# InDesign CS5 Bible- P15

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## InDesign CS5 Bible- P15

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InDesign CS5 Bible- P15: InDesign is a powerful tool that serves as the standard program for professional layout and design. The latest version boasts a variety of updates and enhancements. Packed with real-world examples and written by industry expert Galen Gruman, this in-depth resource clearly explains how InDesign CS5 allows for better typography and transparency features, speedier performance, and more user control than any other layout program.

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## Nội dung Text: InDesign CS5 Bible- P15

1. Chapter 28: Creating Multidocument Projects Cross-Reference Paragraph numbers refers to the new numbered lists capability described in Chapter 22. Section numbers are covered in Chapter 5. Chapter 26 covers cross-references. n Specifying chapter numbers You can see and modify any chapter’s page numbering settings by selecting the chapter in the book panel and then choosing Document Numbering Options from the flyout menu. Figure 28.3 shows the dialog box. FIGURE 28.3 The Document Numbering Options dialog box The top half of the dialog box is the same as the Pages panel’s Numbering & Section Options dia- log box, and the bottom half — the Document Chapter Numbering area — lets you control the chapter numbering style and the chapter number itself. You have three options for chapter numbering: l You can force a chapter to have a specific number by selecting the Start Chapter Numbering option and entering a number in the adjacent field. l You can have the chapter use the same chapter number as the previous document (such as when you break a chapter into two documents) by selecting the Same as Previous Document in the Book option. l You can have InDesign automatically number the current document by incrementing from the previous document’s chapter number by selecting the Automatic Chapter Numbering option — this is selected by default. 655
3. CHAPTER Preparing for Color Prepress S ince their invention in the mid-1980s, desktop-publishing programs have broadened their features to cover more and more color publish- IN THIS CHAPTER ing needs. Many of the color-oriented features have caused consterna- Setting color calibration tion among professional color separators and printers who have seen defaults amateurs make a tough job worse or ruin an acceptable piece of work. This situation is familiar to anyone in desktop publishing in the early years when Setting up a monitor’s color the typographic profession looked on in horror at amateurs publishing docu- profile ments without understanding tracking, hyphenation, and many other funda- Applying color profiles to mental areas. imported images Some programs have added more and more high-end color prepress features. Altering color profiles for InDesign is one of those and offers the following: two types of trapping objects and documents engines; the ability to control trapping of individual objects and pages; the Applying color profiles during ability to apply color models to imported pictures to help the printer adjust printing the output to match the original picture’s color intent; and support for com- posite workflow, which creates files that have a version for output on a Proofing on-screen proofing printer such as a color inkjet and a version for output on an image- setter as film negatives or directly to plate. Understanding color traps Defining and applying trapping The perfect scenario for InDesign color output is that you’re using all Adobe presets software in their latest versions: Photoshop CS5 (12.0), Illustrator CS5 (15.0), and a PostScript Level 3 output device or PDF/X export file. Most people won’t have that perfect scenario, though, especially the PostScript Level 3 part; the output devices that commercial printers use are expensive and not replaced often, so many still use earlier versions of PostScript. And although companies such as Adobe want users to upgrade all their software every 18 months when the new releases come, the reality is that people tend to upgrade the tools they use the most, letting the others slide to save some money. So, you might well use Photoshop CS5 and InDesign CS5 but Illustrator CS3 and Acrobat Professional 8. 657
5. Chapter 29: Preparing for Color Prepress l Bridge CS5: Choose Edit ➪ Creative Suite Color Settings or press Shift+Ô+K or Ctrl+Shift+K. l Acrobat Professional 9: Choose Acrobat ➪ Preferences or press Ô+K on the Mac; choose Edit ➪ Preferences or press Ctrl+K in Windows and then go to the Color Management pane. Note that this pane’s appearance differs from the appearance of other CS5 applica- tions’ Color Settings dialog boxes. l Illustrator CS5: Choose Edit ➪ Color Settings or press Shift+Ô+K or Ctrl+Shift+K. l Photoshop CS5: Choose Edit ➪ Color Settings or press Shift+Ô+K or Ctrl+Shift+K. Note that there are no CMS controls for the Web-oriented Adobe Device Manager, Dreamweaver, Fireworks, or Flash Professional applications. If you use Adobe Creative Suite 5, you can ensure that all CS5 programs use the same CMS, ensur- ing color consistency for elements that move among Photoshop, Illustrator, Acrobat, and InDesign. To select the CMS, open the Adobe Bridge CS5 application and choose Edit ➪ Creative Suite Color Settings and then select the desired CMS settings and click Apply. I recommend that you first select the Show Expanded List of Color Settings Files option before you click Apply. Figure 29.1 shows the dialog box. FIGURE 29.1 Left: InDesign’s Color Settings dialog box lets you set application color defaults. Right: Set a consistent color management profile for all Creative Suite 5 programs using Adobe Bridge. 659
7. Chapter 29: Preparing for Color Prepress l In Windows 7, go to the Control Panel and click Adjust Screen Resolution in the Appearance and Personalization section. In the unnamed dialog box that appears, click Advanced Settings. Go to the Color Management pane and click the Color Management button. In the Devices pane that appears, select the Use My Settings for This Device option, then choose a new profile from the list (or click Add to add pro- files). The profiles are locked and stored in the Documents and Settings folder. l Use a calibration tool. Professional tools such as X-Rite’s $259 i1Display 2 colorimeter and software bundle, as well as lower-end tools such as X-Rite’s$89 Pantone Huey color- imeter, calibrate your monitor and create a color profile specifically for it. Note that color calibration software (such as that which comes with Mac OS X and Windows) without a hardware calibrator device (a colorimeter) is worthless; without being able to measure what colors actually come from your monitor, there’s no way the software can meaning- fully adjust the colors in your display. Also note that monitors vary their color display over their lifetime (they get dimmer), so you should recalibrate every six months. For most users, the variances in monitor brightness, color balance, and contrast — cou- pled with the varying types of lighting used in their workspace — mean that true calibra- tion is impossible for images created on-screen and displayed on-screen. Still, using the calibration feature makes the on-screen color closer to what prints, even if it’s not an exact match. l Work in a color-controlled room. In such a room, the lighting is at 5,000 degrees Kelvin, so the light reflecting off your color proofs matches that of a professional prepress operation. Monitors should also be set with a white point of D65 (something done with calibration hardware and software). Also try to buy monitors with a neutral, light-gray shade — or paint them that way — so that your brain doesn’t darken what you see on- screen to compensate for the off-white monitor frame right next to the screen image. Similarly, all furnishings should be neutral, preferably a light gray. Avoid having anything with a strong color in the room — even clothes. Note There’s long been a standard (the latest version of which is called ISO 3664) that has set 5,000 degrees Kelvin as the industry standard for proofing color printing. Basically, 5,000 degrees is filtered daylight in which the red, green, and blue components are equal. The International Prepress Association (www.ipa.org) has a lot of standards information and resources related to color accuracy. n Adjusting the on-screen display Several factors control how InDesign’s CMS works in practice, some related to the operating sys- tem’s settings and some to the settings in InDesign’s Color Settings dialog box. 661