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311

USING STYLE SHEETS

A TYPICAL DOCUMENT is made up of a handful of formatting attributes that you apply over and over and over again.Take this book, for example. The text you’re reading right now isset in Birka Regular. The type size is 10.5 points with a leading of 14 (shorthand: 10.5 on 14, or 10.5/14). The kerning is Optical, thealignment is justified, and the paragraph spacing is 6 points. Allin all, we’re talking about six or seven settings—not so bad, really.Even so, if I had to apply each and every one of these attributes to each and every paragraph independently, I’d go nuts.

Of course, I don’t have to. I can select multiple paragraphs beforeI apply an attribute. And a new paragraph automatically adopts theattributes applied to its predecessor. But if you think about it, that doesn’t really do me much good. The normal body copy is inter-rupted by headlines, subheads, steps, bulleted lists, and so many other variations it makes your head spin. It’s rare to find more thana few paragraphs in a row that share the same formatting.

Fortunately, there is another way. The fact is, you never need to apply a specific sequence of formatting attributes more than once. Afteryou establish a group of settings—such as Birka Regular 10.5/14Optical justified with 6 points of paragraph spacing—you can savethem and then reapply them with a single click. In InDesign CS2,you can also save a collection of graphic attributes—such as a 1-pica text wrap with 2-point rounded borders, a 10 percent red fill,an inset text block, and a custom drop shadow.

Such attribute groups go by a variety of names, including style sheet,custom style, and just plain style. I and most other designers preferthe first, style sheet. It implies a long list of attributes (only fitting)and helps to distinguish this style from the humble type style (plain,bold, italic). Adobe in its online documentation comes down on the side of style. But whatever you call them, they’re some of the mostessential efficiency tools in the world of page design.

Assembling a Custom StyleStyle sheets for text break into three camps. Paragraph styles affect entire paragraphs at a time, character styles affect individual letters or words, and object styles affect entire frames. And here, as luck would have it, Adobe and the countless designers who rely on its graphics and publishing software use the same terms.

The most common of the bunch, the paragraph style, may contain all formatting attributes, from font to alignment to tabs. Figure 8-1 shows four paragraph styles applied to a passage from the ever-cheerful Mac-beth. In each case, the style sheet changes both the character- and paragraph-level attributes, making it useful for formatting all kinds of text, from body copy to captions to headlines. When people talk generally about style sheets, this is what they mean.

A character style is a subset of a paragraph style that is limited to character-level attributes and may define as many or as few attributes as you like. On the next page, Figure 8-2 shows the result of creating a character style that includes just two attributes—18-point size and italic style—and applying it to each of the four styled paragraphs. The character style changes what little formatting it can and leaves the rest intact.

The most all-encompassing style sheet is the object style. An object style is applied not to individual char-acters or paragraphs of text but to the frame that con-tains the text. (Threaded text frames are ultimately independent, so a story may have many object styles assigned to it.) An object style may include a paragraph style definition, as well as frame-level attributes such as fill, stroke, transparency, frame margins, text wrap, and anchored object settings. And it can be applied just as easily to a frame that contains an imported graphic or a drawing created inside InDesign.

In addition to facilitating the formatting of a document, style sheets make quick work of changes. Suppose your fickle client decides to use a different typeface. No problem. Just change the style sheet and all styled frames, paragraphs, or letters update in kind. You can even create dependent style sheets, so that changing one style affects many others.

Figure 8-1.

Out, out brief candle! Life’s but a walking shadow, a poor player, that struts and frets his hour upon the stage, and then is heard no more; it is a tale told by an idiot, full of sound and fury, signifying nothing.



Out, out brief candle! Life’s but a walking shadow, a poor player,

that struts and frets his hour upon the stage, and then is heard no more; it is a tale told by

an idiot, full of sound and fury, signifying nothing.

Paragraph style 1: Bernhard Modern, 12.5 ⁄16, flush left

Paragraph style 2: Chaparral Light, 11 ⁄16, flush left

Paragraph style 3: Rotis Serif Italic, 11.5 ⁄16, justified

Paragraph style 4: Silentium Roman 9 ⁄13.5, centered

313Assembling a Custom Style

Also worth noting, InDesign can import and override paragraph and character sheets from a word processor.This makes it possible for the content provider—thatis, the guy or gal who’s writing the text—to work inde-pendently of the content designer—that is, you—and still have all the pieces fit together seamlessly. For ex-ample, I’m writing this text in Microsoft Word. Thetext is set in a paragraph style that I named Body. In Word, Body is 10-point Verdana, which is easy toread on screen. In InDesign, Body is 10.5-point Birka.Thanks to style sheets, InDesign imports the text andconverts it automatically, no questions asked.

Creating and Applying Paragraph StylesWe’ll begin our exploration of style sheets with themost commonly used variety: paragraph styles. In this exercise, you’ll learn how to create paragraph styles based on the formatting of selected text and assign shortcuts to the styles so you can apply them in a flash. You’ll even learn how to base one style on another andspecify the next style that InDesign applies when youbegin a new paragraph. If you think that’s slick, you’ll be bowled over when you apply three different stylesto three different paragraphs with a single click. You are about to become a style sheet master.

1. Open a document. Open the file named Table of Contents 1.indd located in thedLesson 08 folder inside Lesson Files-IDcs2 1on1. Pictured in Figure 8-3 on the facing page,this is a table of contents (known as TOC in theCbiz) for a gardening magazine.

2. Open the Paragraph Styles palette. Choose TypeParagraph Styles to display the Paragraph Stylespalette, shown in Figure 8-4. Alternatively, youcan press F11 to display the palette. (If you’rerunning OS X 10.3 or later on the Mac, you may find that pressing F11 activates Exposé’s desktop-revealing trick instead of bringing up the palette. See page xx of the Preface to learn how to changeExposé’s behavior.)

Figure 8-2.




Out, out brief candle! Life’s but a walking shadow, a poor player,

that struts and frets his hour upon the stage, and then is heard no more; it is a tale told by

an idiot, full of sound and fury, signifying nothing.

314 Lesson 8: Using Style Sheets

Figure 8-3.

Figure 8-4.

Each TOC entry consists of three paragraphs. The first is the page number and title, the second is the byline, and the third is the article description. The first TOC entry is already formatted, which is fortunate because the easi-est way to create a style is to base it on existing text, and that’s precisely what we’re going to do.

3. Activate the first line of type. Press T to select the type tool and click in the word Editorial, which belongs to the first line in the formatted entry. This is enough to tell In-Design which paragraph’s formatting we want to use.

4. Create a new style sheet. Click the icon at the bottom of the Paragraph Styles palette. As Figure 8-5 shows, a new style called Paragraph Style 1 appears in the palette. This style contains all the character and paragraph for-matting that has been applied to the active paragraph of text, including the font, color, alignment, and drop-cap settings for the page number (18).

5. Apply the new style sheet. Although the first paragraph is styled exactly as Paragraph Style 1 dictates, the para-graph doesn’t actually have the style applied to it. How do we know this? Because the default [Basic Paragraph] remains selected in the Paragraph Styles palette (subject to a few additional formatting attributes, known as local overrides, as indicated by the + sign). So click Paragraph Style 1 in the Paragraph Styles palette to apply the new style sheet and establish a link between the text and the paragraph style.

This is one of the easiest things to forget when working with style sheets: After you create a style based on a formatted paragraph, you must turn around and apply that style to the same paragraph. Otherwise, text and style are not linked, which means the text won’t reflect any changes you make to the style later.

6. Edit the new style sheet. A style sheet is a dynamic collec-tion of formatting attributes. You can edit the style—and any text linked to it—at any stage in the development of a document. To modify the style sheet you just created:

• Click the arrow at the top of the Paragraph Styles palette and choose the Style Options command.

• Or more simply, double-click the Paragraph Style 1item in the palette list.

Figure 8-5.

315Creating and Applying Paragraph Styles

Figure 8-6.

InDesign displays the Paragraph Style Options dialog box shownin Figure 8-6. This dialog box lets you view and edit the variousformatting attributes contained in your paragraph style. Clickthe options on the far left side of the dialog box or press Ctrl( on the Mac) with the or key to change panels.

7. Name the style sheet. Our first task is to give this style sheet a more descriptive name. In the Style Name op-tion box, type “Page No. & Title,” which is apt for theline that contains the big page number and the articletitle. We’ll use this style sheet to format the first line of the other TOC entries.

I cannot stress enough the importance of giving your style sheets descriptive names. Name the style after its function—not its formatting—so that you (or someone working after you) can easily identify the style.

8. Assign a keyboard shortcut. Let’s next assign a shortcut to our paragraph style so that we can apply it from the keyboard.InDesign requires that style shortcuts include one or more modifier keys—Ctrl, Alt, or Shift ( , Option, or Shift on theMac)—combined with a number on the numeric keypad. That’sright, it has to be a number, through , on the keypad only, and the Mac’s Control key is out of bounds.

P E A R L O F W I S D O M

One problem with this restriction is that not all keyboards have keypads. To activate the keypad equivalents on many laptops—Apple’s PowerBooks come to mind—you must press the Num Lock key, which overrides a dozen or so letter keys. After you enter the shortcut, press Num Lock again to turn off the function and continue typing as usual. It’s hideously inconvenient.

Assuming your keyboard includes a keypad, click the Shortcutoption box. Then press Ctrl+Shift+ on the numeric keypad( -Shift- ). If InDesign beeps at you or does nothing, press the Num Lock key and try again. If successful, InDesign spellsout the sequence of keys in the Shortcut option box.

If you can’t make this step work, skip it. Keyboard shortcuts are just one of many options. We investigate all kinds of ways to apply style sheets in the Extra Credit portion of this exercise, which begins on page 319.

9. Inspect the drop cap settings. The Style Settings area at the bottom of the dialog box provides a summary of the attributesconveyed by the paragraph style. You can see that the font is


Myriad Pro, the style is Bold Condensed, the type size is 14 points, and so on. To investigate a setting, click the corresponding item in the left-hand list.

For example, let’s say you’re curious about drop cap lines: 3 + drop caps characters: 2. Click Drop Caps and Nested Styles on the left side of the dialog box to switch to the settings pictured in Figure 8-7, which call for a drop cap 3 lines tall and 2 characters wide, hence the big two-digit page number at the outset of the TOC entry.

You could change the settings and update the style sheet. But for this exercise, the current settings are fine. I point them out just so that you know how the paragraph is formatted and what the Style Settings notations mean.

10. Accept your changes. Click OK to close the Paragraph Style Options dialog box and accept your changes. As Figure 8-8shows, the style formerly named Paragraph Style 1 now appears as Page No. & Title, and with a shortcut to boot.

11. Create a style sheet for the byline. Press the key to move the insertion marker to the second line of type. Again, [Basic Para-graph] becomes highlighted in the Paragraph Styles palette, indicating that you haven’t assigned a style sheet to the active paragraph. Press the Alt (or Option) key and click the icon at the bottom of the Paragraph Styles palette to display the New Paragraph Style dialog box, which lets you edit a style sheet as you create it. In the Style Name option box, enter “Byline.”

12. Base the style sheet on Page No. & Title. The Based On option establishes a parent-child relationship between two style sheets. Any changes made to the parent style will affect formatting at-tributes shared in the child style. In this way, you can modify multiple styles at a time.

Choose Page No. & Title from the Based On pop-up menu, as in Figure 8-9. This may seem like an odd thing to do, given that the Byline style isn’t re-ally based on Page No. & Title at all. And switch-ing Based On settings often creates problems, as witnessed in gruesome detail in the very next step. But it also affords you greater control in the future, as we will explore in “Updating a Paragraph Style,” which comes up next. In the meantime, trust me, I won’t steer you wrong.

Figure 8-7.

Figure 8-8.

Figure 8-9.


Figure 8-10.

13. Click OK and assign the style sheet. This time, don’t worry about assigning a keyboard shortcut. Click OKto create the new style sheet. Then click the Byline style in the Paragraph Styles palette to apply it to the active paragraph. With that one click, the byline falls apart. InDesign is supposed to be able to track differences be-tween a child and its parent, but thanks to a change to base styles in CS2, this safeguard has become corrupt. As a result, the child style has inherited some unwanted traits from its parent, leaving us with the unseemly mu-tant pictured in Figure 8-10. The color is wrong, and so are those drop caps. Nothing to do but roll up our sleeves and set things right.

14. Edit the Byline style sheet. Double-click Byline in the Paragraph Styles palette to open the Paragraph Style Options dialog box so we can do some mopping up:

• Make sure the Preview check box is on so you can watch the effect of your edits as you make them.

• Click Drop Caps and Nested Styles in the list on the left side of the dialog box. Set the Lines value to 0 and press Tab. InDesign automatically changes both values to 0 and cancels the drop cap effect, as in Figure 8-11.

• Select Character Color, which is a couple of items down in the left-hand list. Scroll to the top of the color list and click the swatch labeled [Black].

Now that the proper formatting has been restored, click the OK button to accept the results.

15. Create a style sheet for the description. The third para-graph of each TOC entry features a description of the article. As before, use the key to move the blinking insertion marker down one line and Alt-click (or Option-click) the icon at the bottom of the Paragraph Stylespalette to open the New Paragraph Style palette. Name the style sheet “Description.” Then change the Based On setting to Byline. The new style is similar enough to Byline that Based On won’t create any problems.

16. Set the Next Style to Page No. & Title. The Next Style option allows you to choose a style sheet that automati-cally becomes active when you begin a new paragraph. For example, when creating a newspaper article, you

Figure 8-11.


could set the Body Copy style to follow the Headline style. That way, pressing Enter or Return after typ-ing a headline would not only drop you to the nextline but also switch to the Body Copy style. Betterstill, the Next Style option lets you format multiple paragraphs with a single command, as you’ll expe-rience firsthand in just a few steps.

In the TOC, the article description is followed by a new page number and title. So choose Page No. &Title from the Next Style pop-up menu.

17. Click OK and assign the style. Click OK to create your third style sheet. And don’t forget to click De-scription in the Paragraph Styles palette to assign it to the active paragraph, as in Figure 8-12.

E X T R A C R E D I T

Congratulations. You have created and applied three style sheets in InDesign, as well as established relationships between them. Frankly, that last part makes you more adept at using style sheets than most working designers. Now I want to show you how the Next Style option can make life a whole lot easier for you when typing new text or formatting existing pages or stories. (Or you can skip this next task and go directly to “Updating a Paragraph Style” on page 321.)

18. Complete the style loop. Thanks to Step 16, we’ve established that the style after Description is Page No. & Title. But whatabout the other styles? Which style follows them? To answerthat question, do the following:

• Press Ctrl+Shift+A ( -Shift-A) to deselect all the text. Thishelps us avoid applying style sheets as we edit them.

• Double-click the Page No. & Title item in the ParagraphStyles palette. Set the Next Style pop-up menu to Bylineand click the OK button.

• Next double-click the Byline style. Change Next Style toDescription and click OK.

The three styles now reference each other in a continuous, re-peating sequence. The result is a closed “style loop.”

19. Apply the style sheets to the other lines of type. Now that ourstyle sheets are finalized, let’s put them to use:

• Click with the type tool anywhere in the line of type thatcontains 22 and Orchids en Regalia.

Figure 8-12.


Figure 8-14.

• Press the keyboard shortcut for the Page No. & Title style, Ctrl+Shift+ on the numeric keypad ( -Shift- on the Mac). If you weren’t able to as-sign a keystroke back in Step 8, click the Page No. & Title style in the Paragraph Styles palette.

• Press to move the insertion marker to the next paragraph, which is a byline. We never assigned a keyboard shortcut to the Byline style, but that’s okay because a new feature called quick apply lets you apply a style without a shortcut. Choose EditQuick Apply to display a list of paragraph and char-acter styles in the top-right corner of the interface. Then click the Byline style and press Enter or Re-turn to apply it.

Between you and me, there’s nothing “quick” about that last method. You could just as easily click the Byline style in the Paragraph Styles palette. That’s why the quick apply function includes shortcuts. Press Ctrl with the standard Enter key, not the one on the keypad (that’s -Return on the Mac) to display the quick apply palette. Type the first few letters of the desired style name and press Enter or Return.

• Let’s try that tip out on the next paragraph. Press the key yet again. Then press Ctrl+Enter ( -Return),

type the letter D, and press Enter or Return. The only style name that starts with D is Description, so InDesign applies it to the active text.

20. Format the rest of the TOC with one command. You might think that this is a pretty time-consuming way to save time, and you’d be right. It’s time for a bit of well-deserved payoff:

• Press Ctrl+A ( -A) to select all the text in the text block. Or switch to the black arrow tool and click the text frame to select the whole thing.

• Right-click the Page No. & Title style in the Para-graph Styles palette. (If you don’t have a right mouse button on the Mac, Control-click.) Then choose the Apply “Page No. & Title” then Next Style command, as in Figure 8-14. With one command, InDesign formats the entire text block. Hard to beat that.

Figure 8-13.


21. Add another TOC entry. Most magazine editors are orga-nized, but let’s assume this one spent too much time smelling the roses and forgot to add an article to the table of contents. We’ll add it for him, all the while applying style sheets without ever touching the Paragraph Styles or quick apply palette:

• With the type tool, click at the end of the TOC text, after the words water garden. If the text is already active, press Ctrl+End (or -End).

• Press Enter or Return and type “44,” the two-digit page number for our next article. It automatically appears in big blue drop caps, subject to the Page No. & Title style.

• Now press the Tab key and invent an article title such as “Our Gardens, Our Selves.”

• Press the Enter or Return key again and type your name. With each new paragraph, InDesign obediently applies the next style from the loop you completed in Step 18, in this case, Byline.

• Press Enter or Return once more and add a short description of the article. Make it a few lines long just to prove beyond a shadow of a doubt that the Description style really has taken hold. Figure 8-15 shows what I came up with.

22. Save your work. Nicely done, you budding style sheet wizard. We will continue working on this document in the next exercise, so choose File Save As, name your document “My formatted TOC.indd,” and save it in the Lesson 08 folder.

Updating a Paragraph StyleIn addition to automating the application of many formatting at-tributes at a time, style sheets are dynamic. InDesign creates a live link between the style and the text (or frame, in the case of an ob-ject style) to which it’s applied. So when you make a change to a style sheet, the text updates to match your changes.

In this brief exercise, you’ll make a couple of changes to an existing paragraph style and see firsthand how those changes affect your text. You’ll also see exactly how changes to a parent style get passed down to the children.

Figure 8-15.

321Updating a Paragraph Style

Figure 8-16.

1. Open the table of contents document. This exer-cise picks up where the last one left off. If you still have open the My formatted TOC.indd file thatdyou saved in the preceding exercise, super. If not, open the file named Table of Contents 2.indd in the d Lesson 08folder inside Lesson Files-IDcs2 1on1. You should see the document pictured in Figure 8-16.

2. Deselect any active text. If you are reading this on the heels of the last section, the insertion marker might still be blinking away at the end of the last line you typed. I don’twant you to run the risk of harming that pristine line of type, so choose Edit Deselect All or press Ctrl+Shift+A( -Shift-A on the Mac) to deselect any and all text.

3. Edit the Page No. & Title style sheet. I like the basic com-position of my design, but I’m not all that thrilled with my choice of fonts. For one thing, I used Myriad Condensed(our common san serif font), which meant I had to stretch the letters 130 percent horizontally to make them lookstandard. For another, three out of five article descriptions end in widows. I’d like to switch to a serif font that better fits the design, and thanks to our style linking in the pre-vious exercise—remember the Based On option?—I can do most of the work by changing a single style sheet.

Double-click the Page No. & Title style in the ParagraphStyles palette to display the familiar Paragraph Style Op-tions dialog box.

4. Turn on the Preview check box. When editing a style, it’sa good idea to turn on the Preview check box so you can observe the results of your changes as you make them.

5. Change the typeface. Select the Basic Character Formatscategory on the left side of the dialog box or press Ctrl+2 ( -2). Then choose Adobe Jenson Pro from the Font Familypop-up menu. (The font is listed alphabetically under J forJJenson.) Alternatively, you can click the words Font Family to highlight the contents of the option box and press theJ key to get the first font that begins with a J. Then press the or arrow to advance to Adobe Jenson Pro and press Tab to preview the results in the document window.

The Byline and Article Description style sheets take theircues from their parent and update accordingly, even if they do so with a bit of difficulty. As shown in Figure 8-17, your


page should fill with the pink lines that represent InDesign’s missing font warnings. Jenson lacks a Condensed style, soall the type styles will need to be updated. But the typefaceitself has changed.

6. Change the other formatting attributes. Even thebest of the reformatted text looks terrible, appear-ing small and stretched. Here’s how to fix it:

• Set the Font Style option to Bold.

• Change the Size value to 13 points and the Leading value to 16 points.

• Click Advanced Character Formats on the left side of the dialog box or press Ctrl+3 ( -3) tobring up another panel of options.

• Change the Horizontal Scale value to 100 per-cent to restore the font’s normal proportions.

Click OK to close the dialog box and apply yourchanges, which invoke similar changes throughoutthis parent style’s progeny. Meanwhile, formattingattributes that you didn’t change—such as drop caps and letter colors—remain as you last set them.

7. Select all the text in one of the bylines. All right, that was one way to update a style sheet. Now let’s look at a poten-tially easier and certainly more intuitive way. Get the typetool and triple-click one of the five names on the TOC pageto select it. I happened to select Harold Ottersen, but any name will do.

8. Change the type style. Click the icon in the control pal-ette to display the character-level formatting attributes.Then change the second pop-up menu from [Semibold Condensed Italic] to Semibold Italic.


The Byline style in the Paragraph Styles palette ends in a small +, which is InDesign’s way of warning you that changes have been made to this particular paragraph, and it no longer exactly matches the Byline specifications. In other words, the active paragraph enjoys what’s called a local override. If you were to change the font or type size associated with the Byline style, the selected text would update in kind. But if you changed Byline’s type style, your local override—namely Semibold Italic—would remain in place. We need to fold the override into the style sheet, as the next step explains.

Figure 8-17.

323Updating a Paragraph Style

Figure 8-18.

Figure 8-19.

9. Redefine the Byline style. Click the arrow at the top of the Paragraph Styles palette and choose the Redefine Style command. Or press the keyboard shortcut, Ctrl+Alt+Shift+R ( -Option-Shift-R on the Mac). As shown in Figure 8-18, all paragraphs using the Byline style update to reflect the new type style. In the Paragraph Styles palette, the + next to the Byline item disappears. And because the other style sheets do not share a common type style with Byline, they remain unchanged.

10. Change the type style of a word in one of the article descriptions. Turns out, you don’t need to select all the text in a paragraph to update a paragraph style. Try double-clicking a word—any word—in one of the still-pink article descriptions. Then choose Regular from the type style pop-up menu in the control palette, or press Ctrl+Shift+Y ( -Shift-Y on the Mac). The Description style in the Paragraph Styles palette gets a +.

Style sheets that are loaded down with exceptions can lose their usefulness. When a selected style sheet name has a + next to it, you can see a list of local overrides just by hovering your cursor over it. To delete all local overrides and return the select text to the exact style sheet specifications, Alt-click (or Option-click) the style name. In InDesign CS2, you can also click the icon at the bottom of the Paragraph Styles palette. If you hold down the Ctrl (or ) key while you click the icon, InDesign replaces the character-level overrides only. Ctrl+Shift-click ( -Shift-click) to replace the paragraph-level overrides.

11. Balance the lines. To avoid any potential for wid-ows, click the in the control palette and choose Balance Ragged Lines from the palette menu on the right side of your screen.

12. Redefine the Description style. With the word still selected, choose Redefine Style from the Para-graph Styles palette menu or press Ctrl+Alt+Shift+R ( -Option-Shift-R). All article descriptions update to reflected both the new character- and paragraph-level formatting attributes, as in Figure 8-19. Your document is finished.


Figure 8-20.

Augmenting Text with Character StylesAsk a room full of professional designers what they think of stylesheets, and they’ll tell you that they assign paragraph styles to justabout every line of type they create. Formatting a few pages of textis just too tedious and time-consuming without them.

But ask those same designers about character styles, and you’ll geta different response. Sure, they use them, just not as much. Andwith good reason. Paragraph styles permit you to assign dozens of formatting attributes to entire blocks of text—or sequences of blocks—with a single click. Character styles typically convey far fewer attributes and affect only a few words or letters at a time. Sim-ply put, applying character styles takes more effort and producesa smaller effect. (For an exception to this—a Great Big Exception,as it just so happens—see “Employing Nested Character Styles” on page 330.)

The primary strength of character styles is editability. When you assign a character style—a process made slightly easier if you add your own keyboard shortcut—you tag the styled text. From that point on, changing a character style updates all the tagged text as well. Several pages of underlined words, for example, can be changed to italic in a matter of seconds. In the following steps, we’ll create acharacter style and apply it to several sentences in different paragraphs. Then we’ll update anentirely different style and watch the resultscascade up and down the page in the blink of an eye. It’s the usual style sheet miracle, just ona more microscopic level.

1. Open the sample document. Thistime around, we’ll start with thedocument Page 21.indd, which isfound in the Lesson 08 folder inside Lesson Files-IDcs2 1on1. Pictured in Figure 8-20,this excerpt from the original Adobe Pho-toshop One-on-One title comprises a total of six paragraphs, all but one of which are styled as steps. The other paragraph, sec-ond from the top of the page, is styled as atip. Feel free to inspect these styles from the Paragraph Styles palette, as explained in theprevious exercise.

325Augmenting Text with Character Styles

2. Open the Character Styles palette. Assuming the Paragraph Styles palette is open, you can switch to the Character Styles palette by clicking the Character Styles tab. Alternatively you can choose Type Character Styles or press Shift+F11. InDesign displays the palette pictured in Figure 8-21, which contains five character styles that I’ve defined for you in advance. Diagrammed in Figure 8-22,these styles control the appearance of individual words, such as vocabulary terms and option names. Most of the style sheets are simple, applying a bold or an italic variation. But by relying on a character style instead of a type style, I make it possible to modify the formatting attributes of multiple words at a time, something you’ll do in just a few moments.

Figure 8-21.

Figure 8-22.

But first, let’s create a style. Among the many specially formatted strings of characters in the figure, you may notice that one—the first sentence of the first paragraph—goes unlabeled. This text is not yet tagged with a character style. Nor, it so happens, do you find its style repeated in subsequent steps. We’ll remedy both omissions in the next steps.

3. Select the first sentence on the page. Start by selecting the char-acters on which you intend to base your style—in this case, the turquoise sentence. Among its many selection shortcuts, InDesign


lacks a keystroke that selects an entire sentence. Instead, you must select the type tool and use one of the following methods:

• Double-click the word Modify; on the second click, drag to the end of the sentence. Drag all the way to the S in Scroll so that you include the period and the en space.

• Click in front of the M in Modify. Then press Ctrl+Shift+(or -Shift- ) five times in a row, once for each word plus the punctuation and the en space after it.

• Click in front of the word Modify, and then hold down the Shift key and click again just before the S that begins the next sentence.

• Don’t cotton to such fancy tricks? Select the sentence the old-fashioned way by dragging from one end of the sentence to the other.

However you decide to approach it, your selection should appear as it does in Figure 8-23.

Figure 8-23.

4. Create a new character style. Choose New Character Style from the Character Styles palette menu. Or press the Alt key (Option on the Mac) and click the icon at the bottom of the palette. In-Design displays the New Character Style dialog box, which lists all special formatting attributes applied to the highlighted text, most importantly Bold Italic + color: Deep Turquoise.


Figure 8-25.

Figure 8-24.

5. Name the style and give it a shortcut. Change the Style Name to “Step Leader.” Then Tab to the Shortcut option and press Ctrl (or ) and on the numeric keypad. TheShortcut option reads Ctrl+Num 5 (or Cmd-Num 5).

Remember, if InDesign beeps or ignores you when you try to enter a shortcut, tap the Num Lock key and try again. As I mentioned earlier, not all keyboards have keypads;if yours does not, don’t worry about the shortcut.


Style shortcuts are a matter of taste. But for my part, I keep my character styles simple—just Ctrl or and a number—and add modifier keys to the paragraph styles. In this document, for example, Ctrl+Alt+ applies the essential Headline paragraph style; the simpler shortcut Ctrl+ applies the discretionary Emphasis Bold character style. If this sounds counterintuitive, consider this: I apply most of my paragraph styles as I write the text in Microsoft Word, so they’re already established when I import the text into InDesign. Character styles are finishing effects, so I wait to apply them until I’m well into the layout phase. I spend more time applying character styles, hence they get the quicker shortcuts. You should design your shortcuts to suit your work habits.

6. Select a Based On style. Set the Based On option to StepNumber, as shown in Figure 8-24. This establishes a par-ent/child relationship between the two style sheets andchanges the Style Settings info to Step Number + Bold Italic. From now on, any change made to the parent, Step Number, will affect the shared attributes of the child, Step Leader. I’ll show you how this works in Step 10.

7. Apply the new style sheet to the text. Click OK to createthe new character style. Then, with the text still selectedin the document window, click the Step Leader item in the Character Styles palette. Or press the keyboard short-cut, Ctrl+ ( - on the Mac). Now any changes made to the style will affect the highlighted text in kind.

8. Apply the character style to the other first sentences.Select the sentence at the outset of step 10, being sure to select the period and the en space. Then apply the StepLeader style sheet. Repeat this process for each of the sen-tences from steps 11 through 13. Figure 8-25 shows howthe finished styles should look. (Note that I’ve deselected the text and pressed the W key to hide all guidelines.)


Figure 8-26.

Figure 8-27.

9. Deselect the text. The remaining step explains how to modify a character style. Unless you want to apply the style as you edit it (which we don’t), you need to first deselect all text. For the sake of variety, here’s a new way to do that: Press Ctrl (or ) to temporarily access the arrow tool. Then with the key pressed, click in an empty portion of the document window.

10. Edit the Step Number style. Now let’s say you show your design to a client. The client loves it, except for one thing—she wants the number and lead-in text to be brown. No problem; you can do it in one operation.

• Double-click the recently established parent style Step Number in the Character Styles palette. This displays the Character Style Options dialog box, as in Figure 8-26.

• If it’s not selected, turn on the Preview check box so you can see the effects of your changes.

• Click the Character Color item on the left side of the dialog box. InDesign displays a panel of options that assign color attributes to the active style.

• Click the fill icon in the center portion of the dialog box so that it looks like .

• The right side of the dialog box features a short list of colors that I created in the Swatches palette. (To learn how to create your own, see the “Fill, Stroke, and Color” exercise, which begins on page 188 in Lesson 5.) Click the final color, Medium Brown,to apply it.

• Click the OK button to accept your changes and exit the dialog box.

Because color is a shared attribute of Step Number and its progeny Step Leader, both the numbers and the bold-italic sentences change to medium brown. All other at-tributes remain unchanged. Likewise unchanged are other turquoise words tagged with style sheets that are not children of Step Number, as verified by the figure reference and tip text in Figure 8-27.


Employing Nested Character StylesWhen I introduced the preceding exercise, I explained that characterstyles take a long time to apply. If you apply them traditionally—a fewwords or characters at a time—that’s certainly true. But thanks to a brilliant innovation introduced in the previous version of the program(InDesign CS), there’s a better way. You can embed character stylesinto paragraph style definitions, resulting in one of the great automa-tion functions in InDesign, nested styles.

Let’s say you find yourself repeating a series of character styles overand over again within a specific kind of styled paragraph. The stepsin this book are a perfect example. The number is colored; the lead-ing sentence is colored, bold, and italic; the second through last sen-tences are black and roman. This is exactly the sort of style patternthat nested styles are designed to facilitate. Using spaces, periods, and other delineators, nested styles tell InDesign exactly when to start ap-plying a character style and when to stop.

In this exercise, you’ll nest the Step Number and Step Leader characterstyles inside the Step paragraph style so that InDesign assigns themautomatically to all steps in the document. You’ll also learn what todo when, contrary to your wishes, nested styles spill over into childstyle sheets. By the end of this lesson, don’t be surprised if your headis spinning with ideas for ways to put nested styles to work in yourown documents.

1. Open yet another sample document. Open Page 19.inddfrom the Lesson 08 folder inside Lesson Files-IDcs2 1on1.As shown in Figure 8-28 on the facing page, this is another excerpt lifted from the pages of Adobe Photoshop One-on-One,with two important differences: First, I saved the document in thepreview mode so we can focus on the text without sifting throughthe guides and other falderal. Second, the document contains thenecessary character styles, Step Number and Step Leader, but Ihaven’t yet applied them.


Before we go any further, I’d like you to play a quick visualization game with me. After manually applying character styles to page 21 (“Augmenting Text with Character Styles,” page 325), you switch to page 19 only to find you have all that work to do over again. And then there’s the rest of the book to look forward to—12 lessons in all with roughly 100 steps per lesson. Can you imagine having to apply these character styles 2,400 times (1,200 times each) over the course of a single book-length document? In QuarkXPress and every other layout application prior to InDesign CS, that’s what you’d have to do. I just want you to appreciate how much time you’re about to save.


thumbnails. Then click the last picture, titled P5196922.jpg. This

is the climax to the series, where one brother expresses displea-

sure with the habitual aggravated burglary of the other.

Review the metadata. If you scroll around inside the Metadata

panel, you’ll see a total of six metadata categories that you can

open or close. Pictured in the elongated Figure 1-22, the three

most useful categories are as follows:

• File Properties houses the most elemental image specifica-

tions, such as the name of the file, the date it was last modi-

fied, the height and width in pixels, and other attributes that

have been listed in the header of digital images for years.

• IPTC stands for International Press Telecommunications

Council, a group in charge of standardizing the inclusion

of credits and instructions in the field of photo journalism.

The tiny pencils next to the IPTC items indicate that you

can edit them, as we shall in Step 9.

7.

Step Bullet

Step

Figure 8-28.

2. Display the Paragraph Styles palette. Although nested styles aretechnically character styles, you apply them within the context of paragraph styles. So click the Paragraph Styles tab or press F11 to bring up the Paragraph Styles palette. Of the eight styles, we areconcerned with just the two applied to the body copy, Step andStep Bullet, as illustrated in Figure 8-29.

Figure 8-29.

331Employing Nested Character Styles

3. Open the Nested Styles options for the Step style sheet. We’ll start by assigning character styles to the Step style sheet. And to do that, we need to open one of InDesign’s most well-hidden collections of options, like so:

Figure 8-30.

• Double-click the Step item in the Paragraph Styles palette to display the Paragraph Style Options dia-log box.

• Click Drop Caps and Nested Styles on the left side of the dialog box.

Why InDesign has chosen to couple its nested styles op-tions with drop caps is anyone’s guess. (Okay, they both affect the first few characters in a paragraph, but that’s a stretch.) Alas, Adobe makes these decisions, we can but follow. Needless to say, we’ll be giving drop caps the slip and focusing exclusively on the Nested Styles options, highlighted in Figure 8-30.

4. Add the Step Number character style. Click the New Nested Style button, located at the bottom-center of the dialog box. This adds an entry to the Nested Styles field that reads [None] through 1 Words. While hardly grammatical, this strangely worded entry is editable. Click the arrow ( on the Mac) to the right of [None] and choose the Step Number style to make it the first nested style.

To preview the effect of this addition in the document window, turn on the Preview check box. If Preview is already turned on, press Enter or Return, or click an empty portion of the dialog box. Either action deactivates your choice of character style and invokes the preview.

The modified entry, Step Number through 1 Words, tells InDe-sign to apply the Step Number character style to the first word of each tagged paragraph. (Think of through as being short for “through and including.”) The first word ends at the first space character (in this case, a tab), which means that InDesign styles both the number and its period, as witnessed in Figure 8-31.

5. Add the Step Leader character style. The next step is to apply the Step Leader style to the first complete sentence in the para-graph. Here’s how you do it:

• Click the New Nested Style button. A new entry appears.

• Click the arrow ( on the Mac) and choose Step Leader.


• Click Words (the last word in the entry) to activate thisoption. Then click the arrow and choose Sentences,which changes a full sentence to the Step Leader style.

Assuming the Preview check box is on, press the Enter or Re-turn key to preview the nested style in the document window.All is well—except for step 6. As illustrated in Figure 8-32,the word thumbnail (circled in red) islead-in to the step. But a typographicerror—namely, a misplaced period—has cut short my sentence.


The Sentences option ends the character style at a period, a question mark, or an exclamation point. But a period goes unnoticed within P5196922.jpg (a digital camera filename). The Sentences option is smart enough to demand that a space follow the period. But alas, it is not smart enough to account for human error. We must seek a more foolproof solution.

6. Change the ending point for Step Leader. I separated the initial sen-tence from the text that follows withan en space. Fortunately, this is a character that InDesign has chosento identify:

• Click the word Sentences to ac-tivate the option.

• Click the arrow ( on the Mac) next to Sentences and choose En Spaces near the bottom of thepop-up menu.

• Click the word through, and thenclick its and choose up to. This tells InDesign to apply the charac-ter style to everything up to (but not including) the en space.

Press Enter or Return to see the pre-view in Figure 8-33 on the next page.When you are satisfied that all is well,click the OK button.

Figure 8-31.

Figure 8-32.


Figure 8-33.

nested styles, and the paragraphs lack en spaces to stop the formatting. Solu-tion: Adjust the Step Bullet style.

8. Open the Nested Styles options for the Step Bullet style sheet. Go to the Paragraph Styles palette and double-click the Step Bullet item. After the Paragraph Style Options dialog box appears, click Drop Caps and Nested Styles to display the character styles that you added in Steps 4 through 6.

9. Remove any character styles from the first nested style. For starters, let’s change the bullets to their nor-mal state. Click Step Number directly below Nested Styles to activate the op-tion. Then click the arrow (or ) and choose [None]. Press the Enter or Re-turn key to make the bullets black.

7. Scroll to the bullet points. If all is going according to plan, your steps and nested character styles are looking fine. But scroll down to the bulleted paragraphs after step 7 and all is far from fine—all is royally bungled. As illustrated in Figure 8-34, the bulleted items are without exception turquoise, bold, and italic. This is because the Step Bullet style (which oversees these para-graphs) is a child to the Step style and has therefore adopted its

Figure 8-34.


Figure 8-35.

10. Change Step Leader to Emphasis Bold. Still inside the Para-graph Style Options dialog box, click the Step Leader item to make it active. Then click the arrow (or ) and choose Emphasis Bold. Previewed inside the document window, InDesign makes all bulleted items bold, but I want just the first word or two of each item—File Properties, IPTC, and EXIF—to be bold. No delimiting character offsets these words, but you can add one.

11. Change En Spaces to End Nested Style Character. Currently, the style ends at the first en space. To change this, click the En Spaces item to make it active. Next click the arrow (or )and choose End Nested Style Char-acter. Initially, this doesn’t change anything (see Figure 8-35). It merely calls upon a special character, which we’ll insert in the next step.

Click the OK button to exit the dialog box and accept your changes. Believe it or not, the nested styles are work-ing just fine. Now, let’s see how to put them in play.

12. Add an End Nested Style glyph. The End Nested Style Char-acter option looks for the first occurrence of a special char-acter, called (surprise) the End Nested Style glyph. To enter this character, do the following:

• Press T to access the type tool. (Or select it from the tool-box if you prefer.)

• Click immediately after the words File Properties in the document. The blinking insertion marker should appear between the s and the space that follows it. If it doesn’t, use the or key to nudge the marker into position.

• Right-click to display the shortcut menu. (If your Macin-tosh mouse has no right mouse button, press the Control key and click.)

• Choose Insert Special Character End Nested Style Here.As shown in Figure 8-36 on the next page, this ends the nested Emphasis Bold style and resumes normal text.


Congratulations. You now know more than most full-time designers about text style sheets and their application inside InDesign CS2. Admittedly, there are still a few loose ends. If you want to fix them, here’s how: First, you have a couple of messed up bullet items. To fix them, click to set the insertion marker after IPTC, right-click, and choose Insert Special Character End Nested Style Here. Repeat, this time setting the insertion marker after EXIF. Second, there’s the typo that I pointed out in Step 5 (page 332). Delete the period after P5196922.jpg and the typo is resolved. Well done—I now re-lease you to take a break or begin the next exercise.

Figure 8-36.

Creating and Using Object StylesInDesign CS2 breaks through the style barrier with the introduction of object styles. Now any combination of effects and graphic attri-butes that you can apply to an object or a frame—even an empty frame—can be saved as a style sheet that you can apply again and again. If you’ve been working through the book in order, you first experienced object styles in the “Working with Anchored Objects” exercise in Lesson 6 (see page 260). But that introduction merely scratched the surface. In this exercise, you’ll learn how to create object styles that include embedded paragraph styles, so you can create precise text-frame effects and format the text inside the frames in one fell swoop.


1. Open a document. Open the filecalled Advertisement.indd, locatedin the Lesson 08 folder inside Les-son Files-IDcs2 1on1. Featured in Figure 8-37,this square spot advertisement will eventually appear inside a larger document. Back in thebad old days, circa 1985, this is what I used to do for a living. Day in, day out, I created spotads for a newspaper. Only I was cursed witha beta version of PageMaker 1.0, three fonts,and a really slow first-generation LaserWriter.Fortunately, I was blissfully ignorant of howgood you would have it today.

Let’s relish in your good fortune by creating a headline in the form of a series of Scrabbletiles. You’ll make the first tile by hand. Thenyou’ll make an object style to automate the cre-ation of the other tiles. Finally, you’ll embed aparagraph style inside the object style to format any text in the tiles. It may sound complicated,but it’s really not that much work.

2. Make a frame for the first tile. You’ll create four tiles in a row, each of which will measure 10 by 10 picas:

• Click the rectangle frame tool (just belowthe pencil on the left side of the toolbox)or press the F key.

• Double-click near the top-left corner of the ad to open the Rectangle dialog box.Enter 10p0 for both the Width and Heightvalues, as in Figure 8-38.

• Click OK. InDesign creates an empty square frame.

• Press the D key to assign the default fill and stroke attributes (transparent and black,respectively), as pictured in the figure.

3. Position the first tile. Press the V key to switch to the black arrow tool. Then drag the new frame to the top-left corner of the document, as formed by the violet and magenta guides. The frame should snap into place.

Figure 8-37.

Figure 8-38.

Rectangle frame tool

337Creating and Using Object Styles

Figure 8-39.

4. Clone three more tiles. Mind you, you could draw dthree more frames manually. But as always, there’san easier way. With the frame still selected, chooseEdit Step and Repeat to created a series of evenly spaced squares across a specified distance.

Had you measured the page in advance, you mightbe able to calculate the spacing so that the final frame lands exactly on the right margin. But wedidn’t, so let’s wing it:

• Set the Repeat Count value to 3 to create three cloned frames.

• Change the Horizontal Offset value to 11p0 to move the square 11 picas to the right. Thesquares are 10 picas wide, so 11p0 provides for a 1-pica gap between shapes.

• We want the frames to align in a perfect hori-zontal row. So tab to the Vertical Offset valueand enter 0.

Now click OK. Figure 8-39 shows the Step and Repeat values and the result.

5. Distribute the tiles across the page. The right-hand frame falls a couple of picas short of the page margin. So drag the frame into place and distributethe other frames to fix the spacing:

• Get the black arrow tool and drag the selected frame to the right until its right edge snaps into alignment with the right margin guide.

• Select all four frames either by marqueeing them or Shift-clicking on them.

• Press Shift+F7 or choose Window Object & Layout Align to open the Align palette.

• Click the second-to-last Distribute Objectsicon ( ) to balance the horizontal spacing, as in Figure 8-40.

That’s it for the Align palette, so feel free to closeit if it’s in your way.

6. Add text to the frames. We want to spell the word RENT with our tiles and give the letters little value Tnumbers, like in a real Scrabble game. Problem is,

Figure 8-40.


in Scrabble, the letters RENT are worth 1 point apiece. TFortunately, few folks are going to know that, so we’ll spice things up with our own random values.

• Press T to get the type tool. Then click anywhere inside the top-left frame.

• Type a capital R, press Enter or Return,and then type 3. The text appears format-ted with Times or some other generic font.Don’t worry that it looks ugly; we’ll format the text in a few steps.

• Click in the next frame to set the blinkinginsertion marker. Then type a capital E,press Enter or Return, and type 1.

• Click in the third frame, and type a capitalN followed by a 5 on the next line.

• Finally, click in the fourth frame, and type a capital T, Enter or Return, and a 2.

Press Ctrl+Shift+A ( -Shift-A) to deactivate the text. You should be facing the underwhelmingdisplay pictured in Figure 8-41.

7. Fill and stroke the first frame. As with a text style sheet, you can base an object style on anexisting object. So let’s format the first tile and build a style based on it. Switch to the blackarrow tool—rather miraculously, it’s the only tool we’ll need from here on—and select the top-left frame. Then do the following:

• Press F5 to show the Swatches palette.

• Click the fill icon at the top of the paletteso the icon looks like . Then click the last swatch, Tile beige to fill the frame.

• Press the X key to switch to the stroke.Click the swatch called Tile brown to as-sign a brown stroke.

• Press F10 to bring up the Stroke palette. Change the Weight value to 2 points. Thenselect the icon from the Align Stroke set-tings to keep the stroke inside the margins. The result appears in Figure 8-42.

Figure 8-41.

Figure 8-42.

339

Figure 8-43.

8. Round the frame’s corners. We’re not after photorealism here, but rounding the tiles’ corners might make them look more Scrabbley. So choose Object Corner Effects or, if you loaded my Deke Keys CS2 shortcuts (see the Preface), press Ctrl+Shift+Alt+R ( -Shift-Option-R). Select Rounded from the Effect pop-up menu and change the Size value to 0p6. Click the OK button to replace the frame’s right-angle corners with 6 point-radius arcs.

You may notice that the R in the tile has taken on a slight indent. As shown in Figure 8-43, the R is essentially ducking out of the way in reaction to the new shape of the corner of the frame. Any corner effect that impinges on the text frame will have a similar result.

9. Add a drop shadow. The last step in prepping the tile is to fake a 3-D effect with the help of a drop shadow. Choose Ob-ject Drop Shadow or press Ctrl+Alt+M ( -Option-M). Then adjust the values and settings as shown in Figure 8-44:

• Turn on the Drop Shadow check box to activate the ef-fect and the other options in the dialog box.

• Leave Mode set to Multiply and raise the Opacity value to 100 percent.

• Change the X Offset and Y Offset values to 0p3 and 0p2, respectively.

• For a bit of softness, set the Blur value to 0p2.

• Scroll down the list of Swatches and select the last item, Shadow brown.

Click the OK button to apply the shadow.

10. Create a new object style. Now that the tile is formatted, you can create a style sheet based on those settings. Choose Window Object Styles or press Ctrl+F7 ( -F7 on the Mac) to open the Object Styles palette. Then press Alt (or Option) and click the icon in the bottom-right corner of the palette to open the New Object Style dialog box. Name the style sheet “Tile Style.” Give it a shortcut if you like. For no particular reason, I decided on Shift+Alt+ (Shift-Option- ). Leave the check boxes on the left side of the dialog box as is. You can review the specific formatting attributes saved with an ob-ject style in the Style Settings list. For example, I twirled open Stroke & Corner Effects in Figure 8-45. When you’re done poking around, click OK to create the new object style.Figure 8-44.


11. Apply the style sheet to the tile. As usual, making a style sheet doesn’t apply it to the model object. So click Tile Style in the Object Styles palette or press your cus-tom keypad shortcut to apply the style to the selected frame.

12. Create two placeholder paragraph styles. The tile looks good, but the text remains squalid and homely. Instead of formatting the text directly, we’ll create a couple of paragraph styles from scratch and apply them to the tiles via the object style. Believe it or not, this approach tends to be quicker.

To try it out for yourself, press Ctrl+Shift+A ( -Shift-A) to deselect the frame. Then press F11 to bring up the Paragraph Styles palette. We’ll need two style sheets, one for the big tile letter and another for the tiny score number. Click the icon at the bottom of the palette to make a new style sheet named Paragraph Style 1. Click the again to create a second style sheet named Paragraph Style 2.

13. Define the first paragraph style. Double-click Paragraph Style 1 to open the Paragraph Style Options dialog box. Then establish these settings:

• Name the style sheet “Big Letter” and set the Next Styleoption to Paragraph Style 2.

• Click Basic Character Formats in the list on the left side of the dialog box. Change Font Family to Myriad Pro and Font Style to Condensed. Then set the Size and Leadingvalues to 100 points each.

• Select Advanced Character Formats from the left-hand list. Change Horizontal Scale to 120 percent to compensate for the Condensed style. Lower Base-line Shift to –14 to scoot the letter down in the frame (see Figure 8-46). (I would normally prefer to offset the text with Text Frame Options, but the tile’s rounded corners limit this function’s utility.)

• Select Indents and Spacing from the left-hand list and set the Alignment option to Center.

Click the OK button to complete the Big Letter style.

Figure 8-45.

Figure 8-46.

341Creating and Using Object Styles

14. Define the second paragraph style. Double-click Paragraph Style 2 in the Paragraph Styles palette and specify the set-tings for the letter scores.

• Name the style sheet “Tiny Score.”

• Set the Based On option to Big Letter. Then click Basic Character Formats in the left-hand list and see how the essential formatting attributes are already filled in.

• Change the Size value to 36 and the Leading to 20.

• Select Advanced Character Formats from the list on the left and reset the Baseline Shift value to 0.

• Select Indents and Spacing from the left-hand list. Set the Alignment option to Right. Change Right Indentto 0p9 to nudge the score away from the right edge of the frame. Then click OK to accept your changes.

15. Embed the paragraph styles into the object style. Your text is ready to format at the click of a mouse. Ditto for the frames that contain it. But two clicks is one click too many, so let’s embed the new paragraph styles into Tile Style and establish a formatting grand slam:

Figure 8-47.

Figure 8-48.

• Double-click Tile Style in the Object Styles palette.

• Turn on the Preview check box to watch the first tile update in response to your edits.

• Click Paragraph Styles on the left side of the Object Style Options dialog box to turn on this check box and display its options.

• Choose Big Letter from the Paragraph Style pop-up menu. InDesign formats the R in the first tile.

• Turn on the Apply Next Style check box and watch InDesign format the number 3, as in Figure 8-47.

• Click OK to approve your changes.

16. Format the remaining frames. Select the three unfor-matted tile frames. Then click the Tile Style item in the Object Styles palette. InDesign assigns all text and graphic attributes to the three tiles in one fell swoop. The strokes remain black because InDesign regarded them as local overrides. To format them as well, press the Alt (or Option) key and click Tile Style again. Figure 8-48shows the final document in the preview mode.


WHAT DID YOU LEARN?

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