Mike Rankin over at InDesign Secrets has a great article describing the inconsistent leading problem, why it happens and how to fix it.
Adobe InDesign’s Baseline Shift feature is designed for moving a character up or down a little bit—and it’s great for when a bullet is too low, or a trademark symbol needs to move down, or something like that. But it was not designed for setting the vertical position of a whole line or paragraph!
David Blatner has a great run-through at InDesign Secrets on how and when to properly adjust the Baseline of your text.
I was fortunate enough back in 1997 to be part of a team of Adobe beta testers for an app called K2, which would later become InDesign 1.0. Even having come from Pagemaker, then years of Quark use, and a buggy as hell K2 beta, I could see even then that InDesign was going to thoroughly destroy the competition and take over the industry in short order. It ended up doing just that—despite its lack of features in version 1.0.
James Wamser, an Adobe Certified Instructor, has put together a list of features Adobe has added to InDesign since… well, since ever. I’m not sure how useful his PDF will be to you, but it’s possible that you read through and find out about a feature you weren’t even aware of that’s been there for years.
Download the InDesign New Feature Guide, a 1.5MB PDF, for free.
…if you create the color in Illustrator, choose “Process Color” for the Color Type, select the “Global” option, and add the color to your Library, the color is added to the Library as a spot color, not a process color.
Keith Gilbert offers a simple and to-the-point explanation and solution to the problem.
When you’re working in a full color document in Adobe InDesign, you may occasionally want to see how the image looks in grayscale rather than full color. Normally this would require you to convert the image to grayscale in your favorite image editor. But you can quickly get an idea of how it will look without even leaving InDesign. Here’s how you do it: (more…)
InDesign offers the ability to outline your fonts before output, much the same way as Illustrator. Outlining the fonts (sometimes known as converting to paths) prevents the potential for missing font errors and a host of other issues. But it’s not without a catch. There was a time when service bureaus and printers wouldn’t accept your files unless the fonts were outlined, but for the most part, that time has long since passed.
InDesignSecrets has the definitive guide to outlining fonts that offers a new way to outline your fonts in Acrobat DC, preventing that gotcha when you do it in InDesign.
Adobe InDesign has a built-in way to create a user-definable grid of frames from a single existing frame in your document. Why you might want to do this, you ask? Think of what a pain it would be to place the same image in a grid of frames to make it look like a single large image. Or, maybe you just need a grid of text frames made in the exact space that an existing graphic frame resides in.
InDesign Secrets shared this excellent InDesign script that converts your layered InDesign file to a layered Photoshop file. Mike Rankin takes you through the simple steps in the article, but I’ll tell you from experience that this is the sort of thing that is best left to designers who are obsessive about details like naming and organizing their layers, regardless of what program they’re working in. And as Mike points out, this is something that is best left as the “final” step—as you won’t know (or have a whole lot of control over) what remains editable after the conversion.
Hey Adobe, see that button down there in the lower right corner of your highly-annoying Welcome screen that pops up every time I launch InDesign CC 2015—the one that says “Don’t Show Welcome Screen Again?” How about you fix whatever bug that tells the app to ignore the fact that I clicked that button the last time I launched the app, EVERY TIME I LAUNCH THE APP!!!
When you do manage to fix the bug, please share your findings with the Illustrator team, because it happens every time I launch that app as well.
To be fair, this only happens on two out of the three Macs I use on a regular basis. But all three Macs have exactly the same software installed, and are running the same OS versions.
When you live in the modern-day design world, it’s not often that you design a piece destined for print that won’t eventually be found online. To truly create a piece that can live in both worlds, you have to format the file to work in print, as well as multiple mobile screen sizes. This is where Adobe InDesign’s Alternate & Liquid Layout features can help.
I offer you two great articles over at CreativePro that cover the use of InDesign’s Alternate/Liquid Layouts.
Alternate Layouts lets you have multiple layouts—of different sizes and orientations—all contained in one single document. What’s that you say…you don’t create digital publications? Not to fear! Alternate Layouts are a great way to create multiple layouts—destined for print or digital or a little of each—that share the same text and images. Maybe you have a campaign that includes posters, postcards, table tents, and door hangers that all share common elements. Or maybe you have a print version and a digital version of your client’s novel and you want to avoid having to maintain two documents when the editorial changes start rolling in. This is a job for Alternate Layouts!