Adobe Indesign 2 0
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Adobe Indesign 2 0
Grid Calculator Pro Edition 2.0 Introduction (Grid Layout Adobe InDesign Plugin)
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3. Youll be asked to link to the original file or to a new file. Click Yes to link to the original file or click No to link to a different file. (If you relink to a different file, make sure it works properly as a replacement for the formerly embedded graphic.) Clicking Yes will work if the file is still in the same disk location as it was when it was originally placed, so if you are working with a customer file that now resides on your computer, you may need to locate the original file submitted by the customer. If you try to print a document that has missing or modified links, an alert appears. You can cancel printing or print anyway, although Adobe recommends resolving missing or modified links prior to printing. Missing and modified links are also identified when you preflight a file, and as youd expect, you can easily resolve any link-related problems from within the Preflight dialog box. Unlinking and relinking placed text files Unlike placed graphics files, placed text files are always completely included in the document so that the text can be edited freely in InDesign. They are also linked to their source files, so that the Links palette can indicate when the source files have been modified after being placed. However, since text files are not normally included in customer job packages, they may appear to be missing in the Links palette during preflight. Placed text stories can be unlinked from their source files using the Links palette. This will cause InDesign to stop tracking the source text files. Unlinking text files can be a good idea when its certain that after placing text in InDesign, that text will be edited only in InDesign. Depending on your customers editing workflow, you might consider adding this step to customer checklists you may provide for handing off jobs. To unlink text files: 1. Select all text files in the Links palette. You can use the standard methods for multiple selection (Shift-clicking or Ctrl/Command-clicking items in the palette). 2. Choose Unlink from the Links palette menu. The unlinked items are removed from the Links palette, but the actual text files remain in the document. Its possible to relink an unlinked story to an external text file, using the Place command. This should only be done when the new text file is known to be a completely appropriate replacement for the selected text, because it will completely replace the selected text. To replace text files: 1. Use the type tool to select the text you want to replace. 2. Choose File > Place. 11
3. Locate the replacement text file, and make sure Replace Selected Item is selected in the Place dialog box. 4. Click OK or Open. H a n d l i n g a l e r t s a b o u t m i s s i n g o r m i s m a t c h e d c o l o r p r o f i l e s When you open a file, InDesign may present an alert saying that a files color profile is missing or doesnt match the current working space. The correct action depends on how your shop handles color management. Decisions are easier if color management settings have been standardized at your shop (even if your shop doesnt use color management, in which case the standard is to turn it off). P r eve n t i n g p r o f i l e m e s s a g e s i n a n o n - c o l o r - m a n a g e d wo r k f l ow If your shop doesnt operate a color-managed workflow and you see profile mismatch messages while opening a file, click Cancel to stop opening the file, and then prevent any further profile messages from appearing by turning off color management. When color management is off, color values in files you open (such as customer files) arent altered.
The new Nonprinting option is available in the Attributes palette.
C h e c k i n g f o r d i f f e r e n c e s i f t h e f i l e w a s c o nve r t e d f r o m I n D e s i g n 1. x For best results with documents created using a version of InDesign before version 2.0, print them using the version of InDesign in which they were created. If you dont have the version of InDesign that was used to create the document, compare the converted file to the customers proof to make sure there arent any unexpected changes. Because the InDesign text composition engine was refined in version 2.0, documents converted from pre-2.0 versions may exhibit some changes in line endings and other compositional results.
Tr a p p i n g d o c u m e n t s Trapping in InDesign 2.0 works by comparing colors at the ink level instead of at the object level. This is clearly superior to object-based trapping because it can correctly address situations where an object contains multiple colors, such as a gradient, and for objects that cross over areas of different colors. Adobe In-RIP Trapping allows you to trap objects created in InDesign as well as placed images. In comparison, built-in trapping in InDesign wont trap placed EPS or PDF files. Trapping can be performed either by InDesign or using the Adobe In-RIP Trapping capability built into many Adobe PostScript 3 RIPs. Both approaches provide access to high-end trapping controls youd expect to find in post-processing trapping applications, such as the ability to set trapping controls for text and rich blacks and to compensate for custom inks. Traps are visible only when you print color separations; you cannot see traps simulated on-screen. You specify trapping settings by using the Trap Styles palette. T h e n e w Tr a p S t y l e s p a l e t t e InDesign 2.0 builds on an already strong trapping foundation by adding the Trap Styles palette. Trap styles allow different trap settings to be applied to any range of pages in a document or a book. While trapping styles themselves are not new, in InDesign 1.5.2 they were controlled from within the Print dialog box. By moving them to the Trap Styles palette in InDesign 2.0, its now possible to apply trap styles directly to pages while you are viewing them. You can import trapping styles from other documents, so you may want to configure a file containing the trap styles for the presses you work with, and import them into a customers document so that you can quickly apply them to the appropriate spreads. Note: The default trap settings should not be changed except by someone familiar with the press conditions for the job. Additional information about trap options is available in the Adobe InDesign 2.0 User Guide and online Help. To create or edit a trap style: 1. Choose Window > Trap Styles. 20
P r ev i e w The preview in the lower left corner of the Print dialog box gives you graphic feedback on how well the current job settings fit the selected media. It updates dynamically any time you change a setting that affects the print area required for the job. 42
The preview has three views. To cycle through the views, click the preview. The views are as follows: Standard view: Displays the spatial relationship between the current print settings and the current media (paper) size. It answers the question What is the page position relative to the media? It accounts for all options in the Print dialog box that affect the print area requirements of a job, including but not limited to bleeds, tiling, thumbnails, and scaling. While standard view was available in earlier versions of InDesign, it is now more precise.
Custom page or cut sheet view: Displays the spatial relationship between the selected media (paper) size to the paper transport system, including the printable area. It answers the question What is the media position relative to the devices paper transport system? Also displays indicators for the color output mode and the relationship to the paper transport system. If a custom media size is specified, this view displays the effects of the Offset, Gap, and Transverse settings on the media size in relation to the full width of the media. 43
Text view. Presents the preview data as text.
D ev i c e - s p e c i f i c o p t i o n s The panels of the Print dialog box are designed to accommodate the most commonly needed output options. Some output devices have special options that arent available in the Print dialog box panels. You can gain access to device-specific options by clicking the Setup button (Windows) or the Page Setup and Printer buttons (Mac OS). By providing a consistent user interface for standard output options and also providing access to device-specific options, InDesign 2.0 gives you complete control over output.
Access to device-specific options is available through the buttons to the left of the Save Style button.
Caution: If you click the Setup button (Windows) or the Page Setup or Printer buttons (Mac OS) and set options in those dialog boxes, be sure you understand how those options will interact with the rest of the Print dialog box, as described below: If you will often need to set device-specific options that are not available in any of the Print dialog box panels, save your device-specific settings before running InDesign jobs. You only have to do this the first time you operate a particular workflow. On Windows, settings are
saved when you click Print in the Print dialog box. On Mac OS, click Save Settings while in the Page Setup or Printer dialog box (not all printer drivers provide this button). Some options appear in both the InDesign print dialog box and the driver-specific dialog box, such as page range, page size, PostScript level, and font downloading settings. When options are duplicated, set the option in the InDesign print dialog box. If you use a printer drivers options to print to a file, InDesign passes file-level control to the printer driver. For example, file attributes such as the filename extension will be set by the printer driver code, not by InDesign. However, regardless of how you print, the code that draws the pages themselves is always generated by InDesign. Mac OS X note: InDesign 2.0 does not support the Preview option in the Mac OS X Print dialog box. Instead, use the InDesign preview mode: While in the layout, click the Preview Mode icon in the toolbox ( ). If you want, you can also check overprints by choosing View > Overprint Preview. Note that the Preview option provided by Mac OS X is screen quality only, and is not suitable for prepress. Cancel button If you click Cancel, changes you made in the Print dialog box wont be saved. The only exception is that if you saved settings in a driver-specific dialog box, changes you made there will be saved. If you want to save changes to the Print dialog box but dont want to print, consider clicking the Save Style button to save the settings as a printer style. S e t t i n g u p Po s t S c r i p t o u t p u t p a t h s InDesign 2.0 provides improved control over PostScript output. New settings let you include or exclude device-specific and driver-specific PostScript code along with the PostScript generated by InDesign. This makes it easier to tune PostScript files to match the requirements of your downstream hardware or software. You set up each workflow by choosing the Printer and PPD in the Print dialog box. This section describes each output path and how to set it up.
Note: If you are using Windows to output to prepress, change the PostScript output format if necessary. To do this, in the InDesign Print dialog box click Setup, click Properties, click the PostScript tab, and then choose PostScript (Optimize for Portability). You should do this regardless of the PostScript output path you choose, to avoid possible issues with some post-processors.
Any output path that generates PostScript files can be directed to a drop folder for further processing by another workflow application, such as Acrobat Distiller When you create a. PostScript file, youll be asked to specify a folder location; thats when you can specify a drop folder. I n D e s i g n Po s t S c r i p t f i l e , d r i ve r a n d d ev i c e i n d e p e n d e n t PostScript generated by: Adobe InDesign only Device targeted: None Implications of this output path: Ideal for prepress workflows where the output will be post-processed.
Windows note: To add PostScript driver code when printing to file, in the InDesign Print dialog box click the Setup button, then select Print to File. Set other driver-specific options as necessary. Then click OK.
Supports all output color modes (composite or separated). Can use InDesign to set up built-in trapping or Adobe In-RIP Trapping. Can be printed to a file or directly to a device.
Mac OS note: This output path is not available in Mac OS X, because the AdobePS driver is not present. Instead, use the Apple LaserWriter driver PostScript file workflow for OS X described below, which produces the same results as AdobePS.
Windows note: This output path produces the same results as using the AdobePS driver or PostScript 5 driver in Windows. To set up an AdobePS driver- and device-dependent PostScript output path: In the Print dialog box, choose a printer from the Printer pop-up menu. The PPD menu will automatically display the name of the PPD used to set up the printer. If you want to target a different PPD, from the Printer pop-up menu choose a printer that uses the PPD you want. If an appropriate printer isnt listed, set it up using the Add Printer wizard (Windows) or the Chooser (Mac OS). 47
Printer and PPD menus set up for AdobePS driver-dependent, device-dependent output
A p p l e L a s e r Wr i t e r d r i ve r Po s t S c r i p t f i l e ( M a c O S X ) This output path is very similar to the AdobePS output path for Mac OS 9. Make sure you understand the distinction between the OS X and OS 9 versions of the LaserWriter driver output path, because the difference is critical for prepress: In Mac OS X, the LaserWriter driver produces PostScript that is comparable to the AdobePS driver PostScript output path under Mac OS 9. It is as DSC compliant and as flexible as the AdobePS output path. In Mac OS 9, the LaserWriter driver produces PostScript that is not DSC compliant and may not be compatible with post-processors. The technical implications of the LaserWriter OS X output path are identical to those listed for the AdobePS driver workflow above. To set up an Apple LaserWriter driver- and device-dependent PostScript file on Mac OS X: 1. In the Print dialog box, choose a printer from the Printer pop-up menu.
Printer and PPD menus set up for Apple LaserWriter driver-dependent, device-dependent output
Make sure you choose a printer that has been set up using the Apple LaserWriter driver. The PPD menu will automatically display the name of the PPD used to set up the printer. If you want to target a different PPD, from the Printer pop-up menu choose a printer that uses the PPD you want. If an appropriate printer isnt listed, set it up using the Mac OS X
File option turned on in the Destination menu of the Apple LaserWriter driver- and device-dependent output path in Mac OS 9. This dialog box appears after clicking the Printer button at the bottom of the InDesign Print dialog box. Actual name and location of the File option depends on the driver version.
4. Click Print or Save. InDesign is now set up to use the Apple LaserWriter driver to output PostScript.
Summar y : Setting up PostScript output paths To g e n e r a t e : Driver- and device-independent PS Driver- and device-specific to device Driver- and device-specific PS Set Printer menu to : PostScript file <device name> Set PPD menu to : Device-independent <device PPD> (dimmed; uses printer setup)
Driver-independent, device-specific PS PostScript file
<device name> (dimmed; uses printer setup) click Printer button (or Setup on Windows) and make sure that a file is targeted
The General panel of the Print dialog box contains basic printing options like those available in most Print dialog boxes, plus a few new additions.
Note: Some General Panel options are also available in the Print dialog box for the current printer driver, which you can open by clicking Setup (Windows) or Printer (Mac OS) at the bottom of the Print dialog box. Where options are duplicated, Adobe recommends specifying settings in the InDesign Print dialog box so that they can be saved as printer styles, and to minimize potential conflicts. Click Setup or Printer only to set device-specific options not available in the InDesign Print dialog box.
Pa g e s s e c t i o n Copies: Up to 999 copies are allowed. Collate: Prints the first copy of the entire requested page range before printing a second copy, and so on. When deselected, the specified number of copies of the first requested page is printed, followed by the specified number of copies of the second requested page, and so on. This is based on a software collation model (instead of a hardware collation model) in which the collation is being performed by the application as opposed to the device. To improve printing performance, this option is unchecked by default. This option is disabled unless multiple copies are specified in the Copies text box. Pages: Either click All (the default), or type a page range using hyphens. For discontinuous ranges, you can enter commas and spaces. You can also specify a page range by section by adding a section prefix and section number before a page range. For example, to print from Section 1, page 2 through Section 2, page 5, enter Sec12-Sec25. Reverse Order: Prints the last requested page first and the first last. When deselected (the default), pages are printed in the conventional ascending numerical order. Note: Some printers output face up so the when Reverse Order is selected, pages end up 3-2-1 in rather than 1-2-3. This option doesnt take that into account, so test on your equipment before running a job with it. Print Master Pages: Prints the master pages and none of the document pages. When this option is on, the Range option is deselected and all master pages are printed, because master pages dont have page numbers. Printing master pages is mostly useful for designers and art directors. This option should probably be deselected for most service provider scenarios. This option is new to InDesign 2.0. Sequence: Prints even pages only, odd pages only, or both (the default). This is used primarily when printing double-sided output on single-sided desktop printers, so for a service provider this option should usually be set to Both Pages when creating final output or printer styles. This option isnt available when Spreads is selected. Spreads: Prints all of a spreads pages on a single sheet of media. This option is usually of more use to designers than to service providers. Note that selecting this option does not automatically scale or reorient a spread to the selected paper size. To do so, go to the Setup section and adjust the Orientation or Scale options. If youre proofing, simply choosing Scale to Fit is the easiest solution. If youre printing final output of spreads, choose a media size thats big enough for the job. 51
Options section Print Nonprinting Objects: Causes InDesign to ignore the new Non-printing option for individual objects. Ask your customer if they applied the Non-printing attribute to any objects, and confirm whether those objects should print or not print on final output. Print Blank Pages: Prints all pages in the specified range even if they contain no objects. To conserve media, when printing separations this setting never outputs a page of blank plates. Print Visible Guide and Baseline Grids: Prints margin guides, ruler guides, column guides, and baseline grids using their colors as specified in the document. For example, if this option is on and the baseline grid is visible, the baseline grid will print, but if it isnt visible, it wont print. This option is primarily of use to designers and art directors. Service providers should usually make sure this option is off when creating final output or printer styles. Note: For optimal performance, turn the Print Visible Guides and Baseline Grids option off. This makes the most difference when spreads containing transparency must be flattened. Setup panel The Setup panel defines the relationship between the page and the output media in terms of size, orientation, and position. For InDesign 2.0, the major enhancement here is the ability to define a custom page size directly in the Print dialog box. 52
Pa p e r S i z e s e c t i o n Paper Size menu: By default, InDesign will match the page size with the closest available paper size that can accommodate all current print settings. The selections available here depend on the type of output youve targeted at the top of the Print dialog box: If you targeted a device-independent PostScript file (Printer: PostScript file; PPD: Device Independent), no paper size is available because it will be specified by a post-processing application later in the workflow. If you targeted a device-dependent PostScript file (Printer: PostScript file; PPD: <device name>), you can choose from the paper sizes defined in the selected PPD. The Custom paper size option may also be available if its enabled by the selected PPD. If you targeted a printer set up through the OS (Printer: <printer name>; PPD: <preset with printer>), the default paper size is Defined by Driver, meaning that InDesign will use the paper size defined by the current printer driver. To change the driver-defined paper size, click Page Setup. Or you can choose from paper sizes in the menu, while are supplied by the PPD. The Custom paper size option may also be available if its enabled by the selected PPD. Note: The Custom paper size option is not available for non PostScript output devices. Width and Height: Displays the dimensions of the selection in the Paper Size menu. These options are editable only if Custom is selected. If Width or Height display Auto, InDesign automatically calculates the minimum paper size needed to output a page with all marks and bleeds, with the goal of conserving continuous roll media. Orientation: Sets the orientation of the page on the media. This does not rotate the media. To rotate media, select a Transverse paper size; or for custom paper sizes, select the Transverse option. If you select the Transverse option, its a good idea to switch the preview to custom/cut sheet view (by clicking the preview) to verify that the orientation will produce the results you want. The following options are available only when Custom is selected in the Paper Size menu. The range of values for these options is specified by the selected PPD so that they are within the limits of the output device. All of the following options are new in InDesign 2.0 for custom page sizes. Offset: Sets the distance between the left edge of the media and the left edge of the page. Gap: Sets the distance between pages on continuous media. Transverse: Rotates the media, which is useful for tall pages being printed to roll-fed devices that have wide media sizes, such as imagesetters. This option doesnt change the Orientation, Width, or Height options. 53
When the thumbnail is in custom size/cut sheet view, an icon in the bottom left corner indicates output settings.
Text as Black: Prints text as black whenever it has a value that is not None, Paper, or a 0% tint. New in InDesign 2.0, this option is intended to ease proofing of text and should be turned off for most service provider scenarios. This option is available only for composite output of text created within InDesign. It has no effect on text in imported graphics or on text which has been converted to outlines.
For information about RIPs that support Adobe In-RIP Trapping, contact the following Adobe OEM partners who have licensed Adobe In-RIP Trapping: Agfa-Gevaert N.V. Fuji Photo Film Co., Ltd. Heidelberger Druckmaschinen Information Presentation Tech, Inc. Monotype Prepress RIPit Computer Corporation
Trapping: Sets up trapping for workflows involving color separation. The Trapping menu include the following options: Off. Applies no trapping. This setting is automatically applied when composite output is specified, because trapping is only relevant to color separations. Application Built-In. Creates traps as separations are output, using the trapping engine included with InDesign (also known as the on-host trapping option). It does not trap placed EPS or PDF files; use Adobe In-RIP Trapping to trap those file types. If a document uses stroked TrueType fonts, better results can be obtained using Adobe In-RIP Trapping or by converting the type to outlines (select the type and choose Type > Create Outlines). Adobe In-RIP. Sends color data that can be trapped at the RIP. This option is available only when In-RIP Separation is selected in the Color menu and the targeted device supports Adobe In-RIP Trapping. Note: The Resolution option available in previous versions of InDesign is not available in InDesign 2.0. This option was used to calculate resampling of images. Now, resampling of one-bit images is based on the resolution provided by the Adobe Graphics Manager (AGM), which is usually obtained from the device PPD. Resampling of grayscale and color images is now based on the current screen ruling. Note that all resampling is controlled by the setting of the Send Data option in the Graphics panel of the Print dialog box. In the Send Data popup menu, the All option does not resample and the other options do. Flip: Creates a mirror image of each page for the purpose of producing emulsion that faces in the desired direction. The following flip options are available for color separations (not available for composite output):
None. Doesnt change the output. This is the default setting. Horizontal. Reflects pages across the horizontal axis; text becomes wrong-reading. Vertical. Reflects pages across the vertical axis; text becomes upside-down and wrongreading. 62
Horizontal and Vertical. Reflects pages across both axes. Negative: Inverts the polarity of pages so that black objects are white, and vice versa.
Usually used to produce film negatives. This option is available only for color separation and composite grayscale output. This option uses a setpagedevice method, not a transfer function, so if your RIP uses custom screens for negative printing, InDesign will use them. Screening: Specifies the combination of screen ruling (in lines per inch) and resolution (in dots per inch) for output. The settings in this menu depend on whether composite or separations output is specified: For composite output, a Default setting is available. This simply uses the devices default settings, since most desktop color devices dont provide control over the line screen used by each ink. For separations, available settings are provided by the targeted devices PPD, and the Default option is not available. InDesign 2.0 uses only the screen and resolution combinations described above. If you want to use an unlisted combination, add it to a customized copy of the devices PPD. Inks section Use the options in the Inks section to control how document color swatches are translated into printing inks. This section includes the new Ink Manager, which can simplify ink management.
Inks list: Displays all inks and indicates their output status. This list may show fewer inks in a different order than that originally generated by the documents color swatches if youve
used the Ink Manager to reassign inks (through ink aliasing). In other words, think of the Inks list as a list filtered by the Ink Manager. Print icon: ( ) Indicates that the ink will be printed.
Frequency: Sets the screen ruling, in lines per inch, for the selected inks halftone dot screen. Angle: Sets the angle in degrees, at which the selected inks halftone screen is rotated. Simulate Overprint: Allows overprints to be simulated on color composite PostScript desktop output devices. This option should be off for final output because it is intended for composite output, and because it simulates overprints by converting spot colors to process. Selecting this option can be useful for desktop proofing. Ink Manager: Click to open the Ink Manager dialog box. Ink Manager Use the Ink Manager for direct control over each process color separation or spot color overlay. A key new feature lets you use ink aliasing to quickly change the relationship between a documents spot colors and the ink plates generated during color separations, independent of the Swatches palette. This is necessary when the customers document contains more spot inks than theyve arranged to print. Without the Ink Manager, reassigning extra spot colors to print on other plates or converting spot colors to process is not easy. It can require altering the colors in the Swatches palette or in the original versions of placed graphics, which carries the risk of causing unexpected changes in the customers design. The Ink Manager provides a sensible solutionyou can reassign inks for separations, while original colors are left alone. 63
with a profile or with printer color management. The CRD and Intent options are relevant only if a job is being printed to a RIP that supports PostScript color management, which is distinct from but works with application-level ICC color management. The Print Space section contains the following options: Profile: Specifies the colorspace within which the source space colors will be sent to the output device. This defaults to the documents working CMYK space, which is the correct setting if it matches the final output. This is usually changed when the final output device changes; for example, when a job originally targeted to one kind of press is run on a different press that requires a different profile. PostScript Color Management. Enables the CRD and Intent options, and makes no further changes to the source colors except to include the CRD and Intent (if specified below). PostScript Color Management allows an output device to make the necessary color adjustments for its own colorspace. CRD: Sends a Color Rendering Dictionary to the output device with the job. A Color Rendering Dictionary is analogous to an output profile, but in a format specific to PostScript color management. In the vast majority of cases this should be left at the Default setting. Sending a CRD overrides the CRD built into the device, so the default should be changed only when the host computer contains an ICC profile for the device that is more up-to-date and more accurate than the CRD built into the RIP. Intent: Sends a rendering intent to the output device. This option is available only when Proof is the source space, so that the devices gamut scaling from the proof space to the output device can be controlled. 72
Ad v a n c e d p a n e l
The Advanced panel provides control over OPI workflows and the conversion of gradients and transparency to output compatible with most output devices.
OPI section Options in this section enable support for OPI (Open Prepress Interface) workflows. For these options to work properly, high-resolution versions of linked graphics must be available where the OPI server expects to find them. The OPI section contains the following options: OPI Image Replacement: Allows InDesign to act as an OPI server, so that it will replace linked graphics in placed EPS files. This is useful when you need to output using highresolution data instead of low-resolution OPI placeholders (such as when flattening transparency). Keep the following in mind when turning on OPI Image Replacement: When placing an EPS file, the Read Embedded OPI Image Links option in the EPS Import Options dialog box must be selected to be able to replace the OPI links when printing. InDesign must have access to the graphics linked by the OPI comments. If the highresolution versions are not available, InDesign preserves the OPI links and includes the low-resolution proxy in the output stream. To have an OPI server resolve OPI links later in the workflow, leave this option deselected.
characters only if more than 35% of the fonts characters are used in the file; if fewer than 35% of the characters are used, InDesign embeds only the characters used in the file. For high-resolution output, its a good idea to subset fonts to ensure that the glyphs used by the document are the ones that will be used by the output device. If font subsetting is not used, output may not be as expected if some glyphs at the output device have subtle differences compared to the glyphs in the font versions used in the document. For this reason, the PDF export style Press is set to subset all fonts below 100% glyph usage by default. OPI section The OPI options in the Export PDF dialog box are identical to those in the Print dialog box, except that there is no OPI Image Replacement option in the Export PDF dialog box. See OPI Section on page 73. The OPI settings in this dialog box dont change the settings in the Print dialog box. Tr a n s p a r e n c y Fl a t t e n e r s e c t i o n You can apply a transparency flattener style when you export to PDF, just as you can when you print. The Transparency Flattener section in the Export PDF dialog box works identical to the same section in the Advanced panel of the Print dialog box. See Transparency Flattener Section on page 74. The transparency flattener style you specify in this dialog box doesnt change the setting in the Print dialog box. 85
You can limit access to an Adobe PDF document when you export it. When files have restricted features, any tools and menu items related to those features are dimmed.
Note: PDF export styles do not support passwords and security settings. If you export a document that includes security, and click Save Style from the Export PDF dialog box, the passwords and security settings wont be preserved. Pa s s wo r d s s e c t i o n An Adobe PDF file can have an open document password (user password) and a change security settings password (master password). If you set any security restrictions in your file, you should also specify a master password; otherwise anyone who opens the file could remove the restrictions. If a file is opened with a master password, the security restrictions are temporarily disabled. If the file has both passwords, you can open it with either one. Each option in this section must use a different password. Password Required to Open Document: Prevents access to the file unless the User Password is entered properly. The password is required even if the PDF file is opened in another program that can open PDF files, such as Adobe Illustrator.
than file size. The objective is to maintain all the information in an Adobe PDF file that a commercial printer or service provider will need to print the document correctly. This PDF export style does not convert color spaces, downsamples color and grayscale images to 300 dpi and monochrome images at 1200 dpi, embeds subsets of all fonts used in the file, sets the High Resolution transparency flattener style, and uses other settings to preserve the maximum amount of information about the original document. You cant edit or delete the built-in PDF export styles. If you want to use settings that are similar to or based on a built-in PDF export style, simply create one using a built-in style as a starting point. S e t t i n g u p PD F e x p o r t s t y l e s If youve worked with printer styles before, setting up PDF export styles will be familiar to you. To open the PDF Styles dialog box: Choose File > PDF Styles. To create or edit an Adobe PDF export style: 1. In the PDF Styles dialog box, do one of the following: To create a new style, click New, and type a Name. To change an existing custom style, double-click the file in the list, or select the file and click Edit. 2. Specify export settings as necessary in any of the panels listed in the menu under the name, and then click OK. The options available in the panels are the same as those in the Export PDF dialog box except for the Security options. To rename or delete PDF export styles: 1. In the PDF Styles dialog box, do one of the following: To rename an existing style, select a style in the list, click Edit, type a new name, and then click OK. To delete styles, select one or more styles in the list, click Delete, and then click OK to confirm the deletion. 2. Click OK. To load PDF export styles from another file: 1. In the PDF Styles dialog box, click Load. 2. Locate and double-click the file containing the styles you want to load, or select the file and click Open. 95
To save PDF export styles: 1. In the PDF Styles dialog box, select one or more styles in the list to export. 2. Click Save. Specify a name and location, and then click Save.
Helping customers prepare InDesign files
This section reviews many of the issues already discussed, in the form of specific recommendations for your customers who submit InDesign jobs. If you provide handoff checklists to your customers, this section can help you adjust your checklists for InDesign 2.0 software. P r e p a r i n g t r a n s p a r e n c y To minimize issues with transparency, advise customers to: Place Adobe native formats that support unflattened transparency: Illustrator 9.0 or 10 (native.AI format, not EPS), Photoshop 4.0 or later, or PDF 1.4 (supported by Acrobat 5.0 or later). If you place EPS versions of Illustrator files, they wont be affected by the InDesign flattener. This is not necessarily a problem. Illustrator EPS files will output as expectedif they were flattened in Illustrator at settings appropriate for high-resolution color output. For best results with spot colors and overprinting, make sure the customer is using version 9.02 or later of Illustrator. Set their transparency blend space to CMYK (choose Edit > Transparency Blend Space > CMYK). Use color settings compatible with your shops workflowparticularly the RGB and CMYK working spaces. Where possible, use process colors for transparent effects in both InDesign and imported graphics (particularly from Adobe Illustrator). While spot colors can be used with transparency, they are subject to more output issues. Closely monitor any spot color gradients from Adobe Illustrator. Avoid applying the Difference, Exclusion, Hue, Color, Saturation, or Luminosity blending modes to transparent objects using spot colors, as these modes may produce less satisfactory results when used in this way. If preseparated files (such as DCS or multitone files) are directly affected by transparency on the layout, convert them to EPS files before the InDesign document is output. Preflight the document making sure that all fonts and high-resolution links are available. Without these items, transparency cant be calculated to imagesetter resolutions. If an OPI workflow is being used, check the list of conditions under Flattening OPI workflows on page 27. Make sure that all high-resolution links in imported EPS files are embedded in those files. For example, if an InDesign document includes an Illustrator file that contains a TIFF image, that TIFF image should be embedded in the Illustrator file. (Of course, the Illustrator file should normally be linked to the InDesign document.) 97
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Adobe, the Adobe logo, Acrobat, AdobePS, Distiller, Everywhere you look, Illustrator, InDesign, PageMaker, Photoshop, PostScript, PostScript 3, and Warnock are either registered trademarks or trademarks of Adobe Systems Incorporated in the United States and/or other countries. Rotis is a trademark of the Agfa Division, Bayer Corporation. Apple and Macintosh are trademarks of Apple Computer, Inc., registered in the United States and other counries. Helvetica and Times are registered trademarks of Linotype-Hell and/or its subsidiaries. Microsoft, OpenType, Windows, and Windows NT are either registered trademarks or trademarks of Microsoft Corporation in the United States and/or other countries. Arial and Times New Roman are trademarks of the Monotype Corporation registered in the U.S. Patent and Trademark Office and certain other jurisdictions. PANTONE is the property of Pantone, Inc. All other trademarks are the property of their respective owners. 2001 Adobe Systems Incorporated. All rights reserved. Printed in the USA.
12 Combining Files into Books
Now you can assemble your individual InDesign documents into long multi-le books. Automatic page numbering from le to le is just the beginningyou can also create items that span the full length of your book, such as tables of contents, indexes, convenient printing controls, and more.
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Combining Files into Books
In this lesson youll learn how to do the following:
Associate multiple InDesign documents into a book. Specify page numbering throughout the book. Create a Table of Contents document for a book. Create a Table of Contents page for a chapter of a book. Assign a le to act as the governing source document for style denitions. Update book les after changing page count, style denitions, and headings. Imbed multi-tiered index references and specify options. Generate an index le and sort entries. Edit index references.
This lesson focuses on the cookbook scenario featured in Lesson 11, but you do not have to complete that lesson before you work on this one. In this project, youll gather together a collection of several InDesign documents, each representing one chapter of the cookbook. Using InDesign 2.0, youll assemble these chapters into a book so that you can easily create common elements, such as a table of contents, index, unied page numbering, styles, and color denitions. To ensure that the tools and palettes function exactly as described in this lesson, delete or deactivate (by renaming) the InDesign Defaults le and the InDesign SavedData le. See Restoring default preferences on page 4. Note: If you have not already copied the resource les for this lesson onto your hard disk from the ID_12 folder from the Adobe InDesign 2.0 Classroom in a Book CD, do so now. See Copying the Classroom in a Book les on page 3. Do not use the similar les in Lesson 11 to work on Lesson 12, because there are important differences between those sets of les.
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Classroom in a Book
Dening a book
Your project is to pull together four existing chapters into a book. In InDesign, dening a book means that you specify the relationships among multiple existing les, including which les are included in the book and in what order they appear. The sample les youll use for this project are works in progress, so most of the pages are merely placeholders for content that would be added at some future date. Because of this, youll see many blank or nearly blank pages if you open and scroll through the various chapters. As a rst step, youll duplicate and rename the project les. 1 Using your Explorer (Windows) or Finder (Mac OS), open the ID_12 folder inside the Lessons folder in the IDCIB folder that you copied from the Adobe InDesign 2.0 Classroom in a Book CD to your hard disk. 2 Select the 12_c.indd le, and then choose Edit > Copy and then Edit > Paste (Windows) or choose File > Duplicate (Mac OS). 3 Unlock the copy of the original le, using the procedure for your operating system:
(Windows) Right-click the Copy of 12_c.indd le and choose Properties. Then deselect the Read-Only check box and click OK. (Mac OS) Select the 12_c.indd copy le and choose File > Get Info > General Information. Then deselect the Locked check box and close the Info window.
4 Rename the copied le 12_Starters.indd. 5 Using the process described in steps 24, duplicate, unlock, and rename ve additional les as follows:
Rename a copy of 12_d.indd 12_Entrees.indd. Rename a copy of 12_e.indd 12_Nibbles.indd. Rename a copy of 12_f.indd 12_Finishes.indd. Rename a copy of 12_g.indd 12_TOC.indd. Rename a copy of 12_h.indd 12_Index.indd.
Now you can start building a book using the rst four of these copied les.
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Creating a book le
The next task is to dene which InDesign les will be part of the book. 1 Start Adobe InDesign. 2 Choose File > New > Book. 3 In the New Book dialog box, type12_Book.indb as the lename and save the le in the ID_12 folder. The Book palette opens, but its contents are empty. Note: An.indb le is not like other InDesign documents. If you double-click an.indb le in your desktop or Finder, no document window opens, but the Book palette does appear. This Book palette is the essence of what makes a book a book in InDesign. 4 In the Book palette menu, choose Add Document, to open the Add Documents dialog box.
5 Open the ID_12 folder and select four of the documents you renamed in the previous topic: 12_Starters.indd, 12_Entrees.indd, 12_Nibbles.indd, and 12_Finishes.indd. Do not add the index or table of contents les at this time. To select, click one of the four documents and then Ctrl+click (Windows) or Shift+click (Mac OS 9) or Command+click (Mac OS 10.1) each of the other three les. Or, you can add documents one at a time, repeating steps 46 for each of the four les.
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6 With all four les selected, click Add (Windows, Mac OS 9) or Open (Mac OS 10.1). The four document names now appear in the Book palette. Notice that the pages for each chapter also appear in the palette.
7 Examine each of the four open documents and notice the order in which the les appear. (The order in your Book palette may differ from the illustration above, depending on the order in which you selected and added the les.)
Setting the order and pagination
The plan for the cookbook is to organize the chapters by the order they would be served in a meal, beginning with appetizers (Nibbles) and progressing on to desserts (Finishes). Your next task is to organize the chapters in the order you want for the book, so that the sequence and page numbering ow appropriately. 1 In the Book palette, drag the 12_Nibbles.indd le to the top of the list. When a black bar appears just under the Book tab, release the mouse. Notice that the pagination has changed to reect the page-count difference between this le and the le that was previously in the top position on the list.
2 As necessary, drag the other les into position on the list so that they appear in the following order (from top to bottom): 12_Nibbles, 12_Starters, 12_Entrees, 12_Finishes. Notice that some of the chapters start on odd-numbered pages. You want each chapter to start on an even numbered page so that the left page of the rst spread is a photograph and the right page is the chapter title page. Youll x that next.
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3 In the Book palette menu, choose Book Page Numbering Options.
4 In the dialog box that appears, select Continue on Next Even Page, and then click OK. All chapters except the rst one begin on even-numbered pages. 5 In the Book palette, double-click the page numbers for the 12_Nibbles le to open the Document Page Numbering Options dialog box, or choose Document Page Numbering Options from the Book palette menu. Note: Double-clicking the document in the Book palette or selecting the Document Page Number Options command in the Book palette menu will also automatically open the le. 6 Select the Start Page Numbering At option and type 2 so that the rst page of the document appears on page 2. Then click OK.
7 Choose File > Save and then choose File > Close to close the 12_Nibbles document, but do not close the Book palette.
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Working with a table of contents
A table of contents (TOC) for a book can be a separate InDesign document or it can be placed in an existing document that is part of the book. In this project youll create both kinds: a high-level table of contents for the entire book and more detailed content lists for each chapter.
Adding the table of contents le
When you create a new le just for the book TOC, you should carefully select all the same document-setup specications that you use in the other chapters of your book, such as the page size, paper orientation, and so forth. For this lesson, that le has already been created for you but it has no content yet. 1 In the Book palette, choose Add Document, and then locate and double-click the 12_TOC.indd le in your ID_12 folder. 2 Drag the 12_TOC.indd le to the top of the Book palette list. 3 In the Book palette, double-click the 12_TOC.indd le name to open it in the document window. At this point, this document is a single, blank page. 4 On the Book palette menu, choose Document Page Numbering Options, or simply double-click the page number for the 12_TOC le in the Book palette list. 5 Under Style in the Document Page Numbering Options dialog box, select the lowercase roman numerals option, i, ii, iii, iv., and then click OK. 6 Save your work.
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Generating a table of contents for the book
Your table-of-contents le is ready to go, so you can now have InDesign create the listings for you. 1 With the 12_TOC.indd le open, choose Layout > Table of Contents. 2 At the top of the dialog box, type Comfort Food as the Title for the table of contents and select TOC Book Title for Style. (You may need to scroll in the Style pop-up menu to nd the TOC Book Title paragraph style.) The words Comfort Food will appear at the top of the table-of-contents page, formatted in the TOC Book Title paragraph style. 3 Under the Other Styles list on the right side of the dialog box, select Chapter Title, and then click the Add button to place the Chapter Title in the Include Paragraph Styles list. With this selection, you designate that all paragraphs in the book that are formatted in the Chapter Title paragraph style will be listed in the table of contents. 4 Click More Options.
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5 Under Style: Chapter Title, select the following formatting options:
For Entry Style, select TOC Head 1 to apply that paragraph style to the listing of chapter titles in the table of contents. For Page Number, select No Page Number.
Note: If you do not see these options, make sure that you clicked the More Options button.
6 Using the same area of the dialog box as in step 3, double-click Chapter Section in the Other Styles list to add it to the Include Paragraph Styles list. 7 Under Style: Chapter Section, select TOC Head 2 for Style. In the Page Number option, make sure that After Entry is selected, or select it now.
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8 Under Options, select the Include Book Documents check box, and then click OK because youre ready to generate and place the table of contents in the le.
9 Move the loaded-text icon to the upper left margins of page 1, and click to place the text. The TOC ows into the page, showing the four chapters and major subdivisions within each one. Save your le.
Note: In this le, custom paragraph styles for the table of contents have been created for you. When you create your own documents, you can adjust and format the text and style denitions as you would for any other text frame.
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Creating a table of contents for an individual chapter
The table of contents in the front of the book is limited to broad categories. Next, youll create a secondary table of contents for an individual chapter. This subordinate TOC will include the next level of interest: the recipe names. 1 Choose File > Open and select the 12_Finishes.indd le in your ID_12 folder. On page 143, click the selection tool ( ) in the right side of the page to select the placeholder text frame.
2 Choose Layout > Table of Contents, and type Recipes as the Title. Then for Style, select Chapter Section as the formatting style for the TOC title.
3 In the Other Styles list, double-click Chapter Section to place it in the Paragraph Styles list.
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4 Under Style: Chapter Section, select the following options:
For Entry Style, select TOC Chapter Section. For Page Number, select No Page Number.
Now all chapter sections, such as Pastries, Cookies, and so forth will appear in the table of contents for the chapter but without page references. 5 Repeat step 3 but this time double-click Recipe Name, and then select following style options:
For Entry Style, select TOC Recipe Name. For Page Number, select After Entry. For Between Entry and Number, type. (space, period, space, period, space, period) to create three spaced leader dots before the page numbers in the chapter table of contents. Select the Sort Entries in Alphabetical Order check box.
6 In the lower left corner of the dialog box, deselect the Include Book Documents check box if it is currently selected, so that only recipes in this chapter appear in this table of contents. Then click OK (Windows, Mac OS 9) or Done (Mac OS 10.1).
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7 Click the loaded-text icon inside the text frame you selected in step 1. Then save your le but leave it open for now.
Maintaining consistency in a book
In order to create a unied look for your long publication, you want to make sure that the same paragraph-style specications and color denitions are consistent throughout the book. To make this easier to manage, InDesign designates one of the les as the style source document. By default, the rst le that you place in the book becomes the style source. This is not necessarily the le at the top of the list in the Book palette. You can tell which le is the style source by looking in the Book palette. A Style Source icon ( ) appears in the box to the left of the designated source le. This box is empty for all other book les.
Reassigning the style source
Designating a different le as the style source couldnt be easier: Here youll make the TOC le the style source le with just one click.
In the Book palette, click the empty box to the left of the 12_TOC le.
The style source indicator now appears in the box next to the TOC le.
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When you synchronize styles, InDesign automatically searches all the style and swatch denitions in the selected les and compares them to the denitions in the designated style source le. When the set of denitions in a le does not match the set in the style source le, InDesign adds, removes, and edits the denitions in the selected le so that they match the style-source-le denitions. After synchronizing, all documents in the book have identical sets of styles, ensuring consistency throughout the book. Currently, the paragraph denitions for several of the paragraph styles are dened differently in the 12_TOC le and the other chapters. Youll update the denitions of each style list in each chapter in one simple process. By leaving the 12_Finishes le open to page 143 (its table of contents) youll be able to see the changes in style easily. 1 Make sure that the style source icon ( ) appears next to the 12_TOC le in the Book palette, indicating that it is the designated style source le. 2 Holding down Shift and clicking, select the four les in the Book palette: 12_Nibbles, 12_Starters, 12_Entrees, and 12_Finishes. (It is not necessary to select the 12_TOC le.) 3 In the Book palette menu, select Synchronize Selected Documents.
4 After a short delay, a message appears, telling you that synchronization was successful and that some documents may have changed. Click OK.
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Notice the dramatic change in the table of contents for the 12_Finishes table of contents page: The chapter title now appears ush right instead of ush left and with 30-point type instead of 18-point type. The chapter sections and recipe names are now set in Myriad, a sans serif font, and are also aligned on the right side of the page.
Updating the table of contents after editing
In most real-world situations, projects often need last-minute changes. When a heading or subheading requires such changes, all TOC and cross-references must be updated, too, to match the rewording in the heading. Fortunately, updating in InDesign is not difcult. 1 If the desserts chapter is not open, choose Window > 12_Finishes.indd to open it. 2 Using the type tool ( ), select the words Final Thoughts on page 143, and type Sweet Finishes to change the chapter title. 3 Choose File > Save. 4 Choose Window > 12_TOC.indd to make that le active, and then use the selection tool ( ) to select the table-of-contents text block. 5 Choose Layout > Update Table of Contents. 6 After short delay, a message appears telling you that the table of contents has been updated successfully. Click OK. The table of contents now reects the new chapter title for the nal chapter in the book. 7 Choose File > Save, and then close the 12_TOC.indd le. Leave the Sweet Finishes le (12_Finishes.indd) open for more work in the next topics.
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Indexing the book
Creating a good index is an art, as every reader who has tried to nd a reference to a specic topic appreciates. Indexing is also a work that traditionally requires extraordinary attention to detail, with precise checking and rechecking of the entries. InDesign makes the job easier by facilitating the mechanical aspects of the process. To create an index in InDesign, you embed index references right in the text. When you add or delete text or entire pages in the document so that the pagination changes, the index reference ows along with the text so that the updated index always shows the correct page. You can switch your view of these markers on and off as you work, but the markers themselves never appear in the printed document. You can create indexes for individual chapters, but usually youll want to publish just one index at the end of this book, covering the entire contents.
Creating index references
Some indexing has already been embedded in the project documents for this lesson. Youll add some index markers so youll know how to do this yourself. 1 In the Pages palette, double-click the icon for page 146 to center that pagethe Persimmon Pudding recipein the document window. 2 Choose Window > Index to open the Index palette. 3 Select the type tool ( ) in the toolbox, and select the words Persimmon Pudding in the recipe title.
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4 Press Ctrl+Alt+U (Windows) or Command+Option+U (Mac OS). The entry Persimmon Pudding is added to the Index palette. If necessary, scroll down the list to the letter P and click the arrow to see the new page reference. Make sure that the Reference option is selected at the top of the Index palette.
5 Choose New Page Reference on the Index palette menu to begin adding another index reference to page 146.
6 In the dialog box that opens, Under Topic Levels, type puddings in the box labeled 1.
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7 In the 2 box under Topic Levels, type persimmon, creating a sublevel entry under puddings. Then click Add. The new listing now appears in the large box at the bottom of the dialog box, under the letter P.
8 Create another new index entry by typing fruit desserts in level 1 and persimmon pudding in level 2. Click Add again. Then click OK (Windows, Mac OS 9) or Done (Mac OS 10.1) to close the New Page Reference dialog box. 9 In the Index palette, scroll to review your new page references in the index list. If necessary, click the arrows by letters to expand and collapse items in the index list.
Creating index cross-references
Many indexes include cross-references to other listings within the index, especially for common synonyms for a term used in the text. In this procedure, youll add a crossreference directing readers who are looking in the index for entries under sweets to look under desserts instead. 1 In the 12_Finishes.indd le, choose Edit > Deselect All. 2 In the Index palette menu, choose New Cross-reference. 3 In Topic Level 1, type sweets. 4 In the Type pop-up menu, select See.
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5 Scroll down the list in the bottom of the dialog box and nd the page reference to desserts under the letter D. Then drag the desserts index entry into the Referenced box.
6 Click Add, and then click OK (Windows, Mac OS 9) or Done (Mac OS 10.1). 7 Scroll down the list in the Index palette to see the new cross-reference. Then save your work.
Generating the index
Like the table of contents, you can place the index in a separate InDesign le or on pages of a le in the book that also contains other content. In this project, youll put the index in a separate le. 1 In the Book palette, click an empty area to deselect all les, and then in the Book palette menu, choose Add Document. 2 Locate the 12_Index.indd le in your ID_12 folder and double-click to add the le to the book. If the 12_Index le is not at the bottom of the list in the Book palette, drag it to that position now. 3 In the Book palette, double-click the 12_Index le name to open the index document. 4 If the Index palette is not already open, choose Window > Index, and then select Generate Index on the Index palette menu. 5 In the Generate Index dialog box, do the following:
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In Title, delete the word Index so that the box is empty. The title Index already appears on the page, so you dont need to include it a second time. Select the Include Book Documents check box. Click OK.
6 After a short pause, the pointer appears as a loaded text icon. Move it to the intersection of the left margin and the horizontal guide (at about 12 picas on the vertical ruler). Hold down Alt (Windows) or Option (Mac OS) and click to begin placing the index in one column after another until you nish lling all three columns. 7 Save your le. The index combines all index references embedded in the book les into one unied index. Always use the Index palette to enter and edit index entries. Although you can edit the index directly, like any other text frame, those changes will be lost when you regenerate the index. Congratulations; you have completed this lesson. For more information about rening and formatting your tables of contents and index les, see Chapter 6, Creating Books, Tables of Contents, and Indexes in the Adobe InDesign 2.0 User Guide.
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On your own
1 Open the 12_Nibbles le and delete several pages at random. Save the le. Then update your book numbering by doing the following:
On the Book palette menu, choose Repaginate. In the 12_Index le, on the Index palette menu, choose Generate Index. Make sure that the Replace Existing Index and the Include Book Documents check boxes are selected, and click OK. In the 12_TOC le, select the table-of-contents text frame and choose Layout > Update Table of Contents.
In each case, notice the changes in the page numbering on the Book palette, index references, and table-of-contents references, respectively. 2 Explore the icons at the bottom of the Book palette by resting the pointer over each one until the tooltip appears, indicating the function of the icon. 3 Examine the available options when you select all the les in the Book palette and then choose the following commands (one at a time)on the Book palette menu:
Preight Book Package Book Export Book to PDF Print Book
In each case, click Cancel after you nish reviewing the dialog boxes. 4 Create an index reference for a range of pages. For example, in the 12_Starters le, select the word Salads on page 41 and choose New Page Reference on the Index palette menu. Then, under Type, select the To End of Section option to create an index reference from pages 41 to 59.
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1 What are the advantages of the book feature in InDesign 2.0? 2 Describe the process and the results of removing a chapter le from a book. 3 What is the best way to edit an index? Why?
1 The book feature makes it easy to coordinate related elements in a long document that consists of multiple les. By dening documents as a book, you can automate what would otherwise be time-consuming detail work, including the following tasks:
Maintaining the proper sequence of documents. Updating the pagination of the entire book after adding or removing pages. Generating a book-wide index and table of contents with accurate page references. Specifying options for preight, packaging, exporting, and printing the entire book.
2 To remove a le from a book, rst select the le in the Book palette. Then, on the Book palette menu, choose Remove Document. The result of removing a chapter is that the book no longer appears in the list of les included in the Book palette. When you repaginate the book, update the index, and update the table of contents, all page references that involve pages that were below the removed le now change. Although the le is removed from the book, the le is not deleted; it is still stored on your hard disk. 3 Always update index page references in the Index palette. To do this, double-click the index reference you want to edit in the Index palette (or select it and choose Page Reference Options on the Index palette menu), and then make your changes in the dialog box and click OK. When you nish making changes to index references, open the Index le. Then, on the Index palette menu, choose Generate Index and replace the existing index for all book documents. It is important to do your editing in the Index palette instead of simply editing the index text directly. The reason is that any edits you make directly in the index text will be lost when you regenerate the index. If you then make changes in the book pagination, you risk having many incorrect index page references. If you edit in the Index palette, all those references are automatically updated when you generate a new index to update the existing one.
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