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Blending mode

Transparency

Select Isolate Blending to restrict

blending modes so they aﬀect

only the selected group.

Transfer Photoshop eﬀects by dragging the fx

icon in the panel to another object a瑴ribute or

on top of another object on the page.

Click here to clear all

transparency and

Photoshop eﬀects

applied to an object.

You can apply eﬀects

independently to a

group, an object, its

stroke, its ﬁll, or to the

text in text frames.

You can easily apply

multiple eﬀects at once

using the Eﬀects dialog box.

Select an object with the Selection

or Direct Selection tool and then

choose a Photoshop eﬀect from

this menu, the panel menu, or the

Object > Eﬀects menu.

Tips㨃

WORKING WITH TRANSPARENCY

• Note that if you apply se瑴ings in the Eﬀects dialog box without ﬁrst selecting an

object, each object you draw subsequently will have those new se瑴ings applied.

• To apply an eﬀect to an image separately from its frame, ﬁrst select it with the

Direct Selection tool. While you cannot apply transparency eﬀects to text selected

with the Type tool, you can convert the text to outlines (Type > Create Outlines)

and then apply the eﬀect with the Selection tool.

• To learn more about transparency, visit www.adobe.com/print.

Using creative eﬀects 31

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周e Highlight menu in the Fla瑴ener Preview

panel provides several options for displaying

speciﬁc instances of transparency, including

Transparent Objects, All Aﬀected Objects,

and Outlined Text. For example, the

Transparent Objects option highlights in red

all transparent objects.

Fla瑴ening transparency

When you print an InDesign ﬁle

that contains transparent objects,

InDesign performs a process called

ﬂattening, which converts all areas

of transparency into a collection of

opaque vector and raster objects that

retains the appearance of the original

objects. Flattening also occurs when

you export a PDF ﬁle with Adobe

Acrobat® 4 compatibility (such as a

PDF/X-1a or PDF/X-3 ﬁle) or an EPS

ﬁle, using File > Export.

You can choose the ﬂattening quality

in the Transparency Flattener area

of the Advanced pane of the Print

dialog box or the Export Adobe PDF

dialog box. By default, the Preset

menu includes three options: Low

Resolution, Medium Resolution, and

High Resolution. In general, Medium

Resolution is appropriate for proof-

ing, and High Resolution should be

used for all ﬁnal output.

If you’re printing to a device that

does not support Adobe PostScript®,

or creating a PDF ﬁle that you will

send to a client as a proof, you should

check Simulate Overprint in the Out-

put pane of the Print dialog box. 周is

way, the proof will look the same

as it looks onscreen with Overprint

Preview (View > Overprint Preview)

enabled. 周is is especially important

when using spot colors.

If none of the default presets meets

the requirements of your printer—or

your output provider’s printer—you

can create custom ﬂattener presets by

choosing Edit > Transparency Flat-

tener Presets and then clicking New

in the Transparency Flattener Presets

dialog box. For information about

creating ﬂattener presets, refer to

InDesign Help.

Note that ﬂattening is not neces-

sary when creating a PDF/X-4 ﬁle

and printing to an Adobe PDF Print

Engine RIP.

Managing transparency

In a document that will be ﬂattened,

it is a good practice to place text on a

higher layer than transparent objects.

周is removes the chance that some

text characters will become outlined

in the ﬂattening process.

周e Flattener Preview panel (Win-

dow > Output > Flattener Preview)

helps designers and printers prevent

mistakes and helps ensure high-

quality printed results by identifying

transparent objects or objects that

interact with transparent objects.

32 Adobe InDesign CS5 | Conversion Guide

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In this original layout, the images and the text don’t

stand out enough over the dark background.

Here, the graphic frames are given a

beveled stroke with a small shadow

to add dimensionality.

In the ﬁnal layout, the Fill of the text

frame is set to Paper, at 70% opacity.

周e text frame object itself is also

given an angled Gradient Feather and

a Pillow Emboss eﬀect.

When you expect to apply the same

object forma瑴ing more than once

in a document, consider making

an object style in the Object Styles

panel. 周is lets you quickly apply

and redeﬁne your forma瑴ing. Your

object style deﬁnition can include

transparency eﬀects applied to the

object, its ﬁll, its stroke, or (in the

case of a text frame) its contents.

Adding creative eﬀects to object styles

Using creative eﬀects 33

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When you open the Separations panel

and choose View > Overprint

Preview, InDesign displays a real-time

ink reading of the area beneath your

cursor. Click the visibility icons in the

le晴 column to hide or show individual

color plates.

InDesign oﬀers an array of options

for outpu瑴ing your projects,

whether you plan to print your

InDesign ﬁle or distribute it on the

web, consumer electronic devices,

or phones. However, before you

export or print your document, use

the InDesign preﬂight and prooﬁng

tools to help ensure the ﬁnal result

will appear as you expect.

To see an accurate view of what

document pages will look like

when printed or exported as PDF,

choose View > Screen Mode >

Preview (or press W when not edit-

ing text). 周is hides nonprinting

page elements such as guides, the

pasteboard, and frame edges.

You can hide the InDesign user

interface entirely, including menus

and panels, by choosing View >

Screen Mode > Presentation (or

pressing Shi晴+W). 周is is a helpful

display mode when showing a

client or colleague your work.

If you choose View > Over-

print Preview, InDesign displays

an onscreen “ink preview” that

approximates how gradients, trans-

parency, and overprinting will

appear in color-separated output.

周e Separations Preview panel

(Window > Output > Separations

Preview) lets you visually check

individual or multiple plates, pre-

view overprinting objects, and view

ink-limit warnings onscreen before

printing.

周e Preﬂight panel (Window >

Output > Preﬂight) can warn you of

problems that may prevent a docu-

ment or book from printing cor-

rectly. Preﬂighting is “live”—that is,

when it is enabled, InDesign checks

your document while you work,

and displays a green or red dot in

both the lower le晴 corner of the

panel and the document window.

You can control what the Preﬂight

panel considers an error by choos-

ing Deﬁne Proﬁles from the Pre-

ﬂight panel menu. Options include

minimum image resolution, color

model limitations, document size,

and more. A晴er creating a new

preﬂight proﬁle, you can choose it

from the Proﬁle menu in the Pre-

ﬂight panel.

Note that when you select an error,

the Info area at the bo瑴om of the

panel provides more details.

If you are including interactive ele-

ments in your document, such as

animations, you can see them in

action inside the Preview panel

(Window > Interactive > Preview).

Preﬂight and prooﬁng

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You can choose Deﬁne Proﬁles from

the Preﬂight panel menu to tell

InDesign what “errors” to look for.

周e Preﬂight Proﬁle menu lets

you export or import proﬁles.

You can choose

your proﬁle here.

You can create a new

Preﬂight Proﬁle here.

You can double-click

to jump to this object.

When a document has no

errors, the “light” turns green.

周is area identiﬁes the problem

and recommends a solution.

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Impor tant techniques

周e previous sections have helped you

learn your way around

Adobe InDesign CS5. Now it’s time for some techniques that will get

you laying out pages faster and better than ever before. Whether you

need to create colors and gradients, format text automatically, anchor

an object inside a text ﬂow, or just ﬁnd some tips for getting more

eﬃcient with InDesign, you’ll ﬁnd the answers in this section.

Selection tool techniques

周e Selection tool and the Direct

Selection tool are two of the most

important tools in InDesign, so it’s

helpful to know how to access them

quickly. Here are some tips:

■ You can temporarily access the

Selection tool or Direct Selection

tool (whichever was most recently

selected) by pressing Command

(Mac OS) or Ctrl (Windows) when

any other tool is selected.

■ When editing text with the Type

tool, you can switch to the Selec-

tion tool by pressing the Esc key.

■ You can double-click a text frame

with the Selection tool or the

Direct Selection tool to switch to

the Type tool. If the text frame

contains text, the blinking text

insertion point is displayed where

you double-click.

■ Double-click a graphic frame with

the Selection tool to select the

graphic inside the frame. Double-

click again to reselect the frame.

■ You can select “through” an

object—selecting a frame or path

behind another object—by holding

down Command (Mac OS) or Ctrl

(Windows) while clicking with the

Selection tool.

■ If you choose the Selection tool

and then click any object that’s

part of a group, the entire group

is selected. To select an individual

object that’s part of a group, dou-

ble-click the object with the Selec-

tion tool. 周en press Esc to select

the group again.

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Deselect All

Press Shi晴+Command+A (Mac

OS) or Shi晴+Ctrl+A (Windows)

to deselect all objects or text on a

spread. It is particularly helpful to do

this before creating or editing color

swatches or editing a paragraph or

character style, so that the swatch or

style is not accidentally applied to the

selected text or object.

Smart Guides

Smart Guides are temporary guides

that appear as you create, move,

rotate, resize, or scale an object or

group of objects on your page. 周ey

help you lay out objects on a page

quickly, without having to create

guides and grids manually.

You can turn Smart Guides on or

oﬀ in the View > Grids & Guides

menu, or by pressing Command+U

(Mac OS) or Ctrl+U (Windows).

For example, if you want two objects

to align along their le晴 sides, you can

enable Smart Guides, and then start

dragging one of the objects with the

Selection tool. When the sides or

center points of the two objects are

aligned, InDesign displays a light

green guideline.

If you drag a third object near the

ﬁrst two, you will see a diﬀerent kind

of Smart Guide—one with arrows on

each end—when the space between

all three objects matches exactly.

If you rotate an object with the

Rotate tool, InDesign shows the cur-

rent angle next to the cursor, and

displays a green Smart Guide when

the rotation matches the same angle

as any other rotated object visible on

the page.

Note that the Smart Guides feature

“sees” only the objects that you can

see at your current view. If you want

Smart Guides to ignore an object,

scroll the page so that you cannot see

it, or place it on a hidden layer.

Gap tool

周e Gap tool lets you adjust the

space between objects. When you

place the Gap tool cursor between

two objects—or between an object

and the side of the page—a light gray

zone indicates which objects will

be aﬀected. By default, the Gap tool

aﬀects all objects with commonly

aligned edges at the same time.

Hold down the Shi晴 key to limit the

aﬀected objects to those on either

side of the cursor.

When you drag the Gap tool, the

aﬀected objects resize so that the

space remains ﬁxed. Hold down the

Command (Mac OS) or Ctrl (Win-

dows) key while dragging to resize

both the space and the objects.

If you hold down Option (Mac OS)

or Alt (Windows) while dragging,

InDesign moves all aﬀected objects

instead of resizing them.

Important techniques 37

-e object on the far right is being dragged. -e cursor indicates the current position of the

object. Green Smart Guides with arrowheads indicate the three objects will have equal space

between them when the mouse bu瑴on is released. -ree horizontal Smart Guides indicate

the object is aligned along the top, center, and bo瑴om of the frame to its leﬀ.

You can use

the Gradient

and Color

panels to

deﬁne a

two-color

gradient.

Double-clicking the swatch in the

Swatches panel opens the Gradient

Options dialog box, where you can

name or edit the swatch.

周e Layers panel lets you manage objects

in complex documents.

To add the gradient to

the Swatches panel,

choose New Gradient

Swatch from the

Swatches panel menu,

or drag the swatch icon

from the Gradient panel

into the Swatches panel

(shown here).

Working with layers

Each object sits on a layer inside

your document. By default, every

ﬁle has one layer, but you can add

more layers in the Layers panel

(Window > Layers). For example, in

a complex publication, you may want

four separate layers for images, text

frames, background artwork, and

interactive elements. To create a new

layer, choose New Layer from the

Layers panel menu.

When you select an object with the

Selection tool, a square selection icon

appears highlighted on the far right

of the object’s current layer in the

Layers panel. Drag the icon to move

the selected object to a diﬀerent layer.

When you click the triangle next

to the layer name, the Layers panel

reveals a list of all objects on that

layer. To move an object—for

example, to position it above or

below other objects on the same

layer, or to move it to a diﬀerent

layer—drag it up or down within the

Layers panel. 周is technique also lets

you move objects in or out of groups.

Clicking in the two columns along

the le晴 side of the Layers panel lets

you hide/show or lock/unlock each

object or layer. Double-click a layer

to see more layer options.

New color swatches

By default, the Swatches panel con-

tains color swatches for the four

process colors, plus process-color

equivalents of red, green, and blue.

To add a new color swatch, choose

New Color Swatch from the panel

menu, and then choose Process or

Spot from the Color Type pop-

up menu. You can choose preset

libraries of colors, such as Pantone®

Solid Coated, from the Color Mode

pop-up menu.

You can also create unnamed colors

with the Color panel. You can then

add those colors to the Swatches

panel by choosing either Add To

Swatches from the Color panel menu

or Add Unnamed Colors from the

Swatches panel menu.

Adobe Kuler™ is a web-hosted appli-

cation for generating color themes.

You can download color swatches

as well as create and edit your own

38 Adobe InDesign CS5 | Conversion Guide

1. Double-click the

Eyedropper tool to tell

InDesign what forma瑴ing

you want to copy.

2. Click an object or text

to “pick up” its forma瑴ing.

If you change your mind,

you can pick up diﬀerent

forma瑴ing by Option-

clicking (Mac OS) or

Alt-clicking (Windows).

3. Click an object or drag over text to apply the forma瑴ing

that was loaded in the Eyedropper tool.

color themes using the Kuler panel

(Window > Extensions > Kuler).

Creating and applying gradients

周ere are several ways to deﬁne and

apply a gradient from one color to

another. You can apply a gradient to

any selected object by opening the

Gradient panel (Window > Color >

Gradient) and clicking the gradient

swatch icon. 周en you can choose

Linear or Radial from the Type pop-

up menu, adjust its angle, or reverse

the gradient direction.

To change the colors, click the

gradient stops under the gradient

bar, and choose a color in the Color

panel. Alternatively, you can hold

down Option (Mac OS) or Alt

(Windows) and click a named color

in the Swatches panel. To add new

gradient stops, click a blank area

below the gradient bar.

You can add the current gradient to

the Swatches panel (or create a new

named gradient) by choosing New

Gradient Swatch from the Swatches

panel menu. Named gradients do

not include information about blend

angle or location.

周e Gradient Swatch tool lets you

specify the start point, end point, and

angle of a gradient. You can apply a

gradient to the ﬁll or stroke of any

selected object or text.

Note that you cannot specify an

opacity for a gradient stop. To create

a gradient that changes from opaque

to transparent, use the Gradient

Feather tool or one of the Feather

features in the Eﬀects panel.

Copying forma瑴ing

周e Eyedropper tool lets you copy

character, paragraph, ﬁll, stroke,

and transparency attributes from

any object, including an imported

graphic. Double-clicking the

Eyedropper tool displays the Eye-

dropper Options dialog box, which

lets you specify the attributes the

Eyedropper tool copies.

For example, you can set the current

ﬁll color by selecting the Fill icon in

the Tools, Swatches, or Color panel

and clicking a bitmap image with

the Eyedropper tool. You can then

save that color to the Swatches panel

by choosing Add To Swatches from

the Color panel menu. If you click a

Important techniques 39

You can apply a diﬀerent corner eﬀect to

each corner of a rectangular frame.

vector graphic with the Eyedropper

tool, InDesign reads the RGB color

from the screen preview.

To transfer text formatting from one

range of text to another, select the

Eyedropper tool, click the source text

with the attributes you want to trans-

fer, and then click within a target

paragraph, or drag the loaded Eye-

dropper icon over a range of text.

Converting RGB and spot

colors to process colors

When working with spot colors, it’s

a good idea to choose Ink Manager

from the Swatches panel menu and

then select the Use Standard Lab

Values For Spots option. 周is helps

ensure you get the best quality color

for prooﬁng and for conversion to

CMYK. 周e Ink Manager also lets

you convert a spot color to a pro-

cess color by clicking the spot color

icon

to the le晴 of the spot color

name or by selecting the All Spots

To Process option.

To convert RGB colors or images to

CMYK when you print, choose Com-

posite CMYK, Separations, or In-RIP

Separations from the Color pop-up

menu in the Output pane of the Print

dialog box.

You can convert to CMYK while

exporting a PDF ﬁle by choosing

Convert To Destination (Preserve

Numbers) from the Color Conver-

sion pop-up menu in the Output

pane of the Export Adobe PDF dialog

box. Preserve Numbers indicates that

images and swatches already deﬁned

with CMYK values will “pass through”

and not be changed.

Drawing Bezier paths

While Adobe Illustrator is the indus-

try’s premier drawing application,

InDesign oﬀers many excellent draw-

ing features that work identically to

those in Illustrator, including a Pen

tool and a Convert Direction Point

tool. Note that when the Pen tool is

over a path, it automatically changes

to the Add Anchor Point tool; when

it’s over an anchor point, it changes

to the Delete Anchor Point tool.

周e Pathﬁnder panel (Window >

Object & Layout > Pathﬁnder) lets

you merge and intersect paths. 周e

Object > Paths menu lets you com-

bine paths into compound paths.

You can also copy and paste editable

vector artwork between InDesign

and Illustrator (see “Copying graph-

ics” on page 24).

Redrawing frames with the Pencil tool

周e Pencil tool lets you draw paths

or frames free-form, by clicking and

dragging. To create a closed path,

hold down Option (Mac OS) or Alt

(Windows) a晴er you start drawing,

and keep holding it down until you

have released the mouse button.

周e Pencil tool not only draws, it

redraws: If you draw over part of a

path or frame edge, InDesign deletes

a section of the path and redraws

using the new path you drew. 周is

is helpful for converting rectangular

frames into irregular shapes.

To change the Pencil tool’s tolerance

settings, double-click the tool in the

Tools panel.

Corner eﬀects

You can make corners on any

selected frame or path appear

rounded (or one of several other

corner eﬀects) by choosing Object >

Corner Options or selecting from the

Corner Options pop-up menu

in the Control panel.

40 Adobe InDesign CS5 | Conversion Guide

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