indesign type & layout - rainfocus · 2020. 10. 21. · advanced indesign users. adobe max...

INDESIGN TYPE amp LAYOUT Maximizing Creativity amp Efficiency

Nigel French

nigelnigelfrenchcom nigelfrenchcom

nigelfrenchphoto nigelfrenchgraphicdesign nigelfrenchgraphicdesign

Irsquom Nigel French mdash thanks for taking my lab My intended audience is intermediate and advanced InDesign users

Adobe MAX Catalog Description

Good typography is essential to design It gives your documents visual appeal makes them more readable and gains a readerrsquos trust In Part 1 of this follow-along lab join designer author artist and trainer Nigel French as he outlines the wealth of type-specific features in InDesign Nigel will demonstrate an approach that maximizes both efficiency and creativity thats perfect for intermediate InDesign users to follow along and try it on their own later

Part 1 Structure and HierarchyCreate readable dynamic and attractive layouts through the use of grids white space and text wraps

bull Create readable dynamic and attractive layouts

bull Give your designs structure and hierarchy with grids and the effective use of white space

bull Leverage text wrapping to enhance page layouts

Part 2 Fixes and AdjustmentsTips and techniques for preventing and fixing common composition problems like bad word spacing widows orphans and runts

bull Prevent mdash and fix mdash common composition problems

bull Adjust word spacing and control widows orphans and runts

bull Develop a sixth sense for the fine details while keeping a focus on the bigger picture

Part 3 OpenType amp Polishing DocumentsGive your documents personality and polish through the use of OpenType features variable fonts and SVG color fonts

bull Give your documents personality and polish

bull Take advantage of the InDesign support of OpenType features

bull Work with Variable fonts and SVG color fonts

2 of 30 L6147 L8025 InDesign Type amp Layout Nigel French (nigelnigelfrenchcom)

Before you get startedhellip

Font UsageAll the fonts used in this lab are activated from Adobe Fonts (fontsadobecom) If you have a Creative Cloud subscription and the most current version of InDesign you will have access to the same fonts In order to make the activation of the fonts as easy as possible (in an imperfect world font activation is not always as smooth as wersquod like) I have created a document Fonts open me firstindd which contains all the fonts used in all three parts of the lab Open this document first to activate the fonts Check to make sure that Auto Activate Fonts is checked

Note In part 3 I demonstrate the infographic font Chartwell Chartwell is not available on Adobe Fonts so I canrsquot share it with you If can be purchased from FontShop

Picture UsageThe pictures used are my own Yoursquore welcome to use them in practice projects but please donrsquot use them commercially (at least not without contacting me first) They are supplied at an adequate resolution for screen demonstration but not for print

LinksI have taken care to make sure that the links to the graphics are not broken but as any seasoned InDesign user will tell you broken or outdated links sometimes happen If notified that the links need updating choose to do so if the links are missing on the Links panel click Relink and point to the Links folder which should resolve the issue


Approaches to choosing and combining fonts setting up and using a grid integrating white space and establishing hierarchy

THIS IS THE HEADLINE

To maio volor sit omnimillo blatibus Am volor aborat volesequiate Pit aditae con ni omnia est cum volum quiatus doluptiist aut pa culpari

And this is the StraplineThis short introductory paragraph succinctly describes the content of the article perhaps by posing a question and includes the author byline JANE DOE and photos by NIGEL FRENCH

10 L6147 8025 InDesign Type amp Layout PART 1 Structure amp Hierarchies 11

Feature Article Structure amp Hierarchies

ovitisi mpores si volores plaut ressimi llandem aut modit vel int quae reperem qui apiet quias ea eatem autasincia nonsequis int quaturest as rest omnimin vendisi dolorro consequia int Gendit a nimin rempost otatiori con pe volupta temporessum fuga Facesecto eos aut unt inverora a quatur abo Nes perror rehenis aliqui voluptatem veles same rehent

Accullandam aperepe rnatis mo te evel is ma coria es magnam sin re poraerae plabor asperibus ese porem fugit labor sime ne eiunt

Demporero te quae doluptas int odit explam quis-cidi bearchil ium illo endellore res as sita velitatias autet velesequid quos dolores doluptio mod quo qui quisi dit doluptia pliquamus eium quibusa serfernam tem quat volupta tiaeper ioribus essit ut ulparum nobis maxima inihili atempore nime di ut optatusae qui aut accab is volorepratus rat

Lesseque volest laborporia quiaeperio Ga Itasi untotatem litis int eum eaque pro debis qui te et quo tem everehent ut ex estiumquae rem quae sequia et maximoditis dolo occabor asperchil essi quam rehent quuntibus exerspi dernam recusap iciumqu iberum utes serum et aut audae Itaspelles dolectiae ide ipsus-dae cupta aut quam aut poreprore debis nesequos ut ma ne iur sunt omnimodit facius mi eresti audignis alia verios aut quias evel erum hiliam enis sequiat la eatur mincium quatia il inisita ssitatatis dolorum fugita dolore estet officid es mo inctusc ientemp oribusdam quate optatur sed qui a niendan dignim il iniscid enesti ullitatur quate iusapis vel ipiendi stibereped que nisitate parum nonet volores eum unt esectiur si reperum simus exeribus ad eos es nonse-qui dusaperum iuscimpe nonet eos dis aut voluptatur sus am eiciist qui id es renihita seque volore et voles

quis evelessedi del endam landa consendel molorest totatem exceperit eum enim de volenet qui aci bea arcium sus aut fuga Ut ex est plabori busdandio dis dolupient opturem qui blaboritia sequia dolor rerro que velesciae rerrum in rerum volesto tatur Orestibus exeruntia nonsereium quo est eos expelendi occum autem que nus

Nobistruptur as reiusam odit impos et qui dolectu-sanis rescia num enimus aliatem ius ut inus aliquid ucipsa voluptas quo tem quam omnis ditatibusdae quatistio Niae nossinturia est odis quia enditiorrum id unt lacest od eos quatem voloria dollore ptatem coritem ipsum quide plique ipician danimaximus

This subhead introduces a visual pauseCeruptat Quatem et voluptatur as ut eturempel et reptat ex et fugitatur Arcipsam nis illisqu iaecto di di dolless endam odi ut porestrum nestorrum qui sundem Busae nim dipsandit ut aut endions editis qui sint et omnimolut quis poreped magnim am re pelitation cum sunti ab in corem cum quiatio cum seruptate et eum facimus solum excea volorrovid mos es ent ad ut labor sed es quatem ulpa quodit laccum facest etum invendae prepratur sincias sitatusa doluptat ulpa qui cusandae niatinctium fugiae ped quatect emquia iur Qui atecto dolorporem eosant sunt doloriam re pra quae officid eligent

At quos et asped quo ea verehen imagnim lam fugiatium vitiis nobis magnis sum alique porum es iur Qui si nosae latem volute niti tectiorum corempe-riam nientia dernatur omnihit ex excestiores magnat excesto et santem nonsequi ut que por ab ipsam reris ipsame nes explicidus ad quidi odit audis rerspie

volupic tempor minveliciet a voluptatecto mini siti natios expedit doluptia et dolorem nectures es et voluptat autecaborro temperi oribus eumquae con rem qui re plit eaqui velit volupicid qui cus explab ipsuntempore volupta sincto cusdam que laborest rem facereh endebitamet ante ratur omnis seque pla velectu reheniatur susae ea nem Itatatint qui tem ate sunt aliquia quis et eos eum fugia volupta tectotat

Ende solo ipsandelit remqui dolorec tustemp orep-ers picipicto cume con rerum restrum assinciis as is eum vel is conet doluptat aliquaest eniscid qui que corit nam ut labore ne conem adiatet porat

Sant Aqui quo est modit quuntem vent aliquam facersp iention serionem dolore et plit sinctent volupta tasimet optatiu scitiam fugiatiis accat verum ipsunt

Onsequi beritatem sam cora consed que dolectur omnis endi omnimusant quia voluptati nus essedi qui corporerae ant arumendelis ex estiorpor aborem est necum ad milluptur

Arum eos esto optate solesequi unt la consernat que voluptatur aut recuptas dolor mos dolut volore pliberi busant prest et fugia doluptat utecab ipsam alis conserchil imincil iquatas re eumentem nosam nonse-dia acernatios dolorempos modit acerum voluptatem quossim incipsa quibus eum doluptasi od magnam quid quae cusaper umendus et vellaut aut estionestore conse voles alitame perum eosa iligene aut am cone dolecae nos earum ipsant as dolo ipsapel lestioribus et sa dolupta spedicidelit aut utet pario Temperum rem laut eos eossunt iaeprati omnim imperferum destis alibusam fuga Nam eatemos sum et quassi-tiam quidunt andae rere reperchit vellistrum fuga Accatur sequae cus re necus ut eic tem sinctasped

To maio volor sit omnimillo blatibus Am volor aborat volesequiate Pit aditae con ni omnia est

ndemolorro inctectio quam et estis dus atur audi quias voluptaquae nobis eos suntur ut audi quiae In pere officiatus et alictur est ligent voluptam quiam sedia proviti busdant faccullabore sitatqui cone pe pore conecte cestruptae vellabor as acidellias acidelestiam quo erit exersped maximporit opta sapides tionecti ditatis etur recatem velecae storian ditaectem es enet rehendaerias doluptam ipsam utent earibus omni nossita vent ad que maiores magnisque preste optur

Nimet autatem ex eati aut la corest velendi cien-imi occulparum il ea dolupit autaquaes veri rerio bea suntistius del eum quam qui quas erum et ut recatum veleseq uossita temporestota dolor maximo testis ipsa nobit omnias natemque dolorundest excearunto occus que porumquam recerat emoluptas nonsequatur secae inis doluptasse se cus reiciates saperum quam quam ab ipiet fuga Itate corum lit officab orenimus

Tia vidi duciistiae explitibus ipsum ad et excep-erat dem quas et am iligent iantumq uaepedi gendae Igendandi cupti nessed quatiatur rem exceatibea doloreptur quiaecuptas esto corerio es doluptaecae Nequisi duciis intures equibusciis dolorpor autatem Ut aspelig nimint praerunt anitis nonseque aut quis et pligeni mposam quidus ea sam cuptatur Quis sunt

Pull Quotes entice the reader into the story They add graphic interest and white space



audandi tassequam venda suntest inctiatur sinci blaceat ustrum nos anis quatem faccusc ipienis resti-usant Ur quunt eosae nihici undi necusam laborias quibusti dolection et moluptatios poresti rempers pidelitiis sed quam sit intorum sant

Borerspiciam eos aut omnisque dolest que laborep erchillautam et ea doloreptis quo enet fugia qui cum inum sed quae porrum consequam faccum volup-tatur solum renim voloristem facepro vidusapis et qui delis aut dolut qui voluptatem fugia vid que sequid quisseq uuntiae ctotatem es moloribus sunt eos est quas cus demquas moluptas que con et ipiditaqui blaut etur maximi vel incius etus as que pa conse-quisqui nosam intem quam facipitas ini vitatis eum id quas exero to beaturit faccus consendam tem est moloribus eature a que cus officim agnatatiur aute volo con expliberum ariorep elibea sedis init utem quis dolor ressimperrum aut et earcipsum qui ut aspid magniaero qui bea veliqui deriatempos idunt porum id que dolorec ullorum et conserum ut atis autemposa qui blabore que volupti volecep eremper sperorem idicipsuntem exces etur aut re perume pliaeris plit in res miliati nverum et que cuptas autatem re imus es aturia sam vellant et libus delliqui volum aut accus enis res ad magnatio Maximus aectur Pit et faceri consequo blat quasimpost am con rem quaepe et inustint idel inus et repudam solorios ut verferor

To maio volor sit omnimillo blatibus Am volor aborat volesequiate Pit aditae con ni omnia est cum volum quiatus doluptiist aut pa culpari Da nonsedio Nem eveliciamus ditemque volenih illabo Itat apelitam corum quo conseque niendias asiniae volest ne sequunt

Agnimet aut et re event voluptur consequi rem eum elia quis dero volorum que vernam dolorepedit harunt Offictio Rume sin con pa consecti voloria delibus maximi que et et ut officimus ilitatem ra volorent aliqui ut ullam voluptasim et qui sum facessedi doluptat

The Sidebar Contrasts with the Body Text

Eheniscimus que quisquodi te audi sume di optatatiis dolupta dusaeris mod ea culles magnis dipsum faccum destori veratqu ibustibus reptas ad quam que nobis aut untemo to velignim dolupta turero eribusae quod eos sint aliquatque nis aspisquam nus mi nis experferferi ut in numet voluptate vel imilla doluptat

Ut audis doluptas eos ex eume nobit sae nemquaero et aliquod eniae consequi quis possusd andaector re res volupta eosapiet explaceste que lita sitions ectureperum volesciis et percia voluptatur apelibea de autae nest harchil igenduntius quaecab orporatur Quia ne aut laut facea sim qui dolupta ernatum nihilit atem suntiis dolupta cuscit offici cus volore lit

Optatur millicilit ate num re veliquid que ipsus sum everrunt que dolorro estioribusam illabore sus consectet quis quam incil illis ab incil exere pror alibus eument comni ut pa velenim agnitatius alit dolupta tempos magnit quias aliquod et laut pores eatur se ventorit od untia que con pratqui atibeaq uaeste esciis rem asperum quossit atissumquaes dolentures et eseniet idisci utempor eiustibus simet consequamus dita porerio cullati stiuribusam sum quis sunti id que volesecearum quas qui untia dolore si vel mint ut idi tecestrum cus ut vel ipsunt temquatiis dolum volupti oditem Ra necab ium quas earchic

mintore sequodis nonseque reptate mquisquiam consecat Quidi occusda que duciam inulpa sit omni-hilibus exeruptaqui tem utam nest veles excestem sum nestisciis repudipsus et modit opta sam aut ex es asperum quo conempe lenimin et quam nossin conse parum nem rate sim hitatus

Another subhead to break up the textTe cus renem antur as unt et posam id unti reperib uscium etur Sequaturem aborro evelendit labor modionsequo enihiciaecab is sum nis sa dolorum aliqui ut dolupta iliquibus

Nullitia doloration remped est eatem expliqu isitatu sandem iminciis autates dus verum sitatem as qui tem Ost fuga Et est rernam sam num rest et et endes evenist aliquas expero ide nus qui cusae mos ut volor si quis id ea cus Eptata volupta aut voluptis arum re ommoditatis evelest essi sumqui unt omnisti aut quae volupit reptatquo blam exeribernam qui reptur ullupti onsequam tempell uptate doluptum conse-que volupta net venderroriam doloreri rem quis de verum conseria nis enimus iunducidit laborpo rehenistrum est et optures

nonse millum serem fuga Nequatur culparc hitae Itate nihiliq uisitiasi ut miliqui blaborem cus magnisi nimagni musdaeptatem incidenim et pa perferion re sa poressuntum fuga Nam estrum nis modic tet dis ex ea a coria ditam sim naturia pos eicabo Ehendundi doloritas res raerenditat autatur

Fictio eat vid que conse debisque magnimporio blanimet optaepelit re sequi volum alibusc iminita temque pratiis moluptatum et ab ipsunt ullorem Itatempor remperum facerae ribusaepro ipic te nihil in eos dit eles arcias ut aut odi commolor si derei-cias dolori atur aut volore sitatur epercid mil maioria ectiatur adit sus eatquiam in recusandit experovi-dunt rempos veni occaes maximag natibus ullest est il inusdam expliciae nosamusant andantia culpa et peremperatur sitemquid quae Et labo Turibus dolores est magnat vollaboria dolorem Itati cullup-tatior aut liquid enihita tionsequae

Itaspero dio commoditio millace rsperae lautaspi-cius rerumqu aturion eic tem velitiunt offici rerit eostio molupta vit harumquam as secabo Nemporibus posanturi is volenim incillut ad molut et ipsant pra secuptu rionseq uatecus con earchit officides maionem ut escit volor aut omnimilis qui cum none etur arit que di alit comnis volenec aesequa ecta-tiae magnatem aut il ipis si cum faceari abo Neque et arunt


The 6 page demo document presented as 3 facing pages spreads

Whatrsquos in the FolderThe packaged folder L6147 L8025 Part 1 Structure and Hierarchy contains the following fileshellip

bull Structure and Hierarchyindd This is the finished version

bull Structure and Hierarchyidml This document is for users with earlier versions of InDesign

bull Structure and Hierarchypdf This PDF is output as spreads for visual reference

bull A Links folder of the images used

bull Adobe MAX 2020 L6147 L8025cclibs This a Creative Cloud Library containing the images and text elements used In InDesign from the CC Libraries panel choose Import library

bull Structure and Hierarchy beginindd This is the shell of the document It contains all the infrastructural elements Paragraph Character and Object Styles Layers a layout grid and a color palette The main story is placed on the first spread It is your job to add in the other content from the CC Library and experiment with different arrangements of the elements

Note If yoursquore feeling more ambitious you can start with a blank document Create the grid and the styles as necessary For the main story use 1500 words of placeholder text

Part 1 Structure amp Hierarchy


Type Choice

I have chosen Meta Serif for my body text font activated through Adobe Fonts

Clean and contemporary Meta Serif comes in a range of weights and has the OpenType features I need such as small caps different numeral styles and fractions

Meta Serif and Meta are available in a wide range of weights each with a corresponding italic Using a ldquosuper familyrdquo makes variation and stylistic continuity easier

X-heightMeta Serif also has a relatively high x-heightmdashthe size of the lowercase characters relative to the uppercase

x-height x-heightMinion Pro Meta Serif

Comparison of x-height


Comparing Meta Serif with Minionhellip

The body text size is 9 pts Because of its high x-height 9 pt Meta Serif appears bigger than many other text faces at the same size The leading value is 105 pts tighter than the default leading value of 120

I prefer a compact look to the type While size is important space is important too By making the type more compact there will be more white space around the type blocks which will make it more approachable and more readable

Minion Pro 1012 Meta Serif 9105

Lesseque volest laborporia quiaeperio Ga Itasi untotatem litis int eum eaque pro debis qui te et quo tem everehent ut ex estiumquae rem quae sequia et maximodi-tis dolo occabor asperchil essi quam rehent quuntibus exerspi dernam recusap iciumqu iberum utes serum et aut audae Itaspelles dolectiae ide ipsusdae cupta aut quam aut poreprore debis nesequos ut ma ne iur sunt omnimodit facius mi eresti audignis alia verios aut quias evel erum hiliam enis sequiat la eatur mincium quatia il inisita ssitatatis dolorum fugita dolore estet offi-cid es mo inctusc ientemp oribusdam quate optatur sed qui a niendan dignim il iniscid enesti ullitatur quate iusapis vel ipiendi stibereped que nisitate parum nonet volores eum unt esectiur si reperum simus exeribus

Lesseque volest laborporia quiaeperio Ga Itasi untotatem litis int eum eaque pro debis qui te et quo tem everehent ut ex estiumquae rem quae sequia et maximoditis dolo occabor asperchil essi quam rehent quuntibus exerspi dernam recusap iciumqu iberum utes serum et aut audae Itaspelles dolectiae ide ipsus-dae cupta aut quam aut poreprore debis nese-quos ut ma ne iur sunt omnimodit facius mi eresti audignis alia verios aut quias evel erum hiliam enis sequiat la eatur mincium quatia il inisita ssitatatis dolorum fugita dolore estet officid es mo inctusc ientemp oribusdam quate optatur sed qui a niendan dignim il iniscid enesti ullitatur quate iusapis vel ipiendi stibereped que nisitate parum nonet volores eum unt esectiur si reperum simus exeribus ad eos es nonsequi dusaperum iuscimpe nonet eos dis aut voluptatur sus am eiciist qui id es renihita seque volore et voles

Font PairingI am combining Meta Serif with its sans-serif companion Meta This is a common strategy in editorial design using a serif typeface for the body copy and a sans serif for the heads subheads and supporting material Irsquom also combining different weights and alignments to provide contrast and differentiation all the while maintaining stylistic continuity because the fonts are part of the same family

Meta SerifMetaMeta Serif Meta

Meta Serif and Meta share similar characteristics and have the same x-height


Setting up the grid

The type is contained within the type or live area The type area is defined by the margins which are an important aspect of negative or white space framing the content The size of the margins is a compromise between aesthetics and economy They need to be big enough so that text doesnrsquot get lost in the spine and so that the content doesnrsquot look cramped At the same time the type area needs to be big enough to fit the content

MarginsI want the type area to fit a maximum of 69 lines from top to bottom

To calculate the top and bottom marginshellip Height of page 84189 pt minus Type Area 7245 pt (69 lines times the leading value of 105 points) = 11739 pts divide 2 = 58695 pt

Note you may choose to divide topbottom margins unevenly for example a bigger top margin to accommodate a header or a bigger bottom margin to accommodate a footer

The inside and outside margins are 36 points each mdash big enough to prevent losing content in the spine (inside) and to provide a place to hold the magazine without obscuring the type

Type Area

69 lines

Layout GridSet up the layout grid on the master page spread A layout grid provides a frame on which to hang the design The grid will have 10 columns and 14 rows The size of the gutters (the space between the rows and columns) should equal the body text leading to keep the spacing consistent

Irsquove chosen 10times14 so that the grid matches the aspect ratio of my page The A4 size page size has an aspect ratio of 114 This means the grid fields will be square This is more of a personal preference than a necessity I could halve my numbers and use 5 columns and 7 rows for fewer grid fields but I prefer the added flexibility that comes with more grid fields

WHY POINTSPoints are a typographic unit of measurement that originated in the early 18th century Theyrsquore arcane and nondecimal but there are compelling reasons to use them Since type is rarely expressed in anything but points itrsquos helpful to have distances that relate to type mdash such as leading indents paragraph spacing and gutter (inter-column) spacing mdash also expressed in points

You can toggle back and forth between measurement systems by right-clicking the intersection of the ruler


Irsquove chosen 10 columns times 14 rows so that the grid matches the aspect ratio of the page Aspect ratio of A4 page = 14 (297divide210)

Put the grid lines on a separate layer so they can be hidden when not needed Optionally change the colour of the grid lines

Baseline GridIn addition to the layout grid add a baseline grid A baseline grid is like a metronome and aligning to the grid ensures a steady rhythm for your type In grid preferences set the baseline grid to start from zero relative to the top margin Optionally change the colour of the baseline grid

Make sure the baseline grade is turned on

I intend to use my 10 columns as two text columns of 4 units each and a floating column of two units This can be used for captions white space or be traversed by images

Because I want the position of this column to be flexiblemdashto ldquofloatrdquo mdash I am using threaded text frames rather than a single text frame divided into multiple columns This also lets me vary the depth of each of column independently The position of the floating column can vary from one page to the next making the layout more dynamic


Here are a few possible variations
















Tia vidi duciistiae explitibus ipsum ad et excep-erat dem quas et am iligent iantumq uaepedi gendae Igendandi cupti nessed quatiatur rem exceatibea doloreptur quiaecuptas esto corerio es doluptaecae Nequisi duciis intures equibusciis dolorpor autatem Ut aspelig nimint praerunt anitis nonseque aut quis et pligeni mposam quidus ea sam cuptatur Quis sunt audandi tassequam venda suntest inctiatur sinci blaceat ustrum nos anis quatem faccusc ipienis resti-usant Ur quunt eosae nihici undi necusam et labo-rias quibusti dolection et moluptatios poresti rempers pidelitiis sed quam sit intorum sant

Borerspiciam eos aut omnisque dolest que laborep erchillautam et ea doloreptis quo enet fugia qui cum inum sed quae porrum consequam faccum voluptatur solum renim voloristem facepro vidusapis et qui delis aut dolut qui voluptatem fugia vid que sequid quisseq























































Lesseque volest laborporia quiaeperio Ga Itasi untotatem litis int eum eaque pro debis qui te et quo tem everehent ut ex estiumquae rem quae sequia et maximoditis dolo occabor asperchil essi quam rehent quuntibus exerspi dernam recusap iciumqu iberum utes serum et aut audae Itaspelles dolectiae ide ipsus-dae cupta aut quam aut poreprore debis nesequos ut ma ne iur sunt omnimodit facius mi eresti audignis alia verios aut quias evel erum hiliam enis sequiat la eatur mincium quatia il inisita ssitatatis dolorum fugita dolore estet officid es mo inctusc ientemp oribusdam quate optatur sed qui a niendan dignim il iniscid enesti ullitatur quate iusapis vel ipiendi stibereped que nisitate parum nonet volores eum unt esectiur si reperum simus exeribus ad eos es nonsequi dusaperum iuscimpe nonet eos dis aut voluptatur sus

et quassitiam quidunt andae rere reperchit vellis-trum fuga Accatur sequae cus re necus ut eic tem sinctasped quis evelessedi del endam landa consendel molorest totatem exceperit eum enim de volenet qui aci bea arcium sus aut fuga Ut ex est plabori busdan-dio dis dolupient opturem qui blaboritia sequia dolor rerro que velesciae rerrum in rerum volesto tatur Orestibus exeruntia nonsereium quo est eos expe-lendi occum autem que nus



At quos et asped quo ea verehen imagnim lam fugiatium vitiis nobis magnis sum alique porum es iur Qui si nosae latem volute niti tectiorum corempe-riam nientia dernatur omnihit ex excestiores magnat

am eiciist qui id es renihita seque volore et voles volu-pic tempor minveliciet a voluptatecto mini siti natios expedit doluptia et dolorem nectures es et voluptat autecaborro temperi oribus eumquae con rem qui re plit eaqui velit volupicid qui cus explab ipsuntem-pore volupta sincto cusdam que laborest rem facereh endebitamet ante ratur omnis seque pla velectu rehe-niatur susae ea nem Itatatint qui tem ate sunt aliquia quis et eos eum fugia volupta tectotat




Arum eos esto optate solesequi unt la consernat que voluptatur aut recuptas dolor mos dolut volore pliberi busant prest et fugia doluptat utecab ipsam alis conserchil imincil iquatas re eumentem nosam nonsedia acernatios dolorempos modit acerum voluptatem quossim incipsa quibus eum doluptasi od magnam quid quae cusaper umendus et vellaut aut estionestore conse voles alitame perum eosa iligene aut am cone dolecae nos earum ipsant as dolo ipsapel lestioribus et sa dolupta spedicidelit aut utet pario Temperum rem laut eos eossunt iaeprati omnim imperferum destis alibusam fuga Nam eatemos sum

excesto et santem nonsequi ut que por ab ipsam reris ipsame nes explicidus ad quidi odit audis rerspie ndemolorro inctectio quam et estis dus atur audi quias voluptaquae nobis eos suntur ut audi quiae In pere officiatus et alictur est ligent voluptam quiam sedia proviti busdant faccullabore sitatqui cone pe pore conecte cestruptae vellabor as acidellias acidelestiam quo erit exersped maximporit opta sapides tionecti ditatis etur recatem velecae storian ditaectem es enet rehendaerias doluptam ipsam utent earibus omni nossita vent ad que maiores magnisque preste optur



Borerspiciam eos aut omnisque dolest que laborep erchillautam et ea doloreptis quo enet fugia qui cum inum sed quae porrum consequam faccum voluptatur

























At quos et asped quo ea verehen imagnim lam fugiatium vitiis nobis magnis sum alique porum es iur Qui si nosae latem volute niti tectiorum corempe-riam nientia dernatur omnihit ex excestiores magnat excesto et santem nonsequi ut que por ab ipsam reris ipsame nes explicidus ad quidi odit audis rerspie ndemolorro inctectio quam et estis dus atur audi quias voluptaquae nobis eos suntur ut audi quiae In pere officiatus et alictur est ligent voluptam quiam sedia proviti busdant faccullabore sitatqui cone pe pore conecte cestruptae vellabor as acidellias acidelestiam quo erit exersped maximporit opta sapides tionecti ditatis etur recatem velecae storian ditaectem es enet rehendaerias doluptam ipsam utent earibus omni nossita vent ad que maiores magnisque preste optur


Tia vidi duciistiae explitibus ipsum ad et excep-erat dem quas et am iligent iantumq uaepedi gendae Igendandi cupti nessed quatiatur rem exceatibea






doloreptur quiaecuptas esto corerio es doluptaecae Nequisi duciis intures equibusciis dolorpor autatem Ut aspelig nimint praerunt anitis nonseque aut quis et pligeni mposam quidus ea sam cuptatur Quis sunt audandi tassequam venda suntest inctiatur sinci blaceat ustrum nos anis quatem faccusc ipienis resti-usant Ur quunt eosae nihici undi necusam et labo-rias quibusti dolection et moluptatios poresti rempers pidelitiis sed quam sit intorum sant

Borerspiciam eos aut omnisque dolest que laborep erchillautam et ea doloreptis quo enet fugia qui cum inum sed quae porrum consequam faccum voluptatur solum renim voloristem facepro vidusapis et qui delis aut dolut qui voluptatem fugia vid que sequid quisseq uuntiae ctotatem es moloribus sunt eos est quas cus demquas moluptas que con et ipiditaqui blaut etur maximi vel incius etus as que pa consequisqui nosam intem quam facipitas ini vitatis eum id quas exero to beaturit faccus consendam tem est moloribus eature a que cus officim agnatatiur aute volo con expliberum ariorep elibea sedis init utem quis dolor ressimper-rum aut et earcipsum qui ut aspid magniaero qui bea veliqui deriatempos idunt porum id que dolorec ullorum et conserum ut atis autemposa qui blabore que volupti volecep eremper sperorem idicipsuntem exces etur aut re perume pliaeris plit in res miliati nverum et que cuptas autatem re imus es aturia sam vellant et libus delliqui volum aut accus enis res ad magnatio Maximus aectur Pit et faceri consequo blat quasimpost am con rem quaepe et inustint idel inus et repudam solorios ut verferor mintore sequodis nonseque reptate mquisquiam consecat

Quidi occusda que duciam inulpa sit omnihili-bus exeruptaqui tem utam nest veles excestem sum nestisciis repudipsus et modit opta sam aut ex es asperum quo conempe lenimin et quam nossin conse parum nem rate sim hitatus


Nullitia doloration remped est eatem expliqu isitatu sandem iminciis autates dus verum sitatem as qui tem Ost fuga Et est rernam sam num rest et et endes evenist aliquas expero ide nus qui cusae mos ut volor si quis id ea cus Eptata volupta aut voluptis arum re ommoditatis evelest essi sumqui unt omnisti aut quae volupit reptatquo blam exeribernam qui reptur ullupti onsequam tempell uptate doluptum conseque volupta net venderroriam doloreri rem quis de verum conseria nis enimus iunducidit laborpo rehenistrum est et optures nonse millum serem fuga Nequatur




Lesseque volest laborporia quiaeperio Ga Itasi untotatem litis int eum eaque pro debis qui te et quo tem everehent ut ex estiumquae rem quae sequia et maximoditis dolo occabor asperchil essi quam rehent quuntibus exerspi dernam recusap iciumqu iberum utes serum et aut audae Itaspelles dolectiae ide ipsus-dae cupta aut quam aut poreprore debis nesequos ut ma ne iur sunt omnimodit facius mi eresti audignis alia verios aut quias evel erum hiliam enis sequiat la eatur mincium quatia il inisita ssitatatis dolorum fugita dolore estet officid es mo inctusc ientemp oribusdam quate optatur sed qui a niendan dignim il iniscid enesti ullitatur quate iusapis vel ipiendi stibereped que nisitate parum nonet volores eum unt esectiur si reperum simus exeribus ad eos es nonsequi dusaperum iuscimpe nonet eos dis aut voluptatur sus am eiciist qui id es renihita seque volore et voles volu-pic tempor minveliciet a voluptatecto mini siti natios expedit doluptia et dolorem nectures es et voluptat autecaborro temperi oribus eumquae con rem qui re plit eaqui velit volupicid qui cus explab ipsuntem-pore volupta sincto cusdam que laborest rem facereh endebitamet ante ratur omnis seque pla velectu rehe-niatur susae ea nem Itatatint qui tem ate sunt aliquia quis et eos eum fugia volupta tectotat




qui sint et omnimolut quis poreped magnim am re pelitation cum sunti ab in corem cum quiatio cum seruptate et eum facimus solum excea volorrovid mos es ent ad ut labor sed es quatem ulpa quodit laccum facest etum invendae prepratur sincias sitatusa doluptat ulpa qui cusandae niatinctium fugiae ped quatect emquia iur Qui atecto dolorporem eosant sunt doloriam re pra quae officid eligent




Borerspiciam eos aut omnisque dolest que laborep erchillautam et ea doloreptis quo enet fugia qui cum inum sed quae porrum consequam faccum voluptatur solum renim voloristem facepro vidusapis et qui delis aut dolut qui voluptatem fugia vid que sequid quisseq uuntiae ctotatem es moloribus sunt eos est quas cus demquas moluptas que con et ipiditaqui blaut etur maximi vel incius etus as que pa consequisqui nosam intem quam facipitas ini vitatis eum id quas exero to beaturit faccus consendam tem est moloribus eature a que cus officim agnatatiur aute volo con expliberum

Arum eos esto optate solesequi unt la consernat que voluptatur aut recuptas dolor mos dolut volore pliberi busant prest et fugia doluptat utecab ipsam alis conserchil imincil iquatas re eumentem nosam nonse-dia acernatios dolorempos modit acerum voluptatem quossim incipsa quibus eum doluptasi od magnam quid quae cusaper umendus et vellaut aut estionestore conse voles alitame perum eosa iligene aut am cone dolecae nos earum ipsant as dolo ipsapel lestioribus et sa dolupta spedicidelit aut utet pario Temperum rem laut eos eossunt iaeprati omnim imperferum destis alibusam fuga Nam eatemos sum et quassi-tiam quidunt andae rere reperchit vellistrum fuga Accatur sequae cus re necus ut eic tem sinctasped quis evelessedi del endam landa consendel molorest totatem exceperit eum enim de volenet qui aci bea arcium sus aut fuga Ut ex est plabori busdandio dis dolupient opturem qui blaboritia sequia dolor rerro que velesciae rerrum in rerum volesto tatur Orestibus exeruntia nonsereium quo est eos expelendi occum autem que nus


This subhead introduces a visual pauseCeruptat Quatem et voluptatur as ut eturempel et reptat ex et fugitatur Arcipsam nis illisqu iaecto di di dolless endam odi ut porestrum nestorrum qui sundem Busae nim dipsandit ut aut endions editis

ariorep elibea sedis init utem quis dolor ressimper-rum aut et earcipsum qui ut aspid magniaero qui bea veliqui deriatempos idunt porum id que dolorec ullorum et conserum ut atis autemposa qui blabore que volupti volecep eremper sperorem idicipsuntem exces etur aut re perume pliaeris plit in res miliati nverum et que cuptas autatem re imus es aturia sam vellant et libus delliqui volum aut accus enis res ad magnatio Maximus aectur Pit et faceri consequo blat quasimpost am con rem quaepe et inustint idel inus et repudam solorios ut verferor mintore sequodis nonseque reptate mquisquiam consecat


























Lesseque volest laborporia quiaeperio Ga Itasi untotatem litis int eum eaque pro debis qui te et quo tem everehent ut ex estiumquae rem quae sequia et maximoditis dolo occabor asperchil essi quam rehent quuntibus exerspi dernam recusap iciumqu iberum utes serum et aut audae Itaspelles dolectiae ide ipsus-dae cupta aut quam aut poreprore debis nesequos ut ma ne iur sunt omnimodit facius mi eresti audignis alia verios aut quias evel erum hiliam enis sequiat la eatur mincium quatia il inisita ssitatatis dolorum fugita dolore estet officid es mo inctusc ientemp oribusdam quate optatur sed qui a niendan dignim il iniscid enesti ullitatur quate iusapis vel ipiendi stibereped que nisitate parum nonet volores eum unt esectiur si reperum simus exeribus ad eos es nonse-qui dusaperum iuscimpe nonet eos dis aut voluptatur sus am eiciist qui id es renihita seque volore et voles volupic tempor minveliciet a voluptatecto mini siti natios expedit doluptia et dolorem nectures es et voluptat autecaborro temperi oribus eumquae con rem qui re plit eaqui velit volupicid qui cus explab

que velesciae rerrum in rerum volesto tatur Orestibus exeruntia nonsereium quo est eos expelendi occum autem que nus



At quos et asped quo ea verehen imagnim lam fugiatium vitiis nobis magnis sum alique porum es iur Qui si nosae latem volute niti tectiorum corempe-riam nientia dernatur omnihit ex excestiores magnat excesto et santem nonsequi ut que por ab ipsam reris ipsame nes explicidus ad quidi odit audis rerspie ndemolorro inctectio quam et estis dus atur audi quias voluptaquae nobis eos suntur ut audi quiae In pere officiatus et alictur est ligent voluptam quiam sedia proviti busdant faccullabore sitatqui cone pe pore conecte cestruptae vellabor as acidellias acidelestiam quo erit exersped maximporit opta sapides tionecti ditatis etur recatem velecae storian ditaectem es enet rehendaerias doluptam ipsam utent earibus omni

ipsuntempore volupta sincto cusdam que laborest rem facereh endebitamet ante ratur omnis seque pla velectu reheniatur susae ea nem Itatatint qui tem ate sunt aliquia quis et eos eum fugia volupta tectotat




Arum eos esto optate solesequi unt la consernat que voluptatur aut recuptas dolor mos dolut volore pliberi busant prest et fugia doluptat utecab ipsam alis conserchil imincil iquatas re eumentem nosam nonse-dia acernatios dolorempos modit acerum voluptatem quossim incipsa quibus eum doluptasi od magnam quid quae cusaper umendus et vellaut aut estionestore conse voles alitame perum eosa iligene aut am cone dolecae nos earum ipsant as dolo ipsapel lestioribus et sa dolupta spedicidelit aut utet pario Temperum rem laut eos eossunt iaeprati omnim imperferum destis alibusam fuga Nam eatemos sum et quassi-tiam quidunt andae rere reperchit vellistrum fuga Accatur sequae cus re necus ut eic tem sinctasped quis evelessedi del endam landa consendel molorest totatem exceperit eum enim de volenet qui aci bea arcium sus aut fuga Ut ex est plabori busdandio dis dolupient opturem qui blaboritia sequia dolor rerro

nossita vent ad que maiores magnisque preste opturNimet autatem ex eati aut la corest velendi cien-

imi occulparum il ea dolupit autaquaes veri rerio bea suntistius del eum quam qui quas erum et ut recatum veleseq uossita temporestota dolor maximo testis ipsa nobit omnias natemque dolorundest excearunto occus que porumquam recerat emoluptas nonsequatur secae inis doluptasse se cus reiciates saperum quam quam ab ipiet fuga Itate corum lit officab orenimus


Borerspiciam eos aut omnisque dolest que laborep erchillautam et ea doloreptis quo enet fugia qui cum inum sed quae porrum consequam faccum voluptatur solum renim voloristem facepro vidusapis et qui delis aut dolut qui voluptatem fugia vid que sequid quisseq uuntiae ctotatem es moloribus sunt eos est quas cus demquas moluptas que con et ipiditaqui blaut etur maximi vel incius etus as que pa consequisqui nosam intem quam facipitas ini vitatis eum id quas exero to beaturit faccus consendam tem est moloribus eature a que cus officim agnatatiur aute volo con expliberum ariorep elibea sedis init utem quis dolor ressimper-rum aut et earcipsum qui ut aspid magniaero qui





dolectusanis rescia num enimus aliatem ius ut inus aliquid ucipsa voluptas quo tem quam omnis dita-tibusdae quatistio Niae nossinturia est odis quia enditiorrum id unt lacest od eos quatem voloria dollore ptatem coritem ipsum quide plique ipician danimaximus











Nobistruptur as reiusam odit impos et qui




Lesseque volest laborporia quiaeperio Ga Itasi untotatem litis int eum eaque pro debis qui te et quo tem everehent ut ex estiumquae rem quae sequia et maximoditis dolo occabor asperchil essi quam rehent quuntibus exerspi dernam recusap iciumqu iberum utes serum et aut audae Itaspelles dolectiae ide ipsus-dae cupta aut quam aut poreprore debis nesequos ut ma ne iur sunt omnimodit facius mi eresti audignis alia verios aut quias evel erum hiliam enis sequiat la eatur mincium quatia il inisita ssitatatis dolorum fugita dolore estet officid es mo inctusc ientemp





Nimet autatem ex eati aut la corest velendi cien-imi occulparum il ea dolupit autaquaes veri rerio bea suntistius del eum quam qui quas erum et ut recatum

oribusdam quate optatur sed qui a niendan dignim il iniscid enesti ullitatur quate iusapis vel ipiendi stibereped que nisitate parum nonet volores eum unt esectiur si reperum simus exeribus ad eos es nonsequi dusaperum iuscimpe nonet eos dis aut voluptatur sus am eiciist qui id es renihita seque volore et voles volu-pic tempor minveliciet a voluptatecto mini siti natios expedit doluptia et dolorem nectures es et voluptat autecaborro temperi oribus eumquae con rem qui re plit eaqui velit volupicid qui cus explab ipsuntem-pore volupta sincto cusdam que laborest rem facereh endebitamet ante ratur omnis seque pla velectu rehe-niatur susae ea nem Itatatint qui tem ate sunt aliquia quis et eos eum fugia volupta tectotat





veleseq uossita temporestota dolor maximo testis ipsa nobit omnias natemque dolorundest excearunto occus que porumquam recerat emoluptas nonsequatur secae inis doluptasse se cus reiciates saperum quam quam ab ipiet fuga Itate corum lit officab orenimus





Nullitia doloration remped est eatem expliqu isitatu sandem iminciis autates dus verum sitatem as qui tem Ost fuga Et est rernam sam num rest et et endes evenist aliquas expero ide nus qui cusae mos ut volor si quis id ea cus Eptata volupta aut voluptis arum re ommoditatis evelest essi sumqui unt omnisti aut quae volupit reptatquo blam exeribernam qui reptur ullupti onsequam tempell uptate doluptum conseque


Object StyleTo ensure consistent sizing create an Object Style for the text frames to capture the width Thereafter you donrsquot have to worry about being accurate when dragging out a text frame This is especially useful if working on a laptop

Column MeasureA column width of 4 units yields a column measure of around 50 characters per line which is a good number for readability Verify this with the Info panel

The grid provides structure Hierarchy in the document is achieved by using the grid to make the most of whitespace In addition to white space hierarchy is also achieved through the use of

bull position

bull size

bull weight

bull color


White Space

White space or negative space can be small and subliminal or bold and audacious

At the micro level white space is about readability Itrsquos the space within and around every letter between every word and the leading between every line of type

There are numerous ways to craft the white space in small typographic details When working with justified text you can control the permissible variation of word spaces in the Justification options (Wersquoll be looking at these more closely in the second part of this lab)

Text in upper and lowercase is more suitable for continuous reading than text in all caps because the varying negative space around the letters makes it easier for the eye to distinguish words by shapes

Without the negative space around the lowercase letters text in all caps has a rectangular profile

ALWAYS LOOK ON THE BRIGHT SIDE OF LIFE

Always look on the bright side of life


Our brains put emphasis and importance on design elements that are organised by space Here are a couple of other small but important examples Firstly the indents at the beginning of paragraphs add meaning and also provide a visual pause

To break the text into digestible chunks Irsquove introduced subheads Adding more space above a subhead than below strengthens the connection between the subhead and the text that follows The negative space gives visual clues about which pieces of information belong together and which are separate









Macro white space is the space between the major elements of a composition like the margins the floating column and the space between text and graphic elements By signalling to the reader whatrsquos most important what elements belong together and which are separate the macro space provides pacing and rhythm and allows the reader to rest while navigating the design

The Demo Documentbull Six pages in 3 double-page spreads A4 size

bull Main article is 1500 words

bull Supporting article of about 200 words

bull Up to 13 images

USING THE CC LIBRARYTo use the same assets as in the demo go to the CC Libraries panel From the panel menu choose Import library Navigate to the L6147 Part 1 Structure and Hierarchy folder abd choose Adobe MAX 2020 L6147cclibs


Start with a pencil sketch then experiment

Yoursquoll be working with the same content Irsquove saved the different elements of the layout as library items My choices are not definitive

Opening spreadBleeding the image off the sides makes it feel more expansive The hierarchy is made clear by type size and weight Putting the headline at the bottom of the page shows that while typically the most important information goes at the top this doesnrsquot have to be the case

Extending the headline across both pages ties the spread together Irsquove made sure there is adequate space in the inside margin




10 L6147 InDesign Type amp Layout PART 1 Structure amp Hierarchies 11


Second spreadOpening with a large expanse of white space makes the article feel important unhurried Irsquoll add a drop cap for visual interest and to signpost the entry point to the article While you can add a simple drop cap through the paragraph formats for a more graphical drop cap itrsquos preferable to treat is as a separate element For ease of scaling convert the letter to outlines I could add a text wrap around the shape but instead I am going to overlap the type Irsquoll need to make sure that there is enough contrast

I considered crossing over the image to tie the pages together Note that the images have an object style (Pic AF) applied to them which controls the fitting This makes it easier to experiment with image scaling

The pull quote is an element that adds graphic interest contrast and white space It also provides ldquowiggle roomrdquo because we can if necessary vary the amount of spacing around it to make our text fit






















Third Spread
















The auto fit option applied to the images means that I can use the Gap Tool to adjust the spacing between elements dynamically

A good template should include Object Styles for the pictures as well as Paragraph and Character Styles for the text

The sidebar is set in the contrasting but complementary sans serif Meta The weight is heavier indicating difference more than greater importance The alignment is ragged as opposed to justified Note that the images that accompany the sidebar are inline pasted onto lines that are set to auto leading so that the size of the line grows to accommodate the image

The captions are also in the sans serif font Because the type size and leading value of the captions is smaller than the body text the Align to Grid setting is set to first line only


Adding a Text WrapThe text wrap breaks up the rigidity of the grid

Irsquove put it in this position so that it only disrupts the right edge of the text Because we read left to right if the text wrap disrupts the left edge it makes the text harder to read

The image has been prepared using Select and Mask in Photoshop to mask the background of the sunflower To retain the transparency it is saved as a PSD file

To wrap the text around the mask choose Alpha Channel from the Contour Options

To ensure that the second column overlays the image choose Ignore Text Wrap from Text Frame Options (CmdCtrl + B) Note you should only do this if there is sufficient contrast between text and background

With a grid-based layout there is a tension between consistency and variety between sticking to the grid and occasionally breaking away from it

Itrsquos like a jigsaw but more creative because you can vary the number and size of the pieces and because there is an infinite number of solutions

I invite you to create your own layout using the same source materials


Techniques for fixing and avoiding common composition problems such as gappy spacing bad breaks widows orphans and runts

Whatrsquos in the FolderThe folder L6147 L8025 Part 2 Fixes and Adjustments contains the following fileshellip

bull Treasure Island1indd This is the starting state a 36-page document that is Chapters 1ndash5 of Treasure Island by Robert Louis Stevenson In addition to the text layer there are 4 layers currently hidden that highlight with color coding the problems that are present at each step of the process of preparing the document These should be turned on one at a time in sequence from the bottom up

bull Treasure Island1idml This document is for users with earlier versions of InDesign

bull Treasure Island1PDF This PDF is output as spreads for visual reference The ldquoproblems defaultrdquo layer is visible

Identifying the problems Firstly letrsquos identify the problems Because Irsquom using justified type the size of my word spaces will need to vary so that the right edge of the text will be flush

Every line of type will have extra space If your text is ragged it will be at the end of the line If you text is justified it will be between the words Our challenge is to make the spacing between the words look as even as possible

The four basic types of horizontal alignment showing how the ldquoextrardquo space on the line is distributed

Congress shall make no law respecting an establishment abridging the freedom of speech or of the press or the right of the people peaceably to assemble and to petition the Government for a redress of grievances

Congress shall make no law respecting an establishment of religion or prohibiting the free exercise thereof or

abridging the freedom of speech or of the press or the right of the people peaceably to assemble and to petition

the Government for a redress of grievances




Congress shall make no law respecting an establishment of religion or prohibiting the free exercise thereof or abridging the freedom of speech or of the press or the right of the people peaceably to assemble and to petition the Government for a redress of grievances

Left

Center Right

Justified

In order to do this there needs to be enough characters per line For the magazine article in part 1 I was aiming for a column measure of around 50 characters per line Here with a novel running in a single column Irsquod like to be closer to 60 characters per line

Part 2 Fixes amp Adjustments


Currently the body text uses the default values for Hyphenation and Justification We need to changes these to achieve a more even density of our type This is referred to as type colour

There is always the possibility that in fixing one problem we create another There are compromises involved and we need to make sure that the solution is not worse that the original problem There may be some imperfections we have to live with

Hyphenation and bad breaks

Two-letter hyphenated stubs at the end or beginning of a line

Lines ending with ldquoIrdquo or ldquoArdquo

Consecutive hyphens creating a ladder effect

The Composition preference HampJ Violations identifies word spacing problems The yellow highlighting shows where InDesign cannot honour the hyphenation and justification settings The more vivid the yellow the worse the problem


Recommended Hyphenation Settings These setting still allow hyphenation mdash but less of it by avoiding short stubs multiple hyphens in a row and from preventing hyphenation in circumstances where it will be likely to compromise readability

Optical Margin Alignment

Optical Margin Alignment pushes hyphens (and punctuation) beyond the right edge of the text frame creating an optically sharper flushed edge

Recommended Justification settings

The world will little note nor long remember what we say here but it can never forget what they did here It is for us the living rather to be dedicated here to the unfinished work which they who fought here have thus far so

The world will little note nor long remember what we say here but it can never forget what they did here It is for us the living rather to be dedicated here to the unfinished work which they who fought here have thus far so nobly

Default Justification settings applied left On the right custom settings are applied Allowing a small variation (plusmn 2) in Letter Spacing and Glyph Scaling (plusmn 2) results in less variation in the width of the word spaces


Glyph ScalingIsnrsquot glyph scaling distorting the type

Well yes but a small amount is virtually imperceptible to the naked eye mdashand in my opinion the gain of more even spacing is worth it Shown here are the minimum desired and maximum amounts of glyph scaling on 12 pt type

glyph scaling glyph scalingglyph scaling

98100102

Fixing RuntsA runt is a short last word or part of a word at the end of the paragraph They can (usually) be avoided by applying a No Break attribute to last specified number of characters in the paragraph This can be automated with GREP Styles

The GREP Style looks for a pattern in the text

8r

[Any character] 8 [in a string of 8] r [at the end of a paragraph]

and applies a chosen Character Style In this case ldquono breakrdquo to the result


These are the GREP styles usedhellip

In addition to fixing runts at the end of the paragraph I am also fixing them at the end of a story (8z) and preventing salutations like Mr and Mrs from being separated from the name that follows The last GREP Style modifies the width of the em dashes Exactly what you choose to control with GREP Styles will depend upon the content of the text yoursquore working with

Fixing widows and orphansWidow = the last line of a paragraph stranded at the top of a column or page

Orphan = the first line of a paragraph stranded at the bottom of a column or page

Widow at the top of a page


Orphan at the bottom of a page

These are best addressed by reducing the tracking (letterspacing) of the offending paragraph or a paragraph that precedes it Make sure you apply only as much as necessary check your KerningTracking Preference to set this to the smallest amount (1) possible In general use no more than -10 units of tracking

Tracking keyboard shortcut Option+Left Arrow or Alt+Left Arrow

Note that the At StartEnd of Paragraph settings in Keep Options are not suitable in this context because they will result in text block ending a line short

Turn on the Custom TrackingKerning composition preference to see (green highlighting) where tracking has been applied in the document

Discretionary hyphensUse discretionary hyphens (Cmd+Shift+- Ctrl+Shift+-) to fix any remaining problems

Discretionary hyphens control how a word breaksmdashor doesnrsquot break Inserting a discretionary hyphen at the beginning of the word prevents it from breaking


Elevate your typography by taking advantage of OpenType features paying attention to small details and avoiding common mistakes

Whatrsquos in the FolderThe folder L6147 L8025 Part 3 OpenType and Polishing documents contains the following fileshellip

Details and Finessingindd This is the document I am working with on screen with before and after examples

Details and Finessingidml This is for users working with earlier versions of InDesign

Details and FinessingPDF A PDF for visual reference

QuotesLetrsquos take care of things like quote marks apostrophes and dashes which when used incorrectly look amateurish

To fix this display quotehellip

bull Make sure yoursquore using typographerrsquos quotes

bull Insert an Indent to Here character (Cmd + or Ctrl+) after the opening quote mark

bull Shape the lines with forced line breaks (Shift-Returns)

bull Align the attribution

Part 3 OpenType amp Polishing Documents


ApostrophesTypographerrsquos quotes are a good thing Except when InDesign assumes you want an opening single quote rather than an apostrophe

Fish lsquonrsquo Chips Rock lsquonrsquo Roll lsquo90s

Fish rsquonrsquo Chips Rock rsquonrsquo Roll rsquo90s

Replace the opening single quotes with apostrophes

Dashes

Know your dashes Each has a different meaninghyphen

minus

En (Option+- Alt+-)

Em (Shift+Option+- Shift+Alt+-)

Open 9-51914-1918September-October

Open 9ndash51914ndash1918SeptemberndashOctober

Em dashes -- also known as long dashes- are used to set off a phrase

Em dashes mdash also known as long dashes mdash are used to set off a phrase

The en dash is used to indicate duration or a range of values If you would say ldquotordquo when reading the sentence aloud then use an en dash

Glyph ShiftingSome OpenType fonts have the ability to dynamically shift the position of glyphs like hyphens and parentheses when the type is converted to ALL CAPS (as opposed to typing with CAPS LOCK on)

STATE-OF-THE-ART(PARENTHESES)


Text typed with CAPS LOCK Note lower position of hypens and parentheses

Text converted to ALL CAPS (Cmd+Shift+K or Ctrl +Shift+K)

Stylistic AlternatesWhere available stylistic alternates give you the opportunity to make your type bespoke and add personality

ITALIAN COFFEE

ITALIAN COFFEE

Alternates can be accessed via the Glyphs panel or from the row of the glyphs that appears below a selected glyph in the layout


Automatic Kerning MethodThere are two types of automatic kerning Metrics (use the kerning metrics that are part of the font) and Optical (determines kerning adjustments based on the glyph shapes) Often it is a matter of personal preference which is more appropriate mdash it will depend above all on the quality and number of the kerning metrics in

the font Some have thousands others have none Here are some specific scenarios when one method is preferable to the other hellip

MONOS PACED

MONOS PACED

1234567890

1234567890

CIRCUS CIRCUSCIRCUS CIRCUS

Metrics Opticalvs

Script Script

WA WADISPLAY DISPLAY

Tabular Numberals

Chromatic (stackable)

fonts

Combining different fonts in

the same word


Stylistic SetsStylistic sets let you apply sets of alternates

A b d c d e f g h i l j k l m n o p q r s t u v w x y z

A B D C D E F G H I L J K L M N O P Q R S T U V

W X Y Z



W X Y Z Hypatia Sans with no Stylistic Sets applied (left) and with sans serif forms and long-tailed Q (right)

LigaturesStandard ligatures are a response to an aesthetic problem collision between the lowercase f and the i or l which follows In sans serif typefaces the problem may not exist therefore the solution isnrsquot called for

filmflirtofficewaffleSerif with Ligatures

filmflirtofficewaffleSans serif without Ligatures


An alternative solution is the dotless i (Shift+Option+B or Shift+Alt+B)

ficklefıckleDiscretionary LigaturesDiscretionary ligatures extend your typographic palette The Composition preference Substituted Glyphs highlights in yellow where ligatures are used

The same text with standard ligatures (left) and discretionary ligatures The typeface is Mrs Eaves


Numbering StyleMany OpenType fonts offer a choice between lining and oldstyle numbers in both proportional and tabular spacing

Lining Oldstyle

Iceland is a Nordic island country in the North Atlantic with a population of 364134 and an area of 103000 km2 (40000 sq mi) making it the most sparsely populated country in Europe

CA 94110


CA 94110

12345 09876 1234567890

FractionsTo speed up the formatting of fractions make a Fractions Character Style Apply this as a GREP Style

Before

10 516 x 8 316

OpenType

10 516 times 8 316


Colour FontsA limited number of Color SVG fonts are available from Adobe Fonts Among them is Gilbert also available in monochromatic form (the two are combined here) For more on color fonts visit colorfontswtf

BREATH MOREDEPLY

Chromatic FontsAn alternative approach to Color SVG fonts is chromatic or stackable fonts of which there are several available on Adobe Fonts

THE GREATEST SHOW ON

EARTH


EARTH


EARTHPrater Block Fill Prater Block Fill stacked on top

of Prater Block Background


Variable FontsVariable fonts allow you to generate a vast range of weights widths (and in some case slants or optical sizes) from a single font outline InDesign is installed with several OpenType Variable fonts such as Acumin Variable Concept Myriad Variable Concept Minion Variable Concept More are available from Google Fonts Also check out variable-fontscom and v-fontscom

W E I G H TW E I G H TW I D T HW I D T H

The available axes vary from one font to another Most typical is weight followed by width

For an experimental take on variable fonts check out Decovar by David Berlow


Available from Adobe Press Coming Soon


Title Page




Irsquom Nigel French mdash thanks for taking my lab My intended audience is intermediate and advanced InDesign users

Adobe MAX Catalog Description

Good typography is essential to design It gives your documents visual appeal makes them more readable and gains a readerrsquos trust In Part 1 of this follow-along lab join designer author artist and trainer Nigel French as he outlines the wealth of type-specific features in InDesign Nigel will demonstrate an approach that maximizes both efficiency and creativity thats perfect for intermediate InDesign users to follow along and try it on their own later

Part 1 Structure and HierarchyCreate readable dynamic and attractive layouts through the use of grids white space and text wraps

bull Create readable dynamic and attractive layouts

bull Give your designs structure and hierarchy with grids and the effective use of white space

bull Leverage text wrapping to enhance page layouts

Part 2 Fixes and AdjustmentsTips and techniques for preventing and fixing common composition problems like bad word spacing widows orphans and runts

bull Prevent mdash and fix mdash common composition problems

bull Adjust word spacing and control widows orphans and runts

bull Develop a sixth sense for the fine details while keeping a focus on the bigger picture

Part 3 OpenType amp Polishing DocumentsGive your documents personality and polish through the use of OpenType features variable fonts and SVG color fonts

bull Give your documents personality and polish

bull Take advantage of the InDesign support of OpenType features

bull Work with Variable fonts and SVG color fonts




























































Type Choice


















Setting up the grid






Type Area

69 lines







































































































































































































































bull position

bull size

bull weight

bull color


White Space



























































Third Spread














































Left

Center Right

Justified























98100102



8r



































Dashes


minus

En (Option+- Alt+-)













ITALIAN COFFEE

ITALIAN COFFEE





MONOS PACED

MONOS PACED

1234567890

1234567890


Metrics Opticalvs

Script Script


Tabular Numberals


fonts


the same word





W X Y Z













Lining Oldstyle


CA 94110


CA 94110

12345 09876 1234567890


Before

10 516 x 8 316

OpenType

10 516 times 8 316



BREATH MOREDEPLY



EARTH


EARTH












Title Page






























































Type Choice


















Setting up the grid






Type Area

69 lines







































































































































































































































bull position

bull size

bull weight

bull color


White Space



























































Third Spread














































Left

Center Right

Justified























98100102



8r



































Dashes


minus

En (Option+- Alt+-)













ITALIAN COFFEE

ITALIAN COFFEE





MONOS PACED

MONOS PACED

1234567890

1234567890


Metrics Opticalvs

Script Script


Tabular Numberals


fonts


the same word





W X Y Z













Lining Oldstyle


CA 94110


CA 94110

12345 09876 1234567890


Before

10 516 x 8 316

OpenType

10 516 times 8 316



BREATH MOREDEPLY



EARTH


EARTH












Title Page














Setting up the grid






Type Area

69 lines







































































































































































































































bull position

bull size

bull weight

bull color


White Space



























































Third Spread














































Left

Center Right

Justified























98100102



8r



































Dashes


minus

En (Option+- Alt+-)













ITALIAN COFFEE

ITALIAN COFFEE





MONOS PACED

MONOS PACED

1234567890

1234567890


Metrics Opticalvs

Script Script


Tabular Numberals


fonts


the same word





W X Y Z













Lining Oldstyle


CA 94110


CA 94110

12345 09876 1234567890


Before

10 516 x 8 316

OpenType

10 516 times 8 316



BREATH MOREDEPLY



EARTH


EARTH












Title Page





































































































































































































































bull position

bull size

bull weight

bull color


White Space



























































Third Spread














































Left

Center Right

Justified























98100102



8r



































Dashes


minus

En (Option+- Alt+-)













ITALIAN COFFEE

ITALIAN COFFEE





MONOS PACED

MONOS PACED

1234567890

1234567890


Metrics Opticalvs

Script Script


Tabular Numberals


fonts


the same word





W X Y Z













Lining Oldstyle


CA 94110


CA 94110

12345 09876 1234567890


Before

10 516 x 8 316

OpenType

10 516 times 8 316



BREATH MOREDEPLY



EARTH


EARTH












Title Page




White Space



























































Third Spread














































Left

Center Right

Justified























98100102



8r



































Dashes


minus

En (Option+- Alt+-)













ITALIAN COFFEE

ITALIAN COFFEE





MONOS PACED

MONOS PACED

1234567890

1234567890


Metrics Opticalvs

Script Script


Tabular Numberals


fonts


the same word





W X Y Z













Lining Oldstyle


CA 94110


CA 94110

12345 09876 1234567890


Before

10 516 x 8 316

OpenType

10 516 times 8 316



BREATH MOREDEPLY



EARTH


EARTH












Title Page






















































Third Spread














































Left

Center Right

Justified























98100102



8r



































Dashes


minus

En (Option+- Alt+-)













ITALIAN COFFEE

ITALIAN COFFEE





MONOS PACED

MONOS PACED

1234567890

1234567890


Metrics Opticalvs

Script Script


Tabular Numberals


fonts


the same word





W X Y Z













Lining Oldstyle


CA 94110


CA 94110

12345 09876 1234567890


Before

10 516 x 8 316

OpenType

10 516 times 8 316



BREATH MOREDEPLY



EARTH


EARTH












Title Page





























Left

Center Right

Justified























98100102



8r



































Dashes


minus

En (Option+- Alt+-)













ITALIAN COFFEE

ITALIAN COFFEE





MONOS PACED

MONOS PACED

1234567890

1234567890


Metrics Opticalvs

Script Script


Tabular Numberals


fonts


the same word





W X Y Z













Lining Oldstyle


CA 94110


CA 94110

12345 09876 1234567890


Before

10 516 x 8 316

OpenType

10 516 times 8 316



BREATH MOREDEPLY



EARTH


EARTH












Title Page























98100102



8r



































Dashes


minus

En (Option+- Alt+-)













ITALIAN COFFEE

ITALIAN COFFEE





MONOS PACED

MONOS PACED

1234567890

1234567890


Metrics Opticalvs

Script Script


Tabular Numberals


fonts


the same word





W X Y Z













Lining Oldstyle


CA 94110


CA 94110

12345 09876 1234567890


Before

10 516 x 8 316

OpenType

10 516 times 8 316



BREATH MOREDEPLY



EARTH


EARTH












Title Page



































Dashes


minus

En (Option+- Alt+-)













ITALIAN COFFEE

ITALIAN COFFEE





MONOS PACED

MONOS PACED

1234567890

1234567890


Metrics Opticalvs

Script Script


Tabular Numberals


fonts


the same word





W X Y Z













Lining Oldstyle


CA 94110


CA 94110

12345 09876 1234567890


Before

10 516 x 8 316

OpenType

10 516 times 8 316



BREATH MOREDEPLY



EARTH


EARTH












Title Page






MONOS PACED

MONOS PACED

1234567890

1234567890


Metrics Opticalvs

Script Script


Tabular Numberals


fonts


the same word





W X Y Z













Lining Oldstyle


CA 94110


CA 94110

12345 09876 1234567890


Before

10 516 x 8 316

OpenType

10 516 times 8 316



BREATH MOREDEPLY



EARTH


EARTH












Title Page







W X Y Z













Lining Oldstyle


CA 94110


CA 94110

12345 09876 1234567890


Before

10 516 x 8 316

OpenType

10 516 times 8 316



BREATH MOREDEPLY



EARTH


EARTH












Title Page









Lining Oldstyle


CA 94110


CA 94110

12345 09876 1234567890


Before

10 516 x 8 316

OpenType

10 516 times 8 316



BREATH MOREDEPLY



EARTH


EARTH












Title Page





BREATH MOREDEPLY



EARTH


EARTH












Title Page











Title Page


