Adobe InDesign CS5 User Manual

पीडीएफ

दस्तावेज़

Using
ADOBE&reg; INDESIGN&reg; CS5
Last updated 4/20/2010
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Using Adobe&reg; InDesign&reg; CS5 for Windows&reg; and Mac OS
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iv
Last updated 4/20/2010
Contents
Chapter 1: What’s new
Design and layout . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
Cross media design
Collaboration
.................................................................................................... 4
......................................................................................................... 6
Usability and productivity
............................................................................................. 6
Chapter 2: Workspace
Workspace basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Customize menus and keyboard shortcuts
Toolbox
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Viewing the workspace
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Working with ConnectNow
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Setting preferences
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Recovery and undo
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Chapter 3: Layout
Creating documents
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
Rulers and measurement units
Grids
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Ruler guides
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
Pages and spreads
Master pages
Layers
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Laying out frames and pages
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
Numbering pages, chapters, and sections
Text variables
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
Chapter 4: Working with documents
Working with files and templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
Saving documents
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
Converting QuarkXPress and PageMaker documents
Exporting
Chapter 5: Text
Creating text and text frames
Adding text to frames
Threading text
Editing text
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134
Find/Change
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145
Glyphs and special characters
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160
Spell-checking and language dictionaries
Footnotes
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173
Tracking and reviewing changes
Adding editorial notes in InDesign
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180
USING INDESIGN CS5 v
Last updated 4/20/2010
Contents
Chapter 6: Styles
Paragraph and character styles
Drop caps and nested styles
Object styles
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197
Working with styles
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 202
Chapter 7: Combining text and objects
Anchored objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204
Wrapping text around objects
Creating type on a path
Captions
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221
Chapter 8: Typography
Formatting text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224
Using fonts
Leading
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 232
Kerning and tracking
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234
Formatting characters
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236
Formatting paragraphs
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243
Aligning text
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248
Tabs and indents
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252
Bullets and numbering
Text composition
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 268
Chapter 9: Tables
Creating tables . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273
Selecting and editing tables
Formatting tables
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282
Table strokes and fills
Table and cell styles
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 287
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 290
Chapter 10: Long document features
Creating book files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 296
Creating a table of contents
Creating an index
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 302
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 308
Working with markers
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 321
Chapter 11: Drawing
Understanding paths and shapes
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 323
Drawing with the line or shape tools
Drawing with the Pencil tool
Drawing with the Pen tool
Editing paths
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 326
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 327
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 330
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 334
Applying line (stroke) settings
Change corner appearance
Compound paths and shapes
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 341
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 345
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 346
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Chapter 12: Graphics
Understanding graphics formats
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 352
Importing files from other applications
Placing graphics
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 354
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 361
Managing graphics links
Reusing graphics and text
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 372
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 379
Chapter 13: Frames and objects
Selecting objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 385
Transforming objects
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 391
Aligning and distributing objects
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 407
Grouping, locking, and duplicating objects
Working with frames and objects
Clipping paths
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 411
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 414
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 419
Chapter 14: Transparency effects
Adding transparency effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 423
Blending colors
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 432
Flattening transparent artwork
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 435
Chapter 15: Color
Understanding spot and process colors
Applying color
Working with swatches
Tints
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 444
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 446
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 450
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 460
Gradients
Mixing inks
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 461
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 466
Using colors from imported graphics
Chapter 16: Trapping color
Trapping documents and books
Trap presets
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 468
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 470
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 474
Adjusting ink options for trapping
Chapter 17: PDF
Exporting to Adobe PDF
Adobe PDF options
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 482
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 487
Preparing PDFs for service providers
Structuring PDFs
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 480
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 496
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 498
Chapter 18: Interactive documents
Interactive web documents for Flash . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 504
Dynamic PDF documents
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 511
Bookmarks
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 514
Hyperlinks
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 516
Cross-references
Movies and sounds
Animation
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 522
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 529
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 532
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Page transitions
Buttons
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 537
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 539
Chapter 19: XML
Working with XML
Importing XML
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 548
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 551
Tagging content for XML
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 562
Structuring documents for XML
Exporting XML
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 567
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 575
Chapter 20: Printing
Printing documents . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 578
Printer’s marks and bleeds
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 588
Printing thumbnails and oversized documents
Printing graphics and fonts
Managing color
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 590
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 592
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 594
Preflighting files before handoff
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 597
Creating PostScript and EPS files
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 604
Printing booklets
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 609
Chapter 21: Color separations
Preparing to print separations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 614
Overprinting
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 619
Inks, separations, and screen frequency
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 622
Chapter 22: Automation
Scripting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 629
Plug-ins
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 630
Data merge
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 631
Chapter 23: Sharing content between InCopy and InDesign
Understanding a basic managed-file workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 641
Sharing content
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 647
Assignment packages
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 653
Working with managed files
Adjusting your workflow
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 656
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 661
Chapter 24: Comparison of PageMaker and InDesign menus
PageMaker menu commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 665
Chapter 25: Keyboard shortcuts
Default keyboard shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 672
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Chapter 1: What’s new
Design and layout
For more information on new Adobe&reg; InDesign&reg; features, see www.adobe.com/go/id_newfeatures_en.
Multiple page sizes
You can define different page sizes for pages within a single document. This feature is especially useful when you want
to manage related designs in one file. For example, you can include business card, postcard, letterhead, and envelope
pages in the same document.
To create multiple page sizes, use the Page tool to select a page, and then change the settings in the Control panel. See
“Use multiple page sizes” on page 62.
New Layers panel
The new InDesign Layers panel is now more similar to the Illustrator Layers panel. Each layer has a disclosure triangle
that can be expanded to reveal the objects and their stacking order on that given layer for the active spread.
By default, new page items are given generic names such as &lt;rectangle&gt; and &lt;path&gt;. You can give any page item a
custom name by click-pause-clicking the item name in the Layers panel.
You can change the stacking order of objects by dragging items in the list. The Layers panel also lets you show or hide
and lock or unlock individual page items.
See “Layers” on page 71.
Custom page sizes
Instead of editing a text file to create custom page sizes, you can use the Custom Page Size dialog box to make custom
page sizes available when you create documents. See “Create custom page sizes” on page 39.
Simplified transformations
InDesign includes several new selection and transformation features that simplify manipulating objects.
Content grabber The content grabber appears as a circle when you hover over an image using the Selection tool. Use
the content grabber to select and move the content of a frame with the Selection tool still selected. This behavior
effectively replaces that of the Position tool, which is removed from InDesign CS5. If you rotate the content with the
frame, a horizontal line appears in the center of the content grabber. This line mirrors the rotation angle of the content.
The content grabber draws over each frame that is part of a group. Use the Selection tool to reposition content within
a frame that is part of the group.
If you don’t want the content grabber to appear when you hover over an image, choose View &gt; Extras &gt; Hide Content
Grabber.
See “Select objects” on page 385.
Double-click behavior Double-clicking graphics with the Selection tool no longer switches to the Direct Selection tool.
Instead, double-clicking a graphic frame now selects the content in the frame. If the content is selected, double-clicking
the content selects the content’s frame. (When the content is selected, you can also click the edge of its containing
frame to select the frame.)
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In a group, double-clicking an item in the group selects the item you double-clicked. To reselect the group, doubleclick the edge of the selected item or group. In all cases, the Selection tool remains the active tool. This approach gives
you a quick and consistent way to select graphic frames and groups.
Frame edge highlighting InDesign now temporarily draws the frame edges as you use the Selection tool to hover over
items on a page. This method makes it easier to find the item you want before you select it. The color of the frame edge
drawn matches the color of the layer the object is on. Groups are drawn with a dashed line. This feedback is especially
helpful when working in Preview Mode or with Hide Frame Edges selected.
Path and point highlighting When you hover over a page item with the Direct Selection tool, InDesign displays the
path and display the path points. This feedback makes it easier to view the path point you want to manipulate. You no
longer have to select the object with the Direct Selection tool and then select the path point. You can simply drag the
point you want.
Rotate As in Illustrator, you don’t have to switch to the Rotate tool to rotate a selected page item. With the Selection
tool, you can simply position the pointer just outside a corner handle, and drag to rotate the item. When you stop
dragging, the Selection tool remains the active tool. See “Rotate an object using the Selection tool” on page 398.
Transform multiple selected items You no longer have to group multiple items before you can resize, scale, or rotate
them with the Selection tool. Simply select the items you want to transform, and you see a transformation bounding
box around the selected items. Dragging a handle resizes the selected elements; holding down Shift resizes them
proportionally. Holding down Ctrl (Windows) or Command (Mac OS) scales them. Holding down Ctrl+Shift
(Windows) or Command+Shift (Mac OS) scales them proportionally. Including Alt (Windows) or Option (Mac OS)
performs the transformations from the center of the selected objects. See “Transform objects” on page 395.
Live Screen Drawing In InDesign CS5, you see the content draw as you drag it. In previous InDesign versions, you
pause before dragging to see the content draw. You can change the Live Screen Drawing setting in Interface
preferences to use the previous behavior. See “Change Interface preferences” on page 19.
Favor the selected object If you select one of several overlapping page items and begin dragging, the selected object
remains selected. To select a different item, simply click a portion of that different item that is not overlapping or
intersecting the currently selected item.
Live Distribute When transforming multiple selected objects, InDesign CS5 lets you proportionally resize the space
between the selected items instead of resizing the actual items. See “Distribute objects using Live Distribute” on
page 411.
Reordering of the Transformation Tools The Rotate, Scale, and Shear tools appear under the Free Transform tool in
the Tools panel. You can rotate, resize, and scale objects without having to switch from the Selection tool.
Gap tool
The Gap tool provides a quick way to adjust the size of a gap between two or more items. The Gap tool is a one-step
way to adjust your layout by directly manipulating the whitespace. See “Align objects using the Gap tool” on page 410.
Paragraphs that span or split columns
In InDesign CS5, you can make a paragraph span multiple columns without creating separate text frames. You can
also split a paragraph into multiple columns within the same text frame. See “Create paragraphs that span or split
columns” on page 250.
Keep with previous
The Keep Options dialog box now has a Keep With Previous option that keeps the first line of the current paragraph
with the last line of the previous paragraph. See “Control paragraph breaks using Keep Options” on page 246.
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What’s new
Balanced columns
The Balance Columns setting in the Text Frame Options dialog box lets you automatically balance text across columns
in a multiple column text frame. See “Add columns to a text frame” on page 118.
Vertical justification in non-rectangular frames
In previous versions of InDesign, applying a non-rectangular text frame causes vertical justification settings to be
ignored. In InDesign CS5, you can apply both vertical justification and corner effects and other irregular-shaped
frames. See “Align or justify text vertically within a text frame” on page 250.
Live corner effects
Click the yellow square that appears near the upper right corner of a selected frame to apply corner effects to
rectangular frames. In addition, you can now apply a different corner effect and a different corner radius to each
corner. See “Use Live Corners” on page 346.
Swatches in Control panel
You can apply swatches to objects directly in the Control panel. Select an object and choose the swatch from the Fill
or Stroke menu in the Control panel. You can also drag the current color swatch displayed in the Control panel and
apply it to other objects. See “Apply color” on page 446.
Grid place enhancements
When placing multiple files, simply start dragging, and then use the arrow keys to change the number of columns and
rows of the placed images. While dragging, hold down Ctrl (Windows) or Command (Mac OS) and press arrow keys
to change the gutter space. See “Place multiple graphics” on page 366 and “Create contact sheets” on page 371.
Auto-Fit
Select the Auto-Fit option so that the image is resized automatically whenever you resize the frame. See “Using Auto
Fit” on page 416.
Drawing multiple frames in a grid
When using frame creation tools such as the Rectangle or Type tool, you can press arrow keys to create equally spaced
frames. See “Draw multiple objects as a grid” on page 326.
Duplicating objects into a grid
You can create a grid of objects while dragging a copy of a selected object. See “Duplicate objects into a grid” on
page 413.
Live captions from metadata
In InDesign CS5, you can generate captions based on image metadata using a number of methods.
• You can generate captions while you place images by turning on the Create Static Captions checkbox in the Place
dialog box.
• You can generate captions from placed images. First, use the Caption Setup dialog box to identify which metadata
is included in the image. Then choose an option from the Object &gt; Captions menu to generate either a live or static
caption.
• You can add a text variable to a text frame that display the metadata of the image that touches or is grouped with
the text frame.
See “Captions” on page 221.
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What’s new
Mini Bridge
Mini Bridge is a subset of Adobe Bridge that is available as a panel within InDesign. Mini Bridge lets you navigate your
file system and preview files as visual thumbnails without having to leave InDesign. You can drag-and-drop files from
Mini Bridge to InDesign as an alternative way to place files into a document. Doing so loads the dragged images into
the place cursor, just like dragging from Bridge. You can also drag selected items into Mini Bridge to create snippets.
For a video on using Mini Bridge with InDesign, see www.adobe.com/go/lrvid5051_br_en.
Improved Adobe Bridge integration
InDesign CS5 and Adobe Bridge CS5 are more integrated in two ways.
Page Thumbnails A new File Handling preference option lets you generate page thumbnails for more than the first
page of InDesign files. The default number of pages to generate thumbnails for is set to 2, but you can change it to 1,
2, 5, 10, or All. You can now see previews of the pages within an INDD file in the Preview pane of Bridge. Choosing
more thumbnail pages may cause your InDesign document to take longer to save. See “Include previews in saved
documents” on page 99.
View Links in an InDesign File while in Bridge You can view the links inside an InDesign document while in Adobe
Bridge, without having to open the document in InDesign. For example, suppose that you don’t remember the location
of an image, but you remember placing it in an InDesign document. In Adobe Bridge, navigate to the InDesign file,
and then display thumbnails of all the placed files contained within the selected InDesign file.
See “Using Adobe Bridge with InDesign” on page 96.
Cross media design
Interactive documents and presentations
FLV and MP3 import You can import video files in Flash Video format (.FLV and .F4V), H.264-encoded files (such as
MP4), and SWF files. You can import audio files in MP3 format. Legacy media file types like QuickTime (.MOV),
.AVI, and .WMV are still supported. However, use FLV, F4V, MP4, and MP3 formats to take full advantage of the rich
media support offered in the most recent versions of Acrobat, Adobe Reader, and Adobe Flash Player.
Use Adobe Media Encoder to convert older media file types to .FLV. See “Relink legacy media files” on page 532.
Media panel The Media panel lets you preview SWF, FLV, F4V, MP4, and MP3 files directly in InDesign. For FLV,
F4V, and MP4 files, you can choose any frame in the video as the placeholder poster image. You can choose which
video playback controls you want the viewer of your interactive document to have. The Media panel lets you create
navigation points, which are time-code markers that you can target with button actions. See “Add movies and sound
files to documents” on page 529.
Motion presets The Animation panel lets you assign a motion preset to any page item as a way to quickly create an
animation. These motion presets are the same motion presets found in Adobe Flash CS5 Professional. Furthermore,
InDesign can import any custom motion preset created in Flash, enabling InDesign and Flash users to collaborate to
create animation effects. See “Animate a document with motion presets” on page 533.
Animation panel Use the Animation panel to create or edit animation effects. You can edit supported animation
attributes such as Position, Scale, Rotate, and Opacity. Save any custom animation created in InDesign as a custom
motion preset that can be shared with others.
Use the Animation panel to specify when an animated object is played, such as when the page is loaded or clicked. See
“Animation” on page 532.
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What’s new
Timing panel Use the Timing panel to change the order of when animated objects play. See “Use the Timing panel to
change the animation order” on page 536.
Object States panel Use the Object States panel to create multiple versions of an object. For example, you can create a
single page object with 20 different states, and each state contains a different photo. Anyone who opens the PDF or
SWF file can click forward and back buttons to browse the photo gallery. See “Create a multi-state object slide show”
on page 545.
Preview panel In InDesign, you can preview interactivity and animation of the current selection, the current spread,
or the entire document using the Preview panel. You can also test interactive elements in a web browser. See “Preview
interactive documents” on page 513.
Pixels as unit of measurement You can now specify Pixels for your unit of measure in Preferences &gt; Units &amp;
Increments. You can override the current unit of measure by adding “px” to your values in edit fields in the Control
panel, dialog boxes, and other panels. When using pixels, objects and X/Y coordinates snap to whole pixel values, and
the line weights listed in the Stroke panel also change to pixels. See “Change rulers and measurement units” on page 42.
Convert URLs to hyperlinks Use the Convert URLs To Hyperlinks command to search the current selection, story, or
document for URL strings and convert them to hyperlinks. You can also assign a character style to the found URLs.
See “Convert URLs to hyperlinks” on page 520.
Improved export to Flash Player
SWF file export can now include animation, video, audio, and remote rollovers. In addition, several new options let
you control the final SWF file output. See “Create interactive SWF (Flash) files for the web” on page 504.
Improved export to Flash Professional
InDesign CS5 exports to FLA format rather than XFL format for editing the file in Flash Professional. FLA export
options support rich media content and offer more ways to handle text. See “Create FLA files for the web” on page 507.
Improved export to Interactive PDF
InDesign CS5 includes separate commands for exporting print and interactive PDF files.
InDesign CS5 exports all rich media content to the Rich Media Annotation Layer when exporting to Interactive PDF,
resulting in more reliable playback in Adobe Reader. For best results, video files must be in FLV or F4V format and
audio files must be in MP3 format.
A few new options are available when exporting to interactive PDF, including initial view options, presentation
settings, and page transitions. See “Create interactive documents for PDF” on page 511.
Improved XHTML export
Exporting to XHTML is a way to extract your content out of an InDesign document and hand it over to a web
developer who can repurpose it using a web application such as Dreamweaver. InDesign CS5 enhancements include
the ability to match the attributes of InDesign text formatting, preserve local formatting, and control the order of
content. InDesign Tables are now assigned unique IDs, allowing them to be referenced as Spry data sets in
Dreamweaver. See “Export content to Dreamweaver” on page 109.
Improved JPEG export
The Export JPEG dialog box includes several new options, including the ability to specify the color space, use
document bleed settings, and simulate overprinting. See “Export to JPEG format” on page 108.
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What’s new
Collaboration
Integrated comment and review
CS Review is an online service that provides a simple way to share designs on the web so others can provide feedback.
Use the CS Review panel in InDesign to upload snapshots of the current document to an Acrobat.com workspace,
where others can add comments. See “Reviewing InDesign documents” on page 97.
Track text changes
When the Track Text Changes feature is turned on, changes made to the text are tracked on a per user basis. You can
view changes in Story Editor (but not in Layout view). Text changes that are supported include deleting text, moving
text, and inserting text. Use the Track Changes panel to accept and reject changes in the document. See “Tracking and
reviewing changes” on page 177.
Document installed fonts
Any fonts in a Document Fonts folder that’s in the same location as an InDesign document are available when the
document is opened. Fonts installed by one document are not available to other documents. The Package command
can generate a Document Fonts folder when you want to share your document or move it to a different computer. See
“Document installed fonts” on page 232.
Buzzword integration
Buzzword is a web-based text editor that lets users create and store text files on a web server. In InDesign CS5, you can
import and export text from Buzzword documents. See “Import Buzzword documents” on page 128 and “Export
content to Buzzword” on page 114.
Presentation Mode
InDesign CS5 has a new screen mode called Presentation Mode. In Presentation Mode, the application menu and all
panels are hidden. Keystrokes and clicks let you move forward or backward through the document one spread at a
time. See “Use Presentation Mode” on page 513.
Color labels for page thumbnails
You can now assign colored labels to the page thumbnails in the Pages panel. See “Create color labels for page
thumbnails” on page 56.
Usability and productivity
Background tasks
When you save large documents or export them to PDF or IDML files, you can continue working on your document.
You can also queue up multiple PDF exports in the background. Use the Background Tasks panel (Window &gt; Utilities
&gt; Background Tasks) to view the progress of the export processes. See “Background Tasks panel” on page 487.
Spring-loaded tools shortcut
You can temporarily switch from the current tool to any other tool by holding down the appropriate letter key. As you
hold down the key, your current tool changes the new tool, and when you release it, you return to the previous tool.
For example, press the U key to use the Gap tool, and then release it to return to the Selection tool. See “Select tools
temporarily” on page 25.
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What’s new
Tool Hints panel
The Tool Hints panel (Window &gt; Utilities &gt; Tool Hints) lists all the hidden modifier key behaviors available for the
currently selected tool. See “View tool hints” on page 25.
Community Help
Adobe Community Help offers access to complete Adobe product documentation as well as to community-created
learning content and other learning content on Adobe.com. Adobe Community Help includes an AIR-based viewer
that displays the latest online Help or defaults to a local version of Help when a web connection is unavailable.
Community Help also includes expert-moderated comments and user ratings on Adobe documentation, knowledge
base articles, tutorials, and other content.
Specify starting page number
When you create a document in InDesign CS5, you can make the first page start on a specified page number. If you
specify an even number with facing pages turned on, the document begins with a two-page spread. You can also change
the starting page number in the Document Setup dialog box after you’ve created a document. See “Create new
documents” on page 37.
Edit Original for multiple selected items
You can choose the Edit Original command to open multiple images in their respective editing applications. See “Edit
original artwork” on page 378.
New options for locking objects
To lock and unlock objects, you can now choose Object &gt; Lock or Object &gt; Unlock All On Spread. Clicking the lock
icon also unlocks a locked object.
The new Prevent Selection Of Locked Objects option in General preferences lets you determine whether you can select
locked objects.
Relink file extensions
Relink files based on file extension. For example, you can replace a set of JPEG files with TIFF files. See “Relink files
with different file extensions” on page 378.
Hide objects
You can now choose Object &gt; Hide to hide objects on the page. Hidden objects are not printed or exported, and they
cannot be selected. Choose Object &gt; Show All On Spread to view all hidden objects.
Sticky Preview check boxes
InDesign now remembers whether the Preview checkbox is selected in a dialog box after you exit and restart.
Place cursor when dragging from Adobe Bridge
In previous versions, dragging an image from Adobe Bridge or the desktop inserted the image on to the page, creating
a frame the size of the image. In InDesign CS5, this action loads the place cursor, letting you drag a proportionally sized
frame for your image.
Open book files in Explorer or Finder
A command appears on the books panel menu that lets you view a document in an Explorer or Finder window.
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What’s new
Miscellaneous enhancements
Round CMYK values to whole numbers The Colors panel round the values for the CMYK sliders to the nearest whole
value.
Delete all guides A new Delete All Guides On Spread command appears in the View &gt; Grids &amp; Guides menu.
Zoom from dialog boxes You can now use the keyboard shortcuts to zoom in and out of your document when you
have a modal dialog box open. Press Ctrl+- or Ctrl+= (Windows) or Command+- or Command +=.
New default font The default font is changed from Times (Mac) and Times New Roman (Windows) to the cross-
platform OpenType version of Minion Pro Regular.
Collapse multiple links to same source In InDesign, links to images placed multiple times in a document are collapsed
into a single row in the Links panel. You can now turn off this collapsing behavior with a new option in the Panel
Options dialog box.
Remember Story Editor window location When you close and reopen a Story Editor window, InDesign reopens the
window to its previous width, height, and location on the screen.
Fold marks If you select Crop Marks while printing spreads, fold marks are printed as solid lines.
Menu commands changed or moved The following menu commands have new names or new locations.
Choose Window &gt; Workspace &gt; [New in CS5] to highlight menu commands of new and enhanced features.
InDesign CS4 command
InDesign CS5 new location
File &gt; Export For Digital Editions
File &gt; Export For &gt; EPUB
File &gt; Export For Dreamweaver
File &gt; Export for &gt; Dreamweaver
Object &gt; Lock Position
Object &gt; Lock
Object &gt; Unlock Position
Object &gt; Unlock All On Spread
Object &gt; Interactive &gt; Movie Options / Sound Options
Media panel
Object &gt; Paths &gt; Convert Point &gt; Line End / Corner / Smooth / Smooth Object &gt; Convert Point &gt; Plain / Corner / Smooth / Symmetrical
Symmetrical
View &gt; Show/Hide Hyperlinks, Show/Hide Text Threads, Show/Hide
Frame Edges, Show/Hide Assigned Frames, and Show/Hide Notes
View &gt; Extras &gt; Show/Hide Hyperlinks, Show/Hide Text Threads,
Show/Hide Frame Edges, Show/Hide Assigned Frames, and
Show/Hide Notes
Window &gt; Assignments
Window &gt; Editorial &gt; Assignments
Window &gt; Attributes
Window &gt; Output &gt; Attributes
Window &gt; Automation &gt; Data Merge / Script Label / Scripts
Window &gt; Utilities &gt; Data Merge / Script Label / Scripts
Window &gt; Color
Window &gt; Color &gt; Color
Window &gt; Gradient
Window &gt; Color &gt; Gradient
Window &gt; Object Styles
Window &gt; Styles &gt; Objects Styles
Window &gt; Swatches
Window &gt; Color &gt; Swatches
Window &gt; Tags
Window &gt; Utilities &gt; Tags
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What’s new
InDesign CS4 command
InDesign CS5 new location
Window &gt; Type &amp; Tables &gt; Notes
Window &gt; Editorial &gt; Notes
Window &gt; Type &amp; Tables &gt; Cell Styles / Character Styles / Paragraph
Styles &gt; Table Styles
Window &gt; Styles &gt; Cell Styles / Character Styles / Paragraph Styles &gt;
Table Styles
Help/InDesign &gt; Configure Plug-ins
Help/InDesign &gt; Manage Extensions
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Chapter 2: Workspace
Workspace basics
Workspace overview
You create and manipulate your documents and files using various elements, such as panels, bars, and windows. Any
arrangement of these elements is called a workspace. The workspaces of the different applications in Adobe&reg; Creative
Suite&reg; 5 share the same appearance so that you can move between the applications easily. You can also adapt each
application to the way you work by selecting from several preset workspaces or by creating one of your own.
Although the default workspace layout varies in different products, you manipulate the elements much the same way
in all of them.
A
B
C
D
E
G
F
H
Default Illustrator workspace
A. Tabbed Document windows B. Application bar C. Workspace switcher D. Panel title bar E. Control panel F. Tools panel G. Collapse To
Icons button H. Four panel groups in vertical dock
• The Application bar across the top contains a workspace switcher, menus (Windows only), and other application
controls. On the Mac for certain products, you can show or hide it using the Window menu.
• The Tools panel contains tools for creating and editing images, artwork, page elements, and so on. Related tools are
grouped.
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Workspace
• The Control panel displays options for the currently selected tool. In Illustrator, the Control panel displays options
for the currently selected object. (In Adobe Photoshop&reg; this is known as the Options bar. In Adobe Flash&reg;, Adobe
Dreamweaver&reg;, and Adobe Fireworks&reg; this is known as the Property Inspector and includes properties of the
currently selected element.)
• The Document window displays the file you’re working on. Document windows can be tabbed and, in certain cases,
grouped and docked.
• Panels help you monitor and modify your work. Examples include the Timeline in Flash, the Brush panel in
Illustrator, the Layers panel in Adobe Photoshop&reg;, and the CSS Styles panel in Dreamweaver. Panels can be
grouped, stacked, or docked.
• The Application frame groups all the workspace elements in a single, integrated window that lets you treat the
application as a single unit. When you move or resize the Application frame or any of its elements, all the elements
within it respond to each other so none overlap. Panels don’t disappear when you switch applications or when you
accidentally click out of the application. If you work with two or more applications, you can position each
application side by side on the screen or on multiple monitors.
If you are using a Mac and prefer the traditional, free-form user interface, you can turn off the Application frame.
In Adobe Illustrator&reg;, for example, select Window &gt; Application Frame to toggle it on or off. (In Flash, the
Application frame is on permanently for Mac, and Dreamweaver for Mac does not use an Application frame.)
Hide or show all panels
• (Illustrator, Adobe InCopy&reg;, Adobe InDesign&reg;, Photoshop, Fireworks)To hide or show all panels, including the
Tools panel and Control panel, press Tab.
• (Illustrator, InCopy, InDesign, Photoshop) To hide or show all panels except the Tools panel and Control panel,
press Shift+Tab.
You can temporarily display hidden panels if Auto-Show Hidden Panels is selected in Interface preferences. It’s
always on in Illustrator. Move the pointer to the edge of the application window (Windows&reg;) or to the edge of the
monitor (Mac OS&reg;) and hover over the strip that appears.
• (Flash, Dreamweaver, Fireworks) To hide or show all panels, press F4.
Display panel options
❖ Click the panel menu icon
in the upper-right corner of the panel.
You can open a panel menu even when the panel is minimized.
In Photoshop, you can change the font size of the text in the Control panel, in the panels, and in tool tips. Choose
a size from the UI Font Size menu in Interface preferences.
(Illustrator) Adjust panel brightness
❖ In User Interface preferences, move the Brightness slider. This control affects all panels, including the Control
panel.
Reconfigure the Tools panel
You can display the tools in the Tools panel in a single column, or side by side in two columns. (This feature is not
available in the Tools panel in Fireworks and Flash.)
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Workspace
In InDesign and InCopy, you also can switch from single-column to double-column (or single-row) display by setting
an option in Interface preferences.
❖ Click the double arrow at the top of the Tools panel.
Manage windows and panels
You can create a custom workspace by moving and manipulating Document windows and panels. You can also save
workspaces and switch among them. For Fireworks, renaming custom workspaces can lead to unexpected behavior.
Note: The following examples use Photoshop for demonstration purposes. The workspace behaves the same in all the
products.
Rearrange, dock, or float document windows
When you open more than one file, the Document windows are tabbed.
• To rearrange the order of tabbed Document windows, drag a window’s tab to a new location in the group.
• To undock (float or untab) a Document window from a group of windows, drag the window’s tab out of the group.
Note: In Photoshop you can also choose Window &gt; Arrange &gt; Float in Window to float a single Document window,
or Window &gt; Arrange &gt; Float All In Windows to float all of the Document windows at once. See tech note kb405298
for more information.
Note: Dreamweaver does not support docking and undocking Document windows. Use the Document window’s
Minimize button to create floating windows (Windows), or choose Window &gt; Tile Vertically to create side-by-side
Document windows. Search “Tile Vertically” in Dreamweaver Help for more information on this topic.
• To dock a Document window to a separate group of Document windows, drag the window into the group.
• To create groups of stacked or tiled documents, drag the window to one of the drop zones along the top, bottom, or
sides of another window. You can also select a layout for the group by using the Layout button on the Application bar.
Note: Some products do not support this functionality. However, your product may have Cascade and Tile commands
in the Window menu to help you lay out your documents.
• To switch to another document in a tabbed group when dragging a selection, drag the selection over the document’s
tab for a moment.
Note: Some products do not support this functionality.
Dock and undock panels
A dock is a collection of panels or panel groups displayed together, generally in a vertical orientation. You dock and
undock panels by moving them into and out of a dock.
• To dock a panel, drag it by its tab into the dock, at the top, bottom, or in between other panels.
• To dock a panel group, drag it by its title bar (the solid empty bar above the tabs) into the dock.
• To remove a panel or panel group, drag it out of the dock by its tab or title bar. You can drag it into another dock
or make it free-floating.
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Navigator panel being dragged out to new dock, indicated by blue vertical highlight
Navigator panel now in its own dock
You can prevent panels from filling all the space in a dock. Drag the bottom edge of the dock up so it no longer meets
the edge of the workspace.
Move panels
As you move panels, you see blue highlighted drop zones, areas where you can move the panel. For example, you can
move a panel up or down in a dock by dragging it to the narrow blue drop zone above or below another panel. If you
drag to an area that is not a drop zone, the panel floats freely in the workspace.
Note: The position of the mouse (rather than the position of the panel), activates the drop zone, so if you can’t see the drop
zone, try dragging the mouse to the place where the drop zone should be.
• To move a panel, drag it by its tab.
• To move a panel group, drag the title bar.
A
B
C
Narrow blue drop zone indicates Color panel will be docked on its own above the Layers panel group.
A. Title bar B. Tab C. Drop zone
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Press Ctrl (Windows) or Command (Mac OS) while moving a panel to prevent it from docking. Press Esc while
moving the panel to cancel the operation.
Add and remove panels
If you remove all panels from a dock, the dock disappears. You can create a dock by moving panels to the right edge
of the workspace until a drop zone appears.
• To remove a panel, right-click (Windows) or Control-click (Mac) its tab and then select Close, or deselect it from
the Window menu.
• To add a panel, select it from the Window menu and dock it wherever you want.
Manipulate panel groups
• To move a panel into a group, drag the panel’s tab to the highlighted drop zone in the group.
Adding a panel to a panel group
• To rearrange panels in a group, drag a panel’s tab to a new location in the group.
• To remove a panel from a group so that it floats freely, drag the panel by its tab outside the group.
• To move a group, drag the title bar (the area above the tabs).
Stack floating panels
When you drag a panel out of its dock but not into a drop zone, the panel floats freely. The floating panel allows you
to position it anywhere in the workspace. You can stack floating panels or panel groups so that they move as a unit
when you drag the topmost title bar.
Free-floating stacked panels
• To stack floating panels, drag a panel by its tab to the drop zone at the bottom of another panel.
• To change the stacking order, drag a panel up or down by its tab.
Note: Be sure to release the tab over the narrow drop zone between panels, rather than the broad drop zone in a title bar.
• To remove a panel or panel group from the stack, so that it floats by itself, drag it out by its tab or title bar.
Resize panels
• To minimize or maximize a panel, panel group, or stack of panels, double-click a tab. You can also double-click the
tab area (the empty space next to the tabs).
• To resize a panel, drag any side of the panel. Some panels, such as the Color panel in Photoshop, cannot be resized
by dragging.
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Collapse and expand panel icons
You can collapse panels to icons to reduce clutter on the workspace. In some cases, panels are collapsed to icons in the
default workspace.
Panels collapsed to icons
Panels expanded from icons
• To collapse or expand all panel icons in a column, click the double arrow at the top of the dock.
• To expand a single panel icon, click it.
• To resize panel icons so that you see only the icons (and not the labels), adjust the width of the dock until the text
disappears. To display the icon text again, make the dock wider.
• To collapse an expanded panel back to its icon, click its tab, its icon, or the double arrow in the panel’s title bar.
In some products, if you select Auto-Collapse Icon Panels from the Interface or User Interface Options preferences,
an expanded panel icon collapses automatically when you click away from it.
• To add a floating panel or panel group to an icon dock, drag it in by its tab or title bar. (Panels are automatically
collapsed to icons when added to an icon dock.)
• To move a panel icon (or panel icon group), drag the icon. You can drag panel icons up and down in the dock, into
other docks (where they appear in the panel style of that dock), or outside the dock (where they appear as floating
icons).
Save and switch workspaces
By saving the current size and position of panels as a named workspace, you can restore that workspace even if you
move or close a panel. The names of saved workspaces appear in the workspace switcher in the Application bar.
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Save a custom workspace
1 With the workspace in the configuration you want to save, do one of the following:
• (Illustrator) Choose Window &gt; Workspace &gt; Save Workspace.
• (Photoshop, InDesign, InCopy) Choose Window &gt; Workspace &gt; New Workspace.
• (Dreamweaver) Choose Window &gt; Workspace Layout &gt; New Workspace.
• (Flash) Choose New Workspace from the workspace switcher in the Application bar.
• (Fireworks) Choose Save Current from the workspace switcher in the Application bar.
2 Type a name for the workspace.
3 (Photoshop, InDesign) Under Capture, select one or more options:
Panel Locations Saves the current panel locations (InDesign only).
Keyboard shortcuts Saves the current set of keyboard shortcuts (Photoshop only).
Menus or Menu Customization Saves the current set of menus.
Display or switch workspaces
❖ Select a workspace from the workspace switcher in the Application bar.
In Photoshop, you can assign keyboard shortcuts to each workspace to navigate among them quickly.
Delete a custom workspace
• Select Manage Workspaces from the workspace switcher in the Application bar, select the workspace, and then
click Delete. (The option is not available in Fireworks.)
• (Photoshop, InDesign, InCopy) Select Delete Workspace from the workspace switcher.
• (Illustrator) Choose Window &gt; Workspace &gt; Manage Workspaces, select the workspace, and then click the Delete icon.
• (Photoshop, InDesign) Choose Window &gt; Workspace &gt; Delete Workspace, select the workspace, and then click
Delete.
Restore the default workspace
1 Select the Default or Essentials workspace from the workspace switcher in the application bar.
Note: In Dreamweaver, Designer is the default workspace.
2 (Photoshop, InDesign, InCopy) Select Window &gt; Workspace &gt; Reset [Workspace Name].
(Photoshop) Restore a saved workspace arrangement
In Photoshop, workspaces automatically appear as you last arranged them, but you can restore the original, saved
arrangement of panels.
• To restore an individual workspace, choose Window &gt; Workspace &gt; Reset Workspace Name.
• To restore all the workspaces installed with Photoshop, click Restore Default Workspaces in the Interface
preferences.
To rearrange the order of workspaces in the application bar, drag them.
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About view modes
You can change the visibility of the document window using the Mode buttons at the bottom of the toolbox or by
choosing commands from the View &gt; Screen Mode menu. When the toolbox is displayed in a single column, you can
select view modes by clicking the current mode button and selecting a different mode from the menu that appears.
Displays artwork in a standard window with all visible grids and guides showing, non-printing
objects showing, and a white pasteboard.
Normal Mode
Displays artwork as if it were output, with all non-printing elements suppressed (grids, guides, nonprinting objects), and the pasteboard set to the preview background color defined in Preferences.
Preview Mode
Displays artwork as if it were output, with all non-printing elements suppressed (grids, guides, nonprinting objects), the pasteboard set to the preview background color defined in Preferences, and any printing
elements within the document's bleed area (defined in Document Setup) showing.
Bleed Mode
Displays artwork as if it were output, with all non-printing elements suppressed (grids, guides, nonprinting objects), the pasteboard set to the preview background color defined in Preferences, and any printing
elements within the document's slug area (defined in Document Setup) showing.
Slug Mode
Displays artwork as if it were a slideshow presentation, with no menus, panels, or tools
displayed. See “Use Presentation Mode” on page 513.
Presentation Mode
Using the status bar
The status bar (at the lower left of a document window) shows information about the status of a file and lets you turn
to a different page. Click the status bar menu to do any of the following:
• Show the current file in the file system by choosing Reveal In Explorer (Windows&reg;) or Reveal In Finder (Mac OS&reg;).
• Show the current file in Adobe&reg; Bridge&reg; by choosing Reveal in Bridge.
• Show the current file in Adobe Mini Bridge by choosing Reveal in Mini Bridge.
In Mac OS, you can display the zoom percentage in the status bar by hiding the application bar (Window &gt;
Application Bar). In Windows, you cannot hide the application bar.
More Help topics
“Using Adobe Bridge with InDesign” on page 96
“Adobe Version Cue” on page 96
Control panel overview
The Control panel (Window &gt; Control) offers quick access to options, commands, and other panels related to the
current page item or objects you select. By default, the Control panel is docked to the top of the document window;
however, you can dock it to the bottom of the window, convert it to a floating panel, or hide it altogether.
Options displayed in the Control panel vary depending on the type of object you select:
• When you select a frame, the Control panel displays options for resizing, repositioning, skewing, and rotating the
frame, or applying an object style.
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• When you select text inside a frame, the Control panel displays either character or paragraph options. Click the
paragraph and character icons on the left side of the Control panel to determine whether paragraph or character
options are displayed. If your monitor size and resolution allows, the Control panel displays additional options. For
example, if the character icon is selected, all the character options are displayed, and some paragraph options
appear on the right of the Control panel. If you click the paragraph icon, all paragraph options are displayed, and
some character options appear on the right.
• When you select a table cell, the Control panel displays options for adjusting row and column dimensions, merging
cells, aligning text, and adding strokes.
As the options in the Control panel change, you can get more information about each option by using tool tips—
pop-up descriptions that appear when you hover over an icon or option label with the pointer.
Control panel with tool tip displayed
Control panel menu
To open dialog boxes associated with Control panel icons, Alt-click (Windows) or Option-click (Mac OS) as you click
a Control panel icon. For example, when a frame is selected, hold down Alt or Option and click the Rotation Angle
icon to open the Rotate dialog box.
For a video tutorial on using the Control panel, see www.adobe.com/go/vid0064.
More Help topics
“Keys for the Control panel” on page 680
Control Panel video
Display the panel menu
❖ Click the icon
to the right of the Control panel.
Dock or float the Control panel
❖ Do one of the following:
• Drag the vertical bar on the left side of the Control panel until the toolbar is docked to the top or bottom of the
application window (Windows) or screen (Mac OS).
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• Choose Dock At Top, Dock At Bottom, or Float from the Control panel menu.
Customize the Control panel
1 Choose Customize from the Control panel menu locatedd on the right side of the Control panel.
2 Specify options that you want to display or hide, and then click OK.
About the Navigator panel
If you’re familiar with previous versions of InDesign, you may wonder why you can’t find the Navigator panel. The
Navigator panel does not appear in InDesign CS5. The Power Zoom feature effectively replaces the Navigator panel.
See “Use power zoom” on page 29.
Use context menus
Unlike the menus that appear at the top of your screen, context-sensitive menus display commands related to the
active tool or selection. You can use context menus as a quick way to choose commonly used commands.
1 Position the pointer over the document, object, or panel.
2 Click the right mouse button.
Note: (Mac OS) If you don’t have a two-button mouse, you can display a context menu by pressing the Control key as you
click with the mouse.
Change Interface preferences
1 Choose Edit &gt; Preferences &gt; Interface (Windows) or InDesign &gt; Preferences &gt; Interface (Mac OS).
2 Choose the settings you want to specify, and click OK.
Tool Tips Tool tips appear when you hold the mouse pointer over interface items such as tools in the toolbar and
options in the Control panel. Choose None to turn off tool tips.
Show Thumbnails On Place When you place a graphic, a thumbnail of the image appears in the loaded graphics cursor.
Similarly, a thumbnail of the first few lines of text appears in the loaded text cursor. Deselect this option if you don’t
want thumbnails to appear when placing graphics or text.
Show Transformation Values When you’re creating, sizing, or rotating an object, the cursor displays the [x,y]
coordinates, width and height, or rotation information.
Enable Multi-Touch Gestures Select this option to allow Windows and Mac OS multi-touch mouse gestures to work
in InDesign. For example, when you use the Magic Mouse in Mac OS, the swipe gesture scrolls up or down or moves
to the previous or next page or spread, and the rotate gesture rotates the spread.
Floating Tools Panel Specify whether the toolbar appears as a single column, double column, or single row.
Auto-Collapse Icon Panels When this option is selected, clicking the document window closes the open panel
automatically.
Auto-Show Hidden Panels When you hide panels by pressing Tab, holding the mouse pointer over the side of the
document window temporarily reveals the panels if this option is selected. If this option is not selected, you must press
Tab again to display panels.
Open Documents As Tabs When this option is deselected, documents you create or open appear as floating windows
rather than tabbed windows.
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Enable Floating Document Window Docking If this option is selected, you can dock floating documents with each
other as tabbed windows. If this option is deselected, floating document windows aren’t docked with other document
windows, unless you hold down Ctrl (Windows) or Command (Mac OS) while dragging.
Hand Tool To control whether to greek text and images when you scroll a document, drag the Hand Tool slider to the
desired level of performance versus quality.
Live Screen Drawing Select an option to determine whether the image redraws as you drag an object. If Immediate is
selected, the image redraws while you drag. If Never is selected, dragging an image moves only the frame, and then
image is moved when you release the mouse button. If Delayed is selected, the image redraws only if you pause before
dragging. Delayed offers the same behavior as in InDesign CS4.
Customize menus and keyboard shortcuts
Customize menus
Hiding and colorizing menu commands is a way to remove menu clutter and emphasize commands you frequently
use. Note that hiding menu commands simply removes the menu command from view; it doesn’t disable any features.
At any time, you can view hidden commands by selecting the Show All Menu Items command at the bottom of a menu,
or you can choose Window &gt; Workspace &gt; Show Full Menus to show all the menus for the selected workspace. You
can include customized menus in workspaces you save.
You can customize the main menu, context menus, and panel menus. Context menus appear when you right-click
(Windows) or Control-click (Mac OS) an area. Panel menus appear when you click the icon in the upper right of a
panel.
Note: If you select a different workspace, such as Getting Started, some menu commands are hidden. To display menu
commands, choose Show All Menu Items at the bottom of the menu, or choose a different workspace, such as Advanced.
More Help topics
“Save a custom workspace” on page 16
Create a custom menu set
1 Choose Edit &gt; Menus.
You cannot edit the default menu set.
2 Click Save As, type the name of the menu set, and click OK.
3 From the Category menu, choose Application Menus or Context &amp; Panel Menus to determine which menus are
customized.
4 Click the arrows to the left of the menu categories to display subcategories or menu commands. For each command
you want to customize, click the eye icon under Visibility to show or hide the command; click None under Color
to select a color from the menu.
5 Click Save, and then click OK.
Select a custom menu set
1 Choose Edit &gt; Menus.
2 Choose the menu set from the Set menu, and then click OK.
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Edit or delete a custom menu set
1 Choose Edit &gt; Menus.
2 Choose the menu set from the Set menu, and then do one of the following:
• To edit a menu set, change the visibility or color of menu commands, click Save, and then click OK.
• To delete a menu set, click Delete and then click Yes. If you’ve modified the menu set without saving it, you’re
prompted to save the current menu set. Click Yes to save the menu set, or click No to discard changes.
Show hidden menu items
• Choose Window &gt; Workspace &gt; Show Full Menus. This command turns on all menus for the selected workspace.
You can hide the menus again by resetting the workspace.
• Choose Show All Menu Items at the bottom of the menu that includes hidden commands.
Holding down Ctrl (Windows) or Command (Mac OS) and clicking a menu name temporarily displays any menu
commands you’ve hidden by customizing menus.
Missing menu commands
If you can’t find a menu command, it may be hidden. If you select a workspace other than Advanced, some menu
commands are hidden. It’s also possible that you or someone else used the Menus command to hide menu items.
If you can’t find a command you’re looking for, try any of these techniques:
• Choose Show All Menu Items at the bottom of the menu.
• Choose Window &gt; Workspace &gt; Show Full Menus.
• Choose Window &gt; Workspace, and select a different workspace (Advanced shows all menu items).
• Choose Edit &gt; Menus, locate the menu command, and make sure it isn’t hidden.
If menu commands are still missing, try restoring preferences.
Neil Oliver provides a video tutorial about missing menu items (English only).
More Help topics
“Restore all preferences and default settings” on page 34
Use keyboard shortcut sets
Tool tips provide an instantaneous reference for shortcuts. InDesign also provides a shortcut editor in which you can
view and generate a list of all shortcuts, and edit or create your own shortcuts. The shortcut editor includes all the
commands that accept shortcuts, but some of these commands are undefined in the Default shortcut set.
You can also associate keyboard shortcuts with paragraph or character styles (see “Add paragraph and character styles”
on page 183) or scripts.
For a video tutorial on using keyboard shortcuts, see www.adobe.com/go/vid0066.
Mike Witherell provides a reference guide of keyboard shortcuts on Free keyboard shortcuts for Creative Suite 4
(English only).
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More Help topics
“Default keyboard shortcuts” on page 672
“Scripting” on page 629
Change the active shortcut set
1 If you want the shortcut set to be active for all documents, make sure that no documents are open.
2 Choose Edit &gt; Keyboard Shortcuts.
3 Select a shortcut set in the Set menu. For example, select Shortcuts for QuarkXPress&reg; 4.0.
4 Click OK.
View shortcuts
1 Choose Edit &gt; Keyboard Shortcuts.
2 For Set, select a shortcut set.
3 For Product Area, select the area containing the commands you want to view.
4 From Commands, select a command. The shortcut is displayed in the Current Shortcut section.
Generate a list of shortcuts for printing
1 Choose Edit &gt; Keyboard Shortcuts.
2 For Set, select a shortcut set.
3 Click Show Set.
A text file opens with all current and undefined shortcuts for that set.
Create a new shortcut set
1 Choose Edit &gt; Keyboard Shortcuts.
2 Click New Set.
3 Type a name for the new set, select a shortcut set in the Based On Set menu, and click OK.
Create or redefine a shortcut
1 Choose Edit &gt; Keyboard Shortcuts.
2 For Set, select a shortcut set or click New Set to create a new shortcut set.
Note: You cannot edit the Default or the QuarkXPress shortcut sets. Instead, create a new set based on one of these sets,
and then edit the new set.
3 For Product Area, select the area containing the command you want to define or redefine.
4 In the Commands list, select the command that you want to define or redefine.
5 In the New Shortcut box, press the keys for your new keyboard shortcut. If the key sequence is currently being used
for another command, InDesign displays that command under Current Shortcuts. You can choose to change the
original shortcut also, or try another shortcut.
Note: Do not assign single-key shortcuts to menu commands, because they interfere with the typing of text. If an insertion
point is active when you type a single-key shortcut, InDesign actives the keyboard shortcut instead of inserting the
character in the text.
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6 In the Context list, select the context in which you want the keyboard shortcut to function. The context ensures that
the shortcut performs the way you intended. For example, you can assign Ctrl+G to merge table cells (Table
context) and Ctrl+G to insert special characters (Text context).
Note: Assign shortcuts in the Default context when you want them to function regardless of the current state of the
document. Shortcuts you assign in other contexts, such as Table or Text, override shortcuts assigned in the Default
context.
7 Do one of the following:
• Click Assign to create a new shortcut where none currently exists.
• Click Assign to add another shortcut to a command. Menu commands can have multiple keyboard shortcuts.
8 Click OK to close the dialog box, or click Save to keep the dialog box open while you enter more shortcuts.
Copying keyboard shortcut sets
Keyboard shortcut sets (*.indk) are saved in two locations. The application preset shortcuts appear in the Presets folder
in the main application folder. The shortcut sets you create appear in the Shortcut Sets folder in the following locations:
Windows XP Documents and Settings\[username]\Application Data\Adobe\InDesign\[version]\[language]InDesign
Shortcut Sets
Windows Vista and Windows 7
Users\[username]\AppData\Roaming\Adobe\InDesign\[Version]\[Language]\InDesign Shortcut Sets
Mac OS Users/[username]/Library/Preferences/Adobe InDesign/[version]/[language]/InDesign Shortcut Sets
If you created a keyboard shortcut set on one computer and want to use it on a different computer, copy the *.indk file
to the same location on the other computer.
You can move a keyboard set from the custom location to the application folder. Doing so makes the custom shortcuts
available to all the users sharing a computer. However, make sure that you do not have two sets with the same name,
one in each place. Make sure that the application keyboard sets and the custom sets have different names.
Toolbox
Toolbox overview
Some tools in the toolbox are for selecting, editing, and creating page elements. Other tools are for choosing type,
shapes, lines, and gradients. You can change the overall layout of the toolbox to fit your preferred window and panel
layout. By default, the toolbox appears as a single vertical column of tools. You can also set it up as a double vertical
column or as one horizontal row. However, you can’t rearrange the positions of individual tools in the toolbox. You
can drag the top of the toolbox to move it.
Select a tool from the default toolbox by clicking it. The toolbox also contains several hidden tools related to the visible
tools. Hidden tools are indicated by arrows to the right of the tool icons. Select a hidden tool by clicking and holding
the current tool in the toolbox and then selecting the tool that you want.
The name of the tool and its keyboard shortcut appear when you hold the pointer over the tool—this text is called the
tool tip. You can turn off tool tips by choosing None from the Tool Tips menu in Interface preferences.
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Open the Tool Hints panel (choose Window &gt; Utilities &gt; Tool Hints) to see which shortcut and modifier keys work
with the selected tool.
Toolbox overview
A
A
Selection tools
C
Transformation tools
Selection (V, Escape)*
Scissors (C)
Direct Selection (A)
Free Transform (E)
Page (Shift + P)
Rotate (R)
Gap (U)
Scale (S)
Shear (O)
B
B
Drawing and
Type tools
Type (T)
Type On a Path (Shift+T)
Line (\)
C
D
Pen (P)
Add Anchor Point (=)
Delete Anchor Point (-)
Convert Direction
Point (Shift+C)
Pencil (N)
Smooth
Erase
Gradient Swatch (G)
Gradient Feather
(Shift+G)
D
Modification and
Navigation tools
Note
Eyedropper (I)
Measure (K)
Hand (H)
Zoom (Z)
Rectangle Frame (F)
Ellipse Frame
Polygon Frame
Rectangle (M)
Ellipse (L)
Polygon
Indicates default tool * Keyboard shortcuts appear in parenthesis
Display the toolbox
❖ Choose Window &gt; Tools.
Display tool options
❖ Double-click a tool in the toolbox.
This procedure works only for some tools, such as the Eyedropper, Pencil, and Polygon tools.
Display and select hidden tools
1 In the toolbox, position the pointer over a tool that has hidden tools and hold down the mouse button.
2 When the hidden tools appear, select a tool.
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Hidden tools menu
Select tools temporarily
1 When one tool is selected, hold down the keyboard shortcut of a different tool.
2 With the keyboard shortcut still held down, perform an action.
3 Release the keyboard shortcut to return to the previous tool.
For example, if the Gap tool is selected, hold down the V key to temporarily use the Selection tool. When you release
the V key, the Gap tool is selected.
View tool hints
The Tool Hints panel describes how modifier keys work with the selected tool.
1 Choose Window &gt; Utilities &gt; Tool Hints to display the Tool Hints panel.
2 Select a tool in the toolbox to view a description of that tool and its modifier keys and shortcuts.
Change the toolbox layout
1 Choose Edit &gt; Preferences &gt; Interface (Windows) or InDesign &gt; Preferences &gt; Interface (Mac OS).
2 Choose a layout option from the Floating Tools Panel menu and click OK.
You can also click the double arrow icon at the top of the toolbox to change the toolbox layout.
Tools overview
Type tools Create and format type in standard or customized blocks or paths. (See “Create text frames” on page 115.)
Drawing tools Draw and style simple and complex objects, including rectangles, ellipses, polygons, freeform shapes.
(See “Drawing” on page 323.)
Selection tools Select (activate) objects, points, or lines. (See “Selecting objects” on page 385.)
Transform tools Reshape, reorient, and resize objects. (See “Transforming objects” on page 391.)
Navigation tools Move around in, control the view of, and measure distances in a document. (See “Zoom in and out”
on page 28 and “Rulers and measurement units” on page 42.)
The Scissors tool Splits paths and frames. (See “Split a path” on page 339.)
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Gallery of selection tools
Selection tool lets you
select entire objects.
Direct Selection tool lets
you select points on a path
or contents within a
frame.
Page tool lets you create
multiple page sizes within
a document.
Gap tool lets you adjust
the space between objects.
More Help topics
“Selecting objects” on page 385
Gallery of drawing and type tools
Pen tool lets you draw
straight and curved paths.
Add Anchor Point tool
lets you add anchor points
to a path.
Delete Anchor Point tool
lets you remove anchor
points from a path.
Convert Direction Point
tool lets you convert
corner points and smooth
points.
Type tool lets you create
text frames and select
text.
Type on a Path tool lets
you create and edit type
on paths.
Pencil tool lets you draw a
freeform path.
Smooth tool lets you
remove excess angles from
a path.
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Erase tool lets you delete
points on a path.
Line tool lets you draw a
line segment.
Rectangle Frame tool lets
you create a square or
rectangle placeholder.
Ellipse Frame tool lets you
create a circle or oval
placeholder.
Polygon Frame tool lets
you create a multi-sided
shape placeholder.
Rectangle tool lets you
create a square or
rectangle.
Ellipse tool lets you create
a circle or oval.
Polygon tool lets you
create multi-sided shape.
Scale tool lets you resize
objects around a fixed
point.
Shear tool lets you skew
objects around a fixed
point.
More Help topics
“Understanding paths and shapes” on page 323
Gallery of transformation tools
Free Transform tool lets
you rotate, scale, or shear
an object.
Rotate tool lets you rotate
objects around a fixed
point.
More Help topics
“Transforming objects” on page 391
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Gallery of modification and navigation tools
Eyedropper tool lets you
sample color or type
attributes from objects
and apply them to other
objects.
Measure tool measures
the distance between two
points.
Gradient Swatch tool lets
you adjust the beginning
and ending points and
angle of gradients within
objects.
Gradient Feather tool lets
you fade an object into the
background.
Scissors tool cuts paths at
specified points.
Hand tool moves the page
view within the document
window.
Zoom tool increases and
decreases the view
magnification in the
document window.
Note tool lets you add
comments.
Viewing the workspace
Zoom in and out
Use the Zoom tool or the Zoom commands to magnify the size of documents.
More Help topics
“Keys for tools” on page 672
Zoom in or out
• To zoom in, select the Zoom tool
and click the area you want to magnify. Each click magnifies the view to the
next preset percentage, centering the display around the point you click. At maximum magnification, the center of
the Zoom tool appears blank. To zoom out, hold down Alt (Windows) or Option (Mac OS) and click the area you
want to reduce. Each click reduces the view.
• To magnify to the next preset percentage, activate the window you want to view and choose View &gt; Zoom In. To
reduce the view to the previous preset percentage, choose View &gt; Zoom Out.
• To set a specific magnification level, type or choose a level in the Zoom Level box in the application bar.
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In Mac OS, you can display the zoom percentage in the status bar by hiding the application bar (Window &gt;
Application Bar). In Windows, you cannot hide the application bar.
• To zoom in or out, press Alt (Windows) or Option (Mac OS) while using the mouse scroll wheel or sensor.
• To magnify by dragging, select the Zoom tool and drag around the area you want to magnify.
Use power zoom
Power zoom offers a quick way to scroll through your document pages. Using the grabber hand, you can use zoom in
or out and scroll through your entire document. This feature is especially useful for long documents.
Neil Oliver provided a video tutorial about Power Zoom (English only).
1 Click the Hand tool
.
To activate the grabber hand, you can also hold down the spacebar or hold down Alt/Option while in text mode.
2 With the grabber hand active, click and hold down the mouse button.
The document zooms out so that you can see more of the spread. A red box indicates the view area.
3 With the mouse button still held down, drag the red box to scroll through the document pages. Press arrow keys or
use the mouse scroll wheel to change the size of the red box.
4 Release the mouse button to zoom in on the new area of the document.
The document window returns to its original zoom percentage or to the size of the red box.
Zoom to Actual Size
• Double-click the Zoom tool.
• Choose View &gt; Actual Size.
• Type or choose a magnification level of 100 in the Zoom Level box in the application bar.
Adjust the view
Focus on the desired area of your document by fitting pages and spreads within the active window and by scrolling the view.
More Help topics
“Keys for viewing documents and document workspaces” on page 678
Fit the page, spread, or pasteboard within the active window
• Choose View &gt; Fit Page In Window.
• Choose View &gt; Fit Spread In Window.
• Choose View &gt; Entire Pasteboard.
Scroll the view
You can easily adjust the degree to which pages or objects are centered in the document window. These techniques are
also useful for navigating between pages.
❖ Do any of the following:
• Select the Hand tool
from the Tools panel, and then click and drag in the document window. Holding down Alt
(Windows) or Option (Mac OS) and pressing the spacebar temporarily activates the Hand tool.
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• Click the horizontal or vertical scroll bars or drag the scroll box.
• Press Page Up or Page Down.
• Use the mouse scroll wheel or sensor to scroll up and down. To pan left or right, press Ctrl (Windows) or Command
(Mac OS) as you use the mouse scroll wheel or sensor.
Turn pages
InDesign makes it easy to jump from page to page in a document. For example, just as most web browsers provide
Back and Forward buttons to navigate through pages you’ve visited, InDesign keeps track of the order in which you’ve
viewed pages in a document.
❖ Do any of the following:
• To move through pages in the order in which you viewed them during the current session, choose Layout &gt; Go
Back or Go Forward.
• To go to the next or previous page, click the Next Page button or Previous Page button at the bottom of
the document window, or choose Layout &gt; Next Page or Previous Page.
• To go to the first or last page, click the First Spread button or Last Spread button
the document window, or choose Layout &gt; First Page or Last Page.
at the lower left of
• To go to a specific page, choose Layout &gt; Go To Page, specify the page number, and click OK. Or, click the
downward-facing arrow at the right of the page box, and then choose a page.
Choose page from page box to go to specific page
• To go to a master page, click in the page box at the lower left of the document window. Type the first few letters
of the master page name, and press Enter (Windows) or Return (Mac OS). Or, in the Pages panel, double-click a
master page icon.
Work with additional windows
You can open additional windows for the same document or for other InDesign documents. With additional windows,
you can compare different spreads simultaneously, especially spreads that aren’t adjacent. You can also display
different magnifications of the same page, so that you can work closely on details while watching how the changes
affect the overall layout. In addition, you can display a master page in one window, and pages based on it in other
windows, to see how editing the master page affects various parts of the document.
When you reopen the document, only the last-used window appears.
• To create a new window for the same document, choose Window &gt; Arrange &gt; New Window.
• To cascade or tile windows, choose Window &gt; Arrange &gt; Cascade to arrange all windows into a stack, with each
window offset slightly. Or, choose Window &gt; Arrange &gt; Tile to display all windows equally without overlapping.
• To activate a window, click the window tab or title bar. Or, choose the name of the view in the Window menu.
Multiple windows for a document are numbered in the order they were created.
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• To close all windows for the active document, press Shift+Ctrl+W (Windows) or Shift+Command+W (Mac OS).
• To close all windows for all open documents, press Shift+Ctrl+Alt+W (Windows) or Shift+Command+Option+W
(Mac OS).
Use anti-aliasing for smoothing edges
Anti-aliasing smooths the jagged edges of type and bitmap images by softening the color transition between edge pixels
and background pixels. Since only the edge pixels change, no detail is lost.
1 Choose Edit &gt; Preferences &gt; Display Performance (Windows) or InDesign &gt; Preferences &gt; Display Performance
(Mac OS).
2 From the Adjust View Settings menu, choose the view setting for which you want to turn on anti-aliasing.
You can enable or disable anti-aliasing for each of the view settings. For example, you can enable anti-aliasing for High
Quality view and disable it for Fast view.
3 Select Enable Anti-aliasing.
Greek type
When display capabilities are insufficient to show text at a small size, InDesign displays the text as a dimmed bar. This
behavior is called greeking type. Any type at or below the specified type size is replaced on-screen with non-letterforms
that act as placeholders.
1 Choose Edit &gt; Preferences &gt; Display Performance (Windows) or InDesign &gt; Preferences &gt; Display Performance
(Mac OS).
2 From the Adjust View Settings menu, choose the view setting for which you want to change the Greek Type setting.
You can specify different Greek Type values for each of the view settings.
3 For Greek Type Below, type a value, and then click OK.
To control whether to greek text and images when you scroll a document, open the Interface section of the Preferences
dialog box, drag the Hand Tool slider to the desired level of performance versus quality, and then click OK.
Calculate values in panels and dialog boxes
You can perform simple math in any numerical edit box. For example, if you want to move a selected object 3 units to
the right using the current measurement units, you don’t have to work out the new horizontal position—simply type
+3 after the current value in the Transform panel.
Panels use the measurement system selected in the Preferences dialog box; however, you can specify values in another
measurement instead.
1 In a text box that accepts numerical values, do one of the following:
• To replace the entire current value with a mathematical expression, select the entire current value.
• To use the current value as part of a mathematical expression, click before or after the current value.
2 Type a simple mathematical expression using a single mathematical operator, such as + (plus), - (minus),
* (multiplication), / (division), or % (percent).
For example, 0p0+3 or 5mm + 4.
3 Press Enter or Return to apply the calculation.
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In the Control panel and the Transform panel, you can duplicate the selected object and apply the calculation to the
duplicate (instead of the original). Enter the calculation and press Alt+Enter (Windows) or Option+Return
(Mac OS).
More Help topics
“Enter values in panels and dialog boxes” on page 32
Enter values in panels and dialog boxes
Panels and dialog boxes use the measurement units and increments defined in the Edit &gt; Preferences &gt; Units &amp;
Increments (Windows) or InDesign &gt; Preferences &gt; Units &amp; Increments (Mac OS) dialog box. However, you can
specify values using any of the supported measurement units at any time by temporarily overriding the current
preference settings.
❖ Do any of the following:
• Type a value in the box, and then press Enter or Return.
• Drag the slider.
• Drag the dial.
• Click the arrow buttons in the panel to change the value.
• Click in the box and then use the up or down arrow keys on the keyboard to change the value.
• Select a value from the menu associated with the box.
Note: When you make a change using the arrow buttons, arrow keys, or pop-up menus, InDesign applies the change
immediately.
More Help topics
“Rulers and measurement units” on page 42
“Calculate values in panels and dialog boxes” on page 31
Working with ConnectNow
Adobe&reg; ConnectNow provides you with a secure, personal online meeting room where you can meet and collaborate
with others via the web in real time. With ConnectNow, you can share and annotate your computer screen, send chat
messages, and communicate using integrated audio. You can also broadcast live video, share files, capture meeting
notes, and control an attendee's computer.
You can access ConnectNow directly from the application interface.
1 Choose File &gt; Share My Screen.
2 In the Sign In to Adobe CS Live dialog box, enter your email address and password, and click Sign In. If you don’t
have an Adobe ID, click the Create Adobe ID button.
3 To share your screen, click the Share My Computer Screen button at the center of the ConnectNow application
window.
For complete instructions on using ConnectNow, see
http://help.adobe.com/en_US/Acrobat.com/ConnectNow/index.html.
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For a video tutorial about using ConnectNow, see Using ConnectNow to share your screen (7:12). (This
demonstration is in Dreamweaver.)
Setting preferences
About preferences and defaults
Preferences include settings such as panel positions, measurement options, and display options for graphics and
typography. Preference settings specify how InDesign documents and objects behave initially.
Numerous program preferences and default settings are stored in the Adobe InDesign preferences files. These files,
including the InDesign Defaults file, are saved each time you exit from InDesign. The settings files are located here:
Windows XP Documents and Settings\[username]\Application Data\Adobe\InDesign\[Version]\[language]
Windows Vista and Windows 7 Users\[username]\AppData\Roaming\Adobe\InDesign\[version]\[language]
Mac OS [username]/Library/Preferences/Adobe InDesign/[version]/[language]
Set general preferences
This section covers preference settings in the General tab of the Preferences dialog box. For information on other
preferences, search for the appropriate setting.
1 Choose Edit &gt; Preferences &gt; General (Windows) or InDesign &gt; Preferences &gt; General (Mac OS), and then choose
the type of preferences you want to specify.
2 In the Page Numbering section, choose a page numbering method from the View menu. (See “Display absolute or
section numbering in the Pages panel” on page 84.)
3 In the Font Downloading and Embedding section, specify a threshold to trigger font subsetting based on the
number of glyphs a font contains. This setting affects font downloading options in the Print and Export dialog
boxes.
4 In the When Scaling section, you can determine how scaled objects are reflected in panels and how the content of
scaled frames behaves.
• Select Apply To Content if you want the point size to change when a text frame is scaled. (See “Scale type” on
page 241.) If this option is selected when a graphics frame is scaled, the percentage size of the image changes, but
the frame reverts its percentage to 100%. (See “Scale objects” on page 402.)
• Select Adjust Scaling Percentage to display the original point size with the new point size in parentheses when you
scale text. If this option is selected when you scale graphics frames, the percentage size of both the frame and image
changes.
5 Click Reset All Warning Dialogs to display all warnings, even the ones you’ve already checked not to display. (As
warnings appear, you can select a check box to prevent the warning from appearing again.)
Set defaults
If you change settings when no documents are open, your changes set the defaults for new documents. If a document
is open when you change settings, the changes affect only that document.
Similarly, if you change settings when no objects are selected, your changes set the defaults for new objects.
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Change default settings for new documents
1 Close all documents.
2 Change any menu items or panel or dialog box settings.
If you use the same page size and language for most of your documents, you can change these defaults with no
document open. For example, to change the default page size, close all documents, choose File &gt; Document Setup, and
select a desired page size. To set a default dictionary, close all documents, choose Edit &gt; Preferences &gt; Dictionary
(Windows) or InDesign &gt; Preferences &gt; Dictionary (Mac OS), and select an option from the Language menu.
Specify default settings for new objects in a document
1 With document open, choose Edit &gt; Deselect All.
2 Change any menu items or panel or dialog box settings.
Restore all preferences and default settings
When InDesign is behaving erratically, deleting preferences (also referred to as “trashing preferences” or “removing
preferences”) often solves the problem.
It’s a good idea to make a backup copy of the preference files called InDesign Defaults and InDesign SavedData.
Instead of removing your preferences, you can copy these backup files over the problematic corrupt preference files
and not lose any customizations.
Mike Witherell provides a detailed list of which files are affected when you restore preferences in Adobe InDesign
Presets (PDF, English only).
Neil Oliver provides a video tutorial on restoring preferences in Resetting InDesign Preferences.
❖ Do one of the following:
• (Windows) Start InDesign, and then press Shift+Ctrl+Alt. Click Yes when asked if you want to delete preference
files.
• (Mac OS) While pressing Shift+Option+Command+Control, start InDesign. Click Yes when asked if you want to
delete preference files.
About InDesign styles and presets
You can store settings for reuse, including settings for the following items:
• Creating paragraph and character styles. (See “Add paragraph and character styles” on page 183.)
• Creating object styles. (See “Object styles” on page 197.)
• Creating table and cell styles. (See “Table and cell styles” on page 290.)
• Creating PDF export presets. (See “Customize Adobe PDF presets” on page 486.)
• Creating print presets. All the attributes in the Print dialog box are included in the style. (See “Print a document or
book” on page 579.)
• Creating trap presets. (See “Trapping color” on page 470.)
• Creating transparency flattener presets. (See “Flattening transparent artwork” on page 435.)
• Creating table of contents styles. (See “Create TOC styles for multiple lists” on page 304.)
• Saving the workspace configuration.
• Creating document presets. (See “Define document presets” on page 39.)
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• Creating stroke styles. (See “Define custom stroke styles” on page 343.)
In general, change the feature settings in the dialog box, and then save the settings. Styles and presets are stored in the
document in which they are created. You can use the settings from another document by importing or loading the
styles and presets from that document. In addition, most presets can be exported or saved to a separate file and
distributed to other computers.
Mike Witherell provides a detailed list of presets in Adobe InDesign Presets (PDF, English only).
You can also share styles and presets across all documents in a book file. For more information, see “Synchronize book
documents” on page 298.
Recovery and undo
Recover documents
InDesign guards your data against unexpected power or system failures using an automatic recovery feature.
Automatically recovered data exists in a temporary file that is separate from the original document file on disk. Under
normal circumstances you don’t need to think about automatically recovered data, because any document updates
stored in the automatic recovery file are automatically added to the original document file when you choose the Save
or Save As command or exit from InDesign normally. Automatically recovered data is important only if you’re unable
to save successfully before an unexpected power or system failure.
Even though these features exist, you should save your files often and create backup files in case of unexpected power
or system failures.
Find recovered documents
1 Restart your computer.
2 Start InDesign.
If automatically recovered data exists, InDesign automatically displays the recovered document. The word
[Recovered] appears after the filename in the title bar of the document window to indicate that the document contains
unsaved changes that were automatically recovered.
Note: If InDesign fails after attempting to open a document using automatically recovered changes, the automatically
recovered data may be corrupted.
3 Do one of the following:
• To save the recovered data, choose File &gt; Save As, specify a location and a new filename, and click Save. The Save
As command keeps the recovered version that includes the automatically recovered data; the word [Recovered]
disappears from the title bar.
• To discard automatically recovered changes and use the most recent version of the document that was explicitly
saved to disk before the failure occurred, close the file without saving it and open the file on disk, or choose File &gt;
Revert.
Change the location of recovered documents
1 Choose Edit &gt; Preferences &gt; File Handling (Windows) or InDesign &gt; Preferences &gt; File Handling (Mac OS).
2 Under Document Recovery Data, click Browse (Windows) or Choose (Mac OS).
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3 Specify the new location for the recovered document, click Select (Windows) or Choose (Mac OS), and then
click OK.
Undo mistakes
If necessary, you can cancel a lengthy operation before it’s completed, undo recent changes, or revert to a previously
saved version. You can undo or redo up to several hundred of the most recent actions (the amount is limited by the
amount of RAM available and the kinds of actions you performed). The series of actions is discarded when you choose
the Save As command, close a document, or when you exit from the program.
❖ Do one of the following:
• To undo the most recent change, choose Edit &gt; Undo [action]. (You cannot undo certain actions, such as scrolling.)
• To redo an action, choose Edit &gt; Redo [action].
• To undo all changes made since the last time you saved the project, choose File &gt; Revert (InDesign) or File &gt; Revert
Content (InCopy).
• To close a dialog box without applying changes, click Cancel.
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Chapter 3: Layout
Creating documents
Create new documents
Page design begins with the basics: starting a new document, setting up pages, and positioning margins and columns
or changing grid settings.
More Help topics
“Recommended workflow for InDesign documents” on page 93
“Use document templates” on page 97
“Add documents to a book file” on page 296
Create a new document
1 Choose File &gt; New &gt; Document.
The New Document dialog box combines the Document Setup and the Margins And Columns dialog boxes, so that
you can set up the page size, margins, and page columns all in one place. You can change these settings at any time.
2 Specify document setup options. (See “New Document options” on page 37.)
To specify the dimensions of the bleed and slug areas, click More Options. The bleed and slug areas extend out from
the edges of the defined Page Size. To make the bleed or slug areas extend evenly on all sides, click the Make All
Settings The Same icon
.
3 Click OK to open a new document with the settings you specified.
To set default layout settings for all new documents, choose File &gt; Document Setup or Layout &gt; Margins And
Columns, and set options when no documents are open.
New Document options
Page Size Choose a Page Size or specify a custom Width and Height for your document.
Orientation Click the orientation for the page, either Portrait
(tall) or Landscape
(wide).
Intent If you are creating a document to be output to PDF or SWF for the web, choosing the Web option changes
several options in the dialog box, such as turning off Facing Pages, changing the orientation from portrait to landscape,
and using a page size based on monitor resolution. You can edit any of these settings, but you cannot change the Intent
setting after the document is created.
Start Page # Specify which number the document starts on. If you specify an even number (such as 2) with Facing
Pages selected, the first spread in the document begins with a two-page spread. See “Start a document with a two-page
spread” on page 60.
Facing Pages Select this option to make left and right pages face each other in a double-page spread, such as for books
and magazines. Deselect this option to let each page stand alone, such as when you’re printing flyers or posters or when
you want objects to bleed in the binding.
After you’ve created a document, you can use the Pages panel to create spreads with more than two pages or force the
first two pages to open as a spread. (See “Control spread pagination” on page 59.)
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Master Text Frame Select this option to create a text frame the size of the area within the margin guides, matching the
column settings you specified. The master text frame is added to the A-Master. (See “Using text frames on master
pages” on page 117.)
The Master Text Frame option is available only when you’ve chosen File &gt; New &gt; Document.
Page Size Choose a page size from the menu, or type values for Width and Height. Page size represents the final size
you want after bleeds or other marks outside the page are trimmed.
Orientation Click Portrait
(tall) or Landscape
(wide). These icons interact dynamically with the dimensions
you enter in Page Size. When Height is the larger value, the portrait icon is selected. When Width is the larger value,
the landscape icon is selected. Clicking the deselected icon switches the Height and Width values.
To specify the dimensions of the bleed and slug areas, click More Options in the New Document dialog box. To make
the bleed or slug areas extend evenly on all sides, click the Make All Settings The Same icon
.
Bleed The Bleed area allows you to print objects that are arranged at the outer edge of the defined page size. For a page
of the required dimensions, if an object is positioned at its edge, some white may appear at the edge of the printed area
due to slight misalignment during printing or trimming. For this reason, you should position an object that is at the
edge of the page of the required dimensions a little beyond the edge, and trim after printing. Bleed area is shown by a
red line on the document. You can set bleed area settings from Bleed in the Print dialog box.
Slug The slug area is discarded when the document is trimmed to its final page size. The slug area holds printing
information, customized color bar information, or displays other instructions and descriptions for other information
in the document. Objects (including text frames) positioned in the slug area are printed but will disappear when the
document is trimmed to its final page size.
Objects outside the bleed or slug area (whichever extends farther) do not print.
Note: You can also click Save Preset to save document settings for future use.
Document window overview
Each page or spread in your document has its own pasteboard and guides, which are visible in Normal View mode.
(To switch to Normal View, choose View &gt; Screen Mode &gt; Normal.) The pasteboard is replaced with a gray
background when the document is viewed using one of the Preview modes. (See “Preview documents” on page 585.)
You can change the color of this preview background and guides in Guides &amp; Pasteboard preferences.
A
B
D
C
E
F
Document and guides in Normal View Mode
A. Spread (black lines) B. Page (black lines) C. Margin guides (magenta lines) D. Column guides (violet lines) E. Bleed area (red lines) F. Slug
area (blue lines)
Document window notes:
• Lines of other colors are ruler guides which, when present, appear in the layer color when selected. See “Layers” on
page 71.
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• Column guides appear in front of margin guides. When a column guide is exactly in front of a margin guide, it hides
the margin guide.
Create custom page sizes
You can create custom page sizes that appear in the Page Size menu in the New Document dialog box.
1 Choose File &gt; New &gt; Document.
2 Choose Custom Page Size from the Page Size menu.
3 Type a name for the page size, specify page size settings, and then click Add.
The New Doc Sizes.txt file that lets you create custom page sizes in previous version of InDesign is not available in
InDesign CS5.
More Help topics
“Change document setup, margins, and columns” on page 40
Define document presets
You can save document settings for page size, columns, margins, and bleed and slug areas in a preset to save time and
ensure consistency when creating similar documents.
1 Choose File &gt; Document Presets &gt; Define.
2 Click New in the dialog box that appears.
3 Specify a name for the preset and select basic layout options in the New Document Preset dialog box. (See “New
Document options” on page 37 for a description of each option.)
4 Click OK twice.
You can save a document preset to a separate file and distribute it to other users. To save and load document preset
files, use the Save and Load buttons in the Document Presets dialog box.
Create a document using a preset
1 Do one of the following:.
• Choose File &gt; Document Preset &gt; [name of preset]. (Hold down Shift while choosing the preset to create a new
document based on the preset without opening the New Document dialog box.)
• Choose File &gt; New &gt; Document, and then choose a preset from the Document Preset menu in the New
Document dialog box.
The New Document dialog box displays the preset layout options.
2 Make changes to the options (if desired) and click OK.
To skip the New Document dialog box, press the Shift key as you select a preset from the Document Preset menu.
Customize the pasteboard and guides
You can control the colors used to display guides for page margins and columns, as well as the guides for the bleed and
slug areas on the pasteboard. To make it easier to distinguish between the Normal and Preview modes, you can change
the color of the preview background.
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InDesign also lets you control how close an object needs to be to snap to a guide, whether guides should be displayed
in front of or behind objects, as well as the size of the pasteboard.
1 Choose Edit &gt; Preferences &gt; Guides &amp; Pasteboard (Windows) or InDesign &gt; Preferences &gt; Guides &amp; Pasteboard
(Mac OS).
2 Under Color, choose the desired colors from each of the following menus, or choose Custom to specify a custom
color using the color picker.
Margins Sets the color of the page margins.
Columns Sets the color of the column guides for the page.
Bleed Sets the color of the bleed area (which is set in the Document Setup dialog box).
Slug Sets the color of the slug area (which is set in the Document Setup dialog box).
Preview Background Sets the color of the pasteboard when in the Preview mode.
3 To set how close an object must be to snap to a guide or grid, specify a value in pixels for Snap To Zone.
4 To display guides behind objects, select Guides In Back.
5 To specify how far the pasteboard extends out from the page or spread (or the bleed or slug area, if specified), enter
values for Horizontal Margins and Vertical Margins.
6 Click OK to close the Preferences dialog box.
You can change the on-screen color of your paper. With no text or objects selected, double-click the Paper color in the
Swatches panel (choose Window &gt; Swatches). The Paper color appears on-screen only and does not affect output; it
is intended only to simulate designing for nonwhite paper.
More Help topics
“Ruler guides” on page 49
Change document setup, margins, and columns
After you create a document, you may change your mind about how you want it set up. For example, you may want
single pages instead of facing pages, or you may want to change the page size or margin settings.
Change document setup
Changing options in the Document Setup dialog box affects every page in the document. If you change page size or
orientation after objects have been added to pages, you can use the Layout Adjustment feature to minimize the amount
of time needed for arranging existing objects. See “About automatic layout adjustment” on page 79.
1 Choose File &gt; Document Setup.
2 Specify the document options, and then click OK. (See “New Document options” on page 37.)
Change page margin and column settings
You can change column and margin settings for pages and spreads. When you change the column and margin settings
on a master page, you change the setting for all pages to which the master is applied. Changing the columns and
margins of regular pages affects only those pages selected in the Pages panel.
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Note: The Margins And Columns dialog box doesn’t alter columns inside text frames. Text frame columns exist only
within individual text frames, not on the page itself. You can set up columns within individual text frames by using the
Text Frame Options dialog box. (See “Add columns to a text frame” on page 118.) Text frame columns can also be affected
by the Layout Adjustment feature.
1 Do one of the following:
• To change margin and column settings for one spread or page, go to the spread you want to change, or select
one spread or page in the Pages panel.
• To change margin and column settings for multiple pages, select those pages in the Pages panel, or select a
master that controls the pages you want to change.
2 Choose Layout &gt; Margins And Columns, specify the following options, and then click OK.
Margins Type values to specify the distance between margin guides and each edge of the page. If Facing Pages is
selected in the New Document or Document Setup dialog box, the Left and Right margin option names change to
Inside and Outside, so that you can specify additional inside margin space to accommodate binding.
Columns Specify the number of columns.
Create unequal column widths
When you have more than one column on a page, the column guides in the middle appear in pairs. When you drag
one column guide, the pair moves. The space between the column guides is the gutter value you specified; the pair
moves together to maintain that value.
Note: You cannot create unequal column widths for columns in a text frame. Instead, created threaded, side-by-side text
frames with different column widths.
1 Go to the master or spread you want to change.
2 If column guides are locked, choose View &gt; Grids &amp; Guides &gt; Lock Column Guides to deselect it.
3 Using the Selection tool
, drag a column guide. You can’t drag it past an adjacent column guide or beyond the
edge of the page.
Dragging a column guide to create unequal column widths
To create columns with unequal gutters, create evenly spaced ruler guides and then drag individual guides to the
desired location. (See “Create ruler guides” on page 49.)
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Rulers and measurement units
Change rulers and measurement units
You can change measurement units for the on-screen rulers and for use in panels and dialog boxes; you can also change
these settings at any time and temporarily override the current measurement units as you enter a value. By default,
rulers begin measuring from the upper-left corner of a page or spread. You can change this by moving the zero point.
(See “Change the zero point” on page 44.)
Changing the measurement units doesn’t move guides, grids, and objects, so when ruler tick marks change, they might
not line up with objects aligned to the old tick marks.
A
B
C
Rulers in a document window
A. Labeled tick marks B. Major tick marks C. Minor tick marks
You can set up different measurement systems for horizontal and vertical rulers. The system you select for the
horizontal ruler governs tabs, margins, indents, and other measurements. Each spread has its own vertical ruler;
however, all vertical rulers use the same settings you specify in the Units &amp; Increments preferences dialog box.
The default units of measure for the rulers are picas (a pica equals 12 points). However, you can change custom ruler
units and control where the major tick marks appear on a ruler. For example, if you change the custom ruler units for
the vertical ruler to 12 points, a major ruler increment appears every 12 points (if such display is possible in the current
magnification). The tick mark labels include your customized major tick marks, so when the ruler reads 3 in the same
example, it marks the third instance of the 12-point increment, or 36 points.
Vertical ruler using inches (left), and custom 12-point increments (right)
Setting custom ruler increments in the vertical ruler is useful for lining up a ruler’s major tick marks with a baseline
grid.
More Help topics
“Grids” on page 47
“Keys for selecting and moving objects” on page 673
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Show or hide rulers
❖ In Normal View Mode (View &gt; Screen Mode &gt; Normal), choose View &gt; Show Rulers or Hide Rulers.
Change measurement units and rulers
1 Choose Edit &gt; Preferences &gt; Units &amp; Increments (Windows) or InDesign &gt; Preferences &gt; Units &amp; Increments
(Mac OS).
2 To change the origin of the zero point, in the Origin menu under Ruler Units, do one of the following:
• To set the ruler origin at the top-left corner of each spread, choose Spread. The horizontal ruler measures across
the entire spread.
• To set the ruler origin at the top-left corner of each page, choose Page. The horizontal ruler starts at zero for each
page in a spread.
• To set the ruler origin at the center of the spine, choose Spine. The horizontal ruler measures in negative
numbers to the left of the spine and positive numbers to the right of the spine.
3 To change the measurement system used for rulers, dialog boxes, and panels, choose the desired system for
Horizontal and Vertical, or choose Custom and type the number of points at which you want the ruler to display
major tick marks.
If you specify a measurement system other than points, the Increment Every baseline grid value is still displayed in
points. This makes it easier to match text size and leading values, which are displayed in points.
4 To change the value you want used for text size, choose Points or Pixels from the Text Size menu. This option is
especially useful when you’re designing a document for the web.
5 To change the value you want used for stroke weight settings, choose Points, Millimeters, or Pixels from the Stroke
menu. This option is especially useful when you’re designing a document for the web.
6 To change the value you want used for calculating points, specify the desired point size per inch for Points/Inch.
7 Set any of the following Keyboard Increments:
Cursor Key Controls the increment for the arrow keys when nudging objects.
Size/Leading Controls the increment for increasing or decreasing the point size or leading using the keyboard
shortcuts.
Baseline Shift Controls the increment for shifting the baseline using the keyboard shortcuts.
Kerning/Tracking Controls the increment for kerning and tracking using the keyboard shortcuts.
8 Click OK.
You can also change ruler units by right-clicking (Windows) or Control-clicking (Mac OS) a ruler and choosing the
units from the context menu. By right-clicking or Control-clicking at the intersection of the horizontal and vertical
rulers, you can change the ruler units for both rulers at the same time.
Override default measurement units
You can specify a unit of measurement that is different from the default.
❖ Highlight the existing value in a panel or dialog box, and type the new value using the notation in the following
table:
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To specify:
Type these letters after the value:
Examples
Result
Inches
i
5.25i
5 1/4 inches
in
5.25in
inch
5.25inch
&quot;
5.25”
Millimeters
mm
48mm
48 millimeters
Centimeters
cm
12cm
12 centimeters
Picas
p
3p
3 picas
Points
pt
6pt
6 points
p (before value)
p6
Picas and points
p (between values)
3p6
3 picas, 6 points
Pixels
px
5px
5 pixels
Ciceros
c
5c
5 ciceros
Agates
ag
5ag
agates
Change the zero point
The zero point is the position at which the zeros on the horizontal and vertical rulers intersect. By default, the zero
point is at the top left corner of the first page of each spread. This means that the default position of the zero point is
always the same relative to a spread, but may seem to vary relative to the pasteboard.
The X and Y position coordinates in the Control panel, Info panel, and Transform panel are displayed relative to the
zero point. You can move the zero point to measure distances, to create a new reference point for measurement, or to
tile oversized pages. By default, each spread has one zero point at the upper left corner of the first page, but you can
also locate it at the binding spine, or specify that each page in a spread has its own zero point.
Adjust the zero point
When you move the zero point, it moves to the same relative location in all spreads. For example, if you move the zero
point to the top left corner of the second page of a page spread, it will appear in that position on the second page of all
other spreads in the document.
❖ Do one of the following:
• To move the zero point, drag from the intersection of the horizontal and vertical rulers to the position on the layout
where you want to set the zero point.
Establishing a new zero point
• To reset the zero point, double-click the intersection of the horizontal and vertical rulers
.
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• To lock or unlock the zero point, right-click (Windows) or Control-click (Mac OS) the zero point of the rulers, and
choose Lock Zero Point in the context menu.
Change the default zero point
Using the Origin setting in the Preferences dialog box, you can set the default zero point for rulers as well as the scope
of the horizontal ruler. The scope determines whether the ruler measures across the page, across the entire spread, or,
for multipage spreads, from the center of the spine.
If you set the ruler origin at each spread’s binding spine, the origin becomes locked at the spine. You won’t be able to
reposition the ruler origin by dragging it from the intersection of the rulers unless you choose another origin option.
1 Choose Edit &gt; Preferences &gt; Units &amp; Increments (Windows) or InDesign &gt; Preferences &gt; Units &amp; Increments
(Mac OS).
2 In the Ruler Units section, in the Origin menu, do one of the following:
• To set the ruler origin at the top-left corner of each spread, choose Spread. The horizontal ruler measures across
the entire spread.
• To set the ruler origin at the top-left corner of each page, choose Page. The horizontal ruler starts at zero for each
page in a spread.
• To set the ruler origin at the center of the spine, choose Spine. The horizontal ruler measures in negative numbers
to the left of the spine and positive numbers to the right of the spine.
You can also change horizontal ruler origin settings using the context menu that appears when you right-click
(Windows) or Control-click (Mac OS) the horizontal ruler.
Measure objects
The Measure tool calculates the distance between any two points in the document window. When you measure from
one point to another, the distance measured is displayed in the Info panel. All measurements except the angle are
calculated in the units of measure currently set for the document.
After you use the Measure tool to measure an item, the line or lines remain visible until you take another measurement
or select a different tool.
Measure the distance between two points
1 Make sure the Info panel is visible (Window &gt; Info).
2 Select the Measure tool
. (Click and hold the Eyedropper tool to display the Measure tool.)
3 Click the first point and drag to the second point. Shift-drag to constrain the tool’s motion to multiples of 45&deg;. You
cannot drag beyond a single pasteboard and its spread.
The width and height measurements appear in the Info panel.
Measure angles
1 Make sure the Info panel is visible (Window &gt; Info).
2 Select the Measure tool
. (Click and hold the Eyedropper tool to display the Measure tool.)
3 Do one of the following:
• To measure an angle from the x axis, drag the tool.
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• To measure a custom angle, drag to create the first line of the angle. Position the tool over either end point of the
measure line. To create the second line of the angle, either double-click and drag, or press Alt (Windows) or Option
(Mac OS) and drag.
When you measure a custom angle, the Info panel shows the length of the first line as D1 and the length of the second
line as D2.
Info panel overview
The Info panel displays information for selected objects, the current document, or the area below the current tool,
including values for position, size, and rotation. When you move an object, the Info panel displays its position relative
to its starting point as well.
The Info panel is also useful for determining word counts and character counts in stories.
Unlike other InDesign panels, the Info panel is for viewing only; you cannot enter or edit the values it displays. You
can view additional information about a selected object by choosing Show Options from the panel menu.
A
B
C
D
E
F
Info panel
A. Horizontal (X) position of the cursor B. Vertical (Y) position of the cursor C. Distance an object or tool has moved relative to its starting
position D. Width in current units E. Height in current units F. Degree of rotation
Display the Info panel
❖ Choose Window &gt; Info.
To change the current measurement system, click the small triangle next to the plus icon.
Determine the word count
1 Place the insertion point inside a text frame, or select text.
2 Choose Window &gt; Info.
The Info panel displays the number of words and characters in the story or the selected text. If any text is overset, a “+”
sign appears, followed by a number representing the overset characters, words, or lines.
View additional Info panel options
❖ Choose Show Options in the Info panel menu.
Depending on the object or tool selected, you may see the following:
• Values for the fill and stroke colors of the selected object, and information about gradients
.
• The names of any swatches. You can display color-space values instead by clicking the small triangle next to the fill
or stroke icon.
• Information about the current document, such as location, last modified date, author, and file size, when nothing
in the document is selected.
• Number of characters, words, lines, and paragraphs when you create a text insertion point or select text using one
of the Type tools. (If any text is overset, a “+” sign appears, followed by a number representing the overset
characters, words, or lines.)
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• File type, resolution, and color space when a graphic file is selected. Resolution is displayed as both actual pixels per
inch (the resolution of the native graphic file) and effective pixels per inch (the resolution of the graphic after it has
been resized in InDesign). If color management has been enabled, the ICC color profile is also displayed.
• The shear angle or horizontal and vertical scaling if the Shear tool, Scale tool, or the Free Transform tool is selected.
Grids
Use grids
Two kinds of nonprinting grids are available: a baseline grid for aligning columns of text, and a document grid for
aligning objects. On the screen, a baseline grid resembles ruled notebook paper, and a document grid resembles graph
paper. You can customize both kinds of grids.
Baseline grid (left) and document grid (right)
When a grid is visible, you can observe the following characteristics:
• The baseline grid covers entire spreads, but the document grid covers the entire pasteboard.
• Baseline grids and document grids appear on every spread and cannot be assigned to any master.
• The document grid can appear in front of or behind all guides, layers, and objects, but cannot be assigned to any
layer.
Set up a baseline grid
Use Grid Preferences to set up a baseline grid for the entire document.
You can set up a baseline grid for a frame by using the Text Frame Options. (See “Change text frame properties” on
page 118.)
1 Choose Edit &gt; Preferences &gt; Grids (Windows) or InDesign &gt; Preferences &gt; Grids (Mac OS).
2 Specify a baseline grid color by choosing a color in the Color menu. You can also choose Custom in the Color menu.
3 For Relative To, specify whether you want the grid to start at the top of the page or the top margin.
4 For Start, type a value to offset the grid from either the top of the page or the top margin of the page, depending on
the option you choose from the Relative To menu. If you have trouble aligning the vertical ruler to this grid, try
starting with a value of zero.
5 For Increment Every, type a value for the spacing between grid lines. In most cases, type a value that equals your
body text leading, so that lines of text align perfectly to this grid.
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A
B
Baseline grid in document window
A. First grid line B. Increment between grid lines
6 For View Threshold, type a value to specify the magnification below which the grid does not appear. Increase the
view threshold to prevent crowded grid lines at lower magnifications.
Baseline grid at magnification below view threshold (left) and above view threshold (right)
7 Click OK.
Note: The Snap To Guides command controls both snapping to guides and snapping to the baseline grid.
Set up a document grid
1 Choose Edit &gt; Preferences &gt; Grids (Windows) or InDesign &gt; Preferences &gt; Grids (Mac OS).
2 Specify a document grid color by choosing a color in the Color menu. You can also choose Custom in the Color menu.
3 To set horizontal grid spacing, specify a value for Gridline Every in the Horizontal section of the Document Grid
section, and then specify a value for Subdivisions between each grid line.
4 To set vertical grid spacing, specify a value for Gridline Every in the Vertical section of the Document Grid section,
and then specify a value for Subdivisions between each grid line.
5 Do one of the following, and click OK:
• To put the document and baseline grids behind all other objects, make sure that Grids In Back is selected.
• To put the document and baseline grids in front of all other objects, deselect Grids In Back.
To put guides behind all other objects, you can also choose Guides In Back in the context menu that appears when you
right-click (Windows) or Control-click (Mac OS) an empty area of the document window.
Show or hide grids
• To show or hide the baseline grid, choose View &gt; Grids &amp; Guides &gt; Show/Hide Baseline Grid.
• To show or hide the document grid, choose View &gt; Grids &amp; Guides &gt; Show/Hide Document Grid.
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Snapping objects to grids
When snapping is enabled, moving an object within the snap zone of a grid location will cause the object to snap to
that location.
More Help topics
“Ruler guides” on page 49
Snap objects to the document grid
1 Choose View &gt; Grids &amp; Guides and make sure that Snap To Document Grid is selected (checked). If it is not
selected, click it.
Note: The Snap to Guides command controls both snapping to guides and snapping to the baseline grid.
2 To specify the snap-to zone, choose Edit &gt; Preferences &gt; Guides &amp; Pasteboard (Windows) or InDesign &gt;
Preferences &gt; Guides &amp; Pasteboard (Mac OS), type a value for Snap to Zone, and click OK. The Snap to Zone value
is always in pixels.
To snap an object to a grid, drag an object toward a grid until one or more of the object’s edges is within the grid’s
snap-to zone.
Ruler guides
Create ruler guides
Ruler guides are different from grids in that they can be positioned freely on a page or on a pasteboard. You can create
two kinds of ruler guides: page guides, which appear only on the page on which you create them, or spread guides,
which span all pages and the pasteboard of a multiple-page spread. You can drag any ruler guide to the pasteboard. A
ruler guide is displayed or hidden with the layer on which it was created.
New ruler guides always appear on the target spread. For example, if several spreads are visible in the document
window and you drag a new guide into the window, the new guide becomes visible only on the target spread.
A
B
Guides in the document window
A. Spread guide B. Page guide
More Help topics
“Layers” on page 71
“Customize the pasteboard and guides” on page 39
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Create a ruler guide
1 Make sure that both rulers and guides are visible, make sure the correct spread is targeted, and view the document
in Normal View mode, not Preview mode.
2 If the document contains multiple layers, click a layer name in the Layers panel to target the layer.
3 Do one of the following:
• To create a page guide, position the pointer inside a horizontal or vertical ruler and then drag to the desired location
on the target spread. If you drop the guide onto the pasteboard, it spans the pasteboard and spread; it will act as a
page guide if you later drag it onto a page.
• To create a spread guide, drag from the horizontal or vertical ruler, keeping the pointer in the pasteboard but
positioning the guide at the desired location on the target spread.
• To toggle between horizontal and vertical guides, select the guide and hold down Alt (Windows) or Option (Mac OS).
• To create a spread guide when the pasteboard is not visible (for example, when you’ve zoomed in), press Ctrl
(Windows) or Command (Mac OS) as you drag from the horizontal or vertical ruler to the target spread.
• To create a spread guide without dragging, double-click a specific position on the horizontal or vertical ruler. If you
want to snap the guide to the nearest tick mark, hold down the Shift key when you double-click the ruler.
• To create vertical and horizontal guides simultaneously, press Ctrl (Windows) or Command (Mac OS) as you drag
from the target spread’s ruler intersection to the desired location.
A vertical and horizontal guide created concurrently
To reposition a ruler guide numerically, select the guide and enter values for X and Y in the Control panel.
Create a set of evenly spaced page guides
1 If the document contains multiple layers, click a layer name in the Layers panel to target the layer.
2 Choose Layout &gt; Create Guides.
3 For Number, type a value to specify the number of rows or columns you want to create.
4 For Gutter, type a value to specify the spacing between rows or columns. Start with a low value, such as 1 pica; large
gutters leave little space for columns.
Columns created with the Create Guides command are not the same as those created with the Layout &gt; Margins And
Columns command. For example, columns created using Create Guides cannot control text flow when a text file is
placed. Use the Margins And Columns command to create major column divisions appropriate for autoflow text, and
use the Create Guides command to create column grids and other layout aids.
5 For Fit Guides To, click Margins to create the guides within the page margins, or click Page to create the guides
within the page edges.
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Ruler guides evenly spaced within page margins (left) and page edges (right)
6 To delete any existing guides (including guides on locked or hidden layers), select Remove Existing Ruler Guides.
7 If you like, select Preview to see the effect of your settings on the page, and then click OK.
Note: The Create Guides command can create page guides only; it cannot create spread guides.
To space existing guides a uniform distance apart, select the guides (by dragging or pressing Shift as you click with the
mouse). Then, select Use Spacing from the Control panel, type the space value in the text box, and press Enter or
Return to confirm. Click either Distribute Horizontal Centers
or Distribute Vertical Centers
to the left of the Use
Spacing option.
Show or hide guides
• To show or hide all margin, column, and ruler guides, choose View &gt; Grids &amp; Guides &gt; Show/Hide Guides.
• To show or hide ruler guides on one layer only without changing the visibility of the layer’s objects, double-click
the layer name in the Layers panel, select or deselect Show Guides, and then click OK.
• To show or hide guides and all other non-printing elements, click the Preview Mode icon
Toolbox.
at the bottom of the
Work with ruler guides
You can change the attributes of individual ruler guides, and you can move, cut, copy, paste, or delete multiple ruler
guides simultaneously. Cut or copied ruler guides can be pasted to other pages or documents, but not to other
programs. To change attributes of specific guides, you must select the guides you want to change. When no guides are
selected, the Ruler Guides command sets the defaults for new guides only.
Select ruler guides
Unselected ruler guides appear light blue by default. Selected ruler guides are highlighted in their layer color. When a
guide is selected, the Reference Point icon in the Control panel changes to
or , representing the selected guide.
• To select a single ruler guide, use the Selection tool
it in its layer color.
or the Direct Selection tool
and click the guide to highlight
If you can’t select a ruler guide and the View &gt; Grids &amp; Guides &gt; Lock Guides command is already deselected, the
guide might be on that page’s master, or on a layer where guides are locked.
• To select multiple ruler guides, hold down Shift as you click guides using the Selection or Direct Selection tool. You
can also drag over multiple guides, as long as the selection marquee doesn’t touch or enclose any other object.
• To select all ruler guides on the target spread, press Ctrl+Alt+G (Windows) or Command+Option+G (Mac OS).
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Move ruler guides
❖ Using Selection tool
or the Direct Selection tool
, do any of the following:
• To move a ruler guide, drag it.
• To move multiple ruler guides, shift-select the guides you want to move, and then drag them.
Move selected guides just as you would any other selected object, including nudging with the arrow keys and using the
Control or Transform panels.
• To make a guide snap to a ruler tick mark, press Shift as you drag it. Or select the guide, press and hold down the
Shift key, and then click the mouse button.
• To move a spread guide, drag the part of the guide that’s on the pasteboard, or press Ctrl (Windows) or Command
(Mac OS) as you drag the guide from within the page.
• To move guides to another page or document, select one or more guides, choose Edit &gt; Copy or Edit &gt; Cut, go to
another page, and then choose Edit &gt; Paste. If you’re pasting onto a page of the same size and orientation as the
guides’ original page, the guides appear in the same position.
Note: The Paste Remembers Layers option affects the layer on which pasted guides appear.
Delete ruler guides
• To delete individual guides, select one or more ruler guides and then press Delete. (You can also drag ruler guides
and drop them on a ruler to delete them.)
• To delete all ruler guides on the target spread, right-click (Windows) or Ctrl-click (Mac OS) a selected guide or
ruler, and choose Delete All Guides On Spread.
If you cannot delete a guide, it may be locked, it may be on a master page, or it may be on a locked layer.
Customize ruler guides
1 Do one of the following:
• To change options for one or more existing ruler guides, select those ruler guides.
• To set default options for new ruler guides, deselect all guides by clicking in an empty area.
2 Choose Layout &gt; Ruler Guides.
3 For View Threshold, specify the magnification below which ruler guides do not appear. This prevents ruler guides
from appearing too close together at lower magnifications.
4 For Color, choose a color or choose Custom to specify a custom color in the system color picker. Then click OK.
You can set the current magnification as the view threshold for new ruler guides by pressing Alt (Windows) or Option
(Mac OS) as you drag the ruler guides you’ve selected.
Lock or unlock ruler guides
• To lock or unlock all ruler guides, choose View &gt; Grids &amp; Guides &gt; Lock Guides to select or deselect the menu
command.
• To lock or unlock ruler guides on one layer only, without changing the visibility of the layer’s objects, double-click
the layer name in the Layers panel, select or deselect Lock Guides, and then click OK.
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Change ruler guide stacking order
By default, ruler guides appear in front of all other guides and objects. However, some ruler guides may block your
view of such objects as lines with narrow stroke widths. You can change the Guides in Back preference to display ruler
guides in front of or behind all other objects. However, regardless of the Guides in Back setting, objects and ruler
guides are always in front of margin and column guides. Also, although putting guides on different layers organizes
them structurally, it does not affect their visual stacking order—the Guides in Back preference stacks all ruler guides
as a single set in relation to all page objects.
A
B
C
D
Default stacking order
A. Ruler guides B. Page objects C. Margin and column guides D. Page
1 Choose Edit &gt; Preferences &gt; Guides &amp; Pasteboard (Windows) or InDesign &gt; Preferences &gt; Guides &amp; Pasteboard
(Mac OS).
2 Select Guides in Back, and click OK.
Snap objects to guides and grids
To precisely align objects to guides, use the Snap To Guides and Snap To Document Grid commands. Object edges
will snap to (be pulled toward) the nearest grid intersection or guide when you draw, move, or resize the objects.
The exact range within which an object snaps to guides is called the snap-to zone, which you can adjust. When you
select both the Snap To Guides and the Snap To Document Grid commands, the grid takes precedence.
Keep the following guidelines in mind as you align objects to guides and grids:
• To snap an object to a guide, drag an object toward a guide until one or more of the object’s edges is within the
guide’s snap-to zone.
• Guides must be visible for objects to snap to them. However, objects can snap to the document and baseline grids
whether the grids are visible or not.
• Objects on one layer snap to ruler guides visible on any other layer. If you don’t want objects to snap to guides on
a certain layer, hide that layer’s guides.
• For the baselines of text to snap to the baseline grid, press the Align to Baseline Grid button
paragraphs or paragraph styles.
for individual
1 Choose View &gt; Grids &amp; Guides and make sure that Snaps To Guides is selected (checked).
Note: The Snap To Guides command controls both snapping to guides and snapping to the baseline grid.
2 To specify the snap-to zone, choose Edit &gt; Preferences &gt; Guides &amp; Pasteboard (Windows) or InDesign &gt;
Preferences &gt; Guides &amp; Pasteboard (Mac OS), type a value for Snap To Zone, and click OK. The Snap To Zone
value is always in pixels.
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Use smart guides
The Smart Guides feature makes it easy to snap objects to items in your layout. As you drag or create an object,
temporary guides appear, indicating that the object is aligned with an edge or center of the page or with another page
item.
By default, the Smart Guides feature is selected. You can turn off smart guides, or you can turn off any of the smart
guide categories:
Smart Object Alignment Smart object alignment allows for easy snapping to page item centers or edges. In addition to
snapping, smart guides dynamically draw to indicate which object is being snapped to.
Smart Dimensions Smart dimension feedback appears when you’re resizing, creating, or rotating page items. For
example, if you rotate one object on your page 24 degrees, a rotation icon appears as you rotate another object close to
24 degrees. This hint lets you snap the object to the same rotation angle of the adjacent object. Similarly, as you resize
an object next to another object, a line segment with arrows at each end lets you snap the object to the same width or
height as the adjacent object.
Smart Spacing Smart spacing lets you quickly arrange page items with the help of temporary guides that indicate when
the spacing between objects is even.
Smart Cursors Smart cursor feedback appears in a gray box as X and Y values when you’re moving or resizing object
or as a measurement when you’re rotating values. The Show Transformation Values option in Interface preferences
lets you turn smart cursors on and off.
For a video tutorial on using smart guides, see www.adobe.com/go/lrvid4029_id.
Turn smart guides on or off
❖ Choose View &gt; Grids &amp; Guides &gt; Smart Guides.
Turn smart guide categories on or off
1 Open the Guides &amp; Pasteboard preferences.
2 Indicate whether you want Align To Object Center, Align To Object Edge, Smart Dimensions, and Smart Spacing
turned on or off, and click OK.
To turn off smart cursors, which displays the X and Y values of objects you mouse over, deselect Show Transformation
Values in Interface preferences.
Change the appearance of smart guides
1 Open the Guides &amp; Pasteboard section of the Preferences dialog box.
2 Choose a different color from the Smart Guides menu, and click OK.
Tips for using Smart Guides
❖ Smart Guides take effect only on page items and intersections that are in the current page view. If you have many
objects on a page and are trying to align an object to another object or objects in particular, zoom in on that area
specifically.If you don’t want Smart Guides to snap to column guides, turn off Snap To Guides temporarily by
choosing View &gt; Grids &amp; Guides &gt; Snap To Guides.The Smart Guides feature is accurate regardless of zoom
percentage, so it isn’t necessary to zoom in to see if two objects are really aligned at their left edges, for example.
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Pages and spreads
About pages and spreads
When you select the Facing Pages option in the File &gt; Document Setup dialog box, document pages are arranged in
spreads. A spread is a set of pages viewed together, such as the two pages visible whenever you open a book or
magazine. Every InDesign spread includes its own pasteboard, which is an area outside a page where you can store
objects that aren’t yet positioned on a page. Each spread’s pasteboard provides space to accommodate objects that
bleed, or extend past the edge of a page.
B
A
C
Pages panel
A. Page icons B. Page with master “A” applied C. Selected spread
In a long document, you can move to a page quickly by choosing Layout &gt; Go To Page.
Change the page and spread display
The Pages panel provides information about and control over pages, spreads, and masters (pages or spreads that
automatically format other pages or spreads). By default, the Pages panel displays thumbnail representations of each
page’s content.
1 If the Pages panel isn’t visible, choose Window &gt; Pages.
2 Choose Panel Options in the Pages panel menu.
3 In the Icons section, specify which icons appear next to the page thumbnails in the Pages panel. These icons indicate
whether transparency or page transitions have been added to a spread, and whether the spread view is rotated.
4 In the Pages and Masters sections:
• Select an icon size for pages and masters.
• Select Show Vertically to display spreads in one vertical column. Deselect this option to allow spreads to be
displayed side-by-side.
• Select Show Thumbnails to display thumbnail representations of the content of each page or master. (This
option is not available if certain options are selected for Icon Size.)
5 In the Panel Layout section, select Pages On Top to display the page icon section above the master icon section, or
select Masters On Top to display the master icon section above the page icon section.
6 Choose an option in the Resize menu to control how the sections are displayed when you resize the panel:
• To resize both the Pages and Masters sections of the panel, choose Proportional.
• To maintain the size of the Pages section and resize only the Masters section, choose Pages Fixed.
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• To maintain the size of the Masters section and resize only the Pages section, choose Masters Fixed.
Target or select a page or spread
You either select or target pages or spreads, depending on the task you are performing. Some commands affect the
currently selected page or spread, while others affect the target page or spread. For example, you can drag ruler guides
only to the target page or spread, but page-related commands, such as Duplicate Spread or Delete Page, affect the page
or spread selected in the Pages panel. Targeting makes a page or spread active and is helpful when, for example, several
spreads are visible in the document window and you want to paste an object onto a specific spread.
❖ In the Pages panel:
• To both target and select a page or spread, double-click its icon or the page numbers under the icon. If the page
or spread is not visible in the document window, it shifts into view.
You can also both target and select a page or spread by clicking a page, any object on the page, or its pasteboard
in the document window.
The vertical ruler is dimmed alongside all but the targeted page or spread.
• To select a page, click its icon. (Don’t double-click unless you want to select it and move it into view.)
• To select a spread, click the page numbers under the spread icon.
Note: Some spread options, such as those in the Pages panel menu, are available only when an entire spread is
selected.
A
A A
A
A
A A
A
1
2–3
4–5
1
2–3
4–5
6–7
8
6–7
8
Page 1 is targeted and page 5 is selected (left), and page 1 is targeted and entire spread is selected (right).
Add new pages to a document
❖ Do any of the following:
• To add a page after the active page or spread, click the New Page button in the Pages panel or choose Layout &gt;
Pages &gt; Add Page. The new page uses the same master as the existing active page.
• To add multiple pages to the end of the document, choose File &gt; Document Setup. In the Document Setup
dialog box, specify the total number of pages for the document. InDesign adds pages after the last page or spread.
• To add pages and specify the document master, choose Insert Pages from the Pages panel menu or choose
Layout &gt; Pages &gt; Insert Pages. Choose where the pages will be added and select a master to apply.
Create color labels for page thumbnails
You can assign colored labels to the page thumbnails in the Pages panel. For example, you can use color labels to
indicate the status of the pages, such as a green label for complete spreads, a yellow label for spreads being worked on,
and a red label for unstarted spreads.
1 In the Pages panel, select the pages to which you want to apply the color labels.
2 From the Pages panel menu, choose Color Label, and then choose the color to assign.
The color label appears below the thumbnail in the Pages panel.
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Applying a color label to master pages affects all pages to which the master is applied. However, when you apply a color
label to individual document pages, the color label for the document pages is used. To use a color label for master pages,
select the document pages you want to change and choose Color Label &gt; Use Master Color from the Pages panel menu.
Move, duplicate, and delete pages and spreads
You can use the Pages panel to freely arrange, duplicate, and recombine pages and spreads. Keep the following
guidelines in mind when adding, arranging, duplicating, or removing pages within a document:
• InDesign preserves the threads between text frames.
• InDesign redistributes pages according to how the Allow Document Pages To Shuffle command is set.
• An object that spans multiple pages stays with the page on which the object’s bounding box covers the most area.
More Help topics
“Control spread pagination” on page 59
“Move or copy pages between documents” on page 58
“Copy masters” on page 67
Move pages using Move Pages command
1 Choose Layout &gt; Pages &gt; Move Pages, or choose Move Pages from the Pages panel menu.
2 Specify the page or pages you want to move.
3 For Destination, choose where you want to move the pages, and specify a page if necessary. Click OK.
Move pages by dragging
❖ As you drag, the vertical bar indicates where the page will appear when you drop it. If the black rectangle or bar
touches a spread when Allow Pages to Shuffle is turned off, the page you’re dragging will extend that spread;
otherwise, document pages will be redistributed to match the Facing Pages setting in the File &gt; Document Setup
dialog box.
In the Pages panel, drag a page icon to a new position within the document.
A
A A
A B
A
1
2–3
[4–5]
1
B
6–7
8
A
2–3
B
B
6–7
8
A A
4–5
Moving a page’s position using the Pages panel
Duplicate a page or spread
❖ In the Pages panel, do one of the following:
• Drag the page range numbers under a spread to the New Page button. The new spread appears at the end of the
document.
• Select a page or spread, and then choose Duplicate Page or Duplicate Spread in the Pages panel menu. The new page
or spread appears at the end of the document.
• Press Alt (Windows) or Option (Mac OS) as you drag the page icon or page range numbers under a spread to a new
location.
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Note: Duplicating a page or spread also duplicates all objects on the page or spread. Text threads from the duplicated
spread to other spreads are broken, but all text threads within the duplicated spread remain intact—as do all text threads
on the original spread.
Remove a page from a spread while keeping it in the document
1 Select the spread and deselect Allow Selected Spread To Shuffle in the Pages panel menu.
2 In the Pages panel, drag a page out of the spread until the vertical bar is not touching any other pages.
Delete a page or spread from the document
❖ Do one of the following:
• In the Pages panel, drag one or more page icons or page-range numbers to the Delete icon.
• Select one or more page icons in the Pages panel, and click the Delete icon.
• Select one or more page icons in the Pages panel, and then choose Delete Page(s) or Delete Spread(s) in the Pages
panel menu.
Move or copy pages between documents
When you move or copy a page or spread from one document to another, all of the items on the page or spread,
including graphics, links, and text, are copied to the new document. Section markers are preserved. Threaded text
frames are also included, but text that is threaded to pages outside the spread does not transfer. If the page or spread
you are copying contains styles, layers, or masters with the same names as their counterparts in the destination
document, the destination document’s settings are applied to the page or spread.
If you copy a page from a document that has a different size than the document you are copying to, it will be resized
to the dimensions of the destination.
If you move or copy a spread with a rotated view, the rotated view is cleared in the target document.
If you want to move or copy a multiple-page spread, deselect Allow Document Pages To Shuffle in the destination
document to keep the spread together.
Neil Oliver provides a video tutorial about moving pages at Move pages between documents (English only).
More Help topics
“Copy masters” on page 67
Move or copy pages between documents
1 To move pages from one document to another, open both documents.
2 Choose Layout &gt; Pages &gt; Move Pages, or choose Move Pages from the Pages panel menu.
3 Specify the page or pages you want to move.
4 Choose the destination document name from the Move To menu.
5 For Destination, choose where you want to move the pages, and specify a page if necessary.
6 If you want to remove the pages from the original document, select Delete Pages After Moving.
Note: When you copy pages between documents, their associated masters are copied automatically. If the new document
contains a master with the same name as the master applied to the copied page, however, the master of the new document
is applied to the copied page instead.
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Move or copy pages between documents by dragging
1 To move pages from one document to another, make sure that both documents are open and visible.
You can choose Window &gt; Arrange &gt; Tile to display documents side-by-side.
2 Drag the original document’s page icon to the new document.
3 In the Insert Pages dialog box, specify where the pages will be added.
4 If you want to remove the pages from the original document, select Delete Pages After Inserting.
Control spread pagination
Most documents use two-page spreads exclusively. When you add or remove pages before a spread, the pages shuffle
by default. However, you may want to keep certain pages in a spread together. For example, you can create gatefold or
accordion foldouts by creating a multiple-page spread (also called an island spread) and adding pages to it. By not
allowing pages to shuffle, you can ensure that pages are kept in the same spread.
A
B
C
Pages panel
A. One-page spread B. Four-page spread, identified by brackets around page numbers C. Entire two-page spread selected
Create a multiple-page spread
1 Do one of the following:
• To keep a single spread together, select a spread in the Pages panel, and then deselect Allow Selected Spread To
Shuffle in the Pages panel menu. You can identify an island spread in the Pages panel by the brackets around its
page numbers.
• To allow the creation of spreads of more than two pages in the entire document and to preserve those spreads when
you add, remove, or arrange preceding pages, deselect Allow Document Pages To Shuffle on the Pages panel menu.
InDesign will preserve spreads of more than two pages while letting two-page spreads repaginate normally.
2 Add pages to the selected spread either by using Insert Pages to insert a new page in the middle of a spread or by
dragging an existing page to the spread in the Pages panel. To drag an entire spread, drag its page numbers.
A
A
A
A
A A A
1
[2–3]
4–5
1
[2–4]
6–7
8–9
7–8
5–6
9
Adding a page to a spread using the Pages panel
Note: You can include up to ten pages in a spread. When you have reached the limit, the black vertical bar will not appear.
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Redistribute pages
You can redistribute a spread’s pages to match the Facing Pages setting in the File &gt; Document Setup dialog box.
❖ Do either of the following:
• If an individual spread has been allowed to shuffle, select the spread, and choose Allow Selected Spread To Shuffle
in the Pages panel menu to select it.
• If document pages have been allowed to shuffle and you added pages to a spread, choose Allow Document Pages
To Shuffle from the Pages panel menu to select it. Click No to redistribute pages. If you click Yes to maintain the
multiple-page spreads, brackets surround the numbers on those spreads in the Pages panel, indicating that those
spreads are not allowed to shuffle.
Start a document with a two-page spread
Instead of beginning the document with a single page, you can begin your document with a two-page spread.
1 Do either of the following actions:
• To create a document, choose File &gt; New Document.
• To edit an existing document, choose File &gt; Document Setup.
2 For Start Page #, specify an even number, such as 2, and then click OK.
Rotate the spread view
In some instances, you need to edit rotated content. Instead of turning your head sideways to look at the rotated
content, you can rotate the spread view. This option is especially useful for working on rotated calendars and tables.
Rotating the spread view does not affect printing or output.
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A
B
C
Rotating the spread
A. Before rotating spread B. Rotated spread view C. Rotate icon in Pages panel
For a video tutorial on rotating the spread view, see www.adobe.com/go/lrvid4031_id.
1 In the Pages panel, select the page or spread that you want to rotate.
2 Do any of the following:
• From the Pages panel menu, choose Rotate Spread View &gt; 90&deg; CW, 90&deg; CCW, or 180&deg;.
• Choose View &gt; Rotate Spread &gt; 90&deg; CW, 90&deg; CCW, or 180&deg;.
A rotation icon
appears next to the rotated spread in the Pages panel.
Objects you place or create mirror the rotated view. For example, if you create a text frame when the spread view is
rotated 90 degrees, the text frame is also rotated. However, objects you paste are not rotated.
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When transforming objects, keep in mind that you’re working on a rotated page view. For example, if you’re editing a
table on a rotated spread view, changing the “left” side of the table will change what appears to be the top of the table
in the rotated view.
Before you output the file or send it to someone else, it’s a good idea to avoid confusion by clearing the spread rotation.
Choose View &gt; Rotate Spread &gt; Clear Rotation.
Use multiple page sizes
You can define different page sizes for pages within a single document. This feature is especially useful when you want
to manage related designs in one file. For example, you can include business card, postcard, letterhead, and envelope
pages in the same document. Using multiple page sizes is also useful for creating gate-fold layouts in magazines.
For video tutorials on creating multiple page sizes in a document, see www.adobe.com/go/lrvid5153_id_en and
http://tv.adobe.com/go/4950/.
A
B
C
Multiple page sizes in same document
A. Magazine page B. Gate-fold page C. Spine page
Create different page sizes within a document
Use the Page tool to select the master page or layout page you want to resize, and then use the Control panel to change
the settings. A page inherits its page size from its master page, but you can change the size of a layout page so that it’s
different from the master page applied to it. A master page can be based on another master page of a different size, so
that a range of pages of mixed sizes can share the same master content.
To apply a different page size quickly, select the page in the Pages panel, and then choose a page size from the Edit
Page Size button
.
1 Using the Page tool
, select one or more master pages or layout pages that you want to resize.
Make sure that the entire page is selected in the layout, not only in the Pages panel.
2 Specify settings in the Control panel to change the page size of the selected pages:
X and Y values Change the Y value to determine the vertical position of the page in relation to other pages in the
spread.
W and H page size values Change the width and height of the selected pages. You can also specify a page size preset
from the menu. To create a custom page size that appears in this list, choose Custom Page Size from the menu,
specify the page size settings, and click OK.
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Orientation Select a landscape or portrait page orientation.
Enable Layout Adjustment Select this option if you want the objects on the page to be adjusted automatically when
the page size changes. See “About automatic layout adjustment” on page 79.
Show Master Page Overlay Select this option to display a master page overlay on top of any page that is selected
with the Page tool.
Objects Move With Page Select this option to make the objects move along with the page when you adjust the X
and Y values.
Use master page overlays
When you use the Page tool to select a page and turn on the Show Master Page Overlay option, a shaded box appears
over the selected page. You can move the master page overlay so that master page items appear in the proper location.
The Show Master Page Overlay option is especially useful if the master page and document page have different page
sizes.
Aligning the master page overlay to a smaller layout page
1 Using the Page tool, select a page.
2 In the Control panel, select Show Master Page Overlay.
3 Drag the edge of the master page overlay to position the page items.
Master pages
About masters, stacking order, and layers
A master is like a background that you can quickly apply to many pages. Objects on a master appear on all pages with
that master applied. Master items that appear on document pages are surrounded by a dotted border. Changes you
make to a master are automatically applied to associated pages. Masters commonly contain repeating logos, page
numbers, headers, and footers. They can also contain empty text or graphic frames that serve as placeholders on
document pages. A master item cannot be selected on a document page unless the master item is overridden.
Masters can have multiple layers, just like pages in your document. Objects on a single layer have their own stacking
order within that layer. Objects on a master page layer appear behind objects assigned to the same layer in the
document page.
If you want a master item to appear in front of objects on the document page, assign a higher layer to the object on the
master. A master item on a higher layer appears in front of all objects on lower layers. Merging all layers will move
master items behind document page objects.
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A • Section
A • Section
8 • Hibiscus
Master items (top left) appear behind page objects on the same layer (bottom left); moving a master item to a higher layer (top right) moves it
in front of all objects on lower layers (bottom right).
Tips and guidelines for masters
• You can compare alternative design ideas by creating a variety of masters and applying them in turn to sample
pages containing typical content.
• To quickly lay out new documents, you can save a set of masters in a document template, along with paragraph and
character styles, color libraries, and other styles and presets.
• If you change column or margin settings on a master, or apply a new master with different column and margin
settings, you can force objects on the page to adjust to the new layout automatically. (See “About automatic layout
adjustment” on page 79.)
• Automatic page numbers inserted on a master display the correct page number for each section of the document
to which the master is applied. (See “Add basic page numbering” on page 81.)
More Help topics
“Override or detach master items” on page 68
Create masters
By default, any document you create has a master page. You can create additional masters from scratch or from an
existing master page or document page. After you apply master pages to other pages, any changes made to the source
master carry forward to the masters and document pages that are based on it. With careful planning, this provides an
easy way to make layout changes to multiple pages across your document.
For a video tutorial on working with master pages, see www.adobe.com/go/vid0069.
More Help topics
Master Pages video
“Apply master pages” on page 66
Create a master from scratch
1 Choose New Master in the Pages panel menu.
2 Specify the following options, and click OK:
• For Prefix, type a prefix that identifies the applied master for each page in the Pages panel. You can type as many
as four characters.
• For Name, type a name for the master spread.
• For Based On Master, choose an existing master spread on which you’ll base this master spread, or choose None.
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• For Number Of Pages, type a value for the number of pages you want in the master spread (as many as ten).
Create a master from an existing page or spread
• Drag an entire spread from the Pages section of the Pages panel to the Masters section.
• Select a spread in the Pages panel and choose Save As Master from the Pages panel menu.
Any objects on the original page or spread become part of the new master. If the original page used a master, the new
master is based on the original page’s master.
None
4–5
A-Master
6–7
None
8–9
A-Master B-Master
4–5
6–7
8–9
Creating a new master spread based on another page or spread
Base one master on another
You can create a master variation that is based on and updates with another master (called the parent master) within
the same document. The master spreads based on the parent master are called child masters. For example, if your
document has ten chapters that use master spreads that vary only slightly, base all of them on a master spread that
contains the layout and objects common to all ten. This way, a change to the basic design requires editing just the
parent master instead of editing all ten separately. Vary the formatting on your child masters. You can override parent
master items on a child master to create variations on a master, just as you can override master items on document
pages. This is a powerful way to keep a consistent yet varied design up to date.
Original parent and child masters (left); when the parent master is modified, the child masters are automatically updated (right)
❖ To base one master on another, in the Masters section of the Pages panel, do either of the following:
• Select a master spread, and choose Master Options for [master spread name] in the Pages panel menu. For Based
On Master, choose a different master, and click OK.
• Select the name of the master spread you want to use as the base and drag it onto the name of another master to
apply it.
A
A
[None] A-Master B-Master
[None] A-Master B-Master
10–11
10–11
12–13
14–15
B-Master based on A-Master
12–13
14–15
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Edit the layout of a master
You can edit the layout of master pages at any time; changes you make are automatically reflected on all pages with
that master applied. For example, any text or graphic you add to a master will appear on document pages to which the
master is applied.
Note: When you override or detach a master page object on a particular page, that object may not update to reflect
changes made on the master page.
1 In the Pages panel, double-click the icon for the master you want to edit, or select the master page from the text box
list at the bottom of the document window. The master spread appears in the document window.
2 Make changes to the master.
InDesign automatically updates any pages using that master.
To change the size of the master page, select it using the Page tool, and then use the options in the Control panel to
change the dimension. See “Use multiple page sizes” on page 62.
Use multiple views to see the results of master edits. Choose Window &gt; Arrange &gt; New Window, and then choose
Window &gt; Arrange &gt; Tile. Set one view to a page and the other view to the master applied to that page. Then edit the
master and watch the page update.
More Help topics
“Create headers and footers” on page 86
Change master page options
You can edit master page options to change the name or prefix of the master, base the master on another master, or
change the number of pages in the master spread.
1 In the Pages panel, click the name of a master spread to select the master spread.
2 Choose Master Options For [master name] in the Pages panel menu.
3 Change any option, and then click OK.
Apply master pages
If your document contains custom spreads (such as a 3- or 4-page foldout in a magazine), any master you apply should
contain the same number of pages.
If your master page has a different page size than the layout page, applying the master page changes the size of the
layout page. If the layout page has a custom page size, you can specify whether to keep the custom layout page size or
apply the size of the master page.
Note: Master items on a document page have a dotted border. If you cannot view master items on a document page, the
master item may be hidden on a lower layer or the master items may be hidden. Choose Show Master Items from the
Pages panel menu.
Apply a master to a document page or spread
• To apply a master to one page, drag the master page icon to a page icon in the Pages panel. When a black rectangle
surrounds the desired page, release the mouse button.
• To apply a master to a spread, drag the master page icon to a corner of the spread in the Pages panel. When a black
rectangle surrounds all pages in the desired spread, release the mouse button.
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None
10–11
A-Master B-Master
12–13
14–15
None A-Master B-Master
10–11
12–13
14–15
Applying a master to a page (left) and applying a master to a spread (right)
Apply a master to multiple pages
❖ Do one of the following:
• In the Pages panel, select the pages to which you want to apply a new master. Then press Alt (Windows) or Option
(Mac OS) as you click a master.
• Choose Apply Master To Pages from the Pages panel menu, select a master for Apply Master, make sure that the
page ranges in the To Pages option are the ones you want, and click OK. You can apply a master to multiple pages
at once. For example, you can type 5, 7-9, 13-16 to apply the same master to pages 5, 7-9, and 13-16. (See “Display
absolute or section numbering in the Pages panel” on page 84.)
A
A A
A
B
A B
A B
1
2–3
4–5
1
2–3
4–5
B
6–7
8
6–7
8
Applying a master to a discontiguous range of pages
Unassign masters from document pages
❖ Apply the None master from the Masters section of the Pages panel.
When you unassign a master from a page, its layout and items no longer apply to the page. If a master contains most
of the elements you want, but you need to customize the appearance of a few pages, you can override master items and
edit or modify them on those document pages, instead of unassigning the master.
Copy masters
You can copy masters within the same document or from one document to another to use as the starting point for a
new master. You can also copy masters to other documents when you synchronize documents in a book or import
master pages from another document.
More Help topics
“Synchronize book documents” on page 298
“Import a master from another document” on page 70
Copy a master within a document
❖ In the Pages panel, do one of the following:
• Drag the page name of a master spread to the New Page button at the bottom of the panel.
• Select the page name of a master spread, and choose Duplicate Master Spread [spread name] in the panel menu.
When you copy a master, the page prefix of the copied master becomes the next letter in the alphabet.
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Copy or move a master to another document
1 Open the document you want to add the master to. Then open the document with the master you want to copy.
2 In the Pages panel of the source document, do either of the following:
• Click and drag the master spread to the destination document’s window to copy it.
• Select the master you want to move or copy. Choose Layout &gt; Pages &gt; Move Master, and choose the destination
document name from the Move To menu. If you want to remove the page or pages from the source document,
select Delete Pages After Moving, and then click OK.
If the target document already has a master with the same prefix, the moved master is assigned the next available letter
in the alphabet.
Delete a master from a document
1 In the Pages panel, select one or more master page icons.
To select all unused master pages, choose Select Unused Masters in the Page panel menu.
2 Do one of the following:
• Drag a selected master page or spread icon to the Delete icon at the bottom of the panel.
• Click the Delete icon at the bottom of the panel.
• Choose Delete Master Spread [spread name] in the panel menu.
When you delete a master, the [None] master is applied to any document page to which the deleted master was applied.
Override or detach master items
When you apply a master page to a document page, all objects on the master, called master items, appear on the
document page. Sometimes you want a specific page to be only slightly different from a master. In this situation you
don’t need to re-create the master layout on the page or create a new master. You can override or detach the master
item, and other master items on the document page will continue to update with the master.
Note the difference between overriding and detaching master items on a document page:
Override master item attributes Overriding a master item puts a copy of it on the document page without breaking its
association with the master page. Once the item itself is overridden, you can selectively override one or more attributes
of the item to customize it. For example, you can change the fill color of the local copy. After that, changes to the fill
color on the master page itself will not update to the local copy. However, other attributes, such as size, will continue
to update because they have not been overridden on the local copy. Overrides can be removed later to make the object
match the master.
Attributes you can override for a master page object include strokes, fills, contents of a frame, and any transformations
(such as rotating, scaling, shearing, or resizing), corner options, text frame options, lock state, transparency, and object
effects.
Detach items from their master On a document page, you can detach (disassociate) a master item from its master. The
item must be overridden on the document page, creating a local copy, before you can detach it. A detached item does
not update with the master because its association with the master page is broken.
More Help topics
“Apply text wrap on master page items” on page 215
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Override a master item
1 Make sure the master item can be overridden.
You can override a master item only if Allow Master Item Overrides On Selection is selected in the Pages panel menu
for that item.
2 Do either of the following:
• To override specific master items on a document page, press Ctrl+Shift (Windows) or Command+Shift (Mac OS)
and click the item (or drag to select multiple items). Change the selected master items as desired. The item can now
be selected like any other page item, but retains its association with the master page.
• To override all master page items on a document spread, target the spread, and then choose Override All Master
Page Items in the Pages panel menu. You can now select and modify any and all master items as you wish.
Once you override any master item, its dotted bounding box becomes a solid line, to show that a local copy has been
created.
Note: If you override a threaded text frame, all visible frames in that thread are overridden, even if they are on a different
page in a spread.
Detach a master item
• To detach a single master item from its master, first override it by pressing Ctrl+Shift (Windows) or
Command+Shift (Mac OS) and clicking the item on a document page. Then choose Detach Selection From Master
in the Pages panel menu.
• To detach all overridden master items on a spread, override the master page items you want to detach, and target
that spread in the document. (Don’t go to the original master page.) Choose Detach All Objects From Master from
the Pages panel menu. If the command isn’t available, there aren’t any overridden objects on that spread.
Prevent a master item from being overridden
In some instances, you want to override all but a few master items. For example, you may want to override master items
such as background images on a document page, but you want to prevent a page-numbering header from being
overridden. By preventing the header from being overridden, you can choose the Override All Master Items option to
override all master items except for the header.
1 On the master page, select the item.
2 Deselect Allow Master Item Overrides On Selection on the Pages panel menu.
Master items that do not allow overrides have no frame edge when displayed on the document page. If you prevent a
threaded text frame from being overridden, all text frames in that thread have the same setting applied.
Reapply master items
If you’ve overridden master items, you can restore them to match the master page. When you do this, the object’s
attributes revert to their state on the corresponding master, and will once again update when you edit the master. The
local copy of the object is removed, and the master item cannot be selected, as indicated by its dotted border. You can
remove overrides for selected objects or all objects on a spread, but not across an entire document at once.
❖ Do one of the following:
• To remove master overrides from one or more objects, select objects that were originally master items. In the Pages
panel, target a spread and choose Remove Selected Local Overrides in the Pages panel menu.
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• To remove all master overrides from a spread, in the Pages panel, target the spread (or master spread) from which
you want to remove all master overrides. Choose Edit &gt; Deselect All to make sure that no objects are selected. In
the Pages panel, choose Remove All Local Overrides in the Pages panel menu.
If you’ve detached master page objects, you cannot restore them to the master page; however, you can delete the
detached objects and reapply the master to the page.
If you reapply a master to a page that contains overridden master page objects, the objects with overrides are detached
and all master page objects reapplied. This may result in two copies of some objects on the page. You’ll need to delete
the detached objects to exactly match the look of the master.
Hide master items
Use the Hide Master Items to hide master page items on one or more pages in your document. Hidden master items
are not printed or output.
1 In the Pages panel, select the pages and spreads on which you’d like the master items to be hidden.
2 From the Pages panel menu, choose Hide Master Items.
To display master items again, select the spreads in the Pages panel and choose Show Master Items from the Pages
panel menu.
Import a master from another document
You can import masters from another InDesign document (any version) into the active document. If your destination
document contains master pages that have different names from any master page in the source document, those pages
and their document page overrides will be unchanged.
1 In the Pages panel menu, choose Load Master Pages.
2 Locate and double-click the InDesign document containing the master pages you want to import.
3 Determine what should occur if a loaded master has the same name as a master in the current document.
• Choose Replace Master Pages if you want the masters from the source to override the destination document’s
masters with the same names. If your destination document does not have any overridden items, it is safe to Replace
Master Pages on import.
• Choose Rename Master Pages to change the page prefixes to the next available letter in the alphabet.
Once you have imported masters from a source document, a link is set up between the source document and the
destination document. When you subsequently load masters from the same source document, the association between
overridden items and their parent items on reloaded master pages is maintained. This association lets you keep master
pages in different documents consistent without putting those documents into a book.
If you want to use this method of keeping master pages consistent, you should load the master pages from the source
document before overriding any objects on the master. If your document has overridden items and you have never
imported masters from any source, those overridden items become detached the first time you load from a source
document and replace master pages with the same name as the parent master of the overridden items.
If you subsequently import masters from a different source document, however, and choose Replace Master Pages, the
overridden items may become detached. Any same-named masters from the new source document will be applied to
the document page containing overridden items, creating two sets of objects.
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Layers
About layers
Each document includes at least one named layer. By using multiple layers, you can create and edit specific areas or
kinds of content in your document without affecting other areas or kinds of content. For example, if your document
prints slowly because it contains many large graphics, you can use one layer for just the text in your document; then,
when it’s time to proofread the text, you can hide all other layers and quickly print the text layer only. You can also use
layers to display alternate design ideas for the same layout, or versions of advertisements for different regions.
Think of layers as transparent sheets stacked on top of each other. If a layer doesn’t have objects on it, you can see
through it to any objects on layers behind it.
Additional layer notes:
• Each document layer has a disclosure triangle that can be expanded to reveal the objects and their stacking order
on that layer for the active spread. Groups, buttons, and multi-state objects also have disclosure triangles that can
be expanded to display their contained objects. You can re-order these objects, lock and unlock them, and add or
remove them from groups.
• Objects on masters appear at the bottom of each layer. Master items can appear in front of document page objects
if the master page objects are on a higher layer. (See “About masters, stacking order, and layers” on page 63.)
• Layers involve all pages of a document, including masters. For example, if you hide Layer 1 while editing page 1 of
your document, the layer is hidden on all pages until you decide to show it again.
• For information on converting layers from Adobe PageMaker&reg; or QuarkXPress, see “Converting QuarkXPress and
PageMaker documents” on page 103.
The Layers panel lists layers with the frontmost layer appearing at the top of the panel.
For a video tutorial on using layers, see www.adobe.com/go/lrvid5151_id_en.
Create layers
You can add layers at any time using the New Layer command on the Layers panel menu or the New Layer button at
the bottom of the Layers panel. The number of layers a document can have is limited only by the RAM available to
InDesign.
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More Help topics
“Show or hide frame edges” on page 78
Create layers
1 Choose Window &gt; Layers.
2 To create a new layer, do any of the following:
• To create a new layer above the selected layer, click the New Layer button.
• To create a new layer below the selected layer, hold down Ctrl (Windows) or Command (Mac OS) as you click the
New Layer button.
• To create a new layer at the top of the list, hold down Ctrl+Shift (Windows) or Command+Shift (Mac OS) as you
click the New Layer button.
• To create a new layer and open the New Layer dialog box, hold down Alt (Windows) or Option (Mac OS) as you
click the New Layer button.
Specify layer options
1 Choose New Layer in the Layers panel menu, or double-click an existing layer.
2 Specify the layer options, and then click OK.
Color Assign a color to identify the objects on that layer.
Show Layer Select this option to make a layer visible. Selecting this option is the same as making the eye icon visible
in the Layers panel.
Show Guides Select this option to make the guides on the layer visible. When this option is not selected for a layer, the
guides cannot be made visible, even by selecting View &gt; Show Guides for the document.
Lock Layer Select this option to prevent changes to any objects on the layer. Selecting this option is the same as making
the crossed-out pencil icon visible in the Layers panel.
Lock Guides Select this option to prevent changes to all ruler guides on the layer.
Print Layer Select this option to allow the layer to be prevented from printing. When printing or exporting to PDF,
you can determine whether to print hidden and nonprinting layers.
Suppress Text Wrap When Layer Is Hidden Select this option if you want text on other layers to flow normally when
the layer is hidden and it contains objects with text wrap applied.
Assign a layer color
Assigning a color to a layer makes it easier to distinguish the layers of different selected objects. For each layer that
contains a selected object, the Layers panel displays a dot in the layer’s color. On the page, each object displays the color
of its layer in its selection handles, bounding box, text ports, text wrap boundary (if used), frame edges (including the
X displayed by an empty graphics frame), and hidden characters. The layer color does not appear for a deselected frame
if its edges are hidden.
1 In the Layers panel, double-click a layer or select a layer and choose Layer Options for [layer name].
2 For Color, choose a color or choose Custom to specify a color in the system color picker.
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Add objects to layers
Any new object is placed on the target layer, the layer currently displaying the pen icon in the Layers panel. Targeting
a layer also selects it. If multiple layers are selected, targeting one of them doesn’t change the selection, but targeting a
layer outside the selection deselects the other layers.
You can add objects to the target layer by any of the following methods:
• Creating new objects with the Type tool or drawing tools.
• Importing, placing, or pasting text or graphics.
• Selecting objects on other layers, and then moving them to the new layer.
You cannot draw or place a new object on a hidden or locked layer. When you select a drawing tool or the Type
tool, or place a file when the target layer is hidden or locked, the pointer changes to the crossed-out-pencil icon
when it is positioned over the document window. Either show or unlock the target layer, or target a visible,
unlocked layer. If you choose Edit &gt; Paste when the target layer is hidden or locked, an alert message gives you the
choice of showing or unlocking the target layer.
When you click a layer in the Layers panel to target it, the pen icon appears on the layer you clicked, and the layer also
highlights to indicate that it is targeted.
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Changing the target layer for the next new object
Select, move, and copy objects on layers
By default, you can select any object on any layer. In the Layers panel, dots mark layers that contain selected objects.
The layer’s selection color helps you identify an object’s layer. To prevent selecting objects on a specific layer, lock the
layer.
❖ Do any of the following:
• To select individual objects on a layer, click the triangle icon next to the layer to display all, and select the target
object. You can also drag the target object to a different location without selecting it.
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Dragging objects from one layer to another
• To select all objects on a specific layer, hold down Alt (Windows) or Option (Mac OS) as you click a layer in the
Layers panel.
• To move or copy objects to another layer, use the Selection tool to select one or more objects on a document
page or master. In the Layers panel, drag the colored dot on the right side of the layer list to move the selected
objects to the other layer.
Wild flowers
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Wild flowers
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Moving an object to a new layer
To move selected objects to a hidden or locked layer, hold down Ctrl (Windows) or Command (Mac OS) as you drag
the colored dot. To copy selected objects to another layer, hold down Alt (Windows) or Option (Mac OS) as you drag
the colored dot on the right side of the layer list to the other layer. To copy selected objects to a hidden or locked layer, hold
down Ctrl+Alt (Windows) or Command+Option (Mac OS) as you drag the colored dot.
Paste objects into different layers
The Paste Remembers Layers command affects how objects pasted from other locations interact with existing layers.
If the Paste Remembers Layers command is selected, objects cut or copied from different layers retain their layer
assignments when pasted to the new page or position. If you paste objects to a document that doesn’t have the same
layers as the document from which they were copied, InDesign adds the objects’ layer names to the Layers panel in the
second document, and pastes each object on its layer.
If the Paste Remembers Layers command is deselected, objects cut or copied from different layers are pasted together
on the target layer.
1 Make sure that Paste Remembers Layers is deselected in the Layers panel menu.
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2 Select objects and choose Edit &gt; Copy or Edit &gt; Cut.
3 In the Layers panel, click the other layer to target it.
4 Choose Edit &gt; Paste.
Duplicate a layer
When you duplicate a layer, you copy its contents and settings. The duplicate layer then appears above the original
layer in the Layers panel. Any duplicated frames that were threaded to other frames on the layer remain threaded.
Duplicated frames whose originals were threaded to frames on other layers are no longer threaded to those frames.
❖ In the Layers panel, do one of the following:
• Select the layer name and choose Duplicate Layer [layer name] in the Layers panel menu.
• Drag a layer name and drop it on the New Layer button.
Change the order of layers
Change the stacking order of layers in your document by rearranging the layers on the Layers panel. Rearranging layers
changes the order of layers on every page, not just on the target spread.
You can also change the stacking order of objects within a layer by repositioning objects within the layer. See “Arrange
objects in a stack” on page 390.
❖ In the Layers panel, drag a layer up or down in the list. You can also drag multiple selected layers.
Wild flowers
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Wild flowers
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Reordering layers
Show or hide layers and objects
You can hide or display any layer at any time, and you can hide or display objects on a layer. Hidden layers and objects
can’t be edited, and don’t appear on screen or in print. Hiding layers can be useful when you want to do any of the
following:
• Hide parts of a document that are not meant to appear in the final document.
• Hide alternate versions of a document.
• Simplify the display of a document, to make it easier to edit other parts of the document.
• Prevent a layer from printing.
• Speed up screen redraw when a layer contains high-resolution graphics.
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By default, text continues to wrap around objects on hidden layers. To ignore text wrap settings for hidden objects,
choose Layer Options from the Layers panel menu, and then select the Suppress Text Wrap When Layer Is Hidden
option.
❖ Do any of the following:
• To hide or show one layer at a time, in the Layers panel, click the square at the far left of a layer name to hide or
show the eye icon for that layer.
• To show or hide individual objects in a layer, click the disclosure triangle to view all objects in a layer, and then click
the eye icon to show or hide the object.
• To hide all layers except the selected layer, or to hide all objects on a layer except the selected object, choose Hide
Others in the Layers panel menu. Or, Alt-click (Windows) or Option-click (Mac OS) the square on the far left side
of the layer or object you want to remain visible.
• To show all layers, choose Show All Layers in the Layers panel menu. Or, Alt-click (Windows) or Option-click (Mac
OS) the square on the far left side of a visible layer or object to show all layers or all objects in a layer.
Set a layer as nonprinting
1 Select the layer in the Layers panel.
2 Choose Layer Options from the Layers panel menu.
3 To prevent the layer from being printed, deselect Print Layer, and then click OK.
Note: When you print or export to PDF, you will still have the option of printing hidden and nonprinting layers.
Lock or unlock layers
Locking is useful for preventing accidental changes to a layer. A locked layer displays a crossed-out pencil icon in the
Layers panel. Objects on locked layers cannot be selected or edited directly; however, if objects on locked layers have
attributes that can be edited indirectly, they will change. For example, if you edit a tint swatch, objects on locked layers
using that tint swatch will reflect the change. Similarly, putting a series of threaded text frames on both locked and
unlocked layers will not prevent text on locked layers from recomposing.
You can also use the Layers panel to lock or unlock objects in a layer. See “Lock or unlock objects” on page 412.
❖ Do any of the following:
• To lock or unlock one layer at a time, in the Layers panel, click a square in the second column from the left to show
(lock) or hide (unlock) the layer.
• To lock all layers except the target layer, choose Lock Others in the Layers panel menu. Or, Alt-click (Windows) or
Option-click (Mac OS) the the square left of the layer you want to remain unlocked.
• To unlock all layers, choose Unlock All Layers in the Layers panel menu.
Delete layers
Remember that each layer is document-wide—it appears on every page of a document. Before deleting a layer, consider
hiding all other layers first, and then turn to each page of the document to verify that it is safe to delete the remaining
objects.
❖ Do any of the following:
• To delete a layer, drag a layer from the Layers panel to the Delete icon or choose Delete Layer [layer name] from
the Layers panel menu.
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• To delete multiple layers, hold Ctrl (Windows) or Command (Mac OS) while you click the layers to select them.
Then drag the layers from the Layers panel to the Delete icon or choose Delete Layers from the Layers panel menu.
• To delete all empty layers, choose Delete Unused Layers in the Layers panel menu.
• To delete an object on a layer, select the object in the Layers panel, and then click the Delete icon.
Merge layers in a document
You can reduce the number of layers in a document without deleting any objects by merging layers. When you merge
layers, objects from all selected layers are moved to the target layer. Of the layers you merge, only the target layer
remains in the document; the other selected layers are deleted. You can also flatten a document by merging all layers.
Note: If you merge layers containing a mix of page objects and master items, the master items move to the back of the
resulting merged layer.
1 In the Layers panel, select any combination of layers. Be sure to include the layer you want to target as the merged
layer. If you’re flattening the document, select all layers in the panel.
2 Click any selected layer to make it the target layer, indicated by the pen.
3 Choose Merge Layers in the Layers panel menu.
You can also merge identically named layers for exporting a book to PDF.
More Help topics
“Prepare layers before exporting a book to PDF” on page 483
Laying out frames and pages
About paths and frames
You can draw objects in a document and use them as paths or as frames. Paths are vector graphics like those you create
in a drawing program such as Adobe Illustrator&reg;. Frames are identical to paths, with only one difference—they can be
containers for text or other objects. A frame can also exist as a placeholder—a container without contents. As
containers and placeholders, frames are the basic building blocks for a document’s layout.
A
B
C
Paths and frames
A. Path B. Frame as graphic container C. Frame with placed graphic
You can draw both paths and frames using tools in the Toolbox. You can also create frames by simply placing
(importing) or pasting contents into a path.
Note: In QuarkXPress, paths are referred to as lines, and frames are referred to as boxes.
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Because a frame is just a container version of a path, you can do anything to a frame that you can do to a path, such as
add a color or a gradient to its fill or stroke, or edit the shape of the frame itself with the Pen tool. You can even use a
frame as a path, or a path as a frame, at any time. This flexibility makes it easy to change your design and provides a
wide range of design choices.
Frames can contain text or graphics. A text frame determines the area to be occupied by text and how text will flow
through the layout. You can recognize text frames by the text ports in their respective upper left and lower right
corners.
A graphics frame can function as a border and background, and can crop or mask a graphic. When acting as an empty
placeholder, a graphics frame displays a crossbar.
Text frame (left) and empty graphics frame (right)
If you don’t see the crossbar inside an empty graphics frame, the frame edges display may be turned off.
More Help topics
“Understanding paths and shapes” on page 323
Show or hide frame edges
Unlike paths, you can see the nonprinting strokes (outlines) of frames by default even when the frames aren’t selected.
If the document window is getting crowded, use the Show/Hide Frame Edges command to simplify the screen display
by hiding the frame edges. Doing this also hides the crossbar in a graphics placeholder frame. The display setting for
frame edges doesn’t affect the display of the text ports on text frames.
Note: The frame edge is defined as a frame’s stroke, not the outer edge of the stroke’s weight.
❖ Do any of the following:
• To show or hide frame edges, choose View &gt; Extras &gt; Show/Hide Frame Edges.
• To hide frame edges, click Preview Mode
at the bottom of the Toolbox.
Using placeholders to design pages
When your final text and graphics are available, you can simply add them to a document; InDesign automatically
creates frames when you import them (unless you’re importing text or graphics directly into existing frames).
However, when you don’t have the content yet or you want to block out the design before adding text and graphics,
you can use frames as placeholders.
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A
B
Types of placeholders
A. Graphics frame placeholder B. Text frame placeholder
For example, you might use any of these strategies:
• Draw text frames using the Type tool, and draw graphics frames using the drawing tools. Thread empty text frames
together so that importing final text takes just one step.
• Draw empty placeholder shapes using drawing tools. When you’re ready to start designating areas for text and
graphics, redefine the placeholders as either text or graphics frames.
• Set frame fitting options for a placeholder frame so that when you place an image in the frame, the image is cropped
and fit accordingly.
More Help topics
“Use document templates” on page 97
“Draw a placeholder shape” on page 327
“Set frame fitting options” on page 416
Redefine the purpose of paths and frames
• To use a path or text frame as a graphics placeholder frame, select a path or an empty text frame, and then choose
Object &gt; Content &gt; Graphic.
• To use a path or graphics frame as a text placeholder frame, select a path or an empty graphics frame, and then
choose Object &gt; Content &gt; Text.
• To use a text or graphics frame as a path only, select an empty frame, and then choose Object &gt; Content &gt;
Unassigned.
Note: When a frame contains text or graphics, you cannot redefine it using the Object &gt; Content menu. However, if you
replace a graphic with text, the content type is automatically redefined.
About automatic layout adjustment
If you use the Document Setup or Margins and Columns commands to make changes to an existing layout, such as
altering column widths or page orientation, you could spend considerable time and effort in rearranging objects to fit
the new layout. The Layout Adjustment feature can do much of that work automatically. For example, you can quickly
reformat a wide four-column document designed for an A4-size page to a tall two-column format on a U.S. legal-size
page. With Layout Adjustment, text and graphics frames are moved and resized as necessary based on the new relative
positions of column guides, page margins, and page edges.
Note: Dragging column guides does not trigger layout adjustment.
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The Layout Adjustment feature produces more predictable results when a layout is tightly based on a framework of
margins, page columns, and ruler guides, and where objects are snapped to guides. Results are less predictable when
objects don’t adhere to margins, columns, and guides, or when extraneous ruler and column guides clutter a page.
Layout adjustment is not affected by the document grid or the baseline grid.
Page designed vertically, for print (left); page orientation changed for on-screen viewing, with layout automatically refitted by the Layout
Adjustment feature (right)
You can modify the rules in the Layout Adjustment dialog box. The Layout Adjustment feature attempts to
approximate the proportions of the old layout in the new layout by doing the following:
• Adding or removing column guides, if the new layout specifies a different number of columns.
• If the page size changes, moving ruler guides to maintain proportional distances from page edges, margins, or
column guides.
• Moving objects already aligned to any margin, column, bleed/slug, or ruler guide, or to any two guides
perpendicular to each other, so that the objects stay with those guides if the guides move during layout adjustment.
Also, objects already aligned to any page edge or to any page edges perpendicular to each other are moved.
• Proportionally resizing objects already aligned to two parallel margin, column, bleed/slug, or ruler guides or to
guides on three sides, so that the objects stay with those guides if the guides move during layout adjustment. Also,
objects aligned to two parallel page edges or to page edges on three sides are moved.
• Maintain the relative position of objects that are anchored to the text as specified in the Anchored Object Options
dialog box.
• Moving objects to keep them in the same relative position on the page, if the page size changes.
Note: Layout Adjustment affects columns inside a text frame differently than it does page columns. If the frame itself is
resized by Layout Adjustment and the Fixed Column Width option is not selected in the Object &gt; Text Frame Options
dialog box, text frame columns are resized proportionally. If the Fixed Column Width option is selected, columns are
added or removed as necessary.
More Help topics
“Use multiple page sizes” on page 62
Set options for layout adjustment
Note that changing options in the Layout Adjustment dialog box does not immediately change anything. Layout
adjustment is triggered only by changes to page size, page orientation, margins, or column settings, or when a new
master is applied. When you want to restore a layout to its previous state, you must undo the action that triggered the
layout adjustment.
1 Choose Layout &gt; Layout Adjustment.
2 Select Enable Layout Adjustment.
3 Specify the layout adjustment options, and click OK.
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Layout Adjustment options
Enable Layout Adjustment Select this option so that layout adjustment will occur whenever you change page size, page
orientation, margins, or columns.
Snap Zone Type a value to specify how near an object must be to the closest margin guide, column guide, or page edge
to snap to that element during layout adjustment.
Allow Graphics And Groups To Resize Select this option to let the Layout Adjustment feature scale graphics, frames,
and groups. When deselected, graphics and groups can be moved by Layout Adjustment, but not resized.
Allow Ruler Guides To Move Select this option when you want ruler guides to be repositioned by the Layout
Adjustment feature.
Ignore Ruler Guide Alignments Select this option when ruler guides are not well positioned for layout adjustment.
Objects will still align to column and margin guides and to page edges.
Ignore Object And Layer Locks Select this option when you want the Layout Adjustment feature to reposition objects
that are locked individually, or locked as a result of being on a locked layer.
Numbering pages, chapters, and sections
Add basic page numbering
You can add a current page number marker to your pages to specify where a page number sits on a page and how it will
look. Because a page number marker updates automatically, the page number it displays is always correct—even as you
add, remove, or rearrange pages in the document. Page number markers can be formatted and styled as text.
For a video tutorial on numbering pages, see www.adobe.com/go/vid0217.
Bob Bringhurst provides a catalog of different page numbering effects at Page Numbering Gallery (English only).
Add a page number marker to a master page
Page number markers are commonly added to master pages. When master pages are applied to document pages, the
page numbering is updated automatically, similar to headers and footers.
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Page number on master A (left) and page 5 based on same master (right)
If the automatic page number is on a master page, it displays the master page prefix. On a document page, the
automatic page number displays the page number. On a pasteboard, it displays PB.
1 In the Pages panel, double-click the master page to which you want to add your page number.
2 Create a new text frame large enough to hold the longest page number and any text you want to appear next to it.
Position the text frame where you want the page number to appear.
If your document has facing pages, create separate text frames for the left and right master pages.
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3 In the page number text frame, add any text that will come before or after the page number (such as “Page “).
4 Position the insertion point where you want the page number to appear, and then choose Type &gt; Insert Special
Character &gt; Markers &gt; Current Page Number.
5 Apply the master page to the document pages on which you want the page numbering to appear.
Change the page numbering style
By default, pages are numbered using Arabic numerals (1, 2, 3...); however, you can number pages using upper or
lowercase Roman (i, ii, iii...) or alphanumeric (a, b, c...) numbering. You can also number pages using preceding zeros.
Each part of the document that uses a different numbering style is called a section. For more information on sections,
see “Define section numbering” on page 83.
Use the Numbering &amp; Section Options dialog box to change the page numbering style to use a different format. You
can also use this dialog box to restart page numbering or to start page numbering at a number you specify.
1 In the Pages panel, select the page where you want the new numbering style section to begin.
2 Choose Layout &gt; Numbering &amp; Section Options.
3 Specify options, and then click OK. See “Document numbering options” on page 85.
A section indicator icon
appears above the page icon in the Pages panel, indicating the start of a new section.
Note: If a number or letter appears before the current page number you inserted, it means a section prefix is included. If
you don’t want this prefix, deselect Include Prefix When Numbering Pages in the Numbering &amp; Section Options dialog box.
Common page numbering tasks
InDesign offers several different features that help you create page numbering effects.
To do this:
Do this:
Add page numbering to documents in a book.
See “Number pages, chapters, and paragraphs in a book” on page 300.
Add section numbers and chapter numbers.
See “Add section and chapter numbering” on page 82.
Create running headers or running footers that use text variables See “Create headers and footers” on page 86 and “Text variables” on
such as the create date, filename, or the current heading or title. page 88.
Create a “Page x of y” effect in which x is the current page and y is Insert a Current Page Number marker for x, and insert the Last Page
the total number of pages.
Number text variable for y (choose Type &gt; Text Variables &gt; Insert Variable &gt;
Last Page Number).
Create a “Continued on page x” story jump.
See “Add automatic page numbers for story jumps” on page 87.
Add section and chapter numbering
Determine what kind of numbering you want to use for your document or book. For long documents, you can assign
chapter numbers. Each document can be assigned only one chapter number. If you want to use different numbering
within a document, you can define ranges of pages as sections; these sections can be numbered differently. For
example, the first ten pages of a document (the front matter) might use Roman numerals, and the rest of the document
might use Arabic numerals.
A single InDesign document can contain up to 9,999 pages, but page numbers can be as large as 99,999. (For example,
you can correctly number a 100-page document that starts on page 9,949.) By default, the first page is a recto (right)
page numbered 1. Odd-numbered pages always appear on the right; if you use the Section Options command to
change the first page number to an even number, the first page becomes a verso (left) page.
For information on creating basic page numbering in a document, see “Add basic page numbering” on page 81.
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More Help topics
“Number pages, chapters, and paragraphs in a book” on page 300
Add an automatically updated chapter number
You can add a chapter number variable to your document. Like page numbers, chapter numbers can be updated
automatically and formatted and styled as text. A chapter number variable is commonly used in documents that are
part of a book. A document can have only one chapter number assigned to it; if you want to divide a single document
into chapters, you can create sections instead.
Note: Chapter numbers cannot be included as a prefix in a generated index or table of contents (such as 1-3, 1-4, and so
on). If you want chapter numbers to be included as prefixes, use section prefixes instead of chapter numbers.
1 If necessary, create a text frame where you want a chapter number to appear. If you want a chapter number to
appear on several pages, create the text frame on a master page, and apply that master page to the document pages.
2 In the chapter number text frame, add any text that will come before or after the chapter number.
3 Place the insertion point where you want the chapter number to appear, and then choose Type &gt; Text Variables &gt;
Insert Text Variable &gt; Chapter Number.
You can update the starting number and format of chapter numbering by choosing Layout &gt; Numbering &amp; Section
Options.
Add an automatically updated section marker
1 Define sections in your document. (See “Define section numbering” on page 83.)
2 On a page or master that you’re using in a section, drag the Type tool to create a text frame large enough for the
section marker text, or click in an existing frame.
3 Choose Type &gt; Insert Special Character &gt; Markers &gt; Section Marker.
On master page A, section marker (left) and section marker with page number marker inserted (right)
Change the format of page and chapter numbering
1 Choose Layout &gt; Numbering &amp; Section Options.
2 Under Page Numbering or Document Chapter Numbering, select a new number format for Style. (See “Document
numbering options” on page 85.)
3 Click OK.
Define section numbering
By default, page and chapter numbers in a book are numbered consecutively. Using Numbering &amp; Section Options,
you can restart page numbering at a specified page, add prefixes to page numbers, and change the numbering style of
both pages and chapters.
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You can define a section prefix to label section pages automatically. For example, if you specify A– for Section Prefix
on page 16 of a document and include the section prefix, the page will appear in the table of contents or index as A–
16. Text you type for a section marker appears when you choose Type &gt; Insert Special Character &gt; Markers &gt; Section
Marker.
A
B
C
Pages panel
A. Section indicator icon shows start of section B. Page number is changed for new section C. Status bar displays document length
More Help topics
“Add basic page numbering” on page 81
“Number pages, chapters, and paragraphs in a book” on page 300
Define sections in a document
1 In the Pages panel, select the first page in the section you want to define.
2 Choose Layout &gt; Numbering &amp; Section Options, or choose Numbering &amp; Section Options in the Pages panel.
3 If you’re changing the numbering options for any page other than the first page of the document, make sure that
Start Section is selected. This option marks the selected page as the beginning of a new section.
4 As necessary, specify the numbering and section options (see “Document numbering options” on page 85), and
then click OK.
A section indicator icon
appears above the page icon in the Pages panel, indicating the start of a new section.
5 To end the section, repeat the section numbering steps on the first page that follows the section.
Edit or remove section numbering
1 In the Pages panel, double-click the section indicator icon
that appears above the page icon in the Pages panel.
Or, select a page that uses a section marker, and choose Numbering &amp; Section Options in the Pages panel menu.
2 Do any of the following, and then click OK:
• To change the style or starting number, change section and numbering options.
• To remove a section, deselect the Start Section option.
To quickly identify a section in the Pages panel, position the pointer precisely over any section indicator icon
tool tip appears, displaying the starting page number or section prefix.
.A
Display absolute or section numbering in the Pages panel
The Pages panel can display absolute numbering (labeling all pages with consecutive numbers, starting at the first page
of the document) or section numbering (labeling pages by section, as specified in the Section Options dialog box).
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Changing the numbering display affects how pages are indicated in the InDesign document, as in the Pages panel and
in the page box at the bottom of a document window. The numbering display also affects how you specify page ranges
when printing and exporting the document. However, the numbering display does not change the appearance of page
numbers on document pages.
1 Choose Edit &gt; Preferences &gt; General (Windows) or InDesign &gt; Preferences &gt; General (Mac OS).
2 For Page Numbering, choose a numbering method in the View menu.
A
A A
1
2–3
B B
6–7
B
4–5
A
A A
B
i
ii–iii
iv–1
B B
8
2–3
4
Pages panel showing absolute numbering (left) and section numbering (right)
Document numbering options
You can change document numbering options when you select a document page (not a master page) and choose
Layout &gt; Numbering &amp; Section Options. You can also change these options when you choose Document Numbering
Options from the Book panel menu.
Automatic Page Numbering Select if you want the page numbers of the current section to follow the numbering of the
previous section. Using this option, the page numbers in the document or section update automatically when you add
pages prior to it.
Start Page Numbering At Type the starting number for your document or for the first page of the current section. For
example, if you want to restart the numbering for a section, type 1 . The remaining pages in the section will be
renumbered accordingly.
Note: If you chose a non-Arabic page-numbering style (such as Roman numerals), you still must type an Arabic numeral
in this box.
Section Prefix Type a label for the section. Include the spaces or punctuation you want to appear between the prefix
and the page number (for example, A–16 or A 16). The prefix is limited to eight characters.
You cannot enter a blank space by pressing the spacebar—copy and paste a fixed-width space character from the
document window instead. Note that plus (+) or comma (,) symbols cannot be used in section prefixes. (See “Insert
white space characters” on page 166.)
Style (Page Numbering) Choose a page-numbering style from the menu. The style applies to all pages in this section only.
Section Marker Type a label that InDesign inserts on the page at the location of a section marker character that appears
when you choose Type &gt; Insert Special Character &gt; Markers &gt; Section Marker.
Include Prefix When Numbering Pages Select if you want the section prefix to appear when you generate a table of
contents or index, or when you print pages that contain automatic page numbers. Deselect this option to display the
section prefix in InDesign but hide the prefix in the printed document, index, and table of contents.
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B
A
Section prefix in document window
A. Section prefix in the page box at the bottom of the document window B. Section marker and prefix on the page itself
Style (Document Chapter Numbering) Choose a chapter-numbering style from the menu. This chapter style is used
throughout the document.
Automatic Chapter Numbering Select this option to number chapters sequentially in a book.
Start Chapter Numbering At Specify the starting number of the chapter numbering. This option is useful if you don’t
want chapters to be numbered sequentially in the book.
Same As Previous Document In The Book The same chapter number as the previous document in a book is used. Select
this option if the current document is part of the same chapter as the previous document in a book.
Create headers and footers
Headers and footers run through the top and bottom of the pages in your document, providing important background
information. To create a simple header or footer that includes page numbering, see “Add basic page numbering” on
page 81.
Headers and footers can include such items as page, chapter, or section numbers; title or heading text; the author’s
name; and the document’s filename and creation or modification date.
You can add many of these items by using text variables. InDesign includes several preset variables, such as Creation
Date and File Name. You can modify these variables, and you can create your own. For example, you can create a
variable that displays the first use of a Heading paragraph style in the header or footer. Once you create or edit the
variables you need, you assemble them on the master page to create your header and footer, and then you apply the
master page to the appropriate document pages.
Playing to Strengths
226
A
1991- 2007 * Playing to Strengths
&lt;Footer D ate &gt; * &lt;Footer Variable&gt;
B
A
Using page numbers and variables to create a footer
A. Footer variable inserted on master page B. Variable text on document page that grabs text from the first heading on the page
For a video tutorial on creating headers and footers, see www.adobe.com/go/vid0078.
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More Help topics
“Master pages” on page 63
“Text variables” on page 88
Create a header or footer on a master page
1 If necessary, create or edit the variables you want to use in your header or footer. (See “Create variables for running
headers and footers” on page 87.)
2 Go to the master page where you want to add the header or footer.
The header or footer will appear on any document page to which the master page is applied.
3 Create a text frame large enough to include all the header or footer information. Place the text frame above or below
where the content of the document pages will appear.
4 Add text, page numbers, and variables as needed.
5 Apply the master page to document pages where you want the header or footer to appear.
6 If necessary, create headers and footers for additional master pages.
Create variables for running headers and footers
By default, the Running Header variables insert the first occurrence (on the page) of the text to which the specified
style is applied. Running Header variables are especially useful for displaying the current heading or title in the header
or footer.
1 If your content is not already formatted, create and apply the paragraph style or character style for the text you want
to appear in the header (such as a title or heading style).
2 Choose Type &gt; Text Variables &gt; Define.
3 Click New, and then type a name for the variable.
4 From the Type menu, choose Running Header (Paragraph Style) or Running Header (Character Style).
5 Specify the following options:
Style Choose the style to display in your header or footer.
Use Decide whether you want the first or last occurrence of the style that’s applied on the page. First On Page is the
first paragraph (or character) that begins on a page. If there is no occurrence of the style on the page, the previous
occurrence of the applied style is used. If there is no previous occurrence in the document, the variable is empty.
Delete End Punctuation If selected, the variable displays the text minus any end punctuation (periods, colons,
exclamation points, and question marks).
Change Case Select this option to change the case of the text that appears in the header or footer. For example, you
may want to use sentence case in your footer, even though the heading on the page appears in title case.
6 Click OK, and then click Done in the Text Variables dialog box.
You can now insert the variable in a header or footer you create on the master page.
Add automatic page numbers for story jumps
You can easily maintain the jump lines of stories that continue to other pages, such as a line that says “Continued on
page 42.” Use a jump line page number to automatically update the number of the page containing a story’s next or
previous threaded text frame when you move or reflow the story’s threaded text frames.
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Usually the jump line page number should be in a separate text frame from the story it tracks. That way, the jump line
page number remains in position even if the story’s text reflows.
If you insert a Current Page Number character in the Find/Change dialog box, jump line page numbers can also be
found.
1 With the Type tool, drag to create a new text frame where you want the jump line to appear.
2 With the Selection tool
, position the new text frame so that it touches or overlaps the frame containing the story
you want to track.
continued on page 42
Make sure text frame touches or overlaps the story you want it to track.
3 Select the Type tool and click an insertion point in the new text frame. Then type the text that you want to appear
before the page number, such as “Continued on” or “Continued from”.
4 Then choose Type &gt; Insert Special Character &gt; Marker and one of the following options:
Next Page Number Inserts the number of the page containing the story’s next frame. Use this character when creating
a “continued on” jump line.
Previous Page Number Inserts the number of the page containing the story’s previous frame. Use this character when
creating a “continued from” jump line.
The page number automatically updates to reflect the current location of the next or previous frame of the story.
5 To prevent the story from being moved without its jump line, Shift-select the frames with the Selection tool, then
choose Object &gt; Group.
6 If necessary, repeat this procedure to add more jump lines.
Note: If an unwanted character appears at the beginning of the page number (so that, for example, a jump line reads
“Cont’d on page A16” instead of “Cont’d on page 16”), you probably included a section prefix in the Numbering &amp; Section
Options dialog box. Turn off or edit the prefix.
More Help topics
“Cross-references” on page 522
Text variables
Create and edit text variables
A text variable is an item you insert in your document that varies according to the context. For example, the Last Page
Number variable displays the page number of the last page of the document. If you add or remove pages, the variable
is updated accordingly.
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InDesign includes several preset text variables that you can insert in your document. You can edit the format of these
variables, or you can create your own. Some variables, such as Running Header and Chapter Number, are especially
useful for adding to master pages to ensure consistent formatting and numbering. Other variables, such as Creation
Date and File Name, are useful for adding to the slug area for printing.
Note: Adding too much text to a variable may cause overset or compressed text. Variable text does not break across lines.
More Help topics
“Create headers and footers” on page 86
Create or edit text variables
The options available for creating the variable depend on the type of variable you specify. For example, if you choose
the Chapter Number type, you can specify text to appear both before and after the number, and you can specify the
numbering style. You can create several different variables based on the same variable type. For example, you can
create one variable that displays “Chapter 1” and another that displays “Ch. 1.”
Similarly, if you choose the Running Header type, you can specify which style is used as the basis for the header, and
you can select options for deleting end punctuation and changing the case.
1 If you want to create text variables for use in all new documents you create, close all documents. Otherwise, the text
variables you create appear only in the current document.
2 Choose Type &gt; Text Variables &gt; Define.
3 Click New, or select an existing variable and click Edit.
4 Type a name for the variable, such as “Full Chapter” or “Running Title.”
5 From the Type menu, choose a variable type, specify the options for that type, and then click OK.
Different options are available depending on the variable type you select.
Text Before / Text After For all variable types (except Custom Text), you can specify text that will be added before
or after the variable. For example, you can add the word “of” before the Last Page Number variable and the phrase
“total pages” after the variable to create an “of 12 total pages” effect. You can also paste text into the boxes, but
special characters such as tabs and auto page numbers are stripped out. To insert special characters, click the
triangle to the right of the text box.
Style For all numbered variable types, you can specify the numbering style. If [Current Numbering Style] is
selected, the variable uses the same numbering style selected in the document’s Numbering &amp; Section Options
dialog box.
Variable types
Chapter Number
A variable created with the Chapter Number type inserts the chapter number. You can insert text before or after the
chapter number, and you can specify a numbering style.
If the document’s chapter number is set to continue from the previous document in the book, you may need to update
the book’s numbering in order for the appropriate chapter number to appear.
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Creation Date, Modification Date, and Output Date
Creation Date inserts the date or time the document is first saved; Modification Date inserts the date or time the
document was last saved to disk; Output Date inserts the date or time the document starts a print job, exports to PDF,
or packages the document. You can insert text before and after the date, and you can modify the date format for all
date variables.
Date Format You can type date formats directly into the Date Format box, or you can choose format options by
clicking the triangle to the right of the box. For example, the date format “MM/dd/yy” displays as 12/22/07. By
changing the format to “MMM. d, yyyy” the date will display as Dec. 22, 2007.
Date variables use the language applied to text. For example, the creation date may appear in Spanish text as “01
diciembre 2007” and in German as “01 Dezember 2007.”
Abbreviation
Description
Example
M
Month number, no leading zero
8
MM
Month number, leading zero
08
MMM
Abbreviated month name
Aug
MMMM
Full month name
August
d
Day number, no leading zero
5
dd
Day number, leading zero
05
E
Weekday name, abbreviated
Fri
EEEE
Full weekday name
Friday
yy or YY
Year number, last two digits
07
y (Y) or yyyy (YYYY)
Full year number
2007
G or GGGG
Era, abbreviated or expanded
AD or Anno Domini
h
Hour, no leading zero
4
hh
Hour, leading zero
04
H
Hour, no leading zero, 24-hour format
16
HH
Hour, leading zero, 24-hour format
16
m
Minute, no leading zero
7
mm
Minute leading zero
07
s
Second, no leading zero
7
ss
Second, leading zero
07
a
AM or PM, two characters
PM
z or zzzz
Time zone, abbreviated or expanded
PST or Pacific Standard Time
File Name
This variable inserts the name of the current file into the document. It’s commonly added to the slug area of the
document for printing or used in headers and footers. In addition to Text Before and Text After, you can choose the
following options.
Include Entire Folder Path Select to include the full folder path with the file name. The standard path conventions for
either Windows or Mac OS are used.
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Include File Extension Select to include the file name extension.
The File Name variable is updated whenever you save the file with a new name or to a new location. The path or
extension does not appear in the document until it’s saved.
Image Name
The Image Name variable is useful for generating automatic captions from metadata. The Image Name variable
includes a Metadata Caption variable type. If a text frame containing this variable is adjacent to or grouped with an
image, the variable displays the metadata of that image. You can edit the Image Name variable to determine which
metadata field is used.
See “Define caption variables” on page 223.
Last Page Number
The Last Page Number type is useful for adding the total number of pages in a document to headers and footers using
the common “Page 3 of 12” format. In this case, the number 12 is generated by the Last Page Number, and it’s updated
whenever pages are added or removed. You can insert text before or after the last page number, and you can specify a
numbering style. From the Scope menu, choose an option to determine whether the last page number in the section
or document is used.
Note that the Last Page Number variable does not count the pages in the document.
Running Header (Paragraph or Character Style)
The Running Header variables insert the first or last occurrence on the page of the text to which the specified style is
applied. If no text on the page is formatted with the specified style, the text from a previous page is used.
See “Create variables for running headers and footers” on page 87.
Custom Text
This variable is commonly used for inserting placeholder text, or a text string that may need to be changed quickly. For
example, if you’re working on a project that uses a code name for a company, you can create a custom text variable for
the code name. When you are able to use the real company name, you can simply change the variable to update all the
occurrences.
To insert special characters in a text variable, click the triangle to the right of the text box.
Insert text variables
1 Place the insertion point where you want the variable to appear.
2 Choose Type &gt; Text Variables &gt; Insert Variable, and then choose the variable you want to insert.
The variable appears on the page as if you’d typed it in the document. For example, the Creation Date variable might
appear as December 22, 2007. If you choose Type &gt; Show Hidden Characters, the variable instance is surrounded by
a box using the current layer color.
Note: Text variables do not break across lines.
Delete, convert, and import text variables
Use the Text Variables dialog box to delete, convert, and import text variables.
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Delete text variables
If you want to delete an instance of a text variable inserted in a document, simply select the variable and press
Backspace or Delete. You can also delete the variable itself. When you do so, you can decide how to replace the
variables inserted in the document.
1 Choose Type &gt; Text Variables &gt; Define.
2 Select the variable, and then click Delete.
3 Specify how the variable will be replaced by specifying a different variable, converting the variable instances to text,
or deleting the variable instances altogether.
Convert text variables to text
• To convert a single instance, select the text variable in the document window, and then choose Type &gt; Text
Variables &gt; Convert Variable To Text.
• To convert all instances of the text variable in the document, choose Type &gt; Text Variables &gt; Define, select the
variable, and then click Convert To Text.
Import text variables from another document
1 Choose Type &gt; Text Variables &gt; Define.
2 Click Load, and then double-click the document that has the variables you want to import.
3 In the Load Text Variables dialog box, make sure that a check mark appears next to the variables you want to
import. If any existing variable has the same name as one of the imported variables, choose one of the following
options under Conflict With Existing Text Variable, and then click OK:
Use Incoming Definition Overwrites the existing variable with the loaded variable and applies its new attributes to
all text in the current document that used the old variable. The definitions of the incoming and existing variables
are displayed at the bottom of the Load Text Variables dialog box so that you can view a comparison.
Auto-Rename Renames the loaded variable.
4 Choose OK, and then click Done.
You can also copy variables to other documents when you synchronize a book file.
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Chapter 4: Working with documents
Working with files and templates
Recommended workflow for InDesign documents
You can improve performance and prevent many problems by establishing a good workflow to use with Adobe
InDesign.
Maintain a clean computer system
Over time, changes occur to software and hardware that can lead to performance loss and system problems.
Defragmenting the hard disk, removing older versions of software, updating device drivers, optimizing memory,
running virus protection utilities, and performing other maintenance tasks can prevent applications and files from
becoming damaged. Performing these tasks regularly helps ensure that InDesign opens, displays, and prints
documents as expected.
Create a project folder
Before you begin a project, determine which files you’ll need and how you’ll store them. If you’ve experienced
problems with broken links, consider storing your linked files in the same folder as your document. InDesign
maintains links to files you place in a document, but if a link is broken, InDesign looks for the file in the document’s
folder. Storing a document and its linked files in the same folder makes it easy to move them from one computer to
another. Storing files in one folder also ensures that InDesign finds the original graphics when printing a document.
If InDesign cannot locate a linked graphic, it won’t reflect changes you make to the original graphic, and it may print
the graphic poorly or not at all.
If your project consists of multiple documents (for example, chapters in a book), you may find it useful to create a
project folder that contains a folder for each document and its linked files.
Consider using a template
Use a template if you frequently create similar projects. Templates let you create consistent documents more quickly
while protecting the original file. For example, if you create a monthly newsletter, your template might include ruler
guides, page numbers, the newsletter masthead, and styles you want to use in each issue. (See “Use document
templates” on page 97.)
Open documents locally
Before you open a document stored on a network volume or on removable media, copy the document and any linked
graphics to your local hard disk. The slower access time and data transfer rate of a network volume or removable media
can cause data to become lost or corrupted, possibly damaging the document. However, be aware of overriding
someone else’s work if you copy the local files back to a network server.
Solve problems before converting a file
Damaged Adobe PageMaker or QuarkXPress&reg; files usually remain damaged when opened in InDesign. If an error or
other unexpected behavior occurs with a converted file, open the original file in the source application and
troubleshoot it for damage.
If the converted file has problems, export it to IDML format, and then open the IDML file and save it as an InDesign
document.
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Save documents
Save documents frequently, and create backup copies of important files. You can clear unnecessary data from a
document by using the Save As command. When you use the Save command, InDesign appends new information to
the document but doesn’t remove outdated data, such as information about a deleted graphic. When you use the Save
As command, however, InDesign completely rewrites the document, including only information about objects and
pages currently in the document. A document that contains only necessary data occupies less hard drive space and
redraws and prints more quickly.
Practice good design habits
• Create styles in a document. Creating styles with no documents open can cause duplicate styles to appear when you
create a new document. To share styles in documents, save the styles and load them.
• Use appropriate fonts. When choosing fonts for a document, consider how you intend to format and print the text.
InDesign works well with OpenType&reg;, Type 1 (also called PostScript), and TrueType fonts. Damaged or poorly
constructed fonts can damage an InDesign document or cause it to print with unexpected results, so use reliable
fonts created by established font vendors. If you work with a service bureau, find out its font requirements.
• Avoid using too many text frames. Use as few text frames as possible to keep the document file size smaller and the
layout easier to manipulate.
Be smart with art
• Use the appropriate graphics file format. When you create graphics for a project, consider how you plan to print
the document. If you intend to print the document at a service bureau, ask the service bureau which graphic formats
work best with the output device it uses. The service bureau can also advise you on the optimal resolution for
images.
• Store graphics externally. When you import a graphic file, InDesign creates a link to the graphic by default. Linking
helps minimize the file size of the document and improves the performance of InDesign. When you print the
document, the original graphic file must be available and linked. If InDesign can’t find the original, the graphic may
print as a low resolution preview or as a gray box.
Verify links and fonts before you print
To ensure that a document prints correctly, verify that all links are intact and all fonts are available. A link becomes
broken if you delete, move, or rename the original graphic. Use the Preflight and Package features before handing off
files to a service bureau.
For a video tutorial on creating documents, see www.adobe.com/go/lrvid4273_id.
Open InDesign documents
In general, you open document and template files the same way you do in other programs. When you open an
InDesign template, it opens as a new, untitled document by default. Document files use the extension .indd, template
files use the extension .indt, snippet files use the extension .idms, library files use the extension .indl, interchange files
use the extension .inx, markup files use the extension .idml, and book files use the extension .indb.
You can also use the File &gt; Open command to open files from earlier versions of InDesign, InDesign Interchange (.inx)
files, InDesign Markup (.idml) files, Adobe PageMaker 6.0 and later, QuarkXPress 3.3 and 4.1, and QuarkXPress
Passport 4.1 files. In addition, other software vendors may make plug-in software that lets you open other file formats.
To view additional information about an InDesign document, hold down Ctrl and choose Help &gt; About InDesign
(Windows) or hold down Command and choose InDesign &gt; About InDesign (Mac OS).
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More Help topics
“Save backwards to the previous InDesign version” on page 100
“Add documents to a book file” on page 296
“Hyphenation and spelling dictionaries” on page 169
Use the Open command
1 Choose File &gt; Open and select one or more documents.
2 Do one of the following, and then click Open:
• Select Normal (Windows) or Open Normal (Mac OS) to open the original document or a copy of a template.
• Select Original (Windows) or Open Original (Mac OS) to open an original document or template.
• Select Copy (Windows) or Open Copy (Mac OS) to open a copy of a document or template.
3 If a warning message appears telling you that the color settings in the document are different from the color settings
in the application, select an option, and click OK.
Note: Color warning messages are off by default, but you can show warnings if you change the default settings in the
Color Settings dialog box (Edit &gt; Color Settings.)
4 If a warning message appears telling you that the document contains missing fonts, do one of the following:
• Click OK. InDesign will automatically format the text with a substitute.
• Click Find Font to search for and list fonts used throughout your document.
For more information on finding missing fonts, see “Find and change fonts” on page 158.
5 If a warning message appears telling you that the document contains missing or modified links, use the Links panel
to fix the links. See “Update, restore, and replace links” on page 375.
Open recent document
❖ Choose File &gt; Open Recent, and select one of the documents you saved recently.
To specify how many recent documents are displayed, choose Edit &gt; Preferences &gt; File Handling (Windows), or
InDesign &gt; Preferences &gt; File Handling, and then specify a number for Number Of Recent Items To Display. The
maximum number is 30.
Choosing word lists when opening documents
When opening a document, you may see an alert message asking if you want to use the word list in the document or
an exception word list in the user dictionary. An exception word list includes words that were added to the User
Dictionary while the document was worked on. If you know which exception word list you use, click its button. If
you’re not sure, click either button, choose Edit &gt; Spelling &gt; Dictionary to inspect the word lists, and then, if necessary,
choose Edit &gt; Preferences &gt; Dictionary (Windows) or InDesign &gt; Preferences &gt; Dictionary (Mac OS) to reset the
word list used for composition. See “Hyphenation and spelling dictionaries” on page 169.
Convert earlier versions of InDesign documents
❖ To convert previous versions of InDesign documents to the current version, choose File &gt; Open and open the file.
Keep in mind the following points:
• If you used third-party plug-ins to create an earlier version of a document, check with the manufacturer to make
sure that they are installed correctly for and are compatible with InDesign CS5 before you convert the document.
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• When you convert a document, you may see an alert message asking if you want to use the exception word list in
the user dictionary or the one in the document. For information about this alert message, see “Choosing word lists
when opening documents” on page 95.
• Library files created in earlier versions of InDesign will open and convert in InDesign CS5, even if the library is
locked. You have to specify a name and location for the converted library files; the default naming convention is
filename-X.indl.
• InDesign CS4 can’t open InDesign CS5 documents directly. To open an InDesign CS5 document in InDesign CS4,
you must do two things. First, choose File &gt; Export in InDesign CS5 to save the document in IDML format. Second,
update InDesign CS4 with special plug-ins that let you open the IDML file. (See “Save backwards to the previous
InDesign version” on page 100.)
If you’re experiencing problems with a document that was created in a previous version of InDesign, use the Export
dialog box in InDesign CS5 to save the document in InDesign Markup (IDML) format. Then open the IDML file and
save it as an InDesign document.
More Help topics
“Save backwards to the previous InDesign version” on page 100
“Plug-ins” on page 630
Using Adobe Bridge with InDesign
Adobe Bridge is a cross-platform application included with Adobe Creative Suite components that helps you locate,
organize, and browse the assets you need to create print, web, video, and audio content. You can start Adobe Bridge
from any Creative Suite component (except Adobe Acrobat&reg; 9), and use it to access both Adobe and non-Adobe asset
types.
From Adobe Bridge, you can:
• Manage image, footage, and audio files: Preview, search, sort, and process files in Adobe Bridge without opening
individual applications. You can also edit metadata for files, and use Adobe Bridge to place files into your
documents, projects, or compositions.
• View the links inside an InDesign document as thumbnails while in Adobe Bridge, without actually having to open
the InDesign document in InDesign.
• Drag assets from Adobe Bridge into the InDesign document window, or drag assets from the document window
into Adobe Bridge to create snippets. See “Use snippets” on page 379.
• Perform automated tasks, such as batch commands.
• Synchronize color settings across color-managed Creative Suite components.
• Start a real-time web conference to share your desktop and review documents.
More Help topics
“Reusing graphics and text” on page 379
Adobe Version Cue
Adobe Version Cue&reg; and Adobe Drive are not included in Adobe Creative Suite 5, nor any future version of the
Creative Suite. Adobe continues to invest in asset management enablement through open industry standards and
partnerships. For more information, see www.adobe.com/go/learn_vc_end_en.
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Use document templates
Templates are useful starting points for standard documents because you can preset them with layout, graphics, and
text. For example, if you prepare a monthly magazine, you can create a template that contains the layout of a typical
issue, including ruler guides, grids, master pages, custom styles and swatches, placeholder frames, layers, and any
standard graphics or text. That way you can simply open the template each month and import new content.
You create a template the same way you create a regular document; the only difference occurs when you save the
document. When you prepare a template for others to use, you may want to add a layer containing instructions about
the template; hide or delete the layer before printing the document. See “Layers” on page 71.
More Help topics
“Designing calendars and business cards from templates” on page 98
Save a document as a template
1 Choose File &gt; Save As, and specify a location and filename.
2 Choose InDesign CS4 Template for Save As Type (Windows) or Format (Mac OS), and then click Save.
Start a new document from a template
1 Choose File &gt; Open.
2 Locate and select a template.
3 Select Normal (Windows) or Open Normal (Mac OS), and then click Open.
4 Save the new document with its own name.
Edit an existing template
1 Choose File &gt; Open.
2 Locate and select a template.
3 Select Original (Windows) or Open Original (Mac OS), and then click Open.
Reviewing InDesign documents
Adobe offers several methods for reviewing InDesign documents.
Tracking editing changes
As you or another person edits text, InDesign highlights added text and strikes through deleted text when Track
Changes is turned on. Use the Story Editor to view changes. The document owner can go through the edits and accept
or reject changes. See “Tracking and reviewing changes” on page 177.
Using Acrobat to review a PDF file
You can export the InDesign document to PDF and use Adobe Acrobat to set up an e-mail review or a shared review
on Acrobat.com or another server. Reviewers can add comments using the Sticky Note tool and other markup
methods. The document owner can then go through the PDF review comments and edit the original InDesign
document. For more information, see Acrobat Help.
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Using CS Review
CS Review is an online subscription service that lets you share your designs on the web so that others can provide
immediate feedback. When you create a review using the CS Review panel, you upload one or more snapshots of the
file to the Acrobat.com workspace. Reviewers can then add comments.
When you create a review, you can divide the review into parts that offer separate areas for review commenting. A
review can consist of parts from different files and applications. As the review progresses, you can add and remove
review parts as part of a dynamic review process.
Designing calendars and business cards from templates
One way to create a calendars, business cards, resumes or CVs, and other specialized documents is to use templates.
Adobe provides several templates at the Adobe Marketplace and Exchange site:
www.adobe.com/go/exchange
Use search to locate additional resources for specialty documents.
More Help topics
“Use document templates” on page 97
Saving documents
Save documents
Saving a document saves the current layout, references to source files, which page is currently displayed, and the zoom
level. Protect your work by saving often. You can save a file as any of the following:
• A regular document.
• A copy of the document, which creates a duplicate of the document under a different name, leaving the original
document active.
• A template, which normally opens as an untitled document. A template can contain settings, text, and graphics that
you preset as a starting point for other documents.
Saving a document also updates the metadata (or file information) that is part of the InDesign document. This
metadata includes a thumbnail preview, fonts used in the document, color swatches, and all metadata in the File
Info dialog box, all of which enable efficient searching. For example, you might want to search for all documents
that use a particular color.
You can view this metadata in Bridge and in the Advanced area of the File Info dialog box. You can control whether
to update the preview when you save by using a preference setting. The other metadata (fonts, colors, and links) are
updated whenever you save a document.
The Save, Save As, and Save a Copy commands store documents in the InDesign file format. For information about
storing documents in other file formats, see the Index.
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If you’re saving a document in order to bring it to a prepress service provider for final output, InDesign can
automatically collect all necessary files, such as linked graphics and fonts, in one folder. (See “Package files” on
page 602.)
❖ Do one of the following:
• To save a document under a new name, choose File &gt; Save As, specify a location and filename, and click Save. The
newly named file becomes the active document. Using the Save As command might reduce the file size.
• To save an existing document under the same name, choose File &gt; Save.
• To save all open documents to their existing locations and filenames, press Ctrl+Alt+Shift+S (Windows) or
Command+Option+Shift+S (Mac OS).
• To save a copy of a document under a new name, choose File &gt; Save a Copy, specify a location and filename, and
click Save. The saved copy does not become the active document.
Important: To avoid problems, avoid reserved characters that have special meanings in some operating systems. For
example, avoid filenames with spaces, tabs, or initial periods, or filenames that use these characters: / \ : ; * ? &lt; &gt; , $ %.
Similarly, avoid using characters with accents (such as &uuml;, &ntilde;, or &eacute;), even when using a non-English version of InDesign.
Problems may occur if the file is opened in a different platform.
If you have frequently work with several documents open at the same time and want to save them all at once, use a
keyboard shortcut. Choose Edit &gt; Keyboard Shortcuts, choose Views, Navigation from the Product Area menu, and
select Save All in the Commands list. You can then edit or add a shortcut. You can use Quick Apply to specify the Save
All command.
More Help topics
“Save backwards to the previous InDesign version” on page 100
“Use document templates” on page 97
“Recover documents” on page 35
“Print thumbnails” on page 590
Include previews in saved documents
Thumbnail previews of documents and templates provide easy identification of those files in Adobe Bridge and Adobe
Mini Bridge. A preview is created when you save a document or template. A document preview includes a JPEG image
of only the first spread; a template preview includes a JPEG image of each page in the template. You can control the
size of the preview and the number of pages to suit your needs. For example, Extra Large 1024x1024 enables you to
quickly scan the contents of a page at high-resolution before you open the file.
You can enable the option in Preferences or in the Save As dialog box. Because previews increase both file size and the
time it takes to save the document, you may prefer to enable the option on demand using the Save As dialog box.
1 Do one of the following:
• To include a preview every time you save a document, choose Edit &gt; Preferences &gt; File Handling (Windows) or
InDesign &gt; Preferences &gt; File Handling (Mac OS).
• To include a preview for a specific document, choose File &gt; Save As.
2 Select Always Save Preview Images With Documents.
3 If you are setting the preview using the Preferences dialog box, choose the number of preview pages from the Pages
menu, and choose an option from the Preview Size menu.
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Note: Selecting the preview option in the Save As dialog box also selects the option in the Preferences dialog box, and uses
the default Pages and Preview Size settings.
Save an InDesign Markup (IDML) document
In some cases you may want to save an InDesign in interchange markup format. It’s especially useful to save in this
format when you open a QuarkXPress or PageMaker publication in InDesign, when you open a document created in
a previous version of InDesign, or when you’re experiencing problems with your document, such as not being able to
delete color swatches.
1 Choose File &gt; Export.
2 From the Save As Type (Windows) or Format (Mac OS) menu, choose InDesign Markup (IDML).
3 Click Save.
You can open the saved IDML file in InDesign CS5 and InDesign CS4 but not in any previous version of InDesign.
For information on using IDML for development purposes, see
www.adobe.com/go/learn_id_indesignmarkup_cs4_en.
Save backwards to the previous InDesign version
To open an InDesign CS5 document in InDesign CS4, do two things. First, in InDesign CS5, export the document to
the InDesign Markup Language (IDML). (The IDML format replaces the Interchange INX format used for saving
backwards in previous versions.)
Second, make sure that the computer running InDesign CS4 is updated with the appropriate plug-ins so that it can
open the exported IDML file. The person running InDesign CS4 can obtain the compatibility plug-ins by choosing
Help &gt; Updates and following the prompts. Plug-ins can also be installed from the Adobe website: Choose Support &gt;
Updates in the Adobe website, and go to the InDesign Downloads page.
Opening a document in a previous version of InDesign is also referred to as “saving down.”
Note: Content created using features specific to InDesign CS5 may be modified or omitted when you open the document
in InDesign CS4.
1 Choose File &gt; Export.
2 From the File Type (Windows) or Format (Mac OS) menu, choose InDesign Markup (IDML).
3 Click Save.
You can open the .idml file in InDesign CS4 to convert it to an untitled InDesign document.
Note: To open the InDesign CS5 document in InDesign CS3, open the exported IDML file in InDesign CS4, save it and
export it to InDesign CS3 Interchange (INX), and then open the exported INX file in InDesign CS3. Make sure that all
InDesign versions are up to date.
Work with metadata
Metadata is a set of standardized information about a file, such as author name, resolution, color space, copyright, and
keywords applied to it. You can use metadata to streamline your workflow and organize your files.
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About the XMP standard
Metadata information is stored using the Extensible Metadata Platform (XMP) standard, on which Adobe Bridge ,
Adobe Illustrator, Adobe InDesign, and Adobe Photoshop are built. XMP is built on XML, and in most cases the
metadata is stored in the file. If it isn’t possible to store the information in the file, metadata is stored in a separate file
called a sidecar file. XMP facilitates the exchange of metadata between Adobe applications and across publishing
workflows. For example, you can save metadata from one file as a template, and then import the metadata into other
files.
Metadata that is stored in other formats, such as Exif, IPTC (IIM), GPS, and TIFF, is synchronized and described with
XMP so that it can be more easily viewed and managed. Other applications and features also use XMP to communicate
and store information such as version comments, which you can search using Adobe Bridge.
In most cases the metadata remains with the file even when the file format changes, for example, from PSD to JPG.
Metadata is also retained when files are placed in an Adobe document or project.
You can use the XMP Software Development Kit to customize the creation, processing, and interchange of metadata.
For example, you can use the XMP SDK to add fields to the File Info dialog box. For more information on XMP and
the XMP SDK, visit the Adobe website.
Working with metadata in Adobe Bridge and Adobe Creative Suite components
Many of the powerful Adobe Bridge features that allow you to organize, search, and keep track of your files and
versions depend on XMP metadata in your files. Adobe Bridge provides two ways of working with metadata: through
the Metadata panel and through the File Info dialog box (InDesign) or the Content File Info dialog box (InCopy).
In some cases, multiple views exist for the same metadata property. For example, a property may be labeled Author in
one view and Creator in another, but both refer to the same underlying property. Even if you customize these views
for specific workflows, they remain standardized through XMP.
Add metadata using the File Info dialog box
The File Info dialog box displays camera data, file properties, an edit history, copyright, and author information of the
current document. The File Info dialog box also displays custom metadata panels. You can add metadata directly in
the File Information dialog box. Any information you enter in a field overrides existing metadata and applies the new
value to all selected files.
1 Choose File &gt; File Info (InDesign) or File &gt; Content File Info (InCopy).
2 Select any of the following from the tabs at the top of the dialog box:
Use the Right and Left arrows to scroll the tabs, or click the down-pointing arrow and choose a category from the list.
Description Lets you enter document information about the file, such as document title, author, description, and
keywords that can be used to search for the document. To specify copyright information, select Copyrighted from the
Copyright Status pop-up menu. Then enter the copyright owner, notice text, and the URL of the person or company
holding the copyright.
IPTC Includes four areas: IPTC Content describes the visual content of the image. IPTC Contact lists the contact
information for the photographer. IPTC Image lists descriptive information for the image. IPTC Status lists workflow
and copyright information.
Camera Data Includes two areas: Camera Data 1 displays read-only information about the camera and settings used
to take the photo, such as make, model, shutter speed, and f-stop. Camera Data 2 lists read-only file information about
the photo, including pixel dimensions and resolution
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Video Data Lists information about the video file, including video frame width and height, and lets you enter
information such as tape name and scene name.
Audio Data Lets you enter information about the audio file, including the title, artist, bit rate, and loop settings.
Mobile SWF Lists information about mobile media files, including title, author, description, and content type.
Categories Lets you enter information based on Associated Press categories.
Origin Lets you enter file information that is useful for news outlets, including when and where the file was created,
transmission information, special instructions, and headline information.
DICOM Lists patient, study, series, and equipment information for DICOM images.
History Displays Adobe Photoshop history log information for images saved with Photoshop. The History tab appears
only if Adobe Photoshop is installed.
Illustrator Lets you apply a document profile for print, web, or mobile output.
Advanced Displays fields and structures for storing metadata by using namespaces and properties, such as file format
and XMP, Exif, and PDF properties.
Raw Data Displays XMP text information about the file.
3 Type the information to add in any displayed field.
4 Click OK to apply the changes.
Export metadata as an XMP file
You can save metadata in an XMP file to share with other users. These XMP files can be used as templates for
populating InDesign documents and other documents created with XMP-enabled applications. Templates you export
are stored in a shared location that all XMP-enabled applications can access. They also appear in the pop-up menu at
the bottom of the File Info dialog box.
1 Choose File &gt; File Info (InDesign) or File &gt; Content File Info (InCopy).
2 Choose Export from the pop-up menu at the bottom of the dialog box.
3 Type a filename, choose a location for the file, and click Save.
To view metadata templates in Explorer (Windows) or the Finder (Mac OS), click the pop-up menu at the bottom of
the File Info dialog box and choose Show Templates Folder.
Import metadata from an XMP file
When you import metadata into a document from an exported XMP template file, you can specify whether to clear all
metadata in the current document and add the new metadata, keep all but the matching metadata, or add matching
metadata to the existing metadata.
❖ Choose File &gt; File Info (InDesign) or File &gt; Content File Info (InCopy).
• Choose an XMP file from the pop-up menu at the bottom of the dialog box, select an import option, and click OK.
• Choose Import from the pop-up menu at the bottom of the dialog box, select an import option, and click OK. Then
double-click the XMP template file you want to import.
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Edit metadata in image files
When you generate captions of placed images in InDesign, the metadata from the placed image is used. Although you
can edit the metadata of InDesign documents, you cannot edit the metadata of placed files in InDesign. Instead, change
the metadata of placed images using their original applications, using Finder or Explorer, or using Adobe Bridge or
Adobe Mini Bridge.
1 In InDesign, right-click (Windows) or Control-click (Mac OS) the image, and then choose Edit Original.
You can also choose Edit With and then choose an application such as Adobe Illustrator or Adobe Photoshop.
2 In the original application, choose File &gt; File Info.
3 Edit the metadata, and then click OK.
You can also select an image in Adobe Bridge and choose File &gt; File Info to edit the image metadata. See “Add metadata
using the File Info dialog box” on page 101.
Converting QuarkXPress and PageMaker documents
Open QuarkXPress files in InDesign
InDesign can convert document and template files from QuarkXPress 3.3 or 4.1x. InDesign can also convert
document and template files from multi-language QuarkXPress Passport 4.1x files, so there is no longer any need to
save these files as single-language files first. (To convert documents created with QuarkXPress 5.0 or later, reopen the
documents in QuarkXPress and save them in 4.0 format.)
For more information, see the QuarkXPress Conversion Guide (PDF) at www.adobe.com/go/learn_quarkconv.
Open a QuarkXPress document or template
1 Make sure that the original application file is closed.
2 To ensure that all links are maintained, copy all linked files to the same QuarkXPress document folder.
3 In InDesign, choose File &gt; Open.
4 In Windows, choose QuarkXPress (3.3-4.1x) or QuarkXPress Passport (4.1x) from the Files Of Type menu.
5 Select a file and click Open.
Note: If InDesign cannot convert a file or a specific part of a file, it displays a warning describing the reasons it cannot
convert it and the results of the conversion.
6 If a warning dialog box appears, do one of the following:
• Click Save to save a copy of the warnings as a text file, and then open the file in InDesign.
• Click Close to close the dialog box and open the file in InDesign.
7 To more accurately convert text wrap applied in QuarkXPress, do the following in InDesign:
• Select Text Wrap Only Affects Objects Beneath in the Composition area of the Preferences dialog box.
• Assign the Adobe Single-Line Composer in the Paragraph panel menu to one or more paragraphs.
If you’re experiencing problems with the converted QuarkXPress document, use the Export dialog box to save the
document in InDesign Markup (IDML) format. Then open the IDML file and save it as an InDesign document.
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Save a QuarkXPress template as an InDesign template
1 Open the template in InDesign.
2 Choose File &gt; Save As and specify a location and filename.
3 Choose InDesign CS4 Template for Save As Type (Windows) or Format (Mac OS), and then click Save.
What gets converted from QuarkXPress
When you open a QuarkXPress file, InDesign converts the original file information to native InDesign information:
• Text boxes are converted to InDesign text frames.
To accurately convert text wrap applied in QuarkXPress, select Text Wrap Only Affects Text Beneath in the
Composition area of the Preferences dialog box.
• Styles are converted to InDesign styles.
• Because QuarkXPress uses different color profiles, they are ignored in InDesign.
• Text and graphics links are preserved and appear in the Links panel.
Note: Embedded graphics—those added to the original document using the Paste command—are not converted. For
more information on embedded graphics, see “About links and embedded graphics” on page 372.
InDesign does not support OLE or Quark XTensions. Consequently, when you open files that contain OLE or
Quark XTensions graphics, those graphics will not appear in the InDesign document. If your QuarkXPress
document does not convert, check the original and remove any objects that were created by an XTension; then save,
and try to convert again.
• All master pages and layers are converted to InDesign masters and layers.
• All master-page objects, as well as QuarkXPress guides, are placed on the corresponding InDesign master pages.
• Grouped objects remain grouped except where nonprinting items are included in a group.
• All strokes and lines (including paragraph rules) are converted to the stroke styles they most closely resemble.
Custom strokes and dashes are converted to custom strokes and dashes in InDesign.
Colors are converted exactly to InDesign colors, except in the following situations:
• Multi-ink colors from QuarkXPress are mapped to mixed inks in InDesign, unless the multi-ink color does not
contain at least one spot color. In this case, the multi-ink color is converted to a process color instead.
• QuarkXPress 4.1 colors from the color library are converted based on their CMYK values.
• QuarkXPress 3.3 HSB colors are converted to RGB, and colors from the color library are converted based on their
CMYK values.
• QuarkXPress 4.1 HSB and LAB colors are converted to RGB, and colors from the color library are converted based
on their RGB/CMYK values.
For information about other conversion issues, check the support documents on the Adobe website at
www.adobe.com/support.
Convert PageMaker documents
InDesign can convert document and template files from Adobe PageMaker 6.0 and later. When you open a PageMaker
file, InDesign converts the original file information to native InDesign information. InDesign files are saved with an
.indd filename extension.
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For more information, see the PageMaker Conversion Guide (PDF) at www.adobe.com/go/learn_pmconv.
Before opening the document in InDesign, you may want to do the following:
• If the PageMaker file or its linked graphics are located on a network server, floppy disk, or removable drive, it may
not open as expected if an interruption in data transfer occurs. To prevent data transfer problems, copy documents
and their links to the hard disk, preferably in the same folder where the PageMaker publication is stored, before
opening them in InDesign.
• You may want to use Save As in PageMaker to clear unnecessary hidden data.
• To ensure that all links are maintained, copy all linked files to the same folder where the PageMaker publication is
stored.
• Make sure that all necessary fonts are available in InDesign.
• Repair broken graphics links in the PageMaker publication.
• If you have a problem converting a large PageMaker document, convert portions of the PageMaker file separately
to isolate the problem.
If you cannot open a corrupt PageMaker document in PageMaker, try opening it in InDesign. InDesign can recover
most documents that PageMaker cannot open.
More Help topics
PageMaker Conversion Guide
Open a PageMaker document or template
1 Make sure that the original application file is closed.
2 In InDesign, choose File &gt; Open.
3 In Windows, choose PageMaker (6.0-7.0) in the Files of Type menu.
4 Select a file and click Open.
Note: If InDesign cannot convert a file or a specific part of a file, it displays a warning describing the reasons it cannot
convert it and the results of the conversion attempt.
5 If a warning dialog box appears, do one of the following:
• Click Save to save a copy of the warnings as a text file, and then open the file in InDesign.
• Click Close to open the file in InDesign without saving the text file.
If you’re experiencing problems with the converted PageMaker document, use the Export dialog box to save the
document in InDesign Markup (IDML) format. Then open the IDML file and save it as an InDesign document.
Save a PageMaker template as an InDesign template
1 Open the template in InDesign.
2 Choose File &gt; Save As and specify a location and filename.
3 Choose InDesign CS4 Template for Save As Type (Windows) or Format (Mac OS), and then click Save.
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Common PageMaker conversion issues
Note the following:
• All master pages and layers are converted to InDesign masters and layers. Master pages in PageMaker convert to
master pages in InDesign and retain all objects including page numbering and guides. To maintain the order of
overlapping items, InDesign creates two layers when converting a PageMaker publication: Default and Master
Default. Master Default contains the Master page items.
• PageMaker document guides are placed on the Default layer in InDesign.
• All items on the PageMaker pasteboard appear on the pasteboard of the first spread in the InDesign document.
• All objects designated in PageMaker as Non-Printing are converted with Nonprinting selected in the InDesign
Attributes panel.
• Grouped objects remain grouped except where nonprinting items are included in a group.
Text and tables conversion issues
Note the following:
• Text is converted to InDesign text frames.
• Tables in PageMaker files are converted to InDesign tables.
• Styles are converted to InDesign styles. The [No style] in PageMaker is the equivalent of [No Paragraph Style] in
InDesign. However, [No Paragraph Style] picks up the attributes of a named style if that style was selected before
any typing occurred in the PageMaker publication.
• InDesign uses the Adobe Paragraph Composer for all paragraphs, causing some text to reflow. You can assign the
Adobe Single-Line Composer to one or more paragraphs to create line breaks more similarly to the PageMaker
composition engine, but text may still reflow.
• InDesign uses only Baseline leading. Proportional and Top of Caps leading in PageMaker convert to Baseline
leading in InDesign, possibly resulting in text shifting.
• The First Baseline of converted text may appear different than text created in InDesign. The First Baseline of
converted text is set to Leading, but the First Baseline of text created in InDesign is set to Ascent by default.
• InDesign uses a different hyphenation method than PageMaker, so line breaks may be different.
• Shadow text converts as plain text. Outline text converts as text with a stroke of 0.25 inches and a fill of Paper.
Book, index, and TOC conversion issues
Note the following:
• InDesign ignores Booklists when opening PageMaker publications. If you want to open all the publications on a
Booklist together, run the Build Booklet plug-in in PageMaker with a layout of None selected so that the booked
publications are combined into one. Note that text blocks and frames will no longer be threaded.
• Index entries from a PageMaker publication appear in the InDesign Index panel. Text with cross-references that
use the See Herein or See Also Herein option are mapped as See or See Also.
• Table of Contents text converts as a Table of Contents, with PageMaker TOC Style available in the style pop-up
menu in the InDesign TOC dialog box.
Linking and embedding conversion issues
Note the following:
• Text and graphics links are preserved and appear in the Links panel.
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• If InDesign cannot locate the original link to a graphic, a warning appears asking you to repair the link in
PageMaker.
• InDesign does not support OLE (object linking and embedding). Consequently, when you open files that contain
OLE graphics, those graphics will not appear in the InDesign document.
Color and trapping conversion issues
Note the following:
• Colors are converted exactly to InDesign colors. PageMaker HLS colors are converted to RGB colors, and colors
from other color libraries are converted based on their CMYK values.
• Tints are converted as percentages of the parent color. If the parent color isn’t in the Swatches panel, it’s added
during conversion. When an object with a tint is selected, the parent color is selected in the Swatches panel, and the
tint value appears in the pop-up menu.
• Color profiles for PageMaker files are converted directly. All Hexachrome colors are converted to RGB values.
Profiles that are not ICC-compliant are replaced using the default CMS settings and profiles you specified for
InDesign.
• All strokes and lines (including paragraph rules) are converted to the default stroke styles they most closely
resemble. Custom strokes and dashes are converted to custom strokes and dashes in InDesign.
• InDesign does not support screen patterns or angles applied to TIFF images in Image Control; it drops these from
imported TIFF files.
• When Auto-Overprint Black Strokes or Fills (or both) is selected in the Trapping Preferences dialog box in
PageMaker, the setting carries over to InDesign, but Overprint Stroke or Overprint Fill is deselected in the
Attributes panel.
For information about other PageMaker conversion issues, check the support documents on the Adobe website.
Exporting
Export text
You can save all or part of an InDesign story in file formats that you can open later in other applications. Each story
in a document exports to a separate document.
InDesign can export text in several file formats, which are listed in the Export dialog box. The formats listed are used
by other applications, and they may retain many of the type specifications, indents, and tabs set in your document.
You can save sections of commonly used text and page layout items as snippets.
1 Using the Type tool
, click in the story you want to export.
2 Choose File &gt; Export.
3 Specify a name and location for the exported story, and select a text file format under Save as Type (Windows) or
Format (Mac OS).
If you don’t see a listing for your word-processing application, you can save the document in a format the application
can import, such as RTF. If your word-processing application doesn’t support any other InDesign export formats, use
a text-only format. Note, however, that exporting in text-only format removes all character attributes from the text.
4 Click Save to export the story in the format you’ve selected.
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To retain all formatting, use the Adobe InDesign Tagged Text export filter. For more information, view the Tagged
Text PDF at www.adobe.com/go/learn_id_taggedtext_cs5_en (PDF).
More Help topics
“Export to PDF for printing” on page 482
“Use snippets” on page 379
Export to JPEG format
JPEG uses a standardized image compression mechanism to compress full-color or grayscale images for onscreen
display. Use the Export command to export a page, spread, or selected object in JPEG format.
1 If desired, select an object to export. (You do not need to select anything to export a page or spread.)
2 Choose File &gt; Export.
3 Specify a location and a filename.
4 For Save As Type (Windows) or Format (Mac OS), choose JPEG, and click Save.
The Export JPEG dialog box appears.
5 In the Export section, do one of the following:
Selection Export the currently selected object.
Range Enter the number of the page or pages you want to export. Separate numbers in a range by using a hyphen,
and separate multiple pages or ranges by using commas.
Select All Export all pages in the documents.
Spreads Export facing pages in a spread to a single JPEG file. Deselect this option to export each page in a spread
as a separate JPEG file.
6 For Quality, choose from a range of options that determine the trade-off between file compression (smaller file size)
and image quality:
• Maximum includes all available high-resolution image data in the exported file and requires the most disk space.
Choose this option if the file will be printed on a high-resolution output device.
• Low includes only screen-resolution versions (72 dpi) of placed bitmap images in the exported file. Choose this
option if the file will be displayed onscreen only.
• Medium and High include more image data than Low, but use varying levels of compression to reduce file size.
7 For Format Method, choose one of the following options:
• Progressive displays a JPEG image in increasing detail as it is downloaded to a web browser.
• Baseline displays a JPEG image after it has been downloaded completely.
8 Select or type the resolution for the exported JPEG image.
9 Specify the color space of the exported file. You can choose to export as RGB, CMYK, or Gray.
10 Select any of the following items, and then click Export.
Embed Color Profile When this option is selected, the document’s color profile is embedded in the exported JPEG
file. The name of the color profile is displayed in small text to the right of the option. You can select the desired
profile for the document by choosing Edit &gt; Assign Profiles before exporting to JPEG.
If Gray is chosen from the Color Space menu, the Embed Color Profile option is disabled.
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Use Document Bleed Settings If this option is selected, the bleed area specified in Document Setup appears in the
resulting JPEG. This option is disabled if the Selection option is chosen.
Anti-Alias Anti-aliasing smooths the jagged edges of text and bitmap images.
Simulate Overprint This option is similar to the Overprint Preview feature but works for any of the selected color
spaces. If selected, the JPEG file that InDesign exports simulates the effects of overprinting spot inks with different
neutral density values by converting spot colors to process colors for printing.
More Help topics
“JPEG (.jpg) files” on page 359
Exporting content for the web
To repurpose InDesign content for the web, you have several options:
Dreamweaver (XHTML) Export a selection or the entire document to a basic, unformatted HTML document. You can
link to images on a server or create a separate folder for images. You can then use any HTML editor, such as Adobe
Dreamweaver&reg;, to format the content for the web. See “Export content to Dreamweaver” on page 109.
Copy and paste Copy text or images from the InDesign document and paste it into your HTML editor.
Adobe PDF Export a document to Adobe PDF and post the PDF on the web. The PDF can include interactive elements
such as movies, sound clips, buttons, and page transitions. See “Dynamic PDF documents” on page 511.
Flash (SWF) Export to a SWF file that’s ready to be viewed immediately in Flash Player or on the web. A SWF file can
include buttons, hyperlinks, and page transitions such as wipe, dissolve, and page curl. See “Create interactive SWF
(Flash) files for the web” on page 504.
Flash (FLA) Export to a FLA file that can be edited in Adobe Flash Professional. See “Create FLA files for the web” on
page 507.
Digital Editions (EPUB) Export a document or book as a reflowable XHTML-based eBook that is compatible with the
Adobe Digital Editions reader software. See “Export content for Digital Editions (EPUB)” on page 112.
XML For advanced repurposing workflows, export the content from InDesign in XML format, which you can then
import into an HTML editor such as Dreamweaver. See “Working with XML” on page 548.
Export content to Dreamweaver
Exporting to XHTML is an easy way to get your InDesign contents into web-ready form. When you export contents
to XHTML, you can control how text and images are exported. InDesign preserves the names of paragraph, character,
object, table, and cell styles applied to the exported contents by marking the XHTML contents with CSS style classes
of the same name. Using Adobe Dreamweaver or any CSS-capable HTML editor, you can quickly apply formatting
and layout to the contents.
What gets exported InDesign exports all stories, linked and embedded graphics, SWF movie files, footnotes, text
variables (as text), bulleted and numbered lists, internal cross-references, and hyperlinks that jump to text or web
pages. Tables are also exported, but certain formatting, such as table and cell strokes, is not exported. Tables are
assigned unique IDs, so they can be referenced as Spry data sets in Dreamweaver.
What doesn’t get exported InDesign does not export objects you draw (such as rectangles, ovals, and polygons),
movie files (except for SWF), hyperlinks (except for links to web pages and links applied to text that jump to text
anchors in the same document), pasted objects (including pasted Illustrator images), text converted to outlines, XML
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tags, books, bookmarks, SING glyphlets, page transitions, index markers, objects on the pasteboard that aren’t selected
and don’t touch the page, or master page items (unless they’re overridden or selected before export).
1 If you’re not exporting the entire document, select the text frames, range of text, table cells, or graphics you want
to export.
2 Choose File &gt; Export For &gt; Dreamweaver.
3 Specify the name and location of the HTML document, and then click Save.
4 In the XHTML Export Options dialog box, specify the desired options in the General, Images, and Advanced areas,
and then click Export.
A document with the specified name and an .html extension (such as “newsletter.html”) is created; if specified, a web
images subfolder (such as “newsletter-web-images”) is saved in the same location.
XHTML export options
In the XHTML dialog box (File &gt; Export For &gt; Dreamweaver), specify the following options.
General options
The General area includes the following options.
Export Determines whether only the selected items or the entire document is exported. If a text frame is selected, the
entire story—including overset text—is exported.
If Document is selected, all page items from all spreads are exported, except for master page items that have not been
overridden and page items on invisible layers. XML tags and generated indexes and tables of contents are also ignored.
Bullets Select Map To Unordered List to convert bullet paragraphs into List Items, which are formatted in HTML
using the &lt;ul&gt; tag. Select Convert To Text to format using the &lt;p&gt; tag with bullet characters as text.
Ordering Use either the page order or XML structure to determine the reading order of page objects.
If Base On Page Layout is selected, InDesign determines the reading order of page objects by scanning left to right and
top to bottom. In some instances, especially in complex, multi-column documents, the design elements may not
appear in the desired reading order. Use Dreamweaver to rearrange and format the contents.
If Same As XML Structure is selected, the XML Structure panel controls the ordering of the exported content and
which content gets exported. If your content is already tagged, you can simply drag the tags in the XML Structure panel
to set the XHTML Export order. If your content is not tagged, you can choose Add Untagged Items from the Structure
panel menu to generate tags that you can reorder. If you do not want an item to be included in the export, you can
simply delete the tag in the XML Structure panel. (Deleting a tag does not delete the content from the INDD file.) See
“Tag page items” on page 501.
Numbers Determines how numbers are converted in the HTML file.
• Map To Ordered List Converts numbered lists into List Items, which are formatted in HTML using the &lt;ol&gt; tag.
• Map To Static Ordered List Converts numbered lists into List Items, but assigns a &lt;value&gt; attribute based on the
paragraph’s current number in InDesign.
• Convert To Text Converts numbered lists into paragraphs that begin with the paragraph’s current number as text.
Images options
From the Copy Images menu, determine how images are exported to HTML.
Original Exports the original image to the web images subfolder. When this option is selected, all other options are
dimmed.
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Optimized Lets you change settings to determine how the image is exported.
• Formatted Preserves InDesign formatting, such as rotation or scale, as much as possible for web images.
• Image Conversion Lets you choose whether the optimized images in your document are converted to GIF or JPEG.
Choose Automatic to let InDesign decide which format to use in each instance.
• GIF Options (Palette) Lets you control how InDesign handles colors when optimizing GIF files. The GIF format
uses a limited color palette, which cannot exceed 256 colors.
Choose Adaptive (No Dither) to create a palette using a representative sample of colors in the graphic without any
dithering (mixing of small spots of colors to simulate additional colors). Choose Web to create a palette of web-safe
colors that are a subset of Windows and Mac OS system colors. Choose System (Win) or System (Mac) to create a
palette using the built-in system color palette. This choice may cause unexpected results.
• JPEG Options (Image Quality) Determines the trade-off between compression (for smaller file sizes) and image
quality for each JPEG image created. Low produces the smallest file and lowest image quality.
• JPEG Options (Format Method) Determines how quickly JPEG graphics display when the file containing the image
is opened on the web. Choose Progressive to make the JPEG images display gradually and in increasing detail as they
are downloaded. (Files created with this option are slightly larger and require more RAM for viewing.) Choose
Baseline to make each JPEG file display only after it has been completely downloaded; a placeholder appears in its place
until the file displays.
Link To Server Path Rather than exporting images to a subfolder, this option lets you enter a local URL (such as
“images/”) that appears in front of the image file. In the HTML code, the link attribute displays the path and extension
you specify. This option is especially effective when you’re converting images to web-compatible images yourself.
Note: InDesign does not check the path you specify for Java™ scripts, external CSS styles, or image folders, so use
Dreamweaver to verify paths.
Advanced options
Use the Advanced area to set CSS and JavaScript options.
CSS Options Cascading Style Sheets (CSS) are a collection of formatting rules that control the appearance of content
in a web page. When you use CSS to format a page, you separate content from presentation. The content of your page—
the HTML code—resides in the HTML file itself, while the CSS rules defining the presentation of the code reside in
another file (an external style sheet) or within the HTML document (usually in the Head section). For example, you
can specify different font sizes for selected text, and you can use CSS to control the format and positioning of blocklevel elements in a web page.
• Embedded CSS When exporting to XHTML, you can create a list of CSS styles that appears in the Head section of
the HTML file with declarations (attributes).
If Include Style Definitions is selected, InDesign attempts to match the attributes of the InDesign text formatting with
CSS equivalents. If this option is deselected, the HTML file includes empty declarations. You can edit later these
declarations in Dreamweaver.
If Preserve Local Overrides is selected, local formatting such as italic or bold is included.
• No CSS Selecting this option omits the CSS section from the HTML file.
• External CSS Specify the URL of the existing CSS style sheet, which is usually a relative URL, such as
“/styles/style.css.” InDesign does not check whether the CSS exists or is valid, so you’ll want to use Dreamweaver to
confirm your external CSS setup.
JavaScript Options Select Link To External JavaScript to run a JavaScript when the HTML page is opened. Specify the
URL of the JavaScript, which is usually a relative URL. InDesign does not check whether the JavaScript exists or is valid.
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Export content for Digital Editions (EPUB)
You can export a document or book as a reflowable eBook in EPUB format that is compatible with the Adobe Digital
Editions reader software.
1 To export a document, open the document and choose File &gt; Export For &gt; EPUB.
2 Specify a filename and location, and then click Save.
3 In the Digital Editions Export Options dialog box, specify the desired options in the General, Images, and Contents
areas, and then click Export.
InDesign creates a single .epub file containing the XHTML-based content. The exported file includes a JPEG
thumbnail image from the first page in the specified document (or the style source document if a book was selected).
This thumbnail is used to depict the book in the Digital Editions Reader library view. To view the file, you need the
Digital Editions software, which you can download free from the Adobe website.
The .epub file is essentially a .zip file. To view and edit the contents of the .epub file, change the extension from .epub
to .zip, and then extract the contents. This is especially useful for editing the CSS file.
EPUB resources
For a list of EPUB articles and resources, see www.adobe.com/go/learn_id_epub_en.
For more information on the EPUB format, see www.idpf.org.
Download a free copy of the Digital Editions reader at www.adobe.com/products/digitaleditions.
See the blog Digital Editions for information on Digital Editions.
For information on exporting to Kindle, see the InDesign to Kindle white paper.
Digital Editions General export options
The General section of the Digital Editions Export Options dialog box includes the following options.
Include Document Metadata The metadata from the document (or the style source document if a book was selected)
is included with the exported file.
Add Publisher Entry Specify the publisher information that appears in the eBook metadata. You may want you to
specify a URL for the publisher so that someone who receives the eBook can visit the web page and purchase the eBook.
Unique Identifier Every EPUB document requires a unique identifier. You can specify the unique identifier attribute.
If you leave this field empty, a unique identifier is automatically created.
Reading Order If you select Base On Page Layout, the reading order of the page items in the EPUB is determined by
their location on the page. InDesign reads from left to right and top to bottom. If you want more control over the
reading order, use the XML Tags panel to tag your page items. If you select Same As XML Structure, the order of the
tags in Structure View determines the reading order. See “Tag page items” on page 501.
Bullets Select Map To Unordered List to convert bullet paragraphs into List Items, which are formatted in HTML
using the &lt;ul&gt; tag. Select Convert To Text to format using the &lt;p&gt; tag with bullet characters as text.
Numbers Determines how numbers are converted in the HTML file.
• Map To Ordered List Converts numbered lists into List Items, which are formatted in HTML using the &lt;ol&gt; tag.
• Map To Static Ordered List Converts numbered lists into List Items, but assigns a &lt;value&gt; attribute based on the
paragraph’s current number in InDesign.
• Convert To Text Converts numbered lists into paragraphs that begin with the paragraph’s current number as text.
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View eBook After Exporting Starts the Adobe Digital Editions Reader, if present. An alert message appears if your
system doesn’t have a reader configured to view .epub documents.
Digital Editions Images options
The Images section of the Digital Editions Export Options dialog box includes the following options. From the Image
Conversion menu, determine how images are exported to HTML.
Formatted Preserves InDesign formatting, such as rotation or scale, as much as possible for web images.
Image Conversion Lets you choose whether the optimized images in your document are converted to GIF or JPEG.
Choose Automatic to let InDesign decide which format to use in each instance.
GIF Options (Palette) Lets you control how InDesign handles colors when optimizing GIF files. The GIF format uses
a limited color palette, which cannot exceed 256 colors.
Choose Adaptive to create a palette using a representative sample of colors in the graphic without any dithering
(mixing of small spots of colors to simulate additional colors). Choose Web to create a palette of web-safe colors that
are a subset of Windows and Mac OS system colors. Choose System (Win) or System (Mac) to create a palette using
the built-in system color palette. This choice may cause unexpected results.
Select Interlace to display a slowly loaded image gradually by filling in missing lines. If this option is not select, an
image looks fuzzy and gradually becomes clear as the image reaches full resolution.
JPEG Options (Image Quality) Determines the trade-off between compression (for smaller file sizes) and image quality
for each JPEG image created. Low produces the smallest file and lowest image quality.
JPEG Options (Format Method) Determines how quickly JPEG graphics display when the file containing the image is
opened on the web. Choose Progressive to make the JPEG images display gradually and in increasing detail as they are
downloaded. (Files created with this option are slightly larger and require more RAM for viewing.) Choose Baseline
to make each JPEG file display only after it has been completely downloaded; a placeholder appears in its place until
the file displays.
Digital Editions Contents options
The Contents section of the Digital Editions Export Options dialog box includes the following options.
Format For EPUB Content Specify whether you want to use the XHTML or DTBook format.
Include InDesign TOC Entries Select this option if you want to generate a table of contents on the left side of the eBook.
From the TOC Style menu, specify the TOC style you want to use in the eBook. You can choose Layout &gt; Table Of
Contents Styles to create a special TOC style for your eBook.
Suppress Automatic Entries For Documents Select this option if you don’t want the document names to appear in the
eBook table of contents. This option is especially useful when you’re creating an eBook from a book.
Use First Level Entries As Chapter Breaks Select this options to split the ebook into multiple files, with each file
beginning with the first level TOC entry. If a content file exceeds 260kb, a new chapter begins at the start of a paragraph
between first level entries to help avoid the 300kb limit.
Generate CSS Cascading Style Sheets (CSS) are a collection of formatting rules that control the appearance of content
in a web page. When you use CSS to format a page, you separate content from presentation.
• Include Style Definitions When exporting to EPUB, you can create a list of CSS styles that can be edited.
• Preserve Local Overrides If this option is selected, local formatting such as italic or bold is included.
• Include Embeddable Fonts Includes in the eBook all fonts that are allowed to be embedded. Fonts include
embedding bits that determine whether the font is allowed to be embedded.
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Style Names Only Selecting this option includes only undefined style names in the EPUB stylesheet.
Use Existing CSS File Specify the URL of the existing CSS style sheet, which is usually a relative URL, such as
“/styles/style.css.” InDesign does not check whether the CSS exists or is valid, so you’ll want to confirm your CSS setup.
Export content to Buzzword
Buzzword is a web-based text editor that lets users create and store text files on a web server. When you export a story
to Buzzword, you create a text file on the Buzzword server.
1 Select text or place the insertion point in a text frame that is part of the story you want to export.
2 Choose File &gt; Export For &gt; Buzzword.
3 If you haven’t already signed in to CS Live, click Sign In, specify your e-mail address and password, and then click
Sign In.
4 In the Export Story For Buzzword dialog box, specify the name of the Buzzword document to be created and then
click OK.
The Buzzword document is opened on Acrobat.com. You can then move the document to a different workspace and
share it with other people.
More Help topics
“Import Buzzword documents” on page 128
Use the web color swatch library
InDesign includes a color swatch library called Web, which consists of the colors most web browsers use to display text
and graphics in web pages. The 216 colors in the library, often called web-safe colors, are consistent across platforms,
because they are a subset of the colors that browsers use in both Windows and Mac OS. The web-safe colors in
InDesign are the same as those in the Adobe Photoshop web-safe color palette and the Adobe Illustrator browser-safe
color palette.
Each color in the library is named by its RGB values. Each color’s hexadecimal code, which HTML uses to define the
color, is stored within the color swatch.
1 Choose New Color Swatch in the Swatches panel menu.
2 For Color Mode, choose Web.
3 Select the web-safe color, and then click OK.
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Chapter 5: Text
Creating text and text frames
Create text frames
Text in InDesign resides inside containers called text frames. (A text frame is similar to a text box in QuarkXPress and
a text block in Adobe PageMaker.) For a video tutorial on making a text frame, see www.adobe.com/go/lrvid4274_id.
Like graphics frames, text frames can be moved, resized, and changed. The tool with which you select a text frame
determines the kind of changes you can make:
• Use the Type tool
to enter or edit text in a frame.
• Use the Selection tool
for general layout tasks such as positioning and sizing a frame.
• Use the Direct Selection tool
to alter a frame’s shape.
Text frames can also be connected to other text frames so that the text in one frame can flow into another frame.
Frames that are connected in this way are threaded. Text that flows through one or more threaded frames is called a
story. When you place (import) a word-processing file, it comes into your document as a single story, regardless of the
number of frames it may occupy.
Text frames can have multiple columns. Text frames can be based on, yet independent of, page columns. In other
words, a two-column text frame can sit on a four-column page. Text frames can also be placed on master pages and
still receive text on document pages.
If you use the same type of text frame repeatedly, you can create an object style that includes text frame formatting
such as stroke and fill colors, text frame options, and text wrap and transparency effects.
When you place or paste text, you don’t need to create a text frame; InDesign automatically adds frames based on the
page’s column settings.
❖ Do any of the following:
• Select the Type tool , and then drag to define the width and height of a new text frame. Hold down Shift as you
drag to constrain the frame to a square. When you release the mouse button, a text insertion point appears in the
frame.
Dragging to create new text frame
• Using the Selection tool, click the in port or out port of another text frame, and then click or drag to create another
frame.
• Use the Place command to place a text file.
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Text
• Using the Type tool , click inside any empty frame. If the Type Tool Converts Frames To Text Frames option is
selected in Type preferences, the empty frame is converted to a text frame.
More Help topics
“Threading text” on page 129
“Place (import) text” on page 123
“Object styles” on page 197
Move and resize text frames
Use the Selection tool to move or resize text frames.
If you want to move or resize a text frame without switching from the Type tool
(Windows) or Command (Mac OS), and then drag the frame.
to a selection tool, hold down Ctrl
More Help topics
“Create text frames” on page 115
Move a text frame
• Using the Selection tool, drag the frame.
• Using the Type tool, hold down Ctrl (Windows) or Command (Mac OS) and drag the frame. When you release the
key, the Type tool is still selected.
Resize a text frame
❖ Do any of the following:
• To resize using the Type tool , hold down Ctrl (Windows) or Command (Mac OS), and drag any frame handle.
If you hold down the mouse button for one second before you begin dragging, the text will recompose while you
resize the frame.
Note: If you click the text frame instead of dragging it, you’ll lose your text selection or insertion point location.
• To resize using the Selection tool , drag any of the frame handles on the frame’s border. Hold down Ctrl
(Windows) or Command (Mac OS) to scale the text within the frame. (See “Scale type” on page 241.)
• To quickly fit the frame to its content, use the Selection tool to select the text frame, and double-click any handle.
For example, if you double-click the center bottom handle, the bottom of the frame snaps to the bottom of the text.
If you double-click the center right handle, the height is preserved while the width narrows to fill the frame.
You can also double-click a handle on an overset text frame to expand the height or width to fit all text in the frame.
If a text frame includes more overset text than can reasonably fit on the page, the text frame isn’t resized.
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Text
Double-click handle to resize text frame.
• To fit the text frame to the content, select the frame using the Selection tool, and choose Object &gt; Fitting &gt; Fit Frame
to Content. The bottom of the text frame fits the contents of the text. If a text frame includes more overset text than
can reasonably fit on the page, the text frame isn’t resized.
• To resize using the Scale tool
, drag to resize the frame. (See “Scale type” on page 241.)
Using text frames on master pages
When you start a new document, you can select the Master Text Frame option so that an empty text frame is placed
on the document’s default master page. This frame has the column and margin attributes specified in the New
Document dialog box.
Follow these guidelines for using text frames on master pages:
• Set master text frames when you want each page in your document to contain a page-sized text frame into which
you can flow or type your text. If your document requires more variation, such as pages with different numbers of
frames or frames of different lengths, leave the Master Text Frame option deselected, and use the Type tool to create
text frames on masters.
• Whether or not you select the Master Text Frame option, you can add text frames to a master page to act as
placeholders. You can thread these empty placeholder frames together to establish a flow.
• Flow text into master text frames using the same procedures you would use with frames created on document pages.
• If you need to type text in a master text frame on a document page, hold down Ctrl+Shift (Windows) or
Command+Shift (Mac OS) as you click the text frame on the document page. Then click in the frame using the
Type tool and begin typing.
• You can use Smart Text Reflow to add or remove pages automatically as you type and edit text. By default, when
you type text at the end of a threaded text frame based on a master page, a new page is added, allowing you to
continue typing in the new text frame. You can edit Smart Text Reflow settings.
• If you change the page margins, text frames adjust to the new margins only if the Enable Layout Adjustment option
is selected.
• Selecting the Master Text Frame option does not affect whether new pages are added when you autoflow text.
More Help topics
“Override or detach master items” on page 68
“Use Smart Text Reflow” on page 133
“Master pages” on page 63
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Change text frame properties
Use Text Frame Options to change settings such as the number of columns in the frame, the vertical alignment of text
within the frame, or the inset spacing, which is the distance of the margins between the text and the frame.
Before (left) and after (right) setting inset and creating two columns in a text frame
If you need to use the same text frame properties for multiple text frames, create an object style that you can apply to
your text frames.
1 Using the Selection tool
, select a frame, or using the Type tool
, click inside the text frame or select text.
2 Choose Object &gt; Text Frame Options, or hold down Alt (Windows) or Option (Mac OS) and then double-click the
text frame using a selection tool.
3 Change text frame options, and then click OK.
These text frame options are available when you’re defining an object style for text boxes. See “Object styles” on
page 197.
More Help topics
“Change document setup, margins, and columns” on page 40
“Using text frames on master pages” on page 117
“Grids” on page 47
Add columns to a text frame
You can create columns within a text frame by using the Text Frame Options dialog box.
You cannot create columns of unequal width in a text frame. To create columns of unequal width or height, add
threaded text frames side-by-side on either a document page or a master page.
1 Using the Selection tool, select a frame, or using the Type tool, click inside the text frame or select text.
2 Choose Object &gt; Text Frame Options.
3 Specify the number of columns, the width of each column, and the spacing between each column (gutter) for the
text frame.
4 (Optional) Select Fixed Column Width to maintain column width when you resize the frame. If this option is
selected, resizing the frame can change the number of columns, but not their width.
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A
B
C
Fixed column width
A. Original 2-column text frame B. Resized with Fixed Column Width deselected (still 2 columns) C. Resized with Fixed Column Width
selected (4 columns)
5 (Optional) Select Balanced Columns to make text even at the bottom of a multi-column text frame.
Before and after balancing columns
Change text frame inset spacing (margins)
1 Using the Selection tool, select a frame, or using the Type tool, click inside the text frame or select text.
2 Choose Object &gt; Text Frame Options.
3 In the Inset Spacing section on the General tab, type the offset distances you want for Top, Left, Bottom, and Right.
(Click the Make All Settings The Same icon
to use the same spacing on all sides.)
If the frame you’ve selected has a non-rectangular shape, the Top, Left, Bottom, and Right options are dimmed, and
an Inset option is available instead.
First baseline offset options
To change the first baseline options of a selected text frame, choose Object &gt; Text Frame Options, and click the
Baseline Options tab. The following options appear in the Offset menu under First Baseline:
Ascent The height of the “d” character in the font falls below the top inset of the text frame.
Cap Height The top of uppercase letters touch the top inset of the text frame.
Leading Use the text’s leading value as the distance between the baseline of the first line of text and the top inset of the
frame.
X Height The height of the “x” character in the font falls below the top inset of the frame.
Fixed Specify the distance between the baseline of the first line of text and the top inset of the frame.
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Min Select a minimum value for the baseline offset. For example, if Leading is selected and you specify a minimum
value of 1p, InDesign uses the leading value only when it’s greater than 1 pica.
If you want to snap the top of the text frame to a grid, choose either Leading or Fixed so that you can control the
location of the first baseline of text in text frames.
Set baseline grids for a text frame
In some cases, you might want to use a baseline grid for a frame rather than for the entire document. Use the Text
Frame Options dialog box to apply a baseline grid to a text frame. When you set up a baseline grid for a text frame,
note the following:
• The document baseline grid doesn’t appear behind or in front of text frames that use their own baseline grids.
• If Grids In Back is selected in Grids Preferences, then frame-based baseline grids take precedence over documentbased baseline grids. If Grids In Back is not selected, then document-based baseline grids take precedence over
frame-based baseline grids.
1 Choose View &gt; Grids &amp; Guides &gt; Show Baseline Grid to display all baseline grids, including those in a text frame.
2 Select the text frame or place the insertion in a text frame, and then choose Object &gt; Text Frame Options.
If you want the baseline grid to apply to all frames in a thread (even if one or more threaded frames do not include
text), place the insertion point in text, choose Edit &gt; Select All, and then apply the baseline grid settings in the Text
Frame Options dialog box.
3 Click the Baseline Options tab.
4 Under Baseline Grid, select Use Custom Baseline Grid, and do any of the following:
Start Type a value to offset the grid from the top of the page, the top margin of the page, the top of the frame, or the
top inset of the frame, depending on what you choose from the Relative To menu.
Relative To Specify whether you want the baseline grid to begin relative to the top of the page, the top margin of the
page, the top of the text frame, or the top of the text frame inset.
Increment Every Type a value for the spacing between grid lines. In most cases, type a value that equals your body text
leading, so that lines of text align perfectly to the grid.
Color Select a color for the grid lines, or choose (Layer Color) to use the same color as the layer on which the text frame
appears.
If you can’t see the baseline grid in a text frame, choose View &gt; Grids &amp; Guides &gt; Show Baseline Grid to make sure
that baseline grids aren’t hidden. If the baseline grid still doesn’t appear, check the threshold for viewing baseline grids
in the Grids section of the Preferences dialog box. To see the grid, you might need to zoom in on the frame or reduce the
threshold level.
Determine word and character counts
1 Place the insertion point in a text frame to view counts for the entire thread of frames (the story), or select text to
view counts only for the selected text.
2 Choose Window &gt; Info to display the Info panel.
The Info panel displays the number of characters, words, lines, and paragraphs in a text frame. The position of the
insertion point within the text frame also appears.
More Help topics
“Info panel overview” on page 46
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Working with additional languages
You can assign languages to different text. Assigning the appropriate language to text is especially useful for spellchecking and hyphenating. (See “Assign a language to text” on page 240.)
If you need to work with Asian text, special versions of InDesign are available for Japanese, Simplified Chinese,
Traditional Chinese, and Korean. These versions let you create layout grids and frame grids for composing multibyte
characters, and they include a number of features for formatting multibyte text, along with additional fonts.
Similarly, a special version of InDesign is available for formatting Middle Eastern languages, such as Hebrew, Arabic,
Farsi, and Urdu, that use right-to-left text formatting. This version is called InDesign ME.
For more information on purchasing InDesign ME or an Asian-language version of InDesign, see the Adobe website.
Adding text to frames
Add text to a document
Add text to a document by typing or by pasting or placing text from a word-processing application. If your wordprocessing application supports drag-and-drop, you can also drag text into InDesign frames. For large blocks of text,
the Place command is an efficient, versatile way to add text to your document. InDesign supports a variety of wordprocessing, spreadsheet, and text file formats.
When you place or paste text, you do not need to create a text frame first; InDesign will create one for you
automatically.
When you place text, you can select Show Import Options to determine whether the imported text maintains its styles
and formatting. Before you paste text, you can select All Information or Text Only under Clipboard Handling
Preferences to determine whether the pasted text includes additional information such as swatches and styles.
If the text you import into your document includes pink, green, or another color of highlighting, you likely have one
or more composition preference options turned on. Open the Composition section of the Preferences dialog box, and
notice which options are turned on under Highlight. For example, if the pasted text is formatted with fonts not available,
the text is highlighted in pink.
More Help topics
“Place (import) text” on page 123
“Work with missing fonts” on page 231
Type text in a document
1 To place the insertion point inside the text frame, do one of the following:
• Using the Type tool
, drag to create a new text frame, or click in an existing text frame.
• Using a selection tool, double-click inside an existing text frame. The Type tool is selected automatically.
2 Begin typing.
If you created a text frame on a master page, hold down Ctrl+Shift (Windows) or Command+Shift (Mac OS) as you
click in the frame on your document page. This makes a copy of the master page frame on the document page. You
can then use the Type tool to add text to the selected frame.
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Type Asian text using inline input
1 Choose Edit &gt; Preferences &gt; Advanced Type (Windows) or InDesign &gt; Preferences &gt; Advanced Type (Mac OS).
2 Select Use Inline Input For Non-Latin Text, and then click OK.
You can use a system input method, if available, for adding 2-byte and 4-byte characters. This method is especially
useful for entering Asian characters.
Insert placeholder text
InDesign can add placeholder text that you can easily replace with real text later. Adding placeholder text can give you
a more complete sense of your document’s design.
1 Use the Selection tool to select one or more text frames, or use the Type tool to click in a text frame.
2 Choose Type &gt; Fill With Placeholder Text.
If you add placeholder text to a frame that’s threaded to other frames, the placeholder text is added at the start of the
first text frame (if all frames are empty) or at the end of the existing text (if some text is already in the threaded frames),
through to the end of the last threaded frame.
To remove or replace placeholder text, double-click in any frame in the thread, choose Edit &gt; Select All, and then delete
the text.
To change the text that is used as placeholder text, create a text file with the text you wish to use, name it
Placeholder.txt, and save it in the application folder.
Paste text
If the insertion point is not inside a text frame when you paste text into InDesign, a new plain text frame will be created.
If the insertion point is inside a text frame, the text will be pasted inside that frame. If you have text selected when you
paste, the pasted text will overwrite the selected text.
More Help topics
“Drag and drop text” on page 123
Paste text from another application
1 To preserve formatting and information such as styles and index markers, open the Clipboard Handling section of
the Preferences dialog box, and select All Information under Paste. To remove these items and other formatting
when pasting, select Text Only.
2 Cut or copy text in another application or in an InDesign document.
3 If you like, select text or click in a text frame. Otherwise, the text will be pasted into its own new frame.
4 Do one of the following:
• Choose Edit &gt; Paste. If the pasted text doesn’t include all the formatting, you may need to change settings in the
Import Options dialog box for RTF documents.
• Choose Edit &gt; Paste Without Formatting. (Paste Without Formatting is dimmed if you paste text from another
application when Text Only is selected in Clipboard Handling Preferences.)
You can also drag text from another application and drop it into an InDesign document, or you can insert a text file
or word-processing file into an InDesign document directly from Windows Explorer or Mac OS Finder. The text will
be added to a new frame. Shift-dragging removes the formatting. The option you select in the Clipboard Handling section
of the Preferences dialog box determines whether information such as index markers and swatches is preserved.
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Adjust spacing automatically when pasting text
When you paste text, spaces can be automatically added or removed, depending on the context. For example, if you
cut a word and then paste it between two words, a space appears before and after the word. If you paste that word at
the end of a sentence, before the period, a space is not added.
1 Choose Edit &gt; Preferences &gt; Type (Windows) or InDesign &gt; Preferences &gt; Type (Mac OS).
2 Select Adjust Spacing Automatically When Cutting And Pasting Words, and then click OK.
Drag and drop text
You can use the mouse to drag and drop text in the Story Editor or in the Layout View. You can even drag text from
the Story Editor to the layout window (or vice versa), or into some dialog boxes such as Find/Change. Dragging the
text from a locked or checked-in story copies the text rather than moves it. You can also copy text or create a new frame
when dragging and dropping text.
Jeff Witchel provides a video tutorial about drag and drop at Using InDesign Drag and Drop Text.
1 To enable drag and drop, choose Edit &gt; Preferences &gt; Type (Windows) or InDesign &gt; Preferences &gt; Type
(Mac OS), select Enable In Layout View, Enable In Story Editor (InDesign), or Enable In Galley/Story View
(InCopy), and then click OK.
2 Select the text that you want to move or copy.
3 Hold the pointer over the selected text until the drag and drop icon
appears, and then drag the text.
As you drag, the selected text remains in place, but a vertical bar indicates where the text will appear when you release
the mouse button. The vertical bar appears in any text frame that you drag the mouse over.
4 Do any of the following:
• To drop the text in a new location, position the vertical bar where you would like the text to appear and release the
mouse button.
• To drop the text in a new frame, hold down Ctrl (Windows) or Command (Mac OS) after you start dragging, and
then release the mouse button before releasing the key.
• To drop the text without formatting, hold down Shift after you start dragging, and then release the mouse button
before releasing the key.
• To copy the text, hold down Alt (Windows) or Option (Mac OS) after you start dragging, and then release the
mouse button before releasing the key.
You can also use a combination of these modifier keys. For example, to copy unformatted text to a new frame, hold
down Alt+Shift+Ctrl (Windows) or Option+Shift+Command (Mac OS) after you start dragging.
If the text you drop doesn’t have the proper spacing, select the Adjust Spacing Automatically option in Type
Preferences.
More Help topics
“Paste text” on page 122
Place (import) text
When you place a text or spreadsheet file, you can specify options to determine how the imported text is formatted.
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For a video tutorial on importing content into InDesign, see www.adobe.com/go/vid0067. For a video tutorial on
placing and flowing text, see www.adobe.com/go/lrvid4278_id.
1 (Optional) To create links to the files being placed, click File Handling in the Preferences dialog box and select
Create Links When Placing Text And Spreadsheet Files.
Selecting this option creates a link to the placed file. You can use the Links panel to update, relink, or remove links to
text files. However, if you format linked text in InDesign, the formatting may not be preserved when you update the
link. If this option isn’t selected, imported text and spreadsheet files are embedded (not linked).
2 Do one of the following:
• To create a new frame for the placed text, make sure that no insertion point is present and that no text or frames
are selected.
• To add text to a frame, use the Type tool
to select text or place the insertion point.
• To replace the contents of an existing frame, use a selection tool to select the frame. If the frame is threaded, a loaded
text cursor appears.
If you accidentally replace a text file or graphic using this method, choose Edit &gt; Undo Replace, and then click or drag
to create a text frame.
3 Choose File &gt; Place.
4 Select Replace Selected Item if you want the imported file to replace the contents of a selected frame, to replace
selected text, or to be added to the text frame at the insertion point. Deselect this option to flow the imported file
into a new frame.
5 Select Show Import Options, and then double-click the file you want to import.
6 Set import options, and then click OK.
If you haven’t already designated an existing frame to receive text, the pointer becomes a loaded text icon, ready to flow
text wherever you click or drag.
If you receive an alert that the requested filter wasn’t found, you may be trying to place a file from a different wordprocessing application or from an earlier version of Microsoft&reg; Word, such as Word 6. Open the file in its original
application and save it as RTF, which preserves most formatting.
If the imported Microsoft Excel document displays red dots in cells, adjust cell size or text attributes so that overset
content becomes visible. You can also place the file as unformatted tabbed text, and then convert the tabbed text to a
table.
More Help topics
“Flow text manually or automatically” on page 132
“Link or embed imported text files” on page 129
“Convert Word styles to InDesign styles” on page 185
“Work with missing fonts” on page 231
“Open QuarkXPress files in InDesign” on page 103
Importing Content video
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About import filters
InDesign imports most character and paragraph formatting attributes from text files but ignores most page-layout
information, such as margin and column settings (which you can set in InDesign). Note the following:
• InDesign generally imports all formatting information specified in the word-processing application, except
information for word-processing features not available in InDesign.
• InDesign can add imported styles to its list of styles for the document. A disk icon
styles. (See “Convert Word styles to InDesign styles” on page 185.)
appears next to imported
• The import options appear when you select Show Import Options in the Place dialog box, or when you import an
Excel file. If Show Import Options is deselected, InDesign uses the import options last used for a similar document
type. The options you set remain in effect until you change them.
• If InDesign cannot find a filter that recognizes a file by either its file type or file extension, an alert message appears.
For best results in Windows, use the standard extension (such as .doc, .docx, .txt, .rtf, .xls, or .xlsx) for the type of
file you’re importing. You may need to open the file in its original application and save it in a different format, such
as RTF or text-only.
For more information on import filters, see the Filters ReadMe PDF file at
www.adobe.com/go/lr_indesignfilters_cs5_en.
Microsoft Word and RTF import options
If you select Show Import Options when placing a Word file or an RTF file, you can choose from these options:
Table Of Contents Text Imports the table of contents as part of the text in the story. These entries are imported as text only.
Index Text Imports the index as part of the text in the story. These entries are imported as text only.
Footnotes Imports Word footnotes. Footnotes and references are preserved, but renumbered based on the
document’s footnote settings. If the Word footnotes are not imported properly, try saving the Word document in RTF
format and importing the RTF file.
Endnotes Imports endnotes as part of the text at the end of the story.
Use Typographer’s Quotes Ensures that imported text includes left and right quotation marks (“ ”) and
apostrophes (’) instead of straight quotation marks (&quot; &quot;) and apostrophes (').
Remove Styles And Formatting From Text And Tables Removes formatting, such as typeface, type color, and type
style, from the imported text, including text in tables. Paragraph styles and inline graphics aren’t imported if this
option is selected.
Preserve Local Overrides When you choose to remove styles and formatting from text and tables, you can select
Preserve Local Overrides to maintain character formatting, such as bold and italics, that is applied to part of a
paragraph. Deselect this option to remove all formatting.
Convert Tables To When you choose to remove styles and formatting from text and tables, you can convert tables to
either basic, unformatted tables or unformatted, tab-delimited text.
If you want to import unformatted text and formatted tables, import the text without formatting, and then paste the
tables from Word into InDesign.
Preserve Styles And Formatting From Text And Tables Preserves the Word document’s formatting in the InDesign or
InCopy document. You can use the other options in the Formatting section to determine how styles and formatting
are preserved.
Manual Page Breaks Determines how page breaks from the Word file are formatted in InDesign or InCopy. Select
Preserve Page Breaks to use the same page breaks used in Word, or select Convert To Column Breaks or No Breaks.
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Import Inline Graphics Preserves inline graphics from the Word document in InDesign.
Import Unused Styles Imports all styles from the Word document, even if the styles aren’t applied to text.
Convert Bullets &amp; Numbers To Text Imports bullets and numbers as actual characters, preserving the look of the
paragraph. However, in numbered lists, the numbers are not automatically updated when the list items are changed.
Track Changes Selecting this option causes Track Changes markups from the Word document to appear in the
InDesign document. In InDesign, view track changes in Story Editor.
Import Styles Automatically Imports styles from the Word document into the InDesign or InCopy document. If a
yellow warning triangle appears next to Style Name Conflicts, then one or more paragraph or character styles from the
Word document have the same name as an InDesign style.
To determine how these style name conflicts are resolved, select an option from the Paragraph Style Conflicts and
Character Style Conflicts menu. Choosing Use InDesign Style Definition causes the imported style text to be formatted
based on the InDesign style. Choosing Redefine InDesign Style causes the imported style text to be formatted based on
the Word style, and changes existing InDesign text formatted with the Word style. Choosing Auto Rename causes the
imported Word styles to be renamed. For example, if InDesign and Word have a Subheading style, the imported Word
style is renamed Subheading_wrd_1 when Auto Rename is selected.
Note: InDesign converts paragraph and character styles but not bulleted and numbered list styles.
Customize Style Import Lets you use the Style Mapping dialog box to select which InDesign style should be used for
each Word style in the imported document.
Save Preset Stores the current Word Import Options for later reuse. Specify the import options, click Save Preset, type
the name of the preset, and click OK. The next time you import a Word style, you can select the preset you created
from the Preset menu. Click Set As Default if you want the selected preset to be used as the default for future imports
of Word documents.
Text-file import options
If you select Show Import Options when placing a text file, you can choose from these options:
Character Set Specifies the computer language character set, such as ANSI, Unicode UTF8, or Windows CE, that was
used to create the text file. The default selection is the character set that corresponds to the default language and
platform of InDesign or InCopy.
Platform Specifies whether the file was created in Windows or Mac OS.
Set Dictionary To Specifies the dictionary to be used by the imported text.
Extra Carriage Returns Specifies how extra paragraph returns are imported. Choose Remove At End Of Every Line or
Remove Between Paragraphs.
Replace Replaces the specified number of spaces with a tab.
Use Typographer’s Quotes Ensures that imported text includes left and right quotation marks (“ ”) and
apostrophes (’) instead of straight quotation marks (&quot; &quot;) and apostrophes (').
Microsoft Excel import options
You can choose from these options when importing an Excel file:
Sheet Specifies the worksheet you want to import.
View Specifies whether to import any stored custom or personal views, or to ignore the views.
Cell Range Specifies the range of cells, using a colon (:) to designate the range (such as A1:G15). If there are named
ranges within the worksheet, these names appear in the Cell Range menu.
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Import Hidden Cells Not Saved In View Includes any cells formatted as hidden cells in the Excel spreadsheet.
Table Specifies how the spreadsheet information appears in the document.
• Formatted Table InDesign tries to preserve the same formatting used in Excel, although the formatting of text
within each cell may not be preserved. If the spreadsheet is linked rather than embedded, updating the link will
override any formatting applied to the table in InDesign.
• Unformatted Table The table is imported without any formatting from the spreadsheet. When this option is
selected, you can apply a table style to the imported table. If you format text using paragraph and characters styles, the
formatting is preserved even if you update the link to the spreadsheet.
• Unformatted Tabbed Text The table is imported as tab-delimited text, which you can then convert to a table in
InDesign or InCopy.
• Formatted Only Once InDesign preserves the same formatting used in Excel during the initial import. If the
spreadsheet is linked rather than embedded, formatting changes made to the spreadsheet are ignored in the linked
table when you update the link. This option isn’t available in InCopy.
Table Style Applies the table style you specify to the imported document. This option is available only if Unformatted
Table is selected.
Cell Alignment Specifies the cell alignment for the imported document.
Include Inline Graphics Preserves inline graphics from the Excel document in InDesign.
Number Of Decimal Places To Include Specifies the number of decimal places of spreadsheet figures.
Use Typographer’s Quotes Ensures that imported text includes left and right quotation marks (“ ”) and
apostrophes (’) instead of straight quotation marks (&quot; &quot;) and apostrophes (').
Tagged-text import options
You can import (or export) a text file capable of taking advantage of InDesign formatting capabilities by using the
tagged text format. Tagged-text files are text files containing information describing the formatting you want InDesign
to apply. Properly tagged text can describe almost anything that can appear in an InDesign story, including all
paragraph-level attributes, character-level attributes, and special characters.
For information on specifying tags, view the Tagged Text PDF at www.adobe.com/go/learn_id_taggedtext_cs5_en
(PDF).
The following options are available when you import a tagged-text file and select Show Import Options in the Place
dialog box.
Use Typographer’s Quotes Ensures that imported text includes left and right quotation marks (“ ”) and
apostrophes (’) instead of straight quotation marks (&quot; &quot;) and apostrophes (').
Remove Text Formatting Removes formatting, such as typeface, type color, and type style, from the imported text.
Resolve Text Style Conflicts Using Specifies which character or paragraph style to apply when there is a conflict
between the style in the tagged-text file and the style in the InDesign document. Select Publication Definition to use
the definition that already exists for that style in the InDesign document. Select Tagged File Definition to use the style
as defined in the tagged text.
Show List Of Problem Tags Before Place Displays a list of unrecognized tags. If a list appears, you can choose to cancel
or continue the import. If you continue, the file may not look as expected.
Save Word or RTF import options as presets
1 When placing a Word or RTF file, make sure that Show Import Options is selected, and choose Open.
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2 In the Import Options dialog box, specify the desired settings.
3 Click Save Preset, type a preset name, and click OK.
4 (Optional) Click Set As Default to use the preset each time you import a file of that file type.
You can then select custom presets from the Preset menu in the Import Options dialog box whenever you open a Word
or RTF file.
Import Buzzword documents
Buzzword is a web-based text editor that lets users create and store text files on a web server. In InDesign CS5, you can
import and export text from Buzzword documents.
When you import a Buzzword document, a URL-based link is created to the Buzzword document on the server. When
the Buzzword document is updated outside InDesign, you can use the Links panel to update the imported version in
InDesign. However, doing so removes any changes to the Buzzword text you’ve made in InDesign.
Note: The Acrobat.com Buzzword application is available only in English, French, and German.
1 Choose File &gt; Place From Buzzword.
2 If you haven’t already signed in to CS Live, click Sign In, specify your e-mail address and password, and then click
Sign In.
Once you sign in, the Place Buzzword Documents dialog box displays a list of the Buzzword documents you can
import.
3 Select one or more documents you want to import, or paste the URL of the Buzzword document into the Paste URL
field.
4 Select any of the following options, and then click OK.
Show Import Options If you select this option, the Buzzword Import Options dialog box appears before you place
the file.
Replace Selected Item Select this option to replace the object currently selected in the document.
Link To Document Select this option to create a link between the Buzzword document and the placed text. If you
establish a link and update the Buzzword document, the Links panel indicates that the file has been modified. If you
update the link, the text in InDesign is updated. However, formatting changes you’ve made to this text in InDesign
are lost.
5 If you selected Show Import Options, specify settings in the Buzzword Import Options dialog box.
This dialog box includes most of the same options found in the RTF Import Options dialog box. See “Microsoft
Word and RTF import options” on page 125. Buzzword currently does not have a styles feature, so none of the style
options are valid at this time.
6 With the loaded text cursor, click or drag to create a text frame.
More Help topics
“Export content to Buzzword” on page 114
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Link or embed imported text files
By default, text you place in InDesign is not linked to the original text file. However, if you select the Create Links
When Placing Text And Spreadsheet Files option in File Handling preferences before you place a file, the name of the
text file appears in the Links panel. You can use the Links panel to update and manage the file. When you update a
linked text file, any editing or formatting changes applied within InDesign are lost. Because of this risk, linked text files
are not automatically updated when the original file is edited. However, you can easily use the Links panel to update
content or to unlink (embed) the file.
Creative Mentor provides a video tutorial on linking text files at Text files as links.
1 Do one of the following:
• To apply this change to a document, open the document.
• To apply this change to any new document you create, close all documents.
2 Choose Edit &gt; Preferences &gt; File Handling (Windows) or InDesign &gt; Preferences &gt; File Handling (Mac OS).
3 To create links in placed files, select Create Links When Placing Text And Spreadsheet Files. If this option is turned
on, use the Links panel to update, relink, or remove links. If this option is turned off, text files are embedded (not
linked).
To unlink (embed) a linked text file, select the file in the Links panel, and then choose Unlink from the Links panel
menu.
More Help topics
“Managing graphics links” on page 372
“Convert Word styles to InDesign styles” on page 185
Threading text
Thread text frames
The text in a frame can be independent of other frames, or it can flow between connected frames. To flow text between
connected frames (also called text boxes), you must first connect the frames. Connected frames can be on the same
page or spread, or on another page in the document. The process of connecting text among frames is called threading
text. It is also referred to as linking text frames or linking text boxes.
Each text frame contains an in port and an out port, which are used to make connections to other text frames. An empty
in port or out port indicates the beginning or end of a story, respectively. An arrow in a port indicates that the frame
is linked to another frame. A red plus sign (+) in an out port indicates that there is more text in the story to be placed
but no more text frames in which to place it. This remaining unseen text is called overset text.
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D
A
C
E
B
Threaded frames
A. In port at beginning of story B. Out port indicating thread to next frame C. Text thread D. In port indicating thread from previous frame
E. Out port indicating overset text
Choose View &gt; Extras &gt; Show Text Threads to see visual representatives of threaded frames. You can thread text
frames whether or not they contain text.
More Help topics
“Add text to a document” on page 121
“Move and resize text frames” on page 116
Add a new frame to the thread
1 Using the Selection tool
, select a text frame, and then click the in port or out port to load a text icon.
Clicking the in port lets you add a frame before the selected frame; clicking the out port lets you add a frame after the
selected frame.
2 Position the loaded text icon
where you want a new text frame to appear, and then click or drag to create a new
text frame.
When the loaded text icon is active, you can perform many actions, including turning pages, creating new pages, and
zooming in and out. If you start to thread two frames and change your mind, you can cancel the thread by clicking
any tool in the Toolbox. No text will be lost.
Add an existing frame to the thread
1 Using the Selection tool, select a text frame, and then click the in port or the out port to load a text icon.
2 Position the loaded text icon over the frame you want to connect to. The loaded text icon changes to the thread icon.
Adding existing frame to thread
3 Click inside the second frame to thread it to the first.
You can add automatic “continued on” or “continued from” jump lines that track threaded stories as they jump from
frame to frame. (See “Add automatic page numbers for story jumps” on page 87.)
Add a frame inside a sequence of threaded frames
1 Using the Selection tool, click the out port at the point in the story where you want to add a frame. When you release
the mouse button, a loaded text icon appears.
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2 Drag to create a new frame, or select a different text frame. InDesign threads the frame into the series of linked
frames containing the story.
Adding frame inside a thread (top) and result (bottom)
Unthread text frames
When you unthread a text frame, you break the connection between the frame and all subsequent frames in the thread.
Any text that previously appeared in the frames becomes overset text (no text is deleted). All subsequent frames are
empty.
❖ Using the Selection tool, do one of the following:
• Double-click an in port or out port to break the connection between frames.
• Click an in port or an out port that represents a thread to another frame. For example, in a two-framed thread, click
either the out port of the first frame or the in port of the second frame. Position the loaded text icon over the
previous or next frame to display the unthread icon . Click in the frame you want to remove from the thread.
Open the case for the rst time and take in the
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sights and smells of your hand-made instrument.
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See the way the light re ects o the handrubbed
available to the discerning musician and collector.
satin nish. Breath in the perfume of the nest
To this day, each and every guitar, mandolin,
exotic tone-woods.
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banjo, and dulcimer produced at Anton is a orded
hands and begin to play. e experience will leave
the exact same care and attention to detail as those
you swept away, and your life and your music will
that he created one-by-one in the rst few years.
never be the same again. For the select few thou
Removing frame from thread
To break one story into two stories, cut the text that needs to go in the second story, break the connection between the
frames, and then paste the text into the first frame of the second story.
Cut or delete threaded text frames
Whenever you cut or delete text frames, no text is deleted; the text remains in the thread.
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Cut a frame from a thread
You can cut a frame from a thread and paste the frame elsewhere. The frame is removed with a copy of the text, but
no text is removed from the original story. When you cut and paste a series of threaded text frames at once, the pasted
frames maintain their connection to each other, but lose connection to any other frames in the original story.
1 Using the Selection tool, select one or more frames (Shift-click to select multiple objects).
2 Choose Edit &gt; Cut. The frame disappears, and any text contained in it flows to the next frame in the story. When
you cut the last frame in a story, the text is stored as overset text in the previous frame.
3 If you want to use the disconnected frame elsewhere in your document, go to the page where you want the
disconnected text to appear and choose Edit &gt; Paste.
Delete a frame from a thread
When you delete a text frame that is part of a thread, no text is deleted: it is overset or it flows into the next frame in
succession. If the text frame isn’t connected to any other frame, the frame and text are deleted.
1 To select the text frame, do one of the following:
• Using a selection tool, click the frame.
• Using the Type tool, hold down Ctrl (Windows) or Command (Mac OS), and then click the frame.
2 Press Backspace or Delete.
Flow text manually or automatically
Your pointer becomes a loaded text icon
after you place text or click an in port or out port. The loaded text icon
lets you flow text onto your pages. By holding down a modifier key, you can determine how the text is flowed. The
loaded text icon changes appearance, depending on where it is placed.
When you position the loaded text icon over a text frame, parentheses enclose the icon . When you position the
loaded text icon next to a guide or grid snapping point, the black pointer becomes white .
You can flow text using four methods:
Method
What it does
Manual text flow
Adds text one frame at a time. You must reload the text icon to
continue flowing text.
Semi-autoflow
by holding down Alt (Windows) or Option
(Mac OS) when you click.
Works like manual text flow, except that the pointer becomes a loaded
text icon each time the end of a frame is reached, until all text is flowed
into your document.
Autoflow
by Shift-clicking.
Fixed-page autoflow
by holding down Shift+Alt (Windows) or
Shift+Option (Mac OS) when you click.
Adds pages and frames until all text is flowed into your document.
Flows all text into the document, adding frames as necessary without
adding pages. Any remaining text is overset.
For a video tutorial on placing and flowing text, see www.adobe.com/go/lrvid4278_id.
Flow text manually
1 Use the Place command to select a file, or click the out port
of a selected text frame.
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2 Do one of the following:
• Position the loaded text icon anywhere within an existing frame or path, and then click. The text flows into the
frame and any other frames linked to it. Note that text always starts filling the frame at the top of the leftmost
column, even when you click in a different column.
• Position the loaded text icon in a column to create a text frame the width of that column. The top of the frame
appears where you click.
• Drag the loaded text icon to create a text frame the width and height of the area you define.
3 If there is more text to be placed, click the out port and repeat steps 1 and 2 until all text has been placed.
Note: When you place text in a frame that is threaded to other frames, text autoflows through the threaded frames,
regardless of the text flow method you choose.
Flow text semi-automatically
❖ With a loaded text icon, Alt-click (Windows) or Option-click (Mac OS) a page or frame.
The text flows one column at a time, as in manual flow, but the loaded text icon automatically reloads after each
column is placed.
Flow text automatically
❖ With the loaded text icon displayed, hold down Shift as you do one of the following:
• Click the loaded text icon in a column to create a frame the width of that column. InDesign creates new text frames
and new document pages until all text is added to the document.
• Click inside a text frame that is based on a master text frame. The text autoflows into the document page frame and
generates new pages as needed, using the master frame’s attributes. (See “About masters, stacking order, and layers”
on page 63.)
Flow text automatically without adding pages
❖ With a loaded text icon, hold down Shift+Alt (Windows) or Shift+Option (Mac OS).
Use Smart Text Reflow
You can use the Smart Text Reflow feature to add or remove pages when you’re typing or editing text. This feature is
useful when you’re using InDesign as a text editor and you want a new page to be added whenever you type more text
than can fit on the current page. It’s also useful in avoiding overset text or empty pages for situations in which the text
flow changes due to editing text, showing or hiding conditional text, or making other changes to the text flow.
By default, Smart Text Reflow is limited to master text frames — text frames that are on a master page. If the document
includes facing pages, master text frames must appear on both left and right master pages, and the master text frames
must be threaded for Smart Text Reflow to work.
You can change settings to allow pages to be added or removed when working in text frames that aren’t based on
master pages. However, a text frame must be threaded to at least one other text frame on a different page for Smart
Text Reflow to work.
Smart Text Reflow settings appear in Type preferences. These settings apply to the current document. To change
default settings for all new documents, close all documents and specify the settings.
1 Choose Edit &gt; Preferences &gt; Type (Windows) or InDesign &gt; Preferences &gt; Type (Mac OS).
2 Select Smart Text Reflow.
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3 Select any of the following options and then click OK.
Add Pages To Use this option to determine where the new page is created. For example, suppose you have a three-page
document with text frames on the first two pages and a full-page graphic on the third page. If you’re typing to the end
of page two, you can determine whether the new page is added before or after the full-page graphic on the third page.
Choose End Of Story to add a new page after the second page. Choose End Of Document to add a new page after the
page with the full-page graphic.
In a document with multiple sections, you can choose End Of Section to add the page at the end of the section.
Limit To Master Text Frames If this option is turned off, you can also add or remove pages when editing text frames
that aren’t based on master pages. To prevent unwanted text reflow from occurring, Smart Text Reflow takes effect
only if the text frame you’re editing is threaded to at least one other text frame on a different page.
Note: When using Smart Text Reflow in text frames that aren’t based on master pages, pages are added with full-page,
single-column text frames, regardless of the attributes of the text frame to which the new frame is threaded.
Preserve Facing-Page Spreads This option determines whether facing-page spreads are preserved when text is
reflowed in the middle of a document. If this option is selected when text reflows in the middle of the document, a new
two-page spread is added. If this option is not selected, a single new page is added, and subsequent pages are “shuffled.”
If your layout includes design elements specific to the right or left side of the spread, turn on this option. If your left
and right pages are interchangeable, you can turn off this option. This option is dimmed if the document does not have
facing pages.
Delete Empty Pages Select this option to delete pages when you edit text or hide conditions. Pages are deleted only if
the emptied text frame is the only object on the page.
To see how Smart Text Reflow can let you use InDesign as a text editor, create a document with Facing Pages turned
off and Master Text Frame selected. In Type preferences, make sure that Smart Text Reflow and Delete Empty Pages
are selected. On the first page, hold down Ctrl+Shift (Windows) or Command+Shift (Mac OS), and click the master text
frame to override it. When you type enough text to fill this text frame, a new page and text frame is added automatically.
If you delete enough text, a page is removed.
Editing text
Select text
❖ Using the Type tool, do one of the following:
• Drag the I-bar cursor over a character, word, or an entire text block to select it.
• Double-click a word to select it. Spaces next to the word are not selected.
• Triple-click anywhere in a line to select a line. If the Triple Click To Select A Line preferences option is deselected,
triple-clicking selects the entire paragraph.
• If the Triple Click To Select A Line option is selected, quadruple-click anywhere in a paragraph to select the entire
paragraph.
• Quintuple-click to select the entire story, or click anywhere in a story and choose Edit &gt; Select All.
If you cannot select text in a frame, the text frame could be on a locked layer or on a master page. Try unlocking the
layer or going to the master page. The text frame may also be beneath another text frame or transparent object. See
“Select text in a frame that is covered” on page 135.
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More Help topics
“Keys for navigating through and selecting text” on page 677
Change what triple-clicking does
1 Choose Edit &gt; Preferences &gt; Type (Windows) or InDesign &gt; Preferences &gt; Type (Mac OS).
2 Select Triple Click To Select A Line to enable triple-clicking to select a line (this is the default). Deselect this option
if you want triple-clicking to select a paragraph.
Select text in a frame that is covered
1 Using the Selection tool
, hold down Ctrl (Windows) or Command (Mac OS) and click to select the text frame.
2 Select the Type tool, and then click inside the text frame or select text.
View hidden (nonprinting) characters
1 Choose Type &gt; Show Hidden Characters.
2 If hidden characters still do not appear, turn off preview mode. Choose View &gt; Screen Mode &gt; Normal and choose
View &gt; Overprint Preview to deselect it.
Nonprinting characters such as those for spaces, tabs, ends of paragraphs, index markers, and ends of stories appear.
These special characters are visible only in a document window and a story editor window; they don’t print or output
to formats such as PDF and XML. The hidden characters appear in the same color as the layer color.
Nonprinting characters hidden (top) and visible (bottom)
Anne Marie Concepcion provides a comprehensive list of special characters at Free Guide to InDesign Special
Characters.
List of hidden characters
Hidden character
What it represents
End of Paragraph
Soft return (line break)
Space
End of Story
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Hidden character
What it represents
Discretionary Hyphen
Nonbreaking Hyphen
Tab
Right Indent Tab
Indent to Here
End Nested Style Here
Non-Joiner
Em Space
En Space
Nonbreaking Space
Nonbreaking Space (Fixed Width)
Hair Space
Sixth Space
Thin Space
Quarter Space
Third Space
Punctuation Space
Figure Space
Flush Space
Column Break
Frame Break
Page Break
Odd Page Break
Even Page Break
Forced Line Break
InCopy Note
InCopy Note (in Story Editor)
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Hidden character
What it represents
Position marker (InCopy only)
Index marker
Index marker (in Story Editor)
Hidden conditional text
Hidden conditional text (in Story Editor)
Bookmark or hyperlink destination marker (often a text anchor)
Bookmark or hyperlink destination marker (in Story Editor)
Hyperlink destination (in Story Editor)
Cross-referenced paragraph
Cross-reference hyperlink (in Story Editor)
Anchored object
Anchored object (in Story Editor)
XML tag
XML tag (in Story Editor)
Footnote (in Story Editor)
Table (in Story Editor)
Variable (in Story Editor)
Index marker (in Story Editor)
Add column, frame, and page breaks
Control column, frame, and page breaks by inserting special break characters in the text.
1 Using the Type tool, click to place the insertion point where you want the break to occur.
2 Choose Type &gt; Insert Break Character, and then choose a break option from the submenu.
You can also create breaks by using the Enter key on the numeric keypad. For a column break, press Enter; for a frame
break, press Shift+Enter; and for a page break, press Ctrl+Enter (Windows) or Command+Return (Mac OS).
To remove a break character, choose Type &gt; Show Hidden Characters so that you can see nonprinting characters, and
then select and delete the break character.
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Note: If you create a break by changing paragraph settings (as in the Keep Options dialog box), the break precedes the
paragraph that contains the setting. If you create a break using a special character, the break occurs immediately after
the special character.
More Help topics
“Ways to control paragraph breaks” on page 246
Break options
The following options appear on the Type &gt; Insert Break Character menu:
Flows text to the next column in the current text frame. If the frame has only one column, the text
goes to the next threaded frame.
Column break
Frame break
Page break
Flows text to the next threaded text frame, regardless of the current text frame’s column setup.
Flows text to the next page with a text frame threaded to the current text frame.
Odd page break
Flows text to the next odd-numbered page with a text frame threaded to the current text frame.
Even page break
Flows text to the next even-numbered page with a text frame threaded to the current text frame.
Paragraph Return
Inserts a paragraph return (the same as pressing Enter or Return).
Forced Line Break Forces a line to break where the character is inserted, starting a new line without starting a new
paragraph (the same as pressing Shift+Enter or Shift+Return). A forced line break is also called a soft return.
Discretionary Line Break
Indicates where a line of text should break if the line needs to break. A discretionary line
break is similar to a discretionary hyphen, only no hyphen is added where the line breaks.
Related break options are available in the Keep Options dialog box and in the Paragraph Style Options dialog box.
Use the Story Editor
You can edit text in InDesign either on the layout page or in the story editor window. Writing and editing in a story
editor window allows the entire story to appear in the typeface, size, and spacing that you specify in Preferences,
without layout or formatting distractions. The Story Editor is also where you can view track changes to text.
Each story appears in a different story editor window. All the text in the story appears in the story editor, including
overset text. You can open several story editor windows simultaneously, including multiple instances of the same story.
A vertical depth ruler indicates how much text is filling the frame, and a line indicates where text is overset.
When you edit a story, changes are reflected in the layout window. Open stories are listed in the Window menu. You
cannot create a new story in a story editor window.
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A
B
C
D
Story Editor window
A. Paragraph styles B. Drag divider to adjust column width C. Vertical depth ruler D. Overset text indicator
You can view and edit tables in Story Editor, where text is displayed in sequential columns and rows for easy editing.
Quickly expand or collapse tables, and decide whether to view them by row or column.
The Story Editor also displays text that has been added, removed, or edited if you turn on Track Changes. See
“Tracking and reviewing changes” on page 177.
More Help topics
“Working with tables in Story Editor” on page 281
“Tracking and reviewing changes” on page 177
Open the Story Editor
1 Select the text frame, click an insertion point in the text frame, or select multiple frames from different stories.
2 Choose Edit &gt; Edit In Story Editor.
To open another instance of the same story editor window, make the story editor active, and choose Window &gt;
Arrange &gt; New Window.
Return to the layout window
❖ In Story Editor, do one of the following:
• Choose Edit &gt; Edit In Layout. When you use this method, the layout view displays the same text selection or
insertion-point location as last appeared in the story editor, and the story window remains open but moves behind
the layout window.
• Click in the layout window. The story window remains open but moves behind the layout window.
• Close the story editor window.
• Choose the document name from the bottom of the Window menu.
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Show or hide Story Editor items
You can show or hide the style name column and the depth ruler, expand or collapse footnotes, and show or hide
paragraph break marks to indicate the start of new paragraphs. These settings affect all open story editor windows, as
well as all subsequently opened windows.
• With the story editor active, choose View &gt; Story Editor &gt; Show Style Name Column or Hide Style Name Column.
You can also adjust the width of the style name column by dragging the vertical bar. Subsequent story editor
windows have the same column width.
• With the Story Editor active, choose View &gt; Story Editor &gt; Show Depth Ruler or Hide Depth Ruler.
• With the Story Editor active, choose View &gt; Story Editor &gt; Expand All Footnotes or Collapse All Footnotes.
• With the Story Editor active, choose View &gt; Story Editor &gt; Show Paragraph Break Marks or Hide Paragraph Break
Marks.
Story Editor preferences
Use Story Editor Display preferences to change the appearance of the Story Editor. Although the Story Editor
suppresses all but the most basic text styling attributes, some objects and attributes are represented, including the
following:
Attribute
Icon
Table
Inline objects
XML tags
Variables
Hyperlink sources
Hyperlink anchors
Cross-reference
Hidden conditional text
Note
Footnotes
Index markers
Deleted text
Added text
Moved text
Text Display Options Choose a display font, size, line spacing, text color, and background. You can also specify a
different theme, such as selecting Classic System to view yellow text on a black background. These settings affect the
display of text in the story editor window, not how they appear in layout view.
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Enable Anti-Aliasing Smooth the jagged edges of type, and choose the Type of anti-aliasing: LCD Optimized, Soft, or
the Default setting, which uses shades of gray to smooth text. LCD Optimized uses colors, rather than shades of gray,
to smooth text, and works best on light-colored backgrounds with black text. Soft uses shades of gray, but produces a
lighter, fuzzier appearance than Default.
Cursor Options Change the appearance of the text cursor. For example, select Blink if you want the cursor to blink.
Text from inline frames does not appear in the parent story editor window, but it can appear in its own story editor
window.
Use conditional text
Conditional text is a way to create different versions of the same document. After you create conditions, you apply
them to ranges of text. You can then create different versions of documents by showing and hiding conditions. For
example, if you’re creating a computer manual, you can create separate conditions for Mac OS and Windows. Before
you print the Mac OS version of the user guide, you can show all text to which the “Mac” condition is applied and hide
all text to which the “Windows” condition is applied. You can then reverse the condition states for printing the user
guide for Windows.
A
B
Conditional text shown
A. All conditions shown B. Conditional indicators
A
B
Conditional text hidden
A. “Mac” condition hidden B. Hidden condition symbols
Conditions can be applied only to text. You can make anchored objects conditional, but only by selecting the anchored
object marker. You can apply conditions to text within table cells, but you cannot apply conditions to table cells,
columns, or rows. You cannot apply conditions to text in locked InCopy stories.
For a video tutorial on using conditional text, see www.adobe.com/go/lrvid4026_id.
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More Help topics
“Use Smart Text Reflow” on page 133
Planning conditional documents
When planning a project with conditional text, examine the nature of the material and look at how several people can
take turns working with it if the document is handed off. Plan to treat conditional text consistently to make the
document easier to use and maintain. Use the following guidelines.
Number of versions Define how many versions your finished project will contain. For example, if you’re creating a
manual that describes a program that runs on both Windows and Mac OS platforms, you might want to produce at
least two versions: a Windows version and a Mac OS version. If you want to produce these versions with editorial
comments sprinkled in the text during the review process, you’ll want even more versions: Mac OS with comments,
Mac OS without comments, Windows with comments, and Windows without comments.
For documents with many conditions, you can define condition sets that can be applied to the document for quick
versioning.
Number of condition tags required Decide how many condition tags you need to produce the desired versions. A
version of a document is defined by a unique set of condition tags. For example, a version of a finished Windows
manual might be defined by having a Windows condition tag showing, a Mac OS condition tag hidden, and a
Comments condition tag hidden. In this example, you would need to decide whether to use one condition tag for
Windows comments and another for Mac OS comments, or whether to use a single condition tag for both Windows
and Mac OS comments.
Organization of content Evaluate the extent to which the document can be conditional and how you can organize the
material to simplify development and maintenance. For example, you might be able to organize a book so that
conditional text is limited to a few documents. Or you might choose to keep versions of a particular chapter in separate
files rather than in conditional text, and then use a different book file for each version of the book.
In some instances, such as when working with multiple languages, you may want to create separate layers that you can
show or hide rather than using conditions, with each layer including text from a different language.
Tagging strategy Determine the smallest unit of conditional text. For example, if a document will be translated to
another language, a whole sentence should be the smallest amount of text you make conditional. Because word order
often changes during translation, using conditional text for part of a sentence could complicate translation.
Inconsistency in applying conditions to spaces and punctuation can result in extra spacing or misspelled words.
Decide whether to make spaces and punctuation conditional. If conditional text begins or ends with punctuation,
make the punctuation conditional too. This makes the text easier to read when you're viewing more than one version.
To avoid word spacing problems, such as having an unconditional space followed by a conditional space, set standards
for handling spaces following conditional text (either always conditional or always unconditional).
To avoid confusion, decide the order in which conditional text will appear and use this order throughout the
document.
Indexes and cross-references When indexing a document, pay attention to whether index markers are placed inside
or outside conditional text. Keep in mind that index markers in hidden conditional text are not included in the
generated index.
If you create a cross-reference to conditional text, make sure that the source text has the same condition. For example,
if you add a cross-reference in a “Windows” paragraph and the text anchor appears in a “Mac” condition, the crossreference is unresolved when the “Mac” condition is hidden. “HT” appears next to the cross-reference in the
Hyperlinks panel.
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If you create a cross-reference to a paragraph in which some text is conditional and then change the visibility settings
of that condition, update the cross-reference.
Create conditions
Conditions you create are saved in the current document. If no documents are open when you create a condition, that
condition appears in all new documents you create.
You can make conditional text easy to identify by specifying condition indicators, such as wavy red underlines.
1 Choose Window &gt; Type &amp; Tables &gt; Conditional Text to display the Conditional Text panel.
2 Choose New Condition from the Conditional Text panel menu, and type a name for the condition.
3 In the Indicator group, specify the appearance of the indicator to which the condition is applied.
By default, indicators (such as wavy red lines) are set to appear in the document but not be printed or output. You can
choose an option from the Indicators menu in the Conditional Text panel to hide indicators or to print and output
them, which can be useful for review purposes.
4 Click OK.
Apply conditions to text
You can apply multiple conditions to the same text. By default, condition indicators identify conditional text.
However, if indicators are hidden, you can use the Conditional Text panel to determine which conditions have been
applied to the current text. A solid check mark indicates the condition is applied to the current text. A dim check mark
indicates that the condition is applied only to part of the selection.
1 Select the text to which you want to apply the condition.
2 In the Conditional Text panel (Windows &gt; Type &amp; Tables &gt; Conditional Text), do any of the following:
• To apply a condition, click the condition, or click the box next to the condition name.
• To apply a condition and remove other conditions applied to the text, Alt-click (Windows) or Option-click
(Mac OS) a condition.
• To remove a condition, click the box next to the condition name to remove the check mark. Or, click
[Unconditional] to remove all conditions from the selected text.
Note: You cannot apply keyboard shortcuts to specific conditions. However, you can apply conditions using Quick Apply.
Show or hide conditions
When you hide a condition, all text to which that condition is applied is hidden. Hiding conditions often causes the
page numbering to change in a document or book. You can use the Smart Text Reflow feature to add and remove pages
automatically as you hide and show conditions.
Hidden conditional text is generally ignored in the document. For example, hidden text is not printed or exported,
index markers in hidden conditional text are not included in a generated index, and hidden conditional text is not
included when searching or spell-checking text.
When you hide a condition, the hidden text is stored in a hidden condition symbol
. If you select text that contains
a hidden condition symbol and try to delete it, InDesign prompts you to confirm that you want to delete the hidden
conditional text. You cannot apply other conditions, styles, or formatting to hidden conditional text.
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If text has several conditions applied to it and at least one of those conditions is shown while another is hidden, the
text is not hidden.
• To show or hide individual conditions, click the visibility box next to a condition name. The eye icon indicates the
condition is shown.
• To show or hide all conditions, choose Show All or Hide All from the Conditional Text panel menu.
Use condition sets
A condition set captures the visibility settings for all conditions so that you can quickly apply different document
renditions. For example, suppose you have a complex document with platform conditions for Mac OS, Windows XP,
Vista, UNIX , language conditions for English, French, German, and Spanish, and editorial conditions such as
Editorial Review and Internal Comments. For reviewing the Vista version in French, you can create a set that shows
only the Vista, French, and Editorial Review conditions, and hides all the rest.
While sets aren’t necessary to do this, they help you quickly and reliably change different condition visibility settings.
1 Apply conditions to text as necessary.
2 If the Set menu doesn’t appear in the Conditional Text panel, choose Show Options from the Conditional Text
panel menu.
3 In the Conditional Text panel, make the conditions visible or hidden as needed.
4 Choose Create New Set from the Set menu, specify a name for the set, and click OK.
The new set becomes the active set.
5 Do any of the following:
• To apply the condition set to a document, choose the condition set name from the Set menu.
• To override a condition set, select the set to make it active, and change the visibility setting of any condition. A plus
sign (+) appears next to the condition set. Choose the condition set again to remove overrides. Choose Redefine
“[Condition Set]” to update the condition set with the new visibility settings.
• To delete a condition set, select the condition set, and then choose Delete “[Condition Set].” Deleting a condition
set does not delete the set’s conditions, nor does it remove the conditions from wherever they are applied.
Manage conditions
❖ Do any of the following:
Delete a condition Select a condition and click the Delete Condition icon at the bottom of the Conditional Text panel.
Specify a condition to replace the deleted condition and click OK. The condition you specify is applied to all text to
which the deleted condition was applied.
To delete multiple conditions, Shift-click to select contiguous conditions, or Ctrl-click (Windows) or Command-click
(Mac OS) to select non-contiguous conditions, and then click the Delete Condition icon.
Remove a condition from text Removing a condition tag from text is different from deleting a tag from a document.
When you remove a tag from text, the tag remains in the document so it can be applied again later.
To remove a condition from text, select the text and click the box next to the condition to remove the check mark, or
click [Unconditional] to remove all conditions from the selected text.
Load (import) conditions Choose Load Conditions (to load only conditions) or Load Conditions And Sets from the
Conditional Text panel menu. Select the InDesign document from which you want to import the conditions, and click
Open. Loaded conditions and sets replace any condition or set that has an identical name.
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You cannot load conditions from an InCopy file in InDesign, but you can load conditions from an InDesign file in
both InDesign and InCopy.
Loaded sets ignore the visibility settings of the conditions currently in the Conditional Text panel.
Synchronize conditions in a book To make sure you’re using the same conditions in all documents in a book, create
the conditions you want in the style source document, select Conditional Text Settings in the Synchronize Options
dialog box, and then synchronize the book.
Show or hide condition indicators Choose Show or Hide from the Indicators menu in the Conditional Text panel to
show or hide condition indicators. If you’re showing one version and want to see which areas are conditional, show
the condition indicators. If you find the condition indicators distracting while viewing the layout, hide the condition
indicators. Choose Show And Print if you want the condition indicators to be printed and output.
Change a condition name In the Conditional Text panel, click a condition, pause, and then click the condition name
to select it. Type a different name.
Edit condition indicators In the Conditional Text panel, double-click a condition, or select a condition and choose
Condition Options from the panel menu. Specify indicator settings, and click OK.
Find and change conditional text
Use the Find/Change dialog box to find text to which one or more conditions have been applied and replace it with
one or more other conditions.
1 Show any conditional text you want included in the search.
Hidden text is excluded from the search.
2 Choose Edit &gt; Find/Change.
3 If the Find Format and Change Format boxes don’t appear at the bottom of the dialog box, click More Options.
4 Click the Find Format box to display the Find Format Settings dialog box. Under Conditions, select [Any
Condition] to search for text in which any conditon is applied, [Unconditional] to search for text in which no
condition is applied, or select the specific condition or conditions you want to search for. Click OK.
This feature finds text that perfectly matches the selected conditions. For example, if you select both Condition 1 and
Condition 2, text to which only one of the conditions are applied isn’t found, nor is text found to which these two
conditions and another is applied.
5 Click the Change Format box to display the Change Format Settings dialog box. Specify the different formatting
option, such as a condition or a character style, and then click OK.
If you select the Conditions section in the Change Format Settings dialog box, the [Any Condition] makes no changes
to the found conditional text. This option is useful if you want to apply different formatting, such as a character style.
Select [Unconditional] to remove all conditions from the found text. If you select a specific condition, specify whether
you want it to replace any condition applied to the found text or be added to it.
6 Click Find, and then use the Change, Change/Find, or Change All buttons to replace the condition.
Find/Change
Find/Change overview
The Find/Change dialog box contains tabs that let you specify what you want to find and change.
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A
B
C
D
E
Find/Change dialog box
A Find/Change tabs B. Find a tab character C. Replace with an em dash D. Search options E. Metacharacters menu
Text Search for and change specific occurrences of characters, words, groups of words, or text formatted a certain way.
You can also search for and replace special characters such as symbols, markers, and white space characters. Wildcard
options help to broaden your search.
GREP Use advanced, pattern-based search techniques to search for and replace text and formatting.
Glyph Search for and replace glyphs using Unicode or GID/CID values, especially useful to search for and replace
glyphs in Asian languages.
Object Search for and replace formatting effects and attributes in objects and frames. For example, you can find
objects with a 4-pt stroke and replace the stroke with a drop shadow.
For a video tutorial on finding and changing text, objects, and expressions, see www.adobe.com/go/vid0080.
More Help topics
Find/Change video
Find and change text
If you want to list, find, and replace fonts in your document, you might want to use the Find Font command instead
of the Find/Change command.
More Help topics
“Find and change fonts” on page 158
Find and change text
1 To search a range of text or a story, select the text or place the insertion point in the story. To search more than one
document, open the documents.
2 Choose Edit &gt; Find/Change, and then click the Text tab.
3 Specify the range of your search from the Search menu, and click icons to include locked layers, master pages,
footnotes, and other items in the search.
4 In the Find What box, describe what you want to search for:
• Type or paste the text you want to find.
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• To search for or replace tabs, spaces, or other special characters, select a representative character (metacharacter)
from the pop-up menu to the right of the Find What box. You can also choose wildcard options such as Any Digit
or Any Character.
Use metacharacters to search for special characters, such as a tab.
• Use a predefined query to find and replace text. (See “Find/change items using queries” on page 159.)
5 In the Change To box, type or paste the replacement text. You can also select a representative character from the
pop-up menu to the right of the Change To box.
6 Click Find.
7 To continue searching, click Find Next, Change (to change the current occurrence), Change All (a message indicates
the total number of changes), or Change/Find (to change the current occurrence and search for the next one).
8 Click Done.
If you don’t get the search results you expected, make sure that you clear any formatting you may have included in a
previous search. You may also need to expand your search. For example, you may be searching only a selection or a
story instead of the document. Or, you may be searching for text that appears on an item, such as a locked layer,
footnote, or hidden conditional text, that is currently excluded from the search.
If you change your mind about replacing text, choose Edit &gt; Undo Replace Text (or Undo Replace All Text).
To find the next occurrence of a previously searched-for phrase without having to open the Find/Change dialog box,
choose Edit &gt; Find Next. In addition, previous search strings are stored in the Find/Change dialog box. You can select
a search string from the menu to the right of the option.
Find and change formatted text
1 Choose Edit &gt; Find/Change.
2 If the Find Format and Change Format options don’t appear, click More Options.
3 Click the Find Format box, or click the Specify Attributes To Find icon
section.
to the right of the Find Format Settings
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4 On the left side of the Find Format Settings dialog box, select a type of formatting, specify the format attributes, and
then click OK.
Some OpenType formatting options appear in both the OpenType Options and Basic Character Formats (Position
menu) sections. For information on OpenType and other formatting attributes, search for the related topic in
InDesign Help.
Note: To search for (or replace with) formatting only, leave the Find What or Change To box blank.
5 If you want to apply formatting to the text found, click the Change Format box, or click the Specify Attributes To
Change icon
in the Change Format Settings section. Then select a type of formatting, specify the format
attributes, and click OK.
6 Use the Find and Change buttons to format the text.
If you specify formatting for your search criteria, info icons appear above the Find What or Change To boxes. These
icons indicate that formatting attributes have been set and that the find or change operation will be restricted
accordingly.
To quickly remove all formatting attributes in the Find Format Settings or Change Format Settings sections, click the
Clear button.
Common Find/Change techniques
Wildcard searches Specify wildcards, such as Any Digit or Any White Space, to broaden your search. For example,
typing “s^?ng” in the Find What box searches for words beginning with an “s” and ending with “ng,” such as “sing,”
“sang,” “song,” and “sung.” You can either type wildcard characters or choose an option from the Wildcards submenu
in the pop-up menu next to the Find What text field.
Clipboard for metacharacter searches To search for metacharacters such as em dashes or bullet characters, you may
want to select the text first and paste it into the Find What box to spare the trouble of entering metacharacters.
InDesign automatically converts pasted special characters to their metacharacter equivalent.
Replace with clipboard contents You can replace search items with either formatted or unformatted content copied to
the clipboard. You can even replace text with a graphic you copied. Simply copy the item, and then, in the Find/Change
dialog box, choose an option from the Other submenu from the pop-up menu to the right of the Change To box.
Find and remove unwanted text To remove unwanted text, define the text you want to remove in the Find What box
and leave the Change To box empty (make sure that no formatting is set in this box).
XML tagging You can apply XML tags to text you search for.
Search options for finding and changing text
Search menu Contains options that determine the range of the search.
• Documents Search the entire document or All Documents to search all open documents.
• Story Search all text in the currently selected frame, including text in other threaded text frames and overset text.
Select Stories to search stories in all selected frames. This option appears only if a text frame is selected or an insertion
point is placed.
• To End Of Story Search from the insertion point. This option appears only if an insertion point is placed.
• Selection Search only selected text. This option appears only if text is selected.
Searches for text on layers that have been locked using the Layer Options dialog box. You
cannot replace text on locked layers.
Include Locked Layers
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Searches for text in stories that have been checked out as part of an InCopy workflow. You
cannot replace text in locked stories.
Include Locked Stories
Searches for text on layers that have been hidden using the Layer Options dialog box. When
text on a hidden layer is found, you can see highlighting where the text appears, but you cannot see the text. You can
replace text on hidden layers.
Include Hidden Layers
Text in a hidden condition is always omitted from searching.
Include Master Pages
Include Footnotes
Searches for text on master pages.
Searches footnote text.
Searches for only the word or words that exactly match the capitalization of the text in the Find
What box. For example, a search for PrePress won’t find Prepress, prepress, or PREPRESS.
Case Sensitive
Disregards search characters if they are part of another word. For example, if you search for any as a
whole word, InDesign disregards many.
Whole Word
Search using GREP expressions
On the GREP tab of the Find/Change dialog box, you can construct GREP expressions to find alphanumeric strings
and patterns in long documents or many open documents. You can enter the GREP metacharacters manually or
choose them from the Special Characters For Search list. GREP searches are case-sensitive by default.
InDesign Secrets provides a list of GREP resources at InDesign GREP.
1 Choose Edit &gt; Find/Change, and click the GREP tab.
2 At the bottom of the dialog box, specify the range of your search from the Search menu, and click icons to include
locked layers, master pages, footnotes, and other items in the search.
3 In the Find What box, do any of the following to construct a GREP expression:
• Enter the search expression manually. (See “Metacharacters for searching” on page 153.)
• Click the Special Characters For Search icon to the right of the Find What option and choose options from the
Locations, Repeat, Match, Modifiers, and Posix submenus to help construct the search expression.
4 In the Change To box, type or paste the replacement text.
5 Click Find.
6 To continue searching, click Find Next, Change (to change the current occurrence), Change All (a message indicates
the total number of changes), or Change/Find (to change the current occurrence and search for the next one.
You can also use GREP Styles to apply a character style to text that conforms to a GREP expression. In fact, the GREP
Styles dialog box is a good way to test your GREP expression. Add the examples you want to find to a paragraph, and
then specify a character style and GREP expression in the GREP Styles dialog box. When you turn on Preview, you can
edit the expression until it affects all your examples properly.
More Help topics
“Create GREP styles” on page 195
“Metacharacters for searching” on page 153
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Tips for constructing GREP searches
Here are some tips for constructing GREP expressions.
• Many searches under the GREP tab are similar to those under the Text tab, but be aware that you need to insert
different codes depending on which tab you’re using. In general, the Text tab metacharacters begin with a ^ (such
as ^t for a tab) and GREP tab metacharacters begin with a \ (such as \t for a tab). However, not all metacharacters
follow this rule. For example, a paragraph return is ^p in the Text tab and \r in the GREP tab. For a list of the
metacharacters used for the Text and GREP tabs, see “Metacharacters for searching” on page 153.
• To search for a character that has symbolic meaning in GREP, enter a backslash (\) before the character to indicate
that the character that follows is literal. For example, a period ( . ) searches for any character in a GREP search; to
search for an actual period, enter “\.”
• Save the GREP search as a query if you intend to run it often or share it with someone else. (See “Find/change items
using queries” on page 159.)
• Use parentheses to divide your search into subexpressions. For example, if you want to search for “cat” or “cot,”
you can use the c(a|o)t string. Parentheses are especially useful to identify groupings. For example, searching for
“the (cat) and the (dog)” identifies “cat” as Found Text 1 and “dog” as Found Text 2. You can use the Found Text
expressions (such as $1 for Found Text 1) to change only part of the found text.
GREP search examples
Follow these examples to learn how to take advantage of GREP expressions.
Example 1: Finding text within quotation marks
Suppose you want to search for any word enclosed in quotation marks (such as “Spain”), and you want to remove the
quotation marks and apply a style to the word (so that it becomes Spain instead of “Spain”). The expression
(&quot;)(\w+)(&quot;) includes three groupings, as indicated by parentheses ( ). The first and third groupings search for any
quotation mark, and the second grouping searches for one or more word characters.
You can use the Found Text expressions to refer to these groupings. For example, $0 refers to all found text, and $2
refers to only the second grouping. By inserting $2 in the Change To field and specifying a character style in the Change
Format field, you can search for a word within quotation marks, and then replace the word with a character style.
Because only $2 is specified, the $1 and $3 groupings are removed. (Specifying $0 or $1$2$3 in the Change To field
would apply the character style to the quotation marks as well.)
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A
B
C
GREP example
A. Finds all word characters enclosed in quotation marks B. The character style is applied to the second grouping (the word) while the first and
third groupings (open and close quotes) are removed C. Character style specified
This example searches only for single words enclosed in quotation marks. If you want to search for phrases enclosed
in parentheses, add wildcard expressions, such as (\s*.*\w*\d*), which looks for spaces, characters, word characters,
and digits.
Example 2: Phone numbers
InDesign includes a number of search presets that you can choose from the Queries menu. For example, you can
choose the Phone Number Conversion query, which looks like this:
$?(\d\d\d)$?[-. ]?(\d\d\d)[-. ]?(\d\d\d\d)
Phone numbers in the United States can appear in a variety of formats, such as 206-555-3982, (206) 555-3982,
206.555.3982, and 206 555 3982. This string looks for any of these variations. The first three digits (\d\d\d) of the phone
number may or may not be enclosed in parentheses, so a question mark appears after the parentheses: $? and $?. Note
that the backslash \ indicates that the actual parenthesis is being searched for and that it’s not part of a subexpression.
The brackets [ ] locate any character within them, so in this case, [-. ] finds either a hyphen, a period, or a space. The
question mark after the brackets indicate that the items within it are optional in the search. Finally, the digits are
enclosed in parentheses, which signify groupings that can be referred to in the Change To field.
You can edit the grouping references in the Change To field to suit your needs. For example, you could use these
expressions:
206.555.3982 = $1.$2.$3
206-555-3982 = $1-$2-$3
(206) 555-3982 = ($1) $2-$3
206 555 3982 = $1 $2 $3
Additional GREP examples
Experiment with the examples in this table to learn more about GREP searches.
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Expression
Search string
Sample text
Matches (in bold)
Class of characters
[abc]
Maria cuenta bien.
Mariacuentabien.
[]
Finds the letter a, b, or c.
“We saw—or at least we think
we saw—a purple cow.”
“We saw—or at least we think we
saw—a purple cow.”
—Konrad Yoes
—Konrad Yoes
Beginning of paragraph ^~_.+
^
This searches the beginning of the
paragraph (^) for an em dash (~_) followed
by any character ( . ) one or more times (+).
Negative lookahead
InDesign (?!CS.*?)
(?!pattern)
The negative lookahead matches the search
string only if it is not followed by the
specified pattern.
Positive lookahead
InDesign (?=CS.*?)
(?=pattern)
The positive lookahead matches the search
string only if it is followed by the specified
pattern.
InDesign, InDesign 2.0,
InDesign, InDesign 2.0, InDesign
InDesign CS, and InDesign CS2 CS, and InDesign CS2
InDesign, InDesign 2.0,
InDesign, InDesign 2.0, InDesign CS,
InDesign CS, and InDesign CS2 and InDesign CS2
Use similar patterns for negative
lookbehinds (?&lt;!pattern) and positive
lookbehinds (?&lt;=pattern).
Groupings
(quick) (brown) (fox)
()
The quick brown fox jumps up The quick brown fox jumps up and
and down.
down.
All found text = quick brown fox;
Found Text 1= quick; Found Text 2 =
brown; Found Text 3= fox
Non-marking
parentheses
(quick) ($:brown) (fox)
The quick brown fox jumps up The quick brown fox jumps up and
and down.
down.
(?:expression)
All found text = quick brown fox;
Found Text 1= quick; Found Text 2 =
fox
Case-insensitive on
(?i)apple
(?i)
You can also use (?i:apple)
Apple apple APPLE
AppleappleAPPLE
Case-insensitive off
(?-i)apple
Apple apple APPLE
Apple apple APPLE
Multiline on
(?m)^\w+
(?m)
In this example, the expression looks for one
or more (+) word characters (\w) at the
beginning of a line (^). The (?m) expression
allows all lines within the found text to be
treated as separate lines.
One Two Three Four Five Six
Seven Eight
One Two ThreeFour Five SixSeven
Eight
One Two Three Four Five Six
Seven Eight
One Two Three Four Five Six Seven
Eight
(?-i)
(?m)^\w matches the beginning of each
paragraph. (?-m)^\w matches only the
beginning of the story.
Multiline off
(?-m)
(?-m)^\w+
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Expression
Search string
Sample text
Matches (in bold)
Single-line on
(?s)c.a
abc abc abc abc
abc abcabc abc
(?s)
The searches for any character ( . ) between
the letters c and a. The (?s) expression
matches any character, even if it falls on the
next line.
(.) matches anything other than a paragraph
return. (?s)(.) matches anything, including
paragraph returns.
Single-line off
(?-s)c.a
abc abc abc abc
abc abc abc abc
Repeat number of
times
b{3} matches exactly 3 times
abbc abbbc abbbbc abbbbbc
abbc abbbc abbbbc abbbbbc
{}
b(3,} matches at least 3 times
abbc abbbc abbbbc abbbbbc
b{3,}? matches at least 3 times (shortest
match)
abbc abbbc abbbbc abbbbbc
b{2,3} matches at least 2 times and not more
than 3
abbc abbbc abbbbc abbbbbc
abbc abbbc abbbbc abbbbbc
b{2,3}? matches at least 2 times and not
more than 3 (shortest match)
Metacharacters for searching
Metacharacters represent a character or symbol in InDesign. Metacharacters in the Text section of the Find/Change
dialog box begin with a caret (^); metacharacters in the GREP section begin with a tilde (~) or backslash (\). You can
type metacharacters in the Text tab or GREP tab of the Find/Change dialog box.
Save time fixing punctuation errors by saving search strings as queries.
Character:
Text tab metacharacter:
GREP tab metacharacter:
Tab Character
^t
\t
End of Paragraph
^p
\r
Forced Line Break
^n
\n
Any Page Number
^#
~#
Current Page Number
^N
~N
Next Page Number
^X
~X
Previous Page Number
^V
~V
* Any Variable
^v
~v
Section Marker
^x
~x
* Anchored Object Marker
â
~a
* Footnote Reference Marker
^F
~F
* Index Marker
Î
~I
Bullet Character
^8
~8
Caret Character
^^
\^
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Character:
Text tab metacharacter:
GREP tab metacharacter:
Backslash Character
\
\\
Copyright Symbol
^2
~2
Ellipsis
ê
~e
Tilde
~
\~
Paragraph Symbol
^7
~7
Registered Trademark Symbol
^r
~r
Section Symbol
^6
~6
Trademark Symbol
^d
~d
Open Parenthesis Character
(
$
Close Parenthesis Character
)
$
Open Brace Character
{
\{
Close Brace Character
}
\}
Open Bracket Character
[
\[
Close Bracket Character
]
\]
Em Dash
^_
~_
En Dash
^=
~=
Discretionary Hyphen
^-
~-
Nonbreaking Hyphen
^~
~~
Em Space
^m
~m
En Space
^&gt;
~&gt;
Third Space
^3
~3
Quarter Space
^4
~4
Sixth Space
^%
~%
Flush Space
^f
~f
Hair Space
^|
~|
Nonbreaking Space
^s
~s
Nonbreaking Space (fixed width)
^S
~S
Thin Space
^&lt;
~&lt;
Figure Space
^/
~/
Punctuation Space
^.
~.
^ Clipboard Contents, Formatted
^c
~c
^ Clipboard Contents, Unformatted
^C
~C
Any Double Quotation Mark
&quot;
&quot;
Any Single Quotation Mark
'
'
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Character:
Text tab metacharacter:
GREP tab metacharacter:
Straight Double Quotation Mark
^&quot;
~&quot;
Double Left Quotation Mark
^{
~{
Double Right Quotation Mark
^}
~}
Straight Single Quotation Mark
^'
~'
Single Left Quotation Mark
^[
~[
Single Right Quotation Mark
^]
~]
Standard carriage return
^b
~b
Column Break
^M
~M
Frame Break
^R
~R
Page Break
^P
~P
Odd Page Break
^L
~L
Even Page Break
Ê
~E
Discretionary Line Break
^k
~k
Right Indent Tab
^y
~y
Indent to Here
î
~i
End Nested Style Here
^h
~h
Nonjoiner
^j
~j
* Running header (paragraph style) variable
^Y
~Y
* Running header (character style) variable
^Z
~Z
* Custom text variable
û
~u
* Last page number variable
^T
~T
* Chapter number variable
^H
~H
* Creation date variable
^S
~S
* Modification date variable
ô
~o
* Output date variable
^D
~D
* File name variable
^l (lowercase L)
~l (lowercase L)
* Any Digit
^9
\d
* Any character that is not a digit
\D
* Any Letter
^$
[\l\u]
* Any Character
^?
. (inserts period in Change To)
* White Space (any space or tab)
^w
\s (Inserts space in Change To)
* Any character that is not a white space
\S
* Any word character
\w
* Any character that is not a word character
\W
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Text
Character:
Text tab metacharacter:
GREP tab metacharacter:
* Any uppercase letter
\u
* Any character that is not an uppercase letter
\U
* Any lowercase letter
\l
* Any character that is not a lowercase letter
\L
^ All Found Text
$0
Found Text 1-9
$1 (specifies the number of the
grouping found, such as $3 for the
third grouping; groupings are
enclosed in parentheses)
* Kanji
^K
~K
* Beginning of Word
\&lt;
* End of Word
\&gt;
* Word Boundary
\b
* Opposite of Word Boundary
\B
* Beginning of Paragraph
^
* End of Paragraph [location]
$
* Zero or One Time
?
* Zero or More Times
*
* One or More Times
+
* Zero or One Time (Shortest Match)
??
* Zero or More Times (Shortest Match)
*?
* One or More Times (Shortest Match)
+?
* Marking Subexpression
()
* Non-marking Subexpression
(?: )
* Character Set
[]
* Or
|
* Positive Lookbehind
(?&lt;= )
* Negative Lookbehind
(?&lt;! )
* Positive Lookahead
(?= )
* Negative Lookahead
(?! )
* Case-insensitive On
(?!)
* Case-insensitive Off
(?-!)
* Multiline On
(?m)
* Multiline Off
(?-m)
* Single-line On
(?s)
* Single-line Off
(?-s)
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Character:
Text tab metacharacter:
GREP tab metacharacter:
* Any alphanumeric character
[[:alnum:]]
* Any alphabetic character
[[:alpha:]]
* Any blank character, either space or tab
[[:blank:]]
* Any control character
[[:control:]]
* Any graphical character
[[:graph:]]
* Any printable character
[[:print:]]
* Any punctuation character
[[:punct:]]
* Any character whose code is greater than 255 (applies only to
the wide character traits classes)
[[:unicode:]]
* Any hexadecimal digit character 0-9, a-f, and A-F
[[:xdigit:]]
* Any character of a certain glyph set, such as a, &agrave;, &aacute;, &acirc;, &atilde;, &auml;, &aring;, A,
&Agrave;, &Aacute;, &Acirc;, &Atilde;, &Auml; and &Aring;
[[=a=]]
* Can be entered in the Find What box only, not the Change To box.
^ Can be entered in the Change To box, not the Find What box.
More Help topics
“Search using GREP expressions” on page 149
“Find and change text” on page 146
Find and change objects
You can use the Find/Change command to find and replace the attributes and effects applied to objects, graphics
frames, and text frames. For example, to give drop shadows a uniform color, transparency, and offset distance, you can
use the Find/Change command to search for and replace drop shadows throughout a document.
1 Choose Edit &gt; Find/Change.
2 Click the Object tab.
3 Click the Find Object Format box, or click the Specify Attributes To Find icon
.
4 On the left side of the Find Object Format Options dialog box, select a type of formatting, specify the format
attributes, and then click OK.
Make sure that the categories you want to search for are in the appropriate state. You can use one of three states for
each Effects category: turned on, turned off, or ignored. For example, setting Drop Shadow to On includes drop
shadow formatting in the search; setting Drop Shadow to Off searches for objects in which drop shadow formatting is
turned off; setting Drop Shadow to Ignore leaves drop shadows out of the search.
5 If you want to apply formatting to the object found, click the Change Object Format box, or click the Specify
Attributes To Change icon
in the Change Format Settings section. Then select a type of formatting, specify the
format attributes, and click OK.
6 Click the Find and Change buttons to format the objects.
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Find and change glyphs
The Glyph section of the Find/Change dialog box is especially useful for replacing glyphs that share the same unicode
value with other similar glyphs, such as alternate glyphs.
InDesign Secrets provides a clear example about finding and changing glyphs at Finding and Changing Glyphs.
1 Choose Edit &gt; Find/Change.
2 At the bottom of the dialog box, specify a range from the Search menu, and click icons to determine whether items
such as locked layers, master pages, and footnotes are included in the search.
3 Under Find Glyph, select the Font Family and Font Style in which the glyph is located.
The Font Family menu displays only those fonts that are applied to text in the current document. Fonts in unused
styles do not appear.
4 Do one of the following to enter the glyph you want to find in the Glyph box:
• Click the button beside the Glyph box, and then double-click a glyph on the panel. This panel works like the Glyphs
panel.
• Choose Unicode or GID/CID, and enter the code for the glyph.
You can use other methods to enter the glyph you want to find in the Glyph box. Select a glyph in the document
window and choose Load Selected Glyph In Find from the context menu, or select a glyph in the Glyphs panel and
choose Load Glyph In Find from the context menu.
5 Under Change Glyph, enter the replacement glyph by using the same techniques you use to enter the glyph you’re
searching for.
6 Click Find.
7 To continue searching, click Find Next, Change (to change the most recently found glyph), Change All (a message
indicates the total number of changes), or Change/Find (to change the current occurrence and search for the next one).
8 Click Done.
Find and change fonts
Use the Find Font command to search for and list the fonts used throughout your document. You can then replace any
fonts (except those in imported graphics) with any other fonts available on your system. You can even replace a font
that’s part of a text style. Note the following:
• A font name is listed once for its use in the layout and listed each time in imported graphics. For example, if you
use the same font three times in the layout and three times in imported graphics, it will be listed in the Find Font
dialog box four times—once for all layout instances, and three more times for each imported graphic. If fonts are
not completely embedded in graphics, the font name may not be listed in the Find Font dialog box.
• Find Font is not available in a Story Editor window.
• The Find Font dialog box displays icons to indicate the kinds of fonts or font conditions, such as Type 1 fonts
imported images , TrueType fonts , OpenType fonts , and missing fonts
.
• Use the Type &gt; Find Font command to help ensure consistent output by analyzing font usage on pages and in
imported graphics. To find and change specific text attributes, characters, or styles, use the Edit &gt; Find/Change
command instead.
1 Choose Type &gt; Find Font.
2 Select one or more font names in the Fonts In Document list.
,
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3 Do one of the following:
• To find the first occurrence in the layout of the font selected in the list, click Find First. The text using that font
moves into view. The Find First button is unavailable if the selected font is used in an imported graphic or if you
selected multiple fonts in the list.
• To select an imported graphic that uses a font marked in the list by an imported image icon , click Find Graphic.
The graphic also moves into view. The Find Graphic button isn’t available if the selected font is used only in the
layout or if you selected multiple fonts in the Fonts In Document list.
4 To see details about a selected font, click More Info. To hide the details, click Less Info. The Info area is blank if you
selected multiple fonts in the list.
A font may be listed as Unknown if the file of the selected graphic doesn’t supply information about it. Fonts in bitmap
graphics (such as TIFF images) won’t appear in the list at all because they aren’t true characters.
5 To replace a font, select the new font you want to use from the Replace With list, and do one of the following:
• To change just one occurrence of the selected font, click Change. This option is not available if multiple fonts are
selected.
• To change the font in that occurrence, and then find the next instance, click Change/Find. This option is not
available if multiple fonts are selected.
• To change all instances of the font selected in the list, click Change All. If you want any paragraph or character style
that includes the font being searched for to be redefined, select Redefine Style When Changing All.
When there are no more occurrences of a font in your file, its name is removed from the Fonts In Document list.
Note: To change fonts in imported graphics, use the program that originally exported the graphic, and then replace the
graphic or update the link using the Links panel.
6 If you clicked Change, click Find Next to locate the next instance of the font.
7 Click Done.
You can open the Find Font dialog box while preflighting a document. In the Preflight dialog box, switch to the Fonts
tab and click Find Font.
To view the system folder in which a font appears, select the font in the Find Font dialog box and choose Reveal In
Explorer (Windows) or Reveal In Finder (Mac OS).
Find/change items using queries
You can find and change text, objects, and glyphs by using or constructing a query. A query is a defined find-andchange operation. InDesign offers several preset queries for changing punctuation formats and other useful actions,
such as changing telephone number formats. By saving a query you constructed, you can run it again and share it with
others.
Search using queries
1 Choose Edit &gt; Find/Change.
2 Choose a query from the Query list.
The queries are grouped by type.
3 Specify a range to search on the Search menu.
The search range is not stored with the query.
4 Click Find.
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5 To continue searching, click Find Next, Change (to change the most recently found text or punctuation mark),
Change All (a message indicates the total number of changes), or Change/Find (to change text or punctuation
marks and continue your search).
After you select a search query, you can adjust the settings to fine-tune your search.
Save queries
Save a query in the Find/Change dialog box if you want to run it again or share it with others. The names of queries
you save appear in the Query list in the Find/Change dialog box.
1 Choose Edit &gt; Find/Change.
2 Select Text, GREP, or a different tab to undertake the search you want.
3 Below the Search menu, click icons to determine whether items such as locked layers, master pages, and footnotes
are included in the search.
These items are included in the saved query. However, the range of the search isn’t saved with the query.
4 Define the Find What and Change To fields. (See “Metacharacters for searching” on page 153 and “Search using
GREP expressions” on page 149.)
5 Click the Save Query button in the Find/Change dialog box and enter a name for the query.
If you use the name of an existing query, you are asked to replace it. Click Yes if you want to update the existing query.
Delete queries
❖ Select it on the Query list and click the Delete Query button.
Load queries
Customized queries are stored as XML files. The names of customized queries appear in the Query list in the
Find/Change dialog box.
❖ To load a query that was given to you so that it appears in the Query list, copy the query file to the appropriate
location:
Mac OS Users\[username]\Library\Preferences\Adobe InDesign\[Version]\[Language]\Find-Change Queries\[query type]
Windows XP Documents and Settings\[username]\Application Data\Adobe\InDesign\[Version]\[Language]\Find-
Change Queries\[query type]
Windows Vista and Windows 7 Users\[username]\AppData\Roaming\Adobe\InDesign\[Version]\[Language]\Find-
Change Queries\[query type]
Glyphs and special characters
Glyphs panel overview
Enter glyphs by way of the Glyphs panel. The panel initially shows glyphs in the font where the cursor is located, but
you can view a different font, view a type style in the font (for example, Light, Regular, or Bold), and make the panel
display a subset of glyphs in the font (for example, math symbols, numbers, or punctuation symbols).
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A
B
C
D
Glyphs panel
A. Show subset of glyphs B. Tool tip C. Font list D. Font style
By moving the pointer over a glyph, you can read its CID/GID value, Unicode value, and name in a tool tip.
Open the Glyphs panel
❖ Choose Type &gt; Glyphs or Window &gt; Type &amp; Tables &gt; Glyphs.
Change the Glyphs panel view
• Click the cycle widget (it’s located to the left of the word “Glyphs” on the Glyphs panel) to change views of the panel.
Clicking the widget presents these views in succession: the collapsed panel, the entire panel, and the panel without
recently used glyphs.
• Click the Zoom In or Zoom Out buttons in the lower-right corner of the Glyphs panel.
• Resize the Glyphs panel by dragging the lower-right corner.
Filter the glyphs that appear
❖ Do one of the following on the Show list to determine which glyphs appear on the Glyphs panel:
• Choose Entire Font to display all glyphs available in the font.
• Choose an option below Entire Font to narrow the list to a subset of glyphs. For example, Punctuation displays only
punctuation glyphs; Math Symbols narrows the choices to mathematical symbols.
Sort glyphs in the Glyphs panel
❖ Choose By CID / GID or By Unicode to determine how glyphs are sorted in the Glyphs panel.
Insert glyphs and special characters
A glyph is a specific form of a character. For example, in certain fonts, the capital letter A is available in several forms,
such as swash and small cap. You can use the Glyphs panel to locate any glyph in a font.
OpenType fonts such as Adobe Caslon™ Pro provide multiple glyphs for many standard characters. Use the Glyphs
panel when you want to insert these alternate glyphs in your document. You can also use the Glyphs panel to view and
insert OpenType attributes such as ornaments, swashes, fractions, and ligatures.
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More Help topics
“OpenType fonts” on page 228
“Glyphs panel overview” on page 160
Insert special characters
You can insert common characters such as em dashes and en dashes, registered trademark symbols, and ellipses.
1 Using the Type tool, position the insertion point where you want to insert a character.
2 Choose Type &gt; Insert Special Character, and then select an option from any of the categories in the menu.
If special characters that you use repeatedly do not appear on the list of special characters, add them to a glyph set that
you create.
More Help topics
“Create and edit custom glyph sets” on page 164
Insert a glyph from a specified font
1 Using the Type tool, click to place the insertion point where you want to enter a character.
2 Choose Type &gt; Glyphs to display the Glyphs panel.
3 To display a different set of characters in the Glyphs panel, do any of the following:
• Select a different font and type style, if available. From the Show menu, choose Entire Font. Or, if you selected an
OpenType font, choose from a number of OpenType categories.
• Choose a custom glyph set from the Show menu. (See “Create and edit custom glyph sets” on page 164.)
4 Scroll through the display of characters until you see the glyph you want to insert. If you selected an OpenType font,
you can display a pop-up menu of alternate glyphs by clicking and holding the glyph box.
5 Double-click the character you want to insert. The character appears at the text insertion point.
Insert a recently used glyph
InDesign tracks the previous 35 distinct glyphs you inserted and makes them available under Recently Used in the first
row of the Glyphs panel (you have to expand the panel to see all 35 glyphs on the first row).
❖ Do one of the following:
• Double-click a glyph under Recently Used.
• Choose Recent Glyphs on the Show list to display all recently used glyphs in the main body of the Glyphs panel,
and then double-click a glyph.
Clear recently used glyphs
• To clear a selected glyph from the Recently Used section, right-click (Windows&reg;) or Control-click (Mac OS) a glyph
in the Recently Used section, and then choose Delete Glyph From Recently Used.
• To clear all recently used glyphs, choose Clear All Recently Used.
Replace a character with an alternate glyph
When a character includes alternate glyphs, it appears in the Glyphs panel with a triangle icon in the lower-right
corner. You can click and hold the character in the Glyphs panel to display a pop-up menu of the alternate glyphs, or
you can display alternate glyphs in the Glyphs panel.
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Selecting alternate glyphs in OpenType font
1 Choose Type &gt; Glyphs to display the Glyphs panel.
2 Select Alternates For Selection from the Show list.
3 Using the Type tool, select a character in your document.
4 Do one of the following to replace the selected character in the document:
• Double-click a glyph in the Glyphs panel.
• Select a glyph on the menu.
Display OpenType glyph attributes in the Glyphs panel
For easy selection, the Glyphs panel allows you to display characters for only the selected OpenType attributes. You
can select various options from the Show menu in the Glyphs panel.
Show menu options in the Glyphs panel
1 In the Glyphs panel, choose an OpenType font from the font list.
2 Choose an option from the Show menu.
The options displayed vary depending on which font is selected. For information on applying OpenType font
attributes, see “Apply OpenType font attributes” on page 229. For more information on OpenType fonts, see
www.adobe.com/go/opentype.
Highlight alternate glyphs in the text
1 Choose Edit &gt; Preferences &gt; Composition (Windows) or InDesign &gt; Preferences &gt; Composition (Mac OS).
2 Select Substituted Glyphs, and then click OK. Substituted glyphs in the text are highlighted in nonprinting yellow.
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Create and edit custom glyph sets
A glyph set is a named collection of glyphs from one or more fonts. Saving commonly used glyphs in a glyph set
prevents you from having to look for them each time you need to use them. Glyph sets are not attached to any
particular document; they are stored with other InDesign preferences in a separate file that can be shared.
You can determine whether the font is remembered with the added glyph. Remembering fonts is useful, for example,
when you are working with dingbat characters that may not appear in other fonts. If a glyph’s font is remembered, but
the font is missing, the font’s square appears in pink in the Glyphs panel and the Edit Glyph Set dialog box. If a font is
not remembered with an added glyph, a “u” appears next to the glyph, indicating that the font’s unicode value
determines the appearance of the glyph.
Create a custom glyph set
1 Choose Type &gt; Glyphs.
2 Do one of the following:
• From the Glyphs panel menu, choose New Glyph Set.
• Open the context menu on the Glyphs panel and choose New Glyph Set.
3 Type the name of the glyph set.
4 Choose the insert order in which glyphs will be added to the glyph set, and click OK:
Insert At Front Each new glyph is listed first in the set.
Append At End Each new glyph is listed last in the set.
Unicode Order All glyphs are listed by the order of their unicode values.
5 To add glyphs to the custom set, select the font containing the glyph at the bottom of the Glyphs panel, click the
glyph to select it, and then choose the name of the custom glyph set from the Add To Glyph Set menu on the Glyphs
panel menu.
View a custom glyph set
❖ Do one of the following on the Glyphs panel:
• Choose the glyph set on the Show list.
• On the Glyphs panel menu, choose View Glyph Set, and then the name of the glyph set.
Edit custom glyph sets
1 Choose Edit Glyph Set from the Glyph panel menu, and then choose the custom glyph set.
2 Select the glyph you want to edit, do any of the following, and then click OK:
• To bind the glyph to its font, select Remember Font With Glyph. A glyph that remembers its font ignores the font
applied to the selected text in the document when the glyph is inserted into that text. It also ignores the font
specified in the Glyph panel itself. If you deselect this option, the Unicode value of the current font is used.
• To view additional glyphs, choose a different font or style. If the glyph is not defined with a font, you cannot select
a different font.
• To remove a glyph from the custom glyph set, choose Delete From Set.
• To change the order in which glyphs are added to the set, choose an Insert Order option. Unicode Order is not
available if Insert At Front or Append At End was selected when the glyph set was created.
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Delete glyphs from custom glyph sets
1 In the Glyphs panel, choose the Custom Glyph Set from the Show menu.
2 Right-click (Windows) or Control-click (Mac OS) a glyph, and then choose Delete Glyph From Set.
Delete custom glyph sets
1 Do one of the following:
• From the Glyphs panel menu, choose Delete Glyph Set.
• From the context menu, choose Delete Glyph Set.
2 Click the name of a custom glyph set.
3 Click Yes to confirm.
Save and load glyph sets
Custom glyph sets are stored in files kept in the Glyph Sets folder, a subfolder of the Presets folder. You can copy glyph
set files to other computers and in so doing make custom glyph sets available to others. Copy glyph set files to and from
these folders to share them with others:
Mac OS Users\[username]\Library\Preferences\Adobe InDesign\[Version]\[Language]\Glyph Sets
Windows XP Documents and Settings\[username]\Application Data\Adobe\InDesign\[Version]\[Language]\Glyph Sets
Windows Vista and Windows 7 Users\[username]\AppData\Roaming\Adobe\InDesign\[Version]\[Language]\Glyph Sets
Use quotation marks
You can specify different quotation marks for different languages. These quotation mark characters appear
automatically during typing if the Use Typographer’s Quotes option is selected in the Type section of the Preferences
dialog box.
More Help topics
“Create hanging punctuation” on page 247
Specify which quotation marks to use
1 Choose Edit &gt; Preferences &gt; Dictionary (Windows) or InDesign &gt; Preferences &gt; Dictionary (Mac OS).
2 Choose a language from the Language menu.
3 Do any of the following, and then click OK:
• For Double Quotes, select a pair of quotation marks, or type the pair of characters you want to use.
• For Single Quotes, select a pair of quotation marks, or type the pair of characters you want to use.
Insert straight quotation marks
❖ Do one of the following:
• Choose Type &gt; Insert Special Character &gt; Quotation Marks &gt; Straight Double Quotation Marks or Straight Single
Quotation Mark (Apostrophe).
• Deselect the Use Typographer’s Quotes option in the Type section of the Preferences dialog box, and then type the
quotation mark or apostrophe.
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• Press Shift+Ctrl+Alt+' (Windows) or Shift+Command+Option+' (Mac OS) to switch between turning on and off
the Use Typographer’s Quotes preferences option.
The character frequently used to indicate feet, arcminutes, or minutes of time is the prime mark. It looks like a slanted
apostrophe. The character frequently used to indicate inches, arcseconds, or seconds of time is the double prime mark.
These symbols are different from apostrophes and double quotation marks. Some fonts include the prime and double
prime marks. Use the Glyphs panel to insert these marks. If the font doesn’t have a prime or double prime mark, insert
the straight quotation mark, and italicize it.
Insert white space characters
A white space character is a blank space that appears between characters. You can use white-space characters for many
different purposes, such as preventing two words from being broken at the end of a line.
1 Using the Type tool, position the insertion point where you want to insert a certain amount of white space.
2 Choose Type &gt; Insert White Space, and then select one of the spacing options (such as Em Space) in the context menu.
Representative symbols of the white-space characters appear when you choose Type &gt; Show Hidden Characters.
White space options
The following options appear on the Type &gt; Insert White Space menu:
Equal in width to the size of the type. In 12-point type, an em space is 12 points wide.
Em Space
En Space
One-half the width of an em space.
Nonbreaking Space
The same flexible width as pressing the spacebar, but it prevents the line from being broken at
the space character.
A fixed width space prevents the line from being broken at the space character,
but does not expand or compress in justified text. The fixed width space is identical to the Nonbreaking Space
character inserted in InDesign CS2.
Nonbreaking Space (Fixed Width)
One-third the width of an em space.
Third Space
Quarter Space
Sixth Space
One-fourth the width of an em space.
One-sixth the width of an em space.
Flush Space
Adds a variable amount of space to the last line of a fully justified paragraph, useful for justifying text
in the last line. (See “Change Justification settings” on page 271.)
Hair Space
Thin Space
One-twenty-fourth the width of an em space.
One-eighth the width of an em space. You may want to use a thin space on either side of an em dash or
en dash.
Figure Space
Same width as a number in the typeface. Use a figure space to help align numbers in financial tables.
Punctuation Space Same width as an exclamation point, period, or colon in the typeface.
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Spell-checking and language dictionaries
Check spelling
You can spell-check a selected range of text, in all of the text in a story, in all stories in a document, or in all stories in
all open documents. Misspelled or unknown words, words typed twice in a row (such as “the the”), and words with
possible capitalization errors are highlighted. In addition to checking the spelling in a document, you can also enable
dynamic spelling so that potentially misspelled words are underlined while you type.
When you check spelling, the dictionary for the languages you assigned to the text is used. You can quickly add words
to the dictionary.
More Help topics
“Hyphenation and spelling dictionaries” on page 169
“Assign a language to text” on page 240
Set spelling preferences
1 Choose Edit &gt; Preferences &gt; Spelling (Windows) or InDesign &gt; Preferences &gt; Spelling (Mac OS).
2 Do any of the following:
• Select Misspelled Words to find words that do not appear in the language dictionary.
• Select Repeated Words to find duplicate words such as “the the.”
• Select Uncapitalized Words to find words (such as “germany”) that appear in the dictionary only as capitalized
words (“Germany”).
• Select Uncapitalized Sentences to find uncapitalized words following periods, exclamation points, and question
marks.
3 Select Enable Dynamic Spelling to underline potentially misspelled words while you type.
4 Specify the underline color of misspelled words (words not found in the user dictionaries), repeated words (such
as “the the”), uncapitalized words (such as “nigeria” instead of “Nigeria”), and uncapitalized sentences (sentences
that don’t begin with a capital letter).
Check spelling
1 If your document includes foreign-language text, select the text and use the Language menu on the Character panel
to specify the language for that text.
2 Choose Edit &gt; Spelling &gt; Check Spelling.
Spell-checking begins.
3 If you want to change the range of your spell-checking, do any of the following, and then click Start to begin
checking the spelling:
• Select Document to check the entire document. Select All Documents to check all open documents.
• Select Story to check all text in the currently selected frame, including text in other threaded text frames and overset
text. Select Stories to check stories in all selected frames.
• Select To End Of Story to check from the insertion point.
• Select Selection to check only selected text. This option is available only if text is selected.
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4 When unfamiliar or misspelled words or other possible errors are displayed, choose an option:
• Click Skip to continue spell-checking without changing the highlighted word. Click Ignore All to ignore all
occurrences of the highlighted word, until InDesign is restarted.
• Select a word from the Suggested Corrections list or type the correct word in the Change To box, and then click
Change to change only that occurrence of the misspelled word. You can also click Change All to change all
occurrences of the misspelled word in your document.
• To add a word to a dictionary, select the dictionary from the Add To menu, and click Add.
• Click Dictionary to display the Dictionary dialog box, where you can specify the target dictionary and language,
and specify hyphenation breaks in the added word. If you want to add the word to all languages, choose All
Languages from the Language menu. Click Add.
Correct spelling errors as you type
By turning on Autocorrect, you can allow capitalization errors and common typing mistakes to be replaced while you
type. Before Autocorrect will work, you must create a list of commonly misspelled words and associate them with the
correct spelling.
1 Choose Edit &gt; Preferences &gt; Autocorrect (Windows) or InDesign &gt; Preferences &gt; Autocorrect (Mac OS).
2 Choose Enable Autocorrect. (You can also choose Edit &gt; Spelling &gt; Autocorrect to turn this feature on or off
quickly.)
3 From the Language menu, choose which language the autocorrections are applied to.
4 To correct capitalization errors (such as typing “germany” instead of “Germany”), select Autocorrect Capitalization
Errors. You don’t need to add the capitalized words to the list of autocorrections.
5 To add a word that you commonly misspell, click Add, type the misspelled word (such as “teh”), type the correction
(such as “the”), and then click OK.
6 Continue to add words that you commonly misspell, and then click OK.
When you type any misspelled word you added to the list, the word is automatically replaced by the word you entered
as the correction.
To remove autocorrect words you’ve added, select the word in the list and choose Remove. To edit autocorrect words,
select the word, click Edit, retype the correction, and click OK.
Use dynamic spelling
When dynamic spelling is enabled, you can correct spelling errors by using the context menu. Potentially misspelled
words are underlined (based on the dictionary associated with the language of the text). If you type text in different
languages, select the text and assign the correct language.
1 To enable dynamic spelling, choose Edit &gt; Spelling &gt; Dynamic Spelling.
Potentially misspelled words are underlined in your document.
2 Right-click (Windows) or Control-click (Mac OS) the underlined word, and do one of the following:
• Select a suggested correction. If a word is repeated or needs to be capitalized, you can choose Delete Repeated Word
[word] or Capitalize [word].
• Select Add [word] To User Dictionary. This automatically adds the word to the current dictionary without opening
the Dictionary dialog box. The word remains unchanged in the text.
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• Select Dictionary. This opens the Dictionary dialog box where you can select the Target dictionary, change
hyphenation breaks, and specify a language. If you want to add the word to all languages, choose All Languages
from the Language menu, and then click Add. The word is added to the selected dictionary and remains unchanged
in the text.
• Select Ignore All to ignore occurrences of this word in all documents. When InDesign is restarted, the word is
flagged again as a misspelling.
Note: If you select Ignore All and then decide that you don’t want to ignore that word after all, Choose Ignored Words
from the Dictionary List menu in the Dictionary dialog box and remove the word from the list.
Hyphenation and spelling dictionaries
InDesign uses Proximity dictionaries for most languages to verify spelling and to hyphenate words. You can add words
to each dictionary to customize it. You can assign different languages to text, and InDesign uses the appropriate
dictionary to handle spelling and hyphenation. You can create additional user dictionaries, and you can import or
export word lists saved in a plain text file.
When you customize the words in a dictionary, you actually create lists of added words (words that aren’t already in
the dictionary) and removed words (existing dictionary words that you want to be flagged as a potential misspelling).
The Dictionary dialog box lets you display and edit added words, removed words, and ignored words (words that are
ignored for the current session because you clicked Ignore All). You can add words that apply to all languages, which
is especially useful for last names, street names, and other items that aren’t specific to a language.
If you want to use the language dictionaries from a previous version of InDesign or InCopy, use your system Find
command to locate the user dictionary files (.udc), and then add them to your list of dictionaries in Dictionary
preferences.
Where dictionary words are stored
By default, hyphenation and spelling exceptions are located in user dictionary files stored outside the document on the
computer where InDesign is installed (dictionary file names end with a .clam or .not extension). However, you can also
store exception lists inside any InDesign document. In addition, you can store word lists in an external user dictionary,
in the document, or in both. The location of existing dictionaries appears in the Dictionary preferences.
Storing hyphenation and spelling exceptions inside a document makes it easier to treat text consistently when you
move that document to other computers. For this reason, you can merge the user dictionary into the document in
Dictionary preferences. You can also control the location of exceptions from the Create Package Folder dialog box (see
“Package files” on page 602). In contrast, storing an exception list outside the document makes it easier to use the same
list of exceptions for multiple documents.
Note: If the user dictionary is merged into the exceptions list, the entire user dictionary is added to the document, even if
the words are not used, thereby increasing the document’s file size.
Applying languages to text
You can use the Language menu in the Control panel or Character panel to apply a language to selected text. You can
also specify a default language for an entire document, or for all new documents. (See “Assign a language to text” on
page 240.)
Exception word lists
You can exclude words from being considered. For example, if you want to use an alternate spelling for a common
word such as “bicycle,” which you may need to spell in a different way for your company name or for a specific
document, add the word to the list of excluded words so that it will be flagged during a spell check. InDesign can
maintain a separate set of added and removed words for each installed language.
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Create or add user dictionaries
You can create a user dictionary, or you can add user dictionaries from previous InDesign or InCopy versions, from
files that others have sent you, or from a server where your workgroup’s user dictionary is stored. The dictionary you
add is used for all your InDesign documents.
1 Choose Edit &gt; Preferences &gt; Dictionary (Windows) or InDesign &gt; Preferences &gt; Dictionary (Mac OS).
2 From the Language menu, choose the language with which you want to associate the dictionary.
3 Do one of the following:
• To create a new dictionary, click the New User Dictionary icon
below the Language menu. Specify the name
and location of the user dictionary (which includes a .udc extension), and then click Save.
• To add an existing dictionary, click the Add User Dictionary icon
a .udc or .not extension, and then click Open.
, select the user dictionary file, which includes
Note: If you can’t find the dictionary file, you might want to use your system Find command to locate the .udc files (try
using *.udc), note the location, and then try again.
The dictionary is added to the list under the Language menu. You can add words to the dictionary when checking
spelling or by using the Dictionary dialog box.
Set the default language dictionary for the current document
You can change the default language dictionary for a document or for all new documents you create. Changing the
default dictionary in an existing document doesn’t affect text that has already been created or text that you type into
an existing text frame.
Use the Character Style or Paragraph Style panel to set a specific dictionary for a specific style. The Language menu
appears in the Advanced Character Formats section.
1 Open the document.
2 Select the Selection tool from the toolbar and make sure no items are selected in the document.
3 Choose Type &gt; Character.
4 Choose the desired dictionary from the Language menu on the Character panel. If you cannot see the language
option in the Character panel, select Show Options and then select your language from the list.
Set the default language dictionary for all new documents
1 Start InDesign, but do not open a document.
2 Choose Type &gt; Character.
3 Choose the desired dictionary from the Language pop-up menu on the Character panel. If you cannot see the
language option in the Character panel, select Show Options and then select your language from the list.
Remove, relink, and reorder user dictionaries
1 Choose Edit &gt; Preferences &gt; Dictionary (Windows) or InDesign &gt; Preferences &gt; Dictionary (Mac OS).
2 From the Language menu, choose the language to which the dictionary belongs.
3 Do any of the following:
• To remove a dictionary from the list, select it and click the Remove User Dictionary icon
one dictionary per language.
. You must have at least
• If the language dictionary includes a question mark icon next to it, select the dictionary, click the Relink User
Dictionary icon
, and then locate and open the user dictionary.
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• To change the order of the user dictionaries, drag and drop them. The order of the dictionaries in the list is the order
in which the dictionaries are checked.
Add words to dictionaries
If, during a spell check, InDesign displays an unfamiliar word in the Check Spelling dialog box, select the dictionary
from the Add To menu, and then click Add. You can also use the Dictionary dialog box to let you specify the target
dictionary and language, and to indicate how words are added to an exception word list.
1 Choose Edit &gt; Spelling &gt; Dictionary.
2 In the Language menu, choose a language. Each language contains at least one dictionary. If you want the word to
be added to all languages, choose All Languages.
3 In the Target menu, choose the dictionary where you want to store the word. The Target menu lets you store the
changes in an external user dictionary or in any open document.
4 In the Dictionary List menu, choose Added Words.
5 In the Word box, type or edit the word to be added to the word list.
6 Click Hyphenate to see the word’s default hyphenation. Tildes (~) indicate possible hyphenation points.
7 If you don’t like the hyphenation points, follow these guidelines to indicate your preferred hyphenation of the word:
• Type one tilde (~) to indicate the best possible hyphenation points, or the only acceptable hyphenation point, in
the word.
• Type two tildes (~~) to indicate your second choice.
• Type three tildes (~~~) to indicate a poor but acceptable hyphenation point.
• If you want the word never to be hyphenated, type a tilde before its first letter.
If you need to include an actual tilde in a word, type a backslash before the tilde (\~).
8 Click Add, and then click Done. The word is added to the currently selected Dictionary List.
Note: Remember that hyphenation points interact with the hyphenation settings in your documents. As a result, the word
might not break where you expect it to. Control these settings by choosing Hyphenation in the Paragraph panel menu.
(See “Hyphenate text” on page 269.)
Remove or edit words in dictionaries
1 Choose Edit &gt; Spelling &gt; Dictionary.
2 In the Language menu, choose a language.
3 In the Target menu, choose the dictionary from which you want to remove the word. The Target menu lets you
choose an external user dictionary or any open document.
4 In the Dictionary List menu, do one of the following:
• To modify the list of additions to the selected Target word list, choose Added Words.
• To modify the list of words that are flagged as misspelled, choose Removed Words.
• To modify the list of words that are being ignored during the current InDesign session, choose Ignored Words. This
list includes all the words for which you’ve chosen Ignore All.
5 In the word list, edit the word, or select the word and click Remove.
6 Click Done.
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Export a word list
You can export word lists to a text file (.txt) and then import that list of words into a user dictionary in InDesign. The
words in the text file must be separated by a space, tab, or paragraph return. You can export added words and removed
words, but you cannot export ignored words, which are used only in the current session.
1 Choose Edit &gt; Spelling &gt; Dictionary.
2 Choose the language from the Language menu and the dictionary from the Target menu that contains the list of
words you want to export.
3 Click Export, specify the file name and location, and then click Save.
The list of words is saved in a text file. You can edit this list of words in any text editor, and then import the word list.
You can also send the word list to others, who can import it into their user dictionaries.
Import a word list
1 Choose Edit &gt; Spelling &gt; Dictionary.
2 Choose the language from the Language menu and the dictionary from the Target menu.
3 Click Import, locate the text file containing your list of spelling exceptions, and then click Open.
Change dictionary preferences
Use Dictionary preferences to specify how InDesign handles hyphenation and spelling dictionaries. Most languages in
InDesign use Proximity dictionaries to verify spelling and to hyphenate words. If you have installed hyphenation or
spelling components from a different company, you can select a different vendor for each installed language.
Note: The Dictionary Preferences dialog box does not enable you to specify the language dictionary used for spell checking
or hyphenating text. This dialog box is used to specify which hyphenation and spelling plug-ins InDesign uses for the
language specified in the Language field. If you use only the default hyphenation and spelling plug-in, you don't need to
change any settings in the Dictionary Preferences dialog box. If you install a different spelling or hyphenation plug-in
provided by a third-party developer, it appears as an option in the Hyphenation Vendor and Spelling Vendor menus in
this dialog box. This would let you select one vendor's hyphenation or spelling engine for some languages and another
vendor's hyphenation or spelling engine for other languages.
1 Choose Edit &gt; Preferences &gt; Dictionary (Windows) or InDesign &gt; Preferences &gt; Dictionary (Mac OS).
2 For Language, specify the language for which you want to edit settings or change the hyphenation or spelling
vendor.
3 Create, add, or remove user dictionaries. (See “Create or add user dictionaries” on page 170.)
4 If you have installed a hyphenation component from a company other than Adobe, select it in the Hyphenation
menu.
5 If you have installed a spelling dictionary component from a company other than Adobe, select it in the Spelling menu.
6 In the Compose Using menu in the Hyphenation Exceptions menu, do one of the following:
• To compose text using the hyphenation exceptions list stored in the external user dictionary, choose User
Dictionary.
• To compose text using the hyphenation exceptions list stored inside the document, choose Document.
• To compose text using both lists, choose User Dictionary And Document. This is the default setting.
7 To add the exceptions list stored in the external user dictionary to the exceptions list stored within the document,
select Merge User Dictionary Into Document.
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Note: If you work with many different partners or clients, you might want to deselect the Merge User Dictionary Into
Document option. For example, if you’re a service provider, you probably don’t want your user dictionary merged with
every customer’s file.
8 To recompose all stories when certain settings are changed, select Recompose All Stories When Modified. Selecting
this option recomposes stories when you change the Compose Using settings (see step 6) or when you use the
Dictionary command to add or remove words. Recomposing all stories can take some time, depending on the
amount of text in the document.
9 Click OK.
Using dictionaries in a workgroup
Make sure that each station in your workgroup has the same customized user dictionaries installed and added, so that
a document uses the same spelling and hyphenation rules regardless of who is working on it. You can either make sure
that everyone adds the same dictionaries to their computer, or you can share a user dictionary over the network server.
A lock icon indicates that a dictionary is locked and can be used, but not edited. When a user dictionary is stored on
a server, the first user to load the dictionary locks the file; all subsequent users see that the dictionary is locked. Files
can also be locked through the operating system, when the file is made read-only. If you share a user dictionary over
the network server, you may want to lock the file so that it’s read-only for all users, allowing only the administrator to
add words.
Make sure that everyone in the workgroup uses the customized user dictionary installed on the common network
workstation, and not the dictionary stored with a document. However, before you take a document to a service
provider, you might want to merge the user dictionary into the document.
If you don’t share a customized user dictionary on a common network workstation, locate user dictionary files and
copy them from one workstation to another. The location of user dictionaries appear in the Dictionary preferences.
After you update a shared workstation’s user dictionary, the changes don’t appear in individual workstations until a
user restarts InDesign or presses Ctrl+Alt+/ (Windows) or Command+ Option+/ (Mac OS) to recompose all text.
Footnotes
Create footnotes
A footnote consists of two linked parts: the footnote reference number that appears in text, and the footnote text that
appears at the bottom of the column. You can create footnotes or import them from Word or RTF documents.
Footnotes are automatically numbered as they are added to a document. Numbering restarts in each story. You can
control the numbering style, appearance, and layout of footnotes. You cannot add footnotes to tables or to footnote
text.
The width of the footnote text is based on the width of the column containing the footnote reference marker. Footnotes
cannot space columns in a text frame.
You cannot create endnotes in InDesign. However, Bob Bringhurst provides a workaround for creating endnotes at
Endnotes in InDesign. Endnotes in converted Microsoft Word documents are formatted as text, not footnotes.
For a video tutorial on creating footnotes, see www.adobe.com/go/vid0218.
1 Place the insertion point where you want the footnote reference number to appear.
2 Choose Type &gt; Insert Footnote.
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3 Type the footnote text.
A
B
Footnote added to document
A. Reference number B. Footnote text
As you type, the footnote area expands while the text frame remains the same size. The footnote area continues to
expand upward until it reaches the line with the footnote reference. At that point, the footnote is split to the next text
frame column or threaded frame, if possible. If the footnote cannot be split and if more text is added than can fit in the
footnote area, the line containing the footnote reference is moved to the next column, or an overset icon appears. In
such a case, you should resize the frame or change the text formatting.
When the insertion point is in a footnote, you can choose Type &gt; Go To Footnote Reference to return to where you
were typing. If you use this option frequently, consider creating a keyboard shortcut.
More Help topics
“Place (import) text” on page 123
Creating Footnotes video
Change footnote numbering and layout
Changes you make to footnote numbering and layout affect existing footnotes and all new ones.
1 Choose Type &gt; Document Footnote Options.
2 In the Numbering And Formatting tab, select options that determine the numbering scheme and formatting
appearance of the reference number and footnote text.
3 Click the Layout tab, and select options that control the look of the footnote section on the page.
4 Click OK.
More Help topics
“Overprint rules above footnotes” on page 622
Footnote numbering and formatting options
The following options appear in the Numbering And Formatting section of the Footnote Options dialog box:
Numbering Style Choose the numbering style for footnote reference numbers.
Start At Specify the number used for the first footnote in the story. Each story in a document begins with the same
Start At number. If you have multiple documents in a book with continued page numbering, you may want to start the
footnote numbering in each chapter to continue where the last chapter left off.
The Start At option is especially useful for documents in a book. Footnote numbering is not continued across
documents in a book.
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Restart Numbering Every If you want numbering to restart within the document, select this option and choose Page,
Spread, or Section to determine when footnote numbering is restarted. Some numbering styles, such as asterisks (*),
work best when reset every page.
Show Prefix/Suffix In Select this option to show prefixes or suffixes in the footnote reference, the footnote text, or both.
Prefixes appear before the number (such as [1) and suffixes appear after the number (such as 1]). This option is
especially useful for placing footnotes within characters, such as [1]. Type a character or characters or select an option
for Prefix, Suffix, or both. To select special characters, click the icons next to the Prefix and Suffix controls to display
a menu.
If you think the footnote reference number is too close to the preceding text, adding one of the space characters as a
prefix might improve the appearance. You can also apply a character style to the reference number.
Position This option determines the appearance of the footnote reference number, which is superscript by default. If
you prefer to format the number using a character style (such as a character style that includes OpenType superscript
settings), choose Apply Normal, and specify the character style.
Character Style You may want to choose a character style to format the footnote reference number. For example,
instead of using superscript, you might want to use a character style at a normal position with an elevated baseline. The
menu displays the character styles available in the Character Styles panel.
Paragraph Style You may want to choose a paragraph style that formats the footnote text for all footnotes in the
document. The menu displays the paragraph styles available in the Paragraph Styles panel. By default, the [Basic
Paragraph] style is used. Note that the [Basic Paragraph] style may not have the same appearance as the default font
settings for the document.
Separator The separator determines the white space that appears between the footnote number and the start of the
footnote text. To change the separator, first select or delete the existing separator, and then choose a new separator.
You can include multiple characters. To insert white space characters, use the appropriate metacharacter, such as ^m
for em space.
Footnote layout options
The following options appear in the Layout section of the Footnote Options dialog box:
Minimum Space Before First Footnote This option determines the minimum amount of space between the bottom of
the column and the first footnote line. You cannot use a negative value. Any Space Before setting in the footnote
paragraph is ignored.
Space Between Footnotes This option determines the distance between the last paragraph of one footnote and the
first paragraph of the next footnote in a column. You cannot use a negative value. The Space Before/Space After values
in a footnote’s paragraph apply only if the footnote includes multiple paragraphs.
First Baseline Offset This option determines the distance between the start of the footnote area (where the footnote
divider appears by default) and the first line of footnote text.
For information on the First Baseline options, see “Change text frame properties” on page 118.
Place End Of Story Footnotes At Bottom Of Text Select this option if you want the last column’s footnotes to appear
just below the text in the last frame of the story. If this option is not selected, any footnote in the last frame of the story
appears at the bottom of the column.
Allow Split Footnotes Select this option if you want footnotes to break across a column when the footnote exceeds the
amount of space available for it in that column. If splitting is not allowed, the line containing the footnote reference
number moves to the next column, or the text becomes overset.
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Footnote split across column.
If Allow Split Footnotes is turned on, you can still prevent an individual footnote from splitting by placing the insertion
point in the footnote text, choosing Keep Options from the Paragraph panel menu, and selecting the Keep Lines
Together and All Lines In Paragraph options. If the footnote contains multiple paragraphs, use the Keep With Next X
Lines option in the first paragraph of the footnote text. You can choose Type &gt; Insert Break Character &gt; Column Break
to control where the footnote is split.
Rule Above Specify the location and appearance of the footnote divider line that appears above the footnote text. A
divider line (also called a “separator line”) also appears above any footnote text continued in a separate frame. The
options you select apply to either the First Footnote In Column or Continued Footnotes, whichever is selected in the
menu. These options are similar to those that appear when you specify a paragraph rule. If you want to remove the
footnote divider line, deselect Rule On.
Delete footnotes
❖ To delete a footnote, select the footnote reference number that appears in text, and then press Backspace or Delete.
If you delete only the footnote text, the footnote reference number and footnote structure remain.
Work with footnote text
As you edit footnote text, note the following:
• When the insertion point is in footnote text, choosing Edit &gt; Select All selects all the footnote text for that footnote,
but no other footnote or text.
• Use the arrow keys to navigate among footnotes.
• Footnote numbering is not continued across documents in a book. If you don’t want numbering to restart in each
document with the book, you need to change the Start At value manually in each document after the editing is final.
• In Story Editor, you can click the footnote icon to expand or collapse a footnote. You can expand or collapse all
footnotes by choosing View &gt; Story Editor &gt; Expand All Footnotes or Collapse All Footnotes.
• You can select and apply character and paragraph formatting to footnote text. You can also select and change the
appearance of the footnote reference number, but the recommended method is using the Document Footnote
Options dialog box.
• When you cut or copy text that includes the footnote reference number, the footnote text is also added to the
clipboard. If you copy the text to a different document, the footnotes in that text use the characteristics of the new
document’s numbering and layout appearance.
• If you accidentally delete the footnote number at the start of the footnote text, you can add it back by placing the
insertion point at the beginning of the footnote text, right-clicking (Windows) or Control-clicking (Mac OS), and
choosing Insert Special Character &gt; Markers &gt; Footnote Number.
• Text wrap has no effect on footnote text.
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• If you clear overrides and character styles on a paragraph that includes a footnote reference marker, the footnote
reference numbers lose the attributes you applied in the Document Footnote Options dialog box.
Tracking and reviewing changes
Track changes
A valuable feature is the ability to track changes made to a story by each contributor in the writing and editing process.
Whenever anyone adds, deletes, or moves text within an existing story, the change is marked in the Story Editor in
InDesign or the Galley and Story views in InCopy. You can then accept or reject the changes.
Use the Track Changes panel in InDesign or the Track Changes toolbar in InCopy to turn Track Changes on or off
and to show, hide, accept, or reject changes made by contributors.
B
C
A
D
E
Change tracking shown in Story Editor (InDesign)
A. Change bars B. Added text C. Deleted text D. Moved text (from) E. Moved text (to)
More Help topics
“Adding editorial notes in InDesign” on page 180
Turn on change tracking
1 Choose Window &gt; Editorial &gt; Track Changes to open the Track Changes panel (InDesign), or choose Window &gt;
Track Changes to open the Track Changes toolbar (InCopy).
2 With the insertion point in text, do any of the following:
• To enable change-tracking in only the current story, click the Enable Track Changes In Current Story icon
.
• (InDesign) To enable tracking in all stories, choose Enable Track Changes In All Stories from the Track Changes
panel menu.
• (InCopy) To enable tracking in all open stories in a multistory document, choose Changes &gt; Enable Tracking
In All Stories.
3 Add, delete, or move text within the story as needed.
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How change tracking is displayed
When Track Changes is turned on, each change is marked by default as follows in Story Editor (InDesign) or in Galley
and Story views (InCopy):
The Track Changes section of the Preferences dialog box lets you choose a color to identify your changes. It also lets
you select which changes (adding, deleting, or moving text) you want tracked and the appearance of tracking.
Added text Highlighted.
Deleted text Highlighted and marked with a strikethrough.
Moved (cut-and-pasted) text Highlighted and marked with a strikethrough in its original location; highlighted and
boxed in the new location.
Note: If you cut text from one document and paste it into another, it is displayed as deleted text in the document of its
original location and as added text in its new location.
Copied text Highlighted in the new location. The original text is unchanged.
Change bars A change bar is a vertical line that appears to the left of a line of text that has been changed. You can
choose whether to show or hide change bars as you work. You can also specify what color to use for displaying the
change bars.
Show or hide changes
When changes are hidden, the text appears as it would with the change-tracking feature turned off. That is, added text
is visible, deleted text is invisible, and moved or pasted text appears where it has been inserted.
(InDesign) When change-tracking is turned on, editing is tracked regardless of whether you work in Story Editor or
in the document layout. You can view changes only in Story Editor, not in the layout.
(InCopy) When change-tracking is turned on, editing is tracked regardless of whether you work in Galley, Story, or
Layout view. You can view changes only in the Galley and Story views, not the Layout view.
❖ In the Track Changes panel (InDesign) or the Track Changes toolbar (InCopy), click the Show/Hide Changes
button
.
Turn off change tracking
❖ With the insertion point in text, do any of the following:
• To disable change-tracking in only the current story, click the Disable Track Changes In Current Story icon
.
• (InDesign) To disable tracking in all stories, choose Disable Track Changes In All Stories from the Track
Changes panel menu.
• (InCopy) To disable tracking in all open stories in a multistory document, choose Changes &gt; Disable Tracking
In All Stories.
Note: If you disable tracking, no further changes are tracked. Previously tracked changes are not affected.
Accept and reject changes
When changes have been made to a story, whether by you or by others, the change-tracking feature enables you to
review all changes and decide whether to incorporate them into the story. You can accept or reject single changes, only
portions of a tracked change, or all changes at once.
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When you accept a change, it becomes a normal part of the text flow and is no longer highlighted as a change. When
you reject a change, the text reverts to how it was before the change was made.
1 In Story Editor (InDesign) or Galley or Story view (InCopy), position the insertion point at the beginning of the
story.
2 In the Track Changes panel (InDesign) or the Track Changes toolbar (InCopy), click the Next Change button
.
3 Do any of the following:
• To accept the highlighted change and incorporate it into the text flow, click the Accept Change button
• To reject the change and revert to the original text, click the Reject Change button
.
.
To accept or reject the highlighted change and go to the next change, Alt-click (Windows) or Option-click (Mac
OS) the Accept Change or Reject Change button.
• To move back to the previous change or skip over a change and go to the next one, click the Previous Change
button
or Next Change button
.
• To accept or reject all changes without reviewing, click the Accept All Changes In Story button
All Changes In Story button
.
or the Reject
• To accept or reject all changes in the story or in the document, or to accept or reject all changes by a certain
participant, choose the appropriate option from the Track Changes panel menu (InDesign) or from the Changes
menu (InCopy).
Note: If you change your mind about accepting or rejecting a change, you can undo the change by choosing Edit &gt; Undo
or pressing Ctrl+Z (Windows) or Command+Z (Mac OS).
Choosing an Accept All Changes or Reject All Changes command also applies to hidden conditional text.
Set Track Changes preferences
Preference settings let you control many tracking options. You can choose a color to identify your changes and select
what changes you want tracked: adding, deleting, or moving text. You can also set the appearance of each type of
tracked change, and you can have changes identified with colored change bars in the margins.
1 Choose Edit &gt; Preferences &gt; Track Changes (Windows) or InDesign &gt; Preferences &gt; Track Changes (Mac OS).
2 Select each type of change that you want to track.
3 For each type of change, specify the text color, background color, and marking method.
4 Select Prevent Duplicate User Colors to ensure that all users are assigned different colors.
5 To show change bars, select the Change Bars option. Choose a color from the Change Bar Color menu, and specify
whether you want change bars to appear in the left or right margin.
6 Select Include Deleted Text When Spellchecking if you want to spell-check text marked to be deleted.
7 Click OK.
Change the user name and color
1 Choose File &gt; User.
2 Specify the user name and color to be used for change-tracking and notes, and then click OK.
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Adding editorial notes in InDesign
The Notes feature in InDesign uses the workflow user names to identify the author of a note or a tracked change. Notes
and tracked changes are color-coded for each user as defined in Notes preferences in InDesign or the User dialog box
in InCopy (File &gt; User).
Notes can appear only in text. In InDesign, they can be printed only from the Story Editor, and they cannot be exported
to PDF.
More Help topics
“Enter user identification” on page 646
Add editorial notes
When you add editorial notes to managed content in InDesign, these notes become available to others in the workflow.
The notes are primarily intended to be used with an InCopy workflow, but you can take advantage of them in
InDesign. For example, you can place text in notes that you might want to put into a story later. In InCopy, when you
export to Adobe PDF, notes can be converted to PDF comments.
1 Using the Type tool, click where you want to place the note, and choose Type &gt; Notes &gt; New Note.
When editing in Story Editor, bookends appear. In Layout view, the Notes panel appears.
2 Type your note between the note bookends, or type your note in the Notes panel.
You can add as many notes as you want in any location. However, you cannot create a note within another note.
To show or hide notes, choose View &gt; Extras &gt; Show Notes or Hide Notes.
Use Notes mode
Notes Mode is a convenient way to add, split, or delete notes, depending on where the insertion point is located or
what text is selected.
1 Do any of the following:
• To create a new note, place the insertion point in text.
• To convert text to a note, select the text.
• To split a note, place the insertion point inside a note.
• To convert the note to text, select the note bookends (in Story Editor).
• To move the insertion point out of a note, place the insertion point at the beginning or end of the note.
2 Choose Type &gt; Notes &gt; Notes Mode.
Manage notes
A note anchor marks the location of a note. The Notes panel displays the contents of the note, along with specific
information about the note.
• To convert text to a note, select text and choose Type &gt; Notes &gt; Convert To Note. A new note is created. The
selected text is removed from the body of the story and pasted into the new note. The note anchor or bookend is
located where the text you selected was cut.
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• To convert a note to text, select the text in the Notes panel that you want to add to the text of the document. Or, in
Story Editor, select the text in the inline note. Then choose Type &gt; Notes &gt; Convert To Text.
• To split a note, place the insertion point in the note where you want it to be split and choose Type &gt; Notes &gt; Split Note.
• To navigate among notes, click the insertion point in the story and choose Type &gt; Notes &gt; Previous Note or Notes &gt;
Next Note.
Edit Notes preferences
Preferences settings let you set the color for note anchors, bookends, and backgrounds when inline in the Story Editor.
You can also choose to display note info as a tool tip, as well as choose whether to include note content in Find/Change
operations and spell checking in the Story Editor.
1 Choose Edit &gt; Preferences &gt; Notes (Windows) or InDesign &gt; Preferences &gt; Notes (Mac OS).
2 Select a color for note anchors and note bookends from the Note Color menu. Select [User Color] to use the color
specified in the User dialog box. This is especially useful if more than one person is working on the file.
3 Select Show Note Tool Tips to display note information and some or all of the note content as a tool tip when the
mouse pointer hovers over a note anchor in Layout view or a note bookend in Story Editor.
4 Specify whether you want to include inline note content when using the Find/Change and Spell Check commands
(in Story Editor only).
Note: In Layout view, you cannot use the Find/Change and Spell Check commands to search for the contents of notes,
regardless of the settings in the Preferences dialog box. However, Change All does edit the contents of notes.
5 Select either [None] or [Note Color] (the color you chose in step 2) to use for the background color of an inline note.
6 Click OK.
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Chapter 6: Styles
Paragraph and character styles
About character and paragraph styles
A character style is a collection of character formatting attributes that can be applied to text in a single step. A
paragraph style includes both character and paragraph formatting attributes, and can be applied to a paragraph or
range of paragraphs. Paragraph styles and character styles are found on separate panels. Paragraph and characters
styles are sometimes called text styles.
When you change the formatting of a style, all text to which the style has been applied will be updated with the new
format.
For a video tutorial on making a paragraph style, see www.adobe.com/go/lrvid4277_id. For a video tutorial on using
text styles, see www.adobe.com/go/vid0076.
Thomas Silkjaer provides samples of styles at Free InDesign Style Template.
[Basic Paragraph] styles
By default, each new document contains a [Basic Paragraph] style that is applied to text you type. You can edit this
style, but you can’t rename or delete it. You can rename and delete styles that you create. You can also select a different
default style to apply to text.
Character style attributes
Unlike paragraph styles, character styles do not include all the formatting attributes of selected text. Instead, when you
create a character style, InDesign makes only those attributes that are different from the formatting of the selected text
part of the style. That way, you can create a character style that, when applied to text, changes only some attributes,
such as the font family and size, ignoring all other character attributes. If you want other attributes to be part of the
style, add them when editing the style.
Next Style
You can automatically apply styles as you type text. If, for example, your document’s design calls for the style “body
text” to follow a heading style named “heading 1,” you can set the Next Style option for “heading 1” to “body text.”
After you’ve typed a paragraph styled with “heading 1,” pressing Enter or Return starts a new paragraph styled with
“body text.”
If you use the context menu when applying a style to two or more paragraphs, you can cause the parent style to be
applied to the first paragraph and the Next Style to be applied to the additional paragraphs. (See “Apply styles” on
page 185.)
To use the Next Style feature, choose a style from the Next Style menu when you’re creating or editing a style.
Jeff Witchel provides a video tutorial about using the Next Style feature at Using the Next Style feature. Neil Oliver also
provides a Next Style video tutorial.
182
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Styles panel overview
Use the Character Styles panel to create, name, and apply character styles to text within a paragraph; use the Paragraph
Styles panel to create, name, and apply paragraph styles to entire paragraphs. Styles are saved with a document and
display in the panel each time you open that document.
When you select text or position the insertion point, any style that has been applied to that text is highlighted in either
of the Styles panels, unless the style is in a collapsed style group. If you select a range of text that contains multiple
styles, no style is highlighted in the Styles panel. If you select a range of text to which multiple styles are applied, the
Styles panel displays “(Mixed).”
Open the Paragraph Styles panel
❖ Choose Type &gt; Paragraph Styles, or click the Paragraph Styles tab, which appears by default on the right side of the
application window.
Open the Character Styles panel
❖ Choose Type &gt; Character Styles, or click the Character Styles tab on the right side of the application window.
Add paragraph and character styles
More Help topics
“Group styles” on page 202
“Create nested styles” on page 191
“Apply styles” on page 185
“Duplicate styles or style groups” on page 202
Define paragraph or character styles
1 If you want to base a new style on the formatting of existing text, select that text or place the insertion point in it.
If a group is selected in the Styles panel, the new style will be part of that group.
2 Choose New Paragraph Style from the Paragraph Styles panel menu, or choose New Character Style from the
Character Styles panel menu.
3 For Style Name, type a name for your new style.
4 For Based On, select which style the current style is based on.
Note: The Based On option lets you link styles to each other, so that changes in one style ripple through the styles that are
based on it. By default, new styles are based on [No Paragraph Style] for paragraph styles or [None] for character styles,
or on the style of any currently selected text.
5 For Next Style (Paragraph Styles panel only), specify which style is applied after the current style when you press
Enter or Return.
6 To add a keyboard shortcut, position the insertion point in the Shortcut box, and make sure Num Lock is turned
on. Then hold down any combination of Shift, Alt, and Ctrl (Windows), or Shift, Option, and Command (Mac OS),
and press a number on the numeric keypad. You cannot use letters or non-keypad numbers for defining style
shortcuts. If your keyboard does not have a Num Lock key, you cannot add keyboard shortcuts to styles.
7 If you want the new style to be applied to the selected text, select Apply Style To Selection.
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8 To specify the formatting attributes, click a category (such as Basic Character Formats) on the left, and specify the
attributes you want to add to your style.
When specifying a Character Color in the Style Options dialog box, you can create a new color by double-clicking the
fill or stroke box.
9 For character styles, attributes you do not specify are ignored; when the style is applied, text will retain the
paragraph style formatting for that attribute. To remove an attribute setting from a character style:
• From a setting’s menu, choose (Ignore).
• In a text box, delete the option text.
• In a check box, click until you see a small box (Windows) or a hyphen (-) (Mac OS).
• For a character color, hold down Ctrl (Windows) or Command (Mac OS) and click the color swatch.
10 When you’ve finished specifying the formatting attributes, click OK.
Styles you create appear only in the current document. If no document is open, the styles you create will appear in all
new documents.
Base one paragraph or character style on another
Many document designs feature hierarchies of styles sharing certain attributes. The headings and subheads, for
example, often use the same font. You can easily create links between similar styles by creating a base, or parent, style.
When you edit the parent style, the child styles will change as well. You can then edit the child styles to distinguish
them from the parent style.
To create a style that’s nearly identical to another style, but without the parent-child relationship, use the Duplicate
Style command and then edit the copy.
1 Create a new style.
2 In the New Paragraph Style or New Character Style dialog box, select the parent style in the Based On menu. The
new style becomes the child style.
By default, new styles are based on [No Paragraph Style] or [None], or on the style of any currently selected text.
3 Specify formatting in the new style to distinguish it from the style on which it’s based. For example, you might want
to make the font used in a subheading slightly smaller than the one used in the heading (parent) style.
If you make changes to the formatting of a child style and decide you want to start over, click Reset To Base. That
restores the child style’s formatting to be identical to the style on which it’s based. Then you can specify new formatting.
Similarly, if you change the Based On style of the child style, the child style definition is updated to match its new parent
style.
Import styles from other documents
You can import paragraph and character styles from another InDesign document (any version) into the active
document. During import, you can determine which styles are loaded and what should occur if a loaded style has the
same name as a style in the current document. You can also import styles from an InCopy document.
1 In the Character Styles or Paragraph Styles panel, do one of the following:
• Choose Load Character Styles or Load Paragraph Styles in the Styles panel menu.
• Choose Load All Text Styles in the Styles panel menu to load both character and paragraph styles.
2 Double-click the InDesign document containing the styles you want to import.
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3 In the Load Styles dialog box, make sure that a check mark appears next to the styles you want to import. If any
existing style has the same name as one of the imported styles, choose one of the following options under Conflict
With Existing Style, and then click OK:
Use Incoming Style Definition Overwrites the existing style with the loaded style and applies its new attributes to all
text in the current document that used the old style. The definitions of the incoming and existing styles are displayed
at the bottom of the Load Styles dialog box so that you can view a comparison.
Auto-Rename Renames the loaded style. For example, if both documents have a Subheading style, the loaded style is
renamed “Subheading copy” in the current document.
You can also use the Books feature to share styles. (See “Synchronize book documents” on page 298.)
Convert Word styles to InDesign styles
While importing a Microsoft Word document into InDesign or InCopy, you can map each style used in Word to a
corresponding style in InDesign or InCopy. By doing so, you specify which styles format the imported text. A disk
icon
appears next to each imported Word style until you edit the style in InDesign or InCopy.
1 Do one of the following:
• To add the Word document to existing text in InDesign or InCopy, choose File &gt; Place. Select Show Import
Options, and then double-click the Word document.
• To open the Word document in a stand-alone InCopy document, start InCopy, choose File &gt; Open, and then
double-click the Word file.
2 Select Preserve Styles And Formatting From Text And Tables.
3 Select Customized Style Import, and then click Style Mapping.
4 In the Style Mapping dialog box, select the Word style, and then select an option from the menu under InDesign
style. You can choose the following options:
• If there is no style name conflict, choose New Paragraph Style, New Character Style, or choose an existing InDesign
style.
• If there is a style name conflict, choose Redefine InDesign Style to format the imported style text with the Word
style. Choose an existing InDesign style to format the imported style text with the InDesign style. Choose Auto
Rename to rename the Word style.
5 Click OK to close the Style Mapping dialog box, and then click OK to import the document.
More Help topics
“Place (import) text” on page 123
“Paste text” on page 122
Apply styles
By default, applying a paragraph style won’t remove any existing character formatting or character styles applied to
part of a paragraph, although you have the option of removing existing formatting when you apply a style. A plus
sign (+) appears next to the current paragraph style in the Styles panel if the selected text uses a character or paragraph
style and also uses additional formatting that isn’t part of the applied style. Such additional formatting is called an
override or local formatting.
Character styles remove or reset character attributes of existing text if those attributes are defined by the style.
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More Help topics
“Use Quick Apply” on page 226
“Override character and paragraph styles” on page 188
Apply a character style
1 Select the characters to which you want to apply the style.
2 Do one of the following:
• Click the character style name in the Character Styles panel.
• Select the character style name from the drop-down list in the Control panel.
• Press the keyboard shortcut you assigned to the style. (Make sure that Num Lock is on.)
Apply a paragraph style
1 Click in a paragraph, or select all or part of the paragraphs to which you want to apply the style.
2 Do one of the following:
• Click the paragraph style name in the Paragraph Styles panel.
• Select the paragraph style name from the menu in the Control panel.
• Press the keyboard shortcut you assigned to the style. (Make sure that Num Lock is on.)
3 If any unwanted formatting remains in the text, choose Clear Overrides from the Paragraph Styles panel.
Apply sequential styles to multiple paragraphs
The Next Style option specifies which style will be automatically applied when you press Enter or Return after applying
a particular style. It also lets you apply different styles to multiple paragraphs in a single action.
For example, suppose you have three styles for formatting a newspaper column: Title, Byline, and Body. Title uses
Byline for Next Style, Byline uses Body for Next Style, and Body uses [Same Style] for Next Style. If you select an entire
article, including the title, the author’s byline, and the paragraphs in the article, and then apply the Title style using the
special “Next Style” command in the context menu, the article’s first paragraph will be formatted with the Title style,
the second paragraph will be formatted with the Byline style, and all other paragraphs will be formatted with the Body
style.
Before and after applying a style with Next Style.
1 Select the paragraphs to which you want to apply the styles.
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2 In the Paragraph Styles panel, right-click (Windows) or Control-click (Mac OS) the parent style, and then choose
Apply [Style Name] Then Next Style.
If the text includes formatting overrides or character styles, the context menu also lets you remove overrides, character
styles, or both.
Edit character and paragraph styles
One of the advantages of using styles is that when you change the definition of a style, all of the text formatted with
that style changes to match the new style definition.
Note: If you edit styles in InCopy content that’s linked to an InDesign document, the modifications are overridden when
the linked content is updated.
More Help topics
“Override character and paragraph styles” on page 188
Edit a style using the dialog box
1 Do one of the following:
• If you don’t want the style to be applied to selected text, right-click (Windows) or Control-click (Mac OS) the style
name in the Styles panel, and choose Edit [style name].
• In the Styles panel, double-click the style name, or select the style and choose Style Options in the Styles panel
menu. Note that this applies the style to any selected text or text frame or, if no text or text frame is selected, sets
the style as the default style for any text you type in new frames.
2 Adjust settings in the dialog box, and then click OK.
Redefine a style to match selected text
After you apply a style, you can override any of its settings. If you decide you like the changes you made, you can
redefine the style so that it matches the formatting of the text you changed.
Note: If you redefine styles in InCopy content linked to an InDesign document, the modifications are overridden when
the linked content is updated.
1 Using the Type tool
, select the text formatted with the style you want to redefine.
2 Make changes to the paragraph or character attributes as necessary.
3 Choose Redefine Style in the Styles panel menu.
Delete character or paragraph styles
When you delete a style, you can select a different style to replace it, and you can choose whether to preserve the
formatting. When you delete a style group, you delete all styles within the group. You are prompted to replace each
style in the group one at a time.
1 Select the style name in the Styles panel.
2 Do one of the following:
• Choose Delete Style in the panel menu or click the Delete icon
at the bottom of the panel.
• Right-click (Windows) or Control-click (Mac OS) the style, and then choose Delete Style. This method is especially
useful for deleting a style without applying it to text.
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3 In the Delete Paragraph Style dialog box, select the style to replace it.
If you select [No Paragraph Style] to replace a paragraph style or [None] to replace a character style, select Preserve
Formatting to keep the formatting of text to which the style is applied. The text preserves its formatting but is no longer
associated with a style.
4 Click OK.
To delete all unused styles, choose Select All Unused in the Styles panel menu, and then click the Delete icon. When
you delete an unused style, you are not prompted to replace the style.
More Help topics
“Group styles” on page 202
Override character and paragraph styles
When you apply a paragraph style, character styles and other previous formatting remain intact. After you apply a
style, you can override any of its settings by applying formatting that’s not part of the style. When formatting that is
not part of a style is applied to text with that style applied, it is called an override or local formatting. When you select
text with an override, a plus sign (+) appears next to the style name. In character styles, an override is displayed only
if the applied attribute is part of the style. For example, if a character style only changes text color, applying a different
font size to the text does not appear as an override.
You can clear character styles and formatting overrides when you apply a style. You can also clear overrides from a
paragraph to which a style has been applied.
If a style has a plus sign (+) next to it, hold the mouse pointer over the style to view a description of the override
attributes.
Neil Oliver provides video tutorial on overriding and redefining styles at Paragraph Style Overrides and Redefine.
More Help topics
“Redefine a style to match selected text” on page 187
Preserve or remove overrides when applying paragraph styles
• To apply a paragraph style and preserve character styles, but remove overrides, hold down Alt (Windows) or
Option (Mac OS) as you click the name of the style in the Paragraph Styles panel.
• To apply a paragraph style and remove both character styles and overrides, hold down Alt+Shift (Windows) or
Option+Shift (Mac OS) as you click the name of the style in the Paragraph Styles panel.
Right-click (Windows) or Control-click (Mac OS) the style in the Paragraph Styles panel, and then choose an option
from the context menu. You can then clear overrides, character styles, or both while applying the style.
Clear paragraph style overrides
1 Select the text containing the overrides. You can even select multiple paragraphs with different styles.
2 In the Paragraph Styles panel, do any of the following:
• To remove paragraph and character formatting, click the Clear Overrides icon
the Paragraph Styles panel.
, or choose Clear Overrides from
• To remove character overrides, but preserve paragraph formatting overrides, hold down Ctrl (Windows) or
Command (Mac OS) as you click the Clear Overrides icon.
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• To remove paragraph-level overrides, but preserve character-level overrides, in the Paragraph Styles panel, hold
down Shift+Ctrl (Windows) or Shift+Command (Mac OS) as you click the Clear Overrides icon.
Note: When you clear overrides, paragraph-level overrides are removed from the entire paragraph, even if only part of
the paragraph is selected. Character-level overrides are removed only from the selection.
Clearing overrides does not remove character style formatting. To remove character style formatting, select the text
containing the character style, and then click [None] in the Character Styles panel.
Break the link between text and its style
When you break the link between text and its style, the text retains its current formatting. However, future changes to
that style will not be reflected in the text that was separated from the style.
Neil Oliver provides a video tutorial about breaking a style link at Break Link to Style.
1 Select the text that is marked with the style that you want to break from.
2 Choose Break Link To Style from the Styles panel menu.
If no text is selected when you choose Break Link To Style, any new text you type uses the same formatting as the
selected style, but no style is assigned to that text.
Convert style bullets and numbering to text
When you create a style that adds bullets or numbering to paragraphs, these bullets and numbers may be lost if the text
is copied or exported to a different application. To avoid this problem, convert the style bullets or numbering to text.
Note: If you convert style bullets in an InCopy story linked to an InDesign layout, the change may be overridden when
the content is updated in InDesign.
1 In the Paragraph Styles panel, select the style that contains the bullets and numbering.
2 In the Paragraph Styles panel menu, choose Convert “[style]” Bullets and Numbering to Text.
If you convert bullets and numbering to text in a style on which another style is based (a parent style), the bullets and
numbering in the child style are also converted to text.
After you convert numbering to text, you may need to update numbers manually if you edit the text.
More Help topics
“Create a paragraph style for running lists” on page 264
Find and replace character and paragraph styles
Use the Find/Change dialog box to find instances of a particular style and replace it with another.
1 Choose Edit &gt; Find/Change.
2 For Search, select Document to change the style throughout the document.
3 Leave the Find What and Change To options blank. If the Find Format and Change Format boxes don’t appear at
the bottom of the dialog box, click More Options.
4 Click the Find Format box to display the Find Format Settings dialog box. Under Style Options, select the character
or paragraph style you want to search for, and then click OK.
5 Click the Change Format box to display the Change Format Settings dialog box. Under Style Options, select the
replacement character or paragraph style, and then click OK.
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6 Click Find, and then use the Change, Change/Find, or Change All buttons to replace the style.
More Help topics
“Find and change text” on page 146
“Find and change fonts” on page 158
Drop caps and nested styles
There are three main ways to use Drop Caps and Nested Styles feature: to apply a character style to a drop cap, to apply
a nested style to text at the beginning of a paragraph, and to apply a nested line style to one or more lines in a paragraph.
Apply a character style to a drop cap
You can apply a character style to the drop-cap character or characters in a paragraph. For example, if you want a dropcap character to have a different color and font than the rest of the paragraph, you can define a character style that has
these attributes. Then you can either apply the character style directly to a paragraph, or you can nest the character
style in a paragraph style.
hat you don’t feel,
you will not grasp by art,
Unless it wells out of your soul
And with sheer pleasure takes control,
Compelling every listener’s heart.
But sit – and sit, and patch and knead,
Drop cap formatted automatically by nested character style
Neil Oliver provides a video tutorial about embedding drop cap in a paragraph style at Nested Drop Caps.
1 Create a character style that has the formatting you want to use for the drop-cap character.
2 Do one of the following:
• To apply the drop cap to a single paragraph, choose Drop Caps And Nested Styles from the Paragraph panel menu.
• To nest the character style in a paragraph style, double-click the paragraph style, and then click Drop Caps And
Nested Styles.
3 Specify the number of drop-cap lines and characters, and then choose the character style.
4 If the drop cap is aligned too far away from the left edge, select Align Left Edge.
Selecting this option uses the original left side bearing of the drop-cap character rather than the larger value. It’s
particularly useful for drop caps formatted in sans serif fonts.
5 If the drop cap character overlaps the text below it, select Scale For Descenders.
6 Click OK.
If you want to apply a different nested style to any characters after the drop cap, use the New Nested Style option. (See
“Create nested styles” on page 191.)
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More Help topics
“Use drop caps” on page 244
Create nested styles
You can specify character-level formatting for one or more ranges of text within a paragraph or line. You can also set
up two or more nested styles to work together, one taking over where the previous one ends. For paragraphs with
repetitive and predictable formatting, you can even loop back to the first style in the sequence.
Nested styles are especially useful for run-in headings. For example, you can apply one character style to the first letter
in a paragraph and another character style that takes effect through the first colon (:). For each nested style, you can
define a character that ends the style, such as a tab character or the end of a word.
In this example, the Number character style formats the first word, and the Run-in character style formats text through the first colon.
Michael Murphy provides an article on nested styles at InDesign's Nested Styles Auto-Format Multiple Paragraphs.
He also provides a series of video tutorials that starts at Nested Style Sheets.
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Create one or more nested styles
1 Create one or more character styles that you want to use to format text.
2 Do one of the following:
• To add nested styles to a paragraph style, double-click the paragraph style, and then click Drop Caps And Nested
Styles.
• To add nested styles to a single paragraph, choose Drop Caps And Nested Styles from the Paragraph panel menu.
Note: For best results, apply nested styles as part of paragraph styles. If you apply nested styles as local overrides to a
paragraph, subsequent editing or formatting changes in the nested style can produce unexpected character formatting in
the styled text.
3 Click New Nested Style one or more times.
4 Do any of the following for each style, and then click OK:
• Click the character style area, and then select a character style to determine the appearance of that section of the
paragraph. If you haven’t created a character style, choose New Character Style and specify the formatting you want
to use.
• Specify the item that ends the character style formatting. You can also type the character, such as a colon (:) or a
specific letter or number. You cannot type a word.
• Specify how many instances of the selected item (such as characters, words, or sentences) are required.
• Choose Through or Up To. Choosing Through includes the character that ends the nested style, while choosing Up
To formats only those characters that precede this character.
• Select a style and click the up button
or down button
to change the order of the styles in the list. The order
of the styles determines the sequence in which the formatting is applied. The formatting defined by the second style
begins where the formatting of the first style concludes. If you apply a character style to the drop cap, the drop-cap
character style acts as the first nested style.
Create nested line styles
You can apply a character style to a specified number of lines in a paragraph. As with nested styles, you can set up two
or more nested line styles to work together, and you can create a repeating sequence.
Attributes applied by nested line styles can co-exist with attributes applied by nested styles. For example, a nested line
style can apply a color while a nested style can apply italics. If both set conflicting settings of the same attribute, such
as red and blue, the nested style takes precedence over the nested line style.
1 Create one or more character styles that you want to use to format text.
2 Do one of the following:
• To add nested line styles to a paragraph style, double-click the paragraph style, and then click Drop Caps And
Nested Styles.
• To add nested line styles to a single paragraph, choose Drop Caps And Nested Styles from the Paragraph panel
menu.
3 Click New Nested Line Style one or more times.
4 Click the character style area, and then select a character style to determine the appearance of that section. If you
haven’t created a character style, choose New Character Style and specify the formatting you want to use.
5 Specify the number of paragraph lines you want the character style to affect.
Select a style and click the up button
or down button
to change the order of the styles in the list. The order
determines the sequence in which the formatting is applied.
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6 Click OK.
Loop through nested styles
You can repeat a series of two or more nested styles throughout a paragraph. A simple example would be to alternate
red and green words in a paragraph. Or, in nested line styles you could alternate red and green lines in a paragraph.
The repeating pattern remains intact even if you add or remove words in the paragraph.
1 Create the character styles you want to use.
2 Edit or create a paragraph style, or place the insertion point in the paragraph you want to format.
3 In the Drop Caps And Nested Styles section or dialog box, click New Nested Style (or New Nested Line Style) at
least twice and choose settings for each style.
4 Do either of the following:
• For nested styles, click New Nested Style again, choose [Repeat] in the character style area, and specify how many
nested styles will be repeated.
• For nested line styles, click New Nested Line Style again, choose [Repeat] in the character style area, and specify
how many lines will be repeated.
In some cases, you may want to skip the first style or styles. For example, an events calendar paragraph may include
“This Week’s Events” followed by days of the week and their events. In this case, you could create five nested styles:
one for “This Week’s Events,” one each for the day, event, and event time, and a final style with a [Repeat] value of 3,
thereby excluding the first nested style from the loop.
The [Repeat] item should be the last in the list. Any nested style below [Repeat] is ignored.
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NIGHT&amp;DAY
4/2 (MON) Dana Bettis - 8pm 4/3 (TUE) Mot Mazu - 8 &amp; 10pm
Osamu Noda &amp; Electric Wires - 9pm 4/5 (THU) Zagaby - 9pm
4/6-7 (FRI&amp;SAT) Stan Macoo - 9 &amp; 11pm
4/4 (WED)
Looping through nested styles
5 Click OK.
Nested style character style options
To determine how a nested character style ends, select any of the following:
If you don’t want the character to be included in the nested style formatted, choose Up To instead of Through when
you define the nested style.
Sentences Periods, question marks, and exclamation points indicate the end of a sentence. If a quotation mark follows
the punctuation, it is included as part of the sentence.
Words Any space or white space character indicates the end of a word.
Characters Any character other than zero-width markers (for anchors, index markers, XML tags and so on) is
included.
Note: If you select Characters, you can also type a character, such as a colon or a period, to end the nested style. If you
type multiple characters, any of those characters will end the style. For example, if your run-in headings end with a
hyphen, colon, or question mark, you can type -:? to end the nested style where any of these characters appears.
Letters Any character that does not include punctuation, white space, digits, and symbols.
Digits The Arabic numerals 0–9 are included.
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End Nested Style Character Extends the nested style up to or through the appearance of the End Nested Style character
you insert. To insert this character, choose Type &gt; Insert Special Character &gt; Other &gt; End Nested Style Here.
Tab Characters Extends the nested style up to or through the tab character (not the tab setting).
Forced Line Break Extends the nested style up to or through the forced line break. (Choose Type &gt; Insert Break
Character &gt; Forced Line Break.)
Indent To Here Character Extends the nested style up to or through the Indent To Here character. (Choose Type &gt;
Insert Special Character &gt; Other &gt; Indent To Here.)
Em Spaces, En Spaces, or Non-breaking Spaces Extends the nested style up to or through the space character. (Choose
Type &gt; Insert White Space &gt; [space character].)
Anchored Object Marker Extends the nested style up to or through an inline graphic marker, which appears where an
inline graphic is inserted.
Auto Page Number / Section Marker Extends the nested style up to or through the page number or section name
marker.
End a nested style
In most cases, a nested style ends where the condition of the defined style is met, such as after three words or where a
period appears. However, you can also end a nested style before the condition is met using the End Nested Style Here
character.
1 Place the insertion point where you want the nested style to end.
2 Choose Type &gt; Insert Special Character &gt; Other &gt; End Nested Style Here.
This character ends the nested style at that point, regardless of the nested style definition.
Remove the formatting of a nested style
• In the Drop Caps And Nested Styles dialog box, or in the Drop Caps And Nested Styles section of the Paragraph
Style Options dialog box, select the nested style and click Delete.
• Apply a different paragraph style.
Create GREP styles
GREP is an advanced, pattern-based search technique. You can use GREP styles to apply a character style to text that
conforms to the GREP expression you specify. For example, suppose you want to apply a character style to all the
phone numbers in text. When you create a GREP style, you select the character style and specify the GREP expression.
All paragraph text that matches the GREP expression is formatted with the character style.
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A
B
Using GREP style to format phone numbers with a character style
A. Character style B. GREP expression
For a video tutorial on creating GREP styles, see www.adobe.com/go/lrvid4028_id.
David Blatner provides real-world examples of GREP styles at 5 Cool Things You Can Do with GREP Styles. Cari
Jansen provides a four-part series about GREP styles that begins at Introducing GREP Styles.
1 Do one of the following:
• To apply GREP styling to individual paragraphs, select the paragraphs and choose Grep Styles from the
Paragraph or Control panel menu.
• To use GREP styles in a paragraph style, create or edit a paragraph style, and click the GREP Styling tab on the
left side of the Paragraph Style Options dialog box.
2 Click New GREP Style.
3 Click to the right of Apply Style, and then specify a character style. If you haven’t created a character style to use,
choose New Character Style and specify the formatting you want to use.
4 Click to the right of To Text and do any of the following to construct a GREP expression:
• Enter the search expression manually. (See “Metacharacters for searching” on page 153.)
• Click the Special Characters For Search icon to the right of the To Text field. Choose options from the Locations,
Repeat, Match, Modifiers, and Posix submenus to help construct the GREP expression.
5 Click OK.
More Help topics
“Search using GREP expressions” on page 149
GREP styles video
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Object styles
About object styles
Just as you use paragraph and character styles to quickly format text, you can use object styles to quickly format
graphics and frames. Object styles include settings for stroke, color, transparency, drop shadows, paragraph styles, text
wrap, and more. You can assign different transparency effects for the object, fill, stroke, and text.
You can apply object styles to objects, groups, and frames (including text frames). A style can either clear and replace
all object settings or it can replace only specific settings, leaving other settings unchanged. You control which settings
the style affects by including or excluding a category of settings in the definition.
When creating styles, you might find that several styles share some of the same characteristics. Rather than setting
those characteristics each time you define the next style, you can base one object style on another. When you change
the base style, any shared attributes that appear in the “parent” style change in the “child” style as well.
For a video tutorial on using object styles, see www.adobe.com/go/vid0072.
More Help topics
Object Styles video
Object Styles panel overview
Use the Object Styles panel to create, edit, and apply object styles. For each new document, the panel initially lists a
default set of object styles. Object styles are saved with a document and display in the panel each time you open that
document. The Text Frame icon marks the default style for text frames; the Graphics Frame icon marks the
default style for graphics frames and drawn shapes.
Open the Object Style panel
❖ Choose Window &gt; Styles &gt; Object Styles.
Change how object styles are listed in the panel
• Select Small Panel Rows from the panel menu to display a more condensed version of the object styles.
• Drag the object style to a different position. When a black line appears in the desired position, release the mouse
button.
• Select Sort By Name from the panel menu to list the object styles in alphabetical order.
Define object styles
You can define a style based on the settings you’ve already applied to an object, or you can create a style from scratch
or based on another style.
1 Select the object or text frame that uses the settings you want the object style to include.
2 Choose New Object Style from the Object Styles panel menu, or Alt-click (Windows) or Option-click (Mac OS) the
Create New Style button.
3 In the New Object Style dialog box, type a name for the style.
4 To base the style on another style, choose a style for Based On.
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Note: The Based On option lets you link styles to each other, so that changes in one style ripple through the styles that are
based on it. If you make changes to the formatting of a child style and decide you want to start over, click Reset To Base.
That restores the child style’s formatting to be identical to the style on which it’s based.
5 To add a keyboard shortcut, position the insertion point in the Shortcut box, and make sure Num Lock is turned
on. Then hold down any combination of Shift, Alt, and Ctrl (Windows) or Shift, Option, and Command (Mac OS),
and press a number on the numeric keypad. You cannot use letters or non-keypad numbers for defining style
shortcuts.
6 Under Basic Attributes, select any additional categories that contain options you want to define, and set the options
as desired. Click the check box to the left of each category to indicate whether it should be included or ignored in
the style.
7 To apply effects, choose an option in Effects For (Object, Stroke, Fill, or Text), and then select categories of effects
and specify their settings. You can specify different effects for each category. Indicate which Effects categories
should be turned on, turned off, or ignored in the style.
8 Click OK.
Object style categories
If you want the style to apply only certain attributes, leaving any other settings untouched, make sure that the
categories you want the style to control are in the appropriate state. You can use any of three states for each category:
turned on, turned off, or ignored. For example, checking the Drop Shadow box will include drop shadow formatting
in the object style. Deselecting the Drop Shadow box will indicate that drop shadow is turned off as part of the style —
any drop shadow applied to an object appears as an override. Setting the Drop Shadow box to “ignore” (a small box in
Windows or a hyphen in Mac OS) will leave drop shadow out of the style, so any drop shadow applied to the style does
not appear as an override.
A
B
C
Object style categories
A. Turned on B. Ignored C. Turned off
Note: Categories in which the settings can be turned on or off individually, such as Fill, Stroke, and Transparency, have
only two states. They can either be turned on or ignored.
The Paragraph Styles category is ignored by default, even if you’re creating a text frame. This category is applicable
only if the object is an unthreaded text frame.
Apply object styles
If you apply an object style to a group of objects, the object style is applied to each object in the group. To apply an
object style to a group of objects, nest the objects within a frame. (The Edit &gt; Paste Into command is one way to paste
an object into a frame.)
1 Select an object, frame, or group.
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2 Click an object style in the Control panel or the Object Styles panel to apply a style.
If you choose Clear Overrides When Applying Style from the Object Styles panel, clicking an object style clears
overrides by default. If this option is not selected, you can Alt-click (Windows) or Option-click (Mac OS) the object
style to clear overrides while applying the style.
You can also drag an object style onto an object to apply the style without first selecting the object.
If a group is selected when you apply an object style, the style is applied to each object in the group.
Once you apply a style, you can apply other settings to the object as needed. Although you may override a setting
defined in the style, you do not lose the connection to the style.
More Help topics
“Use Quick Apply” on page 226
Use default object styles
For each new document, the Object Styles panel lists a default set of object styles. Whenever you create an object, an
object style is applied to it. By default, if you create a text frame, the [Basic Text Frame] object style is applied. If you
draw a path or shape, the [Basic Graphics Frame] object style is applied. If you place an image or draw a placeholder
shape that has an X in it, the [None] object style is applied. You can select a different object style to use as the default
for text frames and graphics frames.
• To change the default style for a text frame, choose Default Text Frame Style from the Object Styles panel menu,
and then select the object style.
• To change the default style for a graphics frame, choose Default Graphics Frame Style from the Object Styles panel
menu, and then select the object style.
• To change the default style for any object type, drag the icon that marks the default object type from one object style
to another.
Note: If you select an object style when no frame is selected, that object style becomes the new default object style for text
or graphics, depending on which tool is selected in the toolbox.
You can edit the [Basic] styles, but you cannot delete them.
Clear object style overrides
When formatting is applied to an object that differs from part of the style definition applied to that object, it is called
an override. When you select an object with an override, a plus sign (+) appears next to the style name.
Use the Clear Overrides command to override any formatting that is either turned on or off in the object style; use the
Clear Attributes Not Defined By Style to clear ignored attributes.
Clear object style overrides
1 Select an object or group that you want to change.
2 In the Object Styles panel, click the Clear Overrides button
at the bottom of the Object Styles panel.
An override is displayed only if the applied attribute is part of the style.
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Clear attributes ignored in an object style
You may want to remove attributes from an object, even if those attributes are ignored in a style. For example, if the
Fill category is ignored in an object style and you apply a red fill to a frame to which the object style is applied, choosing
Clear Attributes Not Defined By Style removes the red fill.
Note: If an object style category is turned off (unchecked) rather than ignored, use the Clear Overrides command to
override the style.
1 Select an object or group that you want to change.
2 In the Object Styles panel, click the Clear Attributes Not Defined By Style button
at the bottom of the Object
Styles panel.
Break the link to an object style
You can break the link between an object and the style applied to it. The object will retain the same attributes, but will
no longer change if the style is changed.
1 Select the object that has the object style applied to it.
2 Choose Break Link To Style from the Object Styles panel menu.
If you don’t want to retain the formatting of the object style, choose [None] in the Object Styles panel.
Rename an object style
1 Make sure no objects are currently selected so that a style isn’t mistakenly applied.
2 In the Object Styles panel, double-click the object style you want to rename.
3 In the Object Style Options dialog box, type a new name for the style, and click OK.
You can also edit an object style directly in the panel. Click the style, pause, and then click again to edit the style name.
Edit object styles
1 Do one of the following:
• If you don’t want the style to be applied to the selected frame or set as the default, right-click (Windows) or Controlclick (Mac OS) the style name in the Object Styles panel, and choose Edit [style name].
• In the Object Styles panel, double-click the style name, or select the style and choose Style Options in the Styles
panel menu. Note that this applies the style to any selected object or sets it as the default object type.
2 In the Object Style Options dialog box, select the category that contains the options you want to change, and change
the desired settings.
3 Determine whether object style categories are turned on, turned off, or ignored.
4 Click OK.
Delete an object style
1 In the Object Styles panel, select an object style.
2 Choose Delete Style from the panel menu or drag the style to the Delete icon at the bottom of the Object Styles
panel.
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3 If you delete a style that is applied to objects or on which other styles are based, you will be prompted to specify a
replacement style in the Delete Object Style dialog box. Do one of the following:
• To restyle objects that currently use the deleted style, choose the style you want to apply to the objects and click OK.
• To leave objects unchanged, choose [None], make sure Preserve Formatting is checked, and click OK. Any objects
that use the deleted style retain the same attributes, but are no longer associated with a style.
• To remove all attribute settings you’ve applied, choose [None], deselect Preserve Formatting, and click OK.
Note: To delete all styles not applied to objects, choose Select All Unused from the Object Styles panel menu, and then
click the Delete icon.
Redefine an object style
After you apply an object style, you can override any of its settings. If you decide you like the changes you made to a
particular object, you can redefine the style so that it matches the formatting of the object you changed. Be aware that
the Redefine Object Style command redefines only categories that are turned on or turned off, but not categories that
are ignored. If the object includes additional settings, you’ll need to add those settings separately to the style, or simply
create a new object style.
1 Select an object that is using the style you want to change.
2 Adjust the desired appearance attributes.
3 In the Object Styles panel, choose Redefine Style from the Object Styles panel menu.
The object style definition changes to match the override settings you applied. All occurrences of the object style in the
document are updated to use the new settings.
Note: If the Redefine Object Style option is not available, the attributes you set are not part of the object style definition.
To change the style definition directly, choose Object Style Options instead, or create a new style from the object.
Import object styles
You can import styles from other documents. In addition to object styles themselves, InDesign imports any swatches,
custom strokes, character styles, or paragraph styles that are used in the styles. If a swatch, stroke, or paragraph style
that you import has the same name but different values than an existing swatch or style, InDesign renames it.
1 Select Load Object Styles from the Object Styles panel menu.
2 Select the file from which you want to import object styles, and click Open.
3 In the Load Styles dialog box, make sure that a check mark appears next to the styles you want to import. If there
is a style name conflict, choose one of the following options under Conflict With Existing Style, and then click OK:
Use Incoming Style Definition Overwrites the existing style with the loaded style and applies its new attributes to all
objects in the current document that used the old style. The definitions of the incoming and existing styles are
displayed at the bottom of the Load Styles dialog box so that you can view a comparison.
Auto-Rename Renames the loaded style.
The object styles appear in the Object Styles panel.
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Working with styles
Duplicate styles or style groups
❖ Right-click (Windows) or Control-click (Mac OS) a style or style group in the Styles panel, and then choose
Duplicate Style.
A new style or group appears in the Styles panel, with the same name followed by “copy.” If you duplicated a group of
styles, the style names within the new group remain the same.
You can also duplicate styles by copying them to another group.
Group styles
You can organize styles by grouping them into separate folders in the Character Styles, Paragraph Styles, Object Styles,
Table Styles, and Cell Styles panels. You can even nest groups within groups. Styles do not need to be in a group; you
can add them to a group or to the root level of the panel.
Create a style group
1 In the Styles panel:
• To create the group at the root level, deselect all styles.
• To create a group within a group, select and open a group.
• To include existing styles in the group, select the styles.
2 Choose New Style Group from the Styles panel menu, or choose New Group From Styles to move the selected styles
into the new group.
3 Type the name of the group and click OK.
4 To move a style into the group, drag the style over the style group. When the style group is highlighted, release the
mouse button.
Copy styles to a group
When you copy a style to a different group, the styles are not linked. Even though they have the same name, editing
one style does not change the attributes of the other style.
1 Select the style or group you want to copy.
2 Choose Copy To Group from the Styles panel menu.
3 Select the group (or [Root] level) that you want to copy the styles or group to, and then click OK.
If the group already contains style names identical to those being copied, incoming styles are renamed.
Expand or collapse style groups
• To expand or collapse only one group, click the triangle icon next to it.
• To expand or collapse the group and all its subgroups, Ctrl-click (Windows) or Command-click (Mac OS) the
triangle icon.
Delete style groups
Deleting a style group deletes the group and everything inside it, including styles and other groups.
1 Select the group you want to delete.
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2 Choose Delete Style Group from the Styles panel menu, and then click Yes.
3 For each style in the group, specify a replacement style or choose [None], and then click OK.
If you want to use the same replacement style for all styles, select Apply To All.
If you cancel the replacement of any style, the group is not deleted. You can recover deleted styles by choosing Edit &gt;
Undo Delete Styles.
Move and reorder styles
By default, styles you create appear at the bottom of the style group or panel.
• To alphabetize all groups and styles within groups, choose Sort By Name from the Styles panel menu.
• To move a single style, drag it to a new location. A black line indicates where the style will be moved to; a highlighted
group folder indicates that the style will be added to that group.
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Chapter 7: Combining text and objects
Anchored objects
About anchored objects
Anchored objects are items, such as images or text boxes, that are attached—or anchored—to specific text. The
anchored object travels with the text containing the anchor as the text reflows. Use anchored objects for all objects that
you want associated with a particular line or block of text, for example, sidebars and callouts, figures, or icons
associated with a specific word.
You can create an anchored object by pasting or placing an object (or frame) into text using the Type tool or by using
the Insert Anchored Object command. When you place the object, Adobe InDesign CS4 adds an anchor marker at the
insertion point. Anchored objects inherit the rotation and skew attributes of the text frame they’re anchored to—even
when the object is positioned outside of the text frame. You can select the object and change these attributes.
You can create anchored objects that use any of the following positions:
Inline Aligns the anchored object with the baseline of the insertion point. You can adjust the Y Offset to position the
object above or below the baseline. This is the default type of anchored object. In earlier versions of InDesign, these
objects were called inline graphics.
Above Line Places the anchored object above the line with the following choices of alignment: Left, Center, Right,
Towards Spine, Away From Spine, and (Text Alignment). Text Alignment is the alignment applied to the paragraph
that holds the anchor marker.
Custom Places the anchored object in the position that you define in the Anchored Object Options dialog box. You
can position the object anywhere inside or outside the text frame.
Note: You can use inline and above line positioned objects with type on a path. (See “Add anchored objects to type on a
path” on page 221.)
A
B
C
Sample document with anchored objects
A. Inline position B. Above line position (aligned left) C. Custom position (aligned to the edge of the text frame)
For a video tutorial on working with anchored frames, see www.adobe.com/go/vid0073.
Tim Cole provided a shortcut on inserting anchored frames at Anchored Frames Productivity Shortcut.
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Create an anchored object
If an object isn’t available to place into the document (for example, sidebar text that is not written yet), you can create
an empty anchored frame as a placeholder for content you can add later. You can resize the anchored frame at any time
and the position settings for the frame update automatically.
1 Do one of the following:
• To add an anchored object, use the Type tool to position an insertion point where you want the object’s anchor to
appear, and then place or paste the object.
If the frame for the object is taller than the line of text in which it appears, text might overlap the imported image or
you might see increased space above the line. Consider selecting a different anchored object position, inserting a soft
or hard line break, resizing the inline object, or specifying a different leading value for the surrounding lines.
• To anchor an existing object, select it and choose Edit &gt; Cut. Then, using the Type tool, position the insertion point
where you want the object to appear, and choose Edit &gt;Paste. By default, the anchored object’s position is inline.
• To add a placeholder frame for an object that isn’t available (for example, text you have yet to write for a sidebar),
use the Type tool to position the insertion point where you want the object’s anchor to appear; then choose Object &gt;
Anchored Object &gt; Insert.
You can anchor text characters by creating outlines of the text. Creating outlines automatically converts each
character of text to an inline anchored object.
2 To position the object, select it with a selection tool and choose Object &gt; Anchored Object &gt; Options. Specify
options as desired.
To bypass the Anchored Object dialog box, use the Insert Anchored Object/Go To Anchor Marker keyboard shortcut.
You’ll need to designate keys for this shortcut in the Keyboard Shortcut Editor (it’s listed in the Text and Tables area).
Pressing the shortcut twice deselects the object and positions the cursor back in the main text. (See “Use keyboard shortcut
sets” on page 21.)
Inserted Anchored Objects options
When you insert a placeholder for an anchored object, you can specify the following options for the contents:
Content Specifies the type of object the placeholder frame will contain.
Note: If you choose Text, an insertion point appears in the text frame; if you choose Graphic or Unassigned, InDesign
selects the object frame.
Object Style Specifies the style you want to use to format the object. If you have defined and saved object styles, they
will appear in this menu.
Paragraph Style Specifies the paragraph style you want to use to format the object. If you have defined and saved
paragraph styles, they will appear in this menu.
Note: If the object style has a paragraph style enabled and you choose a different style from the Paragraph Style menu, or
if you make changes to the Anchored Position options for a style, a plus sign (+) appears in the Object Style menu
indicating that overrides have been made.
Height and Width Specify the dimensions of the placeholder frame.
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Inline and Above Line position options
When you choose Inline or Above Line from the Position menu in the Anchored Object Options dialog box, the
following options are available for setting the position of the anchored object. (You can also access these options in the
Insert Anchored Object dialog box.)
Inline Aligns the bottom of the anchored object to the baseline. Inline objects are subject to certain constraints when
moving along the y axis: the top of the object can’t go below the bottom leading slug and the bottom of the object can’t
go above the top of the leading slug.
Y Offset Adjusts the position on the baseline. You can also use the mouse to drag the object vertically on the page.
Above Line Aligns the object above the text line containing the anchor marker and below the line of text above the
anchor marker.
Alignment Choose from the following options:
• Left, Right, and Center Align the object within the text column. These options ignore indent values applied to the
paragraph and align the object within the entire column.
• Towards Spine and Away From Spine Align the object left or right depending on the side of the spread the object is
on. These options ignore indent values applied to the paragraph and align the object within the entire column.
• (Text Alignment) Aligns the object based on the alignment defined by the paragraph. This option uses the
paragraph indent values when aligning the object.
Space Before Specifies the position of the object relative to the bottom of the leading slug in the preceding line of text.
Positive values lower both the object and the text below it. Negative values move the text below the object up toward
the object. The maximum negative value is the height of the object.
Space After Specifies the position of the object relative to the cap-height of the first character in the line below the
object. A value of 0 aligns the bottom of the object to the cap-height position. Positive values move the text below the
object down (away from the bottom of the object). Negative values move the text below the object up (toward the
object).
A
B
Using the Space Before and Space After options
A. A Space Before value of 0P10 moves the object and it’s associated text further away from the text line above it. B. A Space After value of 0p10
moves the object and the text line above it further away from its associated text line (below).
Note: Anchored objects set to Above Line will always remain with the line that holds the anchor; the text won’t compose
such that the object is on the bottom of one page and the anchor marker’s line is at the top of the next page.
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Custom position options
You can use the following options when positioning a custom-positioned anchored object. You can specify these
options in the Insert Anchored Object dialog box or the Anchored Object Options dialog box. For step-by-step
instructions for using these options, see “Position a custom-positioned anchored object” on page 209.
Relative To Spine Specifies whether the object aligns relative to the document spine. When you select this option, the
Anchored Object Reference Point proxy displays as a two page spread. The two pages mirror each other. When
selected, objects positioned on one side of a spread, for instance the outside margin, remain on the outside margin even
when the text reflows to a facing page.
A
B
Using the Relative To Spine option
A. Relative To Spine not selected: the object remains on the left side of the text frame when text reflows across to the right side of the spread.
B. Relative To Spine selected: the object remains on the outside edge of the page when the text reflows to the right side of the spread.
Note: If, after you select Relative To Spine you adjust the X Offset value, the direction the object moves may change. This
change occurs because the direction of movement depends partly on the side of the spread the object is on.
Specifies the location on the object that you want to align to the location on the
page (as specified by the Anchored Position Reference Point). For example, if you want to align the right side of the
object with a page item, such as a text frame, click a rightmost point on this proxy. For more information on using this
reference point, see “Position a custom-positioned anchored object” on page 209.
Anchored Object Reference Point
Specifies the location on the page (as defined by the X and Y Relative To
options), to which you want to align the object. For example, if you choose Text Frame for X Relative To and Line
(Baseline) for Y Relative To, this proxy represents the horizontal area of the text frame and the vertical area of the text
line containing the object’s anchor marker. If you click the leftmost point on this proxy, the object’s reference point
will align with the left edge of the text frame and the baseline of the text.
Anchored Position Reference Point
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Right side of object aligned with left side of text frame
Note: Depending on what you choose for X Relative To and Y Relative To, the Anchored Position Reference Point proxy
displays either three or nine positions. Line options, such as Line (Baseline) provide only three options—middle left,
center, and middle right—because the vertical positioning is established by the anchor marker in the text.
X Relative To Specifies what you want to use as the basis for horizontal alignment. For instance, Text Frame lets you
align the object to the left, center, or right side of the text frame. Where exactly it aligns horizontally depends on the
reference points you choose and any offset you specify for X Offset.
For example, if you want the object to appear in the page margin with its right edge flush with the page margin, choose
Page Margin for X Relative To and specify a rightmost point on the Anchored Object Reference Point proxy and a
leftmost point for the Anchored Position Reference Point proxy.
A
B
The X Relative To option
A. Aligning the right side of the object to the left side of the text frame B. Aligning the right side of the object to the left side of the page margin
X Offset Moves the object left or right. Whether it moves to the left or right depends on the reference point. If aligning
to the center of the page item, positive values move the object to the right. The direction of movement also depends
on whether you’ve selected Relative To Spine.
Y Relative To Specifies what the object aligns with vertically. For example, Page Edge lets you use the edge of the page
as the basis for aligning the object to the top, center, or bottom of the page. The Anchored Position Reference Point
specifies if the object aligns to the top, center, or bottom of this page item. If you choose a line option, such as Line
(Baseline), the Anchored Position Reference Point displays only the middle horizontal row of points.
A
B
The Y Relative To option
A. Aligning the top of the object to the top page edge B. Aligning the bottom of the object to the bottom the page edge
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Y Offset Moves the object up or down. Positive values move the object downward.
Keep Within Top/Bottom Column Boundaries Keeps the object inside the text column if reflowing text would
otherwise cause it to move outside of the boundaries. In such instances, the bottom of the object will align to the
bottom inset, or the top of the object will align to the top inset. For example, an anchored object off to the side of a line
of text and in the middle of a column looks fine; however, without this option selected, if the anchored marker flows
to the bottom of the column, the object may drop below the column edge or partially off the page. When this option
is selected, you can’t drag the object above or below the column boundaries. If you resize the object, it will move back
into alignment with the top or bottom boundaries of the column, if necessary. This option is only available when you
select a line option, such as Line (Baseline) for Y Relative To.
Note: When InDesign overrides the object’s position to fall within the bounds of the column, the Y offset value you specify
appears in the dialog box with a plus sign (+).
Prevent Manual Positioning Ensures that you can’t move the anchored object by dragging or nudging it on the page.
Preview Displays the position adjustments on the page as you make them.
Position a custom-positioned anchored object
Note the following when using the Anchored Object Options dialog box to position custom-positioned anchored
objects.
• The custom position options include four main options: The two Reference Point proxies and the X and Y Relative
To menus. These options all work together to specify the object’s location. For instance, what you choose for X
Relative To and Y Relative To determines what the Anchored Position Reference Point represents—it could be a
text frame, a text line within a column, or an entire page. The following image represents how you can change the
location of the object by choosing a different reference point while leaving the X and Y Relative To options
unchanged.
A
B
C
Changing the location of the anchored object (X Relative To set to Text Frame; Y Relative To set to Line (Baseline))
A. Choosing the lower right point on the Anchored Object proxy and left center point on Anchored Position proxy. B. Changing Anchored
Object proxy point to upper left corner and leaving the Anchored Position proxy point at center left C. Leaving the Anchored Object proxy
at top left and changing Anchored Position proxy point to center right
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• To create an anchored object that maintains its position on the page (such as the top left corner) as text reflows and
moves only when the text reflows to another page, anchor the object to the page margins or page edges. For
example, set both X Relative To and Y Relative To to Page Margin, click the top left reference point for the object
and the top left reference point for the page item . As the text reflows, the object remains in the top left corner,
within the page margins. Only when the text line containing the anchor flows to another page does the object
move—to the top left corner of the next page.
A
4
5
4
5
B
Positioning anchored object to a specific location on the page
A. Position object using use Page Margin or Page Edge for X and Y Relative To B. When text reflows, object does not follow text until text
moves to another page.
• To keep the object aligned with a specific line of text so that the object stays with that text when it reflows, choose
a Line option from the Y Relative To menu.
• To keep the object within the text frame, but not with a specific line of text when text reflows, choose Text Frame
from the X Relative To menu.
• To align the object relative to the margin (for example, to create a sidebar that stays in the outside margin as the
text reflows from page to page), select Relative To Spine.
1 Select the object and choose Object &gt; Anchored Object &gt; Options.
2 From the Position menu, choose Custom.
To see the object move on the page as you specify options, select Preview at the bottom of the dialog box.
3 To keep the object on the same side of the page, relative to the document spine, select Relative To Spine. For
example, select this if you want the object to always appear in the outside margin, no matter what side of the spread
it is on.
4 Click the point on the Anchored Object Reference Point proxy
that represents the point on the object that you
want to align to the page.
5 From the X Relative To menu, choose the page item that you want to use as the horizontal basis for alignment of
the object. For example, choose Text Frame to align the object to left, right, or center of the text frame.
6 From the Y Relative To menu, choose the page item that you want to use as the vertical basis for alignment of the
object. For example, if you want the object to align to the baseline of the text to which it’s anchored, choose Line
(Baseline).
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7 Click the point on the Anchored Position Reference Point proxy
that represents where within the page items
chosen from the X and Y Relative To menus that you want to align the object.
8 Specify an X Offset or Y Offset to nudge or move the object away from the alignment point.
9 To ensure that the object does not extend below or above a column edge as text reflows, select Keep within
Top/Bottom Column Boundaries. This option is only available when you select a line option, such as Line
(Baseline), from the Y Relative To menu.
10 Click OK.
Selecting and copying anchored objects
Using the Selection tool, you can select only one anchored object at a time. Using the Type tool, you can select a range
of text with multiple anchored object markers. When you select multiple anchor markers with the Type tool, you can
change the position options for all the anchored objects at once.
Note: If you have more than one anchored object in the same position—for example, if one line of type holds the markers
for two anchored objects with the same anchoring attributes—the objects will overlap each other.
When you copy text containing an anchored object marker, you copy the anchored object as well. If you copy an
anchored object and paste it outside of text, the anchored object becomes an independent image that is not linked to text.
View anchored object markers on the page
To view anchors and their relationship to the text on the page, you can display object markers. Use any of the following
methods:
• To view the anchor markers
in the text, choose Type &gt; Show Hidden Characters.
• To view a dashed line from an anchor marker to its associated custom-positioned object, select the object and
choose View &gt; Extras &gt; Show Text Threads. The thread extends from the anchor marker to the current proxy point
for the anchored object.
• To view anchor symbols
on anchored objects, choose View &gt; Extras &gt; Show Frame Edges. Viewing anchor
symbols is helpful when determining which objects are anchored.
Reposition an anchored object on the page manually
Moving a frame moves its anchored objects, unless the object is positioned relative to margins or pages.
Note: Before moving an anchored object, make sure that you deselect the Prevent Manual Positioning option for the
object in the Anchored Objects dialog box or choose Object &gt; Unlock Position.
❖ Do one of the following:
• To move inline anchored objects, use the Selection tool or Direct Selection tool
drag vertically. You can move inline objects vertically only, not horizontally.
to select the object, and then
If you want to move an inline or above line object outside of the text frame, convert it to a custom-positioned object
and then move it as desired.
• To move an inline anchored object parallel to the baseline, place the insertion point before or after the object and
specify a new value for kerning.
If you want to move an inline or above line object outside of the text frame, convert it to a custom-positioned object
and then move it as desired.
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• To move custom-positioned anchored objects, use the Selection tool
object, and then drag vertically or horizontally.
or Direct Selection tool
to select the
You can also rotate and transform an anchored object. (See “Transform objects” on page 395 and “Rotate objects” on
page 397.)
Resize an anchored object
Before resizing an anchored object, make sure that you deselect the Prevent Manual Positioning option in the
Anchored Objects Options dialog box.
❖ Use the Selection tool
or Direct Selection tool
to select the object, and then drag the side or corner handle.
Note: Vertically resizing inline or above line anchor markers might result in the object becoming overset. If the anchor
marker is overset, the object will be overset as well.
Resizing an anchored object might also reposition the object. For example, if you’ve aligned the right side of an object
to the left side of the text frame, and then you drag the object’s right side handle 1 pica to the left (away from the text
frame boundary), the object will resize and then move back 1 pica to the right.
Release an anchored object
If you no longer want an object to move relative to its associated text, you can release it to remove its anchor.
❖ Select the anchored object with a selection tool, and choose Object &gt; Anchored Object &gt; Release.
The object’s position on the page doesn’t move.
Note: Release doesn’t work for inline or above line objects. If you can’t use Release, select the anchored object and then
cut and paste it. You can also use the Type tool to select and cut the anchored object.
Wrapping text around objects
Wrap text around objects
You can wrap text around any object, including text frames, imported images, and objects you draw in InDesign.
When you apply a text wrap to an object, InDesign creates a boundary around the object that repels text. The object
that text wraps around is called the wrap object. Text wrap is also referred to as runaround text.
Keep in mind that text wrap options apply to the object being wrapped, not the text itself. Any change to the wrap
boundary will remain if you move the wrap object near a different text frame.
For a video tutorial on using text wrap, see www.adobe.com/go/lrvid4280_id.
InDesign Magazine provides an article about text wrap at Take Control of Text Wrap.
More Help topics
“Compound paths and shapes” on page 346
Wrap text around simple objects
1 To display the Text Wrap panel, choose Window &gt; Text Wrap.
2 Using the Selection tool
or Direct Selection tool
, select the object you want to wrap text around.
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3 In the Text Wrap panel, click the desired wrap shape:
Wrap Around Bounding Box
Creates a rectangular wrap whose width and height are determined by the bounding
box of the selected object, including any offset distances you specify.
Also known as contour wrapping, creates a text wrap boundary that is the same shape
as the frame you’ve selected (plus or minus any offset distances you specify).
Wrap Around Object Shape
Wrap Around Bounding Box setting (left) compared to Wrap Around Object Shape setting (right)
Jump Object
Keeps text from appearing in any available space to the right or left of the frame.
Jump To Next Column
4
Forces the surrounding paragraph to the top of the next column or text frame.
From the Wrap To menu, specify whether the wrap is applied to a specific side (such as the right side or largest
area) or towards or away from the spine. (If you don’t see the Wrap To menu, choose Show Options from the Text
Wrap panel menu.)
This option is available only if you selected Wrap Around Bounding Box or Wrap Around Object Shape.
A
B
C
Wrap To options
A. Both right and left sides B. Side towards spine C. Side away from spine
5 Specify offset values. Positive values move the wrap away from the frame; negative values move the wrap within the
frame.
If you can’t get the text to wrap around an image, make sure that Ignore Text Wrap isn’t selected for the text frame that
doesn’t wrap. Also, if Text Wrap Only Affects Text Beneath is selected in Composition preferences, make sure that the
text frame is beneath the wrap object.
Text frames inside a group aren’t affected by a text wrap you apply to the group.
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To set default text wrap options for all new objects, deselect all objects and then specify text wrap settings.
Wrap text around imported images
To wrap text around an imported image, save the clipping path in the application where you created the image, if
possible. When you place the image in InDesign, select the Apply Photoshop Clipping Path option in the Image Import
Options dialog box.
1 To display the Text Wrap panel, choose Window &gt; Text Wrap.
2 Select an imported image, and in the Text Wrap panel, click Wrap Around Object Shape
.
3 Specify offset values. Positive values move the wrap away from the frame; negative values move the wrap within the
frame.
4 Choose Show Options from the Text Wrap panel menu to display additional options.
5 From the Type menu, choose a contour option:
Bounding Box Wraps text to the rectangle formed by the image’s height and width.
Detect Edges Generates the boundary using automatic edge detection. (To adjust edge detection, select the object and
choose Object &gt; Clipping Path &gt; Options.)
Alpha Channel Generates the boundary from an alpha channel saved with the image. If this option isn’t available, no
alpha channels were saved with the image. InDesign recognizes the default transparency in Adobe Photoshop (the
checkerboard pattern) as an alpha channel; you must otherwise use Photoshop to delete the background or create and
save one or more alpha channels with the image.
Photoshop Path Generates the boundary from a path saved with the image. Choose Photoshop Path, and then choose
a path from the Path menu. If the Photoshop Path option isn’t available, no named paths were saved with the image.
Graphic Frame Generates the boundary from the container frame.
Same As Clipping Generates the boundary from the imported image’s clipping path.
6 To let text appear inside “holes” of an image, such as the inside of a tire image, select Include Inside Edges.
Include Inside Edges off (left) and on (right)
Create an inverted text wrap
1 Using the Selection tool
or Direct Selection tool
, select an object, such as a compound path, that will allow
text to wrap inside it.
2 To display the Text Wrap panel, choose Window &gt; Text Wrap.
3 Apply a text wrap to an object, and select the Invert option. Invert is commonly used with the Object Shape text wrap.
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Object Shape text wrap (left) and with Invert option selected (right)
Change the shape of a text wrap
1 Using the Direct Selection tool
, select an object that has a text wrap applied to it. If the text wrap boundary is the
same shape as the object, the boundary is superimposed on the object.
2 Do any of the following:
• To uniformly change the distance between the text and wrap object, specify offset values in the Text Wrap panel.
• To edit the text wrap boundary, use the Pen tool
and Direct Selection tool.
Editing text wrap boundary
If you manually change the shape of a text wrap path, User-Modified Path is selected in the Type menu and remains
dimmed in the menu. This indicates that the path of the shape has changed.
If you want to use the original clipping path rather than the edited text wrap boundary, choose Same As Clipping from
the Type menu in the Text Wrap panel.
Apply text wrap on master page items
If the Apply To Master Page Only option is selected, you must override a master page item on a document page to wrap
text around it. If this option is deselected, text on both master pages and document pages can wrap around the master
page items without the master page items being overridden.
1 Select the object on the master page.
2 From the Text Wrap panel menu, select or deselect Apply To Master Page Only.
This option is available only when an object on a master page is selected and has a wrap applied to it.
More Help topics
“Master pages” on page 63
Wrapping text around anchored objects
If you apply text wrap to an anchored object, the wrap affects the lines of text in the story that follow the anchor marker.
However, the wrap doesn’t affect the line of text that includes the anchor marker or any lines before it.
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When you paste an object as an inline object, its text wrap boundaries are preserved.
Suppress text wrap on hidden layers
When you hide a layer that contains a wrap object, the text frames on other layers wrap around the object, unless you
select the Suppress Text Wrap When Layer Is Hidden option in the Layer Options dialog box. If this option is selected,
hiding a layer can cause text on other layers to be recomposed.
1 In the Layers panel, double-click the layer that contains the wrap object.
2 Select Suppress Text Wrap When Layer Is Hidden.
Justify text next to wrap objects
When you specify how text is justified next to wrap objects, the change applies to the entire document.
1 Choose Edit &gt; Preferences &gt; Composition (Windows) or InDesign &gt; Preferences &gt; Composition (Mac OS).
2 Select one of the following options, and click OK:
Justify Text Next To An Object Justifies text next to wrap objects that separate a column of text. This setting takes effect
only when the text wrap completely interrupts lines of text so that each line is divided into two or more parts.
A
B
Justify Text Next To An Object
A. Option turned off B. Option turned on
Skip By Leading Moves wrapped text to the next available leading increment below a text-wrapped object. If this
option isn’t selected, lines of text may jump below an object in a way that prevents text from lining up with text in
neighboring columns or text frames. Selecting this option is especially useful when you want to make sure that the text
aligns to the baseline grid.
Text Wrap Only Affects Text Beneath Text stacked above the wrapped object isn’t affected by the text wrap. Stacking
order is determined by layer position in the Layers panel and by the stacking order of objects on a layer.
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Ignore text wrap in a text frame
In some cases, you’ll want to turn off text wrap in a text frame. For example, you may want one text frame to wrap
around an image, but you may want a different text frame to appear within the image.
1 Select the text frame, and choose Object &gt; Text Frame Options.
2 Select Ignore Text Wrap, and click OK.
Creating type on a path
Create type on a path
You can format text to flow along the edge of an open or closed path of any shape. Apply options and effects to type on
a path: Slide it along the path, flip it over to the other side of the path, or use the shape of the path to distort the
characters. Type on a path has an in port and an out port just like other text frames, so you can thread text to and from it.
You can include only one line of type on a path, so any type that won’t fit on the path will be overset (hidden), unless
you’ve threaded it to another path or text frame. You can add inline or above line anchored objects to type on a path.
You can’t create type on a path using compound paths, such as those that result from using the Create Outlines
command.
A
B
C
D
E
Type on a path
A. Start bracket B. In port C. Center bracket D. End bracket E. Out port indicating threaded text
1 Select the Type On A Path tool
. (Click and hold the Type tool to display a menu containing the Type On A Path
tool.)
2 Position the pointer on the path until a small plus sign appears next to the pointer
, and then follow these steps:
• To type using default settings, click the path. An insertion point appears at the start of the path by default. If the
current default paragraph settings specify an indent, or any alignment other than left, the insertion point may
appear somewhere other than at the start of the path.
• To confine the text to a specific portion of the path, click the path where you would like the text to start, and drag
along the path to where you want the text to end, then release the mouse. (For information about changing the start
and end position of text, see “Adjust the type on a path position” on page 219.)
Changing location of type on path
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Note: If neither clicking nor dragging seems to work, make sure that the small plus sign appears next to the Type On A
Path tool.
3 Type the text you want. If you clicked to place the insertion point on the path, type will appear along the entire
length of the path. If you dragged, type will appear only along the length you dragged.
Note: If the path was originally visible, it remains visible after you add type to it. To hide the path, select it with the
Selection or Direct Selection tool, and then apply a fill and stroke of None.
Edit or delete type on a path
You can apply character and paragraph options to type on a path. However, paragraph rules and paragraph spacing
options have no effect on type on a path. The alignment setting in the Paragraph panel controls the alignment of type
on a path.
Edit and format path-type characters
1 Using the Type On A Path tool, do one of the following:
• To add an insertion point, click between any two characters in the type on a path.
• To select characters, drag through the type on a path.
2 Edit and format the text as needed.
Delete type from a path
1 Using the Selection tool
or Direct Selection tool
, select one or more type-on-a-path objects.
2 Choose Type &gt; Type on a Path &gt; Delete Type From Path.
If the path text is threaded, type moves to the next threaded text frame or type-on-a-path object. If the path text isn’t
threaded, text is deleted. The path remains, but loses any type-on-a-path attributes—all brackets, in and out ports, and
threading properties are removed.
Note: If the path’s fill and stroke are set to None, the path is invisible after you delete the type. To make the path visible,
press the D key immediately after you choose Type &gt; Type on a Path &gt; Delete Type From Path. This applies the default
fill and stroke to the selected path.
Tighten character spacing around sharp turns and acute angles
1 Using the Selection tool or the Type tool, select the type on a path.
2 Choose Type &gt; Type on a Path &gt; Options, or double-click the Type On A Path tool.
3 For Spacing, type a value in points. Higher values remove the extra space from between characters positioned on
sharp curves or angles.
Type on a path before (left) and after (right) applying spacing adjustment
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Note: The Spacing value compensates for the way characters fan out around a curve or sharp angle. It has no effect on
characters positioned on straight segments. To change spacing of characters anywhere along the path, select them, and
then apply kerning or tracking.
Adjust the type on a path position
You can change the start or end position of type on a path, slide type, and change the path position in other ways.
Change the start or end position of type on a path
1 Using the Selection tool
, select the type on a path.
2 Position the pointer over the path type’s start or end bracket until a small icon appears next to the pointer
. Do
not position it over the bracket’s in port or out port.
Zoom in on the path to more easily select the bracket.
3 Drag the start or end bracket along the path.
Position the pointer on start or end bracket, and then drag to reposition boundary of type on a path.
Note: If you apply a paragraph indent value, it’s measured from the start and end brackets.
Slide type along a path
1 Using the Selection tool
, select the type on a path.
2 Position the pointer over the path type’s center bracket until a center bracket icon appears next to the pointer
.
Zoom in on the path to more easily select the bracket.
3 Drag the center bracket along the path.
Note: The text won’t move if both the start and end brackets are at the ends of the path. To create some space for dragging
text, drag the start or end bracket away from the ends of the path.
Flip type on a path
1 Click the Selection tool
, and select the type on a path.
2 Position the pointer over the type’s center bracket until a center bracket icon appears next to the pointer
3 Drag the center bracket across the path.
.
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Position pointer on center bracket, and then drag across path to flip type.
You can also flip type on a path using a dialog box. Using the Selection tool or the Type tool, select the type on a path.
Choose Type &gt; Type on a Path &gt; Options. Select the Flip option, and then click OK.
Apply an effect to type on a path
1 Using the Selection tool or the Type tool, select the type on a path.
2 Choose Type &gt; Type on a Path &gt; Options, or double-click the Type On A Path tool.
3 Choose one of the following in the Effect menu, and then click OK:
• To keep the center of each character’s baseline parallel to the path’s tangent, choose Rainbow. This is the default
setting.
A
B
C
D
E
Type on a path effects
A. Rainbow effect B. Skew effect C. 3D Ribbon effect D. Stair Step effect E. Gravity effect
• To keep characters’ vertical edges perfectly vertical regardless of the path shape, while letting characters’ horizontal
edges follow the path, choose Skew. The resulting horizontal distortion is useful for text that appears to follow
waves or go around a cylinder, as on a beverage can label.
• To keep characters’ horizontal edges perfectly horizontal regardless of the path shape, while keeping each
character’s vertical edge perpendicular to the path, choose 3D Ribbon.
• To keep the left edge of each character’s baseline on the path without rotating any characters, choose Stair Step.
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• To keep the center of each character’s baseline on the path while keeping each vertical edge in line with the path’s
center point, choose Gravity. You can control this option’s perspective effect by adjusting the arc of the text’s path.
Add anchored objects to type on a path
1 Using the Type tool or the Type On A Path tool, click an insertion point in the text where you want the anchor for
the object to appear.
2 Add the anchored object. You can add inline or above line anchored objects or frames to the path. (See “Anchored
objects” on page 204.)
Note: The options available for above line anchored objects in a text path differ slightly from options for anchored objects
in a regular text frame: the Alignment option is relative to the anchored object marker and the Space Before option is not
available.
Captions
A caption is descriptive text that appears below an image. InDesign provides several methods for creating captions that
display the image metadata you specify. InDesign provides a special caption variable that displays the specified
metadata of an image. If a text frame containing the variable is next to or grouped with the image, the variable displays
the metadata of that image. You can generate a caption from an existing image or while placing it, and you can create
a text frame that contains a caption variable.
For video tutorials on generating captions from metadata, see www.adobe.com/go/lrvid5156_id_en and
http://tv.adobe.com/go/4958/.
Caption generated from image metadata
Generate a caption from an image
When you generate a caption from an existing image, you can generate either a static caption, which can be modified
only manually, or a live caption, which is updated if the image or the image metadata changes. For example, if you
move a live caption next to a different image, the caption displays metadata from the different image.
When you choose Generate Live Caption, a new variable is generated automatically based on the current caption
settings. For example, if the Description metadata type is selected in the Caption Setup dialog box, a variable called
“Live Metadata Caption: Description” is created.
1 To determine the content and appearance of the caption you generate, choose Object &gt; Captions &gt; Caption
Settings, and specify settings. See “Specify caption setup options” on page 222.
2 Choose Object &gt; Captions &gt; Generate Live Caption or Generate Static Caption.
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Note: When you generate a live caption that displays a long string of text, such as a Description, the caption does not
break across lines because it is a variable. If a caption is compressed into a single line, consider converting a live caption
to a static caption. To convert a live caption to a static caption, select the live caption and choose Object &gt; Captions &gt;
Convert To Static Caption.
You can also generate a static caption while placing an image. In the Place dialog box, select Create Static Captions,
and then drag the caption text frame after placing the image.
Specify caption setup options
Use the Captions Settings dialog box to determine the content and formatting of captions you generate. These captions
affect only future captions you generate, not existing captions.
1 Choose Object &gt; Captions &gt; Caption Settings.
2 Choose the metadata you want to include, and specify the text that appears before and after the metadata.
3 To include multiple rows of metadata, click the plus sign icon.
4 Specify the following options, and click OK.
Text Before / Text After The text that appears before or after the specified metadata.
Metadata Choose the metadata option, such as Description or City, from the list.
Alignment Specify where to place the caption in relation to the image.
Offset Specify how far apart the caption text is from the edge of the text frame next to the image.
Paragraph Style Specify a paragraph style to apply to the caption text. If you want the caption to include automatic
numbering, such as “Figure 1,” “Figure 2,” and so on, include the numbering in the paragraph style. See “Create
running captions for figures and tables” on page 266.
Layer Specify to which layer the caption belongs.
Group Caption With Image Indicate whether the image frame and caption text frame are grouped.
Create captions using variables
When a text frame containing a caption variable is adjacent to or grouped with an image, the caption variable displays
the metadata of that image.
A
B
Caption variables
A. Text frame with caption variable not next to image B. Text frame moved next to image
1 If necessary, define the caption variable you want to use. See “Define caption variables” on page 223.
2 Create the text frame to be used for the caption.
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3 With the insertion point in the text frame, choose Type &gt; Text Variables &gt; Insert Variable, and then choose the
caption variable you want to include. Insert as many caption variables as needed.
4 Move the caption text frame next to an image frame, or group the caption text frame with the image frame.
If the caption variable is blank, edit the image metadata, and then use the Links panel to update the image. To edit
image metadata, see “Edit metadata in image files” on page 103.
Define caption variables
Caption variables are updated automatically when a text frame containing a caption variable is moved next to an
image. By default, the Name metadata is used for the variable type when you choose Type &gt; Text Variables &gt; Insert
Variable &gt; Image Name. You can edit the Image Name variable, or you can create new variables that specify image
metadata.
1 Choose Type &gt; Text Variables &gt; Define.
2 Choose New to create a variable or Edit to edit an existing variable.
3 For Type, select Metadata Caption.
4 Choose an option from the Metadata menu.
5 Specify text that appears before or after the metadata, and then choose OK.
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Chapter 8: Typography
Formatting text
Format text
Use the Control panel to change the appearance of text. When text is selected or when the insertion point is placed in
text, the Control panel displays either the character formatting controls or the paragraph formatting controls, or a
combination of both, depending on your monitor resolution. These same text formatting controls appear in the
Character panel and Paragraph panel. You can also use the Character panel and Paragraphs panel to change the
appearance of text.
For a video tutorial on formatting characters, see www.adobe.com/go/lrvid4275_id. For a video tutorial on formatting
paragraphs, see www.adobe.com/go/lrvid4276_id.
Note the following methods of formatting text:
• To format characters, you can use the Type tool
to select characters, or you can click to place the insertion point,
select a formatting option, and then begin typing.
• To format paragraphs, you don’t need to select an entire paragraph—selecting any word or character, or placing
the insertion point in a paragraph will do. You can also select text in a range of paragraphs.
• To set the formatting for all future text frames that you’ll create in the current document, make sure that the
insertion point is not active and that nothing is selected, and then specify text formatting options. To set default
text formatting for all new documents, close all documents, and then specify the text settings. See “Set defaults” on
page 33.
• Select a frame to apply formatting to all text inside it. The frame cannot be part of a thread.
• Use paragraph styles and character styles to format text quickly and consistently.
For a video tutorial on working with text, see www.adobe.com/go/vid0075.
1 Select the Type tool
.
2 Click to place an insertion point, or select the text that you want to format.
3 In the Control panel, click the Character Formatting Control icon
icon
.
A
B
Control panel
A. Character formatting controls B. Paragraph formatting controls
4 Specify formatting options.
More Help topics
Working with Text video
“Control panel overview” on page 17
or the Paragraph Formatting Control
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Copy type attributes (Eyedropper)
You can use the Eyedropper tool to copy type attributes such as character, paragraph, fill, and stroke settings, and then
apply those attributes to other type. By default, the Eyedropper tool copies all type attributes. To customize the
attributes you want to copy with the Eyedropper tool, use the Eyedropper Options dialog box.
More Help topics
“Apply colors using the Eyedropper tool” on page 449
Copy type attributes to unselected text
1 With the Eyedropper tool
, click the text that is formatted with the attributes you want to copy. (The text can be
in another open document.) The eyedropper pointer reverses direction, and appears full
, to indicate that it’s
loaded with the attributes you copied. When you position the eyedropper pointer over text, an I-beam appears next
to the loaded eyedropper
.
2 With the Eyedropper tool, select the text you want to change.
The selected text takes on the attributes loaded in the eyedropper. As long as the Eyedropper tool is selected, you can
continue to select text to apply formatting.
3 To deselect the Eyedropper tool, click another tool.
To clear the formatting attributes currently held by the eyedropper tool, press Alt (Windows) or Option (Mac OS)
while the Eyedropper tool is loaded. The Eyedropper tool reverses direction and appears empty
, to indicate that
it’s ready to pick up new attributes. Click an object containing the attributes you want to copy, and then drop the new
attributes on another object.
EDMUND : Some
EDMUND : Some o
EDMUND : Som
good guard,
good guard,
away: good guard,
Until their greater p
That are to censure
Until their greater p
That are to censure
Until their greater p
That are to censure
CORDELIA: We a
CORDELIA: We a
CORDELIA: We a
Who, with best mea
worst.
Who, with best mea
worst.
Who, with best mea
worst.
The eyedropper is clicked on formatted text to copy its formatting (left), and then dragged across unformatted text (middle) to apply that
formatting (right).
If you use the Eyedropper tool to copy a paragraph style from text in one document to text in another, and the
paragraph style has the same name but different sets of attributes, any style differences will appear as local overrides
to the destination style.
Copy type attributes to selected text
1 With the Type tool
or Path Type tool
2 Using the Eyedropper tool
, select the text to which you want to copy attributes.
, click the text from which you want to copy attributes. (The text from which you
want to copy attributes must be in the same InDesign document as the text you want to change.) The Eyedropper
tool reverses direction and appears full
, to indicate that it’s loaded with the attributes you copied. The attributes
are applied to the text you selected in step 1.
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EDMUND : Some office
away: good guard, Until
pleasures first be known
censure them.
EDMUND : Some office
away: good guard, Until
pleasures first be known
censure them.
CORDELIA: We are no
CORDELIA: We are not
Who, with best meaning, h
the worst.
Who, with best meaning, h
the worst.
Type attributes copied to selected text
Change which text attributes the Eyedropper tool copies
1 In the toolbox, double-click the Eyedropper tool.
2 Choose Character Settings or Paragraph Settings in the Eyedropper Options dialog box.
3 Select the attributes you want to copy with the Eyedropper tool, and then click OK.
To copy or apply paragraph attributes only without having to change settings in the Eyedropper Options dialog box,
hold down Shift as you click text with the Eyedropper tool.
Use Quick Apply
Use Quick Apply to find and apply styles, menu commands, scripts, variables, and most other commands that can be
found in the Keyboard Shortcuts dialog box.
1 Select the text or frame to which you want to apply the style, menu command, script, or variable.
2 Choose Edit &gt; Quick Apply, or press Ctrl+Enter (Windows) or Command+Return (Mac OS).
3 Start typing the name of the item you want to apply.
The name you type doesn’t need to be an exact match. For example, typing he will locate styles such as Head 1, Head 2,
and Subhead, as well as Help menu commands such as Help Menu &gt; InDesign Help.
Use Quick Apply to find styles, menu commands, scripts, and variables.
You can narrow the search to only a single category by typing the appropriate prefix at the beginning of the search,
such as m: for menu or p: for paragraph styles. To view a list of prefixes, click the down arrow to the left of the Quick
Apply text box. You can deselect categories in this list that you don’t want to appear.
4 Select the item you want to apply, and then:
• To apply a style, menu command, or variable, press Enter or Return.
• To apply a paragraph style and remove overrides, press Alt+Enter (Windows) or Option+Return (Mac OS).
• To apply a paragraph style and remove overrides and character styles, press Alt+Shift+Enter (Windows) or
Option+Shift+Return (Mac OS).
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• To apply an item without closing the Quick Apply list, press Shift+Enter (Windows) or Shift+Return (Mac OS).
• To close the Quick Apply list without applying an item, press Esc or click anywhere else in the document window.
• To edit a style, press Ctrl+Enter (Windows) or Command+Return (Mac OS).
When the Quick Apply list is displayed, press the left and right arrow keys to scroll through the edit field; press the up
and down arrow keys to scroll through the list of items.
Using fonts
About fonts
A font is a complete set of characters—letters, numbers, and symbols—that share a common weight, width, and style,
such as 10-pt Adobe Garamond Bold.
Typefaces (often called type families or font families) are collections of fonts that share an overall appearance, and are
designed to be used together, such as Adobe Garamond.
A type style is a variant version of an individual font in a font family. Typically, the Roman or Plain (the actual name
varies from family to family) member of a font family is the base font, which may include type styles such as regular,
bold, semibold, italic, and bold italic.
Installing fonts
When you install InDesign or the Adobe Creative Suite, fonts are automatically installed in the system fonts folder—
Windows\Fonts in Windows or Library/Fonts in Mac OS. For information on installing and activating fonts to be used
in all applications, see your system documentation or your font manager documentation.
You can make fonts available in InDesign by copying the font files into the Fonts folder inside the
Adobe&reg; InDesign&reg; CS5 folder on your hard drive. However, fonts in this Fonts folder are available only to InDesign.
If two or more fonts are active in InDesign and use the same family name but have different Adobe PostScript names,
the fonts are available in InDesign. Duplicate fonts are listed in the menus with their font technologies abbreviated in
parentheses. For example, a Helvetica TrueType font appears as “Helvetica (TT),” a Helvetica PostScript Type 1 font
appears as “Helvetica (T1),” and a Helvetica OpenType font appears as “Helvetica (OTF).” If two fonts have the same
PostScript name and one includes .dfont in its name, the other font is used.
More Help topics
“Installing OpenType fonts” on page 229
Apply a font to text
When you specify a font, you can select the font family and its type style independently. When you change from one
font family to another, InDesign attempts to match the current style with the style available in the new font family. For
example, Arial Bold would change to Times Bold when you change from Arial to Times.
When you apply a bold or italic style to type, InDesign applies the typeface style specified by the font. In most cases,
the specific version of bold or italic is applied as expected. However, some fonts may apply a bold or italic variation
that isn’t exactly labeled bold or italic, respectively. For example, some font designers specify that when you apply bold
to a font, the semibold variation is applied.
1 Select the text you want to change.
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2 Do any of the following:
• In the Character panel or Control panel, select a font in the Font Family menu or a style in the Type Style menu.
(In Mac OS, you can select type styles in the Font Family submenus.)
• In the Character panel or Control panel, click in front of the font family name or type style name (or double-click
its first word) and type in the first few characters of the name you want. As you type, InDesign displays font family
or type style names that match the characters you’ve typed.
• Choose a font in the Type &gt; Font menu. Note that you choose both a font family and a type style when you use this menu.
Specify a typeface size
By default, typeface size is measured in points (a point equals 1/72 of an inch). You can specify any typeface size from
0.1 to 1296 points, in 0.001-point increments.
Note: In Fireworks, the typeface size is measured in pixels by default.
1 Select the characters or type objects you want to change. If you don’t select any text, the typeface size applies to new
text you create.
2 Do one of the following:
• In the Character panel or Control bar set the Font Size option.
• Choose a size from the Type &gt; Size menu. Choosing Other lets you type a new size in the Character panel.
You can change the unit of measurement for type in the Preferences dialog box. This option is not available in
Fireworks.
Previewing fonts
You can view samples of a font in the font family and font style menus in the Character panel and other areas in the
application from where you can choose fonts. The following icons are used to indicate different kinds of fonts:
• OpenType
• Type 1
• TrueType
• Multiple Master
• Composite
You can turn off the preview feature or change the point size of the font names or font samples in Type preferences.
OpenType fonts
OpenType fonts use a single font file for both Windows&reg; and Macintosh&reg; computers, so you can move files from one
platform to another without worrying about font substitution and other problems that cause text to reflow. They may
include a number of features, such as swashes and discretionary ligatures, that aren’t available in current PostScript
and TrueType fonts.
OpenType fonts display the
icon.
When working with an OpenType font, you can automatically substitute alternate glyphs, such as ligatures, small
capitals, fractions, and old style proportional figures, in your text.
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A
B
C
Regular (left) and OpenType (right) fonts
A. Ordinals B. Discretionary ligatures C. Swashes
OpenType fonts may include an expanded character set and layout features to provide richer linguistic support and
advanced typographic control. OpenType fonts from Adobe that include support for central European (CE) languages
include the word “Pro,” as part of the font name in application font menus. OpenType fonts that don’t contain central
European language support are labeled “Standard,” and have an “Std” suffix. All OpenType fonts can also be installed
and used alongside PostScript Type 1 and TrueType fonts.
For more information on OpenType fonts, see www.adobe.com/go/opentype.
Installing OpenType fonts
InDesign includes fonts from various OpenType families, including Adobe Garamond Pro, Adobe Caslon Pro, Trajan
Pro, Caflisch Script Pro, Myriad Pro, Lithos, and Adobe Jenson Pro.
OpenType fonts are installed automatically when you install InDesign or Adobe Creative Suite 4. Additional
OpenType fonts are located in the Adobe Fonts folder in the Goodies folder on the application DVD. For information
on installing and using OpenType fonts, browse the application DVD or see the Adobe website.
More Help topics
“Installing fonts” on page 227
Apply OpenType font attributes
Use the Character panel or Control panel to apply OpenType font attributes, such as fractions and swashes to text.
For more information on OpenType fonts, see www.adobe.com/go/opentype.
More Help topics
“Insert glyphs and special characters” on page 161
“OpenType fonts” on page 228
Apply OpenType font attributes
1 Select text.
2 In the Character panel or Control panel, make sure that an OpenType font is selected.
3 Choose OpenType from the Character panel menu, and then select an OpenType attribute, such as Discretionary
Ligatures or Fractions.
Features not supported in the current font appear in square brackets, such as [Swash].
You can also select OpenType font attributes when defining a paragraph or character style. Use the OpenType
Features section of the Style Options dialog box.
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OpenType font attributes
When you use an OpenType font, you can select specific OpenType features from the Control panel or Character panel
menu when formatting text or when defining styles.
Note: OpenType fonts vary greatly in the number of type styles and kinds of features they offer. If an OpenType feature
is unavailable, it’s surrounded in square brackets (such as [Swash]) in the Control panel menu.
Discretionary Ligatures Font designers may include optional ligatures that shouldn’t be turned on in all
circumstances. Selecting this option allows these additional optional ligatures to be used, if they are present. For more
information on ligatures, see “Apply ligatures to letter pairs” on page 238.
Fractions Numbers separated by a slash (such as 1/2) are converted to a fraction character, when fractions are
available.
Ordinal Ordinal numbers such as 1st and 2nd are formatted with superscript letters (1st and 2nd) when ordinals are
available. Letters such as the superscript a and o in the Spanish words segunda (2a) and segundo (2o) are also typeset
properly.
Swash When available, regular and contextual swashes, which may include alternate caps and end-of-word
alternatives, are provided.
Titling Alternatives When available, characters used for uppercase titles are activated. In some fonts, selecting this
option for text formatted in both uppercase and lowercase letters can yield undesired effects.
Contextual Alternatives When available, contextual ligatures and connecting alternates are activated. Alternate
characters are included in some script typefaces to provide better joining behavior. For example, the letter pair “bl” in
the word “bloom” can be joined so that it looks more like handwriting. This option is selected by default.
All Small Caps For fonts that include real small caps, selecting this option turns characters into small caps. For more
information, see “Change the case of type” on page 240.
Slashed Zero Selecting this options displays the number 0 with a diagonal slash through it. In some fonts (especially
condensed fonts), it can be difficult to distinguish between the number 0 and the capital letter O.
Stylistic Sets Some OpenType fonts include alternate glyph sets designed for esthetic effect. A stylistic set is a group of
glyph alternates that can be applied one character at a time or to a range of text. If you select a different stylistic set, the
glyphs defined in the set are used instead of the font’s default glyphs. If a glyph character in a stylistic set is used in
conjunction with another OpenType setting, the glyph from the individual setting overrides the character set glyph.
You can see the glyphs for each set using the Glyphs panel.
Positional Forms In some cursive scripts and in languages such as Arabic, what a character looks like can depend on
its position inside a word. The character may change form when it appears at the start (initial position), middle (medial
position), or end (final position) of a word, and it may change form as well when it appears alone (isolated position).
Select a character and choose a Positional Forms option to format it correctly. The General Form option inserts the
common character; the Automatic Form option inserts a form of the character according to where the character is
located in the word and whether the character appears in isolation.
Superscript/Superior &amp; Subscript/Inferior Some OpenType fonts include raised or lowered glyphs that are sized
correctly relative to the surrounding characters. If an OpenType font doesn’t include these glyphs for non-standard
fractions, consider using the Numerator and Denominator attributes.
Numerator &amp; Denominator Some OpenType fonts convert only basic fractions (such as 1/2 or 1/4) to fraction glyphs,
not non-standard fractions (such as 4/13 or 99/100). Apply Numerator and Denominator attributes to these nonstandard fractions in such cases.
Tabular Lining Same widths are provided for full-height figures. This option is appropriate in situations where
numbers need to line up from one line to the next, as in tables.
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Proportional Oldstyle Varying-height figures with varying widths are provided. This option is recommended for a
classic, sophisticated look in text that doesn’t use all caps.
Proportional Lining Full-height figures with varying widths are provided. This option is recommended for text that
uses all caps.
Tabular Oldstyle Varying-height figures with fixed, equal widths are provided. This option is recommended when you
want the classic appearance of old-style figures, but you need them to align in columns, as in an annual report.
Default Figure Style Figure glyphs use the default figure style of the current font.
Work with missing fonts
When you open or place documents that include fonts not installed on your system, an alert message appears,
indicating which fonts are missing. If you select text that uses a missing font, the Character panel or Control panel
indicates that this font is missing by displaying it in brackets in the font style pop-up menu.
InDesign substitutes missing fonts with an available font. When this happens, you can select the text and apply any
other available font. Missing fonts for which others have been substituted will appear at the top of the Type &gt; Font
menu in a section marked “Missing Fonts.” By default, text formatted with missing fonts appears in pink highlighting.
If a TrueType font is installed and the document contains a Type 1 (T1) version of the same font, the font is displayed
as missing.
You can choose Type &gt; Find Font to find and change missing fonts. If a missing font is part of a style, you can update
the font in that style by changing its style definition.
More Help topics
“Find and change fonts” on page 158
“Installing fonts” on page 227
Make missing fonts available
❖ Do any of the following:
• Install the missing fonts on your system.
• Place the missing fonts in the Fonts folder, which is located in the InDesign application folder. Fonts in this folder
are available only to InDesign. See “Installing fonts” on page 227.
• Activate the missing fonts using a font-management application.
If you don’t have access to the missing fonts, use the Find Font command to search for and replace missing fonts.
Highlight substituted fonts in your document
If the Select Substituted Fonts preferences option is selected, text formatted with missing fonts appears in pink
highlighting so that you can easily identify text formatted with a missing font.
1 Choose Edit &gt; Preferences &gt; Composition (Windows&reg;) or InDesign &gt; Preferences &gt; Composition (Mac OS&reg;).
2 Select Substituted Fonts, and then click OK.
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Document installed fonts
Fonts in a Document Fonts folder that is in the same location as an InDesign document are temporarily installed when
the document is opened. The Package command can generate a Document Fonts folder when you want to share your
document or move it to a different computer.
Fonts in the Document Fonts folder are not the same as fonts available from the standard operating system font
locations. They are installed when the document is opened and supersede any font of the same PostScript name.
However, they supersede only fonts within the document. Fonts installed by one document are not available to other
documents. When you close the document, the fonts that were installed for the document are uninstalled. Document
installed fonts are listed in a submenu of the Font menu.
Some Type1 fonts are not available in the document. In addition, Mac OS fonts are not available when running
InDesign in Windows.
For a video on using document installed fonts, see http://tv.adobe.com/go/4955/.
More Help topics
“Package files” on page 602
Multiple master fonts
Multiplemaster fonts are customizable Type 1 fonts whose typeface characteristics are described in terms of variable
design axes, such as weight, width, style, and optical size.
Some multiple master fonts include an optical size axis, which lets you use a font specifically designed for optimal
readability at a particular size. Generally, the optical size for a smaller font, such as 10 point, is designed with heavier
serifs and stems, wider characters, less contrast between thick and thin lines, taller x height, and looser spacing between
letters than the optical size for a larger font, such as 72 point.
1 Choose Edit &gt; Preferences &gt; Type (Windows) or InDesign &gt; Preferences &gt; Type (Mac OS).
2 Select Automatically Use Correct Optical Size, and click OK.
Leading
About leading
The vertical space between lines of type is called leading. Leading is measured from the baseline of one line of text to
the baseline of the line above it. Baseline is the invisible line on which most letters—that is, those without descenders—
sit.
The default auto-leading option sets the leading at 120% of the type size (for example, 12-point leading for 10-point
type). When auto-leading is in use, InDesign displays the leading value in parentheses in the Leading menu of the
Character panel.
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A
B
C
officers take them away: good
guard,Until their greater
pleasures first be known That
are to censure them.
CORDELIA: We are not the
first Who, with best meaning,
have incurr'd the worst.
Leading
A. Leading B. Text height C. Larger text size of one word increases leading for that one line.
Change leading
By default, leading is a character attribute, which means that you can apply more than one leading value within the
same paragraph. The largest leading value in a line of type determines the leading for that line. However, you can select
a preferences option so that leading applies to the entire paragraph, instead of to text within a paragraph. This setting
does not affect the leading in existing frames.
Change leading of selected text
1 Select the text you want to change.
2 Do any of the following:
• In the Character panel or Control panel, choose the leading you want from the Leading menu
.
• Select the existing leading value and type a new value.
• While creating a paragraph style, change the leading using the Basic Character Formats panel.
If InDesign ignores the leading change, it may be due to Vertical Justification or Align To Baseline Grid being selected.
Choose Object &gt; Text Frame Options and make sure Vertical Justification is set to Top, and make sure Do Not Align
To Baseline Grid is selected in the Paragraph panel, Control panel, or paragraph style.
You can also adjust vertical space by aligning text to the baseline grid. When baseline grid is set, the baseline grid
setting takes precedence over the leading value.
Change the default leading percentage
1 Select the paragraphs that you want to change.
2 Choose Justification from the Paragraph panel menu or from the Control panel menu.
3 For Auto Leading, specify a new default percentage. The minimum value is 0%, and the maximum value is 500%.
Apply leading to whole paragraphs
1 Choose Edit &gt; Preferences &gt; Type (Windows) or InDesign &gt; Preferences &gt; Type (Mac OS).
2 Select Apply Leading To Entire Paragraph, and then click OK.
Note: When you use a character style to apply leading to text, the leading affects only the text to which the style is applied,
not the entire paragraph, regardless of whether the Apply Leading To Entire Paragraph option is selected.
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Kerning and tracking
About kerning and tracking
Kerning is the process of adding or subtracting space between specific pairs of characters. Tracking is the process of
loosening or tightening a block of text.
Types of kerning
You can automatically kern type using metrics kerning or optical kerning. Metrics kerning uses kern pairs, which are
included with most fonts. Kern pairs contain information about the spacing of specific pairs of letters. Some of these
are: LA, P., To, Tr, Ta, Tu, Te, Ty, Wa, WA, We, Wo, Ya, and Yo.
InDesign uses metrics kerning by default so that specific pairs are automatically kerned when you import or type text.
To disable metrics kerning, select &quot;0&quot;.
Optical kerning adjusts the spacing between adjacent characters based on their shapes. Some fonts include robust
kern-pair specifications. However, when a font includes only minimal built-in kerning or none at all, or if you use two
different typefaces or sizes in one or more words on a line, you may want to use the optical kerning option.
Before applying the optical kerning option to the “W” and “a” pair (top), and after (bottom)
You can also use manual kerning, which is ideal for adjusting the space between two letters. Tracking and manual
kerning are cumulative, so you can first adjust individual pairs of letters, and then tighten or loosen a block of text
without affecting the relative kerning of the letter pairs.
Word kerning isn’t the same as the Word Spacing option in the Justification dialog box; word kerning changes the
kerning value only between a specific word’s first character and the word space preceding that character.
A
B
C
Kerning and tracking
A. Original B. Kerning applied between “W” and “a” C. Tracking applied
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How kerning and tracking are measured
You can apply kerning, tracking, or both to selected text. Tracking and kerning are both measured in 1/1000 em, a unit
of measure that is relative to the current type size. In a 6-point font, 1 em equals 6 points; in a 10-point font, 1 em equals
10 points. Kerning and tracking are strictly proportional to the current type size.
Tracking and manual kerning are cumulative, so you can first adjust individual pairs of letters, and then tighten or
loosen a block of text without affecting the relative kerning of the letter pairs.
When you click to place the insertion point between two letters, InDesign displays kerning values in the Character
panel and the Control panel. Metrics and optical kerning values (or defined kern pairs) appear in parentheses.
Similarly, if you select a word or a range of text, InDesign displays the tracking values in the Character panel and
Control panel.
Apply kerning to text
You apply either of two types of automatic kerning: metrics kerning or optical kerning, or you can adjust the spacing
between letters manually.
More Help topics
“Keys for working with type” on page 676
Use metrics kerning
1 Set the text insertion point between the characters you want to pair kern, or select text.
2 In the Character panel or Control panel, select Metrics in the Kerning
menu.
To avoid using the built-in kerning information of a font for selected text, choose “0” in the Kerning
menu.
Use optical kerning
1 Set the text insertion point between characters you want to pair kern or select the text you want to kern.
2 In the Character panel or Control panel, select Optical in the Kerning
menu.
Adjust kerning manually
1 Using the Type tool
, click to place an insertion point between two characters.
Note: If a range of text is selected, you can’t manually kern the text (you can choose only Metrics, Optical, or 0). Instead,
use tracking.
2 Do any of the following:
• In the Character panel or the Control panel, type or select a numeric value in the Kerning menu.
• Press Alt+Left/Right Arrow (Windows) or Option+Left/Right Arrow (Mac OS) to decrease or increase the kerning
between two characters.
The amount of the word kerning adjustment is the same as the Kerning value in the Units &amp; Increments Preferences
dialog box. When you press the shortcut and hold down the Ctrl or Command key, the kerning amount is the Kerning
preferences value multiplied by 5.
Change the default kerning increment value
❖ In the Units &amp; Increments section of the Preferences dialog box, type a new value for the Kerning option and
click OK.
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Turn off kerning for selected text
1 Select text.
2 In the Character panel or Control panel, type or choose 0 in the Kerning menu.
You can also press Alt+Ctrl+Q (Windows) or Option+Command+Q (Mac OS) to reset kerning and tracking. When
you do so, kerning is set to Metrics regardless of which kerning option was previously applied.
Adjust tracking
1 Select a range of characters.
2 In the Character panel or Control panel, type or select a numeric value for Tracking
.
Highlight text containing custom kerning and tracking
In some instances, you’ll want to be aware of text that has custom tracking and kerning applied. If you select the
Custom Tracking/Kerning preferences option, green highlighting appears over text with custom tracking or kerning.
1 Choose Edit &gt; Preferences &gt; Composition (Windows) or InDesign &gt; Preferences &gt; Composition (Mac OS).
2 Select Custom Tracking/Kerning, and then click OK.
Adjust kerning between words
❖ With the Type tool
, select a range of text and do one of the following:
• To add space between selected words, press Alt+Ctrl+\ (Windows) or Option+Command+\ (Mac OS).
• To remove space between selected words, press Alt+Ctrl+Backspace (Windows) or Option+Command+Delete
(Mac OS).
• To multiply the kerning adjustment by 5, hold down Shift as you press the keyboard shortcut.
Formatting characters
For a video tutorial on formatting characters, see www.adobe.com/go/lrvid4275_id.
Apply baseline shift
Use Baseline Shift to move a selected character up or down relative to the baseline of the surrounding text. This option
is especially useful when you’re hand-setting fractions or adjusting the position of inline graphics.
10th 1/2
10 th 1/2
Baseline shift values applied to text
1 Select text.
2 In the Character panel or Control panel, type a numeric value for Baseline Shift
. Positive values move the
character’s baseline above the baseline of the rest of the line; negative values move it below the baseline.
To increase or decrease the value, click in the Baseline Shift box, and then press the Up or Down Arrow key. Hold
down Shift while you press the Up or Down Arrow key to change the value in greater increments.
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To change the default increment for baseline shift, specify a value for Baseline Shift in the Units &amp; Increments section
of the Preferences dialog box.
Make characters superscript or subscript in a non-OpenType font
1 Select text.
2 Choose Superscript or Subscript in the Character panel menu or in the Control panel.
When you choose Superscript or Subscript, a predefined baseline shift value and type size are applied to the selected
text.
The values applied are percentages of the current font size and leading, and are based on settings in the Type
Preferences dialog box. These values do not appear in the Baseline Shift or Size boxes of the Character panel when you
select the text.
Note: You can change the default size and position of superscripts and subscripts using Advanced Type preferences.
More Help topics
“Apply OpenType font attributes” on page 229
Apply underline or strikethrough
The default weight of an underline and strikethrough depends on the size of the type.
Jeff Witchel provides a video tutorial about underlining at Custom Underlines in InDesign.
Apply underline or strikethrough
1 Select text.
2 Choose Underline or Strikethrough in the Character panel menu or the Control panel.
Change underline or strikethrough options
Creating custom underlining is especially useful when you want to create an even underline below characters of
different sizes, or for creating special effects, such as background highlighting.
Before and after adjusting underlines
1 From the Character panel menu or the Control panel menu, choose Underline Options or Strikethrough Options.
2 Do any of the following, and then click OK:
• Select Underline On or Strikethrough On to turn on underline or strikethrough for the current text.
• For Weight, choose a weight or type a value to determine the thickness of the underline or strikethrough line.
• For Type, select one of the underline or strikethrough options.
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• For Offset, determine the vertical position of the line. The offset is measured from the baseline. Negative values
move the underline above the baseline and the strikethrough below the baseline.
• Select Overprint Stroke when you want to make sure that the stroke doesn’t knock out underlying inks on a printing
press.
• Choose a color and tint. If you specified any line type other than solid, choose a gap color or gap tint to change the
appearance of the area between dashes, dots, or lines.
• Select Overprint Stroke or Overprint Gap if the underline or strikethrough will be printed over another color, and
you want to avoid errors that can occur with printing misregistration.
To change the underline or strikethrough options in a paragraph or character style, use the Underline Options or
Strikethrough Options section of the dialog box that appears when you create or edit the style.
Apply ligatures to letter pairs
InDesign can automatically insert ligatures, which are typographic replacement characters for certain letter pairs, such
as “fi” and “fl,” when they are available in a given font. The characters that InDesign uses when the Ligature option is
selected appear and print as ligatures, but are fully editable, and do not cause the spell checker to flag a word
erroneously.
Individual characters (top) and ligature combinations (bottom)
With OpenType fonts, when you choose Ligatures from the Character panel menu or Control panel menu, InDesign
produces any standard ligature defined in the font, as determined by the font designer. However, some fonts include
more ornate, optional ligatures, which can be produced when you choose the Discretionary Ligatures command.
1 Select text.
2 Choose Ligatures from the Character panel menu or the Control panel menu.
More Help topics
“OpenType fonts” on page 228
Change the color, gradient, or stroke of text
You can apply colors, gradients, and strokes to characters and continue to edit the text. Use the Swatches panel and
Stroke panel to apply colors, gradients, and strokes to text, or change Character Color settings when creating or editing
a style.
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A
B
C
Swatches
A. Swatch affects fill or stroke B. Swatch affects container or text C. Tint percentage
1 Do one of the following:
• To apply color changes to text inside a frame, use the Type tool
to select text.
• To apply color changes to all text in a frame, use the Selection tool to select the frame. When applying color to
the text rather than the container, make sure that you select the Formatting Affects Text icon
in the Tools panel
or in the Swatches panel.
2 In the Tools panel or in the Swatches panel, select whether you want to apply the color change to the fill or stroke.
If you select Stroke, the color change affects only the outline of characters.
3 Do any of the following:
• In the Swatches panel, click a color or gradient swatch.
• In the Stroke panel, specify a weight or other stroke options. (See “Stroke panel options” on page 342.)
You can also apply a gradient to text by dragging across the selected text using either the Gradient Swatch tool
the Gradient Feather tool
, which you can select by clicking and holding down the Gradient Swatch tool.
or
To create reverse type, you can change the text fill color to white or [Paper] and the frame’s fill color to a dark color.
You can also create reverse type by using a paragraph rule behind text; however, if the rule is black, you’ll need to
change the type to white.
More Help topics
“Applying color” on page 446
“Add rules (lines) above or below paragraphs” on page 244
“Applying gradients to text” on page 465
Add transparency effects to text
Use the Effects panel to add transparency effects, such as drop shadows, to text.
Mike Rankin provides examples about transparency effects at InDesign Eye Candy, Part I.
1 Use the Selection tool
to select the text frame.
2 Choose Object &gt; Effects &gt; [effect].
3 Choose Text from the Settings For menu.
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You can choose Object if you want the effects you choose to apply to the text frame’s stroke and fill as well as the text
inside it.
4 Specify the effect attributes and click OK.
If you want to change the text’s blending mode or opacity settings, make these changes on the Effects panel.
More Help topics
“Transparency effects” on page 426
Assign a language to text
Assigning a language to text determines which spelling and hyphenation dictionary is used. Assigning a language does
not change the actual text.
1 Do any of the following:
• To apply the language only to selected text, select the text.
• To change the default dictionary used in InDesign, choose the language with no documents open.
• To change the default dictionary for a specific document, open the document, choose Edit &gt; Deselect All, and then
choose the language.
2 In the Character panel, choose the appropriate dictionary in the Language menu.
InDesign uses Proximity (and WinSoft for some languages) dictionaries for both spelling and hyphenation. These
dictionaries let you specify a different language for as little as a single character of text. Each dictionary contains
hundreds of thousands of words with standard syllable breaks. Changing the default language does not affect existing
text frames or documents.
You can customize language dictionaries to ensure that any unique vocabulary you use is recognized and treated
correctly.
A
B
C
How dictionaries affect hyphenation
A. “Glockenspiel” in English B. “Glockenspiel” in Traditional German C. “Glockenspiel” in Reformed German
More Help topics
“Hyphenation and spelling dictionaries” on page 169
Change the case of type
The All Caps or Small Caps commands change the appearance of text, but not the text itself. Conversely, the Change
Case command changes the case setting of selected text. This distinction is important when searching or spell-checking
text. For example, suppose you type “spiders” in your document and apply All Caps to the word. Using Find/Change
(with Case Sensitive selected) to search for “SPIDERS” will not find the instance of “spiders” to which All Caps was
applied. To improve search and spell-check results, use the Change Case command rather than All Caps.
Anne-Marie Concepcion provides an article about small caps at Small Caps vs OpenType All Small Caps.
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Change text to All Caps or Small Caps
InDesign can automatically change the case of selected text. When you format text as small caps, InDesign
automatically uses the small-cap characters designed as part of the font, if available. Otherwise, InDesign synthesizes
the small caps using scaled-down versions of the regular capital letters. The size of synthesized small caps is set in the
Type Preferences dialog box.
Before (top) and after (bottom) setting BC and AD in small caps to complement old-style numerals and surrounding text
If you select All Caps or Small Caps in an OpenType font, InDesign creates more elegant type. If you’re using an
OpenType font, you can also choose All Small Caps from the Character panel menu or the Control panel. (See “Apply
OpenType font attributes” on page 229.)
1 Select text.
2 Choose All Caps or Small Caps in the Character panel menu or in the Control panel. If the text was originally typed
in all caps, selecting Small Caps will not change the text.
Specify the size for small caps
1 Choose Edit &gt; Preferences &gt; Advanced Type (Windows) or InDesign &gt; Preferences &gt; Advanced Type (Mac OS).
2 For Small Caps, type a percentage of the original font size for text to be formatted as small caps. Then click OK.
Change capitalization
1 Select text.
2 Choose one of the following in the Type &gt; Change Case submenu:
• To change all characters to lowercase, choose Lowercase.
• To capitalize the first letter of each word, choose Title Case.
• To change all characters to uppercase, choose Uppercase.
• To capitalize the first letter of each sentence, choose Sentence Case.
Note: The Sentence Case command assumes that the period (.), exclamation point (!), and question mark (?) characters
mark the ends of sentences. Applying Sentence Case may cause unexpected case changes when these characters are used
in other ways, as in abbreviations, file names, or Internet URLs. In addition, proper names may become lowercase when
they should be uppercase.
Scale type
You can specify the proportion between the height and width of the type, relative to the original width and height of
the characters. Unscaled characters have a value of 100%. Some type families include a true expanded font, which is
designed with a larger horizontal spread than the plain type style. Scaling distorts the type, so it is generally preferable
to use a font that is designed as condensed or expanded, if one is available.
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A
B
C
Scaling fonts horizontally
A. Unscaled type B. Unscaled type in condensed font C. Scaled type in condensed font
Adjust vertical or horizontal scaling
1 Select text you want to scale.
2 In the Character panel or Control panel, type a numeric value to change the percentage of Vertical Scaling
Horizontal Scaling
or
.
Scale text by resizing the text frame in InDesign
❖ Do any of the following:
• Using the Selection tool, hold down Ctrl (Windows) or Command (Mac OS), and then drag a corner of the text
frame to resize it.
• Using the Scale tool
, resize the frame.
(See “Scale objects” on page 402.)
Determine the appearance of scaled text values
When you change the scale of a frame, the text inside the frame is also scaled. For example, when you double the size
of a text frame, the text also doubles in size; 20-point text increases to 40 points.
David Blatner provides an article about scaled text frames at Making a Magnifying Glass Text Frame in InDesign.
You can change a preferences option to indicate how scaled text appears in panels:
• By default, with Apply To Content selected, the Font Size boxes in the Control panel and Character panel list the
new size of text (such as 40 pt). If you select the Adjust Scaling Percentage option, the Font Size boxes display both
the original and the scaled size of the text, such as “20 pt (40).”
• The scaling values in the Transform panel tell you the horizontal and vertical percentage by which the frame was
scaled. By default, with Apply To Content selected, scaling values display at 100% after a text is scaled. If you select
the Adjust Scaling Percentage option, the scaling values reflect the scaled frame, so doubling the scale of a frame
displays as 200%.
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Tracking scale changes to frames is useful if you have to revert a frame and the text inside it to their original size. It’s
useful as well for finding out by how much you changed the size of a frame. To track scale changes to frames and the
text inside these frames:
1 Choose Edit &gt; Preferences &gt; General (Windows) or InDesign &gt; Preferences &gt; General (Mac OS).
2 Select Adjust Scaling Percentage, and then click OK.
Note the following:
• The Adjust Scaling Percentage preference applies to frames that you scale after the preference is turned on, not to
existing frames.
• The Adjust Scaling Percentage preference stays with the text. The scaled point size continues to appear in
parentheses even if you turn off the Adjust Scaling Percentage preference and scale the frame again.
• To remove the scaled point size from the Transform panel, choose Redefine Scaling as 100% in the Transform
panel. Choosing this option doesn’t change the appearance of the scaled frame.
• If you edit the text or scale a frame within threaded frames when the Adjust Scaling Percentage preference is
selected, the text is scaled, even if it moves to a different frame. However, if Apply To Content is selected, any text
that flows to a different frame as a result of editing is no longer scaled.
Skew type
1 Select text.
2 In the Character panel, type a numeric value for Skewing
. Positive values slant type to the right; negative values
slant type to the left.
Note that applying an angle to type does not produce true italic characters.
Formatting paragraphs
For a video tutorial on formatting paragraphs, see www.adobe.com/go/lrvid4276_id.
Adjust paragraph spacing
You can control the amount of space between paragraphs. If a paragraph begins at the top of a column or frame,
InDesign does not insert extra space before the paragraph. In such a case, you can increase the leading of the first line
of the paragraph or increase the top inset of the text frame in InDesign.
Neil Oliver provides a video tutorial about paragraph spacing at Adding space after paragraphs.
1 Select text.
2 In the Paragraph panel or the Control panel, adjust the appropriate values for Space Before
To ensure formatting consistency, change paragraph spacing in the paragraph styles you define.
More Help topics
“Add paragraph and character styles” on page 183
and Space After
.
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Use drop caps
You can add drop caps to one or more paragraphs at a time. The drop cap’s baseline sits one or more lines below the
baseline of the first line of a paragraph.
You can also create a character style that can be applied to the drop-cap characters. For example, you can create a tall
cap (also called a raised cap) by specifying a 1-line, 1-character drop cap and applying a character style that increases
the size of the first letter.
fter breakfast I wan
man and guess out
but Jim didn’t want
bad luck; and besides, he
ha’nt us; he said a man th
likely to go a-ha'nting a
planted and comfortab
reasonable, so I didn’t sa
A
After
breakfast
guess out
want to. He said it would fe
come and ha'nt us; he said
to go a-ha'nting around th
That sounded pretty reaso
keep from studying over i
and what they done it for.
One-character, three-line drop cap (left), and five-character, two-line drop cap (right)
More Help topics
“Drop caps and nested styles” on page 190
“Apply a character style to a drop cap” on page 190
Create a drop cap
1 With the Type tool
selected, click in the paragraph where you want the drop cap to appear.
2 In the Paragraph panel or Control panel, type a number for Drop Cap Number Of Lines
to indicate the number
of lines you want the drop cap to occupy.
3 For Drop Cap One Or More Characters
, type the number of drop cap characters you want.
4 To apply a character style to the drop cap character, choose Drop Caps And Nested Styles from the Paragraph panel
menu, and then choose the character style you created.
You can also use the Drop Caps And Nested Styles dialog box to align the drop cap to the text edge, reducing the
amount of space on the left side of the drop cap, and adjust for drop cap letters with descenders, such as “g” and “y.”
If you want to resize, skew, or change the typeface of the drop cap letter for added effect, select the letter or letters and
make the formatting changes.
Remove a drop cap
1 With the Type tool
selected, click in the paragraph where the drop cap appears.
2 In the Paragraph panel or Control panel, type 0 for Drop Cap Number Of Lines or Drop Cap Number Of
Characters.
Add rules (lines) above or below paragraphs
Rules are paragraph attributes that move and are resized along with the paragraph on the page. If you’re using a rule
with headings in your document, you may want to make the rule part of a paragraph style definition. The width of the
rule is determined by the column width.
The offset for a rule above a paragraph is measured from the baseline of the top line of text to the bottom of the rule.
The offset for a rule below a paragraph is measured from the baseline of the last line of text to the top of the rule.
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A
B
Placement of rules
A. Rule above paragraph B. Rule below paragraph
Michael Murphy provides a video tutorial about creating special effects using paragraph rules at Paragraph Rules Rule.
Creative Curio provides an article about creative uses of paragraph rules at Creative Uses for Paragraph Rules in
InDesign, Pt 1.
Add a rule above or below a paragraph
1 Select text.
2 Choose Paragraph Rules from the Paragraph panel menu or Control panel menu.
3 At the top of the Paragraph Rule dialog box, select Rule Above or Rule Below.
4 Select Rule On.
Note: If you want both a rule above and below, make sure that Rule On is selected for both Rule Above and Rule Below.
5 Select Preview to see what the rule will look like.
6 For Weight, choose a weight or type a value to determine the thickness of the rule. For Rule Above, increasing the
weight expands the rule upwards. For Rule Below, increasing the weight expands the rule downward.
7 Select Overprint Stroke when you want to make sure that the stroke doesn’t knock out underlying inks on a printing
press.
8 Do one or both of the following:
• Choose a color. The available colors are those listed in the Swatches panel. Select the Text Color option to make the
rule the same color as the first character in the paragraph for Rule Above and the last character for Rule Below.
• Choose a tint or specify a tint value. The tint is based on the color you specified. Note that you can’t create tints of
the built-in colors None, Paper, Registration, or Text Color.
• If you specified any line type other than solid, choose a gap color or gap tint to change the appearance of the area
between dashes, dots, or lines.
9 Choose the width of the rule. You can choose either Text (from the left edge of text to the line end) or Column (from
the left edge of the column to the right edge of the column). If the left edge of the frame has a column inset, the rule
begins at the inset.
10 To determine the vertical position of the rule, type a value for Offset.
11 To make sure that the rule above text is drawn within the text frame, select Keep In Frame. If this option isn’t
selected, the rule can appear outside the text frame.
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To make sure the paragraph rule at the top of one column aligns with the text at the top of the adjacent column, select
Keep In Frame.
12 Set left or right indents for the rule (not for text) by typing values for Left Indent and Right Indent.
13 Select Overprint Stroke if the paragraph rule will be printed over another color and you want to avoid errors that
can occur with printing misregistration. Then click OK.
Remove a paragraph rule
1 Using the Type tool
, click in the paragraph containing the paragraph rule.
2 Choose Paragraph Rules from the Paragraph panel menu or Control panel menu.
3 Deselect Rule On and click OK.
Ways to control paragraph breaks
You can eliminate orphans and widows, words or single lines of text that become separated from the other lines in a
paragraph. Orphans fall at the bottom of a column or page, and widows fall at the top of a column or page. Another
typographic problem to avoid is a heading that stands alone on a page with the following paragraph on the next page.
You have several options for fixing widows, orphans, short exit lines, and other paragraph break problems:
Discretionary hyphens A discretionary hyphen (Type &gt; Insert Special Character &gt; Hyphens And Dashes &gt;
Discretionary Hyphen) appears only if the word breaks. This option prevents the common typographic problem of
hyphenated words, such as “care-giver,” appearing in the middle of a line after text reflows. Similarly, you can also add
a discretionary line break character.
No Break Choose No Break from the Character panel menu to prevent selected text from breaking across a line.
Nonbreaking spaces Insert a nonbreaking space (Type &gt; Insert White Space &gt; [nonbreaking space]) between words
you want to keep together.
Keep Options Choose Keep Options from the Paragraph panel menu to specify how many lines in the following
paragraph remain with the current paragraph.
Start Paragraph Use Start Paragraph in the Keep Options dialog box to force a paragraph (usually a title or heading)
to appear at the top of a page, column, or section. This option works especially well as part of a heading paragraph style.
Hyphenation Settings Choose Hyphenation from the Paragraph panel menu to change hyphenation settings.
Edit text Editing text may not be an option depending on the kind of document you work with. If you have license to
rewrite, then subtle rewording can often create a better line break.
Use a different composer In general, use Adobe Paragraph Composer to let InDesign compose paragraphs
automatically. If a paragraph isn’t composed the way you’d like, choose Adobe Single-line Composer from the
Paragraph panel menu or Control panel menu and adjust selected lines individually. See “Compose text” on page 268.
Control paragraph breaks using Keep Options
You can specify how many lines of the following paragraph remain with the current paragraph as it moves between
frames—a convenient way to ensure that headings don’t become isolated from the body text they introduce. InDesign
can highlight the paragraphs that sometimes break in violation of your settings.
You may not want to use Keep Options if your document does not require your columns to share the same last
baseline.
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To highlight paragraphs that violate Keep Options, choose Edit &gt; Preferences &gt; Composition (Windows) or
InDesign &gt; Preferences &gt; Composition (Mac OS), select Keep Violations, and click OK.
1 Select the paragraph or paragraphs you want to affect.
2 Choose Keep Options in the Paragraph panel menu or Control panel menu. (You can also change keep options
when creating or editing a paragraph style.)
3 Select any of these options and then click OK:
• Select Keep With Previous to keep the first line of the current paragraph with the last line of the previous paragraph.
• For Keep With Next _ Lines, specify the number of lines (up to five) of the subsequent paragraph that the last line
of the current paragraph stays with. This option is especially useful for making sure that a heading stays with the
next few lines of the paragraph that follows it.
• Select the Keep Lines Together option and select All Lines In Paragraph to prevent the paragraph from breaking.
• Select the Keep Lines Together option, select At Start/End Of Paragraph, and specify the number of lines that must
appear at the beginning or ending of the paragraph to prevent orphans and widows.
• For Start Paragraph, choose an option to force InDesign to push the paragraph to the next column, frame, or page.
If Anywhere is selected, the start position is determined by the Keep Line Settings option. For other options, they
will be forced to start from these positions.
When you create paragraph styles for headings, use the Keep Options panel to make sure that your headings remain
with the paragraph that follows them.
More Help topics
“Add column, frame, and page breaks” on page 137
Create hanging punctuation
Punctuation marks and letters such as “W” can make the left or right edges of a column appear to be misaligned.
Optical Margin Alignment controls whether punctuation marks (such as periods, commas, quotation marks, and
dashes) and edges of letters (such as W and A) hang outside the text margins, so that the type looks aligned.
Before (left) and after (right) applying Optical Margin Alignment
1 Select a text frame, or click anywhere in the story.
2 Choose Type &gt; Story.
3 Select Optical Margin Alignment.
4 Select a font size to set the appropriate amount of overhang for the size of type in your story. For optimal results,
use the same size as the text.
To turn off Optical Margin Alignment for an individual paragraph, choose Ignore Optical Margin from the
Paragraph panel menu or Control panel menu.
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Aligning text
Align or justify text
Text can be aligned with one or both edges (or insets) of a text frame. Text is said to be justified when it is aligned with
both edges. You can choose to justify all text in a paragraph excluding the last line (Justify Left or Justify Right), or you
can justify text in a paragraph including the last line (Justify All). When you have only a few characters on the last line,
you may want to use a special end-of-story character and create a flush space.
Justify Left (left) and Justify All (right)
Note: When you justify all lines of text and you are using the Adobe Paragraph Composer, InDesign shifts text to ensure
that the paragraph has consistent text density and is visually appealing. You can fine-tune spacing in justified text.
1 Select text.
2 Click one of the Alignment buttons (Align Left, Align Center, Align Right, Left Justify, Center Justify, Right Justify
and Full Justify) in the Paragraph panel or Control panel.
3 (Optional) Click Align Towards Spine or Align Away From Spine.
When you apply Align Towards Spine to a paragraph, text on a left-hand page is right-aligned, but when the same text
flows onto (or if the frame is moved to) a right-hand page, it becomes left aligned. Similarly, when you apply Align
Away From Spine to a paragraph, text on a left-hand page is left aligned, while text on a right-hand page is right
aligned.
If you want the left side of a line of text to be left-aligned and the right side to be right-aligned, position the insertion
point where you want to right-align the text, press Tab, and then right-align the rest of the line.
More Help topics
“Align or justify text vertically within a text frame” on page 250
“Change Justification settings” on page 271
Align paragraphs to a baseline grid
The baseline grid represents the leading for body text in a document. You can use multiples of this leading value for
all elements of the page to ensure that text always lines up between columns and from page to page. For example, if the
body text in your document has 12-point leading, you could give your heading text 18-point leading and add 6 points
of space before the paragraphs that follow the headings.
Using a baseline grid ensures consistency in the location of text elements on a page. You can adjust the leading for the
paragraph to ensure that its baselines align to the page’s underlying grid. This is useful if you want the baselines of text
in multiple columns or adjacent text frames to align. Change settings for the baseline grid by using the Grids section
of the Preferences dialog box.
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You can also align only the first line of a paragraph to the baseline grid, allowing the rest of the lines to follow the
specified leading values.
To view the baseline grid, choose View &gt; Grids &amp; Guides &gt; Show Baseline Grid.
Note: The baseline grid is visible only if the document zoom level is greater than the view threshold setting in Grids
Preferences. You may need to zoom in to view the baseline grid.
More Help topics
“Grids” on page 47
“Set baseline grids for a text frame” on page 120
Align paragraphs to the baseline grid
1 Select text.
2 In the Paragraph panel or Control panel, click Align To Baseline Grid
.
To ensure that the leading of your text does not change, set the baseline grid leading to the same leading value as your
text, or to a factor thereof.
Align only the first line to the baseline grid
1 Select the paragraphs you want to align.
2 Choose Only Align First Line To Grid from the Paragraph menu or Control panel menu.
3 In the Paragraph panel or Control panel, click Align To Baseline Grid
.
Create balanced headline text
You can balance ragged aligned text across multiple lines. This feature is especially useful for multiline headings, pullquotes, and centered paragraphs.
Before and after applying Balance Ragged Lines to the title
1 Click in the paragraph you want to balance.
2 In the Paragraph panel or Control panel, choose Balance Ragged Lines from the menu.
This feature takes effect only when the Adobe Paragraph Composer is selected.
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Create paragraphs that span or split columns
You can make a paragraph span across multiple columns to create a straddle head effect. You can choose whether a
paragraph spans all columns or a specified number of columns. When a paragraph is set to span across multiple
columns, any text before the spanning paragraph becomes balanced as a result.
You can also split a paragraph into multiple columns within the same text frame.
For a video tutorial on creating paragraphs that span or split columns, go to www.adobe.com/go/lrvid5151_id_en or
http://tv.adobe.com/go/4952/.
A
B
Paragraph spanning and splitting multiple columns
A. Heading that spans columns B. Split column
Span a paragraph across columns
1 Place the insertion point inside the paragraph.
You can also make this feature part of a paragraph style, such as a heading style.
2 Choose Span Columns from the Control panel menu or a Paragraph panel menu.
3 Choose Span Columns from the Paragraph Layout menu.
4 Choose the number of columns you want the paragraph to span from the Span menu. Choose All if you want the
paragraph to span across all the columns.
5 To add extra space before or after the span paragraph, specify Space Before Span and Space After Span values, and
then click OK.
Split a paragraph into columns
1 Place the insertion point inside the paragraph.
You can also make this feature part of a paragraph style, such as a heading style.
2 Choose Span Columns from the Control panel menu or a Paragraph panel menu.
3 Choose Split Columns from the Paragraph Layout menu.
4 Specify the following options, and then click OK:
Sub-columns Choose the number of columns you want the split the paragraph into.
Space Before Split / Space After Split Add space before or after the split paragraph.
Inside Gutter Determine the space between the split paragraphs.
Outside Gutter Determine the space between the outside of the split paragraphs and the margins.
Align or justify text vertically within a text frame
You can align or distribute lines of text in a frame along its vertical axis to help keep type vertically consistent among
frames and their columns.
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You can align text to the top, center, or bottom of the frame using each paragraph’s leading and paragraph spacing
values. You can also justify text vertically, which evenly spaces lines regardless of their leading and paragraph spacing
values.
You don’t know about
me, without you have
read a book by the name
of “The Adventures of
Tom Sawyer,” but that
ain’t no matter.
That book was made by
Mr. Mark Twain, and he
told the truth, mainly.
You don’t know about
me, without you have
read a book by the name
of “The Adventures of
Tom Sawyer,” but that
ain’t no matter.
That book was made by
Mr. Mark Twain, and he
told the truth, mainly.
Vertical justification—Bottom (left) and Justify (right)
Vertical text alignment and justification is calculated from the baseline positions of each line of text in the frame. Keep
the following in mind as you adjust vertical alignment:
• The top of the frame is defined as the baseline of the first line of top-aligned text. The First Baseline Offset option
in the Text Frame Options dialog box affects this value.
• The bottom of the frame is defined as the baseline of the last line of bottom-aligned text. Footnote text is not
justified.
• When the Align to Baseline Grid option is applied to paragraphs with Top, Center, or Bottom alignment, all lines
will be aligned to the baseline grid. With the Justified option, only the first and last lines will be aligned to the
baseline grid.
• If you adjust a text frame’s Top or Bottom Inset values in the Text Frame Options dialog box, you change the
location of the first or last baseline, respectively.
1 Do one of the following:
• With the Selection tool, select a text frame.
• With the Type tool
, click in a text frame.
2 Choose Object &gt; Text Frame Options.
3 In the Vertical Justification section of the Text Frame Options dialog box, choose one of the following options in
the Align menu:
• To vertically align text down from the top of the frame, choose Top. (This is the default setting.)
• To center lines of text in the frame, choose Center.
• To vertically align lines of text up from the bottom of the frame, choose Bottom.
• To evenly distribute lines of text vertically between the top and bottom of the frame, choose Justify.
4 If you choose Justify and you want to prevent the leading value from becoming disproportionately larger than the
paragraph spacing value, specify a Paragraph Spacing Limit value. The space between paragraphs is expanded up
to the value you specify; if the text still doesn’t fill the frame, the space between lines is adjusted until the frame is
filled. The paragraph spacing limit value is applied in addition to the Space Before or Space After values entered on
the Paragraph panel.
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EDMUND : Some
officers take th m away:
good guard,Until their
greater pleasures first
be known That are to
censure them.
CORDELIA: We are
not the first Who, with
best meaning, have
incurr’d the worst.
EDMUND : Some
officers take th m away:
good guard,Until their
greater pleasures first
be known That are to
censure them.
CORDELIA:We are
not the first Who, with
best meaning, have
incurr’d the worst.
Paragraph spacing limit set to zero (left) and 1 pica (right)
Note: Be careful about vertically justifying multi-column text frames. If the last column contains only a few lines, too
much white space may appear between the lines.
5 Click OK.
An easy way to adjust the Paragraph Spacing Limit value is to select Preview, and then click the up or down arrow
next to the Paragraph Spacing Limit value until paragraph spacing appears to be balanced with leading.
Tabs and indents
Tabs dialog box overview
Tabs position text at specific horizontal locations in a frame. The default tab settings depend on the Horizontal ruler
units setting in the Units &amp; Increments preferences dialog box.
Tabs apply to an entire paragraph. The first tab you set deletes all default tab stops to its left. Subsequent tabs delete all
default tabs between the tabs you set. You can set left, center, right, and decimal or special-character tabs.
You set tabs using the Tabs dialog box.
A
B
C
E
D
F
Tabs dialog box
A. Tab alignment buttons B. Tab position C. Tab Leader box D. Align On box E. Tab ruler F. Snap above frame
Open the Tabs dialog box
1 Using the Type tool, click in the text frame.
2 Choose Type &gt; Tabs.
If the top of the frame is visible, the Tabs dialog box snaps to the current text frame and matches its width to the current
column.
Align the Tabs dialog box ruler with your text
1 Scroll through your document to display the top of the text frame.
2 Click the magnet icon
on the Tabs dialog box. The Tabs dialog box snaps to the top of the column that includes
the selection or the insertion point.
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Set tabs
You can set left, center, right, and decimal or special-character tabs. When you use the special-character tab, you can
set a tab to align to any character you choose, such as a colon or a dollar sign.
Bob Bringhurst provides an article about various tab and indent effects at Tabs and Indents Gallery.
1 Using the Type tool
, click an insertion point in the paragraph.
2 Press the Tab key. Add tabs in the paragraphs where you want to add horizontal space. (You can also add tabs after
you create your tab settings.)
Act 1
Scene 1: King Lear’s palace.
Scene 2: The Earl of Gloucester’s castle.
Scene 3: The Duke of Albany’s palace.
Scene 4: A hall in the same.
Scene 5: Court before the same.
Act 2
Scene 1: Gloucester’s castle
Scene 2: Before Gloucester’s castle.
Scene 3: A wood.
Using tabs to align text
3 To specify which paragraphs will be affected, select a paragraph or a group of paragraphs.
4 For the first tab, click a tab-alignment button (left, right, center, or decimal) in the Tabs dialog box to specify how
text will align to the tab’s position.
5 Do one of the following:
• Click a location on the tab ruler to position a new tab.
Adding a new tab setting
• Type a position in the X box and press Enter or Return. If the X value is selected, press the up or down arrow key
to increase or decrease the tab value by 1 point, respectively.
6 For subsequent tabs with different alignments, repeat steps 3 and 4.
The first tab setting is right-aligned; the second tab setting is left-aligned.
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To insert a tab character in a table, choose Type &gt; Insert Special Character &gt; Other &gt; Tab.
Repeat tabs
The Repeat Tab command creates multiple tabs based on the distance between the tab and the left indent or the
previous tab stop.
1 Click an insertion point in the paragraph.
2 In the Tabs panel, select a tab stop on the ruler.
3 Choose Repeat Tab from the panel menu.
C
A
B
Repeated tabs
A. Tab-alignment buttons B. Tab stop on the ruler C. Panel menu
Move, delete, and edit tab settings
Use the Tabs dialog box to move, delete, and edit tab settings.
Move a tab setting
1 Using the Type tool
, click an insertion point in the paragraph.
2 In the Tabs dialog box, select a tab on the tab ruler.
3 Do one of the following:
• Type a new location for X and press Enter or Return.
• Drag the tab to a new location.
Delete a tab setting
1 Click an insertion point in the paragraph.
2 Do one of the following:
• Drag the tab off the tab ruler.
• Select the tab, and choose Delete Tab from the panel menu.
• To return to the default tab stops, choose Clear All from the panel menu.
Change a tab from one alignment to another
1 In the Tabs dialog box, select a tab on the tab ruler.
2 Click a tab-alignment button.
You can also hold down Alt (Windows) or Option (Mac OS) while clicking the tab setting to cycle through the four
alignment options.
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Specify characters for decimal tabs
You use decimal tabs to align text with a character you specify, such as a period or a dollar sign.
1 In the Tabs panel, create or select a decimal tab
on the tab ruler.
2 In the Align On box, type the character to which you want to align. You can type or paste any character. Make sure
that the paragraphs you’re aligning contain that character.
Text aligned using a decimal tab
Add tab leaders
A tab leader is a repeated pattern of characters, such as a series of dots or dashes, between a tab and the following text.
1 In the Tabs panel, select a tab stop on the ruler.
2 Type a pattern of as many as eight characters in the Leader box, and then press Enter or Return. The characters you
entered repeat across the width of the tab.
3 To change the font or other formatting of the tab leader, select the tab character in the text frame, and use the
Character panel or Type menu to apply formatting.
Insert right indent tabs
In one step, you can add a right-aligned tab at the right indent, making it easier to prepare tabular text that spans an
entire column. Right indent tabs are slightly different from regular tabs. A right indent tab:
• Aligns all subsequent text to the right edge of the text frame. If the same paragraph includes any tabs after the right
indent tab, those tabs and their text are pushed to the next line.
• Is a special character located in the text, not in the Tabs dialog box. You add a right indent tab using a context menu,
not the Tabs dialog box. As a result, a right indent tab can’t be part of a paragraph style.
• Is different from the Right Indent value in the Paragraph panel. The Right Indent value keeps the entire right edge
of the paragraph away from the right edge of the text frame.
• Can be used with a tab leader. Right indent tabs use the tab leader of the first tab stop past the right margin, or, if
there isn't one, the last tab stop before the right margin.
1 Using the Type tool
, click on the line where you want to add the right indent tab.
2 Choose Type &gt; Insert Special Character &gt; Other &gt; Right Indent Tab.
Set indents
Indents move text inward from the right and left edges of the frame. In general, use first-line indents, not spaces or
tabs, to indent the first line of a paragraph.
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A first-line indent is positioned relative to the left-margin indent. For example, if a paragraph’s left edge is indented
one pica, setting the first-line indent to one pica indents the first line of the paragraph two picas from the left edge of
the frame or inset.
You can set indents using the Tabs dialog box, the Paragraph panel, or the Control panel. You can also set indents
when you create bulleted or numbered lists.
Bob Bringhurst provides an article about various tab and indent effects at Tabs and Indents Gallery.
More Help topics
“Create bulleted or numbered lists” on page 258
Set an indent using the Tabs dialog box
1 Using the Type tool
, click in the paragraph you want to indent.
2 Choose Type &gt; Tabs to display the Tabs dialog box.
3 Do one of the following to the indent markers
in the Tabs dialog box:
• Drag the top marker to indent the first line of text. Drag the bottom marker to move both markers and indent the
entire paragraph.
First-line indent (left) and no indent (right)
• Select the top marker and type a value for X to indent the first line of text. Select the bottom marker and type a value
for X to move both markers and indent the entire paragraph.
For more information on using the Tabs dialog box, see “Tabs dialog box overview” on page 252.
Set indents using the Paragraph panel or the Control panel
1 Using the Type tool
, click in the paragraph you want to indent.
2 Adjust the appropriate indent values in the Paragraph panel or Control panel. For example, do the following:
• To indent the entire paragraph one pica, type a value (such as 1p) in the Left Indent box
.
• To indent only the first line of a paragraph one pica, type a value (such as 1p) in the First Line Left Indent box
.
• To create a hanging indent of one pica, type a positive value (such as 1p) in the Left Indent box and type a negative
value (such as -1p) in the First Line Left Indent box. See “Set indents” on page 255.
Reset indents
1 Click in the paragraph in which you want to reset indents to the zero mark.
2 Choose Reset Indents from the Tabs dialog box menu.
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Create a hanging indent
In a hanging indent, all the lines in a paragraph are indented except for the first line. Hanging indents are especially
useful when you want to add inline graphics at the beginning of the paragraph.
No indent (left) and hanging indent (right)
1 Using the Type tool
, click in the paragraph you want to indent.
2 In the Tabs dialog box or the Control panel, specify a left indent value greater than zero.
3 To specify a negative first-line left indent value, do one of the following:
• In the Control panel, type a negative value for the first-line left indent
.
• In the Tabs dialog box, drag the top marker to the left, or select the marker and type a negative value for X.
In most cases, you’ll specify the negative equivalent of the value you entered in step 2; for instance, if you specified a
left indent of 2 picas, your first-line left indent will typically be –2 picas.
Right-indent the last line of a paragraph
You can use the Last Line Right Indent option to add a hanging indent on the right side of the last line in a paragraph.
This option is especially useful for right-aligning prices in a sales catalog.
Last line right indent
1 Type your paragraphs. In the last line of each paragraph, place the insertion point before the text to be indented,
and choose Type &gt; Insert Special Character &gt; Other &gt; Right Indent Tab.
2 Select the paragraphs.
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3 To create a right indent for paragraphs, specify a value (such as 2p) in the Right Indent field of the Paragraph panel
or Control panel.
4 To offset the right indent value for the text that follows the tab, type a negative value (such as -2p) in the Last Line
Right Indent field of the Paragraph panel or Control panel.
Use Indent To Here
You can use the Indent To Here special character to indent lines in a paragraph independently of a paragraph’s left
indent value. The Indent To Here special character is different from the paragraph’s left indent in the following ways:
• Indent To Here is part of the text flow, as if it were a visible character. If text reflows, the indent moves with it.
• Indent To Here affects all lines after the line where you’ve added its special characters, so you can indent just some
of the lines in a paragraph.
• When you choose Type &gt; Show Hidden Characters, the Indent To Here character
is visible.
Indent To Here special character
1 Using the Type tool
, click the insertion point where you would like to indent.
2 Choose Type &gt; Insert Special Character &gt; Other &gt; Indent To Here.
Bullets and numbering
Create bulleted or numbered lists
In bulleted lists, each paragraph begins with a bullet character. In numbered lists, each paragraph begins with an
expression that includes a number or letter and a separator such as a period or parenthesis. The numbers in a
numbered list are updated automatically when you add or remove paragraphs in the list. You can change the type of
bullet or numbering style, the separator, the font attributes and character styles, and the type and amount of indent
spacing.
You cannot use the Type tool to select the bullets or numbers in a list. Instead, edit their formatting and indent spacing
using the Bullets And Numbering dialog box, the Paragraph panel, or the Bullets And Numbering section of the
Paragraph Styles dialog box (if the bullets or numbers are part a style).
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Filling Ingredients
Cooking Instructions
• 4 cups pitted red cherries
1. Mix the cherries, sugar,
corn starch and orange in
a large saucepan.
• 2/3 cup sugar
• 2 tablespoons corn starch
• 2 tablespoons orange juice
2. Cook on medium heat
until the mixure comes
to a full boil, then let it
stand for about 10 minutes
to thicken, stirring a couple
of times during the cooling.
3. Transfer to a shallow baking
dish.
Bulleted list and numbered list
A quick way to create a bulleted or numbered list is to type the list, select it, and then click the Bulleted List or
Numbered List button in the Control panel. These buttons let you turn the list on or off and switch between bullets
and numbers. You can also make bullets and numbering part of a paragraph style and construct lists by assigning styles
to paragraphs.
Note: Automatically generated bullet and number characters aren’t actually inserted in the text. Therefore, they cannot
be found during a text search or selected with the Type tool unless you convert them to text. In addition, bullets and
numbering don’t appear in the story editor window (except in the paragraph style column).
For a video tutorial on creating bulleted and numbered lists, see www.adobe.com/go/vid0077.
InDesign Docs provides a series of articles about using bullets and numbering to create outlines, multi-level lists, figure
captions, and numbered steps.
1 Select the set of paragraphs that will become the list, or click to place the insertion point where you want the list to
begin.
2 Do any of the following:
• Click the Bulleted List button
or the Numbered List button
in the Control panel (in Paragraph mode). Hold
down Alt (Windows) or Option (Mac OS) while clicking a button to display the Bullets And Numbering dialog box.
• Choose Bullets And Numbering from the Paragraph panel or Command panel. For List Type, choose either Bullets
or Numbers. Specify the settings you want, and then click OK.
• Apply a paragraph style that includes bullets or numbering.
3 To continue the list in the next paragraph, move the insertion point to the end of the list and press Enter or Return.
4 To end the list (or list segment, if the list is to be continued later in the story), click the Bulleted List or Numbered
List button in the Control panel again, or choose Bullets And Numbering from the Paragraph panel menu.
More Help topics
“Create a paragraph style for running lists” on page 264
“Create multi-level lists” on page 264
Bulleted and Numbered Lists video
Format a bulleted or numbered list
1 Using the Type tool
, select the bulleted or numbered paragraphs you want to reformat.
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2 Do any of the following to open the Bullets And Numbering dialog box:
• Choose Bullets And Numbering from the Control panel menu (in Paragraph mode) or the Paragraph panel menu.
• Alt-click (Windows) or Option-click (Mac OS) either the Bulleted List button
button
.
or the Numbered List
3 In the Bullets And Numbering dialog box, do any of the following:
• Change the bullet character.
• Change the numbered list options.
• Choose a style for the numbers or bullets from the Character Style list.
4 To change the position of the bullet or number, specify any of the following:
Alignment Left-aligns, centers, or right-aligns the bullets or numbers within the horizontal space allotted for numbers.
(If this space is narrow, the difference between the three options is negligible.)
Left Indent Specifies how far the lines after the first line are indented.
First Line Indent Controls where the bullet or number is positioned.
Increase the First Line Indent value if you want the punctuation in long lists to be aligned. For example, if you want
“9.” and “10.” to be aligned on the period, change the Alignment to Right and gradually increase the first line indent
until the numbers align (make sure Preview is turned on).
To create the hanging indent effect, specify a positive Left Indent value (such as 2p0), and then specify an equal
negative value (such as -2p0) for First Line Indent.
Cooking Instructions
Cooking Instructions
1. Mix the cherries, sugar,
corn starch and orange in
a large saucepan.
1. Mix the cherries, sugar,
corn starch and orange in
a large saucepan.
2. Cook on medium heat
until the mixure comes
to a full boil, then let it
stand for about 10 minutes
to thicken, stirring a couple
of times during the cooling.
2. Cook on medium heat
until the mixure comes
to a full boil, then let it
stand for about 10 minutes
to thicken, stirring a couple
of times during the cooling.
A
B
Position settings
A. Hanging indent B. Left-aligned list
Note: The Left Indent, First Line Indent, and Tab Position settings in the Bullets And Numbering dialog box are
paragraph attributes. For that reason, changing these settings in the Paragraph panel also changes bulleted and
numbered list formats.
Tab Position Activates the tab position to create space between the bullet or number and the start of the list item.
By default, bullets and numbers inherit some of their text formatting from the first character in the paragraph to which
they’re attached. If the first character in one paragraph is different from the first characters in other paragraphs, the
numbering or bullet character may appear inconsistent with the other list items. If this is not the formatting you desire,
create a character style for numbers or bullets and apply it to your list by using the Bullets And Numbering dialog box.
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Cooking Instructions
1. Mix the cherries, sugar, corn starch
and orange in a large saucepan.
2. Cook on medium heat until
the mixure comes to a full boil,
then let it stand for about 10
minutes to thicken, stirring a
couple of times during the cooling.
3. Transfer to a shallow baking dish.
Italicized first word of step 3 causes numbering to be italicized as well, unless you create character style for numbers and apply it to list.
Change bullet characters
If you don’t want to use one of the existing bullet characters, you can add other bullet characters to the Bullet Character
grid. A bullet character that is available in one font may not be available in another font. You can choose whether the
font is remembered with any bullet character you add.
If you want to use a bullet found in a specific font (such as the pointing hand from Dingbats), be sure to set the bullet
to remember that font. If you use a basic bullet character, it’s probably best not to remember the font, because most
fonts have their own version of that bullet character. Depending on whether you select the Remember Font With Bullet
option, a bullet you add can reference either a Unicode value and a specific font family and style, or just a Unicode
value.
Note: Bullets that reference only the Unicode value (without a remembered font) appear with a red “u” indicator.
A
B
Bullets And Numbering dialog box
A. Bullet without remembered font B. Bullet with remembered font
Change the bullet character
1 On the Control panel menu or Paragraph panel menu, select Bullets And Numbering.
2 In the Bullets And Numbering dialog box, select Bullets from the List Type menu.
3 Select a different bullet character, and then click OK.
Add a bullet character
1 In the Bullets And Numbering dialog box, select Bullets from the List Type menu, then click Add.
2 Select the glyph that you want to use as the bullet character. (Different font families and font styles contain different
glyphs.)
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3 If you want the new bullet to remember the currently chosen font and style, select Remember Font With Bullet.
4 Click Add.
Note: The list of bullet characters is stored in the document, like paragraph and character styles. When you paste or load
paragraph styles from another document, any bullet character used in those styles appears in the Bullets And Numbering
dialog box, along with the other bullets defined for the current document.
Remove a bullet character
1 In the Bullets And Numbering dialog box, select Bullets from the List Type menu.
2 Select the bullet character you want to remove, and click Delete. (The first preset bullet character cannot be deleted.)
Change numbered list options
In a numbered list, the numbers are updated automatically when you add or remove paragraphs in the list. Paragraphs
that are part of the same list are numbered sequentially. These paragraphs do not have to be consecutive to one another
as long as you define a list for the paragraphs.
You can also create a multi-level list, in which list items are numbered in outline form and are indented by different
degrees.
1 Open the Bullets And Numbering dialog box.
2 Under Numbering Style, select the type of numbering you want to use from the Format menu.
3 In the Number box, use the default expression—period (.) and tab space (^t)—or construct a number expression
of your own. To enter a number expression, delete the period after the number metacharacter (^#) and do one of
the following:
• Type a character (such as a closing parenthesis) or more than one character in place of the period.
• Choose an item (such as Em Dash or Ellipses) from the Insert Special Character menu.
• Type a word or character before the number metacharacter. For example, to number questions in a list, you can
type the word Question.
4 Choose a character style for the expression. (The style you choose applies to the entire number expression, not just
to the number.)
5 For Mode, choose one of the following options:
Continue From Previous Number Numbers lists sequentially.
Start At Starts numbering at a number or other value that you enter in the text box. Enter a number, not a letter, even
if your list uses letters or Roman numerals for numbering.
6 Specify any other options, and then click OK.
Defining lists
A defined list can be interrupted by other paragraphs and lists, and can span different stories and different documents
in a book. For example, use defined lists to create a multi-level outline, or to create a running list of numbered table
names throughout your document. You can also define lists for separately numbered or bulleted items that are mixed
together. For example, in a list of questions and answers, define one list for numbering the questions and another for
numbering the answers.
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Defined lists are often used to track paragraphs for numbering purposes. When you create a paragraph style for
numbering, you can assign the style to a defined list, and paragraphs are numbered in that style according to where
they appear in the defined list. The first paragraph to appear is given number 1 (“Table 1”), for example, and the next
paragraph is given number 2 (“Table 2”), even if it appears several pages later. Because both paragraphs belong to the
same defined list, they can be numbered consecutively no matter how far apart they are in the document or book.
Define a new list for each type of item you want to number—step-by-step instructions, tables, and figures, for example.
By defining multiple lists, you can interrupt one list with another and maintain number sequences in each list.
List items are numbered in the order in which they are added to the page. To reorder the items, cut and paste the items
one by one in the order in which you want them to be listed.
Defined lists let you interrupt one list with another.
For a video tutorial on creating bulleted and numbered lists, see www.adobe.com/go/vid0077.
Define a list
1 Choose Type &gt; Bulleted And Numbered Lists &gt; Define Lists.
2 Click New in the Define Lists dialog box.
3 Enter a name for the list, choose whether you want to continue numbering across stories, and continue numbering
from previous documents in your book.
4 Click OK twice.
After you define a list, you can use it in a paragraph style, such as a style for tables, figures, or ordered lists, as well as
apply it by way of the Control panel and Paragraph panel.
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Note: Some lists are defined automatically. For example, when you import a numbered list from a Microsoft Word
document, InDesign defines a list automatically for your document.
Edit a defined list
1 Choose Type &gt; Bulleted And Numbered Lists &gt; Define Lists.
2 Select a list and click Edit.
3 Enter a new name for the list or change your selection of Continue Numbers options.
Paragraph styles that are assigned to the list are reassigned to the list under its new name.
Delete a defined list
1 Choose Type &gt; Bulleted And Numbered Lists &gt; Define Lists.
2 Select a list.
3 Click Delete, and then select a different list or the [Default] list to replace your list with.
Create a paragraph style for running lists
To create a running list—a list that is interrupted by other paragraphs or that spans multiple stories or documents—
create a paragraph style and apply the style to paragraphs that you want to be part of the list. For example, to create a
running list of the tables in your document, create a paragraph style called Tables, make a defined list part of the style,
and then apply the Tables paragraph style to all paragraphs you want in your Table list.
InDesign Docs provides a series of articles about using bullets and numbering to create figure captions and numbered
steps.
1 Choose New Paragraph Style from the Paragraph Styles panel menu.
2 Enter a style name.
3 On the left side of the New Paragraph Style dialog box, click Bullets And Numbering.
4 For List Type, select Bullets or Numbering.
5 If you are creating a style for numbered lists, choose a defined list from the List menu, or choose New List and define
the list.
6 Specify the bullet or numbering characteristics.
7 Use the Bullet or Number Position section of the New Paragraph Style dialog box to change the indent spacing. For
example, to create a hanging indent, type 2p for Left Indent and -2p for First Line Indent.
8 Specify other paragraph style attributes for the style, and then click OK.
More Help topics
“Add paragraph and character styles” on page 183
Create multi-level lists
A multi-level list is a list that describes hierarchical relationships between the list paragraphs. These lists are also called
outline lists because they resemble outlines. The list’s numbering scheme (as well as indentations) show rank as well as
how items are subordinate to one another. You can tell where each paragraph fits in the list with respect to the
paragraphs before and after it. You can include up to nine levels in a multi-level list.
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Multi-level list with numbers and letters marking hierarchy levels
To create a multi-level list, define the list and then create a paragraph style for each level you want. For example, a list
with four levels requires four paragraph styles (each one assigned the same defined list). As you create each style, you
define its numbering format and paragraph formatting.
Gabriel Powell provides a video tutorial about creating outlines and multi-level lists at Creating an automatic
numbered list.
Bob Bringhurst provides a series of articles about using bullets and numbering to create outlines, multi-level lists,
figure captions, and numbered steps.
1 Choose New Paragraph Style from the Paragraph Styles panel menu.
2 Enter a style name.
3 If you already created a style for your multi-level list, choose the style you will assign to levels above this one from
the Based On menu; otherwise, choose No Paragraph Style or Basic Paragraph.
4 On the left side of the New Paragraph Style dialog box, click Bullets And Numbering.
5 Choose Numbers from the List Type menu.
6 Choose a list you defined from the List menu. If you haven’t yet defined your list, you can choose New List from
the menu and define it now.
7 In the Level box, enter a number that describes which level of the multi-level list you’re creating a style for.
8 From the Format menu, choose the type of numbering you want to use.
9 In the Number box, enter metacharacters or select metacharacters from the menus to describe the number
formatting you want for list items at this level.
• To include numbering prefixes from higher levels, enter text or click at the start of the Number box and choose
Insert Number Placeholder and then select a Level option (for example, Level 1), or enter ^ and then the list level
(for example, enter ^1). In a list with first levels numbered 1, 2, 3, and so on, and second levels numbered a, b, c,
and so on, including the first-level prefix in the second level renders second-level numbers as 1a, 1b, 1c; 2a, 2b, 2c;
3a, 3b, 3c.
• To create a number expression, enter punctuation, enter metacharacters, or select options on the Insert Special
Character list.
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10 Select Restart Numbers At This Level After to renumber beginning at 1 when a paragraph at this level appears after
a paragraph at a higher level; deselect this option to number paragraphs at this level consecutively throughout the
list without regard for where the paragraphs appear in the list hierarchy.
To restart numbers after a specific level or range of levels, type the level number or range (such as 2-4) in the Restart
Numbers At This Level After field.
11 In the Bullet or Number Position area, choose Indent or Tab Position options to indent list items at this level farther
than list items at higher levels. Indenting helps subordinate items in lists stand out.
12 Click OK.
In some cases, such as with numbered steps, you may want to restart numbering within the same story. To avoid
restarting the numbered list manually, create a separate style that’s identical to the Level 1 style with one exception.
For Mode, chose Start At, and then specify 1. Name this style something like “Level 1 Restart.”
Create running captions for figures and tables
Running captions number figures, tables, and other items consecutively in a document. For example, the first figure
caption starts with the words “Figure 1,” the second with “Figure 2,” and so on. To make sure that figures, tables, or
similar items are numbered consecutively, define a list for the item, and then create a paragraph style that includes the
list definition. You can also add descriptive words such as “Figure” or “Table” to the numbering scheme of the
paragraph style.
Bob Bringhurst provides an article about creating figure captions at Numbered Lists Part III - Figure Captions.
List items are numbered in the order in which they are added to the page. To reorder the items, cut and paste the items
one by one in the order in which you want them to be listed.
1 Create a new paragraph style and, in the Bullets And Numbering section of the Paragraph Style Options dialog box,
choose Numbers from the List Type menu.
2 Choose a defined list from the List menu (or choose New List to define a list).
3 Under Numbering Style, select the type of numbering you want to use from the Format menu.
For example, select the A, B, C, D... option to create a list for “Figure A,” “Figure B,” and so on.
4 In the Number box, enter a descriptive word and any spacing or punctuation (as needed) along with the numbering
metacharacters.
For example, to create a “Figure A” effect, enter the word “Figure” and a space before the numbering metacharacters
(such as Figure ^#.^t). This adds the word “Figure” followed by a sequential number (^#), a period, and a tab (^t).
Note: To include chapter numbers in running captions, choose Insert Number Placeholder &gt; Chapter Number from the
Number list, or enter ^H where you want the chapter number to appear in the number scheme.
5 Finish creating the style and click OK.
After you create the style, apply it to text figure captions or table titles.
You can use the Table Of Contents feature to generate a list of tables or figures.
More Help topics
“Creating a table of contents” on page 302
“Captions” on page 221
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Restart or continue numbering for a list
InDesign offers commands for restarting a list and continuing a list:
Restarting a numbered list Place the insertion point in the paragraph and choose Restart Numbering from the context
menu or choose Type &gt; Bulleted And Numbered Lists &gt; Restart Numbering. In normal lists, this command assigns the
number 1 (or letter A) to a paragraph and makes it the first paragraph in a list. In multi-level lists, this command
assigns the first lower-level number to a nested paragraph.
Continuing a numbered list Choose Continue Numbering from the context menu or choose Type &gt; Bulleted And
Numbered Lists &gt; Continue Numbering. This command resumes numbering a list that was interrupted by
commentary, graphics, or nested list items. InDesign also offers commands for numbering lists that begin in one story
or book and cross into the next story or book.
Number a list from the previous or current story
Whether a list resumes numbering from the previous story or starts numbering anew in the current story depends on
how the list is defined.
1 Choose Type &gt; Bulleted And Numbered Lists &gt; Define Lists.
2 Select a list and click the Edit button.
Don’t choose the Default list because it can’t run across stories.
3 Select Continue Numbers Across Stories to resume numbering the list from the previous story, or deselect this
option to start the list in the current story at 1 (or A).
4 Click OK twice.
Number a list from the previous or current document in a book
Whether a list resumes numbering from the previous document in a book or starts numbering anew in the current
document depends on how the list is defined.
1 Choose Type &gt; Bulleted And Numbered Lists &gt; Define Lists.
2 Select a list and click the Edit button.
3 Select Continue Numbers From Previous Document In Book to resume numbering the list from the previous
document (you must choose Continue Numbers Across Stories to activate this option), or deselect this option to
start the list in the current document at 1 (or A).
4 Click OK twice.
To make sure that numbering is updated properly in a book, synchronize the documents in the book and choose
Update Numbering &gt; Update All Numbers from the books panel menu.
Convert list bullets or numbers to text
1 Select the paragraphs containing the bulleted or numbered list.
2 Do one of the following:
• From the Paragraph panel menu, choose Convert Numbering To Text or Convert Bullets To Text.
• Right-click (Windows) or Command-click (Mac OS) the selection, and then choose Convert Numbering To Text
or Convert Bullets To Text.
Note: To remove the list numbers or bullets, click the Numbered List button or Bulleted List button to unapply list
formatting to the selected text.
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More Help topics
“Convert style bullets and numbering to text” on page 189
Text composition
Compose text
The appearance of text on your page depends on a complex interaction of processes called composition. Using the word
spacing, letterspacing, glyph scaling, and hyphenation options you’ve selected, InDesign composes your type in a way
that best supports the specified parameters.
InDesign offers two composition methods: Adobe Paragraph Composer (the default) and Adobe Single-line
Composer (both are available from the Control panel menu). You can select which composer to use from the
Paragraph panel menu, the Justification dialog box, or the Control panel menu.
For a video tutorial on working with text, see www.adobe.com/go/vid0075.
InDesign Magazine provides an article about fixing composition problems at Mind the Gaps.
More Help topics
Working with Text video
“Change Justification settings” on page 271
“Justify text next to wrap objects” on page 216
Composition methods
InDesign offers two composition methods: Adobe Paragraph Composer (the default) and Adobe Single-line
Composer. Both composition methods evaluate possible breaks, and choose those that best support the hyphenation
and justification options you’ve specified for a given paragraph.
The Adobe Paragraph Composer
Considers a network of breakpoints for an entire paragraph, and thus can optimize earlier lines in the paragraph in
order to eliminate especially unattractive breaks later on. Paragraph composition results in more even spacing with
fewer hyphens.
The Paragraph Composer approaches composition by identifying possible breakpoints, evaluating them, and
assigning a weighted penalty to them based on such principles as evenness of letterspacing, word spacing, and
hyphenation.
You can use the Hyphenation dialog box to determine the relationship between better spacing and fewer hyphens. (See
“Hyphenate text” on page 269.)
The Adobe Single-line Composer
Offers a traditional approach to composing text one line at a time. This option is useful if you want to restrict
composition changes from late-stage edits.
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Choose a composition method for a paragraph
❖ Do any of the following:
• From the Paragraph panel menu, choose Adobe Paragraph Composer (the default) or Adobe Single-line
Composer.
• From the Paragraph panel menu or the Control panel menu, choose Justification, and then choose an option
from the Composer menu.
Note: Additional composition engine plug-ins from other companies may be available, along with interfaces that let you
customize an engine’s parameters.
Set composition preferences
1 Choose Edit &gt; Preferences &gt; Composition (Windows) or InDesign &gt; Preferences &gt; Composition (Mac OS).
2 To use on-screen highlighting to identify compositional problems, select Keep Violations And H&amp;J Violations
(hyphenation and justification).
3 To justify text that wraps around an object, select Justify Text Next To An Object.
4 Click OK.
Hyphenate text
The settings you choose for hyphenation and justification affect the horizontal spacing of lines and the aesthetic appeal
of type on your pages. Hyphenation options determine whether words can be hyphenated and, if they can, which
breaks are allowable.
Justification is controlled by the alignment option you choose, the word spacing and letterspacing you specify, and
whether or not you have used glyph scaling. You can also justify single words in narrow columns of fully justified text.
Eda Warren provides an article about avoiding composition problems at Mind the Gaps.
More Help topics
“Adjust word and letterspacing in justified text” on page 271
“Hyphenation and spelling dictionaries” on page 169
Adjust hyphenation manually
You can hyphenate words manually or automatically, or you can use a combination of the two methods. The safest
way to hyphenate manually is to insert a discretionary hyphen, which is not visible unless the word needs to be broken
at the end of a line. Placing a discretionary hyphen at the beginning of a word prevents it from being broken.
1 Using the Type tool
, click where you want to insert the hyphen.
2 Do one of the following:
• Choose Type &gt; Insert Special Character &gt; Hyphens And Dashes &gt; Discretionary Hyphen.
• Press Ctrl+Shift+- (Windows) or Command+Shift+- (Mac OS) to insert a discretionary hyphen.
Note: Entering a discretionary hyphen in a word does not guarantee that the word will be hyphenated. Whether or not
the word breaks depends on other hyphenation and composition settings. However, entering a discretionary hyphen in a
word does guarantee that the word can be broken only where the discretionary hyphen appears.
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Adjust hyphenation automatically
Hyphenation is based on word lists that can be stored either in a separate user dictionary file on your computer, or in
the document itself. To ensure consistent hyphenation, you may want to specify which word list to refer to, especially
if you will be taking your document to a service provider or if you work in a workgroup.
❖ To turn automatic hyphenation on or off for a paragraph, in the Paragraph panel or Control panel, select or deselect
the Hyphenation option. (You can also include this option in a paragraph style.)
When you set automatic hyphenation options, you can determine the relationship between better spacing and fewer
hyphens. You can also prevent capitalized words and the last word in a paragraph from being hyphenated.
Set automatic hyphenation options for a paragraph
1 Click in a paragraph or select the range of paragraphs you want to affect.
2 Choose Hyphenation from the Paragraph panel menu.
3 Select the Hyphenate option.
4 Make changes to the following settings as needed, and then click OK:
Words With At Least _ Letters Specify the minimum number of characters for hyphenated words.
After First _ Letters / Before Last _ Letters Specify the minimum number of characters at the beginning or end of a
word that can be broken by a hyphen. For example, by specifying 3 for these values, aromatic would be hyphenated as
aromatic instead of aromatic or aromatic.
Hyphen Limit _ Hyphens Specify the maximum number of hyphens that can appear on consecutive lines. Zero means
unlimited hyphens.
Hyphenation Zone Specify the amount of white space allowed at the end of a line of unjustified text before
hyphenation begins. This option applies only when you’re using the Single-line Composer with nonjustified text.
Better Spacing / Fewer Hyphens To alter the balance between these settings, adjust the slider at the bottom of the
dialog box.
Hyphenate Capitalized Words To prevent capitalized words from being hyphenated, deselect this option.
Hyphenate Last Word To prevent last words in paragraphs from being hyphenated, deselect this option.
Hyphenate Across Column To prevent words from being hyphenated across a column, frame, or page, deselect this
option.
Prevent unwanted word breaks
By using nonbreaking hyphens, you can prevent certain words from breaking at all—for example, proper names or
words which, when broken, become unattractive fragments. By using nonbreaking spaces, you can also keep multiple
words from breaking—for example, clusters of initials and a last name (P. T. Barnum).
Prevent text from breaking
1 Select the text you want to keep on the same line.
2 Choose No Break from the Character panel menu or the Control panel menu.
Another way to prevent a word from breaking is to place a discretionary hyphen at the beginning of the word. Press
Ctrl+Shift+- (Windows) or Command+Shift+- (Mac OS) to insert a discretionary hyphen.
Create a nonbreaking hyphen
1 Using the Type tool
, click where you want to insert the hyphen.
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2 Choose Type &gt; Insert Special Character &gt; Hyphens And Dashes &gt; Nonbreaking Hyphen.
Create a nonbreaking space
1 Using the Type tool
, click where you want to insert the space.
2 Choose Type &gt; Insert White Space&gt; Nonbreaking Space (or any other white space character).
The Nonbreaking Space varies in width depending on point size, the justification setting, and word space settings,
whereas the Nonbreaking Space (Fixed Width) character maintains the same width regardless of context.
Change Justification settings
Use the Justification panel to precisely control how word spacing, letterspacing, and glyph scaling. Adjusting spacing
is especially useful with justified type, although you can also adjust spacing for unjustified type.
Adjust word and letterspacing in justified text
1 Insert the cursor in the paragraph you want to change, or select a type object or frame to change all of its paragraphs.
2 Choose Justification from the Paragraph panel menu.
3 Enter values for Word Spacing, Letter Spacing, and Glyph Spacing. The Minimum and Maximum values define a
range of acceptable spacing for justified paragraphs only. The Desired value defines the desired spacing for both
justified and unjustified paragraphs:
Word Spacing The space between words that results from pressing the spacebar. Word Spacing values can range from
0% to 1000%; at 100%, no additional space is added between words.
Letter Spacing The distance between letters, including kerning or tracking values. Letter Spacing values can range
from -100% to 500%: at 0%, no space is added between letters; at 100%, an entire space width is added between letters.
Glyph Scaling The width of characters (a glyph is any font character). Glyph Scaling values can range from 50% to 200%.
Spacing options are always applied to an entire paragraph. To adjust the spacing in a few characters, but not an entire
paragraph, use the Tracking option.
4 Set the Single Word Justification option to specify how you want to justify single-word paragraphs.
In narrow columns, a single word can occasionally appear by itself on a line. If the paragraph is set to full justification,
a single word on a line may appear to be too stretched out. Instead of leaving such words fully justified, you can center
them or align them to the left or right margins.
Set glyph scaling in justified text
1 Click an insertion point in a paragraph or select the paragraphs you want to affect.
2 Choose Justification from the Paragraph panel menu.
3 Type values for Glyph Scaling Minimum, Desired, and Maximum. Then click OK.
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Before (top) and after (bottom) glyph scaling in justified text
Glyph scaling can help in achieving even justification; however, values more than 3% from the 100% default value
may result in distorted letter shapes. Unless you’re striving for a special effect, it’s best to keep glyph scaling to subtle
values, such as 97–100–103.
Use a flush space with justified text
Using a flush space character adds a variable amount of space to the last line of a fully justified paragraph—between
the last word and an end-of-story character from a decorative font. Used with nonjustified text, the flush space appears
as a normal word space. In justified text, it expands to absorb all available extra space on the last line. Using a flush
space can make a dramatic difference in the way the entire paragraph is formatted by the Adobe Paragraph Composer.
Before and after adding a flush space character
1 Using the Type tool
, click directly in front of the end-of-story character.
2 Choose Type &gt; Insert White Space &gt; Flush Space.
Note: The effect of a flush space isn’t apparent until you apply the Justify All Lines option to the paragraph.
Highlight lines that are too loose or tight
Because composing a line of type involves factors in addition to word spacing and letterspacing (hyphenation
preferences, for example), InDesign cannot always honor your settings for word spacing and letterspacing. However,
compositional problems in lines of text can be highlighted in yellow; the darkest of three shades indicates the most
serious problems.
1 Choose Edit &gt; Preferences &gt; Composition (Windows) or InDesign &gt; Preferences &gt; Composition (Mac OS).
2 Select H&amp;J Violations and click OK.
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Chapter 9: Tables
Creating tables
A table consists of rows and columns of cells. A cell is like a text frame in which you can add text, anchored frames, or
other tables. Create tables in Adobe InDesign CS5 or export them from other applications.
Create tables
A table consists of rows and columns of cells. A cell is like a text frame in which you can add text, inline graphics, or
other tables. You can create tables from scratch or by converting them from existing text. You can also embed a table
within a table.
When you create a table, the new table fills the width of the container text frame. A table is inserted on the same line
when the insertion point is at the beginning of the line, or on the next line, when the insertion point is in the middle
of a line.
Tables flow with surrounding text just as inline graphics do. For example, a table moves through threaded frames when
the text above it changes in point size or when text is added or deleted. However, a table cannot appear on a text-onpath frame.
For a video tutorial on creating and formatting tables, see www.adobe.com/go/vid0081.
Michael Murphy provides an article on creating and formatting tables at Mind Your Table Manners.
More Help topics
“Formatting tables” on page 282
Creating and Formatting Tables video
Create a table from scratch
The table you create fills the width of the text frame.
1 Using the Type tool
, place the insertion point where you want the table to appear.
2 Choose Table &gt; Insert Table.
3 Specify the numbers of rows and columns.
4 If your table contents will continue on more than one column or frame, specify the number of header or footer rows
in which you want the information to be repeated.
5 (Optional) Specify a table style.
6 Click OK.
The row height of a table is determined by the specified table style. For example, a table style may use cell styles to
format different parts of the table. If any of these cell styles include paragraph styles, the leading value of the paragraph
styles determines the row height of that area. If no paragraph style is used, the document’s default slug determines the
row height. (The slug is based on the leading value. In this context, a slug is the approximate height of the highlighting
in selected text.)
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Create a table from existing text
Before you convert text to a table, make sure that you set up the text properly.
1 To prepare the text for conversion, insert tabs, commas, paragraph returns, or another character to separate
columns. Insert tabs, commas, paragraph returns, or another character to separate rows. (In many instances, text
can be converted to a table without having to be edited.)
2 Using the Type tool
, select the text you want to convert to a table.
3 Choose Table &gt; Convert Text To Table.
4 For both Column Separator and Row Separator, indicate where new rows and columns should begin. Choose Tab,
Comma, or Paragraph, or type the character, such as a semicolon (;), in the Column Separator and Row Separator
field. (Any character you type appears in the menu the next time you create a table from text.)
5 If you specify the same separator for columns and rows, indicate the number of columns you want the table to
include.
6 (Optional) Specify a table style to format the table.
7 Click OK.
If any row has fewer items than the number of columns in a table, empty cells fill out the row.
Embed a table within a table
1 Do one of the following:
• Select the cells or table you want to embed, and then choose Edit &gt; Cut or Copy. Place the insertion point in the cell
where you want the table to appear, and then choose Edit &gt; Paste.
• Click inside a cell, choose Table &gt; Insert Table, specify the number of rows and columns, and then click OK.
2 Adjust the cell inset as necessary. (See “Format text within a table” on page 284.)
If you create a table within a cell, you cannot use the mouse to select any part of the table that oversets the cell
boundary. Instead, expand the row or column; or place the insertion point in the first part of the table, and use
keyboard shortcuts to move the insertion point and select text.
Importing tables from other applications
When you use the Place command to import a Microsoft Word document that includes tables, or a Microsoft Excel
spreadsheet, imported data is an editable table. You can use the Import Options dialog box to control the formatting.
You can also paste data from an Excel spreadsheet or a Word table into an InDesign or InCopy document. The
Clipboard Handling preference settings determine how text pasted from another application is formatted. If Text Only
is selected, the information appears as unformatted tabbed text, which you can then convert to a table. If All
Information is selected, the pasted text appears in a formatted table.
If you’re pasting text from another application into an existing table, insert enough rows and columns to accommodate
the pasted text, select the Text Only option in Clipboard Handling preferences, and make sure that at least one cell is
selected (unless you want to embed the pasted table into a cell).
If you want more control over formatting the imported table, or if you want to maintain spreadsheet formatting, use
the Place command to import the table. If you want to maintain a link to the spreadsheet, select the Create Links When
Placing Text And Spreadsheet Files option in File Handling preference settings.
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You can also copy and paste tabbed text across a selection of table cells. This technique is a great way to replace content
while preserving formatting. For example, suppose you want to update the content of a formatting table in a monthly
magazine. One possibility is to link to an Excel spreadsheet. However, if your content comes from a different source, you
can copy the tabbed text containing the new content, select the range of cells in the formatted InDesign table, and paste.
More Help topics
“Place (import) text” on page 123
Add text to a table
You can add text, anchored objects, XML tags, and other tables to table cells. The height of a table row expands to
accommodate additional lines of text, unless you set a fixed row height. You cannot add footnotes to tables.
❖ Using the Type tool
, do any of the following:
• Position the insertion point in a cell, and type text. Press Enter or Return to create a new paragraph in the same cell.
Press Tab to move forward through cells (pressing Tab in the last cell inserts a new row). Press Shift+Tab to move
backwards through cells.
• Copy text, position the insertion point in a cell, and then choose Edit &gt; Paste.
• Position the insertion point in a cell where you want to add text, choose File &gt; Place, and then double-click a text file.
More Help topics
“Resize columns, rows, and tables” on page 283
“Work with overset cells” on page 286
“Tag items” on page 563
Add graphics to a table
For a video tutorial on placing images into a table, see www.adobe.com/go/vid0083.
❖ Do any of the following:
• Position the insertion point where you want the graphic, choose File &gt; Place, and then double-click the graphic’s
filename.
• Position the insertion point where you want the graphic, choose Object &gt; Anchored Object &gt; Insert, and then
specify settings. You can later add a graphic to the anchored object.
• Copy a graphic or a frame, position the insertion point, and then choose Edit &gt; Paste.
When you add a graphic that is larger than the cell, the cell height expands to accommodate the graphic, but the width
of the cell doesn’t change—the graphic may extend beyond the right side of the cell. If the row in which the graphic is
placed is set to a fixed height, a graphic that is taller than the row height causes the cell to be overset.
To avoid an overset cell, you may want to place the image outside the table, resize the image, and then paste it into
the table cell.
Add table headers and footers
When you create a long table, the table may span more than one column, frame, or page. You can use headers or footers
to repeat the information at the top or bottom of each divided portion of the table.
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You can add header and footer rows when you create the table. You can also use the Table Options dialog box to add
header and footer rows and change how they appear in the table. You can convert body rows to header or footer rows.
Header rows repeated once per frame
To number tables sequentially, such as Table 1A, Table 1B, and so on, add a variable to the table header or footer.
(See “Create running captions for figures and tables” on page 266.)
For a video tutorial on creating table headers and footers, see www.adobe.com/go/vid0082.
More Help topics
“Break tables across frames” on page 284
“Create variables for running headers and footers” on page 87
Convert existing rows to header or footer rows
1 Select the rows at the top of the table to create header rows, or at the bottom of the table to create footer rows.
2 Choose Table &gt; Convert Rows &gt; To Header or To Footer.
Change header or footer row options
1 Place the insertion point in the table, and then choose Table &gt; Table Options &gt; Headers And Footers.
2 Specify the number of header or footer rows. Blank rows may be added to the top or bottom of the table.
3 Specify whether the information in the header or footer appears in every text column (if text frames have more than
one column), once per frame, or only once per page.
4 Select Skip First if you don’t want the header information to appear in the first row of the table. Select Skip Last if
you don’t want the footer information to appear in the last row of the table.
The Skip First option is especially useful if you want to indicate that the header or footer is continued. For example,
for a table that spans multiple pages, you may want the header text to be “Table 2 (Continued).” Since you don't want
“(Continued)” to appear at the beginning of the table, select Skip First, and simply type Table 2 in the first row of the
table.
5 Click OK.
Remove header or footer rows
❖ Do any of the following:
• Place the insertion point in the header or footer row, and then choose Table &gt; Convert Rows &gt; To Body.
• Choose Table &gt; Table Options &gt; Headers And Footers, and then specify a different number of header rows or
footer rows.
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Selecting and editing tables
Select table cells, rows, and columns
When you select part or all of the text in a cell, that selection has the same appearance as would text selected outside a
table. However, if the selection spans more than one cell, the cells and their contents are both selected.
If a table spans more than one frame, holding the mouse pointer over any header or footer row that is not the first
header or footer row causes a lock icon to appear, indicating that you cannot select text or cells in that row. To select
cells in a header or footer row, go to the beginning of the table.
More Help topics
“Keys for tables” on page 675
Select cells
❖ Using the Type tool
, do any of the following:
• To select a single cell, click inside a cell, or select text, and then choose Table &gt; Select &gt; Cell.
• To select multiple cells, drag across a cell border. Be careful not to drag the column or row line so that you don’t
resize the table.
To switch between selecting all of the text in a cell and selecting the cell, press Esc.
Select entire columns or rows
❖ Using the Type tool
, do any of the following:
• Click inside a cell, or select text, and then choose Table &gt; Select &gt; Column or Row.
• Move the pointer over the top edge of a column or the left edge of a row so that the pointer becomes an arrow shape
(
or
), and then click to select the entire column or row.
Before and after selecting Row
Select all header, body, or footer rows
1 Click inside a table, or select text.
2 Choose Table &gt; Select &gt; Header Rows, Body Rows, or Footer Rows.
Select the entire table
❖ Using the Type tool
, do any of the following:
• Click inside a table, or select text, and then choose Table &gt; Select &gt; Table.
• Move the pointer over the upper left corner of the table so that the pointer becomes an arrow shape
click to select the entire table.
, and then
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Before and after selecting table
• Drag the Type tool across the entire table.
You can also select a table in the same way you select an anchored graphic—place the insertion point immediately
before or after a table, and then hold down Shift while pressing the Right Arrow key or Left Arrow key, respectively,
to select the table.
Insert rows and columns
You can insert rows and columns using a number of different methods.
Insert a row
1 Place the insertion point in a row below or above where you want the new row to appear.
2 Choose Table &gt; Insert &gt; Row.
3 Specify the number of rows you want.
4 Specify whether the new row or rows should appear before or after the current row, and then click OK.
The new cells have the same formatting as the text in the row in which the insertion point was placed.
You can also create a new row by pressing Tab when the insertion point is in the last cell.
Insert a column
1 Place the insertion point in a column next to where you want the new column to appear.
2 Choose Table &gt; Insert &gt; Column.
3 Specify the number of columns you want.
4 Specify whether the new column or columns should appear before or after the current column, and then click OK.
The new cells have the same formatting as the text in the column in which the insertion point was placed.
Insert multiple rows and columns
1 With the insertion point in a cell, choose Table &gt; Table Options &gt; Table Setup.
2 Specify a different number of rows and columns, and then click OK.
New rows are added to the bottom of the table; new columns are added to the right side of the table.
You can also change the number of rows and columns using the Table panel. To display the Table panel, choose
Window &gt; Type &amp; Tables &gt; Table.
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Insert a row or column by dragging
When adding columns, if you drag more than one and one-half times the width of the column being dragged, new
columns are added that have the same width as the original column. If you drag to insert only one column, that column
can have a narrower or wider width than the column from where you dragged. The same behavior is true of rows,
unless the Row Height for the row being dragged is set to At Least. In this case, if you drag to create only one row,
InDesign will resize the new row, if necessary, so that it’s tall enough to contain text.
1 Position the Type tool
over the border of a column or row so that a double-arrow icon (
or
) appears.
2 Hold down the mouse button, and then hold down Alt (Windows) or Option (Mac OS) while dragging down to
create a new row, or to the right to create a new column. (If you press Alt or Option before holding down the mouse
button, the Hand tool appears—so make sure you begin dragging before you press Alt or Option.)
Note: Dragging to insert rows or columns doesn’t work at the top or left edges of a table. These fields are used to select
rows or columns.
Delete rows, columns, or tables
• To delete a row, column, or table, place the insertion point inside the table, or select text in the table, and then
choose Table &gt; Delete &gt; Row, Column, or Table.
• To delete rows and columns by using the Table Options dialog box, choose Table &gt; Table Options &gt; Table Setup.
Specify a different number of rows and columns, and then click OK. Rows are deleted from the bottom of the table;
columns are deleted from the right side of the table.
• To delete a row or column by using the mouse, position the pointer over the border of the bottom or right side of
the table so that a double-arrow icon (
or ) appears; hold down the mouse button; and then hold down Alt
(Windows) or Option (Mac OS) while dragging either up to delete rows, or to the left to delete columns.
Note: If you press Alt or Option before holding down the mouse button, the Hand tool will appear—so press Alt or Option
after you begin dragging.
• To delete cell contents without deleting cells, select the cells containing the text you want to delete, or use the Type
tool
to select the text within the cells. Press Backspace or Delete, or choose Edit &gt; Clear.
Change the alignment of a table within a frame
A table assumes the width of the paragraph or table cell in which it is created. However, you can change the size of the
text frame or table so that the table is wider or narrower than the frame. In such a case, you can decide where you want
the table to be aligned within the frame.
1 Place the insertion point to the right or left of the table. Make sure that the text insertion point is placed on the table
paragraph and not inside the table. The insertion point becomes as tall as the table in the frame.
2 Click an alignment button (such as Align Center) in the Paragraph panel or Control panel.
More Help topics
“Resize columns, rows, and tables” on page 283
Navigate within a table
Use the Tab or arrow keys to move within a table. You can also jump to a specific row, especially useful in long tables.
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More Help topics
“Keys for tables” on page 675
Move within a table using Tab
• Press Tab to move to the next cell. If you press Tab in the last table cell, a new row is created. For information on
inserting tabs and indents in a table, see “Format text within a table” on page 284.
• Press Shift+Tab to move to the previous cell. If you press Shift+Tab in the first table cell, the insertion point moves
to the last table cell.
Move within a table using arrow keys
❖ Press the arrow keys to navigate within and between table cells. If you press the Right Arrow key when the insertion
point is at the end of the last cell in a row, the insertion point moves to the beginning of the first cell in the same
row. Similarly, if you press the Down Arrow key when the insertion point is at the end of the last cell in a column,
the insertion point moves to the beginning of the first cell in the same column.
Jump to a specific row in a table
1 Choose Table &gt; Go To Row.
2 Do any of the following:
• Specify the row number you want to jump to, and then click OK.
• If a header or footer row is defined in the current table, choose Header or Footer from the menu, and then click OK.
Cut, copy, and paste table contents
When text is selected within a cell, cutting, copying, and pasting actions are the same as for text selected outside a table.
You can also cut, copy, and paste cells and their contents. If the insertion point is in a table when you paste, multiple
pasted cells appear as a table within a table. You can also move or copy the entire table.
1 Select the cells you want to cut or copy, and then choose Edit &gt; Cut or Copy.
2 Do any of the following:
• To embed a table within a table, place the insertion point in the cell where you want the table to appear, and then
choose Edit &gt; Paste.
• To replace existing cells, select one or more cells in the table—making sure that there are sufficient cells below and
to the right of the selected cell—and then choose Edit &gt; Paste.
More Help topics
“Select table cells, rows, and columns” on page 277
Move or copy a table
1 To select the entire table, place the insertion point in the table and choose Table &gt; Select &gt; Table.
2 Choose Edit &gt; Cut or Copy, move the insertion point where you want the table to appear, and then choose Edit &gt;
Paste.
Convert tables to text
1 Using the Type tool
, place the insertion point inside the table, or select text in the table.
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2 Choose Table &gt; Convert Table To Text.
3 For both Column Separator and Row Separator, specify the separators you want to use.
For best results, use a different separator for columns and rows, such as tabs for columns and paragraphs for rows.
4 Click OK.
When you convert a table to text, the table lines are removed and the separator you specify is inserted at the end of
each row and column.
Combine tables
Use the Paste command to merge two or more tables into a single table.
1 In the target table, insert at least as many blank rows as you’ll be pasting from the other tables. (If you insert fewer
rows than are copied, you cannot paste.)
2 In the source table, select the cells you want to copy. (If you copy more column cells than are available in the target
table, you cannot paste.)
3 Select at least one cell where you want the incoming rows to be inserted, and then choose Edit &gt; Paste.
If the pasted rows use different formatting than the rest of the table, define one or more cell styles, and then apply the
cell styles to the pasted cells. Hold down Alt (Windows) or Option (Mac OS) while clicking the cell style to override
existing formatting.
Anne-Marie Concepcion provides an article about combining tables at Joining Tables.
More Help topics
“Cut, copy, and paste table contents” on page 280
“Table and cell styles” on page 290
Working with tables in Story Editor
When you choose Edit &gt; Edit In Story Editor, tables and their contents appear in Story Editor. You can edit tables in
Story Editor.
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A
B
C
Editing tables in Story Editor
A. Table icon B. Overset text C. Overset graphic
• To expand or collapse the table in Story Editor, click the triangle to the left of the table icon at the top of the table.
• To determine whether the table is sorted by rows or columns, right-click (Windows) or Ctrl-click (Mac OS) the
table icon and choose Arrange By Rows or Arrange By Columns.
• Use Layout view to modify and format the table. You cannot select columns or rows in Story Editor.
Formatting tables
Formatting tables
Use the Control panel or Character panel to format text within a table—just like formatting text outside a table. In
addition, two main dialog boxes help you format the table itself: Table Options and Cell Options. Use these dialog
boxes to change the number of rows and columns, to change the appearance of the table border and fill, to determine
the spacing above and below the table, to edit header and footer rows, and to add other table formatting.
Use the Table panel, the Control panel, or the context menu to format the table structure. Select one or more cells and
then right-click (Windows) or Control-click (Mac OS) to display a context menu with table options.
For a video tutorial on creating and formatting tables, see www.adobe.com/go/vid0081.
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More Help topics
“Table strokes and fills” on page 287
Creating and Formatting Tables video
Resize columns, rows, and tables
You can resize columns, rows, and tables using a number of different methods.
More Help topics
“Change the alignment of a table within a frame” on page 279
Resize columns and rows
1 Select cells in the columns and rows you want to resize.
2 Do one of the following:
• In the Table panel, specify Column Width and Row Height settings.
• Choose Table &gt; Cell Options &gt; Rows And Columns, specify Row Height and Column Width options, and then
click OK.
Note: If you select At Least to set a minimum row height, rows increase in height as you add text or increase the point
size. If you select Exactly to set a fixed row height, the row height does not change when you add or remove text. A fixed
row height often results in an overset condition in the cell. (See “Work with overset cells” on page 286.)
Name
• Position the pointer over the edge of a column or row so that a double-arrow icon (
or ) appears, and then
drag left or right to increase or decrease the column width, or drag up or down to increase or decrease row height.
Before and after dragging to resize rows
By default, row height is determined by the slug height of the current font. Thus, row height also changes if you change
the point size of type for entire rows of text, or if you change the row height setting. The maximum row height is
determined by the Maximum setting in the Rows And Columns section of the Cell Options dialog box.
Resize rows or columns without changing the table width
• Hold down Shift while dragging an inside row or column edge (not the table boundary). One row or column gets
bigger as the other gets smaller.
• To resize rows or columns proportionally, hold down Shift while dragging the right table border or bottom table edge.
Holding down Shift while dragging the right table edge will resize all the columns proportionally; holding down Shift
while dragging the bottom table edge will resize all rows proportionally.
Resize the entire table
❖ Using the Type tool
, position the pointer over the lower-right corner of the table so that the pointer becomes
an arrow shape , and then drag to increase or decrease the table size. Hold down Shift to maintain the table’s
height and width proportions.
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Note: If the table spans more than one frame in a story, you cannot use the pointer to resize the entire table.
Distribute columns and rows evenly
1 Select cells in the columns or rows that should be the same width or height.
2 Choose Table &gt; Distribute Rows Evenly or Distribute Columns Evenly.
Change the spacing before or after a table
1 Place the insertion point in the table and choose Table &gt; Table Options &gt; Table Setup.
2 Under Table Spacing, specify different values for Space Before and Space After, and then click OK.
Note that changing the spacing before the table does not affect the spacing of a table row that falls at the top of a frame.
Break tables across frames
Use Keep options to determine how many rows should remain together, or to specify where a row breaks, such as at
the top of a column or frame.
When you create a table that is taller than the frame in which it resides, the frame is overset. If you thread the frame to
another frame, the table continues in that frame. Rows move into threaded frames one at a time—you can’t break a
single row across multiple frames. Specify header or footer rows to repeat information in the new frame.
1 Position the insertion point in the appropriate row, or select a range of cells in the rows you want to keep together.
2 Choose Table &gt; Cell Options &gt; Rows And Columns.
3 To keep the selected rows together, select Keep With Next Row.
4 To cause the row to break in a specified location, select an option (such as In Next Frame) from the Start Row menu,
and then click OK.
If you create a single table that spans both pages of a spread, you may want to add a blank column in the middle of
the table to create inset margins.
More Help topics
“Add table headers and footers” on page 275
Add text before a table
A table is anchored to the paragraphs that immediately precede and follow it. If you insert a table at the beginning of
the text frame, you can’t click above the table to place an insertion point. Instead, use the arrow keys to move the
insertion point before the table.
❖ Place the insertion point at the beginning of the paragraph in the first cell, press the Left Arrow key, and begin
typing.
Format text within a table
In general, use the same methods to format text in a table that you would use to format text that’s not in a table.
More Help topics
“Work with overset cells” on page 286
“Specify characters for decimal tabs” on page 255
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Insert tabs into a table cell
When the insertion point is in a table, pressing Tab moves the insertion point to the next cell. However, you can insert
a tab within a table cell. Use the Tabs panel to define tab settings in the table. Tab settings affect the paragraph in which
the insertion point is placed.
1 Using the Type tool
, place the insertion point where you want to insert a tab.
2 Choose Type &gt; Insert Special Character &gt; Other &gt; Tab.
To change tab settings, select the columns or cells you want to affect, choose Type &gt; Tabs to display the Tabs panel,
and then adjust tab settings.
Note: When you use the Tabs ruler to apply a decimal tab to a cell or group of cells, you usually don’t need to press Tab
at the beginning of each paragraph to decimal-align the text in the cells. Paragraphs are automatically aligned on the
decimal character, unless the paragraph contains additional formatting, such as center alignment, that overrides the
decimal tab.
Change the alignment of text within a table cell
1 Using the Type tool
, select the cell or cells you want to affect.
2 Choose Table &gt; Cell Options &gt; Text.
3 Under Vertical Justification, select an Align setting: Align Top, Align Center, Align Bottom, or Justify Vertically.
If you select Justify, specify the Paragraph Spacing Limit; this will set a maximum amount of space to be added between
paragraphs. (See “Align or justify text vertically within a text frame” on page 250.)
4 For First Baseline, select an option to determine how text is to be offset from the top of the cell.
The settings are the same as the corresponding settings in the Text Frame Options dialog box. (See “Change text frame
properties” on page 118.)
5 Click OK.
Note: To change the horizontal alignment of text within a cell, use the alignment option in the Paragraph panel. To align
text in a cell to a decimal tab, use the Tabs panel to add a decimal tab setting.
Rotate text in a cell
1 Position the insertion point in the cell you want to rotate, or select the cells you want to affect.
2 Choose Table &gt; Cell Options &gt; Text, or display the Table panel.
3 Select a value for Rotation, and click OK.
Change cell inset spacing
1 Using the Type tool
, place the insertion point in or select the cell or cells you want to affect.
2 Choose Table &gt; Cell Options &gt; Text, or display the Table panel.
3 Under Cell Insets, specify values for Top, Bottom, Left, and Right, and then click OK.
In many cases, increasing the cell inset spacing will increase the row height. If the row height is set at a fixed value,
make sure that you leave enough room for the inset values, to avoid causing overset text.
Merge and split cells
You can merge (combine) or split (divide) cells in a table.
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Merge cells
You can combine two or more cells in the same row or column into a single cell. For example, you can merge the cells
in the top row of the table to create a single cell to be used for the table title.
1 Using the Type tool
, select the cells you want to merge.
2 Choose Table &gt; Merge Cells.
Unmerge cells
❖ Place the insertion point in the merged cell and choose Table &gt; Unmerge Cells.
Split cells
You can split cells horizontally or vertically, which is especially useful when creating form tables. You can select
multiple cells and split them vertically or horizontally.
1 Place the insertion point in the cell you want to split, or select a row, column, or block of cells.
2 Choose Table &gt; Split Cell Vertically or Split Cell Horizontally.
More Help topics
“Combine tables” on page 281
Work with overset cells
In most cases, a table cell will expand vertically to accommodate new text and graphics being added. However, if you
set a fixed row height and add text or graphics that are too large for the cell, a small red dot appears in the lower-right
corner of the cell, indicating that the cell is overset.
You cannot flow overset text into another cell. Instead, edit or resize the contents, or expand the cell or the text frame
in which the table appears.
In the case of inline graphics or text with fixed leading, it is possible for the cell contents to extend beyond cell edges.
You can select the Clip Contents To Cell option, so that any text or inline graphics that otherwise extend beyond any
cell edge are clipped to the cell boundary. However, when inline graphics are overset to extend beyond cell bottom
edges (Horizontal), this does not apply.
Display the contents of an overset cell
❖ Do one of the following:
• Increase the size of the cell.
• Change the text formatting. To select the cell’s contents, click in the overset cell, press Esc, and then use the Control
panel to format the text.
Clip an image in a cell
If an image is too large for a cell, it extends beyond the cell borders. You can clip the parts of the image that extend
beyond the cell borders.
1 Place the insertion point in the cell you want to clip, or select the cell or cells you want to affect.
2 Choose Table &gt; Cell Options &gt; Text.
3 Select Clip Contents To Cell, and then click OK.
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Table strokes and fills
About table strokes and fills
You can add strokes and fills to your tables in a number of ways. Use the Table Options dialog box to change the stroke
of the table border, and to add alternating strokes and fills to columns and rows. To change the strokes and fills of
individual cells or header/footer cells, use the Cell Options dialog box, or use the Swatches, Stroke, and Color panels.
By default, the formatting you select using the Table Options dialog box overrides any corresponding formatting
previously applied to table cells. However, if you select the Preserve Local Formatting option in the Table Options
dialog box, the strokes and fills applied to individual cells are not overridden.
If you use the same formatting repeatedly for tables or cells, create and apply table styles or cell styles.
More Help topics
“Table and cell styles” on page 290
Change the table border
You can change the table border by using either the Table Setup dialog box or the Stroke panel.
1 With the insertion point in a cell, choose Table &gt; Table Options &gt; Table Setup.
2 Under Table Border, specify the desired weight, type, color, tint, and gap settings. (See “Table stroke and fill
options” on page 289.)
3 Under Stroke Drawing Order, select the drawing order from the following options:
Best Joins If selected, row strokes will appear to the front at the points where strokes of different colors cross. In
addition, when strokes such as double lines cross, the strokes are joined and the crossing points are connected.
Row Strokes In Front If selected, row strokes appear in front.
Column Strokes In Front If selected, column strokes appear in front.
InDesign 2.0 Compatibility If selected, row strokes appear in front. In addition, when strokes such as double lines
cross, they are joined and the crossing points are connected only at points where strokes cross in a T-shape.
4 If you do not want stroke formatting of individual cells to be overridden, select Preserve Local Formatting.
5 Click OK.
If you remove the stroke and fill from a table, choose View &gt; Extras &gt; Show Frame Edges to display the cell boundaries
of a table.
Add stroke and fill to cells
You can add stroke and fill to cells using the Cell Options dialog box, Stroke panel, or Swatches panel.
Add stroke and fill using Cell Options
You can determine which cell lines are formatted with a stroke or fill by selecting or deselecting lines in the Preview
proxy. If you want to change the appearance of all rows or columns in the table, use an alternating stroke or fill pattern
in which the second pattern is set to 0.
1 Using the Type tool
, place the insertion point in or select the cell or cells in which you want to add a stroke or
fill. To add a stroke or fill to header/footer rows, select the header/footer cells at the beginning of the table.
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2 Choose Table &gt; Cell Options &gt; Strokes And Fills.
3 In the proxy preview area, specify which lines will be affected by stroke changes. For example, if you want to add a
heavy stroke to the outside lines but not to the inside lines of the selected cells, click an inside line to deselect it.
(Selected lines are blue; deselected lines are gray.)
Select the lines you want to affect in proxy preview area.
In the proxy preview area, double-click any outside line to select the entire outer selection rectangle. Double-click any
inside line to select the inside lines. Triple-click anywhere in the proxy to select or deselect all lines.
4 For Cell Stroke, specify desired weight, type, color, tint, and gap settings. (See “Table stroke and fill options” on
page 289.)
5 For Cell Fill, specify desired color and tint settings.
6 Select Overprint Stroke and Overprint Fill if desired, and then click OK.
Add a stroke to cells using the Stroke panel
1 Select the cell or cells you want to affect. To apply a stroke to header or footer cells, select the header or footer row.
2 Choose Window &gt; Stroke to display the Stroke panel.
3 In the proxy preview area, specify which lines will be affected by stroke changes.
4 In the Tools panel, make sure the Object button
is selected. (If the Text button
is selected, the stroke changes
will affect the text, not the cells.)
5 Specify a weight value and stroke type.
Add a fill to cells using the Swatches panel
1 Select the cell or cells you want to affect. To apply a fill to header or footer cells, select the header or footer row.
2 Choose Window &gt; Color &gt; Swatches to display the Swatches panel.
3 Make sure the Object button
is selected. (If the Text button
is selected, the color changes will affect the text,
not the cells.)
4 Select a swatch.
Add a gradient to cells using the Gradient panel
1 Select the cells you want to affect. To apply a gradient to header or footer cells, select the header or footer row.
2 Choose Window &gt; Color &gt; Gradient to display the Gradient panel.
3 Click in the Gradient Ramp to apply a gradient to the selected cells. Adjust the gradient settings as necessary.
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Add diagonal lines to a cell
1 Using the Type tool
, place the insertion point in or select the cell or cells in which you want to add diagonal
lines.
2 Choose Table &gt; Cell Options &gt; Diagonal Lines.
3 Click the button for the type of diagonal line you want to add.
4 Under Line Stroke, specify desired weight, type, color, and gap settings; specify a Tint percentage and Overprint
options.
5 From the Draw menu, choose Diagonal In Front to place the diagonal line in front of the cell contents; choose
Content In Front to place the diagonal line behind the cell contents, and then click OK.
Table stroke and fill options
When selecting strokes and fills for the table or cells, use the following options:
Weight Specifies the line thickness for the table or cell border.
Type Specifies the line style, such as Thick - Thin.
Color Specifies the color of the table or cell border. The choices listed are those available in the Swatches panel.
Tint Specifies the percentage of ink of the specified color to be applied to the stroke or fill.
Gap Color Applies a color to the areas between the dashes, dots, or lines. This option is not available if Solid is selected
for Type.
Gap Tint Applies tint to the areas between the dashes, dots, or lines. This option is not available if Solid is selected for Type.
Overprint When selected, causes the ink specified in the Color drop-down list to be applied over any underlying
colors, rather than knocking out those inks.
Alternate strokes and fills in a table
You can alternate strokes and fills to enhance readability or improve the appearance of your table. Alternating strokes
and fills in table rows does not affect header and footer rows. However, alternating strokes and fills in columns does
affect header and footer rows.
Alternating stroke and fill settings override cell stroke formatting, unless you select the Preserve Local Formatting
option in the Table Options dialog box.
If you want to apply a fill or stroke to every body cell in the table, and not just alternating patterns, you can still use
the alternating stroke and fill settings to create such non-alternating patterns. To create such an effect, specify 0 for
Next in the second pattern.
Before (left) and after (right) alternating fills in a table
Add alternating strokes to a table
1 With the insertion point in a cell, choose Table &gt; Table Options &gt; Alternating Row Strokes or Alternating Column
Strokes.
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2 For Alternating Pattern, select the type of pattern you want to use. Select Custom if you want to specify a pattern;
for example, one column with a thick black line followed by three columns with thin yellow lines.
3 Under Alternating, specify the fill options for both the first pattern and the next pattern. For example, you may
want to add a solid stroke to the first column and a Thick - Thin line to the next column, so that they alternate.
Specify 0 for Next if you want the strokes to affect every row or column.
Note: In tables that span multiple frames, alternating strokes and fills for rows do not restart at the beginning of
additional frames in the story. (See “Break tables across frames” on page 284.)
4 Select Preserve Local Formatting if you want formatted strokes previously applied to the table to remain in effect.
5 For Skip First and Skip Last, specify the number of rows or columns at the beginning and end of the table in which
you do not want stroke attributes to appear, and then click OK.
Add alternating fills to a table
1 With the insertion point in a cell, choose Table &gt; Table Options &gt; Alternating Fills.
2 For Alternating Pattern, select the type of pattern you want to use. Select Custom if you want to specify a pattern,
such as one row shaded in gray followed by three rows shaded in yellow.
3 Under Alternating, specify the fill options for both the first pattern and the subsequent pattern. For example, if you
selected Every Second Column for Alternating Pattern, you may want to shade the first two columns in a gray tint
and leave the next two columns blank. Specify 0 for Next if you want the fill to apply to every row.
4 Select Preserve Local Formatting if you want previously formatted fills applied to the table to remain in effect.
5 For Skip First and Skip Last, specify the number of rows or columns at the beginning and end of the table in which
you do not want fill attributes to appear, and then click OK.
Turn off alternating strokes and fills in a table
1 Place the insertion point in the table.
2 Choose Table &gt; Table Options &gt; Alternating Row Strokes, Alternating Column Strokes, or Alternating Fills.
3 For Alternating Pattern, choose None, and then click OK.
Table and cell styles
About table and cell styles
Just as you use text styles to format text, you can use table and cell styles to format tables. A table style is a collection of
table formatting attributes, such as table borders and row and column strokes, that can be applied in a single step. A
cell style includes formatting such as cell insets, paragraph styles, and strokes and fills. When you edit a style, all tables
or cells to which the style is applied are updated automatically.
Note: There is one important difference between text styles and table styles. While all character styles attributes can be
part of a paragraph style, cell style attributes are not part of the table style. For example, you cannot use a table style to
change the border color of interior cells. Instead, create a cell style and include it in the table style.
[Basic Table] and [None] styles
By default, each new document contains a [Basic Table] style that can be applied to tables you create and a [None] style
that can be used to remove cell styles applied to cells. You can edit the [Basic Table] style, but you can’t rename or
delete either [Basic Table] or [None].
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Using cell styles in table styles
When you create a table style, you can specify which cell styles are applied to different regions of the table: header and
footer rows, left and right columns, and body rows. For example, for the header row, you can assign a cell style that
applies a paragraph style, and for the left and right columns, you can assign different cell styles that apply shaded
backgrounds.
A
B
C
D
Cell styles applied to regions in table style
A. Header row formatted with cell style that includes paragraph style B. Left column C. Body cells D. Right column
Cell style attributes
Cell styles do not necessarily include all the formatting attributes of a selected cell. When you create a cell style, you
can determine which attributes are included. That way, applying the cell style changes only the desired attributes, such
as cell fill color, and ignores all other cell attributes.
Formatting precedence in styles
If a conflict occurs in formatting applied to a table cell, the following order of precedence determines which formatting
is used:
Cell style precedence 1. Header/Footer 2. Left column/Right column 3. Body rows. For example, if a cell appears in
both the header and the left column, the formatting from the header cell style is used.
Table style precedence 1. Cell overrides 2. Cell style 3. Cell styles applied from a table style 4. Table overrides 5. Table
styles. For example, if you apply one fill using the Cell Options dialog box and another fill using the cell style, the fill
from the Cell Options dialog box is used.
For a video tutorial on using table styles, see www.adobe.com/go/vid0084.
Table/Cell Styles panels overview
Use the Table Styles panel (Window &gt; Styles &gt;Table Styles) to create and name table styles, and to apply the styles to
existing tables or tables you create or import. Use the Cell Styles panel (Window &gt; Styles &gt; Cell Styles) to create and
name cell styles, and to apply the styles to table cells. Styles are saved with a document and appear in the panel each
time you open that document. You can save table and cell styles in groups for easier management.
When you position the insertion point in a cell or table, any style that is applied is highlighted in either of the panels.
The name of any cell style that is applied through a table style appears in the lower left corner of the Cell Styles area. If
you select a range of cells that contains multiple styles, no style is highlighted and the Cell Styles panel displays
“(Mixed).”
Open the Table Styles or Cell Styles panel
❖ Choose Window &gt; Styles, and choose Table Styles or Cell Styles.
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Change how styles are listed in the panel
• Select Small Panel Rows to display a condensed version of the styles.
• Drag the style to a different position. You can also drag styles to groups that you create.
• Choose Sort By Name from the panel menu to list the styles alphabetically.
Define table and cell styles
For a video tutorial on using table styles, see www.adobe.com/go/vid0084.
1 If you want to base a new style on the formatting of an existing table or cell, place the insertion point in a cell.
2 If desired, define a paragraph style for the cell style.
3 Choose Window &gt; Styles &gt;Table Styles to open the Table Style panel, or choose Window &gt; Styles &gt; Cell Styles to
open the Cell Styles panel.
4 Choose New Table Style from the Table Styles panel menu, or choose New Cell Style from the Cell Styles panel menu.
5 For Style Name, type a name.
6 For Based On, select which style the current style is based on.
7 To define a style shortcut, position the insertion point in the Shortcut text box and make sure that Num Lock is on.
Then hold down any combination of Shift, Alt, or Ctrl (Windows) or Shift, Option, and Command (Mac OS), and
press a number on the numeric keypad. You cannot use letters or non-keypad numbers for defining style shortcuts.
8 To specify the formatting attributes, click a category on the left and specify the attributes you want. For example,
to assign a paragraph style to a cell style, click the General category, and then choose the paragraph style from the
Paragraph Style menu.
For cell styles, options that don’t have a setting specified are ignored in the style. If you don’t want a setting to be part
of the style, choose (Ignore) from the setting’s menu, delete the contents of the field, or click a check box until a small
box appears in Windows or a hyphen (-) appears in Mac OS.
9 If you want the new style to appear in a style group you’ve created, drag it to the style group folder.
More Help topics
“Group styles” on page 202
Table Styles video
Load (import) table styles from other documents
You can import table and cell styles from another InDesign document into the active document. During import, you
can determine which styles are loaded and what should occur if a loaded style has the same name as a style in the
current document. You can also import styles from an InCopy document.
1 From the menu of the Cell Styles or Table Styles panel, choose Load Cell Styles, Load Table Styles, or Load Table
And Cell Styles.
2 Double-click the InDesign document containing the styles you want to import.
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3 In the Load Styles dialog box, make sure that a check mark appears next to the styles you want to import. If any
existing style has the same name as one of the imported styles, choose one of the following options under Conflict
With Existing Style, and then click OK:
Use Incoming Style Definition Overwrites the existing style with the loaded style and applies its new attributes to all
cells in the current document that used the old style. The definitions of the incoming and existing styles appear at the
bottom of the Load Styles dialog box so you can compare them.
Auto-Rename Renames the loaded style. For example, if both documents have a style named “Table Style 1,” the
loaded style is renamed “Table Style 1 copy” in the current document.
Apply table and cell styles
Unlike paragraph and character styles, table and cell styles do not share attributes, so applying a table style does not
override cell formatting, and applying a cell style does not override table formatting. By default, applying a cell style
removes formatting applied by any previous cell style, but does not remove local cell formatting. Similarly, applying a
table style removes formatting applied by any previous table style, but does not remove overrides made using the Table
Options dialog box.
In the Styles panel, a plus sign (+) appears next to the current cell or table style if the selected cell or table has additional
formatting that isn’t part of the applied style. Such additional formatting is called an override.
1 Position the insertion point in a table, or select the cells to which you want to apply the style.
2 Do one of the following:
• Click the table or cell style in the Table Styles or Cell Styles panel (chose Window &gt; Styles &gt;Table Styles or Cell
Styles). If the style is in a style group, expand the style group to locate the style.
• Press the shortcut you defined for the style. (Make sure that Num Lock is on.)
More Help topics
“Use Quick Apply” on page 226
Base one table or cell style on another
You can create links between similar table or cell styles by creating a base, or parent, style. When you edit the parent
style, any changed attribute that appears in the child styles will change as well. By default, table styles are based on [No
Table Style], and cell styles are based on [None].
1 Create a new style.
2 In the New Table Style or New Cell Style dialog box, select the parent style in the Based On menu. The new style
becomes the child style.
3 Specify formatting for the new style to distinguish it from the parent style.
More Help topics
“Duplicate styles or style groups” on page 202
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Edit table and cell styles
One of the advantages of using styles is that when you change the definition of a style, all of the tables or cells formatted
with that style change to match the new style definition.
1 Do one of the following:
• If you don’t want the style to be applied to a selected table or cell, right-click (Windows) or Control-click (Mac OS)
the style in the Styles panel, and choose Edit [style name].
• In the Styles panel, double-click the style, or select the style and choose Style Options from the Styles panel menu.
Note that this method applies the cell style to any selected cell or the table style to any selected table. If no table is
selected, double-clicking a table style sets it as the default style for any table you create.
2 Adjust settings in the dialog box, and then click OK.
Delete table and cell styles
When you delete a style, you can select a different style to replace it, and you can choose whether to preserve the
formatting.
1 Select the style in the Styles panel.
2 Do one of the following:
• Choose Delete Style from the panel menu.
• Click the Delete icon
at the bottom of the panel, or drag the style to the Delete icon.
• Right-click (Windows) or Control-click (Mac OS) the style, and then choose Delete Style. This method is especially
useful for deleting a style without applying it to the selected cell or table.
3 Select the style to replace it.
If you select [No Table Style] to replace a table style or [None] to replace a cell style, select Preserve Formatting to keep
the formatting of the table or cell to which the style is applied. The table or cell preserves its formatting but is no longer
associated with a style.
4 Click OK.
Redefine table or cell styles based on current formatting
After you apply a style, you can override any of its settings. If you decide you like the changes, you can redefine the
style to retain the new formatting.
1 Place the insertion point in the table or cell that is formatted with the style you want to redefine.
2 Make changes to the table or cell as necessary.
3 Choose Redefine Style from the Styles panel menu.
Note: For cell styles, changes to only those attributes that are part of the cell style will enable the Redefine Style command.
For example, if the cell style includes a red fill and you override a cell to use a blue fill, you can redefine the style based on
that cell. But if you change an attribute that is ignored in the cell style, you can’t redefine the style with that attribute.
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Override table and cell styles
After you apply a table or cell style, you can override any of its settings. To override a table style, you can change
options in the Table Options dialog box. To override a cell, you can change options in the Cell Options dialog box or
use other panels to change the stroke or fill. If you select a table or cell that has an override, a plus sign (+) appears next
to the style in the Styles panel.
You can clear table and cell overrides when you apply a style. You can also clear overrides from a table or cell to which
a style has already been applied.
If a style has a plus sign (+) next to it, hover over the style to view a description of the override attributes.
Preserve or remove overrides while applying a table style
• To apply a table style and preserve cell styles but remove overrides, hold down Alt (Windows) or Option (Mac OS)
as you click the style in the Table Styles panel.
• To apply a table style and remove both cell styles and overrides, hold down Alt+Shift (Windows) or Option+Shift
(Mac OS) as you click the style in the Table Styles panel.
Right-click (Windows) or Control-click (Mac OS) the style in the Table Styles panel, and then choose Apply [table
style], Clear Cell Styles to apply a style and clear cell styles.
Remove overrides while applying a cell style
❖ To apply a cell style and remove overrides, hold down Alt (Windows) or Option (Mac OS) as you click the name
of the style in the Cell Styles panel.
Note: Only those attributes that are part of the cell style are considered overrides. For example, if the cell style includes a
red fill and all other attributes are ignored, changing a different cell option is not considered an override.
Clear attributes not defined by a cell style
❖ Choose Clear Attributes Not Defined By Style from the Cell Styles panel menu.
Clear table or cell overrides
1 Select the table or cells containing the overrides.
2 In the Styles panel, click the Clear Overrides In Selection icon
, or choose Clear Overrides from the Styles panel menu.
Break the link to table or cell styles
When you break the link between tables or cells and the style applied to them, the tables or cells retain their current
formatting. However, future changes to that style won’t affect them.
1 Select the cells to which the style has been applied.
2 Choose Break Link To Style from the Styles panel menu.
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Chapter 10: Long document features
Creating book files
Create a book file
A book file is a collection of documents that can share styles, swatches, master pages, and other items. You can
sequentially number pages in booked documents, print selected documents in a book, or export them to PDF. One
document can belong to multiple book files.
One of the documents added to a book file is the style source. By default, the style source is the first document in the
book, but you can select a new style source at any time. When you synchronize documents in a book, the specified styles
and swatches from the style source replace those in other booked documents.
Michael Murphy provides a video tutorial about creating books at Book Basics.
1 Choose File &gt; New &gt; Book.
2 Type a name for the book, specify a location, and then click Save.
The Book panel appears. The book file is saved with the file name extension .indb.
3 Add documents to the book file.
More Help topics
“Synchronize book documents” on page 298
Add documents to a book file
When you create a book file, it opens in the Book panel. The Book panel is the working area of a book file, where you
add, remove, or rearrange documents.
1 Choose Add Document in the Book panel menu, or click the plus button
at the bottom of the Book panel.
2 Select the Adobe InDesign document or documents you want to add, and then click Open.
You can drag and drop files onto the Book panel from an Explorer (Windows) or Finder (Mac OS) window. You can
also drag a document from one book to another. Hold down Alt (Windows) or Option (Mac OS) to copy the
document.
3 If you included documents created in earlier versions of InDesign, they will be converted to Adobe InDesign CS5
format when added to the book. In the Save As dialog box, specify a new name for the converted document (or leave
the name as is), and then click Save.
Note: You must convert Adobe PageMaker or QuarkXPress documents before adding them to the book file.
4 If necessary, change the order of the documents in the panel by dragging them up or down to the appropriate
locations in the list.
5 To designate a document as the style source, click the box next to the document’s name in the panel.
To open a document in a book file, double-click the document name in the Book panel.
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More Help topics
“Synchronize book documents” on page 298
Manage book files
Each open book file appears on its own tab in the Book panel. If multiple books are open at the same time, click a tab
to bring that book to the front and access its panel menu.
Icons in the Book panel indicate a document’s current status, such as open , missing (the document was moved,
renamed, or deleted), modified
(the document was edited or its page or section numbers changed while the book
was closed), or in use (if someone else has the document open in a managed workflow). No icon appears next to
closed documents.
To view the pathname of any document in a book, hold the mouse pointer over the document name until a tooltip
appears. Or, choose Document Information from the Book panel menu.
More Help topics
“Create a book file” on page 296
“Synchronize book documents” on page 298
Save a book file
Book files are separate from document files. For example, when you choose the Save Book command, InDesign saves
the changes to the book, not the documents in the book.
❖ Do one of the following:
• To save a book under a new name, choose Save Book As in the Book panel menu, specify a location and filename,
and click Save.
• To save an existing book under the same name, choose Save Book in the Book panel menu, or click the Save
button
at the bottom of the Book panel.
Note: If you are sharing book files over a server, make sure that you have a file management system in place so that you
don’t save over each other’s changes accidentally.
Close a book file
• To close a single book, choose Close Book in the book’s panel menu.
• To close all open books docked together in the same panel, click the close button on the Book panel’s title bar.
Remove book documents
1 Select the document in the Book panel.
2 Choose Remove Document in the Book panel menu.
Removing the document from the book file doesn’t delete the file on disk; the document is removed only from the book file.
Replace book documents
1 Select the document in the Book panel.
2 Choose Replace Document in the Book panel menu, locate the document you want to replace it with, and then click Open.
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Open a book file in Explorer or Finder
1 In the books panel, select a document.
2 From the books panel menu, choose Reveal In Explorer (Windows) or Reveal In Finder (Mac OS).
A browser window opens that displays the selected file.
Synchronize book documents
When you synchronize documents in a book, the items you specify—styles, variables, master pages, trap presets, crossreference formats, conditional text settings, numbered lists, and swatches—are copied from the style source to the
specified documents in the book, replacing any items that have identical names.
If items in the style source are not found in the documents being synchronized, they are added. Items that are not
included in the style source are left as is in the documents being synchronized.
For a video tutorial on synchronizing book documents, see www.adobe.com/go/vid0216.
More Help topics
Synchronizing Book Documents video
Select items to synchronize
1 Choose Synchronize Options in the Book panel menu.
2 Select the items you want to copy from the style source to other book documents.
Be sure to select all styles included in the definition of other styles. For example, an object style may contain paragraph
and character styles, which in turn include swatches.
3 Select Smart Match Style Groups to avoid duplicating uniquely named styles that have been moved into or out of
style groups.
Suppose the style source includes a character style in a style group, and the documents being synchronized include this
same character style outside the style group. If this option is selected, the character style is moved into the style group
in synchronized documents.
If this option is not selected, a second instance of the character style is created in the style group with options that
match the style source. The character style outside the style group does not change.
Note: If a document contains multiple styles that have the same name (for example, Character Style 1 in a style group
and Character Style 1 outside of a style group), InDesign behaves as if the option is not selected. For best results, create
styles with unique names.
4 Click OK.
Synchronize documents in a book file
You can synchronize the book while documents in the book are closed. InDesign opens the closed documents, makes
any changes, and then saves and closes the documents. Documents that are open when you synchronize are changed
but not saved.
1 In the Book panel, click the blank box next to the document that you want to be the style source; the style source
icon
indicates which document is the style source.
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Selected style source
2 Make sure that the items you want copied from the style source are selected in the Synchronize Options dialog box.
3 In the Book panel, select the documents you want to synchronize with the style source document. If no document
is selected, the entire book will be synchronized.
To make sure that no documents are selected, click the blank gray area below the booked documents—you may need
to scroll or resize the Book panel. You can also hold down Ctrl (Windows) or Command (Mac OS) and click a selected
document to deselect it.
4 Choose Synchronize Selected Documents or Synchronize Book from the Book panel menu, or click the
Synchronize button
at the bottom of the Book panel.
Note: Choosing Edit &gt; Undo will undo changes only in documents that are open at the time synchronization occurs.
Synchronizing master pages
Master pages are synchronized in the same way as other items—master pages with the same name (such as A-Master)
as those in the style source are replaced. Synchronizing masters is useful for documents that use the same design
elements, such as running headers and footers. However, if you want to preserve page items on a master page in
documents other than the style source, either don’t synchronize master pages or create master pages with different
names.
Any master page items that are overridden on document pages after you synchronize masters for the first time are
detached from the master. Therefore, if you plan on synchronizing master pages in your book, it’s a good idea to
synchronize all the documents in your book at the start of the design process. That way, overridden master page items
will maintain their connection to the master page and will continue to be updated from modified master page items in
the style source.
It’s also a good idea to synchronize master pages using only one style source. If you synchronize from a different style
source, overridden master page items may become detached from the master page. If you need to synchronize using a
different style source, deselect the Master Pages option in the Synchronize Options dialog box before doing so.
Convert book files from previous InDesign versions
You can convert a book file created in a previous version of InDesign by opening and saving it in InDesign CS5. When
you synchronize, update numbering, print, package, or export a converted book, the documents it contains are also
converted to InDesign CS5 format. You can decide whether you want to overwrite or keep the original document files.
Convert a book file for use with InDesign CS5
1 In InDesign CS5, choose File &gt; Open.
2 Select the book file created in a previous version of InDesign and click OK.
A warning appears if the book file contains documents saved in a previous InDesign format.
3 Choose Save Book As from the Book panel menu. Specify a new name for the converted book file, and click Save.
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Convert documents in a book file
1 Open the book file in InDesign CS5.
2 In the Book panel menu:
• If you want the original documents to be overwritten during conversion, select Automatic Document Conversion.
• If you want to keep the original documents and save the converted documents with new names, deselect Automatic
Document Conversion. (The book list will be updated to include the converted files, not the originals.)
3 Do any of the following to convert the documents:
• Choose Synchronize Book from the Book panel menu. (See “Synchronize book documents” on page 298.)
• Choose Update Numbering &gt; Update All Numbers from the Book panel menu.
4 If Automatic Document Conversion is not selected, InDesign prompts you to save each converted document with
a new name.
Note: Documents are also converted when you print or export the book to Adobe PDF.
Number pages, chapters, and paragraphs in a book
You can determine how pages, chapters, and paragraphs are numbered in a book. In a book file, the numbering styles
and starting numbers for pages and chapters are determined by each document’s settings in the Numbering &amp; Section
Options dialog box or the Document Numbering Options dialog box. You can open one of these dialog boxes by
choosing Layout &gt; Numbering &amp; Section Options in the document or by choosing Document Numbering Options in
the Book panel menu.
For information on adding page numbering to a document, see “Add basic page numbering” on page 81.
For numbered paragraphs (such as lists of figures), numbering is determined by the numbered list style definition
contained by the paragraph style.
The page range appears beside each document name in the Book panel. By default, InDesign updates page and section
numbering in the Book panel when you add or remove pages in booked documents, or when you make changes to the
book file, such as reordering, adding, or removing documents. If you turn off the setting to automatically update page
and section numbers, you can update numbering in a book manually.
If the book is updated and the numbering seems incorrect, the problem may be that absolute numbers are displayed
instead of section numbers in General preferences. See “Display absolute or section numbering in the Pages panel” on
page 84.
If a document is missing or cannot be opened, the page range is shown as “?” from the place where the missing
document should be to the end of the book, indicating that the true page range is unknown. Remove or replace the
missing document before you update numbering. If the In Use icon appears, someone using a different computer
has opened the document in a managed workflow; the person must close the document before you can update
numbering.
For a video tutorial on numbering pages in a book, see www.adobe.com/go/vid0217.
More Help topics
“Add basic page numbering” on page 81
“Create a paragraph style for running lists” on page 264
Setting Pagination video
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Change page and chapter numbering options for each document
1 Select the document in the Book panel.
2 Choose Document Numbering Options in the Book panel menu, or double-click the document’s page numbers in
the Book panel.
3 Specify the page, section, and chapter numbering options. (See “Document numbering options” on page 85.)
4 Click OK.
Note: If you specify a starting page number in a booked document instead of selecting Automatic Page Numbering, the
booked document will begin on the specified page; all subsequent documents in the book will be renumbered accordingly.
Start numbering on an odd or even page
You can start document numbering on odd- or even-numbered pages in booked documents.
1 Choose Book Page Numbering Options in the Book panel menu.
2 Choose Continue On Next Odd Page or Continue On Next Even Page.
3 Select Insert Blank Page to add a blank page to the end of any document in which the subsequent document must
begin on an odd- or even-numbered page, and then click OK.
Turn off automatic page numbering in a book
1 Choose Book Page Numbering Options from the Book panel menu.
2 Deselect Automatically Update Page &amp; Section Numbers, and then click OK.
3 To update page numbering manually, choose Update Numbering &gt; Update All Numbers in the Book panel menu.
You can also update only page and section numbers or only chapter and paragraph numbers.
Use sequential paragraph numbering in books
To use sequential paragraph numbering for lists of figures, tables, or other items, you first define a numbered list that
is used in a paragraph style. The numbered list you define determines whether paragraph numbering maintains
sequential numbering across documents in a book.
1 Open the document that is used as the style source for the book.
2 Choose Type &gt; Bulleted And Numbered Lists &gt; Define Lists.
3 Click New to define a list or select an existing list and choose Edit.
4 Select both Continue Numbers Across Stories and Continue Numbers From Previous Document In Book.
5 Click OK.
6 Define a paragraph style that uses a numbered list, and apply it to the text in each document that contains the list.
(See “Create a paragraph style for running lists” on page 264.)
To make sure the same numbered list setting is used across all documents in the book, select the Paragraph Styles and
Numbered Lists options in the Synchronize Options dialog box, and then synchronize the book.
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Print or output a book file
One advantage of using a book file is that you can use a single command to output—for print, preflight, package, or
export to EPUB or PDF—selected booked documents or the entire book.
1 In the Book panel, do one of the following:
• To output specific documents, select the desired documents.
• To output the entire book, make sure no documents are selected.
2 Choose an output command (such as Print Book or Print Selected Documents) in the Book panel menu.
More Help topics
“Print a document or book” on page 579
“Export content for Digital Editions (EPUB)” on page 112
“Preflight books” on page 601
“Export to PDF for printing” on page 482
“Create interactive documents for PDF” on page 511
Creating a table of contents
About tables of contents
A table of contents (TOC) can list the contents of a book, magazine, or other publication; display a list of illustrations,
advertisers, or photo credits; or include other information to help readers find information in a document or book file.
One document may contain multiple tables of contents—for example, a list of chapters and a list of illustrations.
Each table of contents is a separate story consisting of a heading and a list of entries sorted either by page number or
alphabetically. Entries, including page numbers, are pulled directly from content in your document and can be
updated at any time—even across multiple documents in a book file.
The process for creating a table of contents requires three main steps. First, create and apply the paragraph styles you’ll
use as the basis for the TOC. Second, specify which styles are used in the TOC and how the TOC is formatted. Third,
flow the TOC into your document.
Table of contents entries can be automatically added to the Bookmarks panel for use in documents exported as
Adobe PDF.
For a video tutorial on creating a table of contents, see www.adobe.com/go/vid0219.
Tips for planning a table of contents
Consider the following when planning a table of contents:
• Some tables of contents are built from content that does not actually appear in the published document, such as a
list of advertisers in a magazine. To do this in InDesign, enter content on a hidden layer and include it when
generating a TOC.
• You can load TOC styles from other documents or books to build new tables of contents with the same settings and
formatting. (You might need to edit an imported TOC style if the names of paragraph styles in the document do
not match those in the source document.)
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• You can create paragraph styles for the table of contents’ title and entries, including tab stops and leaders, if desired.
You can then apply these paragraph styles when you generate the table of contents.
• You can create character styles to format the page numbers and the characters separating them from the entries.
For example, if you want the page numbers to be in bold, create a character style that includes the bold attribute,
and then select that character style when you create the table of contents.
More Help topics
Creating a Table of Contents video
Creating tables of contents in books
For best results, be sure to do the following before creating a table of contents for a book:
• Before you create a table of contents, verify that the book list is complete, that all documents are listed in the correct
order, and that all headings have been formatted with the appropriate paragraph styles.
• Be sure to use paragraph styles consistently throughout the book. Avoid creating documents with styles that have
identical names but different definitions. If multiple styles have the same name but different style definitions,
InDesign uses the style definition in the current document (if a definition exists there), or the first occurrence of
the style in the book.
• If the necessary styles do not appear in the pop-up menus in the Table of Contents dialog box, you may need to
synchronize the book so that the styles are copied to the document containing the table of contents.
• If you want number prefixes (such as 1-1, 1-3, and so on) to appear in your table of contents, use section numbering
rather than chapter numbering. Section number prefixes can be included in a table of contents.
More Help topics
“Synchronize book documents” on page 298
Generate a table of contents
Before you generate a table of contents, decide which paragraphs should be included (such as chapter titles and section
headings), and then define paragraph styles for each. Make sure that these styles are applied to all appropriate
paragraphs in the document or booked documents.
When you generate the table of contents, you can also use paragraph and character styles to format the table of
contents.
Table of contents without paragraph styles (left) and with paragraph styles applied to entries (right)
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If paragraphs that are to be included in the table of contents appear in different stories on the same page, their order
in the TOC is determined by their position on the page.
1 Do one of the following:
• If you’re creating a table of contents for a single document, you may want to add a new page at the beginning of the
document.
• If you’re creating a table of contents for multiple documents in a book, create or open the document to be used for
the table of contents, make sure that it’s included in the book, and then open the book file.
2 Choose Layout &gt; Table Of Contents.
If you’ve defined a TOC style that has the appropriate settings for your TOC, you can choose it from the TOC Style menu.
3 In the Title box, type a title for your TOC (such as Contents or List of Figures). This title will appear at the top of the
table of contents. To format the title, choose a style from the Style menu.
4 Select Include Book Documents to create a single table of contents for all documents in the book list, and to
renumber the book’s pages. Deselect this option if you want to generate a table of contents for the current document
only. (This option is dimmed if the current document is not part of a book file.)
5 Determine which content you want to include in the table of contents by double-clicking paragraph styles in the
Other Styles list to add them to the Include Paragraph Styles list.
6 Select Replace Existing Table Of Contents to replace all existing table of contents stories in the document. Deselect
this option if you want to generate a new table of contents, such as a list of figures.
7 Specify options to determine how each paragraph style in the table of contents is formatted. (See “Options for
formatting a table of contents” on page 305.)
It’s a good idea to define a TOC style that contains the formatting and other options for your table of contents,
especially if you want to include multiple TOCs in your document. To do so, click Save Style. You can also create TOC
styles by choosing Layout &gt; Table Of Contents Styles.
8 Click OK.
A loaded text cursor
appears. Before you click or drag, you can move to a different page or create a new page
without losing the loaded text.
9 Click or drag the loaded text cursor on a page to place the new table of contents story.
Note: Avoid threading the TOC frame to other text frames in the document. If you replace the existing TOC, the entire
story will be replaced by the updated TOC.
More Help topics
“About character and paragraph styles” on page 182
Create TOC styles for multiple lists
Use TOC styles if you need to create different tables of contents in your document or book. For example, you can use
one TOC style for a list of contents and another for a list of advertisers, illustrations, or photo credits. Create a TOC
style for each type of list.
Creating TOC styles are also useful if you want to use the same TOC formatting in another document.
Note: Don’t confuse TOC styles with paragraph styles that have a “TOC” prefix. TOC-prefixed paragraph styles (for
example “TOC title”) are used to format the table of contents entries themselves. In contrast, a TOC style is a collection
of settings used to automatically create a table of contents.
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Create a TOC style
1 Choose Layout &gt; Table Of Contents Styles.
2 Click New.
3 Type a name for the TOC style you are creating.
4 In the Title box, type a title for your TOC (such as Contents or List of Figures). This title will appear at the top of the
table of contents. To specify a title style, choose a style from the Style menu.
5 From the Other Styles list, select the paragraph styles that represent content you want to include in the table of
contents, then click Add to add them to the Include Paragraph Styles list.
6 Specify options to determine how each paragraph style is formatted. (See “Options for formatting a table of
contents” on page 305.)
Import TOC styles from another document
1 Choose Layout &gt; Table Of Contents Styles.
2 Click Load, select the InDesign file containing the TOC styles you want to copy, and then click Open.
3 Click OK.
Note: If the paragraph styles in your document do not match the paragraph styles in the TOC style you import, you’ll need
to edit the TOC style before generating a table of contents.
Options for formatting a table of contents
When generating or editing a table of contents, use these options to determine the appearance of the generated table
of contents text. Some of these options are available only when you click More Options in the dialog box.
Note: The settings in the Style section apply only to the style currently selected under Include Paragraph Styles. You can
specify different formatting options for each style.
Entry Style For each style in Include Paragraph Styles, choose a paragraph style to apply to the associated table of
contents entries.
Page Number You might want to create a character style that formats the page number. You can then select this style
in the Style pop-up list to the right of Page Number. (See “Add paragraph and character styles” on page 183.)
If you want the page numbers of the TOC to include prefixes, or to use a different numbering convention, see “Define
section numbering” on page 83.
Between Entry And Number Specify which characters you want between the table of contents entry and its page
number. The default is ^t, which tells InDesign to insert a tab. You can choose other special characters, such as Right
Indent Tab or Em Space, in the pop-up list. For a complete list of special characters and how to work with them, see
“Insert glyphs and special characters” on page 161.
Select the existing text in the box before you choose a different special character, to make sure that you don’t include
both characters.
You might want to create a character style that formats the space between the entry and the page number. You can
then select this style in the Style pop-up list to the right of Between Entry And Number. (See “Add paragraph and
character styles” on page 183.)
If the entry’s paragraph style includes a tab leader setting, and if the tab character (^t) is selected, a tab leader appears
in the generated table of contents. For more information, see “Create TOC entries with tab leaders” on page 306.
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Contents
Introduction
Chapter 1
Mammals
Bears
Cats
Dogs
Chapter 2
Birds
Parrots
Chapter 3
Reptiles
Lizards
1
3
3
3
8
10
26
27
29
31
32
33
You can specify a character that separates an entry and page number, as well as a style to apply to a character.
Sort Entries in Alphabetical Order Select this option to sort table of contents entries in the selected style alphabetically.
This option is useful for creating simple lists, such as lists of advertisers. Nested entries (Level 2 or 3) sort alphabetically
within their group (Level 1 or 2, respectively).
Note: The sort order for a table of contents is determined by the document’s default language setting. To change the
default language setting, make sure nothing is selected and then choose a language from the Language menu in the
Character panel.
Level By default, each item added to the Include Paragraph Styles box is set one level lower than the item immediately
above it. You can change this hierarchy by specifying a new level number for the selected paragraph style. This option
adjusts only the display in the dialog box. It has no effect on the final table of contents unless the list is alphabetized,
in which case the entries are sorted by level.
Create PDF Bookmarks Select this option if you want the table of contents entries to appear in the Bookmarks panel of
Adobe Acrobat or Adobe Reader&reg; when the document is exported to PDF.
Run-in Select this option if you want all TOC entries to be run into a single paragraph. A semicolon followed by a
space (; ) separates the entries.
Include Text On Hidden Layers Select this option only if you want the paragraphs on hidden layers to be included in
your table of contents. This is useful when creating a list of advertisers or illustrations that may not appear as visible
text in the document itself. Deselect this option when you’ve used layers to store various versions or translations of the
same text.
Numbered Paragraphs If your table of contents includes a paragraph style that uses numbering, specify whether the
TOC entry includes the full paragraph (both number and text), only the numbers, or only the paragraph.
Create TOC entries with tab leaders
Entries in a table of contents are often formatted with dots or tab leaders separating the entry from its associated page
number.
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Table of contents with dot leaders
1 Create a paragraph style with a tab leader. (See “Create a paragraph style with a tab leader” on page 307.)
2 To update the table of contents settings, do one of the following:
• Choose Layout &gt; Table Of Contents Style. Select a TOC style, and click Edit.
• Choose Layout &gt; Table Of Contents (if you are not using a TOC style).
3 Under Include Paragraph Styles, select an item you want to appear with a tab leader in the table of contents.
4 For Entry Style, select the paragraph style that contains the tab leader.
5 Click More Options.
6 Verify that Between Entry And Number is set to ^t (representing a tab). Click OK or Save to exit.
7 Update the table of contents, if necessary, by choosing Layout &gt; Update Table Of Contents. Otherwise, place the
new table of contents story.
Create a paragraph style with a tab leader
1 Choose Window &gt; Styles &gt; Paragraph Styles to display the Paragraph Styles panel.
2 In the Paragraph Styles panel, do one of the following:
• Double-click the name of the paragraph style applied to entries in your table of contents.
• From the panel menu, choose New Paragraph Style.
3 Enter a name, if necessary, for the paragraph style.
4 Click Tabs.
5 Select the right-justified tab icon
, and then click on the ruler to position the tab stop.
If the paragraphs you’re applying the style to include numbered list items, make sure that you include two tab settings
— the first for the indented number and the second for the tab leader.
6 For Leader, type a period (.).
7 Select other style options as desired, and click OK.
Update and edit a table of contents
The table of contents is like a snapshot of content in your document. If page numbers in your document change, or if
you edit headings or other elements associated with table of contents entries, you’ll need to regenerate the table of
contents to update it.
More Help topics
“Edit character and paragraph styles” on page 187
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Update a table of contents
1 Open the document containing the table of contents.
2 Do any of the following:
• To make changes to table of contents entries, edit your document or booked documents, not the table of contents
story itself.
• To change the formatting applied to the table of contents title, entries, or page numbers, edit the paragraph or
character styles associated with these elements.
• To change how pages are numbered (for example, 1, 2, 3 or i, ii, iii), change section numbering in the document or
book. (See “Number pages, chapters, and paragraphs in a book” on page 300.)
• To specify a new title, include other paragraph styles in the table of contents, or further format table of contents
entries, edit the TOC style.
3 Select or place the insertion point in the text frame containing the table of contents, and then choose Layout &gt;
Update Table Of Contents.
4 If you have multiple tables of contents in your document, such as a list of figures and a list of advertisers, select the
text frame containing a different list, and then choose Layout &gt; Update Table Of Contents.
Editing a table of contents
If your table of contents requires editing, edit the actual paragraphs in the document—not the table of contents story—
and then generate a new table of contents. If you edit the table of contents story, you’ll lose your revisions when you
generate a new table of contents. For the same reason, you should edit the styles used to format the table of contents
entries, rather than formatting the table of contents directly.
Creating an index
About indexing
You can create a simple keyword index or a comprehensive, detailed guide to the information in your book. You can
create only one index for a document or book. To create an index, you first place index markers in the text. You
associate each index marker with the word, called a topic, that you want to appear in the index.
When you generate the index, each topic is listed, along with the page on which it was found. The topics are sorted
alphabetically, typically under section headings (A, B, C, and so on). An index entry consists of a topic (the term
readers look up) paired with either a page reference (page number or range) or a cross-reference. A cross-reference,
preceded by “See” or “See also,” points the reader to other entries in the index, rather than to a page number.
A
B
C
D
E
F
G
Parts of an index
A. Title B. Section heading C. Index entry D. Subentry E. Topic F. Page reference G. Cross-reference
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For a video tutorial on creating an index, see www.adobe.com/go/vid0220.
Tips for creating an index
Creating a well-planned and complete index can help make the information in your document immediately accessible
to your readers. Here are a few guidelines to consider:
• Think about how you want your index to look. How many topic levels will it have? Will it refer the reader to other
related topics? Will a simple keyword index suffice, or do you want a more complex index with cross-references to
related topics and a well-researched list of equivalent terms?
• Anticipate the variety of ways by which your readers might look up information. For instance, one reader may
search for information on animals by looking under beasts; another may look for wildlife or fauna.
• Add index entries when the content of your document is fairly stable. If you delete large portions of your text later,
you may lose some of your indexing work.
• A well-planned index presents topics consistently. Common indexing problems include mixing uppercase and
lowercase (cats and Cats) and singular and plural forms (cat and cats). Use a topic list to keep terms consistent.
• Review your index several times before you generate the final index. Look for duplicate entries, weak subject areas,
misspellings, and inconsistencies in capitalization and wording; for example, InDesign treats Cheetah, cheetah, and
cheetahs as separate entries.
Workflow for creating an index
To create an index, follow these basic steps:
1. Create a topic list (optional) A topic list helps you maintain consistency in your index entries. (See “Create a list of
topics for an index” on page 310.)
2. Add index markers. Add index markers on the pages in your document that you want the index entries to refer to.
(See “Add index entries” on page 311.)
3. Generate the index. Generating the index creates a set of entries for markers and their accompanying page
numbers. (See “Generate an index” on page 316.)
4. Flow the index story. Use the loaded text cursor to flow the index into a text frame. In most cases, you’ll want the
index to start on a new page. After you flow the index, you can format the pages and index.
You’ll likely repeat these steps several times as you refine your index prior to publication.
More Help topics
“Add index entries” on page 311
Creating an Index video
Index panel overview
You create, edit, and preview the index using the Index panel (Window &gt; Type &amp; Tables &gt; Index). The panel includes
two modes: Reference and Topic. In Reference mode, the preview area displays complete index entries for the current
document or book. In Topic mode, the preview area displays only topics, not page numbers or cross-references. Topic
mode is used primarily for creating the index structure, whereas Reference mode is where you add your index entries.
In Reference mode, index entries are alphabetized and divided into sections by letter. Triangles next to entries let you
expand or collapse the entry to view subentries, page numbers, and cross-references.
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The following codes appear in place of page references to indicate index entries that may not be included in the
generated index. You may need to choose Update Preview in the Index panel to view the codes.
PB Indicates index entries on the pasteboard. These entries will not appear in the generated index.
HL Indicates index entries on a hidden layer. When you generate the index, you have the option of including index
entries on a hidden layer.
HT Indicates index entries in a hidden condition. Index entries in hidden conditions are not included in the index.
PN Indicates index entries in overset text. When you include these entries in the generated index, they appear without
page numbers.
Master Indicates index entries on a master page. These entries will not appear in the generated index.
Click a triangle to expand or collapse an individual entry. Alt-click (Windows) or Option-click (Mac OS) a triangle to
expand or collapse all subentries under an entry. Ctrl-click (Windows) or Command-click (Mac OS) a triangle to
expand or collapse all entries.
Choose Update Preview in the Index panel menu to update the preview area. This option is especially useful if you’ve
edited your document extensively or moved index markers in the document window.
More Help topics
“Add index entries” on page 311
Creating an Index video
Create a list of topics for an index
You can create or import a list of topics to use as a starting point when creating index entries. Later, when you add
entries to the index, you can select topics from the topic list (instead of typing them each time) to ensure that
information is indexed consistently throughout your document or book.
You create and edit a topic list using the Index panel in Topic mode. Note that Topic mode displays topics only; to
preview index entries, with their associated page numbers and cross-references, use Reference mode instead.
Index panel in Reference mode (left) and Topic mode (right)
Topics in the topic list appear in the New Page Reference dialog box as well. To create an index entry, simply select a
topic and then associate it with a page or cross-reference. Unused topics (those without page or cross-references) are
excluded when you generate an index.
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Creating a topic list before you add index entries is optional. Each time you create an index entry, its topic is
automatically added to the topic list for future use.
By default, topics you add to the Topics list do not appear in the Reference list, which displays only the topics that have
been associated with a page. However, to display the topics in the Reference list, you can choose Show Unused Topics
from the Index panel menu in Reference mode.
Add topics to the topics list
1 Choose Window &gt; Type &amp; Tables &gt; Index to display the Index panel.
2 Select Topic.
3 Choose New Topic from the Index panel menu or click the Create New Index Entry icon at the bottom of the panel.
4 Do one of the following:
• Under Topic Levels, type the topic name (for example, animals) in the first box. To create a subtopic, type a name
(cats) in the second box. In this example, “cats” is indented under “animals.” To create a subtopic under the
subtopic, type a name (Calicos) in the third box, and so on.
• Select an existing topic. Enter subtopics in the second, third, and fourth boxes.
5 Click Add to add the topic, which will now appear in the New Topic dialog box as well as the Index panel.
6 Click Done when you’ve finished adding topics.
To delete a topic that you’ve just added, click Done, select the topic in the Index panel, and then click the Delete
Selected Entry button.
Import topics from another InDesign document
1 Choose Import Topics in the Index panel menu.
2 Select the document containing the index topics you want to import, and then click Open.
Edit an index topic
Use the Index panel to edit entries before or after you generate an index. Changes you make to your entries in the Index
panel will appear in the next index that you generate, but changes that you make to the generated index story will be
lost when you regenerate the index.
1 Open a document containing the index topics.
2 In the Index panel, select Topic.
3 In the preview area, double-click a topic to edit.
4 Edit the topic as desired, and then click OK.
Add index entries
You create index entries using the Index panel in Reference mode. An index entry consists of two parts: a topic and a
reference. Topics can be defined ahead of time using a topic list. References can be page numbers or cross-references
to other topics.
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A
B
C
D
Index panel in Reference mode
A. Entry B. Subentry C. Page reference D. Cross-reference
An index marker is inserted at the beginning of the word in which text is selected or at the insertion point. You can
view index markers by choosing Type &gt; Show Hidden Characters.
More Help topics
“Working with markers” on page 321
“Page range options in indexes” on page 315
“Add “See” or “See also” cross-references to an index” on page 315
Add an index entry
1 Using the Type tool
, place the insertion point where you want the index marker to appear, or select text in the
document to use as the basis for an index reference.
When selected text contains inline graphics or special characters, some characters (such as index markers and inline
graphics) are stripped out in the Topic Level box. Other characters, such as em dashes and copyright symbols, are
converted to metacharacters (for example, ^_ or ^2).
2 Choose Window &gt; Type &amp; Tables &gt; Index to display the Index panel.
3 Select Reference.
If entries added to the Topic list do not appear in the Reference, choose Show Unused Topics from the Index panel
menu. You can then use those topics when adding entries.
4 To view index entries from any open documents in a book file, select Book.
5 Choose New Page Reference in the Index panel menu. (If this command does not appear, make sure Reference is
selected and that there is an insertion point or text selection in the document.)
6 To add text to the Topic Levels box, do any of the following:
• To create a simple index entry (such as cats), type the entry in the first Topic Levels box. (If text was selected, that
text appears in the Topic Levels box.)
• To create entries and subentries, type the parent name (for this example, animals) in the first Topic Levels box, and
type subentries (cats and Calicos) in subsequent boxes. If necessary, click the up and down arrows to change places
with the item above or below the selected item.
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A
animals
bears 9
cats
Calicos 19
B
bears
Black 10
Index entry in the Topic Levels box (left) and resulting appearance in the Index (right)
• Double-click any topic in the list box at the bottom of the dialog box.
7 To change the way an entry is sorted in the final index, use the Sort By boxes. For example, to sort the topic de la
Vega under V (instead of D), you would type Vega in the Sort By box and de la Vega in the Topic Level box.
You can also select the sort order of numbers, symbols, and languages, and you can edit sort information for Chinese
characters. (See “Change the sort order of indexes” on page 318.)
8 Specify the type of index entry:
• To create index entries that have a page number or range (such as cats 82–87), choose an option that describes the
span of the entry in the Type pop-up menu. (See “Page range options in indexes” on page 315.)
• To create an index entry without a page number, choose Suppress Page Range in the Type menu. Although no page
number will appear in the generated index, the page number appears in parentheses in the Index panel.
• To create an index entry which refers to another entry, select one of the cross-reference options (such as See or See
also) from the Type pop-up menu, and input the entry name in the Referenced text box, or drag the existing entry
from the list at the bottom to the Referenced box. You can also customize the See and See also terms displayed in
the cross-reference entries by selecting Custom Cross Reference from the Type pop-up menu. (See “Add “See” or
“See also” cross-references to an index” on page 315.)
9 To add emphasis to a particular index entry, select Number Style Override, and then specify a character style.
10 To add an entry to the index, do any of the following:
• Click Add to add current entry and leave the dialog box open for additional entries.
• Click Add All to locate all instances of the selected text in the document window and create an index marker for
each one. Add All is available only if text in the document is selected.
• Click OK to add the index entry and close the dialog box.
Note: If you click Cancel after clicking Add, the entries you just added are not removed. Use the Undo command to
remove these entries.
11 To close the dialog box, click OK or Done.
Index a word, phrase, or list quickly
Using an indexing shortcut, you can quickly index individual words, a phrase, or a list of words or phrases. Adobe
InDesign recognizes two indexing shortcuts: one for standard index entries; the other for proper names. The proper
name shortcut creates index entries by reversing the order of a name so it is alphabetized by the last name. In this way,
you can list a name with the first name first, but have it appear in the index sorted by last name. For example, the name
James Paul Carter would appear in the index as Carter, James Paul.
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To prepare a list for indexing, separate each item you want to be indexed with any of the following: a return, a soft
return (Shift + Return key), a tab, a right-indent tab (Shift + Tab), a semicolon, or a comma. The indexing shortcut
adds a marker in front of each entry and places all the items into the index.
1 In the document window, select the word or words you want to index.
2 Do one of the following:
• For standard words or phrases, press Shift+Alt+Ctrl+[ (Windows) or Shift+Option+Command+[ (Mac OS).
• For proper names that you want indexed by the last name, press Shift+Alt+Ctrl+] (Windows) or
Shift+Option+Command+] (Mac OS).
An index marker using the default settings is added at the beginning of the selection or to the beginning of each item
selected.
To index compound last names or names with a title, include one or more nonbreaking spaces between the words. For
example, if you want to index “James Paul Carter Jr.” by “Carter” instead of “Jr.”, place a nonbreaking space between
“Carter” and “Jr.” (To insert a nonbreaking space, choose Type &gt; Insert White Space &gt; Nonbreaking Space.)
Create a new entry from an existing one
Often, a subject you’re indexing appears in multiple places in a document or book. When this happens, you can create
multiple index entries based on other entries already in your index to ensure consistency.
1 In the document window, click an insertion point, or select text where the index marker will appear.
2 In the Index panel, select Reference, and scroll the preview area to the entry you want to copy.
3 Do one of the following:
• Drag an entry to the New Entry button
the selection.
to insert an index marker at the insertion point, or at the beginning of
• Select an entry in the panel preview area, and then hold down Alt (Windows) or Option (Mac OS) and click the
New Entry button. The New Page Reference dialog box appears, with information about the selected entry. Make
any changes, and then click Add or OK.
Alternatively, you can create a topic list, and then select topics from the list as you create index entries.
Index every occurrence of a word automatically
Using the Add All option is an effective way to index all occurrences of a specified term in a document or a book. When
you click Add All, InDesign creates index markers at every occurrence of the words selected in the document—not the
text specified in the dialog box. (You can later delete entries that point to less significant information.)
When searching for occurrences of the selected text, InDesign considers only whole words, and searches are casesensitive. For example, if cheetah is selected, cheetahs and Cheetah will not be indexed.
1 In the document window, select the text you want to search for.
2 In the Index panel, select Reference.
3 To create index entries for any open documents in the book, select Book.
4 Choose New Page Reference in the Index panel menu.
5 Choose Add All. InDesign adds index markers to all text that matches the selected text, regardless of whether the
text has been indexed, so you may end up with multiple entries for the same word or phrase.
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Edit an index entry
To change a topic (such as renaming it or applying a new sort order) and automatically update all entries that use that
topic, use the Index panel in Topic mode. To change one entry at a time, use Reference mode. In Reference mode, you
can also add cross-references or locate the index marker associated with a page reference.
1 Open the document containing the index entries.
2 In the Index panel, do one of the following:
• Select Topic to edit a topic and automatically update all entries using that topic.
• Select Reference to edit an individual entry.
3 In the preview area, select an entry or page reference. To select a page reference, select the page icon below the entry.
4 Double-click an entry or page reference to edit.
5 Edit the entry, and then click OK.
Page range options in indexes
You can create index entries that include a page range (such as cats 82–87) instead of a single page number. The Type
pop-up menu in the New Page Reference dialog box includes the following page-range options:
Current Page The page range does not extend beyond the current page.
To Next Style Change The page range extends from the index marker to the next change of paragraph style.
To Next Use Of Style The page range extends from the index marker to the page where the next occurrence of the
paragraph style specified in the adjacent paragraph style pop-up menu appears.
To End Of Story The page range extends from the index marker to the end of the current thread of text frames that
contain text.
To End Of Document The page range extends from the index marker to the end of the document.
To End Of Section The page range extends from the index marker to the end of the current section as defined in the
Pages panel. (See “Document numbering options” on page 85.)
For Next # Of Paragraphs The page range extends from the index marker to the end of the number of paragraphs
specified in the adjacent box, or to the end of as many paragraphs as exist.
For Next # Of Pages The page range extends from the index marker to the end of the number of pages specified in the
adjacent box, or to the end of as many pages as exist.
Suppress Page Range Turn off page range.
Add “See” or “See also” cross-references to an index
Cross-references are index entries that point to related entries, instead of a page number. You create cross-references
using the Index panel. Cross-references can serve different purposes in an index:
• Cross-references associate common terms with equivalents used in your document or book. For example, Fauna.
See Animals. Entries with such cross-references do not contain page references; they simply point to equivalent
terms that are indexed more fully.
• Cross-references point to other entries related to, but not equivalent to, a topic. For example, Cats. See also
Wildcats. In this case, the index entry containing the cross-reference also contains page numbers and/or subentries
that are directly related to the entry’s topic.
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A
B
Two types of cross-references
A. Cross-reference to related information (See also) B. Cross-reference to an equivalent term (See)
When you create a cross-reference in InDesign, you can also select a cross-reference prefix. “See” and “See also” are
static text. When you choose “See [also],” InDesign automatically assigns the correct prefix to the cross-reference each
time the index is generated:
• Entries with page numbers, subentries, or both are given “See also.”
• Entries without page numbers or subentries are given “See.”
Using the “See [also]” option frees you from the task of manually updating cross-references as the contents of your
index entries change.
1 Choose Window &gt; Type &amp; Tables &gt; Index.
2 Select Reference.
3 (Optional) Select Book to view index entries from any open documents in a book file.
4 Choose New Page Reference in the Index panel menu.
5 Enter a topic or topics in the Topic Levels boxes.
6 In the Type menu, choose a cross-reference prefix (such as See also) from the bottom of the menu.
7 Type a topic in the Referenced box, or drag an existing topic from the topic list at the bottom.
8 Click Add to add the cross-reference to the index.
Cross-references appear in the Index panel and the generated index, but are not associated with index markers in the
document itself.
Cross-references with “See [also]” appear as “See [also]” in the Index panel; however, the correct prefix will appear in
the generated index story.
More Help topics
“Cross-references” on page 522
“Index panel overview” on page 309
Generate an index
Once you’ve added index entries and previewed them in the Index panel, you’re ready to generate an index story to
place in your document for publication.
An index story can appear as a separate document or in an existing document. When you generate an index story,
InDesign compiles index entries and updates page numbers across your document or book. If you add or delete index
entries or update numbering in your document, however, you’ll need to regenerate the index to update it.
If an index marker appears in overset text when you generate the index, you are asked if you would like to include these
markers in the index. If you click Yes, the entry appears in the index without a page number. If an index marker
appears in hidden conditional text, the entry is excluded from the index.
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For a video tutorial on creating an index, see www.adobe.com/go/vid0220.
1 Do one of the following:
• If you’re creating an index for a single document, you may want to add a new page at the end of the document.
• If you’re creating an index for multiple documents in a book, create or open the document to be used for the index,
and make sure that it’s included in the book.
2 Choose Generate Index in the Index panel menu. Specify settings for the following options:
• For Title, type the text that will appear at the top of the index. To determine how the title is formatted, select a style
in the Title Style pop-up menu.
• Select Replace Existing Index to update an existing index. This option is dimmed if you haven’t generated an index.
Deselecting this options lets you create multiple indexes.
• Select Include Book Documents to create a single index for all documents in the current book list and to renumber
the book’s pages. Deselect this option if you want to generate an index for the current document only.
• Select Include Entries On Hidden Layers if you want index markers on hidden layers to be included in your index.
• To view additional index options, click More Options.
3 Click OK. If Replace Existing Index is deselected, a loaded text icon appears. Place the index story as you would any
other text.
If you edit entries in the index story, these changes are overridden when you regenerate the index. For best results, edit
the index in the Index panel, and then generate the index again.
More Help topics
Creating an Index video
Index formatting options
When you click More Options in the Generate Index dialog box, formatting options appear that let you determine the
style and appearance of the generated index. InDesign includes a number of built-in paragraph and character styles
that you can select to format the generated index, or you can create and select your own styles. After you generate the
index, you can edit these styles in the Paragraph Styles and Character Styles panels.
A
B
C
D
E
F
Index with nested entries
A. Title B. Section heading C. Level 1 entry D. Level 2 subentry E. Topic F. Cross-reference
To replace the entry separators (such as the values for Following Topic or Between Entries), select the existing
separator and then type or choose a replacement character.
Nested or Run-in Select Nested if you want the index formatted in the default style, with subentries nested under an
entry as separate indented paragraphs. Select Run-in if you want all levels of an entry to appear in a single paragraph.
The Between Entries option determines which character separates the entries.
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Include Index Section Headings Select this option to generate section headings consisting of alphabet characters (A, B,
C, and so on) representing the section that follows.
Include Empty Index Sections Select this option to generate section headings for all letters of the alphabet, even if the
index lacks any first-level entries that begin with a particular letter.
Level Style For each index level, choose a paragraph style to be applied to each level of index entries. You can edit these
styles in the Paragraph Styles panel after you generate the index.
Section Heading Select the paragraph style that determines the appearance of the section headings (A, B, C, and so on)
in the generated index.
Page Number Select the character style that determines the appearance of the page numbers in the generated index.
This setting does not affect index entries you formatted using the Number Style Override option.
Note: If you want the page numbers in the index to include prefixes, as in B-1 or II-1, see “Define section numbering” on
page 83.
Cross-reference Select the character style that determines the appearance of cross-reference prefixes (such as See and
See also) in the generated index.
Cross-referenced Topic Select the character style that determines the appearance of the topic being referred to (such
as beasts in See also beasts) in the generated index.
Following Topic Type or select a special character to separate the entry from the page number (such as Animals 38).
The default is two spaces. Determine formatting for this character by editing the corresponding Level Style, or by
selecting another.
Between Page Numbers Type or select a special character to separate one page number or range from another. The
default is a comma followed by an en space.
Between Entries If Run-in is selected, type or select a special character to determine how entries and subentries are
separated. If Nested is selected, this setting determines how two cross-references under a single entry are to be
separated.
Before Cross-reference Type or select a special character that appears between a reference and a cross-reference, as in
Animals. See also beasts. The default is a period followed by a space. Determine formatting for this character by
switching or editing the corresponding level style.
Page Range Type or select a special character to separate the first and last numbers in a page range (such as
Animals 38–43). The default is an en dash. Determine formatting for this character by switching or editing the Page
Number style.
Entry End Type or select a special character to appear at the end of entries. If Run-in is selected, the specified character
appears at the end of the last cross-reference. The default is no character.
Change the sort order of indexes
You can change the sort order of languages and symbols. This is especially useful for Greek, Cyrillic, and Asian
languages. It’s also useful if you want to change where symbols appear in your index. If you want symbols at the end,
you can move the Symbol category to the bottom of the priority list.
Changing the sort order affects the sort order in the Index panel and in the index stories that are generated afterwards.
You can create multiple indexes with different sort orders. For example, you can generate an index in German, change
the sort order, and then generate a separate index in Swedish — just make sure Replace Existing Index isn’t selected
when you generate the index.
1 Choose Sort Options from the Index panel menu.
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2 Make sure the items you want sorted are selected.
3 To determine the type of language script used, click the item under Header Type and choose a different option from
the menu.
For example, for Cyrillic, you can choose Russian, Belarusian, Bulgarian, or Ukrainian. For Chinese, you can choose
Pinyin, which is primarily used for Simplified Chinese, or Stroke Count, which is primarily used for Traditional
Chinese.
4 To change the order of a language or symbol, select it in the list, and then click the Up or Down buttons in the lower
right part of the list.
Items that are higher on the list are sorted before lower items. Any characters from languages that aren’t included in
the Sort Options dialog box are sorted under symbols. For example, if you have Greek text in your document but don’t
include Greek under Sort Options, any indexed Greek text will appear under Symbols.
Sort order of Japanese and Korean indexes
When creating index entries for Asian languages, note the following:
• Asian languages use different sorting convention based on their specific typographic rules.
• When making an index for Japanese text, the yomi for index entries in the Topic Level box should be entered in the
Yomi box using full-width hiragana and katakana. It is not necessary to input the yomi for full-width hiragana,
katakana, alphanumeric characters, some symbols, half-width alphanumeric characters, or index entries that only
have symbols in the Yomi box. Entries input in the Topic Level box are sorted. In some cases, when full-width and
half-width symbols are mixed in an entry, sorting may not take place as expected. An appropriate, yomi should be
entered in these cases.
• Half-width katakana or kanji cannot be input in the Yomi text box. However, full-width symbols, such
as and , can be input.
• Hiragana and katakana are distinguished and hiragana is sorted before katakana. Upper- and lowercase alphabetic
characters are also distinguished, and uppercase characters are sorted before lowercase.
• If the same characters are input in the Topic Level box, they are handled as separate index entries if a different yomi
is entered. For example if “Cat” is input as an index entry with a reading of “Neko” in katakana, and then input a
second time with a reading of “Neko” in hiragana, two index items for “Cat” will be generated. This feature can also
be used to classify the same term under separate index topics. For example, when entering the term “The Cats” in
an index, if “Cats” is input in the Yomi text box and two index entries are created without any input, the term “The
Cats” will be generated under the T and C index topics.
• For Korean sort order, you can specify Korean Consonant or Korean Consonant Plus Vowel.
Sort order of Chinese indexes
You determine the sort order of Chinese characters in two places -- in the Sort Options dialog box, and in the Sort By
field when you create or edit an index entry.
Sort Options dialog box Choosing Sort Options from the Index panel menu lets you change the sort order and specify
whether to use Pinyin or Stroke Count.
Sort By When you’re creating or editing an index entry, typing Chinese characters in the Topic Levels fields enables
you to edit Chinese sort information.
For Pinyin, if multiple words have the same Pinyin, the order is sorted by (1) tone and (2) stroke count in ascending
order. For Stroke Count, each character is sorted by (1) stroke count, (2) first stroke, and (3) second stroke. You can
either edit the sort information directly in the Sort By field, or you can click the arrow to the right of the Sort By field
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to open either the Pinyin Entry dialog box or Stroke Count Entry dialog box. You can edit the fields and click OK.
Repeat this process for each topic level.
Manage an index
After you set up your index and add index markers to your document, you can manage your index in a variety of ways.
You can view all index topics in a book, remove topics from the Topic list that aren’t used in the Reference list, find
entries in either the Reference or Topics list, and remove index markers from the document.
More Help topics
“Working with markers” on page 321
View all index topics in a book
When the Book option is selected, the Index panel displays entries from the entire book, not just the current document.
1 Open the book file and all of the documents it contains.
2 Select Book at the top of the Index panel.
If others need to access documents in the book while the index is being created, you can create a master list of topics
in a separate document, and then import topics from the master list to each document in the book. Note that if the
master list changes, you will need to import topics to each document again.
When you are indexing a book with multiple documents, you can display the index topics for all the documents listed
by generating the book’s index, including all the documents. Then you don’t have to use Import Topics in the Index
menu to manually import the topics into each document.
Remove unused topics from the Topic list
Once you have created your index, you can delete topics that weren’t included in the index.
1 Choose Window &gt; Type &amp; Tables &gt; Index to display the Index panel.
2 Choose Remove Unused Topics in the Index panel menu. All topics that do not have page numbers associated with
them are deleted.
Delete index markers
❖ Do either of the following:
• In the Index panel, select the entry or topic you want to delete. Click the Delete Selected Entry button
.
Note: If the selected entry is the heading for multiple subheadings, all subheadings are also deleted.
• In the document window, select the index marker and press Backspace or Delete.
Note: To view index markers in the document window, choose Type &gt; Show Hidden Characters.
Find an index entry in the Index panel
1 Choose Show Find Field in the Index panel menu.
2 In the Find box, type the name of the entry you want to locate, and then click the Up Arrow or Down Arrow.
Locate index markers in a document
1 Choose Type &gt; Show Hidden Characters to display index markers in the document window.
2 In the Index panel, click Reference, and then select the entry you want to locate.
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3 Choose Go To Selected Marker in the Index panel menu. The insertion point appears to the right of the index
marker. You can then press Shift+Left Arrow to select the marker for cutting, copying, or deleting.
Capitalize index entries
The Capitalize dialog box provides a global solution for editing the capitalization of index entries so that you don’t
have to edit entries one by one. For example, if you’ve indexed some of your entries as lowercase (cats) and others as
uppercase (Cats), these entries will be considered separate topics. You can fix this problem by capitalizing selected
entries.
1 In the preview area of the Index panel, select an entry.
2 Choose Capitalize in the Index panel menu.
3 Select whether you want to capitalize only the selected topic, the selected topic and all subtopics, all Level 1 topics,
or all topics, and then click OK.
Working with markers
About markers
InDesign inserts a marker in text for items such as index entries, XML tags, and hyperlink text and anchors. These
markers have no width and they don’t affect composition of text. However, you can select these markers and cut, copy,
or delete them. InDesign uses the location of the marker to produce an accurate bookmark or page reference in the
table of contents, index, and exported PDF files.
You can view all markers at once, or view hyperlink or tagged text markers only. You can also view markers in Story
Editor, where they are larger and easier to identify.
Note: When you select a word, all of its markers are also selected. Keep this in mind when you are cutting, copying, or
deleting text.
A
B
C
Types of markers
A. Tagged text B. Index marker C. Hyperlink
View markers
• To display markers, choose Type &gt; Show Hidden Characters.
• To view hyperlink markers only, choose View &gt; Extras &gt; Show Hyperlinks.
• To view tagged text markers only, choose View &gt; Structure &gt; Show Tag Markers.
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Select markers
1 Choose Type &gt; Show Hidden Characters.
2 Place the insertion point next to the marker.
3 Holding down Shift, press the Left Arrow or Right Arrow key to select a marker.
You can also locate markers using different methods. For example, you can locate an index marker by choosing the Go
To Selected Marker option in the Index panel menu.
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Chapter 11: Drawing
Understanding paths and shapes
Types of paths and shapes
You can create paths and combine them in a variety of ways in InDesign. InDesign creates the following types of paths
and shapes:
Simple paths Simple paths are the basic building blocks of compound paths and shapes. They consist of one open or
closed path, which may be self-intersecting.
Compound paths Compound paths consist of two or more simple paths that interact with or intercept each other.
They are more basic than compound shapes and are recognized by all PostScript-compliant applications. Paths
combined in a compound path act as one object and share attributes (such as colors or stroke styles).
Compound shapes Compound shapes consist of two or more paths, compound paths, groups, blends, text outlines,
text frames, or other shapes that interact with and intercept one another to create new, editable shapes. Some
compound shapes appear as compound paths, but their component paths can be edited on a path-by-path basis and
do not need to share attributes.
A
B
C
Types of paths and shapes
A. Three simple paths B. Compound path C. Compound shape
For a video tutorial on working with objects, see www.adobe.com/go/vid0071.
More Help topics
Working with Objects video
About paths
As you draw, you create a line called a path. A path is made up of one or more straight or curved segments. The
beginning and end of each segment are marked by anchor points, which work like pins holding a wire in place. A path
can be closed (for example, a circle), or open, with distinct endpoints (for example, a wavy line).
You change the shape of a path by dragging its anchor points, the direction points at the end of direction lines that
appear at anchor points, or the path segment itself.
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A
C
B
F
D
E
Components of a path
A. Selected (solid) endpoint B. Selected anchor point C. Unselected anchor point D. Curved path segment E. Direction line F. Direction point
Paths can have two kinds of anchor points: corner points and smooth points. At a corner point, a path abruptly changes
direction. At a smooth point, path segments are connected as a continuous curve. You can draw a path using any
combination of corner and smooth points. If you draw the wrong kind of point, you can always change it.
A
B
C
Points on a path
A. Four corner points B. Four smooth points C. Combination of corner and smooth points
A corner point can connect any two straight or curved segments, while a smooth point always connects two curved
segments.
A corner point can connect both straight segments and curved segments.
Note: Don’t confuse corner and smooth points with straight and curved segments.
A path’s outline is called a stroke. A color or gradient applied to an open or closed path’s interior area is called a fill. A
stroke can have weight (thickness), color, and a dash pattern (Illustrator and InDesign) or a stylized line pattern
(InDesign). After you create a path or shape, you can change the characteristics of its stroke and fill.
In InDesign, each path also displays a center point, which marks the center of the shape but is not part of the actual
path. You can use this point to drag the path, to align the path with other elements, or to select all anchor points on
the path. The center point is always visible; it can’t be hidden or deleted.
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About direction lines and direction points
When you select an anchor point that connects curved segments (or select the segment itself), the anchor points of the
connecting segments display direction handles, which consist of direction lines that end in direction points. The angle
and length of the direction lines determine the shape and size of the curved segments. Moving the direction points
reshapes the curves. Direction lines don’t appear in the final output.
After selecting an anchor point (left), direction lines appear on any curved segments connected by the anchor point (right).
A smooth point always has two direction lines, which move together as a single, straight unit. When you move a
direction line on a smooth point, the curved segments on both sides of the point are adjusted simultaneously,
maintaining a continuous curve at that anchor point.
In comparison, a corner point can have two, one, or no direction lines, depending on whether it joins two, one, or no
curved segments, respectively. Corner point direction lines maintain the corner by using different angles. When you
move a direction line on a corner point, only the curve on the same side of the point as that direction line is adjusted.
Adjusting direction lines on a smooth point (left) and a corner point (right)
Direction lines are always tangent to (perpendicular to the radius of) the curve at the anchor points. The angle of each
direction line determines the slope of the curve, and the length of each direction line determines the height, or depth,
of the curve.
Moving and resizing direction lines changes the slope of curves.
Note: In Illustrator, you can show or hide anchor points, direction lines, and direction points by choosing View &gt; Show
Edges or View &gt; Hide Edges.
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Drawing with the line or shape tools
Draw basic lines and shapes
1 In the toolbox, do one of the following:
• To draw a line or shape, select the Line tool , the Ellipse tool , the Rectangle tool
(Click and hold the Rectangle tool to select either the Ellipse or Polygon tool.)
• To draw a placeholder (empty) graphics frame, select the Ellipse Frame tool
Polygon Frame tool
.
, or the Polygon tool
, the Rectangle Frame tool
.
, or the
2 Drag in the document window to create the path or frame.
• To draw from the center out, hold down Alt (Windows) or Option (Mac OS).
• To constrain a line to 45&deg; angles, or to constrain the width and height of a path or frame to the same proportions,
hold down Shift as you drag.
• To create multiple shapes in a grid, press the arrow keys while holding down the mouse button. See “Draw multiple
objects as a grid” on page 326.
• To change the number of sides of a polygon, begin dragging, press the Spacebar, and then press the Up and Down
arrow keys. Press the Left and Right arrow keys to change the star inset. Press the Spacebar again to return to grid mode.
Dragging to create a basic circle
Note: The result shown above displays a bounding box around the path. If the Selection tool was recently active, you’ll
see this bounding box. If the Direct Selection tool was more recently active, the path appears with anchor points
instead.
More Help topics
“Selecting objects” on page 385
“Gallery of drawing and type tools” on page 26
Draw multiple objects as a grid
When using frame-creation tools such as the Rectangle tool or Type tool, you can create a grid of equally spaced frames
by using modifier keys.
For a video on drawing objects in a grid, see http://tv.adobe.com/go/4949/.
1 Select a tool that lets you draw a frame.
2 Begin dragging. While still holding down the mouse button, do any of the following actions:
• Press the Left and Right Arrow keys to change the number of columns. Press the Up and Down Arrow keys to
change the number of rows.
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• Hold down Ctrl (Windows) or Command (Mac OS) and press arrow keys to change the spacing between the
frames.
3 Release the mouse button.
If you want to use the arrow keys to change the number of sides or star inset while using the Polygon tool, press the
Spacebar while holding down the mouse button.
Draw a placeholder shape
A placeholder shape is an ellipse, rectangle, or polygon that appears in the document window with an X, indicating
that it should be replaced by text or an image later.
1 In the toolbox, select the Ellipse Frame tool
, the Rectangle Frame tool
, or the Polygon Frame tool
.
2 Drag in the document window to create the path or frame. Hold down Shift to constrain the width and height of
the frame.
You can change the crop amount, reference point, and other fitting options for a placeholder frame by choosing
Object &gt; Fitting &gt; Frame Fitting Options.
Specify polygon settings
1 If you want the polygon settings to apply to existing shapes, select the polygons.
2 Double-click the Polygon tool
, specify the following settings, and click OK:
• For Number of Sides, type a value for the number of sides you want for the polygon.
• For Star Inset, type a percentage value to specify the length of a star’s spikes. The tips of the spikes touch the outer
edge of the polygon’s bounding box, and the percentage determines the depth of the depression between each spike.
Higher percentages create longer, thinner spikes.
Change the shape of a path automatically
You can convert any path into a predefined shape. For example, you can convert a rectangle to a triangle. The stroke
settings for the original path remain the same for the new path. If the new path is a polygon, its shape is based on the
options in the Polygon Settings dialog box. If the new path has a corner effect, its radius size is based on the size setting
in the Corner Options dialog box.
1 Select the path.
2 Do any of the following:
• Choose Object &gt; Convert Shape &gt; [new shape].
• In the Pathfinder panel (Window &gt; Object &amp; Layout &gt; Pathfinder), click a shape button in the Convert Shape area.
Drawing with the Pencil tool
Draw with the Pencil tool
The Pencil tool works primarily the same way in Adobe Illustrator and InDesign. It lets you draw open and closed
paths as if you were drawing with a pencil on paper. It is most useful for fast sketching or creating a hand-drawn look.
Once you draw a path, you can immediately change it if needed.
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Anchor points are set down as you draw with the Pencil tool; you do not determine where they are positioned.
However, you can adjust them once the path is complete. The number of anchor points set down is determined by the
length and complexity of the path and by tolerance settings in the Pencil Tool Preferences dialog box. These settings
control how sensitive the Pencil tool is to the movement of your mouse or graphics-tablet stylus.
For a video on drawing with the Pencil tool in Illustrator, see www.adobe.com/go/vid0039.
More Help topics
Pencil tool in Illustrator video
Draw freeform paths with the Pencil tool
1 Select the Pencil tool
.
2 Position the tool where you want the path to begin, and drag to draw a path. The Pencil tool
displays a small x
to indicate drawing a freeform path.
As you drag, a dotted line follows the pointer. Anchor points appear at both ends of the path and at various points
along it. The path takes on the current stroke and fill attributes, and remains selected by default.
Draw closed paths with the Pencil tool
1 Select the Pencil tool.
2 Position the tool where you want the path to begin, and start dragging to draw a path.
3 After you’ve begun dragging, hold down Alt (Windows) or Option (Mac OS). The Pencil tool displays a small circle
(and, in InDesign, a solid eraser) to indicate that you’re creating a closed path.
4 When the path is the size and shape you want, release the mouse button (but not the Alt or Option key). After the
path closes, release the Alt or Option key.
You don’t have to position the cursor over the starting point of the path in order to create a closed path; if you release
the mouse button in some other location, the Pencil tool will close the shape by creating the shortest possible line back
to the original point.
Edit paths with the Pencil tool
You can edit any path using the Pencil tool and add freeform lines and shapes to any shape.
Add to a path with the Pencil tool
1 Select an existing path.
2 Select the Pencil tool.
3 Position the pencil tip on an endpoint of the path.
You can tell you’re close enough to the endpoint when the small x next to the pencil tip disappears.
4 Drag to continue the path.
Connect two paths with the Pencil tool
1 Select both paths (Shift-click or drag around the two with the Selection tool).
2 Select the Pencil tool.
3 Position the pointer where you want to begin from one path, and start dragging toward the other path.
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4 After you begin dragging, hold down Ctrl (Windows) or Command (Mac OS). The Pencil tool displays a small
merge symbol to indicate you’re adding to the existing path.
5 Drag onto the endpoint of the other path, release the mouse button, and then release the Ctrl or Command key.
Note: For best results, drag from one path to the other as if you were simply continuing the paths in the direction they
were created.
Reshape paths with the Pencil tool
1 Select the path you want to change.
2 Position the Pencil tool on or near the path to redraw.
You can tell you’re close enough to the path when the small x disappears from the tool.
3 Drag the tool until the path is the desired shape.
Using the Pencil tool to edit a closed shape
Note: Depending on where you begin to redraw the path and in which direction you drag, you may get unexpected results.
For example, you may unintentionally change a closed path to an open path, change an open path to a closed path, or
lose a portion of a shape.
Pencil tool options
Double-click the Pencil tool to set any of the following options:
Fidelity Controls how far you have to move your mouse or stylus before a new anchor point is added to the path. The
higher the value, the smoother and less complex the path. The lower the value, the more the curves will match the
pointer’s movement, resulting in sharper angles. Fidelity can range from 0.5 to 20 pixels.
Smoothness Controls the amount of smoothing applied when you use the tool. Smoothness can range from 0% to
100%. The higher the value, the smoother the path. The lower the value, the more anchor points are created, and the
more the line’s irregularities are preserved.
Fill New Pencil Strokes (Illustrator only) Applies a fill to pencil strokes you draw after selecting this option, but not to
existing pencil strokes. Remember to select a fill before you draw the pencil strokes.
Keep Selected Determines whether to keep the path selected after you draw it. This option is selected by default.
Edit Selected Paths Determines whether or not you can change or merge a selected path when you are within a certain
distance of it (specified with the next option).
Within: _ pixels Determines how close your mouse or stylus must be to an existing path in order to edit the path with
the Pencil tool. This option is only available when the Edit Selected Paths option is selected.
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Drawing with the Pen tool
Draw straight line segments with the Pen tool
The simplest path you can draw with the Pen tool is a straight line, made by clicking the Pen tool to create two anchor
points. By continuing to click, you create a path made of straight line segments connected by corner points.
Clicking Pen tool creates straight segments.
1 Select the Pen tool.
2 Position the Pen tool where you want the straight segment to begin, and click to define the first anchor point (do
not drag).
Note: The first segment you draw will not be visible until you click a second anchor point. (Select the Rubber Band option
in Photoshop to preview path segments.) Also, if direction lines appear, you’ve accidentally dragged the Pen tool; choose
Edit &gt; Undo, and click again.
3 Click again where you want the segment to end (Shift-click to constrain the angle of the segment to a multiple of
45&deg;).
4 Continue clicking to set anchor points for additional straight segments.
The last anchor point you add always appears as a solid square, indicating that it is selected. Previously defined anchor
points become hollow, and deselected, as you add more anchor points.
5 Complete the path by doing one of the following:
• To close the path, position the Pen tool over the first (hollow) anchor point. A small circle appears next to the Pen
tool pointer when it is positioned correctly. Click or drag to close the path.
Note: To close a path in InDesign, you can also select the object and choose Object &gt; Paths &gt; Close Path.
• To leave the path open, Ctrl-click (Windows) or Command-click (Mac OS) anywhere away from all objects.
To leave the path open, you can also select a different tool, or choose Select &gt; Deselect in Illustrator or Edit &gt; Deselect
All in InDesign. In InDesign or Illustrator, you can also simply press Enter or Return to leave the path open.
Draw curves with the Pen tool
You create a curve by adding an anchor point where a curve changes direction, and dragging the direction lines that
shape the curve. The length and slope of the direction lines determine the shape of the curve.
Curves are easier to edit and your system can display and print them faster if you draw them using as few anchor points
as possible. Using too many points can also introduce unwanted bumps in a curve. Instead, draw widely spaced anchor
points, and practice shaping curves by adjusting the length and angles of the direction lines.
1 Select the Pen tool.
2 Position the Pen tool where you want the curve to begin, and hold down the mouse button.
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The first anchor point appears, and the Pen tool pointer changes to an arrowhead. (In Photoshop, the pointer changes
only after you’ve started dragging.)
3 Drag to set the slope of the curve segment you’re creating, and then release the mouse button.
In general, extend the direction line about one third of the distance to the next anchor point you plan to draw. (You
can adjust one or both sides of the direction line later.)
Hold down the Shift key to constrain the tool to multiples of 45&deg;.
A
B
C
Drawing the first point in a curve
A. Positioning Pen tool B. Starting to drag (mouse button pressed) C. Dragging to extend direction lines
4 Position the Pen tool where you want the curve segment to end, and do one of the following:
• To create a C-shaped curve, drag in a direction opposite to the previous direction line. Then release the mouse
button.
A
B
C
Drawing the second point in a curve
A. Starting to drag second smooth point B. Dragging away from previous direction line, creating a C curve C. Result after releasing mouse
button
• To create an S-shaped curve, drag in the same direction as the previous direction line. Then release the mouse
button.
A
B
C
Drawing an S curve
A. Starting to drag new smooth point B. Dragging in same direction as previous direction line, creating an S curve C. Result after releasing
mouse button
(Photoshop only) To change the direction of the curve sharply, release the mouse button, and then Alt-drag
(Windows) or Option-drag (Mac OS) the direction point in the direction of the curve. Release the Alt (Windows) or
Option (Mac OS) key and the mouse button, reposition the pointer where you want the segment to end, and drag in the
opposite direction to complete the curve segment.
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5 Continue dragging the Pen tool from different locations to create a series of smooth curves. Note that you are
placing anchor points at the beginning and end of each curve, not at the tip of the curve.
Alt-drag (Windows) or Option-drag (Mac OS) direction lines to break out the direction lines of an anchor point.
6 Complete the path by doing one of the following:
• To close the path, position the Pen tool over the first (hollow) anchor point. A small circle appears next to the Pen
tool pointer when it is positioned correctly. Click or drag to close the path.
Note: To close a path in InDesign, you can also select the object and choose Object &gt; Paths &gt; Close Path.
• To leave the path open, Ctrl-click (Windows) or Command-click (Mac OS) anywhere away from all objects.
To leave the path open, you can also select a different tool, or choose Select &gt; Deselect in Illustrator or Edit &gt; Deselect
All in InDesign.
For a video on using the Pen tool in Illustrator, see www.adobe.com/go/vid0037.
More Help topics
Pen tool in Illustrator video
Reposition anchor points as you draw
❖ After you click to create an anchor point, keep the mouse button pressed down, hold down the spacebar, and drag
to reposition the anchor point.
Finish drawing a path
❖ Complete a path in one of the following ways:
• To close a path, position the Pen tool over the first (hollow) anchor point. A small circle appears next to the Pen
tool pointer when it is positioned correctly. Click or drag to close the path.
Note: To close a path in InDesign, you can also select the object and choose Object &gt; Paths &gt; Close Path.
• To leave a path open, Ctrl-click (Windows) or Command-click (Mac OS) anywhere away from all objects.
To leave the path open, you can also select a different tool, or choose Select &gt; Deselect in Illustrator or Edit &gt; Deselect
All in InDesign. In InDesign, you can also simply press Enter or Return to leave the path open.
Draw straight lines followed by curves
1 Using the Pen tool, click corner points in two locations to create a straight segment.
2 Position the Pen tool over the selected endpoint. In Illustrator and InDesign, a convert-point icon appears next to
the Pen tool when it is positioned correctly (In Photoshop, a small diagonal line, or slash, appears next to the Pen
tool). To set the slope of the curved segment you’ll create next, click the anchor point, and drag the direction line
that appears.
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A
B
C
Drawing a straight segment followed by a curved segment (part 1)
A. Straight segment completed B. Positioning Pen tool over endpoint (the Convert Point icon appears only in Illustrator and InDesign)
C. Dragging direction point
3 Position the pen where you want the next anchor point; then click (and drag, if desired) the new anchor point to
complete the curve.
A
B
C
Drawing a straight segment followed by a curved segment (part 2)
A. Positioning Pen tool B. Dragging direction line C. New curve segment completed
Draw curves followed by straight lines
1 Using the Pen tool, drag to create the first smooth point of the curved segment, and release the mouse button.
2 Reposition the Pen tool where you want the curved segment to end, drag to complete the curve, and release the
mouse button.
A
B
Drawing a curved segment followed by a straight segment (part 1)
A. First smooth point of curved segment completed and Pen tool positioned over endpoint B. Dragging to complete the curve
3 Position the Pen tool over the selected endpoint. A convert-point icon appears next to the Pen tool when it is
positioned correctly. Click the anchor point to convert the smooth point to a corner point.
4 Reposition the Pen tool where you want the straight segment to end, and click to complete the straight segment.
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D
C
E
Drawing a curved segment followed by a straight segment (part 2)
C. Positioning Pen tool over existing endpoint D. Clicking endpoint E. Clicking next corner point
Draw two curved segments connected by a corner
1 Using the Pen tool, drag to create the first smooth point of a curved segment.
2 Reposition the Pen tool and drag to create a curve with a second smooth point; then press and hold Alt (Windows)
or Option (Mac OS) and drag the direction line toward its opposing end to set the slope of the next curve. Release
the key and the mouse button.
This process converts the smooth point to a corner point by splitting the direction lines.
3 Reposition the Pen tool where you want the second curved segment to end, and drag a new smooth point to
complete the second curved segment.
A
B
C
Drawing two curves
A. Dragging a new smooth point B. Pressing Alt/Option to split direction lines while dragging, and swinging direction line up C. Result after
repositioning and dragging a third time
Editing paths
Select paths, segments, and anchor points
Before you can reshape or edit a path, you need to select the path’s anchor points, segments, or a combination of both.
Select anchor points
• If you can see the points, you can click them with the Direct Selection tool
multiple points.
to select them. Shift-click to select
• Select the Direct Selection tool and drag a boundary around the anchor points. Shift-drag around additional anchor
points to select them.
• Make sure the path that contains the anchor points is not selected. Move the Direct Selection tool over the anchor
point until the pointer displays a hollow square, and then click the anchor point. Shift-click additional anchor
points to select them.
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• (Illustrator only) Select the Lasso tool, and drag around the anchor points. Shift-drag around additional anchor
points to select them.
Select path segments
Do any of the following:
• Select the Direct Selection tool , and click within 2 pixels of the segment, or drag a marquee over part of the
segment. Shift-click or Shift-drag around additional path segments to select them.
• (Illustrator only) Select the Lasso tool
path segments to select them.
, and drag around part of the path segment. Shift-drag around additional
Select all anchor points and segments in a path
1 Select the Direct Selection tool
or, in Illustrator, the Lasso tool.
2 Drag around the entire path.
If the path is filled, you can also click inside the path with the Direct Selection tool to select all anchor points.
Copy a path
❖ Select a path or segment with the Selection tool or Direct Selection tool and do one of the following:
• Use the standard menu functions to copy and paste paths within or between applications.
• Press and hold Alt (Windows) or Option (Mac OS) and drag the path to the desired position, and then release the
mouse button and Alt/Option key.
Adjust path segments
You can edit a path segment at any time, but editing existing segments is slightly different from drawing them. Keep
the following tips in mind when editing segments:
• If an anchor point connects two segments, moving that anchor point always changes both segments.
• When drawing with the Pen tool, you can temporarily activate the Direct Selection tool (InDesign and Photoshop)
so that you can adjust segments you’ve already drawn; press Ctrl (Windows) or Command (Mac OS) while
drawing. In Illustrator, pressing Ctrl or Command while drawing activates the last-used selection tool.
• When you initially draw a smooth point with the Pen tool, dragging the direction point changes the length of the
direction line on both sides of the point. However, when you edit an existing smooth point with the Direct Selection
tool, you change the length of the direction line only on the side you’re dragging.
Move straight segments
1 With the Direct Selection tool
, select the segment you want to adjust.
2 Drag the segment to its new position.
Adjust the length or angle of straight segments
1 With the Direct Selection tool
, select an anchor point on the segment you want to adjust.
2 Drag the anchor point to the desired position. Shift-drag to constrain the adjustment to multiples of 45&deg;.
In Illustrator or InDesign, if you’re simply trying to make a rectangle wider or narrower, it’s easier to select it with the
Selection tool and resize it using one of the handles on the sides of its bounding box.
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Adjust the position or shape of curved segments
1 With the Direct Selection tool, select a curved segment, or an anchor point on either end of the curved segment.
Direction lines appear, if any are present. (Some curved segments use just one direction line.)
2 Do any of the following:
• To adjust the position of the segment, drag the segment. Shift-drag to constrain the adjustment to multiples of 45&deg;.
Click to select the curve segment. Then drag to adjust.
• To adjust the shape of the segment on either side of a selected anchor point, drag the anchor point or the direction
point. Shift-drag to constrain movement to multiples of 45&deg;.
Drag the anchor point, or drag the direction point.
Note: You can also apply a transformation, such as scaling or rotating, to a segment or anchor point.
Delete a segment
1 Select the Direct Selection tool
, and select the segment you want to delete.
2 Press Backspace (Windows) or Delete (Mac OS) to delete the selected segment. Pressing Backspace or Delete again
erases the rest of the path.
Delete the handle of an anchor point
• Using the Convert Anchor Point Tool (Illustrator) or the Convert Direction Point Tool (InDesign), click the
anchor point of the handle.
• Drag the direction point and drop it onto the anchor point.
Extend an open path
1 Using the Pen tool, position the pointer over the endpoint of the open path you want to extend. The pointer changes
when it’s precisely positioned over the endpoint.
2 Click the endpoint.
3 Do one of the following:
• To create a corner point, position the Pen tool where you want to end the new segment, and click. If you are
extending a path that ends at a smooth point, the new segment will be curved by the existing direction line.
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Note: In Illustrator, if you extend a path that ends in a smooth point, the new segment will be straight.
• To create a smooth point, position the Pen tool where you want to end the new curved segment, and drag.
Connect two open paths
1 Using the Pen tool, position the pointer over the endpoint of the open path that you want to connect to another
path. The pointer changes when it’s precisely positioned over the endpoint.
2 Click the endpoint.
3 Do one of the following:
• To connect the path to another open path, click an endpoint on the other path. When you precisely position the
Pen tool over the other path’s endpoint, a small merge symbol
appears next to the pointer.
• To connect a new path to an existing path, draw the new path near the existing path, and then move the Pen tool
to the existing path’s (unselected) endpoint. Click that endpoint when you see the small merge symbol that appears
next to the pointer.
In InDesign, you can also use the Pathfinder panel to join paths. To close the path of an open path, use the Selection
tool to select the path and click Close Path in the Pathfinder panel. To close the end points between two paths, select
the paths and click Join Path. You may want to click Join Path a second time to join the second endpoint.
Move or nudge anchor points or segments using the keyboard
1 Select the anchor point or path segment.
Note: In Photoshop, you can move only anchor points in this manner.
2 Click or hold down any of the arrow keys on the keyboard to move 1 pixel at a time in the direction of the arrow.
Hold down the Shift key in addition to the arrow key to move 10 pixels at a time.
Note: In Illustrator and InDesign, you can change the distance of a nudge by changing the Keyboard Increment
preference. When you change the default increment, holding down Shift nudges 10 times the specified distance.
Add or delete anchor points
Adding anchor points can give you more control over a path or it can extend an open path. However, it’s a good idea
not to add more points than necessary. A path with fewer points is easier to edit, display, and print. You can reduce
the complexity of a path by deleting unnecessary points.
The toolbox contains three tools for adding or deleting points: the Pen tool
Delete Anchor Point tool .
, the Add Anchor Point tool
, and the
By default, the Pen tool changes to the Add Anchor Point tool as you position it over a selected path, or to the Delete
Anchor Point tool as you position it over an anchor point. (In Photoshop, you must select Auto Add/Delete in the
options bar to enable the Pen tool to automatically change to the Add Anchor Point or Delete Anchor Point tool.)
You can select and edit multiple paths simultaneously in Photoshop and InDesign; however, you can add or delete
points to only one path at a time in Illustrator. In Photoshop and InDesign, you can reshape a path while adding anchor
points by clicking and dragging as you add.
Note: Don’t use the Delete, Backspace, and Clear keys or the Edit &gt; Cut or Edit &gt; Clear commands to delete anchor
points: these keys and commands delete the point and the line segments that connect to that point.
Add or delete anchor points
1 Select the path you want to modify.
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2 Select the Pen tool, the Add Anchor Point tool, or the Delete Anchor Point tool.
3 To add an anchor point, position the pointer over a path segment and click. To delete an anchor point, position the
pointer over an anchor point and click.
In Illustrator, you can add anchor points to a path by selecting the object and choosing Object &gt; Path &gt; Add Anchor
Points.
Disable or temporarily override automatic Pen tool switching
You can override automatic switching of the Pen tool to the Add Anchor Point tool or the Delete Anchor Point tool.
This is useful when you want to start a new path on top of an existing path.
• In Photoshop, deselect Auto Add/Delete in the options bar.
• In Illustrator, hold down Shift as you position the Pen tool over the selected path or an anchor point. (To prevent
Shift from constraining the Pen tool, release Shift before you release the mouse button.)
• In Illustrator, choose Edit &gt; Preferences &gt; General (Windows) or Illustrator &gt; Preferences &gt; General (Mac OS),
and select Disable Auto Add/Delete.
• In InDesign, hold down any modifier key, make your edits, and then release the mouse button. For example, with
the Pen tool selected, you can hold down the A key to display the Direct Selection tool, edit points, and the Pen tool
is selected when you release the A key.
Convert between smooth points and corner points
Paths can have two kinds of anchor points—corner points and smooth points. At a corner point, a path abruptly
changes direction. At a smooth point, path segments are connected as a continuous curve. The Convert Direction Point
tool . lets you change an anchor point from a corner point to a smooth point or visa versa.
1 Using the Direct Selection tool
, select the path you want to modify.
2 Switch to the Convert Direction Point tool
. (If necessary, position the pointer over the Pen tool and drag to
choose the Convert Direction Point tool.)
To temporarily switch from the Convert Direction Point tool to the Direct Selection tool, press Ctrl (Windows) or
Command (Mac OS).
3 Position the Convert Direction Point tool over the anchor point you want to convert, and do one of the following:
• To convert a corner point to a smooth point, drag direction lines out of the corner point.
Dragging direction lines out of corner point to create smooth point
• To convert a smooth point to a corner point without using direction lines, click a smooth point.
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Clicking smooth point to create corner point
• To convert a corner point without using direction lines to a corner point with independent direction lines, first drag
direction lines out of a corner point (making it a smooth point). Release the mouse button, and then drag either
direction line.
• To convert a point, open the Pathfinder panel (choose Window &gt; Object &amp; Layout &gt; Pathfinder), and click the
Plain, Corner, Smooth, or Symmetrical button in the Convert Point section.
• To convert a smooth point to a corner point with independent direction lines, drag either direction line.
Converting smooth point to corner point
To convert points, you can also use the Direct Selection tool to select a point, and then choose a command from the
Object &gt; Convert Point menu. For example, you can select the smooth point at the bottom of a “U” shape and choose
Object &gt; Convert Point &gt; Plain. Doing so removes the direction lines and makes a “V” shape. Choose Corner to create a
point with direction lines that can move independently of each other. Choose Smooth to create a point with handles that
can have unequal lengths. Choose Symmetrical to create a point with handles of equal lengths.
More Help topics
“About paths” on page 323
“About direction lines and direction points” on page 325
“Adjust path segments” on page 335
Split a path
You can split a path, graphics frame, or empty text frame at any anchor point or along any segment. When you split a
path, keep the following in mind:
• If you want to split a closed path into two open paths, you must slice in two places along the path. If you slice a
closed path only once, you get a single path with a gap in it.
• Any paths resulting from a split inherit the path settings of the original path, such as stroke weight and fill color.
You may need to reset stroke alignment from inside to outside.
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Split a path using the Scissors tool
1 (Optional) Select the path to see its current anchor points.
2 Select the Scissors tool and click the path where you want to split it. When you split the path in the middle of a
segment, the two new endpoints appear on top of the other, and one endpoint is selected.
3 Use the Direct Selection tool to adjust the new anchor point or path segment.
Open a path using the Pathfinder panel
1 Select the closed path.
2 To open the Pathfinder panel, choose Window &gt; Object &amp; Layout &gt; Pathfinder.
3 Click Open Path in the Pathfinder panel.
Smooth out paths
Use the Smooth tool to remove excess angles from an existing path or a section of a path. The Smooth tool retains the
original shape of the path as nearly as possible. Smoothed paths generally have fewer points, which can make them
easier to edit, display, and print.
Path before and after using Smooth tool
1 Select the path.
2 Select the Smooth tool.
Note: If the Pencil tool is selected, hold down Alt (Windows) or Option (Mac OS) to temporarily change the Pencil to the
Smooth tool.
3 Drag the tool along the length of the path segment you want to smooth out.
4 Continue smoothing until the stroke or path is of the desired smoothness.
5 To change the amount of smoothing, double-click the Smooth tool and set the following options:
Fidelity Controls how far your curves can stray before you have to modify the path. With lower Fidelity values, the
curves will closely match the pointer’s movement, resulting in sharper angles. With higher Fidelity values, the path will
ignore small pointer movements, resulting in smoother curves. The pixel value range is 0.5 to 20 pixels.
Smoothness Controls the amount of smoothing applied when you use the tool. Smoothness can range from 0% to
100%; the higher the value, the smoother the path.
Keep Selected Determines whether to keep the path selected after you smooth it.
Reshape closed paths or objects
1 Using the Direct Selection tool
, do one of the following:
• Drag around the anchor points you want to select.
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• Hold down Shift as you click the anchor points you want to select.
2 Position the pointer over the anchor point or path segment that you want to act as a focal point (that is, a point that
pulls the selected path segments), and click the anchor point or path segment.
3 Drag the highlighted anchor points to adjust the path. The amount of movement of a given path segment is relative
to its distance from a highlighted point:
• Selected points that act as the focal point move with the selection tool during dragging.
• Selected points that aren’t the focal point move in tandem with the dragged focal point.
• Unselected anchor points are not affected by reshaping.
About the Position tool
The Position tool
is not available in InDesign CS5. Instead, you can use the Selection tool to select and manipulate
either the frame or the content within the frame. See “Select objects” on page 385.
Applying line (stroke) settings
Set strokes
You can apply strokes, or line settings, to paths, shapes, text frames, and text outlines. The Stroke panel provides
control over the weight and appearance of the stroke, including how segments join, start and end shapes, and options
for corners. You can also select stroke settings in the Control panel when a path or frame is selected.
A
B
C
Applying strokes
A. Stroke applied to text frame B. Stroke applied to text outline C. Stroke applied to circle
If you frequently use the same stroke settings, you can save the settings in an object style, and quickly apply the same
settings to any object. For more information, see “Object styles” on page 197.
1 Select the path whose stroke you want to modify.
Note: When you select a path using the Selection tool , you activate a bounding box that encompasses the entire object.
If you want to see the actual path, select the path using the Direct Selection tool instead.
2 Choose Window &gt; Stroke to display the Stroke panel.
3 For Weight, choose a stroke weight in the menu, or type a value and press Enter or Return.
Note: Strokes thinner than 0.25 point may be too thin to see when printed on high-resolution output devices such as an
imagesetter. To remove the stroke, type a value of 0 (zero).
4 If additional options are not visible, choose Show Options from the panel menu to display the other stroke
attributes.
5 Change other stroke attributes as desired.
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Note: If you want to change the stroke’s color, use the toolbox and Swatches panel. See “Apply color” on page 446.
More Help topics
“Change the color, gradient, or stroke of text” on page 238
Stroke panel options
Miter Limit Specifies the limit of point length to stroke width before a mitered join becomes a beveled square join. For
example, a value of 9 requires the point length to be 9 times the stroke width before the point becomes beveled. Type
a value (between 1 and 500) and press Enter or Return. The Miter Limit does not apply to a round join.
You can include miter limit and stroke alignment settings in a paragraph or character style. Click the Character Color
section, and then click the stroke icon to make the options available.
Cap Select a cap style to specify the appearance of both ends of an open path:
• Butt cap
• Round cap
Creates squared ends that abut (stop at) the endpoints.
Creates semicircular ends that extend half the stroke width beyond the endpoints.
• Projecting cap Creates squared ends that extend half the stroke width beyond the endpoints. This option makes
the stroke weight extend evenly in all directions around the path.
Note: You can specify a cap option for a closed path, but the cap will not be visible unless the path is opened (for example,
by cutting with the Scissors tool). Also, cap styles are easier to see at thicker stroke weights.
Join Specify the appearance of the stroke at corner points:
• Miter join
Creates pointed corners that extend beyond the endpoint when the miter’s length is within the miter
limit.
• Round join
• Bevel join
Creates rounded corners that extend half the stroke width beyond the endpoints.
Creates squared corners that abut the endpoints.
Note: You can specify miter options for a path that doesn’t use corner points, but the miter options will not apply until
you create corner points by adding them or by converting smooth points. Also, miters are easier to see at thicker stroke
weights.
Align Stroke Click an icon to specify the position of the stroke relative to its path.
Type Choose a stroke type in the menu. If you choose Dashed, a new set of options appears.
Start Choose for the beginning of the path.
End Choose for the end of the path.
Gap Color Specify a color to appear in the space between dashes, dots, or multiple lines in a patterned stroke.
Gap Tint Specify a tint (when a gap color is specified).
Although you can define dashed strokes in the Stroke panel, it’s easier to create a dashed stroke using a custom stroke
style.
Add start and end shapes
Keep the following guidelines in mind as you work with start and end shapes:
• You can’t edit the available start and end shapes, but if you’ve obtained plug-in software that adds more options,
the Start and End menus in the Stroke panel can include additional shapes.
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• Start and end shapes are sized in proportion to the stroke weight. However, adding a start or end shape does not
change the length of the path.
• Start and end shapes automatically rotate to match the angle of an endpoint’s direction line.
• Start and end shapes appear at endpoints of open paths only; they won’t appear on individual dashes of a dashed
stroke.
• If you apply start and end shapes to a compound path that includes open subpaths, each open subpath will use the
same start and end shapes.
• You can apply start and end shapes to a closed path, but they won’t be visible unless you open the path.
Sample start and end shapes
Create arrows using start and end shapes
Use the Start and End menus in the Stroke panel to add an arrowhead or other shape to the end of an open path.
1 Use the Line tool to draw a line, or create an open path.
2 With the line or path selected, open the Stroke panel, and choose a style in the Start and End menus. The Start menu
applies a shape to the first endpoint of a path (as determined by the order in which the path’s points were drawn),
and the End menu applies a shape to the last endpoint.
Switch a path’s start and end shapes
1 Using the Direct Selection tool
, select a path.
2 Choose Object &gt; Paths &gt; Reverse Path, or click the Reverse Path button in the Pathfinder panel.
Define custom stroke styles
You can create a custom stroke style using the Stroke panel. A custom stroke style can be dashed, dotted, or striped; in
the style, you can define the stroke’s pattern, cap, and corner attributes. You specify other stroke attributes, such as
weight, gap color, and start and end shapes, after the custom stroke style has been applied to an object.
A
B
C
Custom stroke styles
A. Dashed B. Dotted C. Striped
Custom stroke styles can be saved and loaded into other InDesign documents.
1 Choose Window &gt; Stroke to display the Stroke panel.
2 In the panel menu, choose Stroke Styles.
3 Click New.
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4 Enter a name for the stroke style.
5 For Type, select one of the following:
• Dash to define a style with dashes spaced at regular or varying intervals.
• Striped to define a style with one or more parallel lines.
• Dotted to define a style with dots spaced at regular or varying intervals.
The options in the dialog box change to match your selection.
6 For Pattern Length, specify the length of the repeating pattern (dashed or dotted styles only). The ruler updates to
match the length you specify.
7 To define the stroke pattern, do any of the following:
• Click the ruler to add a new dash, dot, or stripe.
• Drag a dash, dot, or stripe to move it.
• To adjust the width of a dash, move its ruler markers
Start (where the dash starts on the ruler) and Length.
. You can also select the dash and then enter values for
• To adjust the position of a dot, move its ruler marker
Center (where the center of the dot is positioned).
. You can also select the dot and then enter a value for
• To adjust the thickness of a stripe, move its ruler markers . You can also select the stripe and enter values for Start
and Width, both of which are expressed as a percentage of the stroke’s weight.
• To delete a dash, dot, or stripe, drag it out of the ruler window. (However, a custom stroke style must contain at
least one dash, dot, or stripe.)
A
B
C
Creating a dashed line in New Stroke Style dialog box
A. Clicking to add a dash to the pattern B. Dragging a marker to make the dash wider C. Dragging the dash to adjust the white space between
dashes
8 To preview the stroke at different line weights, specify a line weight using the Preview Weight option.
9 For dashed and dotted patterns, use the Corners option to determine how dashes or dots are positioned to keep a
pattern regular around a corner.
10 For dashed patterns, select a style for Cap to determine the shape of the dashes. This setting overrides the Cap
setting in the Stroke panel.
11 Do one of the following:
• Click Add to save the stroke style and define another one. Click Done to exit the dialog box.
• Click OK to save the stroke style and exit the dialog box.
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Save custom stroke styles
You can save custom stroke styles for use in other InDesign documents.
Save a custom stroke style
1 In the Stroke panel menu, choose Stroke Styles.
2 Select a custom stroke style and click Save.
Note: You cannot save or edit the default stroke styles (enclosed in square brackets).
3 Specify a name and location for the stroke style (.inst) file, and click OK.
To load a custom stroke style
1 In the Stroke panel menu, choose Stroke Styles.
2 Click Load.
3 Select the stroke style (.inst) file that contains the custom stroke style you want to import, and click OK.
To apply a custom stroke style
❖ With a path or frame selected, choose a custom stroke style from the Type menu in the Stroke panel.
Change corner appearance
You can use the Corner Options command to quickly apply corner effects to any path. Available corner effects range
from simple, rounded corners to fancy ornamentation.
A
B
C
Effects of different line weights on corner shapes
A. Fancy corner effect with no stroke B. Same effect with 1-point stroke C. Same effect with 4-point stroke
For a video on using corner effects, see http://tv.adobe.com/go/4948/.
Apply corner shapes using the Corner Options dialog box
1 Using a selection tool, select a path.
2 Choose Object &gt; Corner Options.
3 To apply the corner effect to all four corners of a rectangle, select the Make All Settings The Same icon
the option is not selected, dots appear on both sides of the icon (like a broken chain link).
4 Choose a corner effect and specify a size for one or more of the corners.
The size value determines the radius by which the corner effect extends from each corner point.
5 Select Preview if you want to see the results of the effect before applying it. Then click OK.
. When
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Use Live Corners
With Live Corners, you can apply corner effects to rectangular frames by clicking the yellow box that appears on the
frame and dragging. In addition, you can apply a different corner effect and a different corner radius to each corner.
1 Select a rectangular frame, and click the yellow box.
Four yellow diamonds appear on the selected frame, indicating Live Corners mode. If the yellow box does not
appear on the selected frame, choose View &gt; Extras &gt; Show Live Corners.
2 To add corner effects, do any of the following tasks:
• To adjust the radii of all four corners together, drag one of the diamonds towards the center of the frame.
• To adjust a single corner, hold down Shift as you drag a diamond.
• To cycle through the various effects, Alt-click (Windows) or Option-click (Mac OS) a yellow diamond.
3 To stop editing corners, click anywhere outside the selected frame.
To remove corner effects, choose Object &gt; Corner Options, and then choose None.
If you don’t want the yellow box to appear when you select a frame, choose View &gt; Extras &gt; Hide Live Corners.
Guidelines for applying corner shapes
Note the following:
• If you’ve obtained plug-in software that adds more effects, the Corner Options command in the Stroke panel can
include additional shapes.
• Corner effects appear on all of a path’s corner points, but never on smooth points. The effects change angles
automatically when you move a path’s corner points.
• If a corner effect significantly changes the path by, for example, creating a bulge inward or outward, it may affect
how a frame interacts with its contents or with other parts of the layout. Increasing the size of a corner effect may
push an existing text wrap or frame inset farther away from the frame.
• You can’t edit a corner effect, but you can change its appearance by changing the corner radius or modifying the
stroke.
• If you applied corner effects but can’t see them, make sure that the path uses corner points and that a stroke color
or gradient has been applied to it. Then increase the Size option in the Corner Options dialog box, or increase the
stroke weight in the Stroke panel.
Compound paths and shapes
About compound paths
You can combine several paths into a single object, called a compound path. Create a compound path when you want
to do any of the following:
• Add transparent holes to a path.
• Preserve the transparent holes within some text characters, such as o and e, when you convert characters to editable
letterforms using the Create Outlines command. Using the Create Outlines command always results in the creation
of compound paths.
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• Apply a gradient, or add contents that span multiple paths. Although you can also apply a gradient across multiple
objects using the Gradient tool, applying a gradient to a compound path is often a better method because you can
later edit the entire gradient by selecting any of the subpaths. With the Gradient tool, later editing requires selecting
all of the paths you originally selected.
Best practices for editing compound paths
Keep the following guidelines in mind as you edit compound paths:
• Changes to path attributes (such as stroke and fill) always alter all subpaths in a composite path—it doesn’t matter
which selection tool you use, or how many subpaths you select. To preserve the individual stroke and fill attributes
of the paths you want to combine, group them instead.
• In a compound path, any effect that is positioned relative to a path’s bounding box—such as a gradient, or an image
pasted inside—is actually positioned relative to the bounding box of the entire compound path (that is, the path
that encloses all of the subpaths).
• If you make a compound path, then change its properties and release it, using the Release command, the released
paths inherit the compound path’s properties; they don’t regain their original properties.
• If your document contains compound paths with many smooth points, some output devices may have problems
printing them. If so, simplify or eliminate the compound paths, or convert them to bitmap images using a program
such as Adobe Photoshop.
• If you apply a fill to a compound path, holes sometimes don’t appear where you expect them to. For a simple path
like a rectangle, the inside, or the area you can fill, is easy to see—it’s the area within the enclosed path. However,
with a compound path, InDesign must determine whether the intersections created by a compound path’s subpaths
are inside (filled areas) or outside (holes). The direction of each subpath—the order in which its points were
created—determines whether the area it defines is inside or outside. If a subpath is filled when you want it to be a
hole, or vice versa, click Reverse Path in the Pathfinder panel to reverse the direction of that subpath.
Compound path containing two subpaths with same path directions (left) and opposite path directions (right)
Create a compound path
You can create a compound path from two or more open or closed paths. When you create a compound path, all of
the originally selected paths become subpaths of the new compound path. The selected paths inherit the stroke and fill
settings of the object farthest back in the stacking order.
Note: If one or more selected objects have contents, such as text or imported images, the attributes and contents of a
compound path are set by the attributes and contents of the object farthest back. Selected objects farther behind, without
contents, won’t affect the compound path.
You can change the shape of any part of a compound path by using the Direct Selection tool
point on one subpath.
1 Use the Selection tool
to select an anchor
to select all of the paths you want to include in the compound path.
2 Choose Object &gt; Paths &gt; Make Compound Path. A hole appears wherever selected paths overlap.
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You can fill a hole created by a subpath or turn a subpath into a hole. Using the Direct Selection tool, select a point
on the subpath you want to change. Then select Object &gt; Paths &gt; Reverse Path or click Reverse Path in the Pathfinder
panel.
Change holes to fills in a compound path
The direction of each subpath—the order in which its points were created—determines whether the area it defines is
inside (filled areas) or outside (empty). If, in your compound path, holes sometimes don’t appear where you expect
them to, you can reverse the direction of that subpath.
Two separate closed paths (left) and two subpaths of the same compound path (right); the compound path uses the center circle as a hole
1 With the Direct Selection tool
, select the part of the compound path to reverse (or a point on that part). Do not
select the entire compound path.
2 Do one of the following:
• Choose Object &gt; Paths &gt; Reverse Path.
• Click Reverse Path in the Pathfinder panel.
Break up a compound path
You can break up a compound path by releasing it, which turns each of its subpaths into an independent path.
1 Using the Selection tool
, select a compound path.
2 Choose Object &gt; Paths &gt; Release Compound Path.
Note: The Release command is unavailable when the selected compound path is contained inside a frame, or when the
path contains text.
Change the holes in a compound path
You can eliminate a hole created by a subpath or fill a subpath that has created a hole by reversing its direction.
1 Using the Direct Selection tool
, select a point on the subpath you want to reverse. Don’t select the entire
compound path.
2 Choose Object &gt; Paths &gt; Reverse Path, or click Reverse Path in the Pathfinder panel.
Create compound shapes
You create compound shapes using the Pathfinder panel (Window &gt; Object &amp; Layout &gt; Pathfinder). Compound
shapes can be made up of simple or compound paths, text frames, text outlines, or other shapes. The appearance of the
compound shape depends on which Pathfinder button you choose.
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B
C
D
E
F
A
B
C
D
E
F
Pathfinder panel
A. Original objects B. Add C. Subtract D. Intersect E. Exclude Overlap F. Minus Back
Add Traces the outline of all objects to create a single shape.
Subtract Objects in the front “punch holes” in the backmost object.
Intersect Creates a shape from overlapping areas.
Exclude Overlap Creates a shape from areas that do not overlap.
Minus Back Objects in the back “punch holes” in the frontmost object.
In most cases, the resulting shape adopts the attributes (fill, stroke, transparency, layer, and so on) of the frontmost
object. When you subtract shapes, however, objects in the front are deleted. The resulting shape takes on the attributes
of the backmost object instead.
When you include a text frame in a compound shape, the shape of the text frame changes, but the text itself stays the
same. To alter the text itself, create a compound path using text outlines.
Compound shape used as a text frame (left) compared to one created from a text outline (right)
More Help topics
“Selecting objects” on page 385
Create a compound shape
You can work with a compound shape as a single unit or release its component paths to work with each separately. For
example, you might apply a gradient fill to a part of the compound shape, but leave the rest of the shape unfilled.
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Gradient applied to a compound shape (left) compared to gradient applied to one part of the compound shape (right)
1 Choose Window &gt; Object &amp; Layout &gt; Pathfinder to open the panel.
2 Select the objects you want to combine in a compound shape.
3 Click a button (such as Add) in the Pathfinder section on the Pathfinder panel.
You can also choose a command from the Object &gt; Pathfinder submenu.
Release paths in a compound shape
❖ Select the compound shape. Choose Object &gt; Paths &gt; Release Compound Path. The compound shape is separated
into its component paths.
To regroup component paths without losing changes you’ve applied to individual paths, choose Group in the Object
menu, rather than Compound Paths &gt; Make.
Create paths from text outlines
Use the Create Outlines command to convert selected text characters into a set of compound paths that you can edit
and manipulate as you would any other path. The Create Outlines command is useful for creating effects in large
display type, but it is rarely useful for body text or other smaller-size type.
If you simply want to apply a color stroke, or a gradient fill or stroke to text characters, you don’t need to convert the
text to outlines. You can use the toolbox and the Swatches, Color, or Gradient panels to apply colors and gradients
directly to the strokes or fills of selected characters.
The Create Outlines command gets its font outline information from the actual Type 1, TrueType, or OpenType files.
When you create outlines, characters are converted in their current positions, retaining all graphics formatting, such
as stroke and fill.
Note: Some font manufacturers block the information needed to create outlines. If you select such a protected font and
choose Type &gt; Create Outlines, a message will explain that the font cannot be converted.
When you convert type to outlines, the type loses its hints—instructions built into outline fonts for adjusting their
shapes, so that your system displays or prints them optimally at small sizes. Therefore, type converted to outlines may
not display as well when rendered in small sizes or at low resolutions.
After converting type to outlines, you can do any of the following:
• Alter the letterforms by dragging individual anchor points using the Direct Selection tool
.
• Copy the outlines and use the Edit &gt; Paste Into command to mask an image by pasting it into the converted
outlines.
• Use the converted outlines as text frames, so that you can type or place text in them.
• Change the stroke attributes of letterforms.
• Use text outlines to create compound shapes.
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&amp;&amp;&amp;&amp;&amp;&amp;&amp;&amp;
&amp;&amp;&amp;&amp;&amp;&amp;&amp;&amp;
&amp;&amp;&amp;&amp;&amp;&amp;&amp;&amp;
&amp;&amp;&amp;&amp;&amp;&amp;&amp;&amp;
&amp;&amp;&amp;&amp;&amp;&amp;&amp;&amp;
&amp;&amp;&amp;&amp;&amp;&amp;&amp;&amp;
&amp;&amp;&amp;&amp;&amp;&amp;&amp;&amp;
&amp;&amp;&amp;&amp;&amp;&amp;&amp;&amp;
&amp;&amp;&amp;&amp;&amp;&amp;&amp;&amp;
A
B
C
Working with text outlines
A. Type character before conversion to text outline B. Text outline with image pasted into it C. Text outline used as a text frame
Because converted text outlines become sets of compound paths, you can edit individual subpaths of converted
outlines by using the Direct Selection tool. You can also break the character outlines into independent paths by
releasing them from the compound path.
More Help topics
“Compound paths and shapes” on page 346
Convert text outlines to paths
By default, creating outlines from type removes the original text. However, if you prefer, you can make outlines appear
over a copy of the original text, so that none of the text is lost.
When you select type characters in a text frame and convert them to outlines, the resulting outlines become anchored
(inline) objects that flow with the text. Because the converted text is no longer true type, you will no longer be able to
highlight and edit the characters using the Type tool. In addition, typographical controls will no longer apply. Make
sure that you’re satisfied with the typographic settings of the type you convert to outlines, and be sure to create a copy
of the original text.
1 Use the Selection tool
to select a text frame, or use the Type tool to select one or more characters.
2 Choose Type &gt; Create Outlines.
Convert a copy of text outlines to paths
1 Use the Selection tool
to select a text frame, or use the Type tool to select one or more characters.
2 Hold down Alt (Windows) or Option (Mac OS) as you choose Type &gt; Create Outlines. The copy is created exactly
on top of the original; use the Selection tool to drag it away, if you like.
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Chapter 12: Graphics
Understanding graphics formats
Choosing the right graphics format
InDesign can import a wide range of graphics file formats. Consult with the service providers who will help you
produce your document to clarify which formats to use. You can then plan your document around those formats and
the options that best apply to your project.
The following table summarizes what graphics formats would work best for the kind of document you’re designing.
Final output
Graphics type
Format
High resolution (&gt;1000 dpi)
Vector drawings
Illustrator, EPS, PDF
Bitmap images
Photoshop, TIFF, EPS, PDF
Vector drawings
Illustrator, EPS, PDF
Color bitmap images
Photoshop, CMYK TIFF, DCS, EPS, PDF
Color-managed graphics
Illustrator, Photoshop, RGB TIFF, RGB EPS, PDF
Low-resolution printing, or PDF for
online viewing
All
Any (BMP images only)
Web
All
Any (InDesign converts graphics to JPEG and GIF when
exporting to HTML)
Process-color separations
About vector graphics
Vector graphics (sometimes called vector shapes or vector objects) are made up of lines and curves defined by
mathematical objects called vectors, which describe an image according to its geometric characteristics.
You can freely move or modify vector graphics without losing detail or clarity, because they are resolutionindependent—they maintain crisp edges when resized, printed to a PostScript printer, saved in a PDF file, or imported
into a vector-based graphics application. As a result, vector graphics are the best choice for artwork, such as logos, that
will be used at various sizes and in various output media.
The vector objects you create using the drawing and shape tools in Adobe Creative Suite are examples of vector
graphics. You can use the Copy and Paste commands to duplicate vector graphics between Creative Suite components.
More Help topics
“About bitmap images” on page 352
About bitmap images
Bitmap images—technically called raster images—use a rectangular grid of picture elements (pixels) to represent
images. Each pixel is assigned a specific location and color value. When working with bitmap images, you edit pixels
rather than objects or shapes. Bitmap images are the most common electronic medium for continuous-tone images,
such as photographs or digital paintings, because they can more efficiently represent subtle gradations of shades and
color.
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Bitmap images are resolution-dependent—that is, they contain a fixed number of pixels. As a result, they can lose detail
and appear jagged if they are scaled to high magnifications on-screen or if they are printed at a lower resolution than
they were created for.
3:1
24:1
Example of a bitmap image at different levels of magnification
Bitmap images sometimes require large amounts of storage space, and often need to be compressed to keep file sizes
down when used in certain Creative Suite components. For instance, you compress an image file in its original
application before you import it into a layout.
Note: In Adobe Illustrator, you can create bitmap effects in your artwork using effects and graphic styles.
More Help topics
“About vector graphics” on page 352
Image resolution guidelines for final output
Bitmap images contain a fixed number of pixels, usually measured in pixels per inch (ppi). An image with a high
resolution contains more, and therefore smaller, pixels than an image of the same printed dimensions with a low
resolution. For example, a 1-inch-by-1-inch image with a resolution of 72 ppi contains a total of 5184 pixels (72 pixels
wide x 72 pixels high = 5184). The same 1-inch-by-1-inch image with a resolution of 300 ppi would contain a total of
90,000 pixels.
For imported bitmap images, image resolution is determined by the source file. For bitmap effects, you can specify a
custom resolution. To determine the image resolution to use, consider the medium of final distribution for the image.
The following guidelines can help you determine your requirements for image resolution:
Commercial printing Commercial printing requires 150 to 300 ppi (or more) images, depending on the press (dpi) and
screen frequency (lpi) you’re using; always consult your prepress service provider before making production decisions.
Because commercial printing requires large, high-resolution images, which take more time to display while you’re
working with them, you may want to use low-resolution versions for layout and then replace them with highresolution versions at print time.
In Illustrator and InDesign, you can work with low resolution versions by using the Links panel. In InDesign you can
choose either Typical or Fast Display from the View &gt; Display Performance menu; in Illustrator you can choose
View &gt; Outline, or change settings in the Display Performances preferences. Alternatively, if your service provider
supports Open Prepress Interface (OPI), they may provide low-resolution images to you.
Desktop printing Desktop printing usually requires images within the range of 72 ppi (for photographs printed on
a 300 ppi printer) to 150 ppi (for photographs printed on devices up to 1000 ppi). For line art (1-bit images), make sure
that the resolution of your graphics matches the resolution of the printer.
Web publishing Because online publishing generally requires images with pixel dimensions that fit the intended
monitor, the images are usually less than 500 pixels wide and 400 pixels tall, to leave room for browser window controls
or such layout elements as captions. Creating an original image at screen resolution—96 ppi for Windows–based
images, and 72 ppi for Mac OS–based images—lets you see the image as it will likely appear when viewed from a typical
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web browser. When you’re publishing online, the only times you’re likely to need resolutions above those ranges are
when you want viewers to be able to zoom in for more detail in a PDF document, or when you’re producing a
document for printing on demand.
Importing files from other applications
Importing Adobe Illustrator graphics
How you import Illustrator graphics depends on how much editing the graphics require after you import them. You
can import Illustrator graphics into InDesign in their native (.ai) format.
If you want to adjust layer visibility in InDesign...
Import the graphic using the Place command, and when you want to edit it, choose Edit &gt; Edit Original to open the
graphic in Illustrator. For example, for a multilanguage publication, you can create a single illustration that includes
one text layer for each language. You can transform the illustration as a single object in InDesign but you cannot edit
the paths, objects, or text within the illustration.
Layered file with Spanish and English layers
If you want to edit objects and paths in InDesign...
Copy the art from Illustrator and paste it into your InDesign document. For example, in a magazine, you might use
the same design element in each issue, but change its color every month. By pasting a graphic into InDesign, you can
change objects’ color, path, and transparency using the InDesign tools designed for that purpose.
Importing Illustrator graphics with multiple artboards
Illustrator CS4 graphics can include multiple artboards. When you import an Illustrator graphic with multiple
artboards, you can use Import Options to specify which artboard, or “page,” will be imported.
More Help topics
“Control graphics’ display performance” on page 370
“Acrobat (.pdf) and Illustrator (.ai) import options” on page 364
“Control layer visibility in imported images” on page 367
“Paste or drag graphics” on page 368
Create a layered PDF in Adobe Illustrator
You can save an Illustrator graphic as a layered PDF and control the visibility of layers in InDesign. Adjusting layer
visibility in InDesign lets you vary an illustration depending on context. Rather than create multiple versions of the
same illustration, say for a multilanguage publication, you can place the same illustration where needed and adjust the
visibility of the layers as appropriate.
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You can transform a PDF as a single object (you can rotate or resize it, for example), but you cannot edit the paths,
objects, or text within the illustration.
If you’re placing an Illustrator file that includes multiple artboards, you can specify which artboard is used, as when
placing multipage PDF files.
Note: Don’t place layers in nested layer sets if you want to adjust layers in InDesign.
1 In Illustrator, choose File &gt; Save As.
2 In the Save As dialog box, type a filename and choose a location for the file.
3 For Format, choose Adobe PDF (.pdf), and click Save.
4 In the Adobe PDF Options dialog box, choose Acrobat 6 (1.5) or later for Compatibility.
5 Select Create Acrobat Layers From Top-Level Layers, and click Save PDF.
Pasting Illustrator graphics into InDesign
When you paste a graphic from Illustrator 8.0 or later into an InDesign document, the artwork appears in InDesign as
a grouped collection of editable objects. For example, if you paste an Illustrator drawing of a soccer ball with
individually created patches into InDesign, the patches are pasted as a group, which can be ungrouped and edited using
tools in InDesign. You cannot change the visibility of layers within the illustration.
Illustration of soccer ball in Illustrator (left) and same illustration pasted into InDesign (right)
Important: Before pasting a graphic, make sure that Illustrator is configured to copy as AICB (see Illustrator Help). In
InDesign, make sure that Prefer PDF When Pasting isn’t selected in the Clipboard Handling preferences. If these options
aren’t set properly, the Illustrator graphic cannot be edited in InDesign.
Issues you may encounter when pasting or dragging art from Illustrator to InDesign
Color Illustrator supports the Grayscale, RGB, HSB, CMYK, and Web Safe RGB color models. InDesign supports
LAB, CMYK and RGB. When you paste or drag artwork from Illustrator into InDesign, RGB and CMYK colors
convert in the expected color model. Grayscale colors are converted to the appropriate K value in a CMYK color in
InDesign. HSB and Web Safe RGB objects are converted to RGB color in InDesign. Colors in smooth shades and
gradients can be edited in InDesign.
Gradients Linear or radial gradients created in Illustrator can be modified using the Gradient tool or Gradient panel
in InDesign. Gradients with multiple spot colors or complex patterns may appear as non-editable items in InDesign.
If your illustration contains complex gradients, import it using the Place command instead.
Transparency Transparency is flattened when Illustrator art is pasted or dragged into InDesign.
Graphic styles Illustrator Graphic Styles don’t become InDesign Object Styles when art is pasted or dragged into
InDesign.
Patterns Illustrator objects filled or stroked with patterns become embedded EPS images when pasted or dragged into
InDesign.
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Text If you drag text from Illustrator into InDesign, it’s converted to outlines and isn’t editable with the Text tool. If
you select text using the Text tool in Illustrator, and then copy it into a text frame in InDesign, the text loses its
formatting but is editable. If you drag the text into InDesign without a frame selected, the text loses all formatting and
isn’t editable.
When you paste text from Illustrator, the text is imported as one or more objects that can be transformed and colorized
in InDesign, but not edited. For example, if you create text on a path in Illustrator and paste it into InDesign, the text
can be colorized, rotated, and scaled, but it cannot be edited using the Type tool. If you want to edit the text, use the
Type tool and paste it into a text frame.
Artwork Artwork copied from Illustrator and pasted into InDesign is embedded in the InDesign document. No link
to the original Illustrator file is created.
Importing Adobe Photoshop (.PSD) files
You can place graphics created in Adobe Photoshop 4.0 and later directly into an InDesign layout.
Layers and layer comps You can adjust the visibility of the top-level layers in InDesign, as well as view different layer
comps. Changing layer visibility or layer comps in InDesign does not alter the original Photoshop file.
Paths, masks, or alpha channels If you save paths, masks, or alpha channels in a Photoshop file, InDesign can use them
to remove backgrounds, or to wrap text around graphics. Graphics that contain paths, masks, or alpha channels act as
transparent objects when imported.
ICC color management profile If you place a Photoshop image with an embedded ICC color management profile,
InDesign reads the embedded profile, provided that color management is active. You can override the embedded
profile for the image using the Import Options dialog box or assign a different color profile to the graphic in InDesign.
Overriding the color profile in InDesign will not remove or alter the profile embedded in the Photoshop image.
Spot-color channels Spot-color channels in Adobe Photoshop PSD or TIFF files appear in InDesign as spot colors in
the Swatches panel. If the image uses a spot color that InDesign does not recognize, the spot color may appear gray in
the InDesign document and print incorrectly as a composite. (The image will print correctly on color separations,
however.) To simulate the graphic as a composite, you can create a spot color with the correct color values, and then
alias the PSD color to this new spot color. The graphic will then print correctly as composite and display correctly
on-screen when Overprint Preview is turned on (choose View &gt; Overprint Preview). Be sure to remove the alias before
printing separations, so that the image prints on the plate you expect.
More Help topics
“Import options for graphics” on page 362
“Place (import) graphics” on page 361
“Create an ink alias for a spot color” on page 624
Importing PDF pages
Using the Place command, you can specify which pages you want to import from a multipage PDF or an Illustrator
file with multiple artboards. You can place a single page, a range of pages, or all pages. Multipage PDF files let designers
combine illustrations for a publication into a single file.
The page range options appear when you select Show Import Options in the Place dialog box. See “Acrobat (.pdf) and
Illustrator (.ai) import options” on page 364. The dialog box includes a preview, so you can view a thumbnail of the pages
before you place them. If you place multiple pages, InDesign reloads the graphics icon with the next page, letting you
place the pages one after the next. InDesign doesn’t import movies, sound, links, or buttons when you place a PDF file.
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Comparing screen and device resolution in placed PDF pages
A placed PDF page displays at the best resolution possible for the given scale and screen resolution. When printed on
a PostScript output device, a placed PDF page always prints at the resolution of the device. When printed on a nonPostScript printer, a placed PDF page prints at the same resolution as the other InDesign objects in the document. For
example, vector (drawn) objects will print at the same resolution as other vector objects in the document. Bitmap
images will print at the best resolution supplied in the placed PDF.
Linking to placed PDFs
A placed PDF page appears in the InDesign document as an on-screen preview, which is linked to a specific page in
the original PDF. After placing a PDF page, you may break links by doing any of the following:
• If you add a password to the original PDF that has been placed in an InDesign document, and you update the link,
you’ll be prompted to enter the password.
• If you delete pages in the original PDF and update the link, the placed PDF page changes to the page that now falls
on the originally placed page number.
• If you reorder the pages in the original PDF file and update the link, the placed PDF page may be different from
what you expect. When that happens, place the page again.
Color in placed PDF pages
InDesign preserves colors embedded in PDF pages, even if the color comes from a color library not installed with
InDesign (such as the PANTONE Hexachrome&reg; library). In addition, any color traps included in a placed PDF page
are preserved.
When color management is active, InDesign displays the placed PDF using its embedded ICC or output intent profile
(PDF/X only). When color management is turned off, or when you place a PDF that doesn’t contain an ICC or output
intent profile, colors in the placed PDF are calibrated using the color profile in the InDesign document.
When you export or print the document, you can preserve the ICC profile embedded in the placed PDF or replace it
with the document profile instead. Output intent profiles are used for display and are included when you export as
PDF/X; they aren’t used when you print the document, and they aren’t included when you export to any other format.
Security settings in placed PDF pages
Because a placed PDF page is linked to the original PDF, the placed page also includes the security settings of the
original file. If someone later changes the security settings in the original file, the security settings are updated in the
placed PDF page when you update the links.
If you correctly enter a required master password when placing a PDF page, you override any restrictions in the PDF
page, enabling the placed PDF page to export as expected.
More Help topics
“Acrobat (.pdf) and Illustrator (.ai) import options” on page 364
“Control layer visibility in imported images” on page 367
“Import options for graphics” on page 362
Importing InDesign (.indd) pages
Using the Place command, you can import pages from one InDesign document into another. You can import a page,
a page range, or all of the pages in the document. The pages are imported as objects (much the same way that PDFs are
imported).
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Add pages in your document to hold the pages you want to import. After you choose File &gt; Place and select an INDD
file, you can choose Show Import Options and then choose which pages to import, which layers to make visible, and
how to crop the imported pages. You can scroll in the Preview window to examine the thumbnail pages closely. The
page or pages you select are loaded in the graphics icon. If you place multiple pages, InDesign loads the graphics icon
with the following page so you can import pages one after the other.
Note: The Links panel lists the names of each page you imported. If a page you imported contains a graphic or other item
that was imported into it, this item is listed as well in the Links panel. The names of these secondary imported items are
listed under a disclosure triangle in the Links panel to distinguish them from imported pages.
More Help topics
“Place (import) graphics” on page 361
“Control layer visibility in imported images” on page 367
Importing other graphics formats
InDesign supports a variety of graphics formats, including bitmap formats such as TIFF, GIF, JPEG, and BMP, and
vector formats such as EPS. Other supported formats include DCS, PICT, WMF, EMF, PCX, PNG, and Scitex CT
(.sct). You can import an SWF file as a movie file.
More Help topics
“Place (import) graphics” on page 361
“Import options for graphics” on page 362
“Exporting” on page 107
“Import swatches” on page 455
“Movies and sounds” on page 529
TIFF (.tif) files
TIFF is a flexible bitmap image format supported by virtually all painting, image-editing, and page-layout applications.
Also, virtually all desktop scanners can produce TIFF images.
The TIFF format supports CMYK, RGB, grayscale, Lab, indexed-color, and bitmap files with alpha and spot-color
channels. You can select an alpha channel when you place a TIFF file. Spot-color channels appear in InDesign as spot
colors in the Swatches panel.
You can use an image-editing program such as Photoshop to create a clipping path to create a transparent background
for a TIFF image. InDesign supports clipping paths in TIFF images and recognizes encoded OPI comments.
Graphics Interchange Format (.gif) files
Graphics Interchange Format (GIF) is a standard for displaying graphics on the World Wide Web and other online
services. Because it compresses image data without losing detail, its compression method is called lossless. Such
compression works well with graphics that use a limited number of solid colors such as logos and charts; however, GIF
cannot display more than 256 colors. For this reason it is less effective for displaying photographs online (use JPEG
instead) and is not recommended for commercial printing. If an imported GIF file contains transparency, the graphic
interacts only where the background is transparent.
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JPEG (.jpg) files
The Joint Photographic Experts Group (JPEG) format is commonly used to display photographs and other
continuous-tone images in HTML files over the web and in other online media. The JPEG format supports CMYK,
RGB, and grayscale color modes. Unlike GIF, JPEG retains all of the color information in an RGB image.
JPEG uses an adjustable, lossy compression scheme that effectively reduces file size by identifying and discarding extra
data not essential to the display of the image. A higher level of compression results in lower image quality; a lower level
of compression results in better image quality, but a larger file size. In most cases, compressing an image using the
Maximum quality option produces a result that is indistinguishable from the original. Opening a JPEG image
automatically decompresses it.
Note: JPEG encoding, which can be performed on an EPS or DCS file in an image-editing application such as Photoshop,
does not create a JPEG file. Instead, it compresses the file using the JPEG compression scheme explained above.
JPEG works well for photographs, but solid-color JPEG images (images that contain large expanses of one color) tend
to lose sharpness. InDesign recognizes and supports clipping paths in JPEG files created in Photoshop. JPEG can be
used for both online and commercially printed documents; work with your prepress service provider to preserve JPEG
quality in printing.
Bitmap (.bmp) files
BMP is the standard Windows bitmap image format on DOS and Windows-compatible computers. However, BMP
does not support CMYK, and its color support is limited to 1, 4, 8, or 24 bits. It is less than ideal for commercially
printed or online documents, and it is not supported by some web browsers. BMP graphics can provide acceptable
quality when printed on low-resolution or non-PostScript printers.
Encapsulated PostScript (.eps) files
The Encapsulated PostScript (EPS) file format is used to transfer PostScript language artwork between applications,
and is supported by most illustration and page-layout programs. Typically, EPS files represent single illustrations or
tables that are placed into your layout, but an EPS file can also represent a complete page.
Because they are based on the PostScript language, EPS files can contain text, vector, and bitmap graphics. Since
PostScript cannot normally be displayed on-screen, InDesign creates a bitmap preview for an EPS file for on-screen
display. InDesign recognizes clipping paths in Photoshop-created EPS files.
When you import an EPS file, any spot colors it contains are added to the Swatches panel in InDesign. EPS allows for
prepress-quality resolution, precision, and color. This format includes all of the color and image data required to colorseparate DCS images embedded in the EPS graphic. EPS isn’t ideal for online publishing in HTML, but it works well
for online publishing in PDF.
EPS files can contain Open Prepress Interface (OPI) comments, which let you use fast, low-resolution versions
(proxies) of images for positioning on a page. For final output, either InDesign or your prepress service provider can
automatically replace the proxies with high-resolution versions.
Desktop Color Separations (.dcs) files
Desktop Color Separations (DCS), developed by Quark, is a version of the standard EPS format. The DCS 2.0 format
supports multichannel CMYK files with multiple spot channels. (These spot channels appear as spot colors in the
Swatches panel in InDesign.) The DCS 1.0 format supports CMYK files without spot channels. InDesign recognizes
clipping paths in Photoshop-created DCS 1.0 and DCS 2.0 files.
DCS files are intended to be used in a preseparated, host-based workflow. In most cases, color separations files
associated with a DCS image are excluded when you export or print a composite to a PDF, EPS, or PostScript file. (The
sole exception is made for 8-bit DCS files that were created in Photoshop and that do not contain vector graphics.)
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InDesign can rebuild a composite image from DCS 2.0 or 1.0 separations files, if the files were created in Photoshop.
For best results, do not include DCS 1.0 files or DCS 2.0 files created in programs other than Photoshop when you are
creating high-resolution color composite proofs or separating a document in-RIP or from a composite file.
Macintosh PICT (.pict) files
The Macintosh PICT (or Picture) format is used for Mac OS graphics and page-layout applications, and for
transferring files between applications. The PICT format compresses images that contain large areas of solid color.
InDesign can import PICT files created from Mac OS screenshots and a variety of other applications, including clip
art collections. However, PICT files are not recommended for high-resolution commercial printing.
InDesign supports RGB PICT images with variable resolutions and embedded QuickTime images. PICT graphics do
not support color separations, are device-dependent, and are not recommended for high-resolution commercial
printing. The PICT format can provide acceptable quality only when printed on low-resolution or non-PostScript
printers.
Windows Metafile Format (.wmf) and Enhanced Metafile Format (.emf) files
Windows Metafile Format (WMF) and Windows Enhanced Metafile Format (EMF) are native Windows formats used
primarily for vector graphics, such as clip art, shared between Windows applications. Metafiles may contain raster
image information; InDesign recognizes the vector information and provides limited support for raster operations.
Color support is limited to 16-bit RGB, and neither format supports color separations. As a general rule, avoid using
Metafile formats for commercially printed documents.
PCX (.pcx) files
The PCX format is commonly used in Windows systems. Most Windows software supports version 5 of the PCX
format.
The PCX format supports RGB, indexed-color, grayscale, and bitmap color modes, as well as the RLE compression
method, which is lossless. It does not support alpha channels. Images can have a bit depth of 1, 4, 8, or 24 bits.
However, PCX is not ideal for commercially printed or online documents. PCX graphics can provide acceptable
quality only when printed on low-resolution or non-PostScript printers.
Portable Network Graphics (.png) files
The Portable Network Graphics (PNG) format uses adjustable, lossless compression to display 24-bit photographs or
solid-color images on the World Wide Web and in other online media. PNG was developed as a patent-free alternative
to the GIF file format. It supports transparency in an alpha channel or a designated color. PNG is best used for online
documents. Color PNG graphics placed in an InDesign document are RGB bitmap images.
Scitex CT (.sct) files
The Scitex Continuous Tone (CT) format is used for high-end image processing on Scitex computers. Scitex CT files
often come from Scitex scanners, which produce high-quality scans for commercial printing. The Scitex CT format
supports CMYK, RGB, and grayscale files, but does not support alpha channels. Contact Scitex to obtain utilities for
transferring files saved in the Scitex CT format to a Scitex system.
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Placing graphics
Place (import) graphics
The Place command is the primary method used to insert graphics into InDesign because it provides the highest level
of support for resolution, file formats, multipage PDF and INDD files, and color. To place graphics is also referred to
as import images and insert pictures.
If you’re creating a document in which those characteristics aren’t critical, you can copy and paste to import graphics
InDesign. Pasting, however, embeds a graphic in a document; the link to the original graphic file is broken and doesn’t
appear in the Links panel, and you can’t update the graphic from the original file. However, pasting Illustrator graphics
allows you to edit paths in InDesign. See “Importing Adobe Illustrator graphics” on page 354.
The options available to you when you place a graphics file depend on the type of graphic. These options appear when
you select Show Import Options in the Place dialog box. If you don’t select Show Import Options, InDesign applies
the default settings or the last settings used in placing a graphics file of that type.
The names of graphics you’ve placed (imported) appear in the Links panel.
Note: If you place or drag a graphic from a removable media, such as a CD-ROM, the link will break when you remove
that media from your system.
For a video tutorial on placing an image, see www.adobe.com/go/lrvid4279_id.
1 Do one of the following:
• To import a graphic without first creating a frame, make sure that nothing in the document is selected.
• To import a graphic into an existing frame, select the frame. If the new image is larger than the frame, you can refit
the frame later by choosing Object &gt; Fitting &gt; [fitting command].
• To replace an existing image, select its graphics frame.
2 Choose File &gt; Place and select one or more graphics files of any available format.
If you select multiple files, you can click or drag in the document to place the selected files one at a time. (See “Place
multiple graphics” on page 366.)
3 To replace an object you selected, select Replace Selected Item.
4 To add a caption based on the image metadata, select Create Static Captions. See “Generate a caption from an
image” on page 221.
5 To set format-specific import options, do one of the following:
• Select Show Import Options, and then click Open.
• Hold down Shift as you click Open or Shift-double-click a file name.
Note: When you place a graphic created in Illustrator 9.0 or later by using the Show Import Options dialog box, the
options are identical to those for PDFs. When you place an Illustrator 5.5–8.x graphic, the options are identical to those
for EPS files.
6 If the Image Import Options dialog box appears (because you chose to set format-specific import options), select
import options and click OK. (See “Import options for graphics” on page 362.)
7 Do one of the following:
• To import into a new frame, drag to create a frame. Or, click the loaded graphics icon
where you want the upper left corner of the graphic to appear.
in the layout at the place
Note: When you drag to create a frame, the frame has the same proportions as the graphic unless you Shift-drag.
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• To import into an existing, unselected frame, click the loaded graphics icon anywhere in that frame.
• To import into an existing selected frame, you don’t need to do anything if Replace Selected Item is selected. The
image automatically appears in that frame.
• To replace an existing graphic, hold down Alt (Windows) or Option (Mac OS) and click the loaded graphics icon
on the graphic you want to replace.
• To place all the specified pages of a multipage file (such as a PDF or INDD file) at the same time, one overlapping
another, hold down Alt (Windows) or Option (Mac OS) and click the loaded graphics icon where you want the
pages to appear.
If you accidently replace an existing graphic with an image you’re placing, press Ctrl+Z (Windows) or Command+Z
(Mac OS) to return the original image to the frame and display the loaded graphics icon.
8 To place the next graphic or the next page of a multipage PDF, click the loaded graphics icon in the layout where
desired. If necessary, you can scroll to a different location or change pages without losing the loaded graphics icon.
Note: The image you place may appear to have a low resolution, depending on your settings. The display setting of an
image does not affect final output of the file. To change your image display settings, see “Control graphics’ display
performance” on page 370.
More Help topics
“Import options for graphics” on page 362
“About links and embedded graphics” on page 372
“Choosing the right graphics format” on page 352
Importing Content video
Import options for graphics
The options for importing graphics vary depending on the type of image being imported. To display import options,
make sure that Show Import Options is selected in the Place dialog box.
Encapsulated PostScript (.eps) import options
When you place an EPS graphic (or a file saved with Illustrator 8.0 or earlier) and select Show Import Options in the
Place dialog box, you’ll see a dialog box containing these options:
Read Embedded OPI Image Links This option tells InDesign to read links from OPI comments for images included (or
nested) in the graphic.
Deselect this option if you’re using a proxy-based workflow and plan to have your service providers perform the image
replacement using their OPI software. When this option is deselected, InDesign preserves the OPI links but does not
read them. When you print or export, the proxy and the links are passed on to the output file.
Select this option if you’re using a proxy-based workflow and you want InDesign, instead of your service provider, to
perform image replacement when you output the final file. When you select this option, the OPI links appear in the
Links panel.
Also select this option when you import EPS files containing OPI comments that are not part of a proxy-based
workflow. For example, if you import an EPS file containing OPI comments for an omitted TIFF or bitmap image,
you’ll want to select this option so that InDesign can access the TIFF information when you output the file.
Apply Photoshop Clipping Path Regardless of whether this option is selected, a placed EPS file includes a clipping path
in InDesign. However, deselecting this option may result in a different bounding box size.
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Proxy Generation This creates a low-resolution bitmap representation of an image when drawing the file to the screen.
The following settings control how the proxy will be generated:
• Use TIFF Or PICT Preview Some EPS images contain an embedded preview. Select this option to generate the proxy
image of the existing preview. If a preview does not exist, the proxy will be generated by rasterizing the EPS to an
offscreen bitmap.
• Rasterize The PostScript Select this option to ignore the embedded preview. This option is typically slower but
provides the highest-quality results.
Note: When you import more than one single file into the same document, all instances share the proxy setting of the first
instance of the imported file.
Bitmap import options
You can apply color-management options to individual imported graphics when using color-management tools with
a document. You can also import a clipping path or an alpha channel saved with an image created in Photoshop. Doing
so lets you directly select an image and modify its path without changing the graphics frame.
When you place a PSD, TIFF, GIF, JPEG, or BMP file and select Show Import Options in the Place dialog box, you’ll
see a dialog box containing these options:
Apply Photoshop Clipping Path If this option isn’t available, the image wasn’t saved with a clipping path, or the file
format doesn’t support clipping paths. If the bitmap image doesn’t have a clipping path, you can create one in
InDesign.
Alpha channel Select an alpha channel to import the area of the image saved as an alpha channel in Photoshop.
InDesign uses the alpha channel to create a transparent mask on the image. This option is available only for images
that contain at least one alpha channel.
Image imported without clipping path (left) and with clipping path (right)
Click the Color tab to view the following options:
Profile If Use Document Default is selected, leave this option unchanged. Otherwise, choose a color source profile that
matches the gamut of the device or software used to create the graphic. This profile enables InDesign to properly
translate its color to the gamut of the output device.
Rendering Intent Choose a method for scaling the color range of the graphic to the color range of the output device.
Typically, you’ll choose Perceptual (Images) because it accurately represents colors in photographs. The Saturation
(Graphics), Relative Colorimetric, and Absolute Colorimetric options are better for areas of solid color; they don’t
reproduce photographs well. Rendering Intent options aren’t available for bitmap, grayscale, and index-color mode
images.
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Portable Network Graphics (.png) import options
When you place a PNG image and select Show Import Options in the Place dialog box, you’ll see a dialog box with
three sections of import settings. Two sections contain the same options available for other bitmap image formats. The
other section, PNG Settings, contains the following settings:
Use Transparency Information This option is enabled by default when a PNG graphic includes transparency. If an
imported PNG file contains transparency, the graphic interacts only where the background is transparent.
White Background If a PNG graphic does not contain a file-defined background color, this option will be selected by
default. However, it is only enabled if Use Transparency Information is activated. If this option is selected, white is
used as the background color when applying transparency information.
File Defined Background Color If a PNG graphic was saved with a non-white background color, and Use
Transparency Information is selected, this option is selected by default. If you don’t want to use the default background
color, click White Background to import the graphic with a white background, or deselect Use Transparency
Information to import the graphic without any transparency (displaying areas of the graphic that are currently
transparent). Some image-editing programs can’t specify a non-white background color for PNG graphics.
Apply Gamma Correction Select this option to adjust the gamma (midtone) values of a PNG graphic as you place it.
This option lets you match image gamma to the gamma of the device you will use to print or display the graphic (such
as a low-resolution or non-PostScript printer or computer monitor). Deselect this option to place the image without
applying any gamma correction. By default, this option is selected if the PNG graphic was saved with a gamma value.
Gamma Value This option, available only if Apply Gamma Correction is selected, displays the gamma value that was
saved with the graphic. To change the value, type a positive number from 0.01 to 3.0.
When PNG files are imported, the settings in the Image Import Options dialog box are always based on the selected
file, not on the default or last-used settings.
Acrobat (.pdf) and Illustrator (.ai) import options
The layout, graphics, and typography in a placed PDF are preserved. As with other placed graphics, you cannot edit a
placed PDF page within InDesign. You can control the visibility of layers in a layered PDF. You can also place more
than one page of a multipage PDF.
When you place a PDF that was saved with passwords, you’ll be prompted to enter the required passwords. If the PDF
file was saved with usage restrictions (for example, no editing or printing), but no passwords, you can place the file.
When you place a PDF (or a file saved with Illustrator 9.0 or later) and select Show Import Options in the Place dialog
box, you’ll see a dialog box containing the following options:
Show Preview Preview a page in the PDF before you place it. If you’re placing a page from a PDF that contains multiple
pages, click the arrows, or type a page number under the preview image to preview a specific page.
Pages Specify the pages you want to place: the page displayed in the preview, all pages, or a range of pages. For
Illustrator files, you can specify which artboard to place.
If you specify multiple pages, hold down Alt (Windows) or Option (Mac OS) while placing the file to place them all at
the same time, overlapping each other.
Crop To Specify how much of the PDF page to place:
• Bounding Box Places the PDF page’s bounding box, or the minimum area that encloses the objects on the page,
including page marks. The Bounding Box (Visible Layers Only) option uses the bounding box only of the visible layers
of the PDF file. The Bounding Box (All Layers) option places the bounding box of the entire layer area of the PDF file,
even if layers are hidden.
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• Art Places the PDF only in the area defined by a rectangle that the author created as a placeable artwork (for
example, clip art).
• Crop Places the PDF only in the area that is displayed or printed by Adobe Acrobat.
• Trim Identifies the place where the final produced page will be physically cut in the production process, if trim
marks are present.
• Bleed Places only the area that represents where all page content should be clipped, if a bleed area is present. This
information is useful if the page is being output in a production environment. Note that the printed page may include
page marks that fall outside the bleed area.
• Media Places the area that represents the physical paper size of the original PDF document (for example, the
dimensions of an A4 sheet of paper), including page marks.
A
B
C
D
E
F
Options for cropping placed PDFs
A. Media B. Content C. Bleed D. Trim E. Crop F. Art
Transparent Background Select this option to reveal text or graphics that fall beneath the PDF page in the InDesign
layout. Deselect this option to place the PDF page with an opaque white background.
If you make the background transparent in a frame containing a PDF graphic, you can make it opaque later by adding
a fill to the frame.
InDesign (.indd) import options
InDesign preserves the layout, graphics, and typography in a placed INDD file. However, the file is treated as an object,
and you can’t edit it, although you can control the visibility of layers and choose which pages of a multi-page INDD
file to import.
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When you place an InDesign file and select Show Import Options in the Place dialog box, you’ll see a dialog box
containing the following options:
Show preview Preview a page before you place it. You can type a page number or click the arrows to preview a page
in a multi-page document.
Pages Specify the pages you want to place: the page displayed in the preview, all pages, or a range of pages.
Crop to Specify how much of the page or pages to place, the page itself or the bleed or slug areas on the pasteboard.
Place multiple graphics
The Place command lets you import more than one item at a time.
1 Create frames for the graphics if you want to place some or all of them in frames.
2 Choose File &gt; Place, and select files.
You can select graphics files, text files, InDesign files, and other files you can add to InDesign documents.
3 Optionally, select Show Import Options, click Open, and specify the import options for each file. (See “Import
options for graphics” on page 362.)
A thumbnail image of the first graphic you selected appears next to the loaded graphics icon. A number next to the
loaded graphics icon tells you how many graphics are ready for importing. The names of the graphics appear in the
Links panel, with the letters LP (for “loaded in place cursor”) next to the frontmost graphic.
Placing four files into placeholder frames
Press an arrow key to cycle through the graphics; press Esc to unload the frontmost graphic from the loaded graphics
icon without placing it in InDesign.
Note: You can keep thumbnail images from appearing in the loaded graphics icon if displaying the images slows down
your computer. In the Interface area of the Preferences dialog box, deselect Show Thumbnails On Place.
4 Do one of the following:
• To import into a new frame, click the loaded graphics icon where you want the upper left corner of the graphic to
appear.
• To create a frame of a certain size and import the graphic into the frame, drag to define the frame. The frame
conforms to the proportions of the graphic being placed.
• To import into an existing frame, click the loaded graphics icon in the frame. Alt-click (Windows) or Option-click
(Mac OS) to replace the contents of an existing frame.
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• To import all the loaded graphics in a grid, start dragging, and press the arrow keys to determine the number of
rows and columns. Use the Up Arrow and Down Arrow keys to change the number of rows and the Left Arrow and
Right Arrow keys to change the number of columns. To change the spacing between frames, press Page Up or Page
Down or hold down Ctrl (Windows) or Command (Mac OS) while pressing the arrow keys. Release the mouse
button to place the grid of images.
Note: You can load more graphics by choosing File &gt; Place while the graphics icon is displayed.
Control layer visibility in imported images
When you import Photoshop PSD files, layered PDFs, and INDD files, you can control the visibility of top-level layers.
Adjusting layer visibility in InDesign lets you vary an illustration depending on context. For example, in a
multilanguage publication, you can create a single illustration that includes one text layer for each language.
You can adjust layer visibility either when you place a file or by using the Object Layer Options dialog box. In addition,
if the Photoshop file contains layer comps, you can display the desired comp.
More Help topics
“Importing Adobe Illustrator graphics” on page 354
“Create a layered PDF in Adobe Illustrator” on page 354
“Importing Adobe Photoshop (.PSD) files” on page 356
Set layer visibility
1 Do one of the following:
• To import a graphic without first creating a frame, make sure that nothing in the document is selected.
• To import a graphic into an existing frame, select the frame.
• To replace an existing image, select the graphics frame.
2 Choose File &gt; Place and select a graphics file.
3 To replace a selected object, select Replace Selected Item.
4 Select Show Import Options, and then click Open.
5 In the Image Import Options or Place dialog box, click the Layers tab.
6 To view a preview of the image, click Show Preview.
7 (PDFs only) If you’re placing a page from a multipage PDF, click the arrows, or type a page number under the
preview image to preview a specific page.
8 (Photoshop PSD files only) If the image contains layer comps, choose the layer comp you want to display from the
Layer Comp pop-up menu.
9 Do one of the following:
• To open or close a layer set, click the triangle to the left of the folder icon.
• To hide a layer or layer set, click the eye icon next to the layer or layer set.
• To display the layer or layer set, click the empty eye column next to the layer or layer set.
• To display only the content of a particular layer or layer set, Alt-click (Windows) or Option-click (Mac OS) its eye
icon. Alt-click or Option-click the eye icon again to restore the original visibility settings of the other layers.
• To change the visibility of multiple items, drag through the eye column.
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10 Set the When Updating Link option as desired:
Use Photoshop’s/PDF’s Layer Visibility Matches the layer visibility settings to those of the linked file when you update
the link.
Keep Layer Visibility Overrides Maintains the layer visibility settings as specified in the InDesign document.
11 Click OK, and do one of the following:
• To import into a new frame, click the loaded graphics icon
left corner of the graphic to appear.
in the layout at the place where you want the upper
• To import into an existing, unselected frame, click the loaded graphics icon anywhere in that frame.
• To import into an existing selected frame, you don’t need to do anything. The image automatically appears in that
frame.
If you accidently replace an existing graphic with an image you’re placing, press Ctrl+Z (Windows) or Command+Z
(Mac OS) to return the original image to the frame and display the loaded graphics icon.
Set layer visibility for placed AI, PSD, PDF, and INDD files
After you place a Photoshop PSD or layered PDF, an Illustrator AI file, or an InDesign INDD file, you can control the
visibility of its layers by using the Object Layer Options dialog box. If the Photoshop PSD file contains layer comps,
you can choose which comp you want to display. In addition, you can choose whether to maintain the visibility settings
or match the settings of the original file each time you update the link.
1 Select the file in the InDesign document.
2 Choose Object &gt; Object Layer Options.
3 To view a preview of the image, select Preview.
4 (Photoshop PSD files only) If the image contains layer comps, choose the layer comp you want to display from the
Layer Comp pop-up menu.
5 Do one of the following:
• To open or close a layer set, click the triangle to the left of the folder icon.
• To hide a layer or layer set, click the eye icon next to the layer or layer set.
• To display the layer or layer set, click the empty eye column next to the layer or layer set.
• To display only the content of a particular layer or layer set, Alt-click (Windows) or Option-click (Mac OS) its eye
icon. Alt-click or Option-click the eye icon again to restore the original visibility settings of the other layers.
• To change the visibility of multiple items, drag through the eye column.
6 Set the Updating Link Options as desired:
Use Layer Visibility Matches the layer visibility settings to those of the linked file when you update the link.
Keep Layer Visibility Overrides Maintains the layer visibility settings as specified in the InDesign document.
7 Click OK.
Paste or drag graphics
When you copy and paste or drag a graphic into an InDesign document, some attributes of the original object may be
lost, depending on the limitations of the operating system and the range of data types the other application makes
available for transfer, and the InDesign Clipboard preferences. Pasting or dragging Illustrator graphics lets you select
and edit paths within the graphic.
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Copying and pasting or dragging between two InDesign documents, or within a single document, however, preserves
all of the graphics attributes that were imported or applied. For example, if you copy a graphic from one InDesign
document and paste it into another, the new copy will be an exact duplicate of the original, even including the original’s
link information, so that you can update the graphic when the file on disk changes.
More Help topics
“About links and embedded graphics” on page 372
“Pasting Illustrator graphics into InDesign” on page 355
Copy and paste graphics
When copying and pasting a graphic from another document into an InDesign document, InDesign does not create a
link to the graphic in the Links panel. The graphic may be converted by the system clipboard during the transfer, so
both image quality and print quality may be lower in InDesign than in the graphic’s original application.
1 In InDesign or another program, select the original graphic, and choose Edit &gt; Copy.
2 Switch to an InDesign document window, and choose Edit &gt; Paste.
Drag and drop graphics
The drag-and-drop method works like the Place command, with images appearing in the Links panel after they’re
imported. You cannot set import options for the files you drag and drop; however, you can drag and drop multiple
files at once (the files are loaded in the graphics icon when you drag and drop more than one).
Select a graphic from Adobe Illustrator, Adobe Bridge, Explorer (Windows), the Finder (Mac OS), or your desktop,
and drag it into InDesign. The image must be in a format that InDesign can import.
After dragging and dropping a file from any location other than Illustrator, it appears in the Links panel in InDesign.
Using the Links panel, you can control versions and update as necessary.
1 Select the original graphic.
2 Drag the graphic into an open InDesign document window.
Note: In Windows, if you try to drag an item from an application that does not support drag and drop, the pointer
displays the Prohibited icon.
To cancel dragging a graphic, drop the graphic onto any panel title bar or the document title bar.
Fixing low-resolution images
Graphics you place in your document may appear pixelated or fuzzy or grainy. In most cases, it’s because InDesign
displays images in low-resolution by default to improve performance.
Check the display settings
To display graphics in high resolution, choose View &gt; Display Performance &gt; High Quality Display. For more details
on changing these display performance settings, see “Control graphics’ display performance” on page 370.
Use Place instead of Paste
The image may still be low resolution even though you changed the display performance settings. For these images,
make sure that you use the Place command to insert the image into InDesign. In some instances, pasting an image from
another application may result in the preview image being inserted instead of the original file.
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Check your print settings
If your image appears in low resolution in print, check your print settings to make sure graphics are printing properly.
In the Graphics section of the Print dialog box, choose Send Data &gt; All.
Avoid transformations in images of borderline quality
In addition, scaling or rotating an image could reduce its quality. You may want to choose Clear Transformations from
the Control panel menu.
Improve the image resolution
In some cases, such as with an image copied from a web page, you may need to replace a low-resolution image with a
high-resolution image.
Control graphics’ display performance
You can control the resolution of graphics placed in your document. You can change the display settings for the entire
document or for individual graphics. You can also change a setting that either allows or overrides the display settings
for individual documents.
Change a document’s display performance
A document always opens using the default Display Performance preferences. You can change the display
performance of a document while it is open, but the setting won’t be saved with the document.
If you’ve set the display performance of any images separately, you can override the settings so all objects use the same
settings.
1 Choose View &gt; Display Performance, and select an option from the submenu.
2 To force objects that you have set individually to display using the document setting, deselect View &gt; Display
Performance &gt; Allow Object-Level Display Settings. (A check mark indicates it is selected.)
Change an object’s display performance
1 To preserve the display performance for individual objects when the document is closed and reopened, make sure
Preserve Object-Level Display Settings is selected in Display Performance preferences.
2 Choose View &gt; Display Performance, and make sure Allow Object-Level Display Settings is selected.
3 With the Selection tool
or Direct Selection tool
, select an imported graphic.
4 Do one of the following:
• Select Object &gt; Display Performance, and choose a display setting.
• Right-click (Windows) or Control-click (Mac OS) the image, and choose a display setting from the Display
Performance submenu.
To remove an object’s local display setting, choose Use View Setting in the Display Performance submenu. To remove
local display settings for all graphics in the document, select Clear Object-Level Display Settings in the View &gt; Display
Performance submenu.
Display performance options
These options control how graphics are displayed on the screen, but they do not affect the print quality or exported
output.
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Use Display Performance preferences to set the default option used to open all documents, and customize the settings
that define those options. Each display option has separate settings for displaying raster images, vector graphics, and
transparencies.
Fast Draws a raster image or vector graphic as a gray box (default). Use this option when you want to quickly page
through spreads that have lots of images or transparency effects.
Typical Draws a low-resolution proxy image (default) appropriate for identifying and positioning an image or vector
graphic. Typical is the default option, and is the fastest way to display an identifiable image.
High Quality Draws a raster image or vector graphic at High Resolution (default). This option provides the highest
quality but the slowest performance. Use this option when you want to fine-tune an image.
Note: Image display options don’t affect output resolution when exporting or printing images within a document. When
printing to a PostScript device, exporting to XHTML, or exporting to EPS or PDF, the final image resolution depends on
the output options you choose when you print or export the file.
Set default display performance
The Display Performance preferences let you set the default display option, which InDesign uses for every document.
You can change a document’s display performance using the View menu, or change the setting for individual objects
using the Object menu. For example, if you work on projects that contain numerous high-resolution photos (such as
a catalog), you may prefer to have all your documents open quickly. You can set the default display option to Fast.
When you want to see the images in more detail, you can switch the document view to Typical or High Quality (leaving
the preference set to Fast).
You can also choose to view or override display settings applied to individual objects. If Preserve Object-Level Display
Settings is selected, any settings applied to objects are saved with the document.
1 Select Edit &gt; Preferences &gt; Display Performance (Windows) or InDesign &gt; Preferences &gt; Display Performance
(Mac OS).
2 For Default View, select Typical, Fast, or High Quality. The display option you choose applies to all documents you
open or create.
3 Do one of the following:
• To save display settings applied to individual objects, select Preserve Object-Level Display Settings.
• To display all graphics using the default display option, deselect Preserve Object-Level Display Settings.
4 For Adjust View Settings, choose the display option you want to customize, and then move the slider for Raster
Images or Vector Graphics to the desired setting.
5 Click OK.
Each display option has separate settings for raster (bitmap) images, vector graphics, and transparency effects.
Create contact sheets
A contact sheet is a grid of thumbnail images, often used for pre-press analysis. You can use a number of different
Adobe applications to create a contact sheet. In Photoshop, you can use either the Contact Sheet or Picture Package
command.
In previous versions of Adobe Bridge (CS2 and CS3), you can create a contact sheet for InDesign pages using the
Create InDesign Contact Sheet feature. This feature does not appear in later versions of Adobe Bridge. Instead, you
can use the Adobe Output Module in Adobe Bridge to create a PDF contact sheet.
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You can also create a simple contact sheet in InDesign by placing multiple images in a grid.
1 Choose File &gt; Place, select multiple images, and choose Open.
If you want to include captions with your images, select Create Static Captions. See “Generate a caption from an
image” on page 221.
2 Start dragging, and press the arrow keys to determine the number of rows and columns. Use the Up Arrow and
Down Arrow keys to change the number of rows and the Left and Right arrow keys to change the number of
columns. To change the spacing between frames, use the Page Up and Page Down keys or hold down Ctrl
(Windows) or Command (Mac OS) while pressing the arrow keys.
3 Release the mouse button to place the grid of images.
Managing graphics links
About links and embedded graphics
When you place a graphic, you see a screen-resolution version of the file in the layout so that you can view and position
it. However, the actual graphic file may be either linked or embedded.
• Linked artwork is connected to, but remains independent of, the document, resulting in a smaller document. You
can modify linked artwork using transformation tools and effects; however, you cannot select and edit individual
components in the artwork. You can use the linked graphic many times without significantly increasing the size of
the document; you can also update all links at once. When you export or print, the original graphic is retrieved,
creating the final output from the full resolution of the originals.
• Embedded artwork is copied into the document at full resolution, resulting in a larger document. You can control
versions and update the file whenever you like; as long as the artwork is embedded, your document is self-sufficient.
To determine if artwork is linked or embedded, or change its status from one to the other, use the Links panel.
If the bitmap image you place is 48K or smaller, InDesign automatically embeds the full-resolution image instead of
the screen-resolution version in your layout. InDesign displays these images in the Links panel, so that you can control
versions and update the file whenever you like; however, the link is not necessary for optimal output.
Note: If you move a document to another folder or disk (for example, if you take it to a service provider), be sure that you
also move the linked graphics files; they are not stored inside the document. You can copy all related files automatically,
using the Preflight and Package features.
More Help topics
“Define preflight profiles” on page 598
“Package files” on page 602
Links panel overview
All files placed in a document are listed in the Links panel. These include both local (on disk) files and assets that are
managed on a server. However, files that are pasted from a website in Internet Explorer do not display in this panel.
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A
C
D
E
F
B
Links panel
A. Category columns B. Show/Hide Link Information C. One or more instances modified icon D. Modified icon E. Missing-link icon
F. Embedded-link icon
When the same graphic appears several times in the document, the links are combined under a disclosure triangle in
the Links panel. When a linked EPS graphic or InDesign document contains links, the links are also combined under
a disclosure triangle.
A linked file can appear in the Links panel in any of the following ways:
Up to Date An up-to-date file is blank in the Status column.
Modified This icon means that the version of the file on disk is more recent than the version in your document. For
example, this icon appears if you import a Photoshop graphic into InDesign, and then you or someone else edits and
saves the original graphic in Photoshop.
A slightly different version of the Modified icon appears when a graphic is modified and one or more instances are
updated while others are not.
Missing The graphic is no longer in the location from which it was imported, although it may still exist somewhere.
Missing links can happen if someone deletes the original file or moves it to a different folder or server after it’s been
imported. You can’t know whether a missing file is up to date until its original is located. If you print or export a
document when this icon is displayed, the file may not print or export at full resolution.
Embedded Embedding the contents of a linked file suspends management operations for that link. If the selected link
is currently in an “edit in place” operation, this option is not enabled. Unembedding the file restores management
operations to the link.
If a linked object does not appear on a specific document page, the following codes indicate where the object appears:
PB (pasteboard), MP (master page), OV (overset text), and HT (hidden text).
For a video tutorial on using the Links panel, see www.adobe.com/go/lrvid4027_id.
InDesign Secrets provides a videocast on Links panel tips and techniques at Saving time with the Links panel.
More Help topics
Links panel video
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Use the Links panel
• To display the Links panel, choose Window &gt; Links. Each linked file and automatically embedded file is identified
by name.
• To select and view a linked graphic, select a link in the Links panel and then click the Go To Link button
,
click the page number of the link in the Page column, or choose Go To Link in the Links panel menu. InDesign
centers the display around the selected graphic. To view a hidden object, you show the layer (or condition if it’s an
anchored object).
• To expand or collapse nested links, click the triangle icon to the left of the link. Nested links occur when the same
graphic appears several times in the document or when the linked EPS graphic or InDesign document contains
links.
• To sort links in the panel, click the category title at the top of the Links panel to sort by that category. Click the same
category again to reverse the order. For example, if you click the Page category, the links appear in their order from
the first page to the last page. If you click Page again, the links are sorted from last page to first. Use Panel Options
to add columns to the Links panel.
Work with Links panel columns
You can display additional categories, such as Creation Date and Layer, in the Links panel to display more information
about the graphics. For each category, you can determine whether the information appears as a column in the Links
panel and in the Link Info section at the bottom of the Links panel.
1 Choose Panel Options from the Links panel menu.
2 Select the check boxes under Show Column to add columns in the Links panel.
Folder 0 is the folder that contains the linked file; Folder 1 is the folder that contains Folder 0, and so on.
3 Select the check boxes under Show In Link Info to display the information in the Link Info section at the bottom of
the Links panel.
4 Click OK.
You can change the order of columns by selecting a column and dragging it to a different location. Drag the column
boundaries to change the column width. Click a category title to sort the links by that category in ascending order.
Click again to sort in descending order.
Change the Links panel rows and thumbnails
1 Choose Panel Options from the Links panel menu.
2 For Row Size, select Small Rows, Regular Rows, or Large Rows.
3 For Thumbnails, determine whether thumbnail representations of the graphics appear in the Name column and in
the Link Info section at the bottom of the Links panel.
4 Click OK.
Display link information
The Link Info section of the Links panel lists information about the selected linked file.
To change the information displayed in the Link Info section of the Links panel, choose Panel Options from the Links
panel menu, and select check boxes in the Show In Link Info column.
❖ Double-click a link, or select a link and click the Show/Hide Link Information icon, which is a triangle on the left
side of the panel.
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View metadata via the Links panel
If a linked or embedded file contains metadata, you can view the metadata using the Links panel. You cannot edit or
replace metadata associated with a linked file.
❖ Select a file in the Links panel and choose Utilities &gt; XMP File Info from the panel menu.
Embed an image within the document
Rather than link to a file that you’ve placed in a document, you can embed (or store) the file within the document.
When you embed a file, you break the link to the original. Without the link, the Links panel doesn’t alert you when the
original has changed, and you cannot update the file automatically.
Embedding a file increases the document file size.
Embed a linked file
1 Select a file in the Links panel.
2 Do any of the following:
• Choose Embed Link in the Links panel menu.
• If there are multiple instances of the file, choose Embed All Instances Of [Filename] in the Links panel menu. To
embed only one instance, select it and choose Embed Link.
The file remains in the Links panel marked with the embedded-link icon
.
Note: For a text file that appears in the Links panel, select Unlink in the Links panel menu. When you embed a text file,
its name is removed from the Links panel.
Unembed a linked file
1 Select one or more embedded files in the Links panel.
2 Do one of the following:
• Select Unembed Link in the Links panel menu. If there are multiple instances of the file, choose Unembed All
Instances Of [Filename] in the Links panel menu.
• Click the Relink button
or select Relink in the Links panel menu.
3 Choose to link the file to the original file or to a folder InDesign creates from the embedded data stored in the
document.
Update, restore, and replace links
Use the Links panel to check the status of any link, or to replace files with updated or alternate files.
When you update or reestablish (relink) a link to a file, any transformations performed in InDesign are preserved (if
you choose Relink Preserved Dimensions in the File Handling preferences). For example, if you import a square
graphic and rotate it 30&deg;, and then you relink it to an unrotated graphic, InDesign rotates it 30&deg; to match the layout of
the graphic it’s replacing.
Note: Placed EPS files may contain OPI links, which appear in the Links panel. Don’t relink OPI links to files other than
those originally intended by the creator of the EPS file; doing so can cause problems with font downloading and color
separations.
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Choose how relinked graphics are scaled
When you relink to replace one graphic with a different source file, you can keep the image dimensions of the file that’s
being replaced, or you can display the incoming file in its actual dimensions.
1 Choose Edit &gt; Preferences &gt; File Handling (Windows) or InDesign &gt; Preferences &gt; File Handling (Mac OS).
2 Choose Preserve Image Dimensions When Relinking if you want images to appear at the same size as the images
they’re replacing. Deselect this option to have relinked images appear at their actual size.
Update modified links
InDesign first looks for a missing link in the folder in which another file has been relinked in the current session. Next,
it looks for a link in the same folder where the document is located. If it’s still not found, it looks in the parent folder
of the document.
Modified links are also called “out of date” links.
❖ In the Links panel, do one of the following:
• To update specific links, select one or more links marked with the modified-link icon
Link button
, or choose Update Link from the Links panel menu.
. Then click the Update
• To update all modified links, choose Update All Links from the Links panel menu, or select a modified link and Altclick (Windows) or Option-click (Mac OS) the Update Link button.
• To update only one link to a graphic that appears in several places in the document, select only the sublink and
choose Update Link. If you select the “parent” link, you can update all links to the modified graphic.
Replace a link with a different source file
1 Select any link in the Links panel, and click the Relink button
or choose Relink from the Links panel menu. If a
“parent” link of multiple instances is selected, choose Relink All Instances Of [Filename] from the Links panel menu.
2 In the dialog box that appears, select Search For Missing Links In This Folder if you want InDesign to search the
folder for files that have the same names as other missing linked files. If this option is not selected, only the selected
image is relinked.
3 Choose Show Import Options to control how the new source file is imported.
4 Locate and double-click the new source file.
5 Choose import options if you clicked the Show Import options option. (See “Import options for graphics” on
page 362.)
Restore missing links
1 To restore a missing link, select any link marked with the missing link icon
Relink button
in the Links panel, and click the
.
2 In the dialog box that appears, select Search For Missing Links In This Folder to relink any missing file that appears
in the specified folder. Locate and double-click a file.
Find missing links
By default, InDesign checks for missing links and tries to resolve them when you open a document. Two preference
options let InDesign check for and find missing links automatically when you open a document.
Check Links Before Opening Document If you turn off this option, InDesign opens the document immediately, and
the link statuses remain pending until links are determined to be up-to-date, missing, or modified. If you turn on this
option, InDesign checks for modified or missing links.
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Find Missing Links Before Opening Document If you turn off this option, InDesign does not attempt to resolve the
missing links. You may want to turn off this option if links slow performance to a server or if unexpected linkings
occur. This option is dimmed if Check Links Before Opening Document is turned off.
Search For Missing Links Use the Search For Missing Links command to search for and resolve missing links in your
document. This command is useful if you turned off the preferences option that checks for missing links when you
open a document, and now you have missing links. This command is also useful if you mount a server where images
are stored after opening a document.
• To change link settings, open the File Handling section of the Preferences dialog box, and determine whether the
Check Links Before Opening Document and Find Missing Links Before Opening Document options are selected.
• To let InDesign attempt to resolve missing links, choose Utilities &gt; Search For Missing Links from the Links panel menu.
This command is dimmed if the document contains no missing links.
Specify a default Relink folder
1 In the Preferences dialog box, select File Handling.
2 From the Default Relink Folder menu, choose either of the following options, and then click OK:
Most Recent Relink Folder This option displays the most recently used folder you selected when relinking, matching
InDesign CS3 behavior.
Original Link Folder This option displays the original location of the linked file, matching the behavior of InDesign
CS2 and earlier.
Copy links to a different folder
Use the Copy Link(s) To command to copy graphics files to a different folder and redirect the links to the copied files.
This command is especially useful for moving files to a different drive, such as moving files from a DVD to a hard drive.
1 Select the links to the files you want to copy, and choose Utilities &gt; Copy Link(s) To from the Links panel menu.
2 Specify the folder where the linked files will be copied and choose Select (Windows) or Choose (Mac OS).
Relink to a different folder
When you use the Relink To Folder command, you can point to a folder that contains files with the same names as
your out-of-date links. For example, if your current links point to low-resolution images, you can specify a different
folder that contains high-resolution images. You can specify a different extension for the files, allowing you to change
links from .jpg to .tiff, for example.
1 Select one or more links in the Links panel.
2 Choose Relink To Folder from the Links panel menu.
3 Specify the location of the new folder.
4 To use a different extension, select Match Same Filename But This Extension, and specify the new extension (such
as AI, TIFF, or PSD).
5 Click Select (Windows) or Choose (Mac OS).
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Relink files with different file extensions
The Relink File Extension command lets you replace images based on file extensions. For example, if you have several
JPEG images in your document, you can replace them with PSD files. The files with different extensions must be in the
same folder as the linked files being replaced.
1 Make sure the files with different file extensions appear in the same folder as the original files.
2 Select one or more links in the Links panel.
3 Choose Relink File Extensions from the Links panel menu.
4 Specify the file extension to replace the selected files, and click Relink.
Replace an imported file using the Place command
1 Do one of the following:
• To replace the contents of a graphics frame, such as an imported graphic, use the Selection tool
frame.
to select the
• To replace the contents of a text frame, use the Type tool to click an insertion point in a text frame, and choose
Edit &gt; Select All.
2 Choose File &gt; Place.
3 Locate and select the new file.
4 Make sure that Replace Selected Item is selected, and then click Open.
Copy the link pathname
You can copy either the full path of the linked image or the platform style path. Copying the full path of the image is
useful for notifying team members where art is located. For example, you can copy the full path and paste it into an
email message. Copying the platform path is useful for scripting or for specifying image fields in a data merge.
1 Select a link in the Links panel.
2 From the Links panel menu, choose Copy Info &gt; Copy Full Path or Copy Platform Style Path.
3 Paste the path.
Edit original artwork
The Edit Original command lets you open most graphics in the application in which you created them so that you can
modify them as necessary. Once you save the original file, the document in which you linked it is updated with the new
version.
Note: In InDesign, if you check out and select a managed graphics frame (one that has been exported to InCopy), rather
than the graphic itself, the graphic opens in InCopy.
Edit original artwork using the default application
By default, InDesign relies on the operating system to determine which application is used when opening the original.
1 Select one or more images on the page or in the Links panel.
2 Do any of the following:
• In the Links panel, click the Edit Original button
.
• Choose Edit &gt; Edit Original.
3 After making changes in the original application, save the file.
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Edit original artwork using a different application
1 Select the image.
2 Choose Edit &gt; Edit With, and then specify the application you want to use to open the file. If the application does
not appear, choose Other, and browse to locate the application.
Reusing graphics and text
Ways to reuse graphics and text
InDesign offers several different ways to repurpose graphics and text.
Snippets A snippet is a file that contains objects and describes their location relative to one another on a page or
spread. (See “Use snippets” on page 379.)
Object libraries An object library provides a convenient place to store items such as logos, sidebars, pull-quotes, and
other repeating items. (See “Use object libraries” on page 380.)
Templates A template is a document that includes placeholder text and graphics. (See “Use document templates” on
page 97.)
More Help topics
“XML” on page 548
“Exporting” on page 107
Use snippets
A snippet is a file that holds objects and describes their location relative to one another on a page or page spread. Use
snippets to conveniently reuse and position page objects. Create a snippet by saving objects in a snippet file, which has
the .IDMS extension. (Previous InDesign versions use the .INDS extension.) When you place the snippet file in
InDesign, you can determine whether the objects land in their original positions or where you click. You can store
snippets in the Object library and in Adobe Bridge as well as on your hard disk.
Snippets contents retain their layer associations when you place them. When a snippet contains resource definitions
and these definitions are also present in the document to which it is copied, the snippet uses the resource definitions
in the document.
Snippets you create in InDesign CS5 can be opened in InDesign CS4 but not in any other previous version of InDesign.
Neil Oliver provides a video tutorial about snippets at InDesign Snippets.
More Help topics
“Working with XML” on page 548
“Use object libraries” on page 380
Create snippets
❖ Do one of the following:
• Using a selection tool, select one or more objects, and then choose File &gt; Export. From the Save As Type (Windows)
or Format (Mac OS) menu, choose InDesign Snippet. Type a name for the file and click Save.
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• Using a selection tool, select one or more objects, and then drag the selection to your desktop. A snippet file is
created. Rename the file.
• Select one or more objects, and then drag the selection to the Mini Bridge panel. A snippet file is created. Rename
the file.
• Drag an item from Structure View to your desktop.
Add snippets to a document
1 Choose File &gt; Place.
2 Select one or more snippet (*.IDMS or *.INDS) files.
3 Click the loaded snippet cursor where you want the upper-left corner of the snippet file to be.
If you placed the insertion point in a text frame, the snippet is placed in the text as an anchored object.
All objects remain selected after you place the snippet. By dragging, you can adjust the position of all objects.
4 If you loaded more than one snippet, scroll and click the loaded snippet cursor to place the others.
You can drag a snippet file from your desktop into the InDesign document and click where you want the upper-left
corner of the snippet to be.
Choose how to place snippets
Rather than place snippet objects according to where you click on a page, you can place them in their original locations.
For example, a text frame that appeared in the middle of a page when it was made part of a snippet can appear in the
same location when you place it as a snippet.
❖ In File Handling preferences, choose Original Location from the Position At menu to preserve objects’ original
locations in snippets. Choose Cursor Location from the Position At menu to place snippets according to where you
click a page.
You can press Alt (Windows) or Option (Mac) to override the Position setting you selected for handling snippets. For
example, if you selected Position At Cursor Location but you want to place snippet objects in their original locations,
hold down the Alt/Option key when you click the loaded snippet cursor on the page.
Use object libraries
Object libraries help you organize the graphics, text, and pages you use most often. You can also add ruler guides, grids,
drawn shapes, and grouped images to a library. You can create as many libraries as you need—for example, you can
create different object libraries for varied projects or clients.
During a work session, you can open as many libraries as system memory will allow. Object libraries can be shared
across servers, and across platforms, but only one person can have the library open at a time. If an object library
includes text files, make sure that the file’s fonts are available and active on all systems that will access the library.
When you add a page element, such as a graphic, to an object library, InDesign preserves all attributes that were
imported or applied. For example, if you add a graphic from an InDesign document to a library, the library copy will
duplicate the original, including the original’s link information, so that you can update the graphic when the file on
disk changes.
If you delete the object from the InDesign document, the object’s thumbnail will still appear in the Library panel, and
all of the link information will remain intact. If you move or delete the original object, a missing link icon will appear
next to the object’s name in the Links panel the next time you place it in your document from the Library panel.
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Within each object library, you can identify and search for an item by title, by the date it was added to the library, or
by keywords. You can also simplify the view of an object library by sorting the library items and displaying their
subsets. For example, you can hide all items except EPS files.
A
B
C
D
E
Object library in Library panel
A. Object thumbnail and name B. Library Item Information button C. Show Library Subset button D. New Library Item button E. Delete
Library Item button
When adding an item to an object library, InDesign saves all page, text, and image attributes, and maintains
interrelationships among library objects and other page elements in the following ways:
• Elements grouped in an InDesign document when dragged to the Library panel stay grouped when dragged out of
the Library panel.
• Text retains its formatting.
• Paragraph styles, character styles, and object styles that have the same name as styles used in the destination
document are converted to the destination document’s styles; those that have different names are added to the
document.
• The original layers of an object are preserved when the Paste Remembers Layers option is selected in the Layers
panel menu.
Create an object library
An object library exists as a named file on disk. When you create an object library, you specify where to store it. When
you open a library, it appears as a panel that you can group with any other panel; the object library’s file name appears
in its panel tab. Closing an object library removes it from the current session, but doesn’t delete its file.
You can add or remove objects, selected page elements, or an entire page of elements to or from an object library. You
can also add or move library objects from one library to another.
1 Choose File &gt; New &gt; Library.
2 Specify a location and name for the library, and click Save. Remember that the name you specify becomes the name
of the library’s panel tab.
Open an existing library
❖ Do one of the following:
• If you’ve already opened a library in the current session (and haven’t closed it), choose the library file in the
Window menu.
• If you have not opened a library, choose File &gt; Open, and select one or more libraries. In Windows, library files use
the INDL extension. InDesign converts newly opened libraries from previous versions of the program to the new
library format; you are asked to save these libraries under a new name.
Close a library
1 Click the tab for the library you want to close.
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2 Do one of the following:
• Choose Close Library in the Object Library panel menu.
• Choose the library file name on the Window menu.
Delete a library
❖ In Explorer (Windows) or Finder (Mac OS), drag a library file to the Recycle Bin (Windows) or Trash (Mac OS).
In Windows, library files have the INDL extension.
Add an object or page to a library
❖ Do any of the following:
• Drag one or more objects from a document window to an active Object Library panel.
• Select one or more objects in a document window, and click the New Library Item button in the Object Library
panel.
• Select one or more objects in a document window, and choose Add Item in the Object Library panel menu.
• Choose Add Items On Page [number] As Separate Objects in the Object Library panel menu to add all the objects
as separate library objects.
• Choose Add Items On Page [number] in the Object Library panel menu to add all the objects as one library object.
• Drag an element from the Structure pane to an active Object Library panel.
If you hold down Alt (Windows) or Option (Mac OS) while you perform any of the above commands, the Item
Information dialog box appears as the item is added to the library.
Add an object from a library to a document
❖ Do one of the following:
• Drag an object from the Object Library panel to a document window.
• In the Object Library panel, select an object, and choose Place Item(s) in the Object Library panel menu. This
method places the object at its original X,Y coordinates.
• Drag an XML element to a parent element in the Structure pane or to the page.
Manage library objects
Use the Object Library panel to manage objects.
Update a library object with a new item
1 In the document window, select the item you want to add to the Library panel.
2 In the Library panel, select the object you want to replace, and then choose Update Library Item from the Object
Library panel menu.
Copy or move an object from one library to another
1 Drag one library’s panel tab out of the Object Library panel group to separate them, so you can see both libraries at
the same time.
2 Do one of the following:
• To copy an object from one library to another, drag an item from one Library panel tab to the other.
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• To move an object out of one library into another, hold down Alt (Windows) or Option (Mac OS), and drag an
item from one Library panel tab to the other.
Delete an object from an object library
❖ In the Object Library panel, select an object, and do one of the following:
• Click the Delete Library Item button.
• Drag the item to the Delete Library Item button.
• Choose Delete Item(s) in the Object Library panel menu.
Change the object library display
The object library displays objects as thumbnails or as a text list. You can sort the thumbnails or list by object name,
age, or type. The list view and sorting options work best if you’ve cataloged the objects.
❖ Do any of the following:
• To view objects as thumbnails, choose Thumbnail View or Large Thumbnail View from the Object Library
panel menu.
• To view objects as a text list, choose List View from the Object Library panel menu.
• To sort the objects, choose Sort Items from the Object Library panel menu, and choose a sort method.
View all objects
❖ Choose Show All in the Object Library panel menu.
View, add, or edit library information
With large or numerous object libraries, library information can be cataloged using the display objects’ names, by type
of object, or words in a description.
1 In the Object Library panel, do one of the following:
• Double-click any object.
• Select an object, and click the Library Item Information button.
• Select an object, and choose Item Information in the Object Library panel menu.
2 View or change the Item Name, Object Type, or Description options as necessary, and click OK.
Find objects in a library
When you search for objects, all objects except the results of your search are hidden from view. You can also use the
search feature to show and hide specific categories of objects. For example, you can display only object items with the
word “star” in their names.
1 Choose Show Subset in the Object Library panel menu, or click the Show Library Subset button.
2 Do one of the following:
• To search all objects in the library, select Search Entire Library.
• To search only within the objects currently listed in the library (refining a previous search), select Search Currently
Shown Items.
3 Choose a category in the first menu in the Parameters section.
4 In the second menu, specify whether the category you chose in the first menu must be contained in or excluded
from the search.
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5 To the right of the second menu, type a word or phrase you want to search for within the category you specified.
6 To add search criteria, click More Choices up to five times; each click adds one search term. To remove search
criteria, click Fewer Choices as necessary; each click removes one search term.
7 To display only those objects that match all search criteria, select Match All. To display objects that match any of
the criteria, select Match Any One.
8 Click OK to begin the search.
To show all objects again, choose Show All in the Object Library panel menu.
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Chapter 13: Frames and objects
Selecting objects
Overview of selection methods
InDesign provides the following selection methods and tools:
Allows you to select text and graphics frames, and work with an object using its bounding box. If you
click the content grabber (the donut) that appears when you hold the mouse pointer over an image, you can
manipulate the image within the frame without switching to the Direct Selection tool.
Selection tool
Content grabber
Allows you to select the contents of a frame, such as a placed graphic, or work directly with
editable objects, such as paths, rectangles, or type that has been converted to a text outline.
Direct Selection tool
Type tool
Allows you to select text in a text frame, on a path, or in a table.
Select submenu Allows you to select an object’s container (or frame) and its contents. The Select submenu also lets
you select objects based on their position relative to other objects. To view the Select submenu, choose Object &gt; Select.
You can also right-click (Windows) or Control-click (Mac OS) an object to display its context menu, and then choose
Select.
Select buttons on the Control panel Lets you the select the content using the Select Content button
or the container
using the Select Container button . You can also use the Select Next Object or Select Previous Object to select the
next or previous objects in a group or on a spread.
Select All and Deselect All commands Allow you to select or deselect all objects on the spread and pasteboard,
depending on which tool is active and what is already selected. Choose Edit &gt; Select All or Edit &gt; Deselect All.
Double-click an object to switch between the selecting the frame and the object. Double-click a text frame to place the
insertion point and switch to the Type tool.
More Help topics
“Keys for selecting and moving objects” on page 673
Select objects
An object is any printable element on a page or on the pasteboard, such as a path or an imported graphic. A frame or
path is a shape you draw or a container for text or graphics. A bounding box is a rectangle with eight selection handles
that represents an object’s vertical and horizontal dimensions. Before you can modify an object, you must select it using
a selection tool.
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There are two ways to select an object in InDesign:
Path with bounding box selected (left), path selected (middle), and path with anchor point selected (right)
• You can use the Selection tool to select the object’s bounding box for performing general layout tasks, such as
positioning and sizing objects. When selecting an image, you can use the Selection tool to select either the frame or
the image within the frame.
A
B
C
Using the Selection tool to edit images
A. The content grabber appears when you mouse over an image. B. Click the content grabber to select the contents. C. Click outside the
content grabber to select the frame.
• You can use the Direct Selection tool to select the contents of a container (such as an imported graphic) or
individual points on a path for tasks involving resizing imported graphics, drawing and editing paths, and editing text.
Note: An imported graphic is always contained within a frame. It’s possible to select the graphic and its frame, the graphic
only, or its frame only. The frame and bounding box of an imported graphic can be different sizes. To see how InDesign
indicates what’s selected, see “Modifying objects using graphics frames” on page 414.
Bounding box selected (left) compared to rectangular path selected (right)
With rectangular objects, it can be difficult to tell the difference between the object’s bounding box and the path of the
object itself. A bounding box always displays eight large hollow anchor points. A rectangular path always displays four
small anchor points (which can be hollow or solid).
More Help topics
“About paths and frames” on page 77
“Understanding paths and shapes” on page 323
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“Select nested or overlapping objects” on page 389
“Ruler guides” on page 49
“Keys for selecting and moving objects” on page 673
Selecting Objects video
Select a bounding box
For any object, you can select its bounding box—a rectangle that represents the object’s horizontal and vertical
dimensions. (For grouped objects, the bounding box is a dashed rectangle.) The bounding box is also called a
container. The bounding box makes it possible to quickly move, duplicate, and scale the object without having to use
any other tool. For paths, the bounding box makes it easy to work with an entire object without accidentally altering
the anchor points that determine its shape.
Note: For more precise moving and scaling, and for other modifications such as rotation, use the Control panel or the
Transform panel.
❖ Using the Selection tool
, do one of the following:
• Click the object. If the object is an unfilled path, click its edge. If the object is an image, click the content grabber to
select the bounding box of the image, or click outside the content grabber to select the frame.
• Drag a dotted selection rectangle or marquee around part or all of the object.
• With a graphic object or nested content selected, click the Select Container button
on the Control panel.
When you select one or more objects with the Selection tool, you see a bounding box that indicates the size of each
object. If you don’t see a bounding box when an object is selected, you may have selected the object using the Direct
Selection tool .
If you click a frame and it is not selected, the frame may be a locked item, it may be on a locked layer, or it may be a
master page item. See “Unable to select objects” on page 389.
Select a path or points on a path
Paths in InDesign are defined by anchor points, end points, and direction lines. You select anchor points and end
points using the Direct Selection tool.
A path with a single point selected (left) and multiple points selected (right)
1 Using the Direct Selection tool
, click the path to select it.
Notice how the tool changes when it’s above a path
or a point
.
2 Do any of the following:
• To select an individual point, click it.
• To select multiple points on the path, press Shift as you click each point.
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• To select all of a path’s points at once, click the point at the center of the object, or hold down Alt (Windows) or
Option (Mac OS) and click the path. If you direct-select any part of the object, the Select All command also selects
all the points.
Select text inside a frame
• To select text by dragging, click on a text frame using the Type tool. An insertion point appears.
• To create an insertion point in text, double-click a text frame using any selection tool. InDesign switches to the Type
tool automatically.
Select an object inside a frame
❖ Do any of the following:
• Click the object using the Direct Selection tool . The Direct Selection tool automatically changes to the Hand tool
when placed over a graphic object inside a frame (but not when placed over a non-graphic object, such as a path).
• If the object inside a frame is an image, click the content grabber to select the image.
Note: If you don’t want the content grabber to appear when you hover over an image, choose View &gt; Extras &gt; Hide
Content Grabber.
• With a frame selected, choose Select &gt; Content from the Object menu or the frame’s context menu.
• With a frame selected, click the Select Content button
on the Control panel.
Select multiple objects
• To select all the objects in a rectangular area, use the Selection tool
to select.
to drag a marquee over the objects you want
• To select nonadjacent objects, use the Selection tool to select an object and then press Shift as you click additional
objects. Clicking selected objects deselects them.
• To add more objects to a selection, press Shift as you use the Selection tool to drag a marquee over additional
objects. Dragging over selected objects deselects them.
You can use these same techniques with the Direct Selection tool to select objects nested inside groups or frames.
Select or deselect all objects
To deselect all objects on the spread and its pasteboard, choose Edit &gt; Deselect All. Or, with the Selection tool or Direct
Selection tool, click at least 3 pixels away from any object.
The Select All command has a different effect depending on the situation:
• If the Selection tool
boxes active.
is active, all paths and frames on the spread and pasteboard are selected, with their bounding
• If the Direct Selection tool is active and an object is direct-selected, Select All selects all the anchor points of that
object but does not select any other object. If nothing is selected, Select All selects all the path objects on the spread
and pasteboard.
• If the Type tool is active and there is an insertion point in a text frame (indicated by a flashing vertical line), Select
All selects all text in that text frame and any text frames threaded to it, but selects no other objects.
• If an object in a group is selected, Select All selects the rest of the objects in the group but no other objects on the
spread.
1 Select the tool you want to use. If desired, select an object or place the insertion point in a text frame.
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2 Choose Edit &gt; Select All.
Note: The Select All command doesn’t select nested objects, objects that are positioned on locked or hidden layers, master
page items that are not overridden on document pages, or objects on other spreads and pasteboards (except for threaded
text).
Unable to select objects
Not being able to select an object may be the result of the following issues:
• The object is covered by another object in a stack. Hold down Ctrl (Windows) or Command (Mac OS), and then
click the same place repeatedly until you’ve selected the frame or group you want. See “Select nested or overlapping
objects” on page 389.
• The object is a master page item, as indicated by a dotted border. To select a master page item, either turn to the
master page that is applied to the document page, or override the master page item. See “Override a master item”
on page 69.
• The object is locked using the Object &gt; Lock command. Choose Object &gt; Unlock All On Spread. See “Lock or
unlock objects” on page 412.
• The object is on a locked layer. Click the lock icon next to the layer in the Layers panel to unlock the layer. See “Lock
or unlock layers” on page 76.
Select nested or overlapping objects
When a frame contains an object, the contained object is said to be nested inside a container, or frame. Three common
kinds of nesting are: paths inside frames, frames inside frames, and groups inside groups. Always be aware of exactly
which objects or object attributes you need to select, which ones are currently selected, and which selection tools to use
to modify selections.
You control selections in nested groups using the Direct Selection and Selection tools, as well as the Select Content and
Select Container buttons. You can select text characters using the Type tool at any time, no matter how deeply a text
frame is nested.
Select nested, grouped, or overlapping objects
When you nest objects or place objects on top of each other on the same layer, it can be difficult to select a single object
or frame. The Object menu and context menu contain selection options to make it easier to select the object you want.
A
B
C
Selecting nested objects
A. Image selected B. Path of the frame containing the image is selected C. Group containing frame selected
Opening the Info panel makes it easier to see which object is selected.
1 Using the Direct Selection tool
, click the nested or grouped object.
2 If you can’t select the object you want, use one of the following techniques:
• Choose Object &gt; Select, and choose one of the selection options.
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• Position the pointer over the object you want to select and right-click (Windows) or Control-click (Mac OS) to
display the context menu. Then choose Select and the desired selection option.
Note: Selecting objects using the context menu commands is not the same as using the Object &gt; Select menu commands.
From the context menu, the selections are based on the exact point where you clicked to display the context menu. This
means that the next object above or below the mouse click would be selected, rather than the next object in the stacking
order.
• Hold down Ctrl (Windows) or Command (Mac OS), and then click the same place repeatedly until you’ve selected
the frame or group you want. (Do not click an anchor point.)
• To select all objects in a group individually, use the Selection tool to select the group, click the Select Content
button
on the Control panel, and then choose Edit &gt; Select All.
3 To progressively drill down or up through a stack of objects, do one of the following:
• Right-click (Windows) or Control-click (Mac OS), and then choose an option from the Select context menu.
• Choose Object &gt; Select &gt; Next Object Below or Next Object Above repeatedly until the object you want is selected.
When you reach the beginning or end of the stack, the selection doesn’t change.
• Hold down Ctrl (Windows) or Command (Mac OS) and click the stack to drill down from the top of the stack. When
you reach the end of the stack, the selection starts over at the top of the stack. To drill up from the bottom of the
stack, hold down Alt+Ctrl (Windows) or Option+Command (Mac OS) and click the stack using the Selection tool.
Note: The context menu options are sensitive to the location of the pointer.
Select multiple nested objects
1 Using the Direct Selection tool
, click the nested object.
2 Hold down Shift as you click each additional nested object you want to select.
Selection options
Options on the Select submenu (choose Object &gt; Select or choose Select on the context menu) help you select
overlapping, nested, or grouped objects. The availability of some options depends on the type of objects you’re working
with. When using the context menu, the object selected depends on the position of the pointer.
First Object Above Selects the object at the top of the stack.
Next Object Above Selects the object just above the current object.
Next Object Below Selects the object just below the current object.
Last Object Below Selects the object at the bottom of the stack.
Content Selects the content of the selected graphics frame, or, if a group is selected, selects an object within the group.
You can also click the Select Content button in the Control panel.
Container Selects the frame enclosing the selected object, or, if an object within a group is selected, selects the group
that contains it. You can also click the Select Container button in the Control panel.
Previous Object / Next Object Selects the next or previous object in the group if the selected object is part of a group,
or, if an ungrouped object is selected, selects the next or previous object on the spread. Shift-click to skip by five. Ctrlclick (Windows) or Command-click (Mac OS) to select the first or last object in a stack.
Arrange objects in a stack
Overlapping objects are stacked in the order in which they are created or imported. You can use the Arrange submenu
to change the stacking order of objects.
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The Layers panel also helps determine the stacking order of objects. The order of each layer in the Layers panel
determines whether objects in a layer appear in front of or behind objects on other layers. The order of objects within
each layer determines the stacking order of those objects within that layer. You can drag the objects within a layer or
use the Object &gt; Arrange menu commands to control stacking within each layer. If you haven’t created any layers, your
document contains just one stack of objects on the single default layer. Objects on masters exist at the back of each
named layer.
Note: Grouping objects might change their stacking order (in relation to ungrouped objects).
1 Select the object you want to move forwards or backwards in a stack.
2 Do any of the following:
• To move a selected object to the front or back of a stack, choose either Object &gt; Arrange &gt; Bring to Front or
Object &gt; Arrange &gt; Send to Back.
• To move a selected object forward or backward past the next object in a stack, choose either Object &gt; Arrange &gt;
Bring Forward or Object &gt; Arrange &gt; Send Backward.
• In the Layers panel, click the disclosure triangle next to a layer, and then drag objects within the layer to change
their stacking order.
Transforming objects
Transform panel overview
Use the Transform panel to view or specify geometric information for any selected object, including values for
position, size, rotation, and shearing. Commands in the Transform panel menu provide additional options and quick
ways to rotate or reflect objects.
Note: The buttons and panel menu commands in the Transform panel are also available in the Control panel.
C
A
B
Transform panel
A. Reference point locator B. Constrain Proportions icon C. Panel menu
Display the Transform panel
❖ Choose Window &gt; Object &amp; Layout &gt; Transform.
View geometric information about objects
When you select an object, its geometric information appears in the Transform and Control panels. If you select
multiple objects, the information represents all selected objects as a unit.
❖ Select one or more objects, and display the Transform panel (Window &gt; Object &amp; Layout &gt; Transform).
Position information is relative to the ruler origin and the reference point of the object. Angle information is relative
to the pasteboard, where a horizontal line has an angle of 0&deg;.
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Change transformation settings
The Transform panel includes several options that determine how objects are transformed and how transformations
are displayed in the Transform and Control panels.
More Help topics
“Keys for transforming objects” on page 674
“Determine how scaling is tracked” on page 404
Change the reference point for selected objects
All transformations originate from a fixed point on or near the object, called the reference point. The reference point
is marked by an icon
when a transformation tool, such as the Scale tool, is active.
Reference point moved to center (left), and object scaled (right)
❖ Do one of the following:
• To specify a different reference point for the selected object, click any of the nine points on the reference point
locator
in the Transform or Control panel.
As you click different reference points on the Transform or Control panel (top left and right), the reference point for the selected object changes
(bottom left and right).
• To move the selected object’s reference point to a specific location, select the Rotate tool , the Scale tool , or
the Shear tool , position the tool over the reference point icon, and then drag it to a new location. Or, with one
of these tools selected, click anywhere on the object or page. The reference point moves to that location.
Note: When a transform tool is selected, clicking away from the object does not deselect it— it moves the reference point.
Choose Edit &gt; Deselect All to deselect an object.
The last-selected reference point on the reference point locator becomes the new default reference point for all tools
and objects. If you drag an object’s reference point icon to a custom location (not on an anchor point), the panel
reference point returns to the default position once the current object is no longer selected. InDesign preserves the
default reference point position for new documents so you don’t have to reset it.
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Change the information displayed for nested objects
The Transform panel orients an object to a spread’s pasteboard, where a horizontal line has a rotation angle of 0&deg;. By
default, this is true even if the object is nested inside a transformed container object (that is, if the object is part of a
transformed group or pasted inside a transformed frame). For example, if you paste an unrotated graphic inside a
frame, rotate the frame 10&deg; with the graphic inside, and then select the graphic using the Direct Selection tool, the
Transform panel displays the graphic’s rotation angle as 10&deg;.
10
Object’s rotation angle displayed relative to pasteboard
If you prefer, you can deselect the Transformations Are Totals command to see the same information relative to the
nested object’s container. In the example above, if you deselect Transformations Are Totals, the Transform panel
displays the graphic’s rotation angle as zero (the angle it has relative to its rotated container).
20
Object’s rotation angle displayed relative to container object
1 Open the Transform panel or Control panel.
2 In the Transform or Control panel menu, do one of the following:
• Leave Transformations Are Totals selected (the default) to display transformation values for nested objects relative
to the pasteboard.
• Deselect Transformations Are Totals to display rotate, scale, and shear values for nested objects relative to the
container object.
Measure the position of selected objects
The Show Content Offset command determines the appearance of the X and Y values in the Transform panel for
nested objects selected with the Direct Selection tool . The selected reference point in the reference point locator of
the Transform and Control panels determines which of the nine reference points on the selected object is being
compared to the zero point of the document or to the zero point of a container frame. The zero point of a container
frame is always its upper-left corner.
The position of selected objects is measured from three positions:
• The position of the container frame in relation to the zero point of the document. With Show Content Offset turned
on or off, select the container frame using the Selection tool.
• The position of the nested object in relation to the zero point of the document. Turn off Show Content Offset and
select the nested object using the Direct Selection tool.
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• The position of the nested object in relation to the zero point (upper-left corner) of its container frame. Turn on
Show Content Offset and select the nested object using the Direct Selection tool.
Parent frame’s position displayed relative to zero point of document
Nested object’s position displayed relative to zero point of document
Nested object’s position displayed relative to container frame
If Show Content Offset is selected, the X and Y values of the embedded object appear relative to the container object,
and the X/Y icons in the Transform panel change to X+/Y+. If this command is deselected, the nested object values
appear relative to the rulers.
❖ In the Transform or Control panel menu, select or deselect Show Content Offset.
Include or exclude stroke weight in measurements
Stroke weight can affect an object’s size and position. You can change the stroke’s alignment and then choose whether
the Transform panel measures an object’s size and position from the center or from the edge of its stroke. For
information on changing stroke alignment, see “Stroke panel options” on page 342.
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Note: This option does not change how stroke weights are affected when scaling a frame, only whether any changes affect
measurements.
❖ In the Transform or Control panel menu, do one of the following:
• Select Dimensions Include Stroke Weight when you want panel measurements to represent the outer edge of an
object’s stroke. For example, if one frame is 2 points shorter than the other, but the shorter frame’s stroke is 2 points
thicker, this setting will cause both frames to display the same height values in the Transform and Control panels.
• Deselect Dimensions Include Stroke Weight when you want the panel measurements to represent an object’s path
or frame regardless of its stroke weight. For example, two frames of the same height will display the same height
values in the Transform and Control panels, regardless of differences in their stroke weights.
Transform objects
You can modify an object’s size or shape, and change its orientation on the pasteboard, by using tools and commands.
The toolbox includes four transformation tools—the Rotate, Scale, Shear, and Free Transform tools. In addition, you
can use the Selection tool to transform objects. All transformations, with the addition of reflection, are available in the
Transform and Control panels, where you can precisely specify transformations.
A
C
B
C
A
C
B
Transformation tools (top) compared to Transform panel (bottom)
A. Rotation options B. Shearing options C. Scaling options
When transforming objects, note the following:
• The results of a transformation can differ significantly, depending on what is selected. For example, when you
rotate an image, what gets rotated depends on whether you select the image, the frame, or the frame and the image.
Use the Selection tool to transform (rotate, scale, or shear) an entire path and its content (click outside the
content grabber); use the Direct Selection tool to transform just the path without its content or the content
without its path. To transform the content without its path, make sure that all anchor points are selected.
To resize both the frame and content, use the Scale X Percentage and Scale Y Percentage fields, not the W and H
fields. The W and H fields change only the selected frame or content, not both. Keep in mind that you’re not limited
to specifying percentages in the Scale fields. You can type dimensions by including the unit of measurement, such as
“6p.”
• A transformation affects all selected objects as a single unit. For example, if you select multiple objects and rotate
them 30&deg;, they all rotate around one reference point. If you want to rotate each selected object 30&deg; around its own
reference point, you must select and rotate them individually.
• When transforming type, you can use either of two selection methods: Use the Selection or Direct Selection tool to
select an entire text frame or text converted to outlines, and then use the transformation tools; or use the Type tool
to select text or to click an insertion point in a text frame, and then specify transformations in the Transform panel,
Control panel, or dialog boxes available when you double-click a tool. In both cases, the transformation affects the
entire text frame.
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Frames and objects
• When you rotate, skew, or scale a group, the settings apply to the entire group, as well as to the individual objects
in the group. For example, if you rotate a group 30&deg;, the rotation value in the Transform or Control panel is 30&deg;
whether you select the group itself or direct-select an object in the group.
More Help topics
“Change transformation settings” on page 392
“Gallery of transformation tools” on page 27
“Keys for transforming objects” on page 674
“Repeat transformations” on page 407
“Clear transformations” on page 407
Transform objects with the Transform panel
Use the selection tools to determine whether the content and frame are transformed together or separately.
1 Select an object to transform.
• To transform both the frame and its content, use the Selection tool to select the frame.
• To transform the content without transforming its frame, use the Direct Selection tool
or use the Selection tool to click the content grabber of an image.
to direct-select the object,
• To transform a frame without transforming the content, direct-select the frame, and select all the anchor points.
2 In the Transform panel or Control panel, specify the reference point for the transformation.
All values in the panel refer to the bounding boxes of the objects. X and Y values refer to the selected reference point
on the bounding box relative to the ruler origin.
3 Do any of the following:
• Enter new values in the text boxes.
• Choose values from available pop-up menus.
• Choose commands from the panel menu.
Note: To maintain the object’s proportions when using the Scale X Percentage and Scale Y Percentage options, click the
Constrain Proportions icon in the panel. When the option is not selected, dots appear on both sides of the icon (like a
broken chain link). You can also specify dimensions rather than percentages by specifying the unit of measurement, such
as 6p.
4 Press Tab, Enter (Windows), or Return (Mac OS) to apply the change.
Transform objects with the Selection tool
Use the Selection tool to move, resize, and rotate objects.
1 Using the Selection tool
, select an object. To transform an image within a frame, click the content grabber that
appears when you hold the pointer over an image.
2 Do any of the following:
• To move objects, click anywhere within the bounding box, and then drag.
• To scale objects, hold down Ctrl (Windows) or Command (Mac OS), and drag any bounding box handle until the
object is the desired size. Include the Shift key to preserve the selection’s proportions. Include the Alt (Windows)
or Option (Mac OS) key to scale objects from the center.
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Frames and objects
• To rotate objects, position the pointer anywhere outside a bounding box handle. When the pointer changes to
drag until the selection is at the desired angle of rotation.
,
• To reflect objects, drag a handle of the bounding box past the opposite edge or handle, until the object is at the
desired level of reflection.
Transform objects with the Free Transform tool
The Free Transform tool works the same way it does in Adobe Photoshop and Adobe Illustrator, by providing a way
to perform any transformation with just one tool. You can combine transformations, such as rotating and scaling,
while the Free Transform tool is active.
You can use keyboard shortcuts to instantly switch among the Free Transform tool (press E), the Selection tool (V),
and the Direct Selection tool (A).
1 Using the appropriate selection tool, select the object or objects to transform.
2 Select the Free Transform tool
.
• To move objects, click anywhere within the bounding box, and then drag.
• To scale objects, drag any bounding box handle until the object is the desired size. Shift-drag the handle to preserve
the selection’s proportions.
• To scale objects from the center of the bounding box, Alt-drag (Windows) or Option-drag (Mac OS).
• To rotate objects, position the pointer anywhere outside the bounding box. When the pointer changes to
until the selection is at the desired angle of rotation.
, drag
• To reflect objects, drag a handle of the bounding box past the opposite edge or handle, until the object is at the
desired level of reflection.
• To shear objects, begin dragging a handle, and then hold down Ctrl (Windows) or Command (Mac OS). Hold
down Alt+Ctrl (Windows) or Command+Option to shear from both sides of the object.
Rotate objects
You can rotate objects using any of several methods.
More Help topics
“Change transformation settings” on page 392
“Use smart guides” on page 54
Rotate an object using the Rotate tool
1 Select an object to rotate. To rotate both the frame and its content, use the Selection tool to select the frame. To
rotate the content without rotating its frame, click the Content Grabber or use the Direct Selection tool to select the
object. To rotate a frame without rotating the content, direct-select the frame, and select all the anchor points.
2 Select the Rotate tool
.
3 If you want to use a different reference point for the rotation, click where you want the reference point to appear.
4 Position the tool away from the reference point, and drag around it. To constrain the tool to multiples of 45&deg;, hold
down Shift as you drag. For finer control, drag farther from the object’s reference point.
You can also rotate by using the Free Transform tool.
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Frames and objects
If Smart Guides (and Smart Dimensions) are turned on, visual clues indicate when you’re rotating an object the same
degree as a nearby rotated object. For example, if you rotate one object on your page 24 degrees, a rotation icon appears
as you rotate another object close to 24 degrees.
Rotate an object using the Selection tool
❖ Using the Selection tool, position the pointer anywhere outside a selection handle. When the pointer changes
to
, drag until the selection is at the desired angle of rotation.
Rotate an object using the Transform or Control panel
1 Select an object to rotate. To rotate both the frame and its content, use the Selection tool
to select the frame. To
rotate the content without rotating its frame, click the Content Grabber or use the Direct Selection tool to select the
object. To rotate a frame without rotating the content, direct-select the frame, and select all the anchor points.
2 Do any of the following:
• To rotate clockwise or counterclockwise in 90&deg; increments, click either of the Rotate buttons in the Control panel.
• To rotate by a preset angle, choose an angle from the Rotation Angle
panel.
pop-up menu in the Transform or Control
• In the Rotation Angle box on the Transform or Control panel, type a positive angle to rotate selected objects
counterclockwise, or type a negative angle to rotate selected objects clockwise, and then press Enter (Windows) or
Return (Mac OS).
• To create a copy of the object with the new rotation applied to the copy, type a value in the Rotation Angle box on
the Transform panel and then hold down Alt (Windows) or Option (Mac OS) as you press Enter.
When you rotate a single object, the specified value remains displayed in the Transform or Control panel. When you
rotate multiple objects, the Rotation Angle is reset to 0 degrees, even though the objects are rotated.
Rotate an object using the Rotate command
You can use the Rotate command to rotate an object by a specific amount. This command also lets you rotate a copy
of the selected object, leaving the original in place.
1 Select an object to rotate. To rotate both the frame and its content, use the Selection tool to select the frame. To
rotate the content without rotating its frame, direct-select the object. To rotate a frame without rotating the content,
direct-select the frame, and select all the anchor points.
2 Do one of the following to open the Rotate dialog box:
• Choose Object &gt; Transform &gt; Rotate.
• Double-click the Rotate tool
.
• Select the Rotate tool and Alt-click (Windows) or Option-click (Mac OS) on or near the object to select a new
reference point.
3 Enter the rotation angle, in degrees, in the Angle box. Enter a negative angle to rotate the object clockwise; enter a
positive angle to rotate the object counterclockwise.
4 Do one of the following:
• To preview the effect before you apply it, select Preview.
• To rotate the object, click OK.
• To rotate a copy of the object, click Copy.
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Frames and objects
Move objects
You can move objects by cutting them from one spot and pasting them into another, by entering new horizontal and
vertical coordinates, or by dragging them. Dragging also allows you to move a copy of an object or to copy objects
between software applications.
The Smart Guides feature makes it easy to move objects to precise locations in your layout. As you drag an object,
temporary guides appear, indicating that the object you’re moving is aligned with an edge or center of the page or with
another page item.
More Help topics
“Transform objects” on page 395
“Create masters” on page 64
“Change transformation settings” on page 392
“Use smart guides” on page 54
Move objects
For best results, use the Selection tool to move multiple objects. If you use the Direct Selection tool to select multiple
objects or paths, dragging moves only the selected graphic, path, or anchor points.
1 Select an object to move. To move both the frame and its content, use the Selection tool
to select the frame. To
move the content without moving its frame, direct-select the object, or click the content grabber when you mouse
over an image. To move a frame without moving the content, direct-select the frame, and select all the anchor
points.
2 Do one of the following:
• To paste the object (or a copy of it) in a new location, choose Edit &gt; Cut or Edit &gt; Copy. Target the destination
spread, and choose Edit &gt; Paste. The objects appear in the center of the target spread.
• To paste a copy at the same position as the original, choose Edit &gt; Copy. Then, choose Edit &gt; Paste In Place. (To
offset the copy from the original, nudge it using the arrow keys.)
If you want an object to appear in the same position on many pages, consider creating a master page and paste the
object on it.
• To move an object to a specific numeric location, type a value for each of the X (horizontal) or Y (vertical) position
options in the Transform or Control panel. Then press Enter (Windows) or Return (Mac OS).
• To nudge an object slightly in one direction, press or hold an arrow key; to nudge an object ten times as far, hold
down Shift as you press an arrow key.
• To move an object by dragging, drag the object to a new position. Shift-drag to constrain the movement of the
object horizontally, vertically, or diagonally (in multiples of 45&deg;).
Drag the content grabber to move an image within its frame.
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Frames and objects
Move objects by a precise amount
You can use the Move command to move an object by a specific amount. This command also lets you move a copy of
the selected object, leaving the original in place.
1 Select an object to move. To move both the frame and its content, use the Selection tool to select the frame. To move
the content without moving its frame, direct-select the object. To move a frame without moving the content, directselect the frame, and select all the anchor points.
2 Choose Object &gt; Transform &gt; Move, or double-click the icon for the Selection or Direct Selection tool in the
toolbox.
3 In the Move dialog box, do one of the following:
• Enter the horizontal and vertical distances that you want the object to move. Positive values move the object down
and to the right of the x axis; negative values move the object up and to the left.
• To move an object a precise distance and angle, enter the distance and angle for the move. The angle you enter is
calculated in degrees from the x axis. Positive angles specify a counterclockwise move; negative angles specify a
clockwise move. You can also enter values between 180&deg; and 360&deg;; these values are converted to their corresponding
negative values (for example, a value of 270&deg; is converted to –90&deg;).
4 Do any of the following:
• To preview the effect before you apply it, select Preview.
• To move the object, click OK.
• To move a copy of the object, click Copy.
Move objects to a precise location
1 Select an object to move.
2 If you want to use a different reference point for the move, click where you want the reference point to appear.
For example, if you want to move the object to the upper-left corner of the page, select the upper-left reference point.
3 In the X and Y fields on the Transform panel, enter the coordinates where you want the selection to be moved.
Specify the distance objects move when nudged
1 Choose Edit &gt; Preferences &gt; Units &amp; Increments (Windows) or InDesign &gt; Preferences &gt; Units &amp; Increments
(Mac OS).
2 For Cursor Key, specify the distance you want each press of an arrow key to move selected objects, and then
click OK.
If you hold down Shift while moving a selection, the selection moves ten times the distance you specify here.
Scaling vs. resizing objects
Resizing and scaling are different actions in InDesign. Resizing is simply changing the Width and Height values of an
object. Scaling involves using a percentage value related to the original scale (100%) of the frame.
The difference between resizing and scaling isn’t always apparent. A good way to see the difference is to resize and scale
a text frame that has a stroke applied to it. When you double the size of the text frame, the text size and stroke weight
remain the same. When you double the scale of the text frame, the text size and stroke weight also double.
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Frames and objects
Resizing a frame
By default, when the frame (and not the frame contents) is selected, changing the values of the Width and Height fields
changes only the frame, not its contents, regardless of which selection tool is active.
Scaling a frame and its contents
When the frame is selected with the Selection tool, changing the values of the Scale X Percentage and Scale Y
Percentage fields changes the frame and its contents. If Auto-Fit is selected, the frame and its contents are resized
together.
Resizing or scaling frame contents
If you want to change only the content (resize or scale) of a frame, click the Content Grabber or use the Direct Selection
tool to select the contents. Once selected, you can use the Width and Height fields or the Scale fields, depending on
your preference.
Overriding defaults
If you want to scale the frame or its contents by a percentage and have the results returned in the current measurement
system, you can enter in a number with the percent sign to override the default measurement system. For example, if
the current width is 12p, and you want the new width to be 75% of the current value, you can enter 75% in the Width
field. After you press Enter, the new value for the Width displays as 9p.
Similarly, you can use other measurement system values if you want to scale to a specific increment but have the results
display in percent of the original. For example, you can replace 100% with 9p, and InDesign figures out which
percentage is required to make it that width/height.
More Help topics
“Resize objects” on page 401
“Scale objects” on page 402
Resize objects
Dragging the handle of a frame that includes contents, such as an imported graphic, does not resize the contents by
default. It’s important to understand that the content and the container frame are separate items, each with its own
bounding box. Simply dragging the frame of an imported graphic will either crop the graphic or leave a blank space
outside the graphic, depending on which direction you drag. Being able to modify the frame apart from the contents
adds flexibility, but it may take some time to get used to.
The Smart Guides feature makes it easy to resize objects based on other items in your layout. As you resize an object,
temporary guides appear, indicating that the object is aligned with an edge or center of the page or is the same height
or width as another page item.
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Frames and objects
A
B
C
Resizing an imported graphic
A. Frame selected with Selection tool B. Frame resized C. Frame and content scaled
• To resize a frame, drag any handle using the Selection tool. If you hold down Ctrl (Windows) or Command
(Mac OS) while dragging, the frame and the content are scaled. Adding the Shift key scales proportionally.
Note: If Auto-Fit is selected, resizing the frame resizes the image within the frame.
• To resize the content of a graphics frame, use the Selection tool to click the content grabber or direct-select the
graphic, and then drag any of the graphics frame handles.
• To resize a frame or its content to a precise size, select the object and enter the size in the width (W) or height (H)
fields on the Control panel.
To maintain the original proportions of the object when using the Control panel, make sure the Constrain Proportions
icon is selected.
• To resize both the frame and content, use the Scale X Percentage and Scale Y Percentage fields, not the W and H
fields. The W and H fields change only the selected frame or content, not both. Rather than specifying percentages,
you can type dimensions by including the unit of measurement, such as “6p.”
• To resize a frame or its content to a percentage of its current size, select the object and enter the percentage in the
width or height fields on the Transform panel.
• To create a copy of the selected object with the new size applied to the copy, type a value in the width or height fields
on the Transform panel and then hold down Alt (Windows) or Option (Mac OS) as you press Enter.
After you resize a frame or object, you can use a fitting option (Object &gt; Fitting) to fit the content to the frame or the
frame to the content.
More Help topics
“Scale objects” on page 402
“Scaling vs. resizing objects” on page 400
“Use smart guides” on page 54
Scale objects
Scaling an object enlarges or reduces it horizontally (along the x axis), vertically (along the y axis), or both horizontally
and vertically, relative to the reference point you specify.
By default, InDesign scales strokes. For example, if you scale a selected object with a 4-point stroke by 200%, the Stroke
panel indicates an 8-point stroke and the stroke visibly doubles in size. You can change the default stroke behavior by
deselecting Adjust Stroke Weight When Scaling in the Transform or Control panel menu.
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Frames and objects
More Help topics
“Scale type” on page 241
“Keys for transforming objects” on page 674
“Scaling vs. resizing objects” on page 400
“Change transformation settings” on page 392
Scale an object using the Selection tool
❖ To scale the content and frame simultaneously, use the Selection tool to select the object and hold down Ctrl
(Windows) or Command (Mac OS). Add the Shift key to resize the object proportionally.
Scale an object using the Scale tool
1 Select an object to scale. To scale both the frame and its content, use the Selection tool to select the frame. To scale
the content without scaling its frame, click the Content Grabber to direct-select the object. To scale a frame without
scaling the content, direct-select the frame, and select all the anchor points.
2 Select the Scale tool
.
3 Position the Scale tool away from the reference point and drag. To scale the x or y axis only, start dragging the Scale
tool along one axis only. To scale proportionally, hold down Shift as you drag the Scale tool. For finer control, start
dragging farther from the object’s reference point.
You can also scale by using the Free Transform tool.
Scale an object using the Transform panel
To maintain the original proportions of the object when using the Transform panel, make sure the Constrain
Proportions icon is selected.
1 Select an object to scale. To scale both the frame and its content, use the Selection tool to select the frame. To scale
the content without scaling its frame, direct-select the object. To scale a frame without scaling the content, directselect the frame, and select all the anchor points.
2 In the Transform or Control panel, do one of the following:
• Choose a preset percentage value in the Scale X Percentage
or Scale Y Percentage
pop-up menu.
• Type a percentage value (such as 120%), or a specific distance (such as 10p) in the Scale X Percentage or Scale Y
Percentage box, and then press Enter or Return.
Scale an object using the Scale command
1 Select an object to scale. To scale both the frame and its content, use the Selection tool to select the frame. To scale
the content without scaling its frame, direct-select the object. To scale a frame without scaling the content, directselect the frame, and select all the anchor points.
2 Do one of the following to open the Scale dialog box:
• Choose Object &gt; Transform &gt; Scale.
• Double-click the Scale tool
.
• Select the Scale tool and Alt-click (Windows) or Option-click (Mac OS) on or near the object to select a new
reference point.
3 Type a percentage value in the Scale X or Scale Y box.
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Frames and objects
To maintain the original proportions of the object when using the Transform panel, make sure the Constrain
Proportions icon is selected.
4 Do any of the following:
• To preview the effect before you apply it, select Preview.
• To scale the object, click OK.
• To scale a copy of the object, click Copy.
Determine how scaling is tracked
You can determine how scaling is tracked in the interface. If the Apply To Content preference option is selected in
General preferences, scaling values are reset to 100% in the Transform panel after the object is scaled. If Adjust Scaling
Percentage is selected, scaling values remain as specified (such as 125%).
With multiple objects selected, the scaling value will always display as 100%. However, you can select objects
individually to see the applied effect of the transform (such as 125%) if Adjust Scaling Percentage is selected.
1 Choose Edit &gt; Preferences &gt; General (Windows) or InDesign &gt; Preferences &gt; General (Mac OS).
2 Under When Scaling, select Apply To Content or Adjust Scaling Percentage, and then click OK.
If Adjust Scaling Percentage is selected and you scale an object, you can choose Redefine Scaling As 100% from the
Transform or Control panel menu to reset the scaling percentages to 100%.
Adjust stroke weight when objects are scaled
❖ Select the Adjust Stroke Weight When Scaling option in the Transform or Control panel menu.
For example, if you scale a 4-point stroke by 200% when this option is turned on, the stroke weight becomes 8 points.
If you turn off this option, the object doubles in size but its stroke weight remains 4 points.
If this option is turned on and you scale an object disproportionally, InDesign applies the smallest stroke weight to all
sides. For example, suppose that you scale a selected object with a 4-point stroke only in the X direction by 200%.
Instead of applying an 8-point stroke in the X direction and a 4-point stroke in the Y direction, InDesign applies the
smaller value (4 points) to all sides.
Reset scaling value to 100%
In some cases, you may want to reset the Scale X and Scale Y values of an object to 100% without resizing the object.
For example, you may have opened a document from a previous version of InDesign that has non-100% scaling values,
or you may have scaled an object with the Adjust Scaling Percentage preference setting selected. When you choose this
command, the scaling values for all selected frames are reset to 100%. Choosing this command does not change the
size or appearance of objects.
1 Select one or more objects that have non-100% scaling values.
This command is dimmed if you direct-select an imported image or if an object has 100% scaling values.
2 Choose Redefine Scaling As 100% from the Transform or Control panel menu.
Note: Choosing this command may result in unexpected behavior with objects in transformed groups.
Reflect (flip) objects
Reflecting an object flips the object across an invisible axis at the reference point you specify. (See “Change
transformation settings” on page 392.)
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Frames and objects
Original object (top) reflected using Flip Horizontal (middle) and Flip Vertical (bottom)
The flip/rotate indicator (P) in the middle of the Control panel appears white with a black outline if an object is flipped.
If the object is not flipped, the indicator is solid black.
1 Select an object to flip. To flip both the frame and its content, use the Selection tool to select the frame. To flip the
content without its frame, direct-select the object. To flip a frame without its content, direct-select the frame, and
select all the anchor points.
2 Do one of the following:
• To reflect using the reference point as a horizontal axis, click the Flip Horizontal button in the Control panel.
• To reflect using the reference point as a vertical axis, click the Flip Vertical button in the Control panel.
You can also reflect objects by using the Selection tool or Free Transform tool to pull one side of an object’s bounding
box past the opposite side, or by typing negative values into the Scale X Percentage or Scale Y Percentage options in
the Transform or Control panel.
Shear (skew) objects
Shearing an object slants or skews it along its horizontal or vertical axis, and can also rotate both of the object’s axes.
Shearing is useful for:
• Simulating some types of perspective, such as isometric projection.
• Slanting a text frame.
• Creating cast shadows when you shear a copy of an object.
More Help topics
“Change transformation settings” on page 392
Shear an object
1 Select an object to shear. To shear both the frame and its c">

नमस्ते! मैं एक एआई चैटबॉट हूं जिसे विशेष रूप से Adobe InDesign CS5 User Manual के साथ आपकी सहायता करने के लिए प्रशिक्षित किया गया है. मैंने दस्तावेज़ की अच्छी तरह से समीक्षा की है और आपको आवश्यक सटीक जानकारी का पता लगाने या स्पष्ट और सरल शब्दों में सामग्री को समझाने में मदद कर सकता हूं. चाहे आप विशिष्ट सुविधाओं, समस्या निवारण चरणों या सामान्य उपयोग पर मार्गदर्शन की तलाश कर रहे हों, अपने प्रश्न पूछने के लिए स्वतंत्र महसूस करें. आप अपनी चिंताओं या जरूरतों के बारे में जितनी अधिक जानकारी प्रदान करेंगे, उतनी ही सटीक और प्रभावी ढंग से मैं आपकी सहायता कर सकता हूं!

सहायक टाइपिंग कर रहा है

सहायक कीबोर्ड से बाहर है. कृपया, बाद में फिर से प्रयास करें.

ऐसा लगता है कि आप एक ऐसे दस्तावेज़ पर पहुँच गए हैं जो कई भाषाओं में लिखा गया है, जिसमें एक ऐसी भाषा भी शामिल है जो आपकी मूल भाषा नहीं है. आप अपनी पसंद की भाषा के बिना पृष्ठों को अस्थायी रूप से छिपाने के लिए निम्न लिंक का उपयोग कर सकते हैं.

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