Desktop PublishingDesktop Publishing © Aptech Limited All rights reserved No part of this book may be reproduced in any manner whatsoever, stored ina retrieva system or transmitted in any form or by any means without the prior permission ot APTECH LIMITED. APTECH LIMITED. Regd. Office : Elite Auto House 54-A, Sir M. Vasanji Road, Andheri (East), Mumbai - 400 093.PREFACE The printing industry now seems to have virtually bidden good-bye to the classical like better press and others. New technology has ushered new horizons and ther increasing number of vendors offering computer-based solutions. The book is designed keeping in mind the market requirements also. We sincerely wish you enjoy reading this book as we had the pleasure to bring this book to top. in case of any suggestions please feel free to fillup the feed back form attached at the inside of this book. ARENA Design TeamSSeSContents Chapter 1 Elements of Design..... First Steps in Design Introduction to Design Creativity Golden Section Publication Design Design Elements Principle of Typography Chapter 2 Getting Started... © Getting Started @ = ColorManagment @ Designing a Master Page Grid Chapter 3 Working with Graphics and Text Blocks... Drawing and Editing Line & Shapes Grouping Objects Locking Objects Masking Objecris Aligning Objects Rotating, Skewing & Reflecting Objects Warping Text around Graphics Using Photoshop Effects KeytiningChapter 4 Chapter 5 Chapter 6 Importing, Linking and Exporting ..... Printing Publication Introduction to Portfolio... Placing and Linking Import Text Features importing Paragraph Styles from a Word Processing Application importing a Style Name Tags importing Spread Sheets importing a Table importing a PCD Image Font Printing Basics Film Preparation Printing Color Color Separation Printing Book Publication Distribution a Publication Electronically Using Scripts Portfilio Flyers and Posters Brochures CertificatesCHAPTER 1 DeOpP Tui 4 Elements o Design First Steps in Design Introduction to Design Creativity Golden Section Publication Design Design Elements Principle of Typography Elements of DeDeskiop Fubiisning First Steps in Design Printing Processes cost quality time Fig. 1.4 It is encapsulated in the Printer's triangle that a job can be done quickly and look good t expense of cost. Alternatively, costs can be minimized and the job can be done quickly but not at top quality any combination of two! This is in fact of life. Bear it in mind when going to print and you will: of time and trouble. a’ Design has three main functions: | introduction to Design # Communication : Our job with text is to ensure that the written word is read; however, | s refinement of this objective: achiece Effective communication. #Entertainment: Design must be aesthetically pleasing and #Guidance: this isa neglected area of design that | feel very strongly about. We have a duty our rensrgaourd eon We OW. ders around and to direct their gaze the same ‘as a magician:Look here - now over there’. The Paradox is that this process eS | Look at this’ not ‘ Look at me!” The designer also has master of several arts: t—-4 | > | ARENA MiiltimadiaPviss JYyoT! CHM pP kKiop Pu Creator : the designer must manipulate graphics skills and the available data. — oe Researcher: the designer must bring together many types of element for the client; and Manager: the designer must ofete a design strategy that works. ————— Creativity We all have the ability to create but few consciously use this gift. It is subjective; you he consider some people’s taste in wallpaer to realize this. There are, however some basics 0 truths that hold good in all cases. Once theses have been grasped, much of the mystique and layout evaporates and decent work canbe produced. Some people are instinctive desi an innate ability, but most of us have to be shown how to design before it becomes natural x "_‘natural" is important, because the best design is natural, not contrieved. It should flow anc the way. A new viewpoint I find that the best way to look at a design is to view it from an odd angle, and thereby different light. My favourite angle is to think of a shop. We can identify a well -known shop f long way off. Why? Because of Branding, that essential quality that all designs should have of the shop fires preset perceptors that the marketers have imbedded in our subconscio! respond in the way that they want them to. They are being manipulated. Typically, on seein, we may think one of the following: # Cheap/ Expensive; # Friendly staff; # Well laid out; and lots of choice. First we have to create an identity via the look of the shop that encourages the passing come inside. Our design must make the viewer want to stop and look at it, therefore desig is the initial contact and the text is read afterwards. We must display our wares in ar manner to excite interest and desire. “FinderDesktop Publishing Fig. 1.2 How do we do this ? The first impressions that a design must covey are a sense of urge importance. There is no sense in giving our passing shopper a chance to think, ‘|need sorr -| will pop in on the way back’. They will be loaded down with other shopping and tired , and j bother. You must convey that sense of importance: SALE - 80% reductions, and a feeling of . TODAY ONLY’. Then you will have attracted the shopper's interst and commitment. This is Test” of a design. Does the audience feel that it is important thal 10k at it without dele Fig. 1.3 | ADERIA AA Aint\V ilies wv c. be wnat Deskiop Fut Appeal a Next, ask yourself, ‘Am | appealing to the reader's selt-interst?’ or, in simpler terms, what ‘what's in it for me?'factor iny of us are essentially selfish creatures, driven by greed anc gain. Ifwe acknowledge thiis and address it directly, our communication will be much more: efficient. Think of ways in which you can make your shop appear to be an old, valued ar friend. This is the phsycology of selling, and make no mistake about it, we are in the bu selling. We sell Pages, Layouts and designs to the passing public and we have no time to pr We must be direct and to the point. = 4 ™ ¢ G6 4 \ — ® fl o - 6 a \ The Golden Section is the division of a line such that the ratio of the lengths of the ar same as that of the largerpart to the length of the whale line. This ratio is called the Golde is equal to 0.618. Focus AM V4 The Golden Section introduces the next important uel design, that of the focal point, or you can see in the figure, after the subdivisions of the golden rectangle we end up with a po: the page which is perfectly placed. AGE age Fig. 1.4 Plamante af MeasDesktop Publishing ‘You will notice that when arcs are drawn within the sections a perfect spiral is produced. Th movement in the rectangle is its secret. The eye is drawn to a specific place through a ¢ sweep through the rest of the space. !fit were a design, the reader would arrive at the centre ¢ via other points of interest, rather than ye striaght to it in a linear way. It has an effective that appeals to everyone. i i oe a wy ar a a ve Fig. 1.5 a. When we place the stress at the top left we get the impression that everything is all over - too quick. b. Top rightis an improvement we have to move to get to it - but there is still nothing else on to look at. It also looks like a stamp. c. If you want to hide an item, then place it bottom left. The eye just ignores it. a WR ERIANAitienwedia’Pe remee d. If you want the reader to immediately turn the page, stress the bottom right and th striaght to it. e. It is best to find a place in the middle and offset it to give interest, like this... f. _ ...or this. Now the eye has room to move and there is an eveness of white space. OW b E- ai C. ck a Bi we f = ea i: |g: Fig. 1.6 a. When two or more elements are added we start to move the readers eye around the 5 one is a bit basic. — b. Another classic layout. It is a little like a signpost although the black piece is strongly ae Elements of DesJ c. This one is a lot better. It is an unusual grouping and could be moved around the pag: losing impact. d. Another interesting layout, which imparts a nice feeling of rotation. Can you see the spir: @. Moving the black piece so that it does not align with the top box makes this desig unbalanced. re : The next effect to strive for is to contrast one element correctly with another. Good pages are photographs: They contain lots of contrast (ie. dark parts near lighter areas) so that the intrigued and wishes to explore further. A grey overall tone is dull and the lack of ‘colour’ mak uninviting. By using different weights of heavy or light type, you can give a page lots of inte stress points of focus. Also be aware of whi \cé of how important itis. When used properly it can be stunning give a definite air ve | qual lity to a design. Do not be put off by the olewhinksof ‘waste nonsense. A crowded | piece looks so busy that it puts the viewer off reading it. Use white a: breath” between movements. Discover where it can fall effortlessly. Don’t think, How can | fill: instead make other items swirl around it in a whirl of design, dragging the eye into the page you want it to be. This can also look very elegant. Alignment The human brain loves to align things. (hak, long a page and revels in subtle arrangement try ranging boxes of type with eacl ptha horizontally and vertically. itis also essentia use the | baseline grid especially for Finally, with respect to rotated box, unless it is crucial to the story, is a sure sign.of a ¢ q designer who cannot think of a way of making the page exciting and thinks, | know, rotate i Proportion Asense of proportion is vital to a layout. Some dull pictures can be enthralling if they-are si as large as possible. Try bleeding shapes off the page: your fice how the image now ru ‘surroundings instead of being contained inside the frame of the margins. The difference between a ante Guit shape and a big, IStd one creates the kind of tensiont! the eye. ay ‘YS la | ARENA Multimedia éHeadlines Ta Use good, strong héadlines. Create lots of contrast with tho Body reagy nd follow the heac the most important facts relating to the piece. Nowdays readers tend to read only the first four pr before moving on, 80 you must get message across immediately after the headline. Inserta line space beneath the headline before the body text starts. Using ranged left type, avoid he the same length. If possible, make almost the width of th the column measure. Publication Design Wwe Adesign must have the following characteristic sign is what the public sees first; oe # it must take into account the sa # it must be accessible; — # it must express character and content; y # it must be individual; # it must have its own identity and image; # it must have an air of urgency and importance; # it must convey a sense of its own worth and not just be part of the package; # it must make the product welcome, and respected and a familiar friend; and # it must appeal to the audience's self-inter interest and cater for the inet s!| init for me?’ facte owiineonens \V\ | 7 — P| (a Make Up Designs should catch the eye of potential buyers, and get them to pick up the publication ar it. The decision is taken in seconds and so the design must work in an instant! Format ‘the format because this has great recognition value. However, it must be flexib!: rigid, so it still allows freedom of graphic treatment. Elements of DesWherever a logo is used it must be r recognized.as alogo, inthe same way as a magazine or ne’ ( Masteheadgives a feeling of union and continuity to its readers. Can the logo be incorporatec design? Any product needs a strong identity and unique selling point, and one of the most important € in this is the logo or namestyle. The branding and recognition of a logo can attract the casual and subtly invite them inside the Publication. A logo: #differentiates the product from others. ) © 4 #communicates a sense of worth, origin and quality, #identifies the product or service. 7 j = ‘Typeface and Style ‘The typeface and(style establish the character and voice of a magazine, and so they must be re quickly. pw Colors Wa Pas yar ood } ‘Don't use colors like green’? There are no rules; the best selling issue of Time Out was a gt Certain combinations are not good though, such as red text or pink, as it is nearly unread: neither are mid-blues with magenta, as they shimmer. White afid black are the safest bar colors although black can make reading difficult when used over large areas. Use three maximum and use primary and bright hues such as cerise and violet. Mix your colors accu Illustrations Make sure there is an easily ee eee the image and the product. the audience something you canin Pictures Should these be big or small? This depends on the quality of the image. As bleeds are so why not try as a jewel on a frame and present the image as a jewel on a cushion? If you are watch out for poor trimming. Bleeds suggest limitlessness and Bo ifyouruss them tomuch, t! feels lost and if they are floating. Symbolic illustrations are good alternatives ‘e(phitographe People pictures are always interesting. We are always curious about peo} le and especialh famous and successful. [40 | ARENA Multimedia_Pictures should have an appreciabl to the thing that is being sold. with the product; itis disaster if a design bears no re The great George Lois once said “Try to find an idea thats so'strikingit brings you to your | as a good alternative.cartoons and illustrations can add a sul element to your design ——_s Effective Communication in an Information Environment The electronic age has given us an almost magical ability to store, retreive, and analyze date you are making travel plans, checking the status of an insurance policy, or changing an ass' a five-year plan, the computer can provide almost instantaneous answers to questions that decade ago might have remained unanswered for a day, a week, or even a month. But the electronic age has notaiven us a paperless office. In fact, in a single year compute! tochurn out some 1200 pages of printfor everyman, woman, and child in the United States they help us manage individual pieces of data, computers have increased our information ¢ In the midst of this overload, desktop publishing reaffirms the fundamental power of prit tangible; it has a life of its own. You can read it when you want, at your pace, and keep if reference. And now, with desktop publishing, the newest darling of the electronic age, you more pages faster and cheaper than ever before. But can you produce effective pages? ‘The elements that make up a successful document— careful writing, thoughtful organizatior design — grow out of an understanding of your message, your audience, and your resourt A Poster is one of the simplest and most direct forms of communication. It delivers a mess: as brief as it is bold. The street language is well suited to the young audience; the rythm of the words is in vernacular. _— The typography follows the cadence of the words, so that the visual rhythm literally e verbal message. Reverse type on a red background supports the jazzy rhythm and the serious —— The dramatic photo composition on the cover of this PBS-series program guide has an content that touches the reader in a way that straight typography cannot. The single word title is very focussed. It succinctly states the subject but leaves you cur how it will be addressed. Elements of De:VeoRiUp Tuvieiiniyg What is the purpose of your publication? Desktop Publishing can be used to produce documents as diverse as calling cards and nov Documents that persuade Periodicals that, Advertisements Magazines Invitations Newsletters \—~~” Fund Raisers: Newspapers Posters Reports. Press Releases \~ Documents that elicit Response Promotional Flyers | Application Prospectuses Order Forms Sales Brochures Surveys ae Documents that identify Documents that provide reference | Business Cards Calenders Certificates Directories Labels Lists Stationery Schedules Timetables Documents that eon) Documents that give how-to information Brochures Curriculum guides Curriculum: Instruction manuals Bulletins Training Guides Fact Sheets \_~~ Marketing Plans | Product Lists Rate cards \_~~~ Specification Sheets 12 | ARENA MultimediaVeoniVp Tu Who is your audience? Unless you write like Shakespear or Stephen King or address a subject as important to yc as his or her bank balance, you can’t assume that your intended reader will actually document. You may have a target audience or even a captive audience, but you don’t hav untill you have involved that person through words or pictures or an overall impression. ww? Thinks in terms of interaction rather than one-way communication. It doesn’t hurt to think as an entertainer or a sales person anticipating your audience's reaction. What kind of image do you want to project? Everything about a publication, from the style of the prose to the quality of the paper it’s contributes to the image it conveys about the sender. And the single most important g fashioning that image is appropriateness. The elements you select and the way you ass reproduce them become a matter not so much of good or bad design as of design that is ¢ for your purpose and audience. Even the crammed-full, poorly printed advertisements fc department stores cannot be dismissed as “bad” design when put to the tests of apprc effective communication. ve If you are promoting a financial service, you want prose that is well informed and author design and printing that is prosperous without being indulgent. A Company that has had a bi the other hands, wants to appear careful and restrained without creating concem abouts you want an entrepreneurial business plan to appear “energetic, bold and thorough alla time. A travel brochure for a Bombay to Goa Cruise might use a color photos to suggest escape, and celebration, and an ad for a new restaurant in the theater or art district might use de it ifs to project a similar experience close to home. What is the overall format? Format includes everything from the organization of material to the page size to the underlyin, or grid, of your layout. You rarely start a publication with an idea of what the format should ‘the format evolves out of the material and often changes as your understanding of the | changes. In developing your format, consider first the common elements in the publication. How mai headlines will you need? How will you separate items that appear on the same page? For magazines, newsletters, and other periodicals, develop your format with great care < can maintain a consistent style from one issue to the next. What documents and featu included in every issue? Where will they appear? Flements of DeDesKiop Tubing What are the Printing Specifications? Specifications — including page size, number of pages, type of binding, paper stock, quant printed, and use of color, if any — are inextricably related to the overall format. Changing o1 affects the other. What is the budget? Money is also a reality factor. It so affects everything about a publication that it's often consideration. we have putit last on the checklist, not out of disregard for its importance, but belief that first you should think about what you want to do, and then you should look at what do. It's the nature of dreams to make us reach, and even when we can't grab hold of what v dreams often produce good ideas that can be scaled down to fit a budget. Take your budget ¢ schedule seriously, but don't let them be ever-present blinders. The Principle of Typography The abilty to set type, to modify it on-screen, to compose it in pages, and then print the camera-ready form is the foundation of desktop Publishing. Suddenly, the fundamental buildii of graphic design is in the hands of anyone with a few thousand dollars, What are we to make access to such a rich tradition, one developed over 500 years of practice? The answer, of course, varies widely. Typography at its most basic is simply the select arrangement of typefaces, sizes, and spacing on the printed page. But faced with the raw ma @ page that isn’t printed, how do you style the elements so that the relative importance of ite pick out the ones of interest, so that the overall appearance is both varied and unified? Creating a Grid : The underlying Structure of Page Composition There is nothing mysterious about a grid. Itis simply an underlying structure that defines whe things on the page. A letter typed on an old manual typewriter uses a grid; so does a handw: on a sheet of paper in.which you note the names of items on the left and the costs on t Although grids used in publication design can be considerably more complex than that, they: be that simple. Cee The grid-itseltis i vertical and horizontal lines that divide the page. This te has been the dominant approach to publication design for at least twenty years, because it | such an effective way of organizing the page and speeds up layout time considerably. Awell-constructed grid can make a lot of decisions for you — where to place the headlines, | art and how location a planned, cohesive look and helps ensure consistency from one pag next. It also sets visual ground rules that every one involved in a publication can follow. 44 | ARENA MultimediaVesniop ru The Anatomy of page Designing and assembling pages, whether by hand or on a computer, is more than ame. electronic task. It's a way of looking at a page as having a certain size, shape and propo! Overline (also called a Kicker or eyebrow) A brief tag over the headline that categorizes Headline The title of an article Deck (also called a tag line) A line that gives more information about the story. Stick-up Cap An enlarged initial letter extending above the body text. Whe Bleed art A photo drawing or tint that runs off the edge of the page. _-- Picture Window A rectangle that indicates the position jand size of art to be. 2 Stripped Intx Caption The text describing a photograph or illustration. Body Text the main text, also called running ‘text. Fi jo The page number Running Text A line across the bottom of the page that helps orient the reader within a Here it contains the folio and date. Sidebar A smaller story inside a larger one, boxed with its own headline to set it apart fro: text. Breakout (also called a pull quote or blurb) A sentence or passage excerpted from the bod set in large type. Top margin The distance from the. 192 trim to top of the text area. Running heads and fee are often positioned in the top or bottom margin. Running head Aline of text across the top of the page that helps orient the reader within a It might include the documents title, author, chapter, subject of current page or page num art of an illustration. Calli A label that iff ntififes Leader A rule that moves the eye from a callout to the part of the illustration it describes Dingbat A decorative or symbolic device used separate items on the page or denote ite Elements of Debeskiop FubIsNInNg The circular nature of planning and Doing In describing electronic page composition, any books and manuals depict a neatly linear prc creating master pages, placing edited text and finished graphics, making a few refinements, printing out final pages to send off to the printer. The demonstrations of page layout programs « more misleading. The reality of producing almost any publication is considerably different. Rather than being lir process is a circular one involving trial and error as well as numerous revisions to make elements work together. Answer the Following: Q. Why design is important? Q. ‘Whatare factors would you look before a final Layout? Q. Whatis Principle af Typography? Q. Whatis circular nature of planning and doing? 18 | ARENA AiiiltimadiaCHAPTER 2 {cert PS IMM OLN Ole © Getting Started @ ColorManagement e Designing a Master Pages and features in Pagemaker can be activated o juivalents and the on screen dialog boxes a f ff g .* So a > & al control of Pagemaker files and file transfers as we S « _ = J 9 The Edit Men. The Edit menu lists fea. at address separate Sélections in a pagemaker project. a <= The general commands can be compared to those found in a standard word processor. The Layout Menu The Pagemaker Layout menu addresses Page transposition and column guides. The Type Menu ae The Type menu is concerned with every aspect usage for your document. Fonts are as imp the overall design of a page as is global element composition. Using the wrong font can det a document's overall design so that all the other work you put in Eto the right look i: i his means not only choosing the correct font, but its size‘and-justification compo: ‘well. Text blocks in your document should appear as a family of elements so that body text Page or pages attain a similar look as well as headlines and subheads. ‘ One Potential confusion that you should be aware of is the difference between Style and Type the Type menu listings. Type Style refers to the options any selected word or text bl illustrate, including : Normal, Bold, Italic, Underline, Strike| Outline, Shadow, and Rever: refers to text block style presets, such as Headline, Body Copy, Caption, and the like. Text Styles are always preset and cannot be customized les gn the other hand can be cus and defined beforehand. Styles can incorporate Type Styles as part of their definition. usually are applied more locally than are Styles. 148 | ARENA MultimediaE ie tk ane rus Org ~~ YQ Leading Settings/vary the amount of space between, ines of text in a text block. Tight smalle ir iMake a text block appear darker because of the density of the elements, wher: settings will act.as to make the text block look more gray at first glance. o_O <> recta used to change the spaces between letters in a text block. Tracking can be @adjUst text so that it fits within a proscribed area, of as a design Mechanism purposely packing 4 text block in a smaller space than usual, or in a wider spacing than is ¢ is bes! on single4ine heads. Kom iyp- i i seldom used oi larger blocks of body copy, since it makes reading more This rule is sometimes broken, however, and very tight tracking is used in publication: achieve radical new design looks. Trackit a use is often @ compromise belween hard ahd and experimental design practices. xv All the above mentioned techniques and topics are not available with many word processing p and are unique features of a page layout program. This is all the more reason, why a softwar Pagemaker should be used for bulk DTP purposes. The Process of Customizing a Style is}simple: 1. Type a line of text with the font size, and /lype Styl ibute desired. s 2. Highlight the text block. 3. Got to th 1, /define/Styles menu item and save the highlighted text as a named sel It will then appear in the The Element Menu - Ceaagfe ae yao When it’s time t6 create and transform your graphics, the Element menu ig/the place to go. important items li jere as far as native Pagemaker graphics are concerned (rectangle polygons, and freedom pagemaker polygon shapes) are the first three listings : Fill, Stroke and Storke. ae — The first two, Fill and Storke, enable you to apply basic fills and storkes to selected Pa graphic elements. The third element Fill and Stroke, enables you to create and apply more fills and strokes to a selection, including the adjustment of transparent screens. of color, and reversals. SS Si ich is new in pagemaker 6.5 is important because whatever is attached to a al jatically glued inside it, making the maneuvering and placement of framed elements t easier to move as group. Because any closed shape can be used as a framed area, frame major design element of a piece. a Mors pit fF Bek P23 Gating StatY VosRivp TU The Utilities Menu Unnns The pagemaker utilities are iocated in the sixth menu listing. The first listing here is for Pagemaker’s resident plug-ins. These include: a Ad : Automatically cuts the selected text block and by one line and slips anew at the base of the selected text block, pointing to the next page in the story thread. Balance Columns : Adjusts and equalizes the length of all columns of the same story o1 Build Booklet : Sorts the pages of small booklets and brochures that they impose corre VA together and are printed. jullets and Runeperings: utematically one of the five case changes to selected text : Low Title, Sentence, or Toggle. Create Color Library : Enables you to define your own library of colors which can be set in relation to tr HE Steer UE a pres - EPS Font Scanner : This plugin wams you when you try to print publication that contain {ont ntinstaled on your sytem. Global Link Options : Allows you to set the place where elements of your publication will \ Grid Manager : You can use this dialog box to set column and gutter dimensions, n Parameters, and baseline data. line : Draws a keyline box around any object with your selection of Fill and Stoke. Pub Info : Gives you feedback concerning the fonts, styles,.and other elements in your pu Quick time Media : After placing a frame from a Quick time movie, you can select it and thi this plugin . You will then be able to select another frame in the sequence for placament of Running Headers and Footers : Allows you to apply header andfooter data lines to a pz Save for Service Provider : Double - check all the elements in your publication in this dial shipping the document to a service provider. Update PPD - Collects data about your printer or imagesetter, and updates the driver to take of any enhancements made.Personalizing Pagemaker Pagemaker Preferences Pagemaker Preferences are accessed from the File menu. These four Preference categories : Online, Layout Adjustment and Trapping. The general Preferences screen to greet you enables you to select the standards of measure the Horizontal ruler and the Vertical ruler. ne The two checkboxes in the layout problems are /Show loose/ tight lines. If checked, Pagem alert you when Kerning for a selected block seems too loose or tight so-thatyou-earnmake-ke selected block.seems toncleose OFtight'so that you can make amends. Checking the second enables Pagemaker to notice and report when the reformatting of a pz alters the local formatting already set . The purpose of being altered to these potential design ¢ is to allow you to have more definitive warning when things go amiss. Ifyou have a color monitor, any layout problems discovered are highlighted in yellow. More: When you click the more button, a dialog box appears that contains four separate areas : Te Editor, Graphics, and PostScript Printings. f ~ he j The Text area has an input size for setting Greeki s Many of you know, is a way textso that you can see where the text is and how it fil without the unnecessary corr of reading it. Greeking is a useful page design tool. Whatever point size is set here detern parameter below which text will be Greeked. Also listed are two options, only one of whic! activated, enable you to select whether you want to see Trutype fonts displayed with thr spacing or the correct character shape. Only one of the two is possible due to the display | TrueType. Next are controls for Pagemaker’s Story Editor, the built in word processor. You c: the Story editor’s font and type size, as Well as the ability to toggle on or off the Style name. and whether typographer's paragraph markings are to be made visible. The third item grouping enables you to choose whether to set the graphics according ti resolution, with a resolution of 100% being the default. The last item here is devoted to Post Script printing, and how much memory should be graphics. The settings are Normal or Maximum, with normal as the default when the situatio Getting StariMosRiUp Tub Map Fonts One of the most dreaded remarks Sen rs Yo make after you have sent them designed and deadlined Pagemaker filé, isserry-bUt we don’t have fonts in our library reason, it is common to call the service bureau beforehand to find out what their font librar and to send along a disk file of your uncommon fonts along with the job thay are U: about the PostScript printer at your side? It has limited number of fonts available. Woutdn’ to preset a font mapping parameter that tells the Post Script printer to use ie Post¢ under certain conditions. ree C Color Management System ce You can set the parameters for the Color Management System. fe system lists Colo} Kodak as the two options, but your system might have more or different CMS possibili Management can be toggled on or off. It is often a problem in the DTP word, for instanc colors as seen on a monitor are very different from those seen on the resulting printed pag Though itis difficult at best to achieve a 100 Percent match between the monit page, Color Management Systems can come very close. You can set your mor the CMS choices or select none. Setting Up Master Pages } ye Some things never change; others do change, even though oy goss) Tae the behind using master pages. Instead of having to do repetitive tasks, suth-as placing page n' each page, you can do it once and know that every page’s number will appear where it is su do. More important, from the designer's point of view, using a layout grid and master pages publication a professional, unified look and helps aecure that your pages sicko the desig ee ~ planned for them. Designing a Master Page Grid Setting up a layout grid means thinking anead about the underlying structure of your pa: elements will be included on all- or most - of them? Will the text be set in multiple columns. across the page? What about illustrations? If your project is a newsletter with different stories or graphic elements on a page, how will you position them to lead the reader through the pa confusion? If you have a grid structure in mind when you set up your pages, you can hang tt graphics on it and know that your layout will follow the underlying discipline. The layout grid to achieve a fluid and coherent presentation of your message. It also gives you the freedor away from the imposed structure occasionally, stepping out of bounds for dramatic effect. [22 | ARENA Muttimediaa 2 swe tee How to Design a Grid Pagedesign is something art directors and designers spend months, if not years, learning; t there is no easy way to teach it in a few simple steps. Before you start placing grid iines, you think out your project very carefully. Ask yourself these questions : 1. How will this document be printed? Single or double pages? How many? If it's a newslet use 11*17-inch paper folded in half, or some other size? 2. How much text and how many pictures do | have to work with? Do I want to use multiple c Ifso, how many? oo a 3. Are there headers or footers? what about the page numbers?) 4. What other elements appear on the page? What aboutfeadiines? Will some pages different from the rest? ~~ Your master pages will contain several different kinds of items. First, you set up thorn create a grid of guidelines to help you position text and graphics. Then, you add any other r elements, su the page numbers, column rules, a header or footer, and anything else that the same Aw age. Guiding the Gri Guides are the basic building blocks that make up the structure of your layout grid, as you § "the layout grid and its resulting newsletter pages. The guides are dotted lines arranged in a¢ lines don’t print, but you can see them onscreen. = ‘ou can set three kinds of guides in Pagemaker: deggie ieee These guides are only for onscreen display. They do not print out. Margin guides delineate gins for rope ral Margin guides are both hy and vertical, and they are(pinl i 5 Column guides are vertical lines. They have special powers to guide when flow: page with the Place command. Column guides are fbiue> | C Cor Ruler Guides can be either horizontal or vertical. They get their name from the way you crei - by dragging them out from the rulers. Ruler guides ar e(turquoise, ise, Yrkern. : \ Getting StartDmnup Tubing . Number of Pages and First page Number, Options x Use Document Setup's Start Page # and Number of pages boxes to tell Pagemaker how m: your publication is to have and what number to use for the first page. Many users choose no number of pages, particularly for big publications. If you use Autoflow to place the text from processor, Pagemaker automatically adds pages as needed when it pushes the text into you The Document Setup dialog box changes,-based on the measurement system you Preferences. Page sizes will be expressed a that’s your preference, rather than! = HA. numbers Sas A sb button takes you to the age Numpera dialoa pox Click the page-numbei Ifyou are using the book-commai m the File menu to assemble a multiple file pu you can combine the use of more than one numbering system in different sections of your by setting this options differently for each file. You might want to use lower roman for the fre back matter, for example, and Arabic for the body of the book. You also can create ch: numberng by making an entry in the TOC and Index Prefix text box and clicking Restart Nui the Options section of the main document Setup dialog box. Quick Add or Delete Pages As a tule, you use the insert pages command on the layout menu to add pages to your put you need to add a bunch of pages to the end of a publication, however, open the Docurr dialogbox and increase the number in the Number of pages box. You can also cut pac document quickly by putting a smaller number of pages in the Number of pages box. It's in remember however, that this method of adding and deleting pages works only on the pages of the document. You must insert pages to perform such surgep, e-middle of the pub! A Margins and Gutters ote tt 46 b= Margins are the distance from an édge of the paper i . Jus measurements in the top, Bottom, Leff, and right boxes. If you decide to display facing ¢ have inside and outside margins instead of Left and Right margins. Inside and outside margi —— a gutter to allow for bindin, Results of changing document Setup Options tfyou change this You Get this Result Page size Pagemaker attempts to center the objects in rela edges of the page. Your objects both text and gray their position in relation to one another. If you shrinkt page, your stuff may end up leaking off the edge o” 24 | ARENA MultimediaBroken Spread Graphic. There are several changes you can make in the Dr Setup dialog box that takes a mess of a graphic p cross between two facing ( a spread graphic). Be ale! change that swaps odd pages to even pages or vic Whenever this happens, Pagemaker tries to keep th: graphic with its original left page. That means it end right page with much of the graphic sticking out to onto the pasteboard. Single-sided to Double-sided inasingle-sided publication, with double-sided turn the pages are considered to be right pages. Turning on Double-Sided converts every even-numbered single-sided page in left page with the old right margin converted to the r margin. That move may shift the position of graphics in relation to the new inside margin. that move, may position of graphics and text in rela tion to the ne margin. LAYERS Anew publication, or one converted from an earlier version of Pagemaker uses only one lay! the Defauit layer and it cannot be removed or renamed; however you can add one or more lay document at any time. To adda layer, select New Layer from the pull-down menu in th: palette. You can se} fe lor to distinguish it from other layers. An alternative wa’ layer is to click thé sami I jer icon at the bottom or the-Layerepalato, Creating a new layer and setting its options:)))) pe To create a new layer, follow these steps: 1. Select New Layer from the Layers palette menu. 2. Choose any of the following options: # Type a name for the layer in the Nametext box. By#i default, layers are named accordi order in which they were created, with the default being the backmost layer. # Select a color from the Selection Color pop-up menu to indicate selected objects in t! # Select or deselect the Show option to display or hide the layer. # Select or deselect the Lock option to lock or unlock objects on the layer. 3. Click ok, Getting StarwepoRiVpP Ts 7 Choosing a Selection Color for layers Selecting a different color for each layer makes it easy to distinguish each layer in your pI Selecting an object displays the object handles in the color specified for that particular le can tell the selection color for a layer by the color of the box to the left of the layer name in palette. 1. Double click the layer you want n the layers palette. 2. Select the color that you want to use to indicate all selections on that layer. 3. Click ok. Object Ordering on Layers Two rules affect objects and their order on layers: Within each layer, all objects are stacked to their determined stacking order and grouped objects are always on the same layer. If objects on different layers, all objects are placed on the front most layer of the groupin behind the frontmost object in the group. You use the Layers palette to create, edit, lock, and delete layers. The layers palette als you to hide and show individual layers, as well as to determine the order in which layers a) Moving Objects from one layer to another When an object is selected, a colored box appears to the right of the layer name on the indicate the layer to which the object is assigned. If a layer has an object (text or graphics layers palette will display a small Pencil icon to the right of the layer. To move an object, fir: object to select it. By pressing the mouse and clicking the associated icon in the layers pi can move the selected object to any other layer in the stack. CHECK YOUR PROGRSS Q. Open anew Document and set the layout fora BOOK. Qe How would you number the Pages? Qa. Q. What is managing color ? A Q. How would you design; hon los [ARENA Multimediaan eevee ne pe smears Working wit! CHAPTER 3 Graphics an Text Blocks Drawing and Editing Line & Grouping Objects Locking Objects Masking Objects Aligning Objects Rotating Skewing & Re Objects Warping Text around Grap. Using Photoshop Effects © Keylining Working with Graphics and Text BlocGraphics And Text Blocks Drawing and Editing Lines and shapes Page maker drawing tools let you create simple graphics to which you can apply a line weight , and fill or fill a pattern. Changing lines and fills You can resize, rotate, and color to objects. For objects drawn with Pagemaker drawing can also change line weights as well as line and fill patterns. If you select line or fill attributes when no object is selected, those attributes become the m settings. Objects you subsequently draw adopt those attributes until you change them. By default, the objects you draw are colored black and knock out underlying objects separations. You can prevent an object's line , fill or both from knocking out underlying objec ways: Define a color as overprinting and apply the color to the line or fill. With the object selected, Element>Fill and Line, and Select Overprint for both Fill and Lint For objects colored black, choose Utilities> Trapping Options and Specify that Fills or Lines LINE TOOL : Use the Line tool to draw straight lines in any direction CONSTRAINED LINE TOOL : Use this tool to draw vertical or horizontal lines. RECTANGLE TOOL : Use this tool to draw rectangles and squares. ELLIPSE TOOL : Use this tool to draw ellipses and circles. POLYGON TOOL : Use this tool to draw basic polygons. To apply or change fill and line attributes : 1. Using the pointer tool, select an object. 2. Use one of the following methods: [28 | ARENA Multimediaa Sov ate To set both the fill pattem and line attributes for the selection, choose Element>Fill and | select attributes from the Fill and line pop-up menus. To change only the fill pattem or line attributes , choose Element >Fill or Element>Line an attributes. 3. Choose an additional attibute for lines: Click the Transparent Background option if you want objects placed behind a patterned line through the spaces in the pattern . Click the Reverse Line option to draw a paper colored fine or outline of a shape on a contrasti shaded , or colored background. et Knockout Overprint Fig. 3.1 Changing the shapes of rectangles and polygons After you have created a le,, you can change the shape of its am you polygon, you can change the number of sides it has. Alternatively, you can define settings object is selected to change the defaults for either drawing tools. To Round a/rectangle corner: 1. Select the rectangle you want ae the default, double click the rectany 2. Choose Element?Rounded Comers. — 3. Select the corner style you want, and click OK. Working with Graphics and Text Bio:o Changing the shape of rectangles and Polygons After you create a rectangle, you can change the shape of its comers . After you create a pol can change the number of sides it has. Alternatively, you can define the settings when nc selected to change the defaults for either drawing tool. To round rectangle corners: 1. Select a rectangle you want to chang or to set the default, double-click the rectangle 2. Choose Element>Rounded Comers. 3. Select the corner Style you want, and click OK. Transparent Reverse option option Fig. 3.2 To edit a Polygon 41. Select a polygon you want to change or, to set the default, double-click the pol 2. Choose Element>Polygon Settings. 3. Specify the number of sides you want, from 3 to 100. 4. To create a star, enter a value for Star Inset. Avalue of 0% represents no star and a value of 100% represents a star whose vertices o same point in the middle of the polygon. 5. Click OK. lan | ARENA Multimedia¢ 4 Ri Tu To copy and Paste an object: 1. Select one or more objects. 2. Choose Edit>Copy. 3. Choose Edit>Paste to offset the pasted copy, or press Shift + Cntr +P to paste the cop: over the original copy. If the text Insertion point is in a text block and a graphic is on the Clipboard, the graphic is p an inline graphic, and it moves with the text. If text is on the Clipboard, the text is pasted intc block at the insertion point. To paste several copies of an object: Fas le 1. Select the object you want to duplicate. 2. Choose Edit>Copy. 3. Choose Edit>Multiplé Paste. 4. Specify the numbel jis to paste and the offset distance between each. To copy an object from one publication to another: bg 41. Open both publication windows. Co 2. Choose window>Tile to make both windows fully visible. 3. Select the object from one publication window and drag it into position in the second w 4, Release the mouse button. The object is copied to the second publication, without afte contents of the clipboard. Grouping and Regrouping Objects You can combine several objects i group.so that the objects are treated as a unit. This al to move or transform a number of together. For example, you might group the objects design so that you can move and resize the logo as one unit. Agroup, when selected, appears with four handles at the corners that define the bounding objects in the group. Individual objects within a group can be selected and modified. For exar can reformat text within a text block that is grouped with an image. Workina with Graphics and Text BlorLesKiop rubiEninNg pw” { Locking Objects yy You can lock objects in place in order to help preserve the design of your pages through all production. You can change the attributes of a locked object, provided the change does noi object’s size or position. For example, you can change a color or fill applied to a locked obje its degree of rotation or its skewing angle. You cannot cut or delete a locked object without it first, but you can copy a locked object; it will be pasted as an unlocked object. Although the position of a locked text block is fixed, the bottom windowshade handle expands: or retracts upward if text is added, deleted, or resized. Text continues to flow through Ic blocks, moving inline graphics that are in that text block; only the size and baseline shift o graphic is locked. Alocked object has gray handles. The Apply button in the Control Palette also appears gray selected object is locked. To lock or unlock an object: 1. Select the object. 2. Choose Arrange>Lock Position or Unlock. Masking Objects Masking is a way of covering part of an object so that only a portion of it appears throug drawn with the rectangle, ellipse, or polygon tool. In Pagemaker, you mask objects by posil mask, OF masking object, on the objects you want to mask, ni _..wantte-mask, selecting both objects, and choosing the Element>Mask command. The Masking objects can be behind the object being masked. In that case, if the masking! afill, the. il ih the transparent areas, of the object being masked. To mask objects: 1. Draw or select the object you want to use as a masking object. u drew in Step 1 aver the objects you want to mask. 3. Select the mask and the objects you want to be masked. 2. Position thé/masking object yo 4, Choose Element> Mask. 32 | ARENA MultimediaAligning and Distributing Objects You can align objects in relation to one another, and then evenly distribute the spaces betv objects. Align or distribute obj on a common edge or based on the centres of obj For example, select the align -right icon to move objects horizontally so that their right edge with the right edge of the rightmost object. ‘When you distribute objects, you can add an even amount of space between the facing « objects. To align and distribute objects 14. Select the objects you want to align and distribute. 2. Choose Arrange>Align Objects. 3. Select one icon for each direction(horizontal or vertical) in which you want to align or objects. Select the icon for no alignment if you don’t want to align the objects along c axes. 4. Ifyou are distributing objects, select one of the following methods for each direction (ve horizontal); Select Distribute Within Bounds to distribute objects within the bounds of current selection. In distribution, for example, objects are evenly spaced between the leftmost and rightmost objects, which remain stationary. Select distribute Fixed Amount to insert a specified amount of space between the objects type the increment in the Space text box. Working with Graphics and Text Blore S For example, in horizontal distribution, all objects are evenly spaced by the specified amour leftmost and rightmost objects are repositioned accordingly. 5. Click the Do Mini-Save option if you want the option of undoing the changes you ar make with this command. 6. Click Ok. Rotating, Skewing and Reflecting an Object In Pagmaker, rotating, reflecting, and skewing are reffered to collectively as transformatior You can transform any unlocked object on the page or pasteboard, including an inline grap! item selected within a group. Fill patterns and PostScript screen angles are not transform: All Post Script and some non-PostScript printers support transfortmed text. If you have a non- printer that does not support transformed text, Pagemaker uses a low-resolution screen fontt the text. You can prevent this problem by using a type-management utitlity such as Ac Manager. To rotate an object 1. Select the object. 2. Select the rotating tool from the toolbox. 3. Position the starburst at a fixed point - the location around which you want to rotate the object. If you are rotating around the center point, press Command or Cntr. If two or more objects are selected, the center point is based on the bounding box of selection. 4. Drag the starburst away from the fixed point, in the direction you want to rotate the constrain rotation to 45-degree increments from the starting position, press Shift as y« The rotation lever helps you control the amount of rotation. The farther you drag the away from the fixed point, the more control you will have when you rotate the object. 5. When the object is in position, release the mouse button. | 34 | ARENA MultimediaReflecting the Object When you reflect the object horizontally, it is equivalent to reflecting it vertically and then 180 degrees. Because of this, Pagemaker adds 180 degrees to the existing rotation val Control Palette. To reflect an object: 1. 2. 4. Skewing an Object Select the object. Choose Window>control Palette. Click or double-click to select a reference point on the proxy: # |f you click to select a reference point, it appears as a small rectangle on the Prox equivalent location on the selected object remains stationary as you reflect the objec If you double- click to select a reference point, it appears as a two-or four way arro' equivalent location on the selected object moves as you reflect the object. Click the Horizontal-reflecting button or the Vertical-reflecting button on the Control pi To skew an Object S ww 1. 2. Select the object. Choose’ Window>Contro! Palette, _—~ Click or double-click to select a reference point on the Proxy: If you click to select a reference point, it appears as a small rectangle on the Proy equivalent location on the selected object remains stationary as you reflect the objec Ifyou double-click to select a reference point, it appears as atwo-or four way, and the location on the selected object moves as you reflect the object. Specify a skew angle for the Skewing option on the Control Palette. Positive angles move the top edge of the object to the right, and negative values m: edge to the left, regardless of the selected reference point. Click the Apply button or press Return or Enter. Working with Graphics and Text BIi a: To Crop a graphic 1, Select the cropping too! and select the graphic that yau want to crop. | 2. Position the cropping tool so that a handle shows through the center of the tool. 3. Hold down the mouse button to turn the cropping tool into a two way arrow, and drag until part of the graphic you want in your publication remains. To show more of the graphic, dr from the center of the graphic. 4. To move the graphic within the frame, position the cropping tool at the center of the gra hold down the mouse button. 5, When the grabber hand appears, drag until you see the part you want to appear in your pul then release the mouse button. | Warping Text Around the Graphics One of the best ways to create visual impact in a publication is to wrap text around graphic: To wrap text around a graphic: 1. Select a graphic > Text Wrap. / 2. Choose Element>Text Wrap. 4__ Specify the Text Flow Option. \ 2 leftmost text Flow icon jumps tex(ver a graphic and continues the text on thé next column. the middle icon allows text to jump over g graphic and continue onthe same p. —_— eer rightmost icon creates a rectangular text wrap around all sides of a graphic. Se nerd ves or ne boundary. The standoff values determine the distance of the1 each side of the graphic. Q -_—— 36 | ARENA Muttimedia ; oe? ~To customize a text wrap around the graphic: 4. Apply the text wrap as described in the previous procedure. 2. With the orleet selected, do any of the following: Add asiew handle by rt Am graphics boundary where you want the handle to Reshape the com by dragging handles or line segments. Delete a hai jing it To restore a custom poundan) back to a rectangular boundary: 1. Select the graphic. 2. Choose Element>Text Wrap. 3. Click the middie aide WirepLO peon i Option i icon. ~~ Attaching a Graphic to Text es la When you want a graphic to remain with specific text, place the graphic as an avZ Any graphic that you can use as an independent graphic, you can also use an inline graph exception of a grouped object. You can: ~ # Import a graphic directly into a text block or quickly change an existing graphic in your | into an inline graphic. # Insert a graphic anywhere in a paragraph containing text or create a paragraph containit — ae # Transform an inline graphic when you transform the text block containing it or: transform independently of the text block. # Maintain the linking information for an inline graphic exactly as you do for an independe Working with Graphics and Text BITo change an independent graphic to an inline graphic: 1. Select a graphic. 2, Choose the Edit>Cut or Edit >Copy to store on the Clipboard. 3. Select the text tool. 4. Click an insertion point in the text where you want the graphic to appear. 5. Choose Edit>Paste. Using Photoshop Effects To further enhance RGB or CMYK TIFF images, you can apply Adobe Photoshop-compatible directly within Pagemaker. Several Adobe Gallery Effects are automatically installed with Pag For native Photoshop filters, you must use those included with Photoshop version 3.0 or latt When you add a plug-in to the effects folder within the Plug-ins folder, and restart Pagemake and restart Pagemaker, the Plug-in becomes available to Pagemaker. Alternatively, you can create a shortcut to Photoshop's Filters folder, rename the shortcut a the shortcut file in the Effects folder within the Plug-ins folder. You can then use Pagemaker from the Filters available in Photoshop’s Filters folder. To modify an image with a Photoshop Effect: “«& { Ve . 1. Select the image. wrt 3. Type a new file name to create a modified copy of the original image. Alternatively, original file, to overwrite the original TIFF with the modified copy. 2. Choose Element>Image: If you make a copy of the image, it is stored in the same folder as the original and Pag links to the modified copy. 4, Choose a Plug-in filter. 5. Click Ok. If a filter-specific dilaog box appears, complete the options, and then click OF [38 | ARENA MultimediaCompressing and Decompressing a Tiff Image Because TIFF images sometimes require a large amount of disk space, Pagemaker provid TIFF compression capabilities. Work with compressed images in Pagemaker exac' work with uncompressed TIFF images; place them , link them, OLE-link or OLE embed subsribe to them. When you compress a TIFF image, Pagemaker compresses a copy of the image without al original. Although you can then delete the original from you hard drive, note that using compression can result in loss of detail and image quality in the compressed copy, and: therefore want to keep the original version available. Le Pagemaker provides two levels of compression: maximum and rmodersts. Maen produces the pL files on your fad drive, but may change colors and cause banding detail in the screen image and printed versions of grayscale and color images. Moderate cor produces larger files, but improves the screen image of grayscale and color images. compression produces larger files, but improves the screen image of grayscale and color irr does not noticeably degrade print quality. To compress a TIFF. image: 41. Choose File+Place. ) 2. Select the file you want to compress or decompress , and hold down the following keys click OK, and for atteast, nds after clicking OK. For moderate compression, t Command +Option of Cntr +Alt. Crm a Cat + hk | tc Keylining Some disigns require a thin border to frame objects on the Page. Pagemaker can create automatically by drawing a box around the object, and grouping the object and Keyline tog TO KEYLINE AN OBJECT: 1. Select one or more objects. Do not include a group. 2. Choose Utilities >Pagemaker Plug-ins Keyline. __ 3. Type the distance you wantto extend the Keyline from the Object’s bounding box for Exten Outward. Workino with Granhics and Text BioVSsKIOP FUBISTING For example, if you type 5 points, the outside edge of the keyline will begin 5 points Object’s outside edge. 4. Click Attributes to open the Fill and Line dialog box, and then set fill and line attributes line weight and fill color. : One use of Keyline is to fill the Keyline shape with the color Paper, so that it forces a k of any background color below the object you are keylining. 5. Selecta position for the Keyline- in front of the object or behind it, depending on how you keyline to appear in relation to the object - and click OK. USING LIBRARIES: The Library palette provides an efficient way to manage collections of th objects. It lets you store, organize, view, search Tor, ant Ive froma floating palett To Create a new Library. 1. Choose window>Library. 2. Doone ofthe following: If you have not previously created a library, a new library opens library dialog box automatic To create an existing Library: 1. Choose Window> Library. 2. Click options, choose Open Library, locate the library yor S and then click Open. CHECK YOUR PROGRESS Q. What is Keying? Q. How do You align and distribute Objects? ——S— an) ARENA BAultimadiaVssRiop Tus Importing, CHAPTER 4 Linking anc Exporting ea Ta @ = Placing and Linking e@ Import text features © Importing paragraph styh word, applicati ® Importing a PCD image importing. Linking and ExportDesiOp rupisninig importing, Linking and Exporting Pagemaker’s versatile importing linking and exporting capabilities make it a powerful integre for all types of publications. A Pagemaker publication can contain line art, bitmap images, spreadsheet and database files from a variety of applications and formats. In most cases, you and update graphic using the application and formats. In most cases, you can edit and t graphic using the application in which it was created, directly from pagemaker. Placing and linking The place command is Pagemaker's primary importing method. When you piace text or a Pagemaker establishes a link to the source file on your hard drive. The link allows Pager update the version of the document that is in your publication, and can minimize the size publication by allowing you to store an imported graphic outside the publication. You can use the links command to mange the updating attributes of any file you place. You ci the link status and relink or unlink source files as necessary. Together, the place and Links co! support most of the features of the other importing and linking methods. Before you place a file you make sure you have installed the import filters that support the file you use. To find out which filters are installed, press Command or Ctrl white choosing about Pa: from the Baloon help or help menu. Ifyou want to edit a linked file directly from Pagemaker, the application that created the file mi your computer or accessible over a. rk. To place text or graphic in layout view: 1. Choose File> Place If you use the text tool to click an insertion point in a text block before choosing Place, you select a graphics file, it imports as an inline graphic corte override this default, select As Independent Graphic in the Place ent dialog box the pointer tool before you choose place. 2. Select the file you want to import, select importing options, and then click ok. You may be prompted to specify additional options in another dialog box. For examp want to pace a text-only import filter dialog box. If you want to place a story from another Pa publication, Pagemaker displays the place Pagemaker stories dialog box. Select opt then click OK. ao | ARENA MuttimadiaVESKIOP FUD 3. Position the loaded icon where you want the upper left corner of the graphic or text blo and then click. To size the graphic or text block to be, and then click . To size the graph block as you place it, drag the mouse and then release the mouse button. If you place < by clicking it retains its original size. To place text or graphic in 1. Instory editor, click an insertion-peintwhere you want the imported object to appear int or select text that you want to replace with imported text or an inline graphic. 2. Choose FilePlace. 3. Select the file you want to import, select importing options, and then click OK. Controlling how large graphics files affect publication size Ifyou place a graphics file that is 256 K or large Pagemaker displays an alert message aski| want to store a complete copy of the graphic in the publication. If you don’t want fo store the Pagemaker imports a low-resolution version of it for display only, which reduces the size publication file and establishes a link to the graphical file. This original file must be available ar when you print the publication; otherwi jemaker prints only the low-resolution versio graphic. You can increase or decrease the file size that Pagemaker stores in your publicatic Options for placing The options available in the Ptace document dialog box depend on whether you select a text, spri database, or graphics file to place. The dialog box displays files whose formats (Macin extensions (windows) Pagemaker recognizes as compatible. Options for Placing Text The following options appear when you choose File>Place and select a text file: # The. As New Story option adds the file as a new story, separate from any existing storie publication. # The Replacing Entire Story option delets the selected story and replaces it with one yot flowing it into the existing blocks. Pagemaker preserves the position, size and orientation of the original text blocks. #The inserting Text option starts placed text at the insertion point, without deleting any exist ————— tmnortine | inking and FyneDeskiop Fubiisning #The Replacing Selected Text option deletes selected text and replaces it with new text. #The Retain Format option imports any character and paragraph formatting and the styl there is one, with the file. #The Retain format option imports any character and paragraph formatting and the style she is one, with the file. #The Convert quotes option converts quotation marks andapostrophes into typographer's marks and apostrophes. Options for placing Graphics ‘The following options appear when you choose File>Place and select a graphics file: # pitts = Independant. Craphic option adds the graphic to your layout, independent of tex! #The Replacing Entire Story option deletes the selected story and replaces it with you selec the sizing and text wrap applied to the old graphic, as well as any rotation, skewing, o1 applied in Pagemaker. ##The As Inline Graphic option adds a graphic to your publication at an insertion point in tt #The Reattain Cropping Data option replaces a graphic that you have already cropped and: original cropping to the new graphic. This options is only available when the Replacing Enti option is selected. Import Text Features You can import text into Page Maker from many different sources, including : # Other PageMaker | publications. #Word.-Processing applications, such as Word Perfect, Microsoft Word, and Microsoft Works, with most character, paragraph, and style attributes intact. #Text or table editors or any application that can export text-only format. #Spreadsheet files in Excel and Lotus 1-2-3 formats. #Database files, such as those created by dBASE and dBASE - compatible applications 44 | ADPNIA SiidtimeciaMRR Peni Selecting an import Format Pagemaker imports as much character and paragraph formatting as possiblefrom text files but most page-layout information, such as page breaks, margins, and column settings, which set in Pagemaker. Importing paragraph styles from a word-processing application Styles are named sets of formatting attributes that you can apply to selected paragraphs. If yo processing application does not use styles-name tags to match the styles in your Pag publication. Pagemaker applies those styles to the marked paragraphs when you place | Pagemaker does not support character-based styles. Pagemaker adds imported styles to the list of existing styles for the publication, placing an as next to each imported style name in the Styles palette. If an imported style has the same ni Importing text with style-name tags Astyle-name tag is a name enclosed in angle brackets (for example,