Adobe indesign cs4 shortcut keys pdf free
Sometimes paintbrushes are more than they appear to be. Can you imagine trying to paint with a laptop? There is a solution. The pen functions like a mouse on the tablet. So, if you draw a happy face on the tablet with the pen, it will paint a happy face in Photoshop.
Not only does this tablet recognize the pen for input, but most tablets even the cheap ones also recognize the pressure you apply while painting.
Newer or more expensive models have even more sensitivity. Other models also recognize more from the pen, such as how much it is tilted or rotated, which is really helpful for digital calligraphy. But this story gets even better. Photoshop is specifically built to respond to these tablets. You can tell Photoshop that when you press harder, it should automatically make the brush size larger.
Or you can set it so that as you press more lightly with the pen, it makes the paint more transparent or scatters it less or changes colors—or all of the above.
You can also adjust other parameters with the tablet. To get Photoshop to recognize and use a tablet, go to the Brushes panel and find a property that has a Control drop-down list.
From the drop-down list, select Pen Pressure to control that property by using the pen and graphics tablet. Graphics tablets really help you get the most out of the paint capabilities of Photoshop. The most common manufacturer of graphics tablets is Wacom pronounced WALK-em , and their tablets can be found online and in many stores that sell computers and peripherals.
As powerful at painting as Photoshop is, the most powerful painting program is Corel Painter. Note Painter even allows you to change the type of bristles on brushes and to change colors of individual bristles as you can in the real world. The first one goes back to something that we covered in Chapter 2. You can imagine how time-consuming it would be and how it would interrupt the creative flow to keep going back and forth to the Tools panel to switch tools. Another great painting tip deals with sampling colors while painting.
Suppose you want to print this image on a poster that is larger than the image. But what we could do without losing any image quality is to expand the canvas of this document, which would create more blank space around the document. We can then expand the background pixels of this image by using painting tools.
Go to the Image menu and select Canvas Size. That opens the Canvas Size dialog box see Figure We probably want to increase this document by about a half inch in all directions. Make sure that the Canvas extension color is set to White, and click OK.
This expands the size of the document by a half inch on all sides. Now, we can paint more of the background to expand the landscape around the castle. There are a few different colors here. This will temporarily toggle the Eyedropper tool. This trick works especially well with really defined colors like the ones in this image. If this were a photograph, shadows and soft edges all over the place would make it more challenging.
When painting more than a few Caution strokes, you should create a new layer and start painting on that. Note that the blend is smooth. As with anything we do in Photoshop, before we start playing around with the Gradient tool, create a new blank layer to create gradients on.
Next, select the Gradient tool in the Tools panel. To use the Gradient tool, make sure that the new blank layer is selected, and then drag in your document from one side of the document to the other.
Your colors might be different than mine which is okay for now , but essentially one color was created where you first clicked, and another color was created where you let go of the mouse, and everything in between was a smooth blended transition between the two see Figure Before we change the color, be aware that where you drag your mouse controls how these colors blend together.
Draw the gradient again which you can do on top of the existing gradient—it will in effect paint over the original gradient , but this time instead of clicking from one end of the document to another, click in the middle of the FIGURE The result of document. Then move your cursor a little, and let go of the a shorter drag with the Gradient tool mouse button. You can drag in any direction to Note create a gradient.
You can also begin to draw or end the gradient outside the image if you want to leave one of the colors out of the document. Changing Gradient Colors Changing the colors of gradients is a little tricky, both to access and to adjust. To do this, go to the Options bar with the Gradient tool selected. In the Options bar is a thumbnail preview of your gradient, with a little drop-down arrow to its right. See Figure for a close-up. Click the arrow to choose from a set of gradients that ship with Photoshop.
Click the gradient itself to access the Gradient Editor, shown in Figure , and manually change the colors of your gradient.
You can also choose from the gradient presets in the Gradient Editor. These are called color stops. Double-click one of these to open the Color Picker, and choose a new color for that area of the gradient.
You can also click in a blank area at the bottom of the gradient to add multiple colors to the gradient. Or you can drag gradient color stops closer together to adjust the transition between colors. Use this to control the Tip transparency of certain areas of your gradient. Changing the Type of Gradient You can also change the shape of the gradient by clicking the buttons in the Options bar when the Gradient tool is selected.
If FIGURE A radial gradient you are like 99 percent of Photoshop users, you will probably only ever use linear gradients the first button and radial gradients the second button. The term linear means relating to a line. Radial gradients see Figure create gradients that start from a center point and radiate out from around that point.
Radial gradients are great for creating focus in the center of a design or for creating sunbursts. Using Gradients Gradients are useful in art as well as design. Notice what a gradient adds to the background of the design shown in Figure Subtly using gradients in difference that a gradient makes backgrounds and other elements of design is very popular in the background of this design.
Figure shows a gradient preset that ships with Photoshop that attempts to re-create a metallic look by using only a gradient. Notice the multiple colors in this gradient, as well as the fact that the stops have been adjusted to be closer to each other to create more abrupt transitions between some of the colors. It kind of looks like vector shapes.
Sometimes art is not built with pixels, but is built instead with mathematical equations called vectors. Vector graphics are a little more complex, as you might imagine. They are created with anchor points, segments, tangents, and handles.
The great benefit of vector shapes is that because they are made with math, they are infinitely scalable. You can increase and decrease their size indefinitely, and you can take an object that was created very small and blow it up to fit on a billboard without losing any quality in either instance.
Figure shows two circles: one raster that is, made with pixels and one vector. Figure shows those same circles enlarged. It will be immediately apparent how useful vector shapes are. Vector art, by its FIGURE The shape created very nature, is more suited to cartoony art, art with flat areas of with pixels is on the left; the one created with vectors is on the color.
Because of its scalable nature, vector art is also the most right. At this size, they appear common method of creating logos. The castle image that we looked at is a perfect example of vector art. Everything has a hard edge, and there are big areas of flat color. Even though Illustrator is the champion of vector art, Photoshop also has some vector capabilities. Delving into the ins and outs of vector art creation is beyond the scope of this book.
However, we can quickly and easily create vector shapes in Photoshop by using one of the many shapes that ship with the program. The vector-based shape tools are found toward the bottom of the Tools panel.
Click and hold down your mouse on the Rectangle tool to see all of the shape tools. It looks like an amoeba, or maybe like the silhouette of Patrick Star from SpongeBob. The other shape tools are just what they say: the Rectangle tool basically creates rectangles, and so forth. The most important new option is the Shape drop-down list.
Click that to see the default shapes library, shown in Figure If you needed to, you could print them the size of Texas assuming, of course, that you had a Texas- sized printer , and the quality would be perfect. First, check the color swatch on the right side of the options to make sure this is the color you want. It will automatically create a layer for you, called a shape layer. Shape layers are essentially areas of solid color that are masked by a vector shape.
Both the fill color and the vector shape remain completely editable. To create the shape, drag in the main document window. You might notice how easy it is to create a really terrible lightning bolt.
To make sure that your horizontal and vertical dimensions remain in proper proportion to each other, hold down SHIFT while creating your shape. These dots shape layer are called anchor points. These points can be easily adjusted to change the shape of vector layers.
This is another reason why vector shapes are often used for computer drawing. You have a few different ways to adjust vector layers. In the tool slot immediately above the spot where we found the Custom Shape tool in the Tools panel are a couple of helpful vector-adjustment tools. They are two arrows, one black and one white. The black arrow is called the Path Selection tool, and its primary purpose is to select and move entire paths.
If you want to adjust individual anchor points or the segments that connect them, use the white arrow—the Direct Selection tool. With the Direct Selection tool selected, drag one of the points to move it see Figure You can also drag segments to move those around. Using Layer Styles Layer styles are special effects you can apply to layers. These special effects include such things as shadows, glow effects, pseudo 3D effects, strokes around objects, and more. My favorite aspect of these effects is that they can be adjusted or removed at any time.
Even after you save the document and FIGURE You can double- close Photoshop, the layer styles will be completely editable click the blank area next to the when you reopen the document. Applying Layer Styles To apply layer styles, you can click on the fx icon at the bottom of the Layers panel. Alternatively, you could use my favorite way to apply layer styles: just double-click a layer in the blank area to the right of its name see Figure You cannot apply layer styles to a background layer.
Note If you opened the Layer Style dialog box, go ahead and click Cancel to close it. Before we actually apply anything, we need to create something to apply a style to. Layer styles work best with shapes, text, and other objects that are smaller than the document. Make sure that your foreground color is not black or white.
Then paint a paint stroke with this brush on a new layer see Figure As with the Brushes panel, the effects on the left are like categories. Click the check box to turn effects on or off. Click the name of the effect to see the options for that effect in the big area on the right side of the dialog box. In the Layer Style dialog box, make sure that the Preview check box on the far right is checked.
This will allow you to preview the result of your changes as you make them. Click Drop Shadow on the left side of the Layer Style dialog box. This instantly adds a drop shadow behind the paint stroke see Figure Compositing, or combining multiple elements with a drop shadow applied into the same scene, is also greatly assisted by drop shadows. Drop shadows are also used to create a kind of 3D effect. You can customize the shadow by adjusting the parameters on the right. Just click Outer Glow.
Now, even for demonstration purposes, this looks too terrible to continue. This will remove that effect. This creates the illusion that your object is 3D. A style is a collection of effects. The fx icon that is now on the right side of your layer serves as a reminder that layer styles have been applied to that layer.
Also, on the rightmost edge of the layer is a small drop-down arrow. With this open, you can see all layer style effects applied to this layer. Click the visibility icon next to the Bevel And Emboss effect to hide it. Click the same spot again to make it visible again.
Feel free to venture off on your own. First step, start from scratch. Next, create a new blank layer. The fastest way to do this is to press D on your keyboard. In one of the fuzzball three ways we discussed earlier in this chapter, select the brush called Fuzzball, which is pixels large, and is on the right side. Then press X on your keyboard, which will eXchange the foreground and background colors.
This will make white the foreground color, which is what we want for painting with. Click one time to paint a single fuzzball at the bottom of the document in the center. Check Figure to see what I have so far. Double-click the name applied of the black background layer to rename it something more descriptive, like Black Background. Do the same thing with the fuzzball layer, renaming it Sparks or something similar. Double-click the Sparks layer to the right of its name to open the Layer Style dialog box.
Then click Outer Glow on the left side to add a glow. Notice how the glow effect is subtle, but it makes the sparks seem more electric and intense see Figure If the fuzzball were on the Note same layer as the black background, we could not add a glow to it, because the glow would go around the border of the black layer. In the Tools panel, choose the Custom Shape tool.
Then, from the Shape drop-down in the Options bar, choose the lightning shape. As before, drag to create a lightning bolt. If your lightning bolt appears to have a jagged gray line around it, just click once on the Tip thumbnail of the shape on the shape layer in the Layers panel to deactivate it.
That creates a glow on the outside of the object. The result so far is pretty cool. This creates a glow on the inside of objects. After clicking on Inner Glow on the left, you should see its options on the right side of the Layer Style dialog box see Figure This will create a larger glow inside the lightning, as shown in Figure If you wanted to change this further, you could click the color swatch at the top of the Inner Glow options. You could also try adding other effects to the lightning bolt, such as Bevel And Emboss.
Because we created the Sparks layer first, it shows up behind the lightning bolt. Our sparks need to be in front of the lightning bolt. So, in the Layers panel, drag the Sparks layer on top of the shape layer that contains the lightning bolt. After I fiddled around a bit, my final result can be seen in Figure Selections tell Photoshop which part of the image you want to be affected by edits that you make. Basic selections are extremely easy to make. Filters are like special effects.
With your image open, go to the Filter menu at the top of the interface. From the Filter menu, choose Pixelate Mosaic, to open the Mosaic filter dialog box, shown in Figure In the Mosaic filter dialog box, change the Cell Size value to This will increase the size of the squares used to make a mosaic out of the image of the daffodils.
Then click OK. Notice how the entire image is converted into a mosaic, or large squares each of a single color see Figure All you have to do Then go to the Tools panel, and select the Rectangular Marquee is drag in the document to create a selection area. Once you from the top. What this little marquee selection tells Photoshop is significant. Basically, it tells Photoshop that only what is in that area is available for editing; everything else in the document is off limits.
Now, when we apply the Mosaic filter with this selection active, only what is within the selection area will be affected. To test this, simply go to the Filter menu and select Mosaic from the top of the Filter menu. The Filter menu stores the last filter that you used, along with all of the settings you changed, at the top of this menu for quick reapplication. So, what could we use selections for in the real world? Some tools are easier to use than others, and some are definitely more powerful than others.
But never forget that all tools have their place. Even the Rectangular Marquee tool with all of its Neanderthal simplicity is often the tool of choice for selecting boxes, stairs, windows, and other rectangular objects. They are simple, but come in handy often. The usefulness of both tools is also greatly enhanced by the use of keyboard shortcuts. What happens when you have a selection area and you want to create a second selection area?
Try doing it. The default behavior is that all selection areas are completely deselected and the new selection appears.
But what if you want to have multiple rectangular areas selected at once? What happens when you want to remove one of these selection areas, or even part of one of them? Holding this key down will, in effect, turn a selection tool into a kind of selection-eraser tool. This is how you can make a selection that looks like a donut or the state of Utah see Figure In cases where there are duplicate master names, the Load Master Page Alert dialog box appears.
If you want to replace the existing master pages, click Replace Master Pages. On the other hand, if you want to keep the existing pages and add the additional ones, click Rename Master Pages. The new masters are added to your document using the letter subsequent to your existing master pages. Imported masters are linked from the source document to the destination document the one receiving the imported masters.
Updating the master in the source document also updates the master in the destination document when you reload the master files. Display Visual Page Numbers Follow these steps to add automatic page numbering: 1. Configure the appearance of the text marker as you would for any other text frame. Close the master page.
Pages to which the master page is applied now show the page numbers. Note If you expand a document to a larger-sized publication, such as a technical manual, you often use sections, parts, or chapters. Read about multilevel page numbering in Chapter 9.
Master Pages Can Have Parents Although the circumstances get fairly complex, you can base one master on another. Be sure to plan ahead for this process. Suppose you are designing a manual for a product containing several sections. Each component of a section, such as a table of illustrations, index, or procedures, uses its own master structure.
When the parent master is updated, all children masters update as well. You can manipulate the objects that display on a master page, or master items, by applying, hiding, or overriding them. How to Use a Master Control masters in the same way as items in most panels. That is, drop an existing master on the trash can icon to delete it; drop an existing master on the New Master icon to duplicate it; or click New Master to create a new blank master.
No problem. Simply click the None master. One other criterion is that the section numbering should always look the same. To make sure you protect it to prevent unintentional changes, select the numbering objects, right-click to display the shortcut menu, and deselect Allow Master Item Overrides.
Threaded text frames are an all-or-nothing case. If you have a threaded frame that extends over two or more pages, overriding the text frame on one page overrides the entire thread. You can override a range of items on a master page— enough to create significantly different versions of the same page. Your options include strokes and fills, transformations, lock states, frame contents and corner options, text frame options, and transparency and object effects.
Restore Overridden Items Fortunately, if you change your mind, you can override your override, so to speak. You can remove overrides for all objects or selected objects on one spread at a time. Save and Reopen Documents InDesign saves much more than what you see on your computer screen. You can decide whether to include a thumbnail preview, based on where you like to work with your files. Choose a Save Option InDesign offers different ways to save a file. The option you choose depends on your workflow and what you intend to do with the file later.
Choose one of the saving methods described in the following paragraphs. Choose a file format in the Save As dialog box, and click Save to save the file using the chosen name and folder location. Save a Document Copy In some workflows, it makes sense to save a copy of a publication at a particular state of development.
As you reach a particular point in the workflow where the content or layout diverges, save a copy. Choose File Save a Copy to open the Save dialog box.
Click Save to save the copy as an INDD file and close the dialog box, returning you to the original document.
Tip Lots of us work with several open files at one time. What if you want to go back further than CS3? Each time you export an INX file for an older program version, features exclusive to a newer version are omitted, of course.
Save a Template Often, you develop publications that are intended for reuse at another time. You may develop a letterhead or a newsletter for monthly distribution, or a sales report that updates weekly. Name the file and choose a storage location. A regular InDesign document produces a thumbnail of the first spread, while a template thumbnail generates images for each page in the template.
On the other hand, if you work with many similarly named, detailintensive files, you may want an extra-large pixel preview generated for every file. Sizes range from pixels to pixels. Click OK to close the dialog box and save the preference. On Mac, the Always Save Preview Images with Documents setting is selected by default—deselect it to prevent saving a thumbnail. Save the file as usual. Look Under the Hood The File Info dialog box contains a great deal of information about your document.
Some data is constant and based on external information, such as camera settings. Still other types of data let you enter your own information.
Many types of data can be stored in a document, ranging from a description to mobile Shockwave Flash SWF settings. Scroll through the tabs and lists to find data items. Click a field to activate it and enter information. Describe the visual content of the image in the Content field, list contact details for the author or photographer in the Contact area, provide additional information about the content in the Image section, and show workflow and copyright data in the Status section.
Camera Data 1 includes data about the camera and settings used, including the make, model, shutter speed, and f-stop. Camera Data 2 lists read-only file information about the photograph, such as dimensions, resolution, and file format.
Note Did You Know? Templates are a simple way to attach static content, such as copyright and contact information. InDesign stores duplicate data in a temporary file that is separate from your file storage location. Choose File Save As and save the file with another name to incorporate the data. Follow the prompts and cross your fingers. By the way, you can change the data storage location by specifying the document recovery data location in the File Handling preferences area.
In InDesign CS4, however, there are a few ways to open a file, depending on what you intend to do in the program. Locate and select your file, and select whether to open the file as a Normal, Original, or Copy version of the document.
This is the default, and opens a file in the same state as it was when last saved. Sometimes, you want to generate variations of a document for similar output.
Again, you may want to generate variations, but with modifications from the original. Tip Do you rely on the Recent Documents list and wish there were a few more files listed? When you open a file, InDesign checks for associated content and displays warning messages if there are issues. Color Profile Mismatch Color profiles are an important print issue. InDesign lets you choose options in the Color Settings dialog box to display mismatch warnings.
Read about color policies in Chapter InDesign tracks files associated with your document and displays a warning in the Links panel if the linked content is missing or modified, shown here. Read about links and restoring them in Chapter You can click Find Font to locate the missing font or define a substitute, or click OK to let InDesign use a default font.
See Chapter 5 to learn about working with fonts. Summary A fundamental part of learning about any software program is the care and handling of files, the subject of this chapter. In this chapter, you saw how to choose settings for a new document, how to customize settings, and how to save them for reuse as a document preset. Instead of opening a blank file, you can start from a template, which contains preconfigured items, from master pages to frames, images to text.
We looked at a variety of ways to control document pages and examined master pages in some depth. The latter part of the chapter described methods for saving files, including templates and file previews. You had a look at some of the file information content included in the InDesign file. The chapter wound up with discussions on how to open existing documents not as straightforward as you may have thought!
Up next, check into more page features. When it comes to navigation, you have many options for moving between pages and documents, as well as moving around within your pages.
You also have several options for how you zoom in on your work for those jobs that require getting really close to the page for accuracy and to step back when you need to see the big picture.
These enable you to make precise adjustments to the location and relationships between objects on the page and within the page itself. Or a page document. And you want to go from page 2 to page 9 or 99 quickly.
What to do? InDesign offers several choices, each useful in its own way, depending on the circumstances. FIGURE The scrollbar on the right represents the entirety of your document; you can use it to scroll from beginning to end, stopping on the page you want to see or work on. Click this button to move toward the first page in your document.
Click here to display the pop-up list of pages. Click this button to move page by page to the end of your document. As Chapter 13 explains, layers are important to your InDesign documents. To rearrange layers, simply drag them in the Layers panel.
Moving them moves their content in terms of its stacking order, which is typically the reason one moves layers in the first place.
As shown in Figure , to move a layer and bring its content to the top of the stack of any overlapping content on other layers, drag the layer up in the Layers panel.
Of course, as discussed in Chapter 13, to move content from layer to layer, you have several choices: You can cut it Edit Cut from one layer and paste it Edit Paste to another as long as Paste Remembers Layers is off in the Layers panel menu , or you can create the content with a particular layer selected in the first place. Zoom and Pan Zooming and panning are almost as much fun as they sound. Zooming allows you to quickly zoom in on, or get closer to, any object in or area of your document.
You can also zoom out, or get farther away from your document, when you need to see everything at once. Zooming In and Out Some of your work in InDesign will require that you view an object—or even just part of an object—at a very high magnification, or zoom. Roll up to zoom in close; roll down to zoom out. As also shown in Figure , your mouse pointer turns to a hand when the Hand tool is active. Your mouse turns to a fist when you click your mouse to pan around.
With the key pressed, you can move any object you click, and then return to the Hand tool when you release the key. Using the Hand tool, press and hold down the mouse button, and the view automatically zooms out to show the current page and the entire surrounding pasteboard. Tip Use Preview Options In most applications, previewing is a step done just before you print, as in Print Preview, a command typically found in the File menu.
Of course, options for a compromise between these two ends of the preview spectrum also exist, allowing you to see your document in relatively fine detail, but without the drain on your display speed or system resources that a higher-quality display can create. Choose from Normal, Preview, Bleed, or Slug. Figure shows the Screen Mode set to Bleed. Choose View Display Performance see Figure , and select from Fast, where graphics appear as gray shapes; Typical for a reasonably good image detail ; or High Quality, which shows you your document at near print quality.
Tip To change the display performance for the selected object, choose Display Performance from the Object menu. If the View menu displays the command Hide Rulers, that means your rulers are already displayed, as shown in Figure , and choosing this command will remove the rulers from the workspace.
As shown in Figure , if you right-click either ruler, you can make your choices from the pop-up menu. If you choose Custom from the pop-up menu, the Custom Measurement Unit dialog box appears, as shown in Figure This dialog box enables you to enter a value that determines the calibrations on your ruler. For example, if you enter 10 points, the ruler will display the currently selected measurement method in increments of For example, the horizontal ruler can be set to inches and the vertical to picas or any other combination of the available methods.
The Custom Measurement Unit dialog box can also be applied to each ruler independently, so you can have different units on each of your rulers. To set the measurement method for not only the rulers but all other measuring devices—dialog boxes, control panel fields, panels, etc. The Ruler Per Page, Per Spread, and On Spine commands in the pop-up menu displayed when you right-click either ruler enable you to choose how the rulers are oriented.
If you choose Per Spread the default or Per Page, you can also reset the zero point for the rulers by dragging the origin, as shown in Figure Drag the origin diagonally from the corner where the two rulers meet, and release your mouse when the vertical and horizontal lines that follow your mouse are on the rulers at the points that you want zero 0 to appear.
Centimeters rather than inches? Make your choices in the Preferences dialog box. Typically, you set your margins and columns when you start a new document. You can set the number of columns and their gutter width, and also set the top, bottom, left, and right margins for the page as a whole.
How are these after-the-fact changes made? By choosing Layout Margins and Columns and using the resulting dialog box, shown in Figure Of course, to use this dialog box, you simply enter new values into the fields and click OK. The changes take place immediately when you click OK.
Then apply the new master to the pages that should follow these particular settings, and all the other existing pages will continue to follow the current settings applied through the New Document dialog box, or the Margins and Columns dialog box, should changes be made after the document was created.
To find out more about creating and working with masters, check out Chapter 3. So how do you access these guides? FIGURE Line up objects by their sides, using the guides that appear as you get close to another object on the page.
Tip The blue frame indicates where the red circle will be once the mouse is released. As shown in Figure , the guides appear to let us know that the two circles are lined up by their left sides. Figure shows the guides set up for a newsletter. The guides indicate where the heading graphic will go, the space allocated for a central text frame, and where the page footer can be placed.
To move a guide, simply drag it with your mouse using the Selection tool. FIGURE Drag a guide in from the left ruler or down from the top ruler, using the ruler to determine its placement. FIGURE Set up as many guides as you need to help lay out your document and make sure all of its objects line up easily. To turn them off, select them again, which removes the check mark. Just click the colors to the right of each item, and a palette of optional colors appears.
This includes Smart Dimensions and Smart Spacing, which are also new to CS4—intuitive features that allow you to more easily resize Smart Dimensions and distribute Smart Spacing objects on the page. You can also adjust the Snap to Zone setting seen just above the Smart Guides Options section , which controls how close you have to get to a guide, lines within the grid, or another object before InDesign will snap to it.
The lower the number, the closer you have to get before the snapping feature kicks in. Smart Dimensions is shown at work in Figure , where InDesign helps by indicating when the lower circle, which is being resized, is the same width as the circle above it. Smart dimension guides FIGURE Smart Guides that appear as arrows tell you when a matching width or height, which would appear as vertical arrows is achieved. Grids are another way that InDesign helps you line things up on the page.
Instead of or in addition to the guides you can drag onto the workspace to help you line things up, the grid provides a network of lines that you can choose to snap to so that you have virtually no choice but to line things up in a regimented, linear fashion.
The result, shown in Figure , is like a gray sheet of transparent graph paper was placed on your page. The size of the grid is based on the default settings, which you can alter to suit your needs for a tighter or looser grid. This is handy to see if you want to make baseline adjustments, using the Baseline Shift field on the Control panel to raise or lower type relative to the baseline. Figure shows the Baseline Grid displayed and text in a text frame seated along that baseline.
To control their dimensions—the size of the grid and the distance between baselines—you will choose Edit Preferences Grids and use the version of the Preferences dialog box shown in Figure Through this dialog box, you can change the color of the grids and control their spacing. Note that the Grids in Back check box is checked, which means objects on the page will not be obscured by the grid. The higher the number of subdivisions, the more complex your grid will be.
You can switch between layers, viewing the content on each one or seeing only certain layers , you can zoom and pan with ease, making it simple to get really close to or far away from your document, and you can preview your document before printing. That said, a good understanding of how to build text into your documents is the key to your mastering InDesign and making the development of documents as smooth a process as possible.
Create Text Frames Text frames, or boxes that house text in your InDesign documents, can be created in several ways. The method you choose will depend on multiple factors—where the text is now a Microsoft Word document, online, in pieces throughout another InDesign document, etc.
Furthermore, all pages in your document will be based on the A-Master by default. So how does this work? If, for example, you want to place a lengthy article or story in your document and have it start on page 1 and flow through as many consecutive pages as are required to allow all of the text to fit, if a master text frame is in place, the text will flow from page to page the minute you choose to place the text using the File Place command.
Insert Text on a Page All you have to do, as shown in Figure , is click inside the desired starting page after issuing the File Place command and selecting the text to place. Figure shows the Place dialog box, which appears after you select File Place. Want to learn more about creating, editing, and applying master pages? Check out Chapter 3. The Pages palette lets you know quite easily, as shown in Figure The Master Page icons in the top section of the Pages palette will have a tiny dashed border on them, indicating the presence of the frame.
As shown in Figure , if you use this command, your mouse is automatically set to draw a text frame, which will house as much of the article as can fit in the size frame you draw. Newspaper and magazine text is a prime example of this because so many other aspects of the document—other articles, graphics, advertisements, photos—will be moved around and decisions made on the fly as the document is developed. This allows you to draw the text frame first, based on your sense of the amount of the page that the text should inhabit, and then add text to it.
If the type is overset—the term for there being more text than will fit in a text frame at its current dimensions— you can jump or thread that text to another text frame you draw yourself. Figure shows text in a frame and the overset text indicator in the lowerright corner of the frame. Being able to just click the overset text indicator seen in Figure and then click where the additional text should appear is easy and gives you a lot of control over the flow of your text.
Here are some alternatives to consider for handling the overflow. You can also reduce the leading, or space between lines of text. Figure shows two of the tools you can use to do this. Even a tiny reduction in the wrap setting can make the text in your frame fit. Sometimes, all you have to do is click at the end of the text you can see in the frame and press DELETE a few times to remove any extraneous hard returns, spaces, or lines breaks, and the overset text indicator disappears.
Click the overset text indicator with the Selection tool. Move your mouse to the page or location on the current page where you want the text to thread. Click and drag to draw a frame for the overset text, or click inside an existing text frame to indicate that as the target frame. You can also click a page to which a master text frame has been applied. Tip Tip If you want the text to automatically flow to subsequent pages, each automatically containing a text frame the size of your page within the margins, hold down the SHIFT key when you click to place the text.
Sometimes a combination of threading the text and reformatting the text so more of it fits in the frame is the best solution. Refer to Chapter 6 for more guidance on text formatting. To do this, you have two main options. Note that the text frame should already exist before employing this method if you want to control where the text goes.
I just finished going through your Illustrator CS4 one-on-one advanced series at Lynda. I do not have access to those example files and was not able to load them. Throughout your blog here, you indicate you have not created Illustrator CS4 shortcut keys. Are they now available from your web site somehow? Can you help here? You can download them from Lynda.
There you can download a zip withboth DekeKeys and Best Workflow…. First of all I love the lynda videos. You mentioned the wacom boards. Instead I bought one of the bamboo ones, much cheaper, just not as nice I guess. Do you, or do you plan to have videos on properly using them? That may be a hard topic to cover, but figured if anyone could it would be you. Any feed back would be great. I got it to carry with my Macbook Pro. After installing the driver, I looked forward to putting it through its paces.
I was very disappointed to see the terrible response from the time I drew a line to the time it appeared onscreen. This problem did not occur every time I tried drawing, but it occurred more than half the time.
It happened with very short strokes as well as long. With a lot of pressure applied and with little. I use both an old Wacom Graphire and Intuos3. I uninstalled that program and loaded Adobe Creative Suite 4 Design Premium and no longer have the option. Please help. When this happens, try painting a fast line with your mouse. If you notice a similar delay or Photoshop stalls and then draws a straight line , quit Photoshop and start it up again.
If the problem persists, restart your computer. I ran into a spate of painting delays while working on my videos for lynda. The IT team ultimately wiped the computer and all was well again. Click on the little Save As floppy disk icon.
In the ensuing dialog box, right-click and choose Paste. Now the file is in the proper location! At that point, I believe you cancel out. Then you should see dekeKeys in the Set menu. I was wondering if a windows 7 compatible dekeKeys is available. Where do I install the DekeKeys in Windows 7? The instructions only cover XP and Vista. I got mine to work by extracting the dekekeys and saving into the keyboard shortcuts folder in this location. Then in PS, change the keyboard shortcuts as usual, it will appear in the dropdown selection.
I went to save the dekeKeys – and it occured to me that I am confused on a certain point. In the past, I used to save all Presets and Plugins – i think in the specific folder for that Application. Can anyone tell me if there is a problem with using the Presets folder in the Applications folder.
I am even confused how I started doing this, was that how it was done before there was an App Support folder in Library? An instructional textfile is included in the downloadable ZIP file. Also, it is editable, if you want to add or remove certain text searches.
These are mostly startup scripts, and there are instructions on how to install. Upgrade your InDesign CC to include all these handy features! PDF PayPal. Not compatible with CC These three installable plugins provide helpful extensions to the InDesign interface. PageZoom is a panel with all page navigation and view and rotation operations brought together in one set of clickable buttons. A must-have for the long-document designer! Typesetter is a plugin panel that brings all the obscure typesetting commands to the surface as clickable buttons.
Included are paragraph rules, hyphenation and justification, and more. OpenTools, the third plugin, is a tool panel with all the tools showing in 4 columns instead of one or two.
Click on the little Save As floppy disk icon. In the ensuing dialog box, right-click and choose Paste. Now the file is in the proper location! At that point, I believe you cancel out. Then you should see dekeKeys in the Set menu. I was wondering if a windows 7 compatible dekeKeys is available. Where do I install the DekeKeys in Windows 7? The instructions only cover XP and Vista. I got mine to work by extracting the dekekeys and saving into the keyboard shortcuts folder in this location.
Then in PS, change the keyboard shortcuts as usual, it will appear in the dropdown selection. I went to save the dekeKeys – and it occured to me that I am confused on a certain point. In the past, I used to save all Presets and Plugins – i think in the specific folder for that Application. Can anyone tell me if there is a problem with using the Presets folder in the Applications folder. I am even confused how I started doing this, was that how it was done before there was an App Support folder in Library?
I have way too many dupliated files, etc on my computer that I hope to streamline things, like where is best to put things, etc. I imagine this started when I bought my newest Mac and was transferring things from previous versions of Creative Suite, and from the previous Mac O. More than once. It changed to the Application Support path with CS3 and looks likely to remain there.
I understand your desire to streamline. I have CS4 InDesign also window 7 – 64bit and looking for your shortcuts. If I load these keyboard shortcuts will I lose all of the shortcuts I have already created?
I am having trouble setting up my shortcuts fold in CS3. I have downloaded the file and extracted it, but now cannot find any of the suggested locations in which to place the file so I can get it from PS.. So that your system knows you want to open the file in Photoshop. You can also right-click on the file and choose Properties Get Info on the Mac and select to open the file with Photoshop. Is there any chance you will do a video on fixing pet eye?
I have just got your Illustrator and Photoshop CS5 1on1 books and was going through the recommended preparation in the Illustrator book I can get to where I need to be under System Preferences – Keyboard Shortcuts and highlight per Figure 11 but when double clicked, the F12 shortcut does not accept the Control F12 input – I just get the volume up effect and the shortcut stays as F My Control key works.
I have tried removing my keyboard USB connection and reinserting it, tried Restore Defaults in the Keyboard Shortcut pane and starting again, tried resetting other shortcuts… all without success. Never mind. Try as i may i cannot get dekekeys into ps cs5.
Click here to get there. Hi all, What an informative site!! I downloaded the tutorials from the Lynda. Any chance of getting a download from here? What a pain… After sorting out how simple it is to get the KYS onto my CS5 ext and finding the keyboard shorts had changed they are not the same as the shortcuts shown in the One-on-One Tutorial.
Any hope of getting the revised KYS? This is so frustrating knowing that they will be needed as I follow you further into the course. Not sure if this was answered before but I have located the path for copying dekeKeys for InDesign 5.
[dekeKeys for Download, a replace.me article
Shape layers are essentially areas of solid color that are masked by a vector shape. InDesign recognizes numerous characters for defining rows or columns. Figure shows the same paragraph aligned eight different ways. When you paint, the color of the paint is the foreground color, which is the upper-left color swatch at the bottom of the Tools panel white, as shown here. As we increase saturation, colors become more vibrant and intense. If your Swatches panel is not visible, you can go to the Window menu at the top of the interface and select Swatches. Have you changed them since that batch?
Adobe indesign cs4 shortcut keys pdf free
Learning the keyboard shortcuts for repetitive tasks is one of the best ways to increase your productivity and to make life with InDesign more enjoyable. Adobe InDesign CS4 Keyboard Shortcuts ; Ctrl+Shft+Left Arrow, Right Arrow, Up Arrow, Down arrow key, Move selection by 10th** ; Shft+Left Arrow, Right Arrow, Up.
InDesign CC learning resources – replace.me
The latest features of Photoshop would be discussed at length over here along for securing more insights. Frame Tool can be used for swiftly creating placeholder frames in shapes of rectangle or ellipse. Images to be masked have to be placed in such frames. Any text or shape may also be converted into frames for filling the same with images. Spontaneous scaling of the image would happen for fitting the frame.
Smart Objects form is used by Photoshop for content positioned within the frame to allow non-destructive scaling. The editing process has been rendered more interactive with dedicated Content-Aware Fill. This new workspace helps in achieving seamless fill with the help of Adobe Sensei technology. Choosing the preferred source pixels for using, rotating, scaling and mirroring them has become possible.
Previewing of the modifications in full resolution in live mode is facilitated. The results can be saved to a new layer. This feature has now been imported in Photoshop. By default, the multiple undo option remains enabled.
After the inclusion of multiple undo feature, you can avail of following commands within the Edit menu. The name of step or action which would be undone or moved forward while clicking the commands would be displayed against respective Undo and Redo sub-menus in Edit menu.
The modifications in layer visibility can also be undone by default. Elements can be moved with ease on the Photoshop canvas while they are being transformed. Earlier, a reference point would appear when the element is getting transformed but now the it hidden by default now. In the Type layer within the document, you can start editing the text quickly by double-clicking with the Move tool.
Tools no longer have to be switched for editing text. With Auto-commit functionality, cropping, transforming, placing or entering text has become a breeze. In order to auto-commit the changes made during cropping or transforming, you need to carry out below actions:. If you are keying in text in the Type layer, you have to perform below actions for auto-committing the changes made:.
This exciting new feature of Photoshop allows for proportion transforming of different layer types by default. Layers can be a pixel, bitmaps, smart objects etc. However, by default non-proportional transformation is still prevalent for vector shapes and paths.
When the layer is transformed, the practice of holding the Shift key during corner handle dragging for resizing the selected layer has been done away with. Shift was pressed for constraining the proportions of the layer. Now the proportional layer resizing happens every time you are dragging the corner handle for layer transforming and moving. If you hold the Shift Key, the layer would be resized in non-proportional manner while the corner handle would be dragged. It prevents accidental movement of workspace panels.
This would prove more useful when Photoshop is access on stylus or tablet. To preview how various blend mode option look after the change, you just have to scroll over them.
Just scroll different options from Layer Style dialog option in the Layers panel. You can now have the brush strokes painted in a completely symmetric manner. From the Options bar, just click on the Butterfly icon. While painting, live reflection of brush strokes start appearing across symmetry line. You can create complex symmetric patterns with relative ease. Navigate to the fly-out menu of Color panel for choosing Color Wheel. This wheel allows visualization of the complete color spectrum to facilitate easy choosing of colors dependent on various harmonies.
You can select analogous and complementary colors among others. You can now start with Photoshop Home screen swiftly. In the Options bar, a new Home icon has been provided. You can click on the same for accessing the Home screen at any time. Clicking on the icon would also allow you to know about the latest features, access the learning resources, or go to the open documents directly.
In the Learn panel, you have access to an in-app tutorial. Upon completing a tutorial, you can put in use custom images for pulling off the desired look within a short time. This feature which is already available in Adobe Illustrator was demanded by Photoshop users since long. This demand of customers has now been acceded to. Spacing among the objects can be distributed now. The objects could already be distributed in Photoshop through even spacing of center points.
However, if the size of objects varied, they can be evenly spaced now with this feature. In every input box which is built for accepting numerical values, simple mathematical calculations can now be performed. The outcome would be reflected in the numeric field. This feature can be used for swiftly calculating multiples of number or division values.
Earlier in Photoshop, the layer name which would exceed the designated space was displayed as initial letters followed by ellipses…… The end letters were truncated. Now, the layers with longer names are displayed using the starting and ending letters of the layer with ellipses in the intervening space. By using the Match Font functionality, search for Japanese fonts has been enabled. The text present within the selected portion of the image can be detected using Adobe Sensei in match Font.
The licensed Japanese fonts on the device can be matched now. Workspace and image masking can now be done with ease in latest Photoshop version.
Now you can exercise better control to scale the Photoshop UI. The UI can be adjusted for getting right font size without depending on other apps.
In the most recent Photoshop version, support for 5 South East Asian languages has been included. Documents with text in aforesaid scripts can now be included. To be able to use the languages in seamless manner on Windows OS, the Language and Fonts pack for respective scripts must be installed.
In the version Adobe Express. Adobe Fireworks. Adobe Fonts. Adobe Fresco. Adobe Fuse Beta. Adobe InCopy. Adobe InDesign. Adobe Media Encoder. Adobe Photoshop Camera. Adobe Photoshop Fix. Adobe Photoshop Mix. Adobe Portfolio.
Adobe Prelude. Adobe Premiere Rush. Adobe Stock. Adobe XD. Register Don’t have an account? Adobe Photoshop release history. Edit source History Talk 0. Do you like this video? Play Sound. This article needs to be dewikipediafied. You can help the Adobe Wiki by updating it. Archived May 7, Adobe releases original Photoshop source code for nostalgic developers. Retrieved on Connolly mjconnly newton Archived from the original on Jeffrey Tranberry.
Jeff Tranberry. Retrieved on 16 January Retrieved on 4 February Retrieved on 9 March Adobe Inc Retrieved on 18 October Categories : Pages with script errors Dewikipediafy Photoshop Software version histories Add category. Cancel Save. Universal Conquest Wiki. Not publicly released – This demo was the first known copy of Photoshop with any public exposure. First version distributed commercially by the scanner company Barneyscan , though distributed as “Barneyscan XP”.
Last release for System 6. Support for Win32s Tabbed Palettes Layers First release to be distributed in compact disc format Final release to be distributed in floppy disk format Last release for Windows 3. When saving a PSD, you can set a preference to maximize file compatibility. This saves a composite version of a layered image in the file so it can be read by other applications, including previous versions of Photoshop.
It also maintains the appearance of the document, just in case future versions of Photoshop change the behavior of some features. Including the composite also makes the image much faster to load and use in applications other than Photoshop, and may sometimes be required to make the image readable in other applications.
Mac OS You can use this format to open an image in Photoshop 2. Saving in Photoshop 2. You can use DCS 2. Encapsulated PostScript EPS language file format can contain both vector and bitmap graphics and is supported by virtually all graphics, illustration, and page-layout programs.
EPS format is used to transfer PostScript artwork between applications. When you open an EPS file containing vector graphics, Photoshop rasterizes the image, converting the vector graphics to pixels. EPS does support clipping paths. You use DCS 2. You can edit and use an opened preview image just as any other low-resolution file. The current version of Photoshop includes rasterization features for opening files that include vector data. The Photoshop Raw format is a flexible file format for transferring images between applications and computer platforms.
Documents saved in the Photoshop Raw format can be of any pixel or file size, but they cannot contain layers. The Photoshop Raw format consists of a stream of bytes describing the color information in the image. Photoshop designates the number of channels needed to describe the image, plus any additional channels in the image. The file creator is also generally a four-character ID. The Header parameter specifies how many bytes of information appear in the file before actual image information begins.
This value determines the number of zeroes inserted at the beginning of the file as placeholders. You can enter a header when you open the file in Raw format. You can also save the file without a header and then use a file-editing program, such as HEdit Windows or Norton Utilities Mac OS , to replace the zeroes with header information. You can save the image in an interleaved or non-interleaved format. If you choose interleaved, the color values red, green, and blue, for example are stored sequentially.
Your choice depends on requirements of the application that will open the file. A Photoshop Raw image is not in the same file format as a camera raw image file from a digital camera.
Digital Negative DNG is a file format that contains the raw image data from a digital camera and metadata that defines what the data means. BMP is a standard Windows image format on Windows-compatible computers. BMP images are normally written bottom to top; however, you can select the Flip Row Order option to write them from top to bottom. You can also select an alternate encoding method by clicking Advanced Modes. Using the Cineon format, you can output back to film with no loss of image quality.
The format is used in the Cineon Digital Film System, which transfers images originated on film to the Cineon format and back to film.