magenta or cyan) and overlap themmultiply them, overprint them, whatever you want to call itthe area of overlap gets darker than either of the individual inks. This happens both onscreen and in the printed output. If you overlap spot colors, some areas get darker and bolder onscreen. But the printed output may be a di erent situation.

Spot colors are more opaque than process colors, and in the case of this particular job, the designer actually overlapped a single spot ink color on itself. The onscreen result was a lovely interaction among the objects. But in the real world, an orange ink overprinting on top of the same orange ink simply cannot result in a darker orange ink (Figure 2). Unfortunately, InDesign doesnt usually know that. In the software, when you take two overlapping objectseach lled with the same spot colorand set the top one to the Multiply blend mode, the intersection appears darker. Note I said InDesign usually doesnt know that the colors cant get darker. It

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does give you a proper preview ifand only ifyou turn on the get smarter about spot colors switch. That helpful switch is more formally known as View > Overprint Preview. When you turn on overprint

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InTips: Spot Colors

preview, InDesign suddenly wakes up and shows you an accurate preview (Figure 3).
Figure 3: Heres the same artwork in InDesign when View > Overprint Preview is enabled.

You can see why I recommend that people using spot colors turn this on and leave it on while they work. Finding a Solution So what was to be done with this poor designers work? The job could not be printed as is. Here are several solutions to remember should you ever nd yourself in

(Figure 4). You can open the Ink Manager from the Swatches panel menu. In this case, the spot color is changed into a combination of process colors (the orange would be simulated with magenta and yellow, and dark areas may even have a little black mixed in). The quality of printing with process colors is di erent than with spot colors, but at least youd be closer to the desired end result. Another option is to use two di erent spot colors. Combining tints of two di erent inks can have darker results. (Though it depends on the inkssome thick spot colors dont tint well, so check with your printer.) A third idea is to export the artwork as a grayscale JPEG (File
Figure 4: You can convert the spot color to a process color by either choosing All Spots to Process, or by clicking the little icon to the left of the individual spot color.

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a similar boat. First, you could convert the spot color to a process color with InDesigns Ink Manager

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InTips: Spot Colors

> Export), then open the le in Photoshop and convert it to a monotone. To do that, choose Image > Mode > Duotone, then click on the ink swatch and pick the spot color you want to use (Figure 5). Save the le as a PSD le and place it in InDesign, replacing the original objects. Since this
Figure 5: You can turn a grayscale image into a monotone (a one-color duotone) set to the spot color you want to use. However, the darkest part of the image cant be darker than the spot color itself.

technique leaves you with a rasterized (pixel-based) image, you lose your sharpedged vectors. There are other solutions, such as recreating objects in Illustrator, but youll still have the same basic limitation: You cant make an ink any darker than it is, no matter how much of that ink you overlay. If you want some areas to be darker than others, youll need to plan accordingly. In the meantime, remember that Overprint Preview is your friend. Its not a perfect color proof by any means, but it at least brings you to what you see is close to what youll get.

where creatives go to know

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David Blatner is the Editorial Director of InDesign Magazine and the co-host of InDesignSecrets and the Print & ePublishing Conference.

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InReview: Productivity Tool

By kEvin Friberg

InDesign Takes on Microso Oce.


ID2O ce Recosoft http://recosoft.com $199 annual subscription Today, when someone asks you to convert an InDesign document to a Microsoft O ce format such as Word or PowerPoint, you probably say, Sorry, not possible. Thenwhen your client or boss pushes hard enoughyou probably nd yourself just manually recreating the le. InDesign and MS O ce are very di erent tools, and O ce doesnt have the exacting design and typography controls that an InDesign user takes for granted. Common layout techniques, such as baseline shifts or mixed line spacing within a paragraph, arent possible. You can copy basic text formatting from one to the other, but not layout or anything complicated, so its a major hassle to get an InDesign layout into that format. But now there is ID2O ce. ID2O ce is a plug-in for InDesign that converts an INDD le to either a MS Word (.docx) or PowerPoint le (.pptx). The question is: How well does it work? Note: All of my testing was done with a Macintosh computer, OS 10.6, InDesign CS5, and O ce 2008. Expectations The most important rule before going into this kind of thing is to keep your expectations realistic. Dont expect to be able to convert a grocery store ad with dozens of images into a Word document. Dont try to convert a small type-laden presentation

InReview: ID2Oce

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Mac and Windows Rating:

Ratings Key
Not worth it even if its free Not recommended Average Exceptionally good A must-have

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InReview: Productivity Tool

designed for printing on a letter page into a projection-ready PowerPoint. To decide what you can convert, ask yourself, Could this have been created in Word or PowerPoint? If the answer is no, it probably wont convert well. The way an InDesign document is built will be the de ning factor in how your O ce document looks and functions. A layout that uses only a few text frames and consistently styled text will end up similar to a standard Word document. However, the more items on a page and the fancier the styles and formatting in your InDesign layout, the more your converted document will di er from the original. Plus, more layers of complexity in the source document will translate into a new layout that will be quite di erent from a standard O ce document. After you convert an InDesign document to a Word doc, all the text in the converted document will be placed in text frames, which may make sense to an InDesign user,

but wont seem natural to a MS Word user. In Word, linked text will indeed ow from page to page, but it will move from one linked text box to the next, rather than scroll down continuously like a standard Word le generally does. In fact, all items on a page will stay on that page, which makes an unusual though still very usable le. This is less an issue when using ID2O ce to convert InDesign les into PowerPoint documents, where items are expected to be in separate frames. When I rst started testing ID2O ce on a variety of InDesign layouts, it seemed like there were lots of errors in the converted les, but as I paid more attention to the results I found that most issues which initially appeared to be errors actually happen for a logical reason. Once you understand those rules, the conversions are very accurate. Still, you should always expect to make a few changes, even on the cleanest conversions. Since the two programs handle fonts

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Figure 1: Your options.

and H&Js di erently, your text will almost certainly break across lines di erently, and any manual text breaks will need to be xed. How Does it Work? Once youve installed ID2O ce, open InDesign and choose Export to O ce Format... from the File menu. Youll see a clean dialog box with a dozen options (Figure 1). For the most part, the default

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settings produce the best results, but depending on your documents intended usage, you may want to adjust the Image Format and Image Resolution options. In an O ce document, all graphics are embedded and the les size will grow as more images are added, so select a resolution that meets the output needs but doesnt create a huge le that wont t in

First Up, Word What if your boss insists that all letter templates be available in Word format, and that anyone be able to easily change content, without disturbing graphics or logos? This is a big job. ID2O ce is going to get you there a lot faster than manually replicating the layout in Word, but as mentioned earlier, the plug-ins conversion wont be perfect. ID2O ce does a great job of converting linked text boxes and even breaks columns into side-by-side linked text boxes on the nal O ce page. The type styling is also nearly perfecteven the all caps, superscript, and subscript options are preserved. Tables convert awlessly. Text editability is maintained in all situations I tested and the resulting paragraphs stay true to all tabs and other formatting. A important note, which Recosoft states in its informative Scope of Conversion section of the User Guide, is that while all paragraph and character formatting does get

applied to the text when exported, the paragraph and character styles are removed in the conversion. If you need the styles to also be de ned in the O ce le, you will need to recreate them. Overall, ID2O ce conversions are solid but very dependent on the quality of the source le. There are three additional issues worth mentioning here. First, any overset text is lost in the conversionif you cant see it, it wont get exported. You can expand the box as far as you want in Word, but the text wont magically appear; its gone. Next, all InDesign layers, including those you have hidden in InDesign, will be visible in the new le. Its necessary to delete all excess layers before exporting, and since you will need to save before making the new conversion, I recommend making a backup copy of your original document rst. Lastly, be aware that all images and vector graphics on the page will render as one or two large pixilated background images, including the

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an email. All of your graphics, raster and vector, will be rendered as either TIFF or PNG les, which are both very crossplatform friendly formats. Click Export and within a few seconds, you have a le. Almost. Take a look at what you get; youll usually want to make a few tweaks. Go back into your InDesign le and adjust any formatting that wasnt converted as you expected (I list many examples later in this article.) Before re-exporting, be sure to save your InDesign le or ID2O ce wont recognize your changes.

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white space necessary to preserve their relative positions. Therefore the end user cannot reposition the individual images; if such exibility is desirable further down the road, youll need to place them manually. These observations also apply when you export to PowerPoint. The most puzzling oddity I discovered was that type with leading less than the types point sizefor example, 25/15 trims o the text at its upper box edge (Figure 2a and 2b). This and most other issues shown in the example are xable in the O ce document, but it makes more sense to x them in InDesign and re-export. PowerPoint Time Once upon a time, a creative team made a beautiful presentation created in InDesign. They re ned and perfected it, exported it as an interactive PDF, handed it o to the CEO for presentation to a very important client, and everything was wonderful Until an

Flight to Mars - Group Art Projects


Enabling other volunteers to perform tasks that were new to them, to keeping them current with what. Learning experience, not the least of which was learning how when you spread yourself too thin, and are trying to accomplish something larger than there is time for, something is going. testing and procuring custom mixed auto paint, and the planning, material and hardware ordering and sewing of a giant birthday cake Enabling other volunteers to perform tasks that were new to them, to keeping them current with what.

Flight to Mars - Group Art Projects

F2M

The following are volunteer group projects by the Flight to Mars arts collective, all very interactive and kinetic. I found my roll in the group to be increasingly that of leader and project manager (though I did not have that word at the time), stepping in to fill the void in a group of enthusiastic artists, trades and crafts people.

Enabling other volunteers to perform tasks that were new to them, to keeping them current with what. Learning experience, not the least of which was learning how when you spread yourself too thin, and are trying to accomplish something larger than there is time for, something is going. testing and procuring custom mixed auto paint, and the planning, material and hardware ordering and sewing of a giant birthday cake Enabling other volunteers to perform tasks that were new to them, to keeping them current with what.

The following are volunteer group projects by Mars arts collective, all very interactive and kinetic. I found my roll in the group to be increasingly that of leader and project manager (though I did not have that word at the time), stepping in to fill the void in a group of enthusiastic artists, trades and crafts people.

F2M

Timeline
My first big baby. After the loose concept was agreed upon, I led this project all the way through, from getting structural design agreed upon, gathering materials (metals, wood, plastics, electrical components), scheduling labor parties, enabling other volunteers to do tasks that were new to them, to keeping them current with what still needed to be done before our solid deadline, especially after unexpected changes.

Timeline

the Monstero

2002

the Monstero

2002

My first big baby. After the loose concept was agreed upon, I led this project all the way through, from getting structural design agreed upon, gathering materials (metals, wood, plastics, electrical components), scheduling labor parties, enabling other volunteers to do tasks that were new to them, to keeping them current with what still needed to be done before our solid deadline, especially after unexpected changes.

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This year our huge decorated dance space with a small visually engaging double corridor, dubbed the maze, turned into a full scale 40' x 60' two level maze. My biggest leadership involvement was fleshing out the actual concept in foam core models with the construction lead, estimating materials, helping organize volunteers coming to the workspace (field) we had in Duval this year and dividing up the tasks so various pieces were worked on together, thus giving the painting/decoration lead more time and volunteers to work with.

Flight to Mars 3.0 - the Maze

2003

This year our huge decorated dance space with a small visually engaging double corridor, dubbed the maze, turned into a full scale 40' x 60' two level maze. My biggest leadership involvement was fleshing out the actual concept in foam core models with the construction lead, estimating materials, helping organize volunteers coming to the workspace (field) we had in Duval this year and dividing up the tasks so various pieces were worked on together, thus giving the painting/decoration lead more time and volunteers to work with.

Flight to Mars 3.0 - the Maze

2003

This was our year to shine, and bleed. In tandem with my wife, we organized, procured and delegated most every part of this year's projects. It was a huge responsibility and learning experience, not the least of which was learning how when you spread yourself too thin, and are trying to accomplish something larger than there is time for, something is going to give. That something was people's patience, communication and positivity. There were constantly updated lists on whiteboards (so volunteers knew what needed done in what order), getting all materials in place on time (including 2 used trailers, needing repairs), and even searching out and renting warehouse space to finish the last 2 months of work in Seattle instead of Duval, so volunteers could work during the evenings, not just on weekends.

F2M 5.0 - Mobile F2M and Squiddudha

2005

This was our year to shine, and bleed. In tandem with my wife, we organized, procured and delegated most every part of this year's projects. It was a huge responsibility and learning experience, not the least of which was learning how when you spread yourself too thin, and are trying to accomplish something larger than there is time for, something is going to give. That something was people's patience, communication and positivity. There were constantly updated lists on whiteboards (so volunteers knew what needed done in what order), getting all materials in place on time (including 2 used trailers, needing repairs), and even searching out and renting warehouse space to finish the last 2 months of work in Seattle instead of Duval, so volunteers could work during the evenings, not just on weekends.

F2M 5.0 - Mobile F2M and Squiddudha

2005

During this conversion of the Squiddudha bus into a giant birthday cake, I handled volunteer coordination and communication, but only directly managed the decorative half of this project. Sanding down and repainting the bus, testing and procuring custom mixed auto paint, and the planning, material and hardware ordering and sewing of a giant birthday cake curtain to go around the bus (33 yards by 10 feet with three zippers). Assembly of the support ring, exterior stairs, fire and lighting system were handled by team Morgan.

Cakewalk / Succubus project

2007

During this conversion of the Squiddudha bus into a giant birthday cake, I handled volunteer coordination and communication, but only directly managed the decorative half of this project. Sanding down and repainting the bus, testing and procuring custom mixed auto paint, and the planning, material and hardware ordering and sewing of a giant birthday cake curtain to go around the bus (33 yards by 10 feet with three zippers). Assembly of the support ring, exterior stairs, fire and lighting system were handled by team Morgan.

Cakewalk / Succubus project

2007

Figure 2a: This information sheet looks ne in InDesign, but it contains formatting that will cause problems during conversion.

account team member needed to take it on the road and update the content himself. He didnt have InDesign and insisted on getting a PowerPoint version.

Figure 2b: The information sheet after conversion has several problems that were caused by InDesign formatting, including drop caps, text wrap, paragraph rules, custom bullets, the indent here character and relative leading size.

In my trials, ID2O ce did a good job converting of simple presentation layouts into PowerPoint les (Figure 3, next page).

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The positioning of all page elements and text in the PowerPoint le matched the original. The styling of the text was perfectly preserved. It smartly rendered simple graphics created within InDesign, such as arrows and shapes, and even kept the page transitions de ned in InDesign.

Impressions And Overall Rating The most important concept behind any type of a conversion tool is what goes in determines what comes out. ID2O ce is a powerful tool with only a few weaknesses and does exactly what it advertises. As I gained experience in what to tweak in the source document before conversion, my results improved dramatically. Which also means if you are under deadline when you try your rst conversion youll be frustrated. While the plug-in is simple to use, preparing your documents for a
Figure 3: This is a PowerPoint presentation I converted from an InDesign le. The two layouts are an exact match visually.

successful conversion has a learning curve attached, and it will be necessary to experiment and practice with ID2O ce rst. This 1.0 product makes an impressive start at solving a complicated problem. Hopefully more controls, such as choosing to render all images separately, will be added in future releases. Until then, if you need to convert InDesign documents into O ce formats, this tool will get you most of the way there, faster than it would take to do it manually. Let it tackle the bulk of the content, then edit and tweak the complicated parts to complete the job.

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RECOMMENDATIONS TO INCREASE VOLORIAE. ITA AUT FACCUM VELES ESCI DE CONSECTUR, SIT QUOS
Od que et quas el in nam que velectus vendus num adi acepudit re pero dolupti dolore porehenis doluptur accus aut qui volupid elecepe lit eos et, tem quatio volorio. Et eum voluptio. Nam quat que commolo reptae volutent, oditi aut aliquos molum utam, cores aspero te volorrum que corem etum ari aligendel ipsum non cus et officiis quae ni consenis venient aut id et rempori nest que volorepre molesci mollacc uptasi culparum inctur audicit et aspiendebis et veribus essit pliaernate nimporis natione ctiant inihilibus velendi sum fugitatiati nullupt atatibusda nihitam ent voluptati nonestrum qui

D A E IM O LU P T A P A RCI I S P A RI A NT . V OLUP T A T EM ET V OLUP T I I S AU T AU T O M NI HI T A ERI ORE REST I A E V OLUP T A V OLO.


Ensuring Del mod magnisc iaecture dunto magnam faccus prorporis millic tem ut magnis apici in ese sin. Del mod magnisc iaecture dunto magnam faccus prorporis millic tem ut magnis apici in ese sin. Ugiatium erum anda aut molent. We urge Del mod magnisc iaecture dunto magnam faccus prorporis millic tem ut magnis apici in ese sin We urge Optatem evelest ut quis excernatia iusdae. Et occullesed eni. We urge Ugiatium erum anda aut molent. We urge Del mod magnisc iaecture dunto magnam faccus prorporis millic tem ut magnis apici in ese sin Ensuring Del mod magnisc iaecture dunto magnam faccus prorporis millic tem ut magnis apici in ese sin. Del mod magnisc iaecture dunto magnam faccus prorporis millic tem ut magnis apici in ese sin. Ugiatium erum anda aut molent. We urge Optatem evelest ut quis excernatia iusdae. Et occullesed eni people, and produce resource guides to direct women to the services they need. We urge Del mod magnisc iaecture dunto magnam faccus prorporis millic tem ut magnis apici in ese sin

kEvin Friberg once manually stripped lm for print and hes been using digital tools to create much fancier print pieces for over 20 years. Hes also the co-head of the Seattle InDesign User Group.

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InReview: Productivity Tool

Annotations
DTP Tools http://www.dtptools.com $79 Mac and Windows; CS3CS5.5 Rating: By Jamie McKee

During the Question and Answer period of the May 2006 InDesign Conference in Chicago, the topic of getting Adobe Acrobat Annotations back into InDesign was discussed with much fervor. Imagine, we mused, the convenience of being able to see the text highlights, text edits, and drawing markups right within your InDesign document! That night, a motivated attendee whipped up an AppleScript that overlayed an annotated PDF page by page on a new layer of your original InDesign document. I used and still have a copy of this AppleScript and, while it was a bit clunky, it

opened the door of What Could Be. It convinced me that it was possible for Adobe to implement a similar time-saving feature. And I have been ling this feature request with Adobe ever since. That was ve years and four versions of InDesign ago, and theres still nothing of the sort from Adobe. But DTP Tools has opened the door and walked through with their Annotations for Adobe InDesign plug-in. While Recosofts PDF2ID can import PDF annotations and place them on their own layer (at signi cantly higher cost), the DTP Tools Annotations plug-in can accept or reject other peoples text edits, entering them into the InDesign document, saving huge amounts of time. Annotations for Adobe InDesign The DTP Tools Annotations plug-in allows you to import notes and comments from a PDF back into the original InDesign le. The plug-in can match di erent pagination of

PDF and InDesign documents, so its not a problem if just a segment of the InDesign document was exported to PDF and Annotated. (However, you do need to adjust the Starting page if the two documents are di erent lengths.) Annotations can also process PDFs that had been exported as spreads, and the plug-in supports the importing of Sticky Notes, Text Highlights, Type Edits, Underlines, Strikethroughs, and Callout boxes. (Free-form pencil drawings are not supported in this release.) I tested annotating a PDF in both Adobe Acrobat Pro (9.4.6) and MacOS X Lions Preview and the Annotations of both programs were imported just ne. For best results, however, the Annotation tools of Acrobat are decidedly more robust. To work with an Annotated PDF once youve installed it, open your InDesign document, select the Annotations Panel (Window > Annotations) and choose the Import Annotations command from the

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Panels yout menu. Here you select the PDF that contains the annotations, as well as the four annotation types to import (Sticky Notes, Highlight Text, Text Edits, Drawing Markups) and the starting page (Figure 1). The Starting Page section of the Import window allows you to adjust where the import will begin if the InDesign document and the PDF have a di erent number

they dont print or appear in an exported PDF, nor do they appear as objects in your Layers Panel. They actually exist as objects on the Guide Layer, and thus can be hidden or shown by toggling the Show/ Hide Guides command in the View menu. They cannot, however, be printed by enabling the Print Visible Guides and Baseline Grids command of the Print window. All interaction with the Annotation objects occurs in the Annotations Panel (with the exception of
Figure 1 (top right): The Import Annotations window. Figure 2 (bottom right): An InDesign page with Annotations imported.

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of pages. To ensure that imported annotations correspond to the correct text, it is important that the InDesign document has not been altered since the PDF was exported from it (otherwise the text edits will appear in the wrong places). After import, annotations appear both within your InDesign document and the Annotations Panel (Figure 2). While the Sticky Notes and Drawn Markup objects that Annotations imports can be selected and moved on the InDesign page, all Annotations that the plug-in imports seem to be objects unto themselves. For instance,

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an Annotations > Clear All Annotations command, found in the Type Menu). The Panel is divided into two parts, with a list of Annotations (separated by page) on the top, and details and contents of Sticky Note comments on bottom. An adjustable divider separates the two sections of the Panel. The four types of Annotations are denoted by unique icons in the list. Buttons at the bottom of the Panel control the most frequently used features, such as inserting a New Sticky Note, Accepting a Text Edit, Rejecting a Text Edit, Accepting/Rejecting All Text Edits, or Deleting the Annotation from the list. And therein lies the power of this plug-in: Text Edits (Inserted, Deleted, or Replaced Text) can be accepted or rejected either individually or all at once, propagating the edit(s) into the original InDesign text ow, with just a mouse click. You read that rightyou dont need to replicate the work that your editor did marking up the

PDF. Simply accept the edits they made to the PDF, and your work is done! The Annotations plug-in has some other niceties. Individual annotations can be accepted or rejected/removed with a rightclick, as well as using the buttons at the bottom of the Panel. A right-click also reveals an option to locate/show the Annotation on the pagevery handy, say, when a Text Edit is the removal of a single tiny character on a page full of text. In the yout menu are commands that control popups (Show All Popups, Hide All, or Show Selected Only) that show/hide all comments throughout the text in individual, colored frames near their insertion points. Theres also a Jump To The Next Text Edit command. With this command enabled, you dont have to go looking for the next edit in the listonce you accept/reject an edit, youre automatically brought to the next one. DTP Tools also provides a free Annotations Reader program. This is

necessary in situations when a user imports Annotations into their InDesign document, saves the document, and then hands it o to someone who doesnt have the Annotations plug-in installed, allowing them to see the edits. The Reader also makes it possible to delete the Annotations so that the document can be edited without the reader in the future. You can open an InDesign document that has Annotations imported into it without the free Reader, but once you start making edits that cause re ow or that directly a ect placement of Sticky Notes, you will likely damage the Annotations information in the document. Finally, (and very importantly for folks who work on both a desktop and laptop) the terms of the license allow installation on two computers. Caveat Emptor While I think the Annotations plug-in is a huge time-saver and addresses a great

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need, there are some things that could be improved. First and foremost is documentationyou dont get any. The only documentation for the Annotations plug-in is on the DTP Tools website. While DTP Tools makes it a point to mention sustainability on their website, including that they keep all their documents electronic, theres no excuse for not including a PDF of documen-

removed once youve gone through and accepted/rejected your Annotations and save the InDesign le. If you use the Clear All Annotations command, however, the colors are removed. At the very least, the user should be made aware of this in the documentation, and preferably on import of any Annotations. Other quibbles include a few random crashes I encountered when trying to accept an edit, Tool Tips that fail to appear consistently, and the Panel divider usuFigure 3: The Annotations plug-in stealthily added six colors to my one color document.

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tation with the installer. You shouldnt have to hunt down instructions on how to use the product you just bought. I also take issue with the auto-update mechanismthe plug-in doesnt tell you that its installed one. It shows up as a new section in your InDesign Preferences, and any time a program makes a change like that, I think you should be told. The same goes for colors: When you import Annotations, your Swatches Panel is loaded with new colors that colorize those Annotations (Figure 3). Forget the documentation that you dont get, this isnt

even mentioned in the documentation on the website! Like the Annotation Sticky Notes and edit marks, these colors seem to be objects unto themselves: they are only applied to the Annotations and cant be deleted, and they dont print or export. They can, however, be mistakenly applied to other objects. These colors are only

ally requiring you to adjust twice before it takes. And though I manually updated the plug-in at least once since its initial release (the auto-update feature never kicked in), its still labeled as the 1.0 version. The only way to tell if you have the latest version is to check the release date on the Annotations for Adobe InDesign page of the DTP Tools website.

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InReview: Productivity Tool

Final Thoughts DTP Tools has created a powerful plugin that can save you all kinds of time and e ort. If you regularly receive well-edited and annotated PDFs of InDesign documents that you then need to go back and edit, this plug-in will pay for itself quickly. The few rough edges I mention aside, DTP Tools Annotations is a tremendous asset to anyone editing long documents from annotated PDFs.

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Jamie McKee is a book designer and typesetter for university presses throughout the US. More information about him can be found at www.mackeycomposition.com.

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InDesigner: JAZZ

Fritz Klaetke
Principal, Visual Dialogue http://visualdialogue.com

Revising an historic package of treasured music produced by an American institution might be a daunting prospect for many designers. But when hired by the Smithsonian Institution to redesign a seminal collection of jazz recordings for its Folkways imprint, Fritz Klaetke was ready for the challenge. JAZZ: The Smithsonian Anthology,

111 tracksa new look that would withstand the passage of time, just as its predecessor did 38 years earlier. Throughout the initial research and design phase, project director Richard James Burgess often referenced the sleekness of Apple packaging as a goal for the new jazz package, Klaetke says. But there also needed to be some connection to the original jazz series as well as a system to organize so much content. Perhaps the most important way that Klaetke paid homage to Clyne and retained continuity with the earlier LP set is through the collections title graphic. He redrew Clynes original JAZZ type in Adobe Illustrator, which allowed him the exibility to use it in a variety of sizes and media so that it becomes a recurring design element. Scaled larger and smaller, this type graphic creates a syncopated pattern that appears throughout the package, from cover and end

By Pamela Pner

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which includes six CDs and a 200-page book, builds on the legacy of the initial 1973 Smithsonian Collection of Classic Jazz, considered not only a milestone by many jazz enthusiasts but also a high point in the career of Ronald Clyne, the Folkways art director from 1951 to 1981 who de ned the labels design aesthetic. Clynes designs have been compared to those of Blue Note Records Reid Miles in terms of in uence and impact. Klaetke, who is principal of Boston-based design rm Visual Dialogue, understood that his client wanted to tip its hat to Clynes work yet give the anthologynow expanded to

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InDesigner: JAZZ

papers to CD labels to poster and t-shirt. The logo when printed as a varnish also provides unexpected structure and subtle sheen to opening pages. Klaetke had access to archives of photography from the Smithsonian and other collections that dated to the dawn of this distinctly American music genre. With so many photos available and a lot of text to place, it could have been di cult to achieve balance between image and type. Klaetkes solution was inspired by the subject matter. In the book layout, I set up a system of theme and variationnot unlike a jazz composition, he says. The theme is a very straightforward grid for the body text, while the variations are the photos, titles, and color overlay boxes which can bop around more randomly. Klaetke says that InDesignCS4 at the timewas instrumental in achieving that vision. In addition to its precision graphic, typographic, and page-layout tools, such as

When asked to design Folkways Records JAZZ: The Smithsonian Anthology, Fritz Klaetkes rst task was to redraw Ronald Clynes original 1973 JAZZ logotype (see example to the right). He then created a collage of the resized and colored typographic element (see below) to serve as a recurring pattern throughout the package and as the cover of the box set. He lifted the color palette from the original vinyl album set.

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InDesigner: JAZZ

master pages and book sectioning, InDesign gave Klaetke the freedom to experiment. It was essential that I was able to visualize things onscreen, he says. For example, how will this plastic slipcase look with the silkscreened silver lines over the colors on the cover? Lets take a look. Klaetke, who began using InDesign with the rst Creative Suite, says that Adobe

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InDesign is our go to tool for designing across di erent media and materials. Once we had the initial JAZZ type collage, we could bring it in to InDesign create the cover, slipcase, interior spreads, CD labels, poster, t-shirtyou name it.

Pamela P ner is the founding editor of this magazine and a freelancer writer and editor in Portland, Oregon. Even when printed with only a varnish, the redrawn JAZZ graphic adds interest and sheen to the title page. Klaetke says he simulated the black-on-black varnish onscreen by using 4-color rich black (40c 40m 40y 100k) for the background and standard 100% black for the foreground.

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InDesigner: JAZZ

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Klaetke was able to mock up the CD pockets early on to test color, placement and so on. The label and tracklist for the CD as well as its corresponding chapter in the book are keyed to the same color, which creates unity and helps organize the material.

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InDesigner: JAZZ

The interior pages showcase each musician and relate information about the tracks composer, players, recording date, and even the tunes melodic form. An essay providing detailed information about the musician, the recording, and the era accompanies each entry. Fonts used are Trade Gothic Extended, Compacta, and New Century Schoolbook.

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InDesigner: JAZZ

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Klaetke used InDesigns Transparency E ects to overlay color text boxes on the photographs, giving cohesion to the entry without drawing attention away from the historic black-and-white photographs.

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InDesigner: JAZZ

Images from numerous photography archives (including the Smithsonians) gave Klaetke a rich source of graphic material with which he was able to add rhythm to pages and spreads. Some photos, like that of Duke Ellington and His Orchestra, show the e ects of time and underscore the historical value of the JAZZ collection.

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InDesigner: JAZZ

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The JAZZ logotype was easily adapted to other vehicles such as posters and t-shirts through InDesign.

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InBrief: New & Improved Products

By Je Gamet

InBrief: New & Improved Products


Many companies are coming up with ways to make InDesign even more useful. They include slick book printing processes, Google Docs collaboration, Web-page-toInDesign-layouts conversions, and even the ability to work with InDesign documents on your iPad. Get more information on all of them, plus noteworthy fonts and one item thats just for fun. DocsFlow
Em Software, $200 www.emsoftware.com Em Softwares DocsFlow is an InDesign plug-in that lets designers link Google Docs les in layouts instead of placing content. As if that isnt magic enough, it also supports
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style mapping, helps resolve content conicts when more than one person is editing a Google Docs le, and can merge changes to linked les instead of simply overwriting the original document. DocsFlow isnt an InCopy killer, but its an economic alternative for small groups that need to edit copy for InDesign layouts.

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InBrief: New & Improved Products


Bradley Type

Blurb PDF to Book


Blurb, free www.blurb.com Blurb has made its book printing service easier to use by releasing an InDesign plugin that converts your designs into read-toprint PDFs. The plug-in includes templates for all of Blurbs book sizes, helps you choose the right paper for your book, and helps you set up the cover for your book. When your project is ready to print, the plug-in
Blurb PDF to Book

outputs a PDF that meets Blurbs speci cations and is ready to upload. Book prices start at $10.95 each, so its a ordable to print your own eye-catching portfolio, too.

Bradley Type
ITC, $292 www.fonts.com Natural-looking handwriting fonts are an amazing thing when designed well, like Bradley Type. Originally designed by Richard Bradley as ITC Bradley Hand in 1995, this new version o ers a cleaner look at type sizes about 18 point, but maintains the distinct handwritten look of his original work. Bradley hand-drew each letter, then worked with Richard Dawson to create the fonts Regular, Bold and Heavy weights, and they work great for a far wider range of designs than Bradley Hand did.

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Adobe CreatePDF
Adobe, $9.99 http://itunes.apple.com/us/app/ adobe-createpdf/id456561495?mt=8 Adobes new CreatePDF is a clever app for the iPhone, iPod touch and iPad that lets

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InBrief: New & Improved Products

users design PDF documents, or convert documents to PDF, on their iOS device. It can open Adobe Photoshop, Illustrator and InDesign les, Microsoft O ce documents, WordPerfect les, StarO ce and OpenO ce documents, RTF and text les, and TIFF, JPG, PNG, BMP and GIF images. The documents CreatePDF builds maintain footnotes, endnotes, links, and bookmarks, support acces-

Package for Archive


Kasyan, free kasyan.ho.com.ua Need to bundle up multiple InDesign projects with the Package feature? Youll need a little help, because InDesign can package only one project at a time. Luckily, you can overcome that limitation with Kasyans Package for Archive script. This handy tool looks for all of the InDesign documents in a folder, packages them with their associated asset les, and includes options for bundling fonts, and building reports and log les. Package for Archive supports InDesign CS3 and higher on both Mac and Windows.

iDML iPad
DTP Tools, $19.99 http://itunes.apple.com/us/app/idml/ id458341696?mt=8 Just because Adobe hasnt given us InDesign for the iPad doesnt mean you cant edit your documents away from your desk. Well, sort of. iDML iPad from DTP Tools lets you edit the text in your InDesign documents, although it doesnt support layout
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sibility standards, and more. The app is great for working with PDF content on-the-go, and since it can open Creative Suite les, its a great Photoshop, InDesign and Illustrator preview tool.
Adobe CreatePDF

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InBrief: New & Improved Products

changes. It doesnt let you make InDesign documents from scratch, either, but thats not the point of the app. Instead, it lets you work with your layout copy away from your workstationa handy option on cramped buses, trains and ights, and when you need to save your laptop battery. Just save your layouts as IDML, and store them in your Dropbox for easy access.

vLetter Historical Value Pack

FramedWeb
Rorohiko, $39 www.rorohiko.com Rorohiko has come up with a clever way to recreate website designs for print with its new FramedWeb plug-in for InDesign. Give the plug-in a URL, and it recreates the site design as an InDesign layout. It does its best to match the sites HTML and CSS, and will favor print versions of CSS style sheets when theyre available. FramedWeb is still in beta, and it doesnt faithfully recreate website layouts yet. The company is adding support for more HTML and CSS tags, so the plug-in should keep improving.

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vLetter Historic Value Pack


vLetter, $140 www.fonts.com Thanks to the magic of OpenType, its possible to recreate the iconic handwriting styles of historic gures like George Washington, Thomas Je erson and Abraham Lincoln as fonts. Fonts.com has bundled these, along with its John Adams, Meriwether Lewis, William Clark, and Declaration of Independence fonts into an a ordable pack, ready to use in your design projects. The fonts use OpenTypes features to string letters together so the look like natural cursive writing, and theres enough variation to make the fonts look striking close to actual handwriting.

Parkinson Electra
Linotype, $351 www.linotype.com Parkinson Electra takes its inspiration from Electra, designed in the early 1930s. While

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InBrief: New & Improved Products

it keeps the overall look of the original, Parkinson Electra has a more modern feel and a smoother ow, and is more readable, too. If the typeface reminds you of the San Francisco Chronicle from the 1990s, it should, because Electra was redesigned back then for the paper, and many of those traits are evident in this latest reinterpretation. The OpenType font includes Regular,

USB Film Roll

the digital age. Photojojo is recycling empty lm canisters into 4GB USB ash drives, and since theyre gathering the canisters from several lmmakers theres a good chance each one you buy will be di erent. The drives look cool, and its a great way to keep lm canisters out of the land ll.

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Bold and Heavy weights with matching italics, and looks great for both headlines and body copy.
Parkinson Electra

USB Film Roll


Photojojo, $20 http://photojojo.com/store/awesomeness/ usb- lm-roll/ Shooting photos on lm may be fading into the past, but that doesnt mean the lm canisters our cameras relied on cant be part of

Je Gamet is a consultant and speaker on graphic-design technologies and Mac OS X. He is the managing editor for The Mac Observer, a contributing writer for Design Tools Monthly and Layers magazine, and the author of The Designers Guide to Mac OS X. For a free issue of Design Tools Monthly, visit www.design-tools.com. You can follow Je on Twitter at twitter.com/jgamet.

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InDex: Your Key to Our Content

The InDex

Cant nd that article you saw in an earlier issue? Wondering whether we covered that obscure plug-in? Never fear, the InDex is here.
The rst issue of InDesign Magazine was published in July 2004. Since then, weve cranked out thousands of pages on hundreds of related topics. While its possible to use Acrobat to simultaneously search all past issues of the magazine for one word or phrase, many readers have clamoured for a formal index at the back of each issue. However, with 44 issues to account for, thats not feasible. Instead, the InDex will live as a PDF you can download for free. If you come across a topic you want to know more about, but its in an issue you dont have, youre not out of luck. We sell back issues at www.indesignmag.com. If the topic youre looking for isnt in the InDex, you have one more way to search: that PDF trick I mentioned. To make it work, all of your magazine issue PDFs must be in one folder. Open any issue in Acrobat, then hit Shift-Command-F (Shift-Control-F on Windows). In the Search window that appears, be sure that you click the radio button that says All PDF Documents in, and in the dropdown menu below that, choose the folder in which you placed your magazine issues. Youre on your way to nding anything in any PDF!

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Index for issues 1 through 44, July 2004 through November 2011

MAGAZINE

Click here to download the InDex.

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Share the Wealth


While this PDF is for your eyes only, you can tell your friends about the great discounts they can enjoy right now: $20 o a one-year subscription (coupon code FRIEND), or $15 o a two-year subscription (coupon code FRIEND2). Send them to www.indesignmag.com/ purchase.php.

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