InDesign CS5 Bible- P9

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InDesign CS5 Bible- P9

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InDesign CS5 Bible- P9: 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- P9

  1. Part IV Graphics Fundamentals IN THIS PART Chapter 14 Importing Graphics Chapter 15 Fitting Graphics and Frames Together Chapter 16 Drawing Free-form Shapes and Curved Paths
  2. CHAPTER Importing Graphics Y ou can import graphics of all sorts into your InDesign documents in several ways. InDesign is particularly adept at importing graphics cre- IN THIS CHAPTER ated in popular Mac and Windows formats; and through the Mac and Preparing files for import from Windows Clipboards (copy and paste), you can import file formats — to a graphics programs limited degree — that InDesign doesn’t directly support. Understanding special Because InDesign has some built-in graphics features, as described in considerations for supported Chapters 15 and 16, you may be tempted to use InDesign as your graphics graphics formats program. Don’t. Its tools are fine for some work, such as creating shapes that Working with files across text wraps around, borders, and gradations of color — but InDesign is not platforms meant to be a professional graphics-creation tool. In fact, it’s designed to work closely with such professional tools, especially Adobe’s Illustrator and Understanding color issues Photoshop. Using the Place dialog box to Particularly for bitmap images such as scanned files and photographs, import graphics InDesign has few capabilities to apply special effects or otherwise manipulate Specifying import options for the image’s content, so you should do as much work as possible in your various graphics formats image editor before importing the file into InDesign. For example, you can resize, crop, rotate, and slant an imported image in InDesign, but you can’t Exporting graphics convert it from a full-color image into a duotone or change its line screen or Working with imported brightness and contrast. graphics’ layers The bottom line is this: Use your graphics program for creating and editing Figuring out other ways to original images and photos. Use InDesign’s graphics features to embellish import graphics your layout, rather than create original artwork. InDesign lets you easily open a graphics program to edit placed images from within InDesign. You can select the images and choose Edit ➪ Edit Original, or you can press and hold Option or Alt and then double-click the images. InDesign launches the programs that created the graphics; if you don’t own 357
  3. Part IV: Graphics Fundamentals those programs, InDesign launches compatible programs if you have them. For example, if you Option+double-click or Alt+double-click an Encapsulated PostScript (EPS) file in your layout that was created in Adobe Illustrator, but you use CorelDraw instead, InDesign launches CorelDraw on your system. New Feature The ability to open multiple files with the Edit Original command is new to InDesign CS5. n InDesign lets you specify what program you want to edit a graphic in — not have InDesign choose for you — by selecting the graphic and then choosing Edit ➪ Edit With. The submenu that appears lists all the programs that InDesign thinks can edit the graphic. Pick one or choose Other to browse your computer for a different application. Cross-Reference Transformations such as resizing, flipping, rotating, and skewing that you’re likely to apply to imported graph- ics use the same tools as for any InDesign objects, so all these transformations are covered in one place: Chapter 11. The effects that you can apply to any object, including graphics, are covered in Chapter 12. n Preparing Graphics Files InDesign offers support for many major formats of graphics files. Some formats are more appropriate than others for certain kinds of tasks. The basic rules for creating your graphics files are as follows: l Save line art in a format such as EPS, PDF, Adobe Illustrator, Windows Metafile (WMF), Enhanced Metafile (EMF), or PICT. (These object-oriented formats are called vector formats. Vector files are composed of instructions on how to draw various shapes.) InDesign works best with EPS, PDF, and Illustrator files. l Save bitmaps (photos and scans) in a format such as TIFF, Adobe Photoshop, PNG, JPEG, PCX, Windows Bitmap (BMP), GIF, Scitex Continuous Tone (SCT), or PICT. (These pixel-oriented formats are called bitmap or raster formats. They are composed of a series of dots, or pixels, that make up the image.) InDesign works best with TIFF and Photoshop files. Note that PICT files can be in vector or bitmap format depending on the original image and the pro- gram in which it was created or exported from. If you enlarge a PICT image and it begins to look blocky, it’s a bitmap. Similarly, EPS and PDF files can contain bitmap images as well as vector ones. InDesign can import InDesign files as if they were graphics; when importing a multipage docu- ment, you choose the page you want to import, as you can with PDF files. Note that InDesign files imported as graphics cannot be edited directly in the InDesign layout they were placed in; you must update the original file instead in a separate window. 358
  4. Chapter 14: Importing Graphics I suggest that you make EPS and TIFF formats your standards because these have become the stan- dard graphics formats in publishing. If you and your service bureau work almost exclusively with Adobe software, you can add the PDF, Illustrator, and Photoshop formats to this mix. (The Illustrator and PDF formats are variants of EPS.) If you use transparency in your graphics, it’s best to save them in Photoshop, Illustrator, or PDF formats because other formats (particularly EPS and TIFF) remove much of the transparency layering data that helps an imagesetter optimally repro- duce those transparent files. Graphics embedded in text files Modern word processors typically support inline graphics, letting you import a graphic into your word processor document and embed it in text. Word, for example, lets you import graphics, and InDesign, in turn, can import the graphics with your text. However, graphics embedded in your word-processor document through the long-defunct Mac OS 8 and 9’s Publish and Subscribe or OLE in Windows do not import into InDesign. These technologies are rarely used today, so you’ll encounter this issue only with old text files. Inline graphics import as their preview images, not as the original files. This means that in most cases, you get a much lower resolution version in your InDesign layout. Despite their limitations, using inline graphics in your word processor can be helpful when you’re putting together an InDesign document: Use the inline graphics whose previews are imported into InDesign as place- holders so that the layout artist knows you have embedded graphics. The artist can then replace the previews with the better quality originals. Tip If you find yourself using several graphics as characters (such as a company icon used as a bullet), use a font- creation program such as FontLab Studio or FontLab Fontographer to create a symbol typeface with those graphics. Then both your word processor and layout documents can use the same high-quality versions. Go to for links to these programs. n InDesign imports many file formats. If your graphics program’s format is not one of the ones listed here, chances are it can save as or export to one. In the following list, the text in monofont and parentheses is the file name extension common for these files on PCs. The graphics file formats InDesign imports include: l BMP: The native Windows bitmap format (.bmp, .dib). l EPS: The Encapsulated PostScript file format favored by professional publishers. A variant is called DCS, a color-separated variant whose full name is Desktop Color Separation (.eps, .dcs). l GIF: The Graphics Interchange Format common in Web documents (.gif). l Illustrator: The native format in Adobe Illustrator 5.5 through CS5 is similar to EPS (.ai). l InDesign: You can import other InDesign documents as if they were graphics; you can even choose which pages to import as if they were separate graphics (.indd). 359
  5. Part IV: Graphics Fundamentals l JPEG: The Joint Photographic Expert Group compressed bitmap format often used on the Web (.jpg or .jpeg). l PCX: The PC Paintbrush format that was very popular in DOS programs and early ver- sions of Windows; other formats have now largely supplanted it (.pcx, .rle). l PDF: The Portable Document Format that is a variant of PostScript (as EPS is) and is used for Web-, network-, and CD-based documents. InDesign CS5 supports PDF versions 1.3 through 1.8 (the formats used in Acrobat 4 through 9) (.pdf). l Photoshop: The native format in Adobe Photoshop 5.0 through CS5 (.psd). Note that InDesign cannot import Photoshop RAW format (.raw) files. l PICT: Short for Picture, the Mac’s native graphics format until Mac OS X (it can be bitmap or vector) that is little used in professional documents and is becoming rare even for inex- pensive clip art (.pct). l PNG: The Portable Network Graphics format introduced several years ago as a more capa- ble alternative to GIF (.png). l Scitex CT: The continuous-tone bitmap format used on Scitex prepress systems (.ct). l TIFF: The Tagged Image File Format that is the bitmap standard for professional image editors and publishers (.tif or .tiff). l Windows Metafile: The format native to Windows but little used in professional docu- ments. Since Office 2000, Microsoft applications create a new version called Enhanced Metafile (.wmf, .emf). Note Spot colors (called spot inks in Photoshop) are imported into InDesign when you place Photoshop, Illustrator, and PDF images into InDesign, as well as for InDesign documents imported as graphics. They appear in the Swatches panel, which is covered in Chapter 8. n InDesign does not support a few somewhat popular formats: l AutoCAD Document Exchange Format (DXF) l Computer Graphics Metafile (CGM) l CorelDraw l Eastman Kodak’s Photo CD l Scalable Vector Graphics (SVG) DXF and CGM are vector formats used mainly in engineering and architecture, CorelDraw is the native format of the leading consumer-oriented Windows illustration program, Photo CD is a bit- map format meant for electronically distributed photographs, and SVG is a Web-oriented format for rich vector graphics. 360
  6. Chapter 14: Importing Graphics InDesign’s Audio and Video Import Support You can also place video and audio files in your layout in the same way you place graphics. These files will print or display in print PDF files as if they were graphics: A frame of the video is used as the image, and audio files show as a speaker-icon image. Chapter 34 explains how to use these file format for interactive documents created in InDesign. The supported file formats are: l Video: Flash video (.flv and .f4v), QuickTime (.mov) movie, and Microsoft AVI (.avi) video. l Animation: Flash Player (.swf) presentation. l Audio: MP3 (.mp3) music, Apple AIFF (.aiff) music, and Microsoft WAV (.wav) sound. Cross-Reference InDesign can export JPEG, EPS, and PDF files. (Chapter 32 covers EPS and PDF export; Chapter 4 covers JPEG export.) n Issues with vector files Vector images are complex because they can combine multiple elements — curves, lines, colors, fonts, bitmap images, and even other imported vector images. This means that you can unknow- ingly create a file that can cause problems when you try to output an InDesign layout file using it. Thus, when dealing with vector formats, you need to keep several issues in mind. Embedded fonts When you use fonts in text included in your graphics files, you usually have the option to convert the text to curves (graphics). This option ensures that your text prints on any printer. (If you don’t use this conversion, make sure that your printer or service bureau has the fonts used in the graphic. Otherwise, the text does not print in the correct font; you likely get Courier or Helvetica instead.) If your graphic has a lot of text, don’t convert the text to curves — the image could get very com- plex and slow down printing. In this case, make sure that the output device has the same fonts as are in the graphic. PostScript files: EPS, DCS, Illustrator, and PDF PostScript-based files come in several varieties — EPS, DCS, Illustrator, and PDF — and because the format is a complex one, there are more issues to be aware of up front. EPS The usual hang-up with EPS files is the preview header. The preview is a displayable copy of the EPS file. Because EPS files are actually made up of a series of commands that tell the printer how to draw the image, what you see on-screen is not the actual graphic. Most programs create a preview 361
  7. Part IV: Graphics Fundamentals image for EPS files, but many programs have trouble reading them, especially if the EPS file was generated on a different platform. In those cases, they display an X or a gray box in place of the image. (The EPS file prints properly to a PostScript printer.) That’s why InDesign creates its own preview image when you import EPS files, lessening the chances of your seeing just an X or a gray box in place of the EPS preview. When you import EPS files, InDesign lets you control some settings if you select Show Import Options in the Place dialog box, as covered later in this chapter. You can apply Photoshop clipping paths in the file (see Chapter 15), choose the preview format, convert the PostScript vector infor- mation into a bitmap (a process called rasterization), or embed links to OPI high-resolution source images (see Chapter 31 for details on OPI). Tip In CorelDraw 6.0 and later, and in Adobe Illustrator 6.0 and later, be sure to set the EPS creation options to have no preview header. This keeps your files smaller. (In CorelDraw, export to EPS. In Illustrator 6.0 and later, save as Illustrator EPS. Note that Illustrator 5.x’s native format is EPS, so don’t look for an export or save-as option.) n Caution If you use transparency in your graphics, it’s best to leave the files in Adobe Illustrator format rather than save them to EPS. Chapter 31 explains the issues in more depth. n DCS The DCS variant of EPS is a set of five files: an EPS preview file that links together four separation files (one each for cyan, magenta, yellow, and black). Using this format ensures correct color sepa- ration when you output negatives for use in commercial printing. Service bureaus that do color correction often prefer these files over standard EPS files. One variation of the DCS file format, DCS 2.0, also supports spot color plates in addition to the standard plates for cyan, magenta, yellow, and black. You should not use DCS files if you intend to create composite proof files or in-RIP separations from InDesign — InDesign ignores the DCS separation files and just uses the preview file for out- put. (RIP stands for raster-image processor.) Cross-Reference Only use DCS files if you’re outputting separations (but not in-RIP separations). Chapter 30 covers this in detail. n Illustrator Adobe Illustrator files are very similar to EPS files except that they don’t have a preview header, and they better support transparency settings in graphics. There are no special concerns for Illustrator files; just be sure to note the font and color issues mentioned previously in this section. As described later in this chapter, InDesign can differentiate layers in an Illustrator file, letting you decide which ones to display in your layout. 362
  8. Chapter 14: Importing Graphics InDesign InDesign files contain all sorts of elements — text, graphics, and even sounds, hyperlinks, and movies — presented as one or more pages. When you import an InDesign file, InDesign treats it as a graphic and can place one or more of the file’s pages (if it has more than one page) into your doc- ument as a graphic. You can crop, resize, and do other such manipulations common to any graphic, but to change its text or other components you have to edit the original InDesign file. PDF PDF files can contain all sorts of elements — text, graphics, sounds, hyperlinks, and movies — presented as one or more pages with the visual richness of a print document. When you import a PDF file, InDesign treats it as a graphic and can place one or more of the PDF file’s pages (if it has more than one page) into your document as an uneditable graphic. You can crop, resize, and do other such manipulations common to any graphic, but you can’t work with the text or other of the imported PDF file’s components. Note Special PDF features, such as sounds, movies, hyperlinks, control buttons, and annotations, are ignored in the imported file. n Other vector formats If you’re outputting to negatives for professional printing, you should avoid non-PostScript vector formats, but they’re fine for printing to inkjet and laser printers. PICT The standard Mac format for drawings, PICT also supports bitmaps and was the standard format for Mac OS 8 and 9 screen-capture utilities. InDesign imports PICT files with no difficulty, but it cannot color-separate them for output to negatives. Because fonts in vector PICT graphics are auto- matically translated to curves, you need not worry about whether fonts used in your graphics reside in your printer or are available at your service provider. Windows Metafile The standard Windows format for drawing, Windows Metafile is similar to PICT in that it can con- tain bitmap images as well as vector drawings. However, InDesign ignores bitmap information in Windows Metafiles, stripping it out during import. Microsoft Office 2000 introduced a new ver- sion of this format, called Enhanced Metafile, which InDesign also supports. Issues with bitmap formats Bitmap (also called raster) formats are simpler than vector formats because they’re made up of rows of dots (pixels), not instructions on how to draw various shapes; but that doesn’t mean that all bit- maps are alike. 363
  9. Part IV: Graphics Fundamentals Professional-level bitmap formats Although InDesign supports a wide variety of bitmap formats, there is usually just one to worry about if you’re producing professional documents for output on a printing press: TIFF. (You may also use the Scitex CT format if you’re using Scitex output equipment to produce your negatives.) I suggest you convert other formats to TIFF using your image editor (Corel Photo-Paint and Adobe Photoshop, the two top image editors, import and export most formats, as do other modern image- editing programs) or a conversion program such as the Mac shareware program GraphicConverter, Equilibrium’s DeBabelizer for Mac, the shareware program Advanced Batch Converter (for Windows), or DataViz’s Conversions Plus (for Windows) and MacLinkPlus (for Mac). Cross-Reference For links to graphics conversion tools, go to this book’s companion Web site at n Photoshop InDesign can import version 4.0 and later of this popular image editor’s file format. When you place Photoshop files in InDesign, you can control how the alpha channel is imported — be sure to select Show Import Options in the Place dialog box to get this control. You also can apply any embedded clipping paths (see Chapter 15) and import or exclude any embedded color profile. As described later in this chapter, InDesign can differentiate layers in a Photoshop image, letting you decide what ones to display in your layout. Cross-Reference The Photoshop format also supports transparency very well, which helps avoid later printing problems, as Chapter 31 explains. n Scitex CT The continuous-tone Scitex CT format is used with Scitex output high-resolution devices and is usually produced by Scitex scanners. If you’re using this format, you should be outputting to a Scitex system. Otherwise, you’re not going to get the advantage of its high resolution. TIFF The most popular bitmap format for publishers is TIFF, developed by Aldus (later bought by Adobe Systems) and Microsoft. TIFF supports color up to 24 bits (16.7 million colors) in both RGB and CMYK models, and every major photo-editing program supports TIFF on both the Mac and in Windows. TIFF also supports grayscale and black-and-white files. The biggest advantage to using TIFF files rather than other formats that also support color, such as PICT, is that InDesign is designed to take advantage of TIFF. For example, in an image editor, you can set clipping paths in a TIFF file, which act as a mask for the image. InDesign sees a path and uses it as the image boundary, making the area outside of it invisible. That in turn lets you have nonrectangular bitmap images in your layout — the clipping path becomes the visible boundary for your TIFF image. InDesign also supports embedded alpha channels and color profiles in TIFF files. 364
  10. Chapter 14: Importing Graphics Caution TIFF files do not handle images with transparency well. Even though the files look okay on-screen, they may not print well or may cause printer errors. Stick with the Adobe Photoshop format if you use transparency. n TIFF files have several variations that InDesign supports, but because other programs aren’t as for- giving, follow these guidelines to ensure smooth interaction: l Use uncompressed and LZW-compressed TIFF files supported by most Mac and Windows programs. InDesign even supports the less-used Zip compression method for TIFF files. You should be safe using LZW-compressed TIFF files with any mainstream program, but if you do have difficulty, I recommend that you use uncompressed TIFF files. Also, always talk to your service bureau about LZW support before sending files for output. Many older imagesetters do not handle LZW compression and fail to output images that use it. l Use the byte order for the platform for which the TIFF file is destined. Macs and PCs use the opposite byte order — basically, the Mac reads the eight characters that comprise a byte in one direction and the PC reads it in the other direction. Although InDesign reads both byte orders, other (typically older) programs may not, so why invite confusion? Of course, if only InDesign and Photoshop users work on your TIFF files, the byte order doesn’t matter. Web-oriented bitmap formats In recent years, several formats have been developed for use in the Hypertext Markup Language (HTML) documents found on the Web. These formats — GIF, JPEG, and PNG — achieve small size (for faster downloading and display on your browser) by limiting image and color detail and richness. Although you can use any supported graphics format for documents you expect to export to the Web’s HTML document format, if you know your document is bound for the Web, you might as well use a Web graphics format from the start. (Note that InDesign converts all images to GIF or JPEG when you export to HTML.) GIF GIF is the oldest Web format. To help keep file size down, it is limited to 256 colors. This reduces file size but also makes it unsuitable for photographs and graphics with color blends. However, its compression approach doesn’t lose any image detail, so it works well for sketches, cartoons, and other simple images with sharp details. JPEG The JPEG compressed color-image format is used for very large images and the individual images comprising an animation or a movie. Images compressed in this format may lose detail, which is why publishers prefer TIFF files. JPEG can even be used effectively on documents output to an inkjet printer because you can set the level of loss to none during export, but in professional print- ing don’t use JPEG images. That’s because JPEG images use the RGB color model, not the CMYK 365
  11. Part IV: Graphics Fundamentals model of standard printing. Although creating CMYK JPEG files with Photoshop is possible, those CMYK JPEGs won’t display in and may even crash other applications and Web browsers. When importing JPEG files, InDesign automatically scales the image to fit in the page. This helps deal with digital-camera graphics that tend to be very large and that, when imported, end up tak- ing much more than the width of a page. Although you likely still need to scale the image to fit your layout, you can at least see the whole image before doing so. JPEG is more useful on the Web, where the limited resolution of a computer monitor makes most of JPEG’s detail loss hard to spot and provides an acceptable trade-off of slightly blurry quality in return for a much smaller file size. It’s particularly well suited for photographs because the lost detail is usually not noticeable because of all the other detail surrounding it. If you do use JPEG for print work, note that you can provide a clipping path for it in programs such as Photoshop. The clipping path lets the image have an irregular boundary (rendering the rest of its background transparent) so that you can use InDesign effects such as text wrap. PNG The PNG format is meant to provide GIF’s no-loss compression but support 24-bit color so that it can be used for photography and subtly colored illustrations on the Web. The PNG format’s other significant attribute is full transparency support with an embedded alpha channel. (That is why InDesign lets you replace the transparency with white or keep the background color in the Image Import Options dialog box, as I cover later in this chapter.) The transparency also works in most recent Web browsers. Other bitmap formats The other supported formats are ones that you should avoid, unless you’re printing to inkjet or laser printers. If you have images in one of these formats and want to use the format for profession- ally output documents, convert the images to TIFF before using them in InDesign: l BMP: As does TIFF, the BMP Windows bitmap format supports color, grayscale, and black-and-white images. l PCX: As does TIFF, PCX supports color, grayscale, and black-and-white images. l PICT: PICT, the old standard Macintosh format for drawings, also supports bitmaps. InDesign imports PICT files with no difficulty. Identifying Color Issues It used to be that importing color from graphics files into publishing programs was an iffy proposi- tion: Colors would often not print properly even though they appeared to be correct on-screen. Those nightmares are largely a thing of the past because modern page layout software such as InDesign accurately detects color definitions in your source graphics, and modern illustration and image-editing programs are better at making that information accessible to page layout programs. So, just note the following advice to ensure smooth color import. 366
  12. Chapter 14: Importing Graphics If you create color images in an illustration or image-editing program, make sure that you create them using the CMYK color model or using a named spot color. If you use CMYK, the color is, in effect, preseparated. With InDesign, any spot colors defined in an EPS file are automatically added to the Swatches panel for your document and set as spot colors. Cross-Reference See Chapter 8 for more on creating and editing colors. n If your program follows Adobe’s EPS specifications (Adobe Illustrator, CorelDraw, and ACD Canvas all do), InDesign color-separates your EPS file, no matter whether it uses process or spot colors. Canvas automatically converts Pantone spot colors to process colors in your choice of RGB and CMYK models. For other programs, create your colors in the CMYK model to be sure they print as color separations from InDesign. Color systems There are several color systems, or models, in use, and InDesign supports the common ones, including CMYK (process), RGB, Pantone, Focoltone, Dainippon Ink & Chemical (DIC), Toyo, Trumatch, and Web. A color system defines either a set of individual colors that have specially mixed inks (shown on swatchbooks, which have small samples of each color) or a range of colors that can be created by combining a limited number of inks (such as RGB for red, green, and blue and CMYK for cyan, magenta, yellow, and black). Chapter 8 describes the various color models, but for file import, it’s best to use just three — CMYK (process), RGB, and the Pantone Matching System — because they’re universally used and tend to be the most reliable when passing information from one system to another. Note The advice on color systems applies to just vector images because bitmap programs use CMYK or RGB as their actual color models, even if they offer swatchbooks of other models’ colors. n Calibrated color With InDesign’s color management system (CMS) feature enabled, the program calibrates the out- put colors (whether they’re printed to a color printer or color-separated for traditional printing) based on the source device and the target output device in an attempt to ensure that what you see on-screen comes close to what you’ll see on the printed page. Although color calibration is a tricky science that rarely results in exact color matches across all input and output devices, it can help minimize differences as the image travels along the creation and production path. Today, most image-editing programs let you apply color profiles that conform with the International Color Committee (ICC) standards. If you use color calibration, applying these ICC profiles in the images when you create them is best. 367
  13. Part IV: Graphics Fundamentals If you can’t — or forget to — apply an ICC profile when creating your image, don’t worry. You can add a profile (if you’re creating images in a program that doesn’t support ICC profiles) or apply a different one from InDesign. Cross-Reference Chapter 29 covers color calibration in depth. n Exploring Methods for Importing Graphics You can import a graphic into any kind of frame or shape (including a curved line created with the Pen tool) except a straight line, using the Place command, copy and paste, or drag and drop. Caution But be careful: If the Type tool is selected when you use the Place dialog box to import a graphic into a selected text frame, you create an inline graphic at the text-insertion point (see Chapter 13 for information about creating and managing inline graphics). n When it’s time to import a graphic, you’re responsible for knowing where the file is — whether it’s stored on a floppy disk that your friend gave you, on your hard drive, on a networked file server, or on a local or networked CD-ROM or DVD. If you import a graphics file stored on any kind of removable media, such as a floppy disk, Zip disk (remember those?), thumb drive, CD, or DVD, the link between the document and the graph- ics file is broken when the media is removed. Generally, it’s best to copy graphics files to your hard drive or to a networked file server before importing them into an InDesign document. Cross-Reference Chapter 13 covers how to work with linked source files, such as how to update an imported file in InDesign if it is changed in another program. n Using the Place dialog box Although InDesign provides several ways to add a graphics file to a document (all of which are explained in this chapter), the Place dialog box (choose File ➪ Place or press Ô+D or Ctrl+D) is the method you should use most often. When you use the Place dialog box, InDesign offers import options for various graphics file formats that are not available if you use other import methods. When importing images, make sure Show Import Options is selected in the Place dialog box. Even if you’re happy with the default import options, it’s good to see what the import options are so that when a nondefault option does make sense, you’re aware you have access to it. 368
  14. Chapter 14: Importing Graphics Here’s how to use the Place dialog box to import a graphic: 1. Choose File ➪ Place or press Ô+D or Ctrl+D. If you want to import a graphic into an existing frame, select the target frame using either of the selection tools (either before you choose File ➪ Place or afterward). If you want InDesign to create a new frame when you import the graphic, make sure no object is selected when you choose Place. Either way, the Place dialog box appears. 2. Use the controls in the Place dialog box to locate and select the graphics file you want to import. You can select multiple files — graphics and/or text — in the Place dialog box by Shift+clicking a range or by Ô+clicking or Ctrl+clicking multiple files one by one. 3. Decide what import options you want to use and select them: l If you want to display import options that let you control how the selected graphics file is imported, do one of the following: Select Show Import Options and then click Open; press and hold Shift and double-click the file name; or Shift+click Open. If you choose Show Import Options, the EPS Import Options, Place PDF, Place InDesign Document, or Image Import Options dialog box — depending on what kind of graphic you are importing — appears. Specify the desired import options, if any are applicable, and then click OK. (I cover these options later in this chapter.) l To replace a currently selected graphic, select Replace Selected Item. (Even if you haven’t selected a graphic frame, this option is available.) l To create a static caption (see Chapter 13), select the Create Static Caption option. If you have not set up metadata captions, selecting this option creates a caption for the image that contains its file name. 4. You can place the graphic in an existing frame or in a new frame, as follows: l If an empty frame is selected, InDesign automatically places the graphic in the frame. The upper-left corner of the graphic is placed in the upper-left corner of the frame, and the frame acts as the cropping shape for the graphic. l If a frame already holding a graphic is selected, InDesign replaces the existing graphic with the new one if you selected the Replace Selected Item option in the Place dialog box. Otherwise, InDesign assumes that you want to put the new graphic in a new frame. l To place the graphic into a new frame, click the loaded-graphic icon (shown in Figure 14.1) on an empty portion of a page or on the pasteboard. The point where you click establishes the upper-left corner of the resulting graphics frame, which is the same size as the imported graphic and acts as the graphic’s cropping shape. 369
  15. Part IV: Graphics Fundamentals FIGURE 14.1 The loaded-graphic icon displays a preview image of the imported graphics, as well as the number of graphics ready to be placed (11, in this case of the icon at left). Number of files to be placed Loaded-graphic icon Loaded-graphic icon for PDF files Preview image l To place the graphic in an existing unselected frame, click in the frame with the loaded-graphic icon. The upper-left corner of the graphic is placed in the upper-left corner of the frame, and the frame acts as a cropping shape. l InDesign lets you draw a frame when placing graphics. InDesign makes the frame pro- portional to the graphic’s proportions — unless you press and hold Shift, in which case the frame may have any dimensions you want. Either way, the current graphic is then fitted proportionally within that rectangle. When importing multiple graphics, you can draw a separate frame for each, as well as for some and not others. New Feature The option to create static captions when importing a graphic is new to InDesign CS5. Also new to InDesign CS5 is the ability to set a graphics frame to automatically resize a placed image as the frame is resized. The frame must have autofit enabled, as Chapter 15 explains; you can also set autofit as part of its object style, as Chapter 13 explains. n To cancel the entire graphics import, just select a different tool. To cancel a specific file in a multiple-file import, press Esc when that file’s mini-preview appears. (The other files are still avail- able to be placed.) To move among the files in a multiple-file import so you can place them in your preferred order, press → or ← to move back or forward, respectively, through the files; the pre- view changes as you move from one file to the next. When placing multiple graphics at one time, InDesign lets you place each file in a separate frame. Just click once for each file imported, or Shift+Ô+click or Ctrl+Shift+click to have InDesign place all files on the page in separate frames. If you place more than one file at the same time, the loaded-text icon displays the number of files to be placed, as well as a mini-preview of each file (refer to Figure 14.1). 370
  16. Chapter 14: Importing Graphics If you press and hold Shift+Ô or Ctrl+Shift when placing multiple images, InDesign places as many as will fit onto the page below the mouse pointer’s location, arranging them in a grid. If you draw a frame when placing graphics and also use the Shift+Ô or Ctrl+Shift option, InDesign then places the images in a grid that fits within the frame you drew. You can increase or reduce the number of rows in the grid by pressing ↑ or ↓, respectively, after the loaded-graphics icon appears. Likewise, you can increase or reduce the number of columns in the grid by pressing → or ←, respectively. After you place a graphic, it appears in the frame that contains it, and the frame is selected. If the Selection tool is selected, the eight handles of its bounding box are shown; if the Direct Selection tool is selected, handles appear only in the corners. At this point, you can modify either the frame or the graphic within, or you can move on to another task. Using import options If you’ve ever used a graphics application — for example, an image-editing program such as Adobe Photoshop or an illustration program such as Adobe Illustrator or CorelDraw — you’re probably aware that when you save a graphics file, you have several options that control such things as file format, image size, color depth, preview quality, and so on. When you save a graphics file, the set- tings you specify are determined by the way in which the image will be used. For example, you could use Photoshop to save a high-resolution TIFF version of a scanned graphic for use in a slick, four-color annual report or a low-resolution GIF version of the same graphic for use on the compa- ny’s Web page; or you could use Illustrator to create a corporate logo that you can use in various sizes in many of your printed publications. If you choose to specify custom import settings when you import a graphics file, the choices you make depend on the nature of the publication. For example, if it’s bound for the Web, you have no need to work with or save graphics using resolutions that exceed a computer monitor’s 72 dpi. Along the same lines, if the publication will be printed, the image import settings you specify for a newspaper printed on newsprint on a SWOP (Specifications for Web Offset Publications) press are different from those you specify for a four-color magazine printed on coated paper using a sheet- fed press. If you choose Show Import Options when you place a graphic, the options shown in the resulting dialog boxes depend on the file format of the selected graphic. When you set options for a particu- lar file, the options you specify remain in effect for that file format until you change them. If you don’t choose Show Import Options when you place a graphic, the most recent settings for the file format of the selected graphic are used. Import options for bitmap graphics InDesign gives you two sets of import options for the following types of bitmap images: TIFF, GIF, JPEG, Scitex CT, BMP, and PCX. You get three options for PNG files, and a different set of three for Photoshop files. There are no import options for PICT or QuickTime movie files. Figure 14.2 shows the four possible panes for bitmap images. 371
  17. Part IV: Graphics Fundamentals FIGURE 14.2 The Image Import dialog box’s panes for bitmap formats. Top left: the Image pane. Bottom left: the Color panel. Top right: the Layers pane, which appears for Photoshop files. Bottom right: the PNG Settings pane, which appears for PNG files. Image pane If you import a Photoshop, TIFF, or EPS file that contains an embedded clipping path, the Image pane lets you apply any embedded clipping path and/or alpha channel to the image to mask, or cut out, part of the image. (Otherwise, these options are grayed out.) Select the Apply Photoshop Clipping Path option to import the clipping path along with the image; select an alpha channel from the Alpha Channel popup menu to import the alpha channel along with the image. Cross-Reference Chapter 15 covers clipping paths in more detail. n Color pane In the Color pane, you can turn on color management for the image and control how the image is displayed. Select the Enable Color Management option to enable color management. Using the Profile popup menu, choose a color-source profile that matches the color gamut (range) of the device (scanner, digital camera, and so on) or software used to create the file. InDesign tries to translate the colors 372
  18. Chapter 14: Importing Graphics in the file to the colors that the output device is capable of producing. (These profiles are installed in your operating system by other applications, not InDesign.) Cross-Reference See Chapter 29 for more information about using InDesign’s color management features. n Use the Rendering Intent popup menu to determine how InDesign translates the color in the selected graphics file with the gamut of the output device. If the graphic is a scanned photograph, choose Perceptual (Images). The other options — Saturation (Graphics), Relative Colorimetric, and Absolute Colorimetric — are appropriate for images that have mostly areas of solid color, such as Illustrator EPS files that have been opened in Photoshop and saved as TIFFs. PNG Settings pane Use this pane — available only if you place a PNG file — to use the transparency information in a PNG file, assuming it has a transparent background. You have two choices for controlling transpar- ency handling: White Background and File-defined Background Color. The former forces the transparent portion to display as white in InDesign; the latter uses whatever background color is specified in the PNG file itself. This pane also lets you adjust the gamma value during import — the gamma is a setting that describes a device’s luminance, and to ensure most accurate reproduction, you want the gamma setting for the PNG file to be the same as that of your output device (a printer or monitor). It is meant to correct for the file being created on a specific type of monitor. However, to use this fea- ture, you need to know the gamma setting for the final output device. Otherwise, leave it alone. Layers pane Use this pane — available only if you place a Photoshop image (or Illustrator or PDF vector file) — to select what layers you want imported into InDesign. You can then control what imported layers display in InDesign, though you cannot change their order. You’d need to go back to Photoshop and change the layer order there. Note Although you can save an image file with layers as a TIFF, InDesign does not give you the ability to manage what layers from a TIFF file import into InDesign. n Use the Layer Comp pop-up menu to select from different layer comps, if any, in the source file. A layer comp is essentially a snapshot of the Photoshop Layers panel that lets you group different layer visibility settings and save them for later use. There’s also an option, in the When Updating Link popup menu, to control how changes to the file are handled in terms of layer management: If you choose Use Photoshop’s Layer Visibility, InDesign makes all layers visible in Photoshop when you update the link to the graphic from InDesign. If you choose Keep Layer Visibility Overrides, InDesign imports only the layers chosen in this dialog box if you later update the graphic in Photoshop. 373
  19. Part IV: Graphics Fundamentals After such layered images are placed in InDesign, you can change what layers display, though you cannot change the order of layers. Note that the controls for modifying layers are pretty much the same as for importing them. To modify what layers display, select the object with the Selection or Direct Selection tool and then choose Object ➪ Object Layer Options. You can also Control+click or right-click the graphic and choose Graphics ➪ Object Layer Options from the contextual menu. Either way, the Object Layer Options dialog box appears. It looks and works like the Layers pane in the Image Import Options dialog box shown in Figure 14.2. Import options for vector file formats If you’re importing vector files, selecting the Import Options check box results in one of several dialog boxes appearing, depending on what the vector file type is. If you import older version Illustrator or EPS files, the EPS Import Options dialog box appears; if you import PDF and newer version Illustrator files, the Place PDF dialog box, which has two panes, appears. (Both dialog boxes are shown in Figure 14.3.) There are no import options for Windows Metafile graphics. FIGURE 14.3 The Place PDF dialog box (left) and EPS Import Options dialog box (right). The Place PDF dialog box has two panes: General and Layers. (The Layers pane for PDF files is almost identical to the Layers pane for Photoshop files shown previously in Figure 14.2.) Note Illustrator CS and later use PDF as their native file format, even though the file name extension is .ai, so InDesign detects these as PDF files and provides the PDF options during import. In earlier versions of Illustrator, the native format was actually a variant of EPS. n EPS Import Options dialog box If you use an OPI-based proxy workflow — that is, if an OPI-based service provider supplies you with low-resolution versions of graphics files that will eventually be replaced by high-resolution files during output — select the Read Embedded OPI Image Links option if you want InDesign, rather than your service provider, to perform image replacement during output. You should also 374
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