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Adobe®
InDesign®
CS6
Learn by Video

Adobe® InDesign® CS6: Learn by Video
video2brain GmbH • Kelly McCathran
Copyright © 2013 by video2brain GmbH
Peachpit Press
1249 Eighth Street
Berkeley, CA 94710
510/524-2178 • 510/524-2221 (fax)
Find us on the Web at www.peachpit.com
To report errors, please send a note to errata@peachpit.com
Peachpit Press is a division of Pearson Education.
Adobe InDesign CS6: Learn by Video is published in association with Adobe Press.
For the latest on Adobe Press books, go to www.adobepress.com
Acquisitions Editor: Victor Gavenda
Project Editor: Tracey Croom
Media Producer: Eric Geoffroy
Proofreader: Liz Welch
Package design: Charlene Charles-Will
Package imagery: Provided by Adobe Systems Inc.
Book interior design: Danielle Foster
Notice of Rights
All rights reserved. No part of this video training book may be reproduced or transmitted in any form by any
means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of
the publisher. The software and media files on this disc are copyrighted by the authors and Peachpit. You have
the non-exclusive right to use these programs and files. You may use them on one computer at a time. You may
not transfer the files from one computer to another over a network. You may transfer the files onto a single
hard disk so long as you can prove ownership of the original disc. For information on getting permission for
reprints and excerpts, contact permissions@peachpit.com.
Notice of Liability
The information in this video training book is distributed on an “As Is” basis, without warranty. While every
precaution has been taken in the preparation of the video training book, neither the trainers nor video2brain
GmbH nor Peachpit shall have any liability to any person or entity with respect to any loss or damage caused
or alleged to be caused directly or indirectly by the instructions contained in this video training book or by the
computer software and hardware products described in it.
Trademarks
Adobe InDesign is a trademark or registered trademark of Adobe Systems Incorporated in the United States
and/or other countries. All rights reserved. Many of the designations used by manufacturers and sellers to
distinguish their products are claimed as trademarks. Where those designations appear in this video training
book, and Peachpit was aware of a trademark claim, the designations appear as requested by the owner of the
trademark. All other product names and services identified throughout this video training book are used in edi-
torial fashion only and for the benefit of such companies with no intention of infringement of the trademark. No
such use, or the use of any trade name, is intended to convey endorsement or other affiliation with this video
training book.
ISBN-13: 978-0321-84069-1
ISBN–10: 0-321-84069-0
9 8 7 6 5 4 3 2 1
Printed and bound in the United States of America

1 The InDesign Interface
and Workspace
1.1 InDesign’s Workspace
1.2 Using InDesign’s Tools
1.3 Navigating Documents and Panels
1.4 Setting the Best Preferences
1.5 Building a New Document and
Saving a Preset
1.6 Creating and Formatting Text
1.7 Changing Text Color and
Paragraph Settings
1.8 Working with Graphics
1.9 Working with Frames
2 InDesign Project Explorations
2.1 Placing and Formatting Text
2.2 Intro to Paragraph Styles
2.3 More Paragraph Styles
2.4 Editing Styles for Global Updates
2.5 Master Pages and Page Numbers
2.6 Creating or Adding Columns
2.7 Placing Images and Wrapping Text
2.8 Creating Letterhead
2.9 Building a Newsletter
2.10 Adding a Table of Contents and
Jump Page Numbers
2.11 Using Selection Tools
2.12 Placing, Scaling, and Aligning
Several Images with Multi-Place
2.13 Creating the Front of a Postcard
2.14 Creating the Back of a Postcard
3 Color Me Happy
3.1 Creating Colors and Adding Swatches
3.2 Creating a “Color Story” with the
Kuler Panel
3.3 Adding “Spot” or Pantone® Colors
3.4 Drawing with Shapes and Lines
3.5 Creating Gradients
3.6 Creating Special Effects
3.7 Building Object Styles
3.8 Using a Clipping Path or Silhouette
to Create Depth
Adobe InDesign CS6: Learn by Video iii
DVD Contents

4 High-End Text Handling
4.1 Building Character Styles
4.2 Creating Nested Styles
4.3 Nested Styles for the Power User
4.4 Removing Text Formatting and
Relinking Word Styles to
InDesign Styles
4.5 Hyphenation Settings and
Widow/Orphan Control
4.6 Setting Tabs
4.7 Moving Beyond the Basic
Tab Settings
4.8 Favorite Typography Keyboard
Shortcuts
4.9 Using Find Font to Replace
Missing Fonts
4.10 Custom Bullets and the Glyphs Panel
5 All About Pages
5.1 Using Custom Page Numbers
5.2 Creating a Section
5.3 Building a Table of Contents
5.4 Creating Facing-Page (Spread)
Layouts
5.5 Building Libraries for Frequently
Used Content
5.6 Working with Multiple Master Pages
and Referenced Master Pages
5.7 Unlocking and Resetting Master
Page Items
5.8 Adding Layers to Your Document
5.9 Isolating, Moving, and Selecting
Objects with Layers
5.10 Layout Adjustment
5.11 Using Liquid Layout
5.12 Alternate Layouts
6 Fun with Images
6.1 Dragging and Dropping from
Mini Bridge
6.2 Dynamic Captions and Adobe Bridge
6.3 Creating a Clipping Path (Silhouette)
6.4 The Align Panel
6.5 The Pathfinder Panel
6.6 Anchored Objects
6.7 The Links Panel
6.8 The Content Collector and
Content Placer Tools
7 Book Features
7.1 Creating Document Templates
7.2 Building a Book
7.3 Synchronizing Colors and Styles
in a Book
7.4 Building a Table of Contents
for a Book
7.5 Creating Folding Spreads
iv DVD Contents
DVD Contents

8 Dynamic Content
8.1 Creating Hyperlinks and
Building Buttons
8.2 Building Document-Wide Navigation
8.3 Animating Content
8.4 Creating Motion Paths
8.5 Adding Object States
9 Output
9.1 Preflight and Packaging
9.2 The Separations Preview and Ink
Manager Panels
9.3 Printing
9.4 InDesign Color Settings
9.5 Exporting to PDF and Loading
PDF Settings
Adobe InDesign CS6: Learn by Video v

Introduction vii
What’s New in InDesign CS6? 1
New Features in InDesign CS6 . . . . . . 2
Customizing InDesign CS6 to
Suit Your Needs 7
Changing Preferences . . . . . . . . . . . 8
Recommended Preferences in
the Type Category . . . . . . . . . . . . . .9
Recommended Preferences in the
Composition Category . . . . . . . . . . 11
Guides & Pasteboard Category . . . . . 12
Story Editor Display Category . . . . . . 13
Display Performance Category . . . . . 14
Appearance of Black Category . . . . . 16
File Handling Category . . . . . . . . . . 17
Clipboard Handling Category . . . . . . 19
Glossary 21
vi Booklet Contents
Booklet Contents

About This Book
The material in this booklet serves as a valu-
able supplement to the video training. The first
chapter gives you an overview of the many new
features in InDesign CS6. The second chapter
shows you how to customize the InDesign CS6
preferences to suit your needs.
How to Use This Course
The video2brain interface is easy to use, but it
also has a large number of options. We’ve pro-
vided this brief guide to give you a tour of the
interface and make sure you don’t miss out on
any of its features.
This course comes in a few different flavors. You
can run the Mac application (labeled “Start” or
“Start.app”) or the Windows application (.exe)
file, or you can open start.html in your browser.
Most people will use one of the application
versions of the course. If you’re working with an
operating system that doesn’t support one of
these two options, such as Linux, the browser
version is a great alternative—it works on
any browser with a current version of Adobe
Flash. The main difference between running
the course as an application versus opening it
in your browser is that the application versions
include an option, discussed in more detail later
in this guide, called Watch-and-Work mode.
Watch-and-Work mode lets you watch the course
in a smaller window while you follow along in
another application. This option doesn’t exist in
the browser version of the course.
Welcome to Adobe InDesign CS6
Learn by Video
Adobe InDesign has been the gold standard in
desktop publishing for many years now, and in
the CS6 version it takes some big steps into the
future. In addition to its traditional print capa-
bilities, InDesign CS6 offers lots of options for
publishing to tablet devices, as well as Adaptive
Page Design, which lets you deploy one design
to many different formats.
In this course, you’ll learn your way around the
InDesign interface and workspaces, then be
walked through some projects that demon-
strate the powerful capabilities of InDesign CS6.
You’ll get in-depth training on working with
colors, text, images, pages, books, dynamic
content, and more.
Along the way you’ll be introduced to new In-
Design features like Liquid Layouts, the Content
Collector tool, and linked content. Whether
your goal is to produce great print documents,
PDFs, eBooks, or flexible designs that can be
used in many different ways, this course will
help you get there.
The lessons are wrapped in a feature-rich
interface that lets you jump to any topic and
bookmark individual sections for later review.
Full-Screen mode provides a hi-def, immersive
experience, and Watch-and-Work mode shrinks
the video into a small window so you can play
the videos alongside your application. This
course also includes project files so you can
follow along and try out new techniques as you
learn them.
viii Introduction
Introduction

Whether you’re using the application or brow
ser version, when you first launch the course,
you will see the Welcome screen.
The Welcome Screen
From here, there are a few ways you can
proceed:
■■ Click the Play icon in the middle of the
screen to watch a video that introduces you
to the instructor(s) and gives you an over-
view of what’s covered in the course.
■■ For onscreen help and a user’s manual, click
either the Help item on the menu at the top
of your screen or the Need Help item at the
bottom of the Content panel. You can also
access help by pressing F1 on your keyboard.
■■ Entering a word or phrase in the Search field
in the upper right of the screen will search
the course’s titles and descriptive text to help
you find what you’re looking for.
Starting the Course
When you’re ready to dive in, you have several
options for how to get started:
■■ To begin at the beginning and play all the
way through, click Play All Videos.
■■ To access a list of every video available in the
training, click Table of Contents.
■■ To start with Chapter 1 (or any chapter that
appeals to you), click the chapter name on
the left of your screen.
You can navigate the Table of Contents and
Chapter views using your mouse, or using the
keyboard to arrow up and down, left and right.
When you’ve selected a movie, you can press
the right arrow to play that movie.
Adobe InDesign CS6: Learn by Video ix

Navigating Inside a Video
While watching a video, you can use the buttons
along the bottom right of your screen to toggle
both Full-Screen mode 1 and video smoothing
2 on and off. You can adjust the volume 3
from here as well. You can also click and drag
the green line 4 in the timeline at the bottom
of the screen to move around within the video.
When the video ends, click the Next Video but-
ton at the top right of the window to go directly
to the next lesson. (This will happen automati-
cally if you clicked Play All Chapter Videos to
launch the chapter.) At the end of a chapter, this
option will change to Next Chapter. You can
also click Training Content at any time to leave
the player and choose another lesson or click
the navigation bar near the top of the screen to
access the table of contents.
In the Table of Contents or Chapter view, any
time you move your mouse over the name of a
chapter or video, text describing the contents
of that item will appear on the right side of your
screen. This area is known as the Sidebar and is
discussed in detail on the next page.
If you click the name of a chapter, you’ll see a
list of all the videos in that chapter. Choose the
video you want to start with or click Play All
Chapter Videos to start with the first video in
the chapter and go all the way through.
Keyboard Shortcuts for the Player
■■ Spacebar: Play/pause
■■ Right Arrow: Jump forward
■■ Left Arrow: Jump backward
■■ Tab: Show/hide Sidebar
■■ B: Add bookmark
■■ M: Show/hide navigation bar
■■ Esc: Turn off Full-Screen mode
4 3 2 1
x Introduction
Introduction

Using Bookmarks
It’s easy to create a bookmark in the video to
mark where you left off or make note of some-
thing you want to refer back to later. Just click
the Bookmark button at the bottom right or use
the B keyboard shortcut. You will see the Create
Bookmark dialog box.
Enter a name for your bookmark and an optional
note, then click Save or press Enter/Return. The
bookmark will then be visible as a thin line in
the timeline. You can access your bookmarks by
clicking My Bookmarks at the top of the screen
or via Video Bookmarks in the Sidebar. Just click
the bookmark to go to your previously marked
point. To delete a bookmark, click the Trashcan
icon to the right of the bookmark and confirm
your deletion by clicking Yes.
Resizing Your Window
The player interface gives you a few different
options for resizing your window to fit your
needs.
Click the Full-Screen icon 1 to enter Full-
Screen mode. You can exit Full-Screen mode
by clicking the icon again or by pressing the
Esc key. You can also dynamically resize your
window while watching simply by grabbing the
lower-right corner of the window and dragging
until the window is the size you want.
In the application versions of the course, you
can also choose Watch-and-Work mode 2 from
the player. This takes you to a smaller screen
that leaves room for you to work in another
application alongside the course. Click the Stan-
dard button to return to a regular-size screen.
The Sidebar
The Sidebar is an area on the
right side of the player
where additional informa-
tion, such as a description of
the video you’re watching, is
displayed. At the bottom are
buttons that enable you to
access your bookmarks or a
list of videos in the chapter. To turn the Sidebar
on or off, you can press Tab or click the button
in the navigation bar.
1 2
Adobe InDesign CS6: Learn by Video xi

xii Introduction
Introduction
After answering any question, click the Submit
Answer button at the bottom left to indicate
that you’re finished. A dialog box will pop up
to let you know whether you got the question
right. (If you get a question wrong and want to
see the correct answer, press and hold F, A, and
N on your keyboard at the same time. A check
mark will appear in the box next to the right
answer.) This dialog box also contains a button
that will take you to the next question.
When you’re finished answering all the ques-
tions, click Training Content to return to the
table of contents.
Test Yourself
This course includes a number of Test Your-
self sections, each of which contains a series
of questions about the topics covered in that
chapter.
Just click the box for the right answer.

About video2brain
video2brain (video2brain.com) has been
Europe’s premier source for video training
since 2002. We produce high-quality English,
German, French, and Spanish video training
on a variety of software topics, with a special
emphasis on graphics, web design, photogra-
phy, and programming. Our customers include
people just starting out, professionals, educa-
tional institutions, and global corporations as
well as home enthusiasts.
All of our courses are available in 1280 x 720
Hi-Def video, with a full-screen mode that
creates an immersive learning experience. They
also include an interactive, easy-to-use inter-
face; custom bookmarks that let you annotate
your course and remember where you left off;
and “Watch-and-Work” mode, so you can prac-
tice as you learn.
We’re passionate about teaching and about
helping you build exceptional skills so you can
create extraordinary work. Our mission is to
provide the best and most affordable video
training possible, and to offer you a feature-rich
learning environment aimed at enhancing the
effectiveness of our training.
video2brain was founded by Gerhard Koren,
a v2b trainer himself. Our home office is
nestled among the mountains of the Austrian
Alps in the city of Graz, a “student city” with six
universities.
About Kelly McCathran
Kelly McCathran has
been teaching Adobe
applications since 1992
and computer classes
since 1989. She’s an
Adobe Certified Instruc-
tor in InDesign, Photo-
shop, Illustrator,
Acrobat, and PageMaker. Kelly has traveled
North America and abroad, teaching applica-
tions to the largest printshops and ad agencies
in the world. In addition to creating video train-
ing for video2brain.com, Kelly is the co-founder
of onlineinstruct.com.
Adobe InDesign CS6: Learn by Video xiii
About the Author

2 What ’s New in InDesign CS6?
New Digital Publishing Workspace
InDesign CS6 features a new Digital Publishing
workspace that includes the most important
panels for creating and publishing electronic
media.
New Digital Publishing Intent
The Intent pop-up menu in the New Document
dialog box now contains a new Digital Publish-
ing option along with the familiar Print and
Web intents. Once you have selected this, you
will find options for the most common tablet
devices in the Page Size pop-up menu.
After creating the new document, you will see
that the colors are now defined in RGB.
New Features in InDesign CS6
Most of the new features of InDesign CS6 deal with issues of digital publishing. In this
chapter, you’ll get an overview of the most important changes.

Adobe InDesign CS6: Learn by Video 3
Liquid Layouts
The term “Liquid Layouts” originated in the
world of web design, where a layout needs
to adapt to the changing size of the browser
window. The same applies to tablet devices and
smartphones: You cannot predict exactly what
size your document will be displayed at, so
Liquid Layouts enable your designs to adapt
as needed.
To use Liquid Layouts in InDesign CS6, click the
Page tool and specify a Liquid Page Rule in the
Options bar. This allows you to specify how you
want your layout to adapt to different display
sizes.
Alternate Layouts
In digital publishing, it is very common to need
versions of a document in different formats, for
example in portrait and in landscape mode.
In InDesign CS6, you don’t have to create two
different documents to accomplish this. You can
now create an alternate layout.
1. Open the Page panel menu and choose
Create Alternate Layout.
2. Choose the desired page size and other
options.
3. Click OK. The alternate layouts are arranged
in columns in the Pages panel.
NOTE: You can create as many alternate
layouts as you want.

Linking Objects
You can now create a duplicate of any object
(such as text or an image) and link it to the
original object so that any changes made to
the original will be reflected in the copy. This
can be done within a single document or even
between separate documents.
To create a linked object, select the desired
object(s) and choose Edit > Place and Link.
Then click and drag to insert the object(s) in the
desired location.
When you subsequently edit the source object,
you will see a yellow warning triangle in the
Links panel. You can double-click this icon to
update the linked object. To prevent certain
properties of the linked object from being
updated, you can right-click it in the Links panel
and choose Link Options, then click the appro-
priate checkboxes in the Preserve Local Edits
section of the Link Options dialog box.
Content Collector Tool and
Content Placer Tool
With the new Content Collector and Content
Placer tools, you can collect a variety of objects
and place them in the same document or in
another document. To use them,
1. Choose the Content Collector tool.
2. Click the objects you want to collect. You’ll
see a panel with thumbnails of the collected
items.
3. Navigate to the page where you want to
insert the collected elements.

4. Choose the Content Placer tool and click to
insert the collected objects. You can click
repeatedly to insert multiple copies of the
collected objects.
Creating PDF Forms
InDesign CS6 provides a basic set of PDF forms
that you can use in your documents. Choose
Window > Interactive > Buttons and Forms
to access the new Buttons and Forms panel.
Then select a frame in your layout and choose
the appropriate form field type to convert the
frame.
This feature makes it easy to create checkboxes,
combo boxes, list boxes, radio buttons, signa-
ture fields, and text fields.
Aligning to a Key Object
Previous versions of InDesign didn’t let you
align objects to a specific object of your choice,
but InDesign CS6 does. Just follow these steps:
1. Select the objects you want to align.
2. Click the object you want to align the other
objects to.
3. Select Window > Object and Layout > Align.
4. Choose the desired options, click the Align
To button, and choose the Align to Key
Object option.
Last Used Fonts
At the top of the Font menus in the Character
panel and the Control bar, you will see the four
most recently used fonts.
To sort them alphabetically, choose InDesign/
Edit > Preferences > Type and check Sort Recent
Fonts List Alphabetically.

Placeholder Text with Various
Language Options
To insert placeholder text in the language of
your choice, choose the Type tool, click inside a
text frame, and hold down Ctrl/Command while
selecting Type > Fill with Placeholder Text.
In the Place Holder Options dialog box, choose
the desired language from the Fill With menu.
Exporting in Grayscale
The inability to export a document in grayscale
was a major issue in previous versions of
InDesign.
In InDesign CS6, you can choose Convert to
Destination from the Color Conversion pop-up
menu, then choose the desired grayscale profile
from the Destination pop-up menu.

Customizing InDesign CS6
to Suit Your Needs

8 Customizing InDesign CS6 to Suit Your Needs
NOTE: If you change the preferences with a
document open, the changes will only apply to
that specific document.
To change global preferences:
1. From the menu, choose InDesign/Edit >
Preferences.
2. Choose the category you want to change
settings for from the submenu.
3. Apply the desired changes and click OK
to confirm.
Changing Preferences
Before you open any document in InDesign CS6, it is a good idea to check your
preferences and make any desired changes. Most preferences you change without a
document open will be applied globally, meaning they will affect any documents you
open in the future.

Quotes
Almost any document will look better with curly
quotes instead of straight quotes. Therefore,
you should make sure the Use Typographer’s
Quotes checkbox is selected.
Smart Text Reflow
One of the big advantages of using primary text
frames is that InDesign can automatically
append a new page when you enter or insert
more text into a primary text frame than it
can hold.
However, for double-sided documents, it is
essential that primary text frames exist on both
pages and that they be linked to each other. The
exact behavior of this feature—Adobe calls it
Smart Text Reflow—is determined in the Type
category of the Preferences dialog box.
If you activate the Delete Empty Pages check-
box, not only will InDesign automatically paste
in new pages when necessary, it will also auto-
matically delete pages that do not contain text
when you’re done editing. By enabling the
Preserve Facing-Page Spreads checkbox, you
can make sure that the layout of your facing-
page documents doesn’t change if you insert
text in the middle of the document instead of
at the end. InDesign will always insert an entire
new spread instead of a single new page.
Recommended Preferences in the Type Category
Preferences in the Type category can be helpful when you type text directly into your
layout. Options in this category relate to quotes, text reflow, and moving text with
drag and drop.

Moving Text with Drag and Drop
Every Mac user and anyone who works with
Microsoft Word or similar word processing soft-
ware is familiar with the idea of selecting text
and dragging it to another location.
InDesign can offer you this behavior as well—
you only need to switch it on. To do so, browse
to the Type category in the Preferences dialog
box and activate the Enable in Layout View
checkbox in the Drag and Drop Text Editing
section.
Tip: When you move a text selection with drag
and drop, by default it will maintain the same
formatting it had previously. However, if you
hold down Shift while moving the text, it will be
formatted to match the surrounding text in the
new location.

Highlighting Typography Issues
Onscreen
■■ Activate the Substituted Glyphs checkbox to
highlight character pairs that InDesign has
replaced with ligatures.
■■ When working with justified text, make sure
to enable the H&J Violations checkbox. Lines
that are too loose or tight will be highlighted
in yellow; the darker the yellow, the more
serious the problem.
■■ If you want to be aware of text that has
custom tracking and kerning applied, check
Custom Tracking/Kerning. Green highlighting
will appear over text with custom tracking or
kerning.
■■ The following options specify how text is
justified next to wrap objects: If you want
to justify text that wraps around an object,
check Justify Text Next to an Object. Check
Skip by Leading to move wrapped text to
the next available leading increment below
a text-wrapped object. If you check Text
Wrap Only Affects Text Beneath, text stacked
above a wrapped object will not be affected
by the text wrap.
Composition Category
The Composition category of the Preferences dialog box contains highlighting
features, which can be very helpful in improving the quality of your typography by
drawing your attention to errors and glitches like lines that are too loose or tight,
clustered hyphenation, or font substitution.

Changing the Snap to Zone
If desired, you can change this distance in the
Edit/InDesign > Preferences > Guides & Paste-
board dialog box. In the Guide Options section,
enter the desired pixel value into the Snap to
Zone input field.
Guides & Pasteboard Category
Guides can be very helpful by enabling you to precisely align objects. You can
activate this feature by choosing View > Grids & Guides > Snap to Guides. Now, if
you move a layout object close to a ruler or guide, the object will snap to it as soon
as you come within four pixels (by default).

Using the Story Editor
To activate the Story Editor, choose Edit >
Edit in Story Editor from the menu. You can
switch back to your document layout by choos-
ing Edit > Edit in Layout or by closing the Story
Editor window at any time.
If you are not happy with the way text is dis-
played in the Story Editor, such as the font or
size, choose Edit/InDesign > Preferences and
browse to the Story Editor Display category. In
this category, you can set your desired font
and font size as well as line spacing, text color,
cursor, and anti-aliasing options.
Story Editor Display Category
With the Story Editor you can enter text outside the text frame in the layout, using a
separate window that resembles a simple text editor.

■■ If your document contains lots of graph-
ics, you may want to keep the Links panel
closed. InDesign will operate noticeably
faster than it would with the panel open.
■■ You may want to choose a lower Display
Performance setting or even switch off im-
age previews entirely (InDesign will display
rectangular gray placeholder frames in your
layout). Choose View > Display Performance
from the menu; the Fast Display setting
will reduce the display to frames only. This
setting doesn’t affect the output resolution
when you export or print the document; it
affects only your onscreen display.
■■ To find the right balance between rendering
performance and quality, you can also adjust
the settings in the Edit/InDesign > Preferen
ces > Display Quality dialog box. Here you
can choose the display quality for raster im-
ages, vector graphics, and transparencies:
■■ In the Options section, choose your
Default View from the Fast, Typical, and
High Quality settings.
■■ Tick the Preserve Object-Level Display
Settings checkbox if you want to be able
to assign individual display settings to
selected graphics within your document.
■■ In the Adjust View Settings drop-down
list, choose which group of display
settings you want to adjust individually.
Display Performance Category
Small documents like posters or flyers are quick and easy to process, but complex
documents like books can demand a considerable amount of patience. In this section
you’ll get some tips to help speed up the performance of InDesign.

■■ Use the sliders below to set the quality for
each type of graphic.
■■ Checking the Enable Anti-aliasing option
will make InDesign perform anti-aliasing
on text, fills, and strokes.
■■ The value in the Greek Type Below input
field specifies a font size below which text
will be “greeked,” i.e., displayed as gray
bars.
■■ You can restore the default settings at any
time by clicking the Use Defaults button.
Let’s assume you have chosen the Typical
Display option from the View > Display Perfor-
mance submenu, but now you want to have a
closer look at a certain image or transparency
in your document. In this case, you have the
option to have this element displayed at a
higher quality without affecting the overall
display quality of your document.
First you need to make sure the Preserve
Object-Level Display Settings checkbox in the
Display Performance category of the Preferen
ces dialog box is activated. Then,
1. Select the desired graphic element.
2. Open the context menu of the graphic
element and choose Display Performance.
3. Choose the desired display mode for
your image.
Make sure you have successfully selected the
image with the Selection or Direct Selection
tool before you open its context menu. If you
don’t have anything selected, the chosen
display setting will be applied globally to the
entire document!

The available options are as follows:
■■ Display All Blacks Accurately: This will give
you an onscreen reference that shows the
difference between 100% K [Black] and rich
black, which consists of 100% K mixed with
additional colors for a richer tone.
■■ Display All Blacks as Rich Black: This is the
default setting, which displays both 100 %K
[Black] and all other shades of black using
the same intensity. Choose this option if you
are only using standard 100% K [Black] in
your documents.
Note that the actual colors will remain
unchanged in your document; these settings
only affect their appearance onscreen.
For non-PostScript output devices, such as a
desktop inkjet printer, you have these options
for the output of black:
■■ Output All Blacks Accurately: This maintains
the settings for the swatches, overprinting
options, and so on. You will see a difference
in the output between pure black and rich
black.
■■ Output All Blacks as Rich Black: All shades
of black will be output as rich black. The col-
ors will be changed accordingly when output
to RGB or grayscale output devices.
Appearance of Black Category
Text is usually printed using 100% K, which is also the default preset for text
in InDesign. In the Swatches panel, this standard text color is called [Black]. To
change the appearance and output settings for [Black], consult the InDesign/Edit >
Preferences > Appearance of Black dialog box.

Text Links vs. Embedded Text
By default, imported text is embedded in your
layout. However, you can also choose to merely
link to that text. The biggest advantage of this
is that you can always go back to the original
application to change and save the text content.
Afterwards, all you have to do is update the text
in InDesign. This comes in especially handy for
teams, so that authors can continue to revise
their text in Word, for example.
To create linked text:
1. Select Edit/InDesign > Preferences >
File Handling.
2. Activate the Create Links When Placing Text
and Spreadsheet Files checkbox.
3. Import your text via File > Place or by using
the Ctrl/Command+D keyboard shortcut.
4. Open the Links panel. This is where you keep
track of your text links.
When text is changed in the original document,
a yellow warning triangle will be displayed in
the Links panel next to the document’s name.
You can click the Update Link button in the
Links panel to update the text in your InDesign
document to the current version.
File Handling Category
In the File Handling category of the Preferences, InDesign offers you the option to
either embed or link to text. You can also determine how many preview images
InDesign should save for Adobe Bridge.

Creating Preview Images
for Adobe Bridge
In addition to helping you organize and view
your InDesign files, Adobe Bridge can assist you
in handling images, AI files, and PDFs. You can
even view individual pages in PDF and InDesign
files in the Preview area.
In the File Handling Preferences, you can
specify how many pages of your PDF you want
to save as a preview:
1. Choose Edit/InDesign > Preferences > File
Handling.
2. By default, the Always Save Preview Images
with Documents checkbox is already ticked.
Underneath it you can specify how many
pages you want to save as a preview and
what size they should be.
NOTE: The more preview images you save and
the higher the quality you choose, the longer it
will take to save your InDesign file.

To enable this feature,
1. Select Edit/InDesign > Preferences >
Clipboard Handling.
2. Activate the All Information (Index Mar-
kers, Swatches, Styles, etc.) checkbox and
click OK.
3. Now, if you copy text and paste it into
your layout by pressing Ctrl/Command+V,
InDesign will maintain the formatting.
TIP: If you subsequently want to insert
unformatted text in a particular case, you
can choose Edit > Paste without Formatting
(Shift+Ctrl/Command+V) .
Clipboard Handling Category
In addition to moving text around within a document, you can use the clipboard to
swap text between different applications. The Menu commands are Edit > Copy/Cut
and Edit > Paste. If you set the right preferences in advance, formatting and styles can
be maintained between applications.

Additive Color Mixing A reproduction
process that mixes red, green, and blue light
emitted from a source to produce a wide range
of colors. See also “subtractive color.”
Alignment The positioning of page elements
at the left, right, center, top, or bottom relative to
each other.
Anti-Aliasing A pixel-processing technology
that eliminates or softens the jaggedness of low-
resolution curved edges.
Ascender The part of a lowercase letter that rises
above the body of the letter “x.” The letters b, d, f,
h, k, l, and t have ascenders.
ASCII American Standard Code for Informa-
tion Interchange. Standard ASCII text does not
support formatting attributes and therefore can
be exchanged between most computer systems
worldwide.
Baseline The invisible line that runs along the
bottom of the capital letters in a line of text.
Binding Describes the various ways of attaching
the pages in a book, such as saddle-stitching using
staples on a folded spine or perfect-bound, where
multiple sets of folded pages are sewn or glued
into a flat spine.
Bit (Binary Digit) The smallest unit of informa-
tion on a computer. Bits can have only two values:
0 or 1.
Bitmap A digital image file that uses spatially
arranged pixels to store the image information.
Sometimes the term “bitmap“ implies a color
depth of one bit per pixel only, resulting in a
two-color image.
Bleed Describes layout elements that extend
beyond the limits of the trim marks on a page.
Boldface A heavier, darker style of a typeface.
Bullet A large, solid dot generally used to indi-
cate a list of items.
Calibration Bars Color squares or tonal values
reproduced on film, proofs, and press sheets; they
serve to check the registration precision as well as
quality, density, and ink coverage of the print run.
Cap Line The invisible line along the tops of
capital letters in a line of text.
Caps Capital letters.
Caps and Small Caps In this typesetting style,
capital letters are used in the normal way, while
lowercase letters are displayed in capital letters
of a smaller point size, usually at the same height
as surrounding lowercase letters. True small-caps
typefaces don’t contain any lowercase letters.
Caption Text that is used to describe a picture or
an illustration, usually placed directly underneath
or next to it.
Center Marks Press marks that appear at the
center of all sides of a press sheet, used to facilitate
the positioning of the print area on the paper.
Choke When a lighter background extends
slightly into a darker foreground object to prevent
gaps without ink caused by misregistration. See
also “trapping.”
CMM Color-management module. The core
software component of a color-management
system.
22 Glossary
Glossary

CMS Color-management system. A program
that helps to match the color of input and output
devices throughout the workflow in order to
produce predictable results.
CMYK Cyan, Magenta, Yellow, Black. The process
colors used in four-color printing. See also “sub-
tractive color.”
Coated Printing papers with coated surfaces
(e.g., chalk or clay) to provide a smoother finish
and better opacity.
Color Control Strip A printed strip of differ-
ent reference colors used to control printing qual-
ity. It is normally placed on a press sheet outside
of the project area, serving as a visual guide to the
press operator.
Color Gamut The range of colors that can be
reproduced by all possible combinations of a given
system’s colorants, such as the colors that can be
reproduced using process colors in commercial
printing.
Color Model A mathematical model for the
description of color, such as RGB, LAB, or CMYK.
Color Proof An image printed or simulated
with the goal of producing a close representation
of the final reproduction; used for approval by the
client and as a guide for the press operator.
Color Separation The process of transforming
color artwork into components that correspond
to separate color channels, such as process colors
or spot colors, or a combination of the two. Each
ink color is reproduced as a unique piece of film or
printing plate.
Color Shift When out-of-gamut colors are
compressed into colors reproducible in the target
color space, color shifting can occur. This effect
can dramatically change the appearance of the
final output.
Color spaces Color spaces are abstract for-
mations. Each visible color is assigned a distinct
position in terms of coordinates. The total of all
possible colors inside a given color system (like
RGB or CMYK) adds up to a virtual shape inside
this coordinate system. This shape is called a
color space. Reproduction media like computer
screens cannot display all visible colors. Printing or
photographic reproduction technologies also have
various intrinsic limitations of color reproduction.
If colors are to be reproduced, which means they
are transported from one medium to another, you
need to know the color limitations of the different
media. This is exactly what color spaces and gam-
uts are all about: They are mathematical descrip-
tions of the total number of displayable colors.
Color spaces are vital components of the informa-
tion being saved in color profiles.
Commercial Printing Printing processes
include offset lithography, flexography, gravure,
and screen printing. Offset printing is the most
widely used commercial printing process.
Compression File size reduction using various
mathematical algorithms. Depending on the tech-
nology, compression can be lossless or lossy, with
the latter resulting in a loss of image quality and/or
resolution.

Condensed Type A typeface that uses a narrow-
er letter width as compared to the standard letters
of the font. There are true condensed typefaces
available, but the effect can also be approximated
using horizontal scaling.
Continuous Tone An image with continuous
shades of color or gray tones, such as a photograph.
Contrast The relationship and degree of differ-
ence in color and light between parts of an image.
Copyfitting Ensuring that your body text will
actually fit into the alotted space.
Creep Describes the effect of progressive exten-
sion of the spread edges in a folded signature.
Crop Marks Lines printed onto a press sheet to
be used as guides for final trimming of the pages.
Also called cut marks and tic marks.
Cross-Reference A reference within a
document that directs the reader’s attention to
an attached illustration or to a related section
of the document.
Dash An in-text horizontal rule of variable length
used to indicate a pause or clause in a sentence.
See also “en dash,” “em dash.”
DCS Desktop color separation. This describes a
version of the EPS file format. DCS 1.0 uses five
files for each color image plus a separate low-
resolution composite image; DCS 2.0 uses one
file for storing information on process and spot
colors.
Descender The part of a lowercase letter that
extends below the baseline or main body of the
letter. Letters that contain descenders are g, j, p,
q, and y.
Direct-to-Plate Technology that produces
printing plates or other image carriers directly from
computer data, without the need for an interme-
diate film exposure. This is usually done by laser
exposure.
Discretionary Hyphen A hyphen that displays
or prints only if the hyphenated word appears at
the end of a line due to the text flow. Also called
a “soft hyphen.”
Dot Gain The growth of a halftone dot that
occurs because of ink spreading across the paper
as it is soaked in. Dot gain varies with paper type.
Failure to compensate for this effect can result in
very poor results during printing.
DPI Dots per inch. This is a measurement unit for
the resolution of page printers, phototypesetting
machines, and graphics screens.
Drawing Creating lines and shapes with the
mouse or a similar input device.
Drop Shadow A duplicate of a graphic element
or type that is placed behind and slightly offset
from the original object, creating the effect that the
object is raised above the shadow behind it.
Effective Resolution The actual final resolu-
tion of an image in a layout, calculated by divid-
ing the image resolution (pixels per inch) by the
magnification percentage.
24 Glossary
Glossary

Em Dash A wide dash (—) that indicates the sepa-
ration of elements in a sentence or clause. See also
“dash,” “em space,” “en dash.”
Em Space A space whose width in points equals
point size of the font. Thus, an em space in nine-
point type is nine points wide.
Embedded Font A font that is included in the
document file, making it available to any reader
of that document.
Embedding Including data like an image, a text
file, or a font within a saved document file.
En Dash A dash (–) that is half as wide as an em
dash; an en dash is often used instead of the words
“to” or “through,” as in “8–12” or “Tuesday–Friday.”
See also “dash,” “em dash,” “en space.”
En Space A space that is half as wide as an
em space, and therefore half the point size of a
given font.
EPS Short for Encapsulated PostScript. A file
format used to transfer PostScript data between
compatible applications and devices. In addition
to formatted text, EPS files may also contain vector
artwork and bitmap images.
Expanded Type A typeface that uses wider let-
ters than the standard font. There are true expand-
ed typefaces available, but the effect can also be
approximated by scaling text horizontally.
Exporting Saving a file in a non-native format
that is readable in another application.
Film One possible output medium for imageset-
ters or phototypesetters.
Font The complete character set (numbers,
uppercase and lowercase letters and, in some
cases, small caps and symbols) of a particular
typeface in a specific style, such as Verdana Bold.
Font Subsetting Embedding a subset of a font
containing only the characters actually used into
the output file. This will result in a smaller file size,
but may limit the ability to make corrections to
the file.
Font Substitution Replacing the original font
with an alternative. This occurs when the original
font used in a document can’t be found, usually
when a font is missing on the computer used to
output the design.
FPO Short for “for position only.” Generally
denotes low-quality images or placeholder shapes
that indicate placement and scaling of an element
in a document.
Gamut See “color gamut.”
Gradient A gradual transition from one color
or shade to another. Gradients can use different
shades or color proportions.
Grayscale An image composed exclusively of
shades of gray, varying from black of the weakest
intensity to white of the strongest, usually using
256 different tones.
Greeking A software feature that displays lines
of text below a specified point size as gray bars.

26 Glossary
Grid A combination of horizontal and vertical
guides that divides the layout into sections so text
or graphics can be placed accurately.
Gutter Extra space between layout pages that
appears either between the top and bottom of two
adjacent pages or between two sides of consecu-
tive pages. Sometimes used as a synonym for
“alley” to describe the space between columns
on a single page.
Hairline Rule The thinnest rule a given device
is capable of printing. On an imagesetter with a
resolution of 1200 dpi, the hairline rule would be
1
/1200 of an inch wide, whereas on a 300-dpi
laser printer, the same rule would print at 1
/300
of an inch.
Hexachrome A six-color printing process
developed by Pantone. In addition to the CMYK
inks, green and orange are used to extend the
range of printable colors. Also called “HiFi.” See
also “CMYK.”
Hyphenation Zone The zone at the end of a
text line where the hyphenation feature will
examine the last word to determine whether it
should be hyphenated and continued on the
next line.
Imagesetter A device for outputting digital files
at high resolution (usually 1200–4800 dpi) onto
photographic paper or film, from which printing
plates are made. Imagesetters that output directly
to printing plates are called platesetters.
Imposition The proper arrangement of pages on
a printed sheet, yielding the finished pages in their
correct order after printing, folding, and trimming.
Initial Caps A text style where the first letter
of each word is capitalized, except for articles and
prepositions.
JPEG A lossy compression algorithm that reduces
the file size of digital images. Image quality is
reduced in direct proportion to the amount of
compression. Typically, about 10:1 compression
is possible with little perceptible loss in image
quality.
Justified Alignment Alignment where every
line of text is the same width, creating even left
and right margins.
Kerning Adjusting the white space between
letters by moving specific pairs of letters closer
together or farther apart.
Knockout Printing overlapping objects without
mixing inks—the ink for the underlying element
does not print (knocks out) in the overlapping
area. See also “overprinting.”
landscape orientation Printing across the
wider side of the page. A letter-size page is 11
inches wide and 8.5 inches tall in landscape
orientation. See also “portrait orientation.”
Layer A function of graphics software in which
elements are isolated from each other so they
can be hidden, reordered, or otherwise manipula
ted without affecting other elements in the
composition.
Leaders A line of dots, dashes, or other symbols
that lead the eye across a page from the end of a
group of words to another element, such as in an
index entry.
Glossary

Leading Space between consecutive lines of
type. Originally, actual strips of lead were inserted
between the lines of metal type.
Left Alignment When text is aligned along the
left edge, leaving the right edge irregular or ragged.
Letter Spacing The white space between the
letters in a word.
Ligature Letters that are joined together as a
single unit of type, such as “œ” or “fi.”
Line Art A piece of black-and-white artwork
or a drawing; usually a one-bit raster image or a
vector file.
Linking Placing a reference to a file location
(image or graphic) into another file. When the
referenced file is modified, the link must be
updated as well.
Lossy A data compression method that discards
parts of the original data to reduce file size.
LPI The lines per inch used when converting a
photo to a halftone. Common values range from
85 for newspapers to 150 or higher for high-quality
printing on smooth or coated paper. Also referred
to as “line screen.”
Margins The page area or the line where text
starts or stops.
Master Pages Template layout pages contain-
ing common elements that will be inherited by any
page based on that master page.
Misregistration The unwanted result of
inaccurate superimposition of inks on a finished
printed piece. Possible reasons for misregistra-
tion include paper stretching and improper plate
alignment. Trapping can help to compensate for
misregistration.
Monospaced font A font where every charac-
ter takes up the same amount of horizontal width.
Also see “proportional spacing.”
OpenType A font format created by Adobe and
Microsoft that is compatible with Windows and
Macintosh computers. OpenType fonts can have
up to 65,536 distinct glyphs. With their advanced
typographic features, they allow correct typo-
graphic treatment of complex scripts and advanced
typographic effects for simpler scripts.
Orphan A single word, part of a word, or one line
of a new paragraph that appears at the bottom of
a page.
Out-of-Gamut color Color that cannot be
reproduced by a specific color model. For example,
some RGB colors fall outside the CMYK gamut.
Overprinting Printing an element on top of an
element lying beneath, instead of knocking it out.
Often applied for black type. See also “knockout.”
PANTONE Matching System (PMS) A propri-
etary color space used to specify colors by number
for both coated and uncoated paper, assuring uni-
form color matching in both professional printing
and desktop publishing.

28 Glossary
PDF Portable Document Format. A file format
developed by Adobe Systems, Inc. that has be-
come the standard for cross-platform document
transfer.
Pi Font A font collection that includes special
characters like mathematical signs and small icons.
Well-known examples include Zapf Dingbats and
Symbol.
Pica A typographic unit of measurement equal
to 12 points, or approximately 1
/6 of an inch. Most
modern computer applications specify a pica as
exactly 1
/6 of an inch.
Pixel Picture element. This is the smallest unit of
information in a digital image. Pixels are usually
arranged in a two-dimensional grid. Depending on
the output device, they may be represented using
squares or dots.
portrait orientation Printing across the
narrow side of the page. A letter-size page is 8.5
inches wide and 11 inches tall in portrait orienta-
tion. See also “landscape orientation.”
PPD PostScript Printer Description file. A file
format developed by Adobe Systems, Inc. that
vendors use to package information describing
the feature sets and capabilities of their devices,
enabling applications to produce the best possible
results for each type of designated printer.
Preflight Check A final check of a page layout
used to confirm that all fonts and graphics required
for printing are present, that colors are properly
defined, and that any necessary traps have been
applied.
Prepress All work that occurs between the
creation of a print layout and the final printing,
such as adjusting images and text and creating
the printing plates.
Printer’s Spread The finished imposition
layout as viewed on the screen or printed onto the
sheet. See also “imposition.”
Process Colors The four semitransparent inks
(cyan, magenta, yellow, and black) used in four-
color process printing to reproduce a full range of
colors using halftone dots. See also “color separa-
tion,” “CMYK.”
Proof A preview of the print job that is made
from plates (press proof), film, or electronic
data (prepress proof), generally used for customer
inspection and approval prior to starting the
print job.
Proportional Spacing Proportionally spaced
typefaces use variable character widths, depend-
ing on the shape of the character. Therefore, a
proportionally spaced “m” is wider than an “i,” for
example. Proportional spacing increases readabil-
ity and reduces the amount of space required.
Pull Quote A short quotation from the body
text that is printed at a larger size to draw attention
to an article or to emphasize a certain idea.
Rasterizing Converting image information
into a pixel-based format with a fixed resolution.
Imagesetters need to perform this step on Post-
Script files before they can output them, for
example.
Glossary

Reader’s Spread The page or pages a reader
will see when they open the document.
Registration Aligning the plates for a print job
that uses several colors to ensure that the images
will superimpose properly.
Registration Color A color definition that will
print on every separation from a PostScript printer
when applied to a page element. Often used to
print identification text appearing outside of the
trim marks on a set of separations.
Registration Marks Often consisting of
crossed lines and a circle, these marks are placed
outside of the page boundaries on all color separa-
tion overlays, facilitating proper alignment.
Resolution The detail level of an image
described as density of graphic information in
dots per inch (dpi) or pixels per inch (ppi).
Reversed out A term that describes light-
colored or white type or images on a dark
background.
RGB An additive color model that uses red, green,
and blue as primary colors to describe the RGB
color space, which is a subset of the visual color
spectrum. RGB values are three numeric values
(red, green, and blue) representing how much of
each primary color is used to create a specific color
in the RGB color space. Please note: RGB values do
not describe colors device-independently without
color management.
Rich Black A composite color consisting of
100% solid black and about 50% each of cyan,
magenta, and yellow inks. Rich black is used to
create a darker tone than black ink alone can gen-
erate. The mixture can be varied to achieve specific
results, like warmer or cooler blacks. Also called
“superblack.”
Right Alignment When text is aligned along
the right edge, leaving the left edge irregular or
ragged.
RIP Raster image processor. A component used
in PostScript printers or imagesetters to convert
the PostScript Page Description Language into the
rastered bitmap image required for output.
Running Head Text at the top of the page that
provides information about the publication. In
books, the chapter title and book title are often
included in the running head. Also referred to as
“page header.”
Sans Serif Fonts that do not have serifs. Sans
serif fonts are generally used for headlines rather
than for body text in print. See also “serif.”
Screen Frequency The line density in a half-
tone screen, measured in lines per inch; can vary
from 85 to 300.
Serif A typographical detail like a line or curve
that projects from the end of some letter strokes.
Small Caps A type style in which lowercase let-
ters are replaced by uppercase characters set at the
same height and weight as surrounding lowercase
letters.

30 Glossary
Smart Quotes Curly quotation marks used in
typography, as opposed to the straight marks on
a typewriter. They clearly denote the beginning
and end of a citation. Most word processing and
page layout applications will use smart quotes as a
default option.
Soft Return A return command that ends a line
without applying a paragraph mark, allowing the
same paragraph style to continue.
Special Colors Colors printed with premixed
inks, often used to reproduce custom colors or
colors that are outside the CMYK gamut. See also
“spot color.”
Spot Color Any premixed ink other than one
of the CMYK inks.
Spread Two facing pages in a document.
Style A set of predefined formatting options for
font and/or paragraph attributes and other text
layout properties.
Subscript Characters that appear smaller than
the normal text size and are set slightly below the
standard text line; often used to convey technical
information.
Subtractive Color Color that is observed
when light strikes pigments or dyes, caused by the
mixture absorbing certain wavelengths of light and
reflecting others. The light that is reflected back
is perceived as a color. See also “CMYK,” “process
color.”
Superscript Characters that appear smaller
than the normal text size and are set slightly above
the standard text line, such as numbers referring to
footnotes.
SWOP Specifications for Web Offset Publications.
The SWOP industry standards help produce consis-
tent and high-quality printing results.
Template A page or document that contains a
prebuilt layout, styles, and/or repeating content,
facilitating the creation of new documents that
maintain a similar appearance.
Tone Value Increase See “dot gain.”
Tracking Uniformly increasing or decreasing
the space between all letters in a block of text to
achieve proper justification or improve the appear-
ance of the text.
Transparency The transparency of an image
element determines how much of the background
underneath will show through.
Trapping Creating an overlap between adjoining
areas of ink to compensate for inexact registration
during printing. Generally this means extending
the lighter colors of one element into the darker
colors of an abutting element.
Trim Size The area of the finished page after
printing, folding, binding, and cutting.
TrueType An outline font format originally
developed by Apple Computer that is used on
both Macintosh and Windows systems for screen
display and printing.
Glossary

Trumatch A library of special colors used in the
United States.
Type 1 Fonts Vector-based PostScript fonts
encoded for compactness.
Type Family A set of typefaces created from the
same basic font design but using different styles
like bold, semibold, light, italic, and heavy.
Vector Graphics Graphics that consist of coor-
dinate points and mathematically drawn lines and
curves rather than discrete pixels. Vector graphics
can be freely scaled and rotated without degrading
the image.
White Space The blank area between written
characters or graphic regions. Proper use of white
space is critical to a well-balanced design.
Word Space The space between two words of
text in a layout. The ideal value is built into the
typeface, but it can usually be adjusted within
an application.
Wrap How text flows around the shape of
another element, such as an image frame.
X-height The height of the lowercase letter “x” in
a given typeface, which is used as a reference for
the basic size of the bodies of all the other lower-
case letters (excluding ascenders and descenders).
See also “ascenders,” “descenders.”

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itself as one of the most critically acclaimed
training products available on the fundamentals
of Adobe software.
Learn by Video offers up to 15 hours of
high-quality HD video training presented by
experienced trainers, as well as lesson files,
assessment quizzes, and review materials.
The DVD is bundled with a full-color
printed booklet that provides supplemental
information as well as a guide to the
video topics.
For more information go to
www.adobepress.com/learnbyvideo
Watch-and-Work mode shrinks
the video into a small window
while you work in the software
Lesson files
are included
on the DVD
Video player remembers
which movie you
watched last
Learn by Video
Titles
Adobe Photoshop CS6: Learn by Video:
Core Training in Visual Communication
ISBN: 9780321840714
Adobe Illustrator CS6: Learn by Video
ISBN: 9780321840684
Adobe InDesign CS6: Learn by Video
ISBN: 9780321840691
Adobe Flash Professional CS6: Learn by
Video: Core Training in Rich Media
Communication
ISBN: 9780321840707
Adobe Dreamweaver CS6: Learn by Video:
Core Training in Web Communication
ISBN: 9780321840370
Adobe Premiere Pro CS6: Learn by Video:
Core Training in Video Communication
ISBN: 9780321840721
Adobe After Effects CS6: Learn by Video
ISBN: 9780321840387
Up to 15 hours of
high-quality video
training
Table of Contents
never more than a
click away
Index

Unlimited online access to all Peachpit, Adobe
Press,AppleTrainingandNewRidersvideosand
books, as well as content from other leading
publishersincluding:O’ReillyMedia,FocalPress,
Sams, Que, Total Training, John Wiley & Sons,
CourseTechnologyPTR,ClassonDemand,VTC
and more.
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