InDesign Magazine 64: The Music Issue

Transcription

The
Music
Issue
Designing
Concert Posters
Working With Sound
Hal Leonard
Music Fonts
Rolling Stone Magazine
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INDESIGN MAGAZINE 64 August 2014
2
MAGAZINE
From the Editor in Chief
PUBLISHERS
David Blatner, Anne-Marie Concepción
EDITORIAL
Editor in Chief
Mike Rankin, [email protected]
Managing Editor
Wendy Katz, [email protected]
Senior Editor
Sandee Cohen, [email protected]
Contributing Writers
Nigel French, Diane Burns, Adam Haus, Erica
Gamet, Terri Stone, Steve Werner, Keith Gilbert
DESIGN
W+W Design, www.wplusw.com
Rufus Deuchler
rufus.deuchler.net
BUSINESS
Contact Information
indesignmag.com/contact.php
Subscription Information
indesignsecrets.com/issues
Published by InDesignSecrets.com, a division of Publishing Secrets,
Inc. Copyright 2014 InDesignSecrets.com. All rights reserved.
Reproduction and redistribution prohibited without approval. For
more information, contact [email protected].
InDesign Magazine is not endorsed or sponsored by Adobe
Systems Incorporated, publisher of InDesign. InDesign is a
registered trademark of Adobe Systems Incorporated. All other
products and services are trademarks or registered trademarks
of their respective owners and are hereby acknowledged.
Photos on pages 1, 5, 15, 18, and 23 courtesy of Fotolia.com
Someone once said that writing about music
is like dancing about architecture. That’s a
great line, but while I’ve never waltzed to
the works of Frank Lloyd Wright, I know you
can create great content about (and with)
music and other sound using InDesign. And
with the content in this issue, I hope you’ll
be inspired and able to carry out any musicrelated publishing projects too.
In our main feature, Nigel French brings
his creative touch to the task of re-imagining
classic music posters using Photoshop and
Illustrator. Yes, this is InDesign Magazine, but
not only is this a fun exercise in creativity, it’s
also a great opportunity for you to expand (or
refresh) important skills in InDesign’s Creative
Cloud companions.
Next, we return to InDesign with an article
by Sandee Cohen and Diane Burns on how
to work with sound files in EPUB, DPS, and
PDF. If you work with any of these digital
publishing formats, then you need to be well
versed in how to add sound files to give your
publication an engaging voice of its own.
Then, we turn to musician and InDesign
expert Adam Haus for a survey of fonts for
musical typesetting. Whether you’re into
Mozart or Miley, Adam’s got the fonts you
need to hit all the right notes (or at least to
print them).
And then we have not one, but two
InDesigners on iconic publishers in the field
of music. First, David Blatner takes a look
at the largest music print publisher in the
world, Hal Leonard. Then, former InDesign
Magazine Editor in Chief Terri Stone is back
for a chat with the folks who bring you
Rolling Stone magazine. Rock on!
In the GREP of the Month, Erica Gamet
shares a pair of codes that are both incredibly
useful and easy to remember. And the Best
of the Blog features recent must-read articles
from InDesignSecrets.
Enjoy!
3
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4
InSide: Table of Contents
6
15
23
31
32
40
Classic Concert Posters Reimagined
Nigel French shows how to create a variety of music
posters, inspired by iconic artists and designs.
Publishing With Sound
Sandee Cohen and Diane Burns show to enhance ePubs,
PDFs, and DPS apps with audio.
Fonts for Creating Musical Layouts
Adam Haus surveys the landscape of fonts for musical
typesetting.
GREP of the Month: Horizontal and Vertical Spaces
Erica Gamet offers some easy to remember codes you can
use to quickly select any kind of whitespace.
InDesigner: Hal Leonard
David Blatner profiles the world’s largest music print
publisher.
InDesigner: Rolling Stone Magazine
Terri Stone uncovers how InDesign and DPS are used to
produce the most famous music magazine of all.
Best of the Blog A collection of the most important
and informative articles from InDesignSecrets.
46
A Script for Counting List Items
48
Four Causes for Text Wrap Misbehavior
51
A Script to Create a Grid of Color Swatches
52
A Shortcut to View Pages Horizontally
54
Making a Custom Composition Highlighter to Find
Invisible Characters
58
Ink Manager: Never Forget This Step
Before Exporting a PDF
60
InDex to All Past Issues
e
D
In
is gn
ag
M
g
u
A
4
1
20
5
FPO
IMAGE
by Nigel
French
6
any a graphic designer’s
introduction to the profession
has been through the design
of music flyers: advertising gigs for your own
band or for your friends’ was a way to keep
down costs, but more importantly to convey
the band’s aesthetic beyond the music.
Long before the term “branding” was thrown
around, the look of the poster conveyed the
style of the band.
For this article, I have recreated/mashed
up four different posters, each reflecting a
different design style and musical genre and
raising unique issues. I know this is InDesign
Magazine, but in this age of the Creative
Cloud, for many of us, it’s becoming all just
one big toolbox. Of course, there are certain
tasks for which InDesign is not well suited.
For that reason, I’m using Illustrator (with
some help from Photoshop) to create effects
that aren’t easily achievable in InDesign. But
don’t worry, even if you’re not a seasoned
pro in these apps, you’ll be able to follow
along and produce these kinds of results in
your own work. Now, sit back, put on some
of your favorite tunes, and let’s see if we can
pick up some good vibrations.
The Jimi Hendrix
Poster
My first example is the poster for a
Jimi Hendrix concert at London’s
Royal Albert Hall (Figure 1). I began
with a Google Image search, both
to survey the variety of band
flyers and posters and to find
appropriate images to repurpose.
Not surprisingly, some images
are far too low-resolution to use
in print (and involve potential
copyright infringements),
so I need to change them
significantly, both from
a technical and a legal
standpoint.
Figure 1: The original Hendrix poster
(below) and my “remixed” version.
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Choosing a color palette
While I like using Kuler to create color
palettes, in this instance I used a more
expedient approach. I wanted the colors of
the poster to be suggested by the cover for
Axis: Bold as Love (the second Jimi Hendrix
Experience studio album, released in 1967).
I copied and pasted a low-res image of
album cover art into Illustrator. Then I used
the Image Trace panel (Window > Image
Trace) in Color mode, to reduce the number
of colors to nine (Figure 2). I expanded
the result and made a Color Group of the
selected artwork, checking the box to
make the colors global for ease of editing
thereafter.
Creating the background
Buried among Photoshop’s custom shapes
is a registration target—perfect for a
psychedelic background (Figure 3). If you
don’t see this shape, choose All from the
widget at the top right of the Shape panel
dropdown. I drew this—size doesn’t matter
since it’s vector artwork—then copied and
pasted it as an editable compound path
into Illustrator, where I scaled it to cover the
whole artboard.
Next, I converted it to a Live Paint
object, allowing me to color the individual
segments. I used orange and magenta—
colors of similar value that intentionally
vibrate. I then applied a Stylize > Twist
effect to make it even more groovy
(Figure 4).
Figure 3: The
“psychedelic”
background begins
with a Photoshop
custom shape.
Figure 4: Scaled to cover the whole artboard, and stylized
with a Twist effect, the original shape is unrecognizable.
Figure 2: Creating a color palette from an
Image Trace result in Illustrator.
Vectorizing the image
For the Hendrix picture, I vectorized a lowres image in Illustrator. Image Trace can be a
frustrating tool—it comes tantalizingly close
to producing great results, but ultimately
it gives you an image that screams “Image
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Figure 5: The low-res screen capture is prepped in Photoshop with a mask and contrast adjustment.
This can then be image-traced in Illustrator and filled with color.
Trace.” For better results, prep the image
first in Photoshop. Anything you can do to
selectively adjust the contrast and mask
elements you don’t need beforehand will
save time.
For this particular image (Figure 5), I
masked the background, and applied an
Unsharp Mask filter to accentuate edge
detail . Then I increased the contrast using
a Levels adjustment layer and painted in
selective contrast on a Dodge and Burn layer
filled with neutral gray in the Overlay blend
mode (painting with white at low opacity to
lighten the image beneath and in black to
darken) . The result may look crude, but all
I’m concerned with is how Image Trace will
interpret the pixels. Using a Black and White
trace, anything darker than 50% becomes
black, anything lighter turns white. I want
a result that’s as simple—and as iconic—as
possible, while still conveying the essence of
the portrait.
Links work the same in Illustrator as in
InDesign, so I can go back and forth to
adjust the result: place the image, apply
Image Trace; then, as necessary, I can
edit the image in Photoshop to make
adjustments based on what I see. Photoshop
offers far more control over the contrast
than the Image Trace controls—I want to
use these, but only after I’ve adjusted the
contrast to get it as close as possible to what
I want.
For the Image Trace settings, in the
Advanced options, I moved the Paths slider
to the right for a more accurate trace, and
9
chose Ignore White, so that the negative
space is not drawn as a vector object
(Figure 6). This meant that I needed to add
a solid shape behind the face detail,
because having the background show
through is distracting.
Figure 6: Advanced options in the Image Trace dialog
box give you much more control over the final results.
Adding the type
When browsing typefaces for the Jimi
Hendrix poster, it’s hard to overlook one
that’s actually called Hendrix. Wary of falling
into the novelty font trap, after trialling
some others, I think it’s the best for the job.
“Hendrix” is available from fontcraft.com for
$18. You can download a trial version from
dafont.com.
Illustrator has excellent features for
working with display type, including the
ability to add multiple strokes to live type
through the Appearance panel (Figure 7).
And then there’s the ability to apply
warping to the text (Photoshop has the
same 15 warp styles). These canned styles
are just the starting point. Thereafter, you
can customize the warp using the Mesh tool,
pulling the individual nodes to shape your
type like Silly Putty, adding or subtracting
nodes as necessary, which is essentially
what I did with the venue and date text.
And all the while, the text remains editable.
That said, there’s no point in fetishizing “live
text”—ultimately there’s more flexibility
with the rotation and scale of individual
letters if you convert the type to outlines
(Type > Create Outlines or Command/
Ctrl+Shift+O). Just get it as close as possible
in its still-editable state before you commit.
Adding the texture
To finish the piece, I added texture in the
form of some folds and creases to “age”
Figure 7: Illustrator offers more features
than InDesign for creating effects with
live text, including multiple strokes to
text and for warping.
10
the poster. This is easier in Illustrator
or Photoshop than in InDesign. While
Photoshop allows more flexibility, I prefer to
keep the whole composition in Illustrator.
For that reason, I placed the texture on an
Opacity Mask layer in Illustrator (Figure 8).
This may seem confusing at first, but after a
few goes, it makes sense. Here are the steps:
»» Open the texture in Photoshop (I used
files from texturepalace.com). Because
we only need the gray values, I converted
the file to grayscale and increased the
contrast with a Levels Adjustment layer.
In order to retain the layers, I saved it as
a .psd file.
»» For the texture to apply to the whole
composition, you’ll need all the artwork
on one layer. Organize the individual
elements into logical groupings, naming
Figure 8: Using an Opacity Mask to add texture
to the composition.
each group, and then make a master
group of everything: you can drill down
to the sublayers to manage the artwork
thereafter.
»» Target the layer, and then, in the
Transparency panel, click Make Mask. This
will create a mask that is black: deselect
the Clip option to revert it to white. With
the mask thumbnail selected (it will have
an orange border), place the texture
file and size as necessary. If you need to
adjust the contrast of the texture, use
the Links panel to edit the texture in
Photoshop, and then update the link.
The other three posters applied similar
techniques—to avoid repetition, I’ll only
discuss the differences.
The Johnny Cash
Poster
The Johnny Cash poster is a reworking of a
Hatch Show Print poster (Figure 9). Hatch
Show Print is a letterpress studio based
in Nashville, TN since the later nineteenth
century and famous for their country music
posters. They have designed many Johnny
Cash posters, so the style felt appropriate.
Figure 9: My inspiration:
the Hatch Show Print poster
11
Stylizing the guitar
Starting with an image of a Martin guitar
(which the Internet informs me was Cash’s
favored brand), I converted it to a line
drawing in Photoshop. First, I converted
the layer to a Smart Object, applied the
Pixelate > Fragment filter, and then
changed the filter blending mode to Divide.
I stumbled on this trick a couple of years
ago—I don’t know why it works, but it
usually does (Figure 10).
I placed the image in Illustrator and
applied Image Trace. After expanding the
result, I scaled the vectors and rotated as
necessary. I copied the interior portion,
joined the open endpoints, and filled with
Figure 10: The original guitar picture and the “line art”
version created in Photoshop.
red. The blending mode is set to Multiply
at 90% so that it combines with the yellow
stars beneath.
The poster’s border is roughed with the
Warp tool.
The Pink Floyd Poster
This one is inspired by the famous 1955
Beethoven poster by Joseph MüllerBrockmann and also by the “Op Art” poster
commemorating an early Pink Floyd concert
(Figure 11).
Illustrator’s Polar Grid tool makes this
easy. Draw a polar grid, holding the Shift
key to constrain it to a perfect circle. As
you do so, tap the right/left arrow key to
increase or decrease the number of radial
Figure 11: My inspiration: Joseph Müller-Brockmann’s
Beethoven poster and the Op Art interpretation of
Floyd’s famous Live at Pompeii.
12
dividers, and the up/down arrow key to
increase/decrease the number of concentric
dividers.
Position the center of the polar grid at the
bottom left of the artboard—much of it will
spill over onto the pasteboard.
Apply no fill and no stroke to the grid,
and then use the Live Paint tool to convert
it to a Live Paint Object. As such, you can
mouse over and fill the individual segments
to your liking (Figure 12).
Figure 12: Using Illustrator’s Polar Grid tool.
The Clash Poster
For the Clash poster, I wanted a low-fi
photocopied look—as suggested by the
image in Figure 13, which I think (though I’m
not certain) is an authentic flyer advertising
one of their 1978 concerts (diehard Clash
fans among you will note that my picture
is later than 1978, but hey, it’s just an
example).
For a photocopied look, I increased
the contrast of the picture in Photoshop,
placed it in Illustrator, added a clipping
path to reveal the individual band
member, and then copied this three
times, adjusting the clipping path as
necessary. The obvious filter choice
would be Photocopy, but this gave
a result that was too outlined, so I
Figure 13: My source material: the original
1978 flyer and a band photo.
13
used Stamp instead, making sure I had
chosen Black as my fill color (Figure 14).
Applying Photoshop filters in Illustrator
can significantly slow your computer’s
performance. Had I known in advance that
this is what I wanted, I would have applied
the filters in Photoshop, but because I was
still at the “working it out” stage, I chose to
do this in Illustrator. As with other examples,
it is the use of a texture, applied as an
Opacity Mask, that brings the piece to life.
Distressing the type
To introduce imperfections to the type,
I used Illustrator’s Touch Type tool. This
allowed me to make the baselines slightly
uneven—the way they might look with
press type. Finally, I added Opacity Masks
to the type layers and painted on these
in black to blunt the ends of the letters
(Figure 15).
of music or theatre posters and recreate
or remix them—you’ll be surprised at how
much you learn along the way.
n
Nigel French is a graphic designer, photographer, author,
and teacher living in Brighton, UK. He is the author of
InDesign Type and Photoshop Unmasked, both from Adobe
Press, as well as several titles in the lynda.com online
training library, including InDesign Typography.
Figure 14: Illustrator’s
Stamp effect is the
key to creating the
photocopied texture in
the Clash poster.
Figure 15: Using the Touch Type tool and painting on an
Opacity Mask to add imperfections to the type.
Conclusion
These four examples span a range of styles:
psychedelic, letterpress, Swiss modern, and
punk/DIY. It’s informative and lots of fun
to re-create these styles with the tools we
have today. If you’re looking for a challenge
between your day-to-day bread and butter
work, consider dipping into the back catalog
14
By Sandee Cohen and Diane Burns
Publishing With Sound
How to add all the bells and whistles to ePubs, PDFs,
and DPS apps with audio files.
In 1984, when Steve Jobs showed the
images and word processors on the
first Macintosh, the crowd was politely
enthusiastic. But when he revealed how
the computer could speak, the place went
wild. They jumped up and down in their
seats—cheering and screaming. It was
pandemonium. That’s the power of sound.
It’s one thing to write words or show
pictures, but add speech, music, effects, or
just plain noise, and you will captivate and
excite your audience.
For many of us coming from the print
world, it’s surprising how enjoyable—and
how easy—it is to work with sounds and
movies in digital document formats like
ePub, PDF, and DPS.
Audio Formats
The easiest way to get sound into InDesign
documents is to use audio files with the
H.264 encoding. And while there are other
sound formats with the H.264 encoding,
most people use MP3 files.
Converting files to MP3
If all your sound files are in the MP3 format,
you’re good to go. However, it is very likely
that you will have files in other formats than
MP3 that you will want to use—especially
if you have older audio files in WAV or
AVI formats. In that case, you can use the
Adobe Media Encoder. The application
will automatically be installed when you
install Premiere, After Effects, or Prelude. Or
15
Feature: Publishing With Sound
you can download and install it from the
Creative Cloud desktop application.
Open the Media Encoder. Don’t let
the size and complexity of the window
overwhelm you. All you need to focus on
is the Queue pane in the upper left corner
(Figure 1).
Click the plus sign to add files for
conversion. Use the Format options to
choose the new format for the file. Choose
MP3 to create audio files.
When you have added all the files you
want to convert, click the Start Queue
button (green triangle). The new files appear
in the location specified in the Output
File area. Once they have been converted,
Add Files
Format
Start
Figure 1: The Queue pane of the Adobe Media Encoder is
where you can convert video and audio files to the correct
format for digital publications.
your sound files can be placed into your
InDesign documents.
Working With Audio Files
Figure 2: A sound clip,
indicated by the diagonal
lines, inside its container
frame.
Despite the mind-bending concept (to a
print person) of adding sound to a page
layout, it’s actually very simple to work with
audio files. Our favorite use for a sound is
as a click effect that plays when a button is
activated. We might also add short bits of
music that play when a document is first
opened. If you know how to place an image
into InDesign, you already know how to
place a sound in a document.
Unlike placed images, there is no size or
resolution or proper ratio for the sound clip
inside the frame. It can be made taller, wider,
or placed inside any shaped frame. The
diagonal lines indicate how much space the
sound clip takes up on the page. The width
of this area is the width of the controller that
can be used in PDFs and ePubs to play and
stop the sound (Figure 3).
Placing Sound Files
Choose File > Place, and then choose
the sound file you want to import. Your
cursor changes into a Sound Clip cursor
that you can click or drag to add the
sound clip to the document. The sound clip
appears inside a frame with diagonal lines
and a small sound identification icon
(Figure 2).
Figure 3: Different sound clips inside different sized frames.
Only the width of the clip governs the size of the controller.
16
But you cannot “clip” or mask the sound
clip inside the frame for PDF output. The
mask will be adjusted to display the entire
size of the sound clip rectangle, even
though there is no visual element associated
with the sound.
However, not all features for sounds work
for all export options. Use the following
table as a guide for what you can expect to
do with sounds in digital publications.
Using the Media Panel
Once you have the sound clip on the page,
use the Media panel to preview the sound
and set the options for the sound in PDFs
and ePubs. (Use the Folio Overlay panel
to set the controls for the sound in DPS
apps. See “DPS Folio Overlays” for more
information20.
Select the sound on the page. Choose
Window > Interactive > Media. The Media
Play button
Feature
Poster
Controller
Button
prompts
PDF
Yes
Yes
ePub
No
Yes
Yes
No
DPS
Yes
No
Yes, but
only on Tap
One important thing to understand
about sounds in reflowable and fixedlayout ePubs is that only ePub 3 files
support multimedia actions such as
sounds and videos. This means that Mobi
books in the Amazon Kindle store do not
support sounds.
INDESIGN MAGAZINE 64 Playhead
August 2014
Time
indicators
Figure 4: The Media panel with the sound controls visible.
panel shows the controls and the poster
image for the sound (Figure 4).
Previewing sounds
You can preview placed sounds in your
documents with the Media panel. Click the
Play button to hear the sound. The playhead
moves along the sound playline to indicate
the current playback position within the clip.
As the sound plays, the Play button is
replaced by a Pause button. Click the Pause
button to stop the playback. The two time
indicators show how far along the playback
is and the total length of time of the
sound clip.
Setting the sound options
The Media panel also lets you apply various
sound options for how the sound plays in
the document (Figure 5, next page).
Play on Page Load sets the sound to
automatically play when the page is visible.
This makes sense for PDF and fixed layout
documents that display individual pages.
17
However, there are no pages in reflowable
ePubs. So a sound set to play on page load
plays as soon as the ePub opens—even if
the sound clip itself is placed much further
along in the document.
Stop on Page Turn sets the sound to
automatically stop when the page is no
longer visible. Again, reflowable ePubs don’t
honor this command, as there is no concept
of a page turn.
Loop repeats the sound until it is
manually stopped. This option is not often
used, as the practice of looping sounds
continuously is considered evil.
clicked. So you might want to include a
poster, or visual indicator, that lets people
know there is a sound in that location.
Use the Poster menu in the Media panel
to choose an image that will be used to
show where the sound is in the document.
These poster controls aren’t visible in either
reflowable or fixed layout ePubs exported
directly out of InDesign.
None leaves the sound clip frame empty.
The sound is still there, but there is no visual.
Standard uses the standard sound
poster image—sound waves coming out
of a stylized audio speaker. It’s not a bad
identifier, but it’s not your own (Figure 6).
Figure 5: The options for sounds in the Media panel.
Setting a Poster for Sounds
When a sound is included on a page, it acts
like a button that can play the sound when
Figure 6: The standard sound poster (left) and an image
used as a sound poster (right).
From File/Choose Image lets you import
a custom image to use as the sound poster.
Click the Choose button to choose the
custom image. Not all graphic file formats
can be used as a sound poster. We have
found that the best choices are pixel-based
files, such as JPEGs or PSDs.
Using Buttons to Play Sounds
Sound files can be prompted to play by
clicking the placed sound file, or you can set
a button to play, stop, or pause the sound.
(Buttons don’t work in ePub documents.)
Creating a button to play a sound is
fairly simple. Open the Buttons and Forms
panel (Window > Interactive > Buttons and
Forms). Create the object, and then click the
Convert to Button icon at the bottom of the
panel. The object displays the button icon
when Show Frames is turned on.
Next, you need to set the event. This is
the mouse or finger control that will prompt
the action. If you are creating for PDF, you
can choose any one of the events listed:
18
On Release or Tap, On Click, On Roll Over,
On Roll Off, On Focus, or On Blur. However,
if you are creating a button for DPS or
expect that your readers will read the PDF
on a tablet, you should only use the event
On Release or Tap; the other events aren’t
available.
In the Buttons and Forms panel, click the
plus sign (+) next to the Actions options.
Choose Sound. This opens the sound options.
The sounds that have been placed on the
page are listed in the Sound menu. Choose
the one you want to play. Then use the
Options menu to choose what you want the
button to do: Play, Stop, Pause, or Resume
playing the sound (Figure 7).
Figure 7: The sound options for buttons.
Hiding the Audio
Rectangle in PDFs
When a sound file plays in a PDF, you see
the sound’s audio controller as well as a
gray rectangle that covers the size of the
sound file within the frame (Figure 8). The
Figure 8: The sound controller as seen in an exported PDF.
controller lets your viewers play, stop, or
change the volume of the sound. Usually
this is a good thing. Unfortunately, most
designers don’t want the ugly gray rectangle
popping up. They create their own buttons
to control the sound and don’t want any
distractions on the page.
We used to hide the rectangle and
controller by making the sound and frame
that holds it only one pixel in size. But it
was hard to work with a microscopic sound
frame. Fortunately, we discovered a better
way. The trick is to cover the sound file with
a white button. This button can then be set
to do nothing with no actions.
Because it is above the sound, it stays
above the sound in the finished PDF.
However, the Hand icon will still display
when the cursor passes over this nonfunctional button. You can turn that off in
Acrobat Pro by selecting the white button
and changing it to Read Only in Acrobat’s
Button Properties dialog box.
19
Working With Sound
Controllers in ePubs
ePubs always show the controller for
a sound. This is helpful if you want the
reader to be able to start or stop the sound
themselves. But if you want the sound to
play automatically, you may not want the
controller to be visible.
For a fixed layout ePub, just draw an
opaque object over the sound clip. For a
reflowable ePub, you’ll need to group the
opaque object with the sound clip.
One of the exciting uses for sounds in
fixed layout ePubs is the read-aloud feature
that highlights each word of the text as a
recorded voice reads along.
It’s a terrific feature; unfortunately, there
is no way to export the text with sound
from InDesign. The read-aloud sounds
and word highlights have to be manually
added after the ePub is created. This is
why the feature is mostly found only in
children’s books that have limited amounts
of text.
DPS Folio Overlays
When you create DPS apps, use the Audio
tab of the Folio Overlays panel to control
how the sound plays as well as add
advanced features.
Auto Play: This setting is the same as Play
on Page Load in the Media panel. It causes
the sound to play when the user turns to
that page.
Delay: If you set Auto Play in the Folio
Overlays panel or Play on Page Load in the
Media panel, only the Folio Overlays panel
allows you to set a delay before the audio
plays. It’s usually a good idea to set a brief
delay, even .125 seconds, so that the audio
does not start playing before the page
loads. It also gives your reader a chance to
take in the entire page before the sound
starts (Figure 9).
You can also set a sound to Play in
Background Across Folio. We’re not too
sure if readers want that type of long-lasting
sound, but it does ensure that a narrator’s
voice doesn’t get cut off in mid-sentence.
Figure 9: Use the Folio Overlays panel to set a delay on
Auto Play, which helps prevent the audio file from playing
before the page is fully loaded.
Working With Sound
Controllers in DPS
One of the interesting things you can
do with the Folio Overlays panel is to set
images to control the audio playback. You
can create either a simple controller or a
progressive controller, which shows the
progress of the audio as it plays.
For a simple controller, you need only
two files. However, they must have very
specific names. Name the files with a _pause
20
or _play suffix, such as audio_play.png and
audio_pause.png. Add these two images to
an assets folder that contains no other files.
Next, load the images by clicking the
Controller Files folder icon in the Folio
Overlays panel. Point to a folder that
contains only the controller images. To use
the audio_play.png image as the poster
image, select the Show First Image Initially
checkbox (Figure 10).
You can also create a progressive
controller that displays a series of images
that show the progress of the audio as it
plays. Again, point to the Controller Files
assets folder to load the images. For a
progressive controller, the images must
be named in a very specific sequence that
includes an increasing number, such as
audio01_play.png, audio01_pause.png,
followed by audio02_play.png,
audio02_pause.png. As the audio plays, the
images will be shown in a sequence that
displays a visual of the audio progress. The
total number of play files you use will be
Figure 10: Click the Controller Files folder icon to choose
the images for audio controllers for sounds in DPS apps.
divided equally by the length of the audio.
For example, if your audio is 30 seconds and
you want the image bar to progress every
second, create a total of 30 files, named
audio_play01.png to audio_play30.png, with
their corollary pause versions (Figure 11).
It’s also a good idea to create the images
in the exact pixel size you want; scaling
them up will cause pixelation, and scaling
them down will make the file size larger
than it needs to be. Use PNG or JPEG images
with medium compression to best balance
image quality and file size.
Because it can take quite a bit of time
to create the images for a progressive
audio01_play.png
audio03_play.png
audio11_play.png
audio20_play.png
audio01_pause.png
audio03_pause.png
audio11_pause.png
audio20_pause.png
Figure 11: These images are part of a sequence that
displays the progress of the audio as a controller that fills
up from bottom to top as the audio plays.
controller (unless you automate the process;
see the sidebar on the next page), it’s a good
idea to choose a controller look and stick
with it throughout your DPS publications.
It can be very time consuming to change
them all with each new issue.
Audio in DPS Scrolling Text
DPS pioneer Bob Levine (boblevine.us)
recently showed us an ingenious use of
sound that he created for a March of Dimes
app called My 9 Months: My Guide to a
Healthy Pregnancy. It takes advantage of
the fact that sounds in DPS apps, by default,
don’t show any controller.
21
Using Illustrator to create audio controllers
Create a multi-state object with an object
state for scrolling text. Anchor each sound
clip, with no poster, so that it covers all the
text. Without a poster or controller, there is
no indication that there is a sound above
the paragraph (Figure 12).
In the app, as the reader scrolls through
the text, she can tap inside the area for
the paragraph. The sound clip that covers
the paragraph acts like a button that reads
aloud the text in the paragraph. This is very
helpful for readers who are not familiar with
the terms that the healthcare provider may
use when discussing the pregnancy with
the mother.
Sound Advice
Figure 12: Scrolling text within an object state with an
anchored sound clip for that paragraph of text.
As you design digital publications, consider
how sound can enhance your readers’
experience. A ePub on bird watching can
have the calls for each bird. A DPS magazine
might have an audio interview with the
subject of an article. Even the most simple
PDF can be enhanced with buttons that play
sounds. In any digital publication, sound
turns readers into listeners.
Adobe Illustrator is a great tool for creating the image sequence for an audio file
controller. You can create objects for Start and Pause buttons and then use blends
to precisely create the progress display. For example, if the audio takes five seconds
to play, double-click the Blend tool and create a blend so you end up with ten total
objects (eight specified steps plus the original two objects). This creates a player that
runs for five seconds, with each step lasting half a second.
Once you’ve created the artwork, exporting PNG files from Illustrator is tedious. And
if you need to make a small change, it’s twice as tedious. Fortunately, Adi Ravid has
created DPS Audio Player SkinMaker, a simple script for Illustrator that automates the
process of creating those files and naming them correctly. You can download the script
here. That page includes instructions for installing and using the script in Illustrator.
Thanks, Adi!
n
Sandee Cohen spent 20 years in advertising where she
created hundreds of radio commercials. She is thrilled to
add audio to InDesign layouts.
Diane Burns is a San Francisco-based consultant and
an Adobe Certified Instructor in InDesign and DPS. Her
firm TransPacific Digital creates ePubs and DPS apps for a
variety of clients.
This article is adapted from the book Digital Publishing with
Adobe InDesign CS6, by Sandee Cohen and Diane Burns. A
new edition for InDesign CC 2014 release will be published by
Adobe Press in the fall of 2014.
22
By Adam Haus
Fonts For Creating Musical Layouts
Typesetting With Notes and Chords
Instead of Letters and Words
Constructing musical notation for layouts
can be an arduous process, requiring plenty
of planning and patience. Developers have
come up with a number of dedicated visual
and code-based applications for musical
typesetting, but InDesign and Illustrator
can also be used to produce a variety of
musical layouts.
Music-specific applications such as Finale
and Sibelius include custom fonts. Some
of those fonts are also usable in layout
and word-processing programs, and there
are other fonts designed just for use with
applications like InDesign or Word. As you
might expect, the character maps for some
of these fonts are extensive, and essential to
using these fonts, whether they offer fancy
OpenType features or not. Some of these
fonts do not come in OpenType versions,
only TrueType or PostScript Type 1, but
many of those are free, so that’s a trade-off
you might want to consider.
Basic Notation Fonts
Sometimes you’ll only need to include
some simple musical notation in a layout,
especially if the project involves music
education materials for beginning students.
When that’s the case, consider these fonts.
MusiQwik and MusiSync
TrueType
Freeware
fontspace.com
23
Feature: Fonts For Creating Musical Layouts
These fonts allow you to create notes and
rhythms either with (MusiQwik) or without
(MusiSync) staff lines. They are designed for
“melodies” of single notes, but MusiQwik
can be used to create multipart scores as
long as each part consists of single notes,
such as a standard SATB vocal score for fourpart chorus (Figure 1).
Figure 1: You can generate this 4-part vocal score using
only MusiQwik.
These fonts are well suited to the tasks
of generating music lessons, exercises, and
simple melody charts. Although you cannot
generate multi-note chords, this would be
a good choice for instructional materials
that can be created relatively quickly, or for
examples within an article requiring only
melody lines.
A short video tutorial on using these
fonts was created by a piano teacher,
and shows the basics of typesetting with
mapped characters, which should be no
problem for experienced users of InDesign.
MusicEd and MusicEd Fingerings Fonts
TrueType
$25 single user; multi-user licenses available
musicteachertools.com
The MusicEd© font is designed for creating
basic musicianship materials with either
noteheads or Kodály stick notation, simple
worksheets, transparencies, and exams
(Figure 2).
Figure 2: MusicEd font character map
Elements of Musical
Notation
Here are some important elements to
look for when choosing fonts for music
typesetting:
»» Staff lines and clefs to orient notes
and indicate the passage of time
»» Notes and rests to indicate pitch,
duration, and rhythm
»» Key and time signatures
»» Dynamic markings for volume
changes
»» Accidentals (sharps and flats) to
indicate pitch modifications
The MusicEd fingering fonts provide
complete fingering for woodwinds and
brass. These fonts will be very useful in
creating method books, annotated editions
of current works, and newly composed
scores, which may require special fingerings
(Figure 3, next page).
24
Engraved Notation Fonts
If you need charts or samples with the look
of high-quality plate printing, resembling
traditionally typeset classical music scores,
engraved notation fonts are your best bet.
Most of them use advanced OpenType
features to provide complex notations.
MusicPro
OpenType
Single license: $39.95
p22.com
MusicPro takes full advantage of OpenType
features and contextual substitutions to
produce a wide range of symbols and
notations for Western music. Using stylistic
sets, titling alternates, contextual alternates,
and discretionary ligatures, you can add
chords, contextual accidentals (sharps and
flats), contextual key signatures, and time
signatures to generate single- or doublestaff musical notation (Figure 4).
Using stylistic sets can be challenging,
as there are no default keyboard shortcuts
Figure 3: MusicEd fingering fonts character map
Figure 4: Essential MusicPro features, excerpted from the included guide.
25
for this. However, once you become familiar
with common elements, switching sets gets
easier. And the versatility of these extended
character sets is worth the effort (Figure 5).
This is a good font for professionals who
need to create musical examples frequently,
and who are comfortable with using
advanced OpenType features.
Figure 5: Activating a stylistic set
to generate different symbols and
notation. You’ll need to turn each off
before activating a different set.
Sonata (Adobe)
OpenType
$29 for 5-seat license
adobe.com
This font contains any character you
could need for standard musical notation
(Figure 6). As part of the Adobe font family,
it’s been around since 1985 and has seen a
lot of beneficial use. More than a dingbat
font, it uses OpenType features to let you
create complex musical notation.
Handwritten Fonts
Many professional musicians are familiar
with handwritten scores/arrangements,
Figure 6: A small sample of the Sonata character map
26
which look more personalized than
engraved scores. This is the look of the
original jazz Real Books, which were
transcribed and handwritten by students in
the 1970s, and of many arrangements for
musical theater shows.
Jazz and Swing Fonts
TrueType
$19.95–$49.95
digitalriver.com
Here are two full-featured font sets that
include styles for notation, chord names,
percussion notation, and text. They can be
used with notation software such as Finale
and Sibelius, as well as with InDesign. Jazz
(Figure 7) has a more casual handwritten
look, while Swing (Figure 8) resembles a
more formal score, with a calligraphic feel.
Both fonts provide a more personal look
to scores and lead sheets than engraved
typesets, while offering a complete range of
standard notation and score markings.
Figure 8: Sample jazz chart created with Swing Font
Figure 7: Sample jazz chart created with Jazz Font
NorScript (text only, no notation)
TrueType and PostScript Type 1
Individual font: $16.95
Full package of 7 fonts: $85.95
jazzfile.free.fr
Sometimes you just need text that looks
like it came from a well-known music book.
These fonts replicate the handwritten text
of the Real Books very accurately, but they
contain no notation, so they would be
applicable only to text-only layouts, not lead
sheets or scores (Figure 9, next page).
27
Specialized Notation and
Chord Chart Fonts
If you’re venturing beyond the standard
harmonic/melodic notation of basic Western
music, these specialty fonts may come in
very handy.
Ronald Caltabiano Music Fonts
Sicilian Numerals (Figured Bass, Roman
Numerals, etc.)
Ghent Percussion & Ghent Mallets Font Set
(Percussion Symbols, etc.)
Rehearsal Font Set (Set of Three)
TrueType
$25 single license per font family; multi-user
licenses available
caltabiano.net
Percussion notation has always been
challenging, with the wide range of
instruments used by professional and
amateur players. The Percussion and
Mallets font sets seem particularly useful for
creating percussions scores using standard
Figure 9: Sample of what you can expect with the textonly NorScript font.
Figure 10: Ghent instrument, mallet, and playing method
symbols are included in the Caltabiano font set.
Figure 11: Figured bass and Roman numerals in Sicilian
Numerals font.
Figure 12: Various styles of numbering and lettering
available in the Rehearsal fonts.
Ghent notation developed in the 1950s
(Figure 10).
Figured bass is an essential feature of
baroque music (think Bach), and the Sicilian
Numerals font (Figure 11) has an extremely
complete set of characters to create these
specialized notations.
The three Rehearsal fonts (Figure 12) allow
you to create enclosed numbers for marking
scores with measure numbers and section
28
letters. These are frequently used in scores
for quick reference during rehearsals (hence
the font name). Conductors will ask players
to “start from measure 28” or “skip to section
G” as shorthand.
FretQwik
TrueType
Freeware
fontspace.com
FretQwik is both an alphanumeric text font
and guitar fret diagram builder. Half of the
font consists of ordinary alphanumeric
characters from a third-party publicly
licensed font. The other half of the font has
component symbols that can be pieced
together to build nearly any standard
guitar chord (6-string guitar, or 4-string
ukulele or lute). Many guitarists don’t read
standard notation, and easily-created chord
symbols using this font are extremely useful.
Given the popularity of guitar and, more
recently, ukulele, this will be a useful tool
for generating chord symbols to go with
melody lines (Figure 13).
Figure 13: A variety of guitar chord symbols built
using FretQwik.
Caeciliae
TrueType
Freeware
marello.org
Gregorian chants regained popularity in
the 1990s, thanks to an album by some
ambitious European monks. If you need to
create notation that looks strikingly similar
to medieval calligraphic scores, Caeciliae is
an excellent option (Figure 14). Not only is it
free, but it includes a detailed tutorial!
Figure 14: This score is beautiful even if you’ve never heard
the music it represents.
MICRO 3 (microtonal notation)
OpenType
$25
mindeartheart.org
Microtonality, in which notes are divided
into small divisions, is more common
in non-Western than in Western music.
Most of those musical traditions have no
notation systems whatsoever. Consequently,
creating a font for standardized microtonal
29
The
notation has been a difficult task. Ted
Mook’s MICRO 3 (Figure 15) is designed for
a 1/12th-tone notation system, in which the
standard Western 12-tone octave is divided
into 72 microtones. The visual quality of
these characters would also be appropriate
to lend interest to nonmusical layouts as
well. To hear examples of microtonal music,
check out the work of American pioneer
Harry Partch, who built many microtonal
instruments.
Coda
Using InDesign to generate musical
scores of all types is a good and satisfying
option, especially with the OpenType
options available with some of these
fonts. You won’t need to have a degree in
orchestration to efficiently create clear,
accurate music on the page as long as you
know how to read a character map. Now, it’s
time to head out for some live music!
InDesign
Conference
n
Adam Haus has been on all sides of publishing production,
including editorial, in the past two decades. He also plays
regularly with jazz and Latin groups, and has become
comfortable with gigs that require charts and ones in
which written charts would seem out of place.
Figure 15: Some of the complex microtonal characters available in MICRO 3
30
GREP of the Month
\h \v
Horizontal and Vertical Spaces
With these easy to remember codes, you can quickly
select any kind of white space with GREP.
If you use GREP in InDesign, you either know
the name Peter Kahrel or you should. He
literally wrote the book on using GREP in
InDesign. I had the pleasure of meeting him
in person at this year’s PePcon (in my GREP
session, so no pressure there). He let me in
on a little addition to InDesign’s subset of
GREP expressions that goes back to CS6: the
wild cards \v and \h, that represent vertical
and horizontal white space, respectively.
The \v wildcard will find both hard and
soft returns, so it can be used in place of
the [\r\n] expression. However, the \h
expression has even more promise in that it
will find all white space except for the return
character \r. That will make looking for two
or more spaces even easier.
The built-in GREP expression for
“multiple space to single space” looks for
[~m~>~f~|~S~s~<~/~.~3~4~%]{2,}, which
looks for each specific type of white space
when there are two or more together. We’ve
always been able to simplify it as \s{2,}, but
unlike the previous expression, that will also
find—and change—multiple returns.
Using the \h command, that expression
can be written more simply as \h{2,}
which will find everything from the first
expression, as well as multiple tabs in a row,
but not the multiple return characters.
For those who use GREP for text cleanup
a lot, this could be a huge timesaver. If
you’re not using at least the built-in GREP
expressions to automate with InDesign,
what are you waiting for?
—Erica Gamet
31
By David Blatner
www.halleonard.com
Whether you’re into the Beatles, Beach Boys,
Miley Cyrus, or Stephen Sondheim, Hal
Leonard publishes the music you love—
the sheet music, at least! In fact, if you’ve
ever bought sheet music, there’s a good
chance you have something published
by Hal Leonard, the largest music print
publisher in the world.
Hal Leonard was founded in 1947 (the
name is a combination of two brothers’
nicknames: Harold “Hal” Edstrom and
Everett “Leonard” Edstrom), and now sells a
catalog of over 200,000 products, including
songsheets, artist songbooks, instrument
instruction books and magazines, and books
about how to make it in the music industry.
Astonishingly, an in-house team
of only 16—about half designers and
half production staff—design and
construct thousands of products and
promotions every year. After switching
from QuarkXPress about 8 years ago, they
became enthusiastic users of the Creative
Suite. Today, they are Creative Cloud
members, and InDesign forms the backbone
of their publishing workflow.
When it comes to “typesetting” the music
itself, they don’t use InDesign. (Setting
musical notation is called “engraving.”) That
job is handled with other software, such
as Sibelius or Finale. Music engravers have
their own set of design rules which take into
account factors such as the “optimal page
turn” (where a musician can turn the page
while playing).
The notation is then saved as PDF or
EPS files and imported into InDesign using
tools such as the PlaceMultiPagePDF.jsx
script. (You can find this script buried deep
inside InDesign’s Scripts panel; doubleclick it to place each page of a PDF onto a
different page of your InDesign document.)
32
Additional images and text are then placed
around it in InDesign. These documents may
span anywhere from a few pages to a full
book of a few hundred pages.
Plus, there are often multiple versions of
the same song. Disney’s recent hit Frozen
required over 25 different arrangements
for various instruments, orchestras, and
voice! Each musical arrangement is like a
translation into a different language… and
of course the arrangements are often
literally translated into other languages, too.
And printed sheet music is only one part
of the Hal Leonard publishing story. For
example, John Jacobson’s Music Express is a
16-page magazine published both in print
and as an interactive PDF that reaches three
million schoolchildren around the globe.
Richard Slater, Vice President of Creative
Services, notes, “We purchase photography
and illustration, but all design is done
in-house. We meet with the editor, we’re
provided with the music, and we design
these page spreads in InDesign, Photoshop,
Designers in Hal Leonard’s Creative Services create original
book product covers using custom photography and text
within InDesign.
This is a full page music trade magazine ad featuring an
innovative Book/DVD product line called At a Glance.
and Illustrator. The challenge came when
they said they’d really like to give teachers
an opportunity to project this on digital
whiteboards in class and play video and
audio clips.” InDesign’s ability to incorporate
rich media into interactive PDF is key to the
success of the magazine. Even better, the
print, multimedia, and teacher versions of
the magazine are produced from a single
InDesign document.
33
Slater’s team also produces a prolific
amount of sales material to support
the products, including many catalogs
showcasing hundreds or thousands of
products. First, Hal Leonard’s advertising
group uses InDesign with Em Software’s
InData plug-in to choose which products
and images to use and pull together a
rough layout of what each catalog should
contain. Then the creative group goes to
work, formatting and finessing the catalog
into its final design. This saves a lot of effort
moving layouts back and forth between the
two teams.
Although the majority of the company’s
products are printed—they have their own
half-million square foot (45,000 m2) print,
warehousing, and distribution center—
they have also made strong moves toward
producing EPUB files and iPad apps. The
demand for digital sheet music is slowly
growing, though most musicians appear
to still prefer print. But, as Dan Gerber,
manager of Hal Leonard’s eBooks division,
A two-page spread from one of dozens of catalogs produced annually by Hal Leonard’s advertising group.
noted, “imagine having thousands of
songs published at your fingertips!”
In order to maintain the precise look of
the music notation, pages are rasterized
and saved as PNG images. (They tried
saving the artwork as vector SVG files
instead, but buggy EPUB readers led to
inconsistent results.)
When asked which InDesign features
the team uses most often, they point to
the ability to place one InDesign file into
another. For example, six or seven designers
34
work on the Music Express magazine, each
creating an individual spread with a unique
style. As production team leader Nicole
Full page magazine ad converted to an email with web links
and a product overview video.
Julius points out, by importing each of these
InDesign spreads into a “master” InDesign
document, “it’s so much easier to update
things! And then when I package, each
InDesign document packages individually,
too.” This also makes repurposing magazine
content easy, because each spread is
independent.
Julius continued, “Also, you can add
Nested Styles, GREP Styles, Object Styles,
and the super-helpful and powerful Find/
Change to my list of favorite features.”
Dan Gerber applauded the Conveyor
tools (the Content Collector and Content
Placer), explaining that he loves how you
can place a text frame once—for example,
a song credit—and then duplicate and
link it throughout a document. Then, later
if you need to edit it, you can change it in
one place and all the linked frames update
automatically.
This interest in some of the newer
InDesign features is not rare at Hal Leonard.
While at least half of the team members
have been on staff for over 20 years, they’re
still excited to try new features. As Slater
concluded, “We have to keep learning new
Screen shot from a Hal Leonard Guitar Tab Method iBook
that features audio alongside the music examples. The
book is exported from InDesign to EPUB format and the
ebook team tweaks the CSS and adds audio files for a
complete learning experience for the end user.
35
tricks. It’s a proven fact that we’ve been able
to produce a very large amount of product
with a limited staff because we’re working
smart and using the newest versions of all
these products.”
n
David Blatner is the co-host of InDesignSecrets.com
and The InDesign Conference.
Spread from a Hal
Leonard Guitar Tab
Method book. Note the
use of anchored objects
and split columns to
achieve the desired
design. Anchored objects
include photos, music,
vector graphics, as well
as other text frames.
36
Order form for a series of piano method books. Raw catalog data is generated from a database and
delivered into InDesign via InData. Note the use of tables to format and lay out the information.
37
Spread from Music Express student magazine (of which Hal Leonard prints nearly 1 million copies each year). Each spread in the 16-page magazine
is laid out by a different designer. The final magazine is produced by importing several InDesign documents into a single file. This file is sent to print
as well as adapted for interactive presentation. You can see the imported audio files and video files on the left side of the spread. The complete
magazine is exported as an interactive PDF and used on interactive whiteboads and video/computer displays in classrooms.
38
This teacher is using Music Express magazine on her classroom’s interactive whiteboard.
Cover file for the teacher magazine. Final cover art is provided, and then the InDesign file
is placed within this document. File is set up as spreads, and final print PDF is sent to press
as a spread.
39
By Terri Stone
www.rollingstone.com
While I haven’t met Rolling Stone’s Joe
Hutchinson or Pino Impastato in person, I
bet they have serious under-eye circles—
there is no way these hard-working creatives
get much sleep.
Hutchinson Ieads the Rolling Stone art
department, which consists of five people
who handle art direction and design of the
print version, published every two weeks.
Pino Impastato’s team translates the print
design into a digital publication with Adobe
DPS, also published bi-weekly.
Hutchinson remembers that when he
joined the magazine in 2007, it still used
QuarkXPress. Soon after, the company
moved to InDesign and InCopy. “My team
had to rebuild all of the templates, and I
took the opportunity to update the design,”
he recalls. “There was a massive change in
how we produced the magazine.”
Hutchinson led the crew that created
the look and feel of the Rolling Stone tablet
edition, which debuted in January 2013.
“I felt it was important to take advantage
of what the iPad can do in terms of how
you tell stories and deliver information,” he
says. “The iPad could employ video, audio,
animation, and other interactivity. But we
were also a small team that produces a
magazine every two weeks, so there were
time and personnel constraints. And there
was a learning curve. With proper training,
we got there. And I think we came up with
a tablet edition that fits Rolling Stone in look
and feel.”
Impastato explains the workflow:
“The print edition is laid out first by Joe
Hutchinson’s group. Then my team and I
start repurposing the print version to DPS.
Once the final print layout is released and
40
printed, we go back and adjust the DPS
versions with final copy and by linking final
retouched artwork.”
When I expressed my sympathies to
Impastato for having to publish a DPS
magazine every two weeks, he laughed.
“Actually, my team and I design two DPS
magazines: Rolling Stone and Us weekly. I
have a great team, and being organized is
a huge factor in not losing my mind. I have
Excel spreadsheets so that I always know
what any one of my designers is working on.”
When working in InDesign and DPS,
Impastato says he enjoys the “ease of use of
it all. Almost everything is at your fingertips.
We love the interactivity of it.” They have
been on InDesign CS 5.5 but are in the
process of upgrading to InDesign CS6.
1942-2013
By David Fricke
Punk and poetry on the wild side: The life and times
of the outsider who changed the course of rock & roll
O
ne night in the mid-seventies, patti smith was finishing a set at new
York’s CBGB with a Lou Reed song, “We’re Gonna Have a Real Good Time Together,”
when she and her band suddenly veered into the frat-rock anthem “Louie, Louie.” At the
end, as she walked off the stage, Smith ran into Reed, a hero and acquaintance of hers,
leaning against a wall. Smith said hi. Reed, who had written the former song when he was
the singer-guitarist in the Velvet Underground, coolly replied, “So I heard that. What was
your intention?” ¶ “I said, ‘Respect,’ ” recalls Smith, who saw the Velvets live in 1970. She is telling this story the
day after Reed’s death, at 71 of liver disease on October 27th. “He looked at me, then he said, ‘OK.’ That was it.
We were fine.” She laughs. “I think he secretly had a little laugh out of that segue. It came from a heartfelt place.”
But, she noted, “he was checking on me.” ¶ Reed, who underwent a liver transplant in April, died at his home in
1942-2013
“For 21 Years
We Tangled Our
Minds and
Hearts Together”
“I have never seen
an expression as
full of wonder as
Lou’s as he died.”
the diseases, and treatments. He kept
doing tai chi every day for two hours,
plus photography, books, recordings,
his radio show with Hal Willner and
many other projects. He loved his
friends, and called, texted, e-mailed
when he couldn’t be with them. We
tried to understand and apply things
our teacher Mingyur Rinpoche said
– especially hard ones like, “You need
to try to master the ability to feel sad
without actually being sad.”
Last spring, at the last minute,
he received a liver transplant, which
seemed to work perfectly, and he alAnderson
most instantly regained his health and
and Reed,
2002
energy. Then that, too, began to fail,
and there was no way out. But when
the doctor said, “That’s it. We have no
more options,” the only part of that Lou heard was “options” –
he didn’t give up until the last half-hour of his life, when he suddenly accepted it – all at once and completely. We were at home
– I’d gotten him out of the hospital a few days before – and even
though he was extremely weak, he insisted on going out into the
bright morning light.
As meditators, we had prepared for this – how to move the
energy up from the belly and into the heart and out through the
head. I have never seen an expression as full of wonder as Lou’s
as he died. His hands were doing the water-flowing 21-form of
tai chi. His eyes were wide open. I was holding in my arms the
person I loved the most in the world, and talking to him as he
died. His heart stopped. He wasn’t afraid. I had gotten to walk
with him to the end of the world. Life – so beautiful, painful and
dazzling – does not get better than that. And death? I believe
that the purpose of death is the release of love.
At the moment, I have only the greatest happiness and I am
so proud of the way he lived and died, of his incredible power
and grace.
I’m sure he will come to me in my dreams and will seem to be
alive again. And I am suddenly standing here by myself stunned
and grateful. How strange, exciting and miraculous that we can
change each other so much, love each other so much through our
words and music and our real lives.
By Laurie Anderson
I
after that, he said, “Would you like to see a movie?” Sure. “And
then after that, dinner?” OK. “And then we can take a walk?”
“Um . . .” From then on we were never really apart.
Lou and I played music together, became best friends and then
soul mates, traveled, listened to and criticized each other’s work,
studied things together (butterfly hunting, meditation, kayaking). We made up ridiculous jokes; stopped smoking 20 times;
fought; learned to hold our breath underwater; went to Africa;
sang opera in elevators; made friends with unlikely people; followed each other on tour when we could; got a sweet piano-playing dog; shared a house that was separate from our own places;
protected and loved each other. We were always seeing a lot of art
and music and plays and shows, and I watched as he loved and
appreciated other artists and musicians. He was always so generous. He knew how hard it was to do. We loved our life in the West
Village and our friends; and in all, we did the best we could do.
Like many couples, we each constructed ways to be – strategies, and sometimes compromises, that would enable us to be
part of a pair. Sometimes we lost a bit more than we were able to
give, or gave up way too much, or felt abandoned. Sometimes we
got really angry. But even when I was mad, I was never bored. We
learned to forgive each other. And somehow, for 21 years, we tangled our minds and hearts together.
It was spring in 2008 when I was walking down a road in
California feeling sorry for myself and talking on my cell with
Lou. “There are so many things I’ve never done that I wanted
to do,” I said.
“Like what?”
“You know, I never learned German, I never studied physics,
I never got married.”
“Why don’t we get married?” he asked. “I’ll meet you halfway.
I’ll come to Colorado. How about tomorrow?”
“Um – don’t you think tomorrow is too soon?”
met lou in munich, not new york. it was 1992,
and we were both playing in John Zorn’s Kristallnacht
festival commemorating the Night of Broken Glass in
1938, which marked the beginning of the Holocaust. I
remember looking at the rattled expressions on the customs officials’ faces as a constant stream of Zorn’s musicians came through customs all wearing bright red rhy thm
a nd jews! T-shirts.
John wanted us all to meet one another and play with one
another, as opposed to the usual “move-’em-in-and-out” festival mode. That was why Lou asked me to read something with
his band. I did, and it was loud and intense and lots of fun. After
the show, Lou said, “You did that exactly the way I do it!” Why
he needed me to do what he could easily do was unclear, but this
was definitely meant as a compliment.
I liked him right away, but I was surprised he didn’t have an
English accent. For some reason I thought the Velvet Underground were British, and I had only a vague idea what they did.
(I know, I know.) I was from a different world. And all the worlds
in New York around then – the fashion world, the art world, the
literary world, the rock world, the financial world – were pretty
provincial. Somewhat disdainful. Not yet wired together.
As it turned out, Lou and I didn’t live far from each other in
New York, and after the festival Lou suggested getting together.
I think he liked it when I said, “Yes! Absolutely! I’m on tour, but
when I get back – let’s see, about four months from now – let’s
definitely get together.” This went on for a while, and finally he
asked if I wanted to go to the Audio Engineering Society Convention. I said I was going anyway and would meet him in Microphones. The AES Convention is the greatest and biggest place
to geek out on new equipment, and we spent a happy afternoon
looking at amps and cables and shop-talking electronics. I had
no idea this was meant to be a date, but when we went for coffee
GUIDO HARARI/CONTRASTO/REDUX
Lou
Reed
Lou Reed
“No, I don’t.”
And so the next day, we met in Boulder, Colorado, and got
married in a friend’s backyard on a Saturday, wearing our old
Saturday clothes, and when I had to do a show right after the ceremony, it was OK with Lou. (Musicians being married is sort of
like lawyers being married. When you say, “Gee, I have to work
in the studio till three tonight” – or cancel all your plans to finish the case – you pretty much know what that means and you
don’t necessarily hit the ceiling.)
I guess there are lots of ways to get married. Some people
marry someone they hardly know – which can work out, too.
When you marry your best friend of many years, there should
be another name for it. But the thing that surprised me about
getting married was the way it altered time. And also the way it
added a tenderness that was somehow completely new. To paraphrase the great Willie Nelson: “Ninety percent of the people in
the world end up with the wrong person. And that’s what makes
the jukebox spin.” Lou’s jukebox spun for love and many other
things, too – beauty, pain, history, courage, mystery.
Lou was sick for the last couple of years, first from treatments
of interferon, a vile but sometimes effective series of injections
that treats hepatitis C and comes with lots of nasty side effects.
Then he developed liver cancer, topped off with advancing diabetes. We got good at hospitals. He learned everything about
Amagansett, New York, after a half-century of composing, recording and touring: first in the mid- and late Sixties
with the Velvet Underground, arguably the most misunderstood and prophetic band of that decade in its fusion
R ol l i n g S t o n e
46
R ol l i n g s t o n e . c o m
r ol l i n g s t o n e . c o m
47
of severe avant-garde drive and Reed’s frank, gripping songcraft; then across more than two dozen consistently
Reed in 2003
r ol l i n g s t o n e . c o m
41
Lou Reed appeared many times in the magazine’s pages,
including this memorial article. This is from the print edition.
41
On the Cover of the Rolling Stone
Of course, you can’t have an article about
this magazine without discussing its iconic
covers.
“The cover is the most important page
of the magazine,” Hutchinson says. “It must
draw readers in and be compelling. It has
to sell the great journalism and content
we have inside. There are a lot of factors
involved in trying to get the cover right.”
While he understands why some
magazines have a lot of cooks in the cover
kitchen, he says that Rolling Stone covers
are a “pretty straightforward process. We
are not a big bureaucracy. The owner of
the company is also its founder, publisher,
and editor in chief, Jann Wenner. He is very
involved with the cover and knows what he
is doing. So a small group of us—including
the owner, managing editor, and photo
director—narrow the choices for the cover
image and pick one that we believe is best.
The managing editor and his senior editors
devise cover language. I design the cover.
The owner and managing editor review and
approve the cover design. It is that simple.”
n
Terri Stone, former editor in chief of InDesign Magazine, is
now content director for Adobe Inspire Magazine.
“There is a lot of
pressure to get the
cover right,” notes
Joe Hutchinson.
42
ree
How the thls of
ir
g
y
le
al
V
ame the
Haim bec olest
year’s co d
new ban
In the DPS issue, many
articles include interactive
try-and-buy links.
SH INY HAP PY SISTERS
The family
Haim: Alana,
Danielle and
Este (from left)
PHOTOGRAPH BY PEGGY SIROT
A
BY JONAH WEINER
he four
young Irishmen on the stage of the Ed Sullivan Theater in New York look like they
have walked right out of 1965 – specifically,
the London blues explosion of the Who, the
Small Faces and the early, cherub-faced
Rolling Stones. The Strypes – guitarist
Josh McClorey and bassist Pete O’Hanlon,
both 18; drummer Evan Walsh, 17; and
singer Ross Farrelly, 16 – are soundchecking for an appearance on Late Show With
David Letterman and are already dressed
to kill: tight jackets and sweaters, stovepipe trousers and, except for Walsh, pageboy hair with curtainlike bangs. The
drummer, a baby-faced dynamo with a
halo of sandy curls, suggests Keith Moon
joining the Jimi Hendrix Experience.
The Strypes run through “What a
Shame,” from their debut album, Snapshot, like a sword. The song is a twominute ruckus packed with retrospective
passions: slashing-treble licks inspired by
late-Fifties Chess 45s and the freakout
parts from Yardbirds hits, executed at the
martial velocity of the Ramones. (Farrelly
accurately calls the music “speed blues.”)
Guitarist Sid McGinnis of the Late
Show band mouths the words “Oh, my
God!” with an astonished smile, then goes
over to O’Hanlon after the rehearsal to
ask about his bass attack. Later, when the
Strypes perform for the live audience, Letterman comes out from behind his desk,
raving all the way: “How about that? Yeah!
Fantastic! Way to go!” Behind him, the
Strypes barely crack a grin. They’re used
to that reaction.
Formed in Cavan, a small town in
north-central Ireland, the Strypes have
racked up a glittering host of famous fans
– including Jeff Beck, Roger Daltrey, Paul
Weller and Noel Gallagher – since 2012,
when their first release, a homemade EP
of Bo Diddley, Slim Harpo and Motown
Senior writer David Fricke wrote
about Green Day in RS 1204.
48 | R ol l i n g S t o n e |
“I freaked out,”
says Elton John
about the first time
he saw the Strypes.
“It seemed like
they were from
another planet.”
rollingstone.com
drive with polite confrontation, in accents
as thick as chowder. “People say we’re
aping these older bands – no, we’re not,”
O’Hanlon says after the Late Show taping, sitting with a can of Coke at the band’s
hotel. “I don’t have the same bass settings
as John Entwistle. Josh doesn’t have the
same guitar tones as Jimmy Page. When
we play this music, it’s our style.” He likens the Strypes, with absolute seriousness,
to “a bag of carrots. That combination of
carrots has never been seen before. It’s not
brand-new. But it’s different.”
“The Black Keys’ first three albums are
straight-up blues,” Farrelly points out,
looking a lot closer to his age minus the
mod sunglasses he wears at gigs and in
photos. “No one asked them, ‘Why are
you playing this music that predates your
birth?’ All the bands we like – the Small
Faces, the Jam – were 16, 17 when they
started. Once you’re creating good, proper
music, it shouldn’t matter about your age.”
Walsh is blunt about his interest in
contemporary pop and hip-hop – he has
none. “I can’t relate to it at all,” he says. “It
means nothing to me.” Instead, he talks
avidly of his first exposure to the Kinks
and Chuck Berry, via Niall’s record collection and the car stereo on family trips.
Walsh’s subsequent discovery of the Animals, blues-era Fleetwood Mac and Seventies pub-rock band Dr. Feelgood was
“a portal,” he says, to “the sheer raw emotion” of American blues and R&B pioneers
such as Johnny Otis, Elmore James and
the Coasters.
In at least one way, the Strypes are exactly like the rest of their generation. They
did a lot of their research online, looking
at clips on YouTube and reading Wikipedia bios. “We’d watch Beatles and Stones
videos,” McClorey explains, “then look at
the suggestion box and see the Yardbirds.
We’d get into that, look at the back of their
album and see Howlin’ Wolf’s name. It was
a constant thing.”
Walsh accepts that “people are obsessed
with years” but says the Strypes just did
“the most obvious thing in the world”
with their obsession. “Teenage boys form
bands.”
“it’s come up in the last year and a
half,” Walsh says, pointing to a large,
nasty-looking welt on his left hand, between the thumb and foref inger. “It
doesn’t affect my day-to-day life. This is
very sore, though.”
The drummer gingerly wiggles the
third finger on his right hand. Three
nights before the Late Show performance,
during a Strypes show in Toronto, Walsh
says he felt a pop, then saw a “big knot
there” – just below the knuckle. “We managed for another 40 minutes. I played
even faster to get done, because of the
pain.” After the gig, a medic said Walsh
has dislocated the joint. He has tendiA p r i l 2 4 , 2 014
DANA (DISTORTION) YAVIN
T
THE STRYPES
covers, became a surprise hit on iTunes.
Beck hung out with the Strypes during
their first trip to London, in 2012. Studio
legend Chris Thomas, who engineered albums by the Beatles and produced the Sex
Pistols, came out of retirement to work
on Snapshot. Elton John was so smitten
by a video of the Strypes busting through
Diddley’s “You Can’t Judge a Book by the
Cover” that he signed them to his management firm, Rocket Music. “I freaked out – I
couldn’t believe they were so young,” John
says. “It seemed like they were from another planet.”
The Strypes’ precocious grip on British-R&B history and its black American
roots has made an impact on their own
demographic too. Snapshot – mostly original songs written by McClorey and the
rest of the band – was a Top Five U.K. hit
last year, and the Strypes’ shows in Ireland and Britain set off a mania usually reserved for the kind of boy bands that
don’t play instruments. “The front row is
getting younger and younger,” says Chris
Difford of the British band Squeeze, who
works with the Strypes as a producer and
adviser. “It’s like the audience is discovering that music for the first time, which
they probably are.”
An early version of the group, founded
by Walsh, O’Hanlon and McClorey, played
its first gig in 2007 at the three friends’
primary school in Cavan (Walsh was 11).
After Farrelly joined in 2011, the Strypes
played 200 shows in a year, enough to
convince their parents it was time for the
boys to quit formal education. “They were
hanging out with Jeff Beck in London,
then back in class Monday morning, trying to concentrate on math,” says Walsh’s
father, Niall, 53, who was the Strypes’
first manager and still tours with them as
a guardian, roadie and jack-of-all-problems, including laundry. “We felt if we
were going to let them do this, we’d give
them every shot.”
At this point, the Strypes respond to
questions about their age and historical
nitis in the right hand as well. It is the
price of a lifetime of machine-gun drumming; Walsh started playing when he
was three.
“It is a worry,” says Niall, who worked
for the Irish national health service, in
physiotherapy, before focusing on his son’s
band. “It’s the amount of work we’ve done.
There is no time to rest.” He also wonders
if the state of Walsh’s hands is partly “because of his amazing growth spurt. People who haven’t seen him since January,
when we were in America last, go, ‘What
happened to you?’ I judge by his jeans. The
cuffs are now at the top of his boots.”
It is easy to forget that the Strypes are
still boys. None of them smoke; no one has
a steady girlfriend yet. McClorey, the oldest, has a beer now and then. As for drugs:
The night before the Letterman show,
Walsh and O’Hanlon were offered cocaine
by a street dealer while walking in New
York. “I just think that’s really stupid,” the
drummer says flatly. “No interest in it.”
Back in Cavan, Walsh, O’Hanlon and
McClorey still live with their families.
Asked about the toughest part of being in
a touring band, the guitarist replies immediately, “Missing my parents.” Farrelly comes from Killeshandra, a tiny village
a half-hour’s drive from Cavan. His mother, Noelle, drives him to band rehearsals,
which are still held in Walsh’s bedroom,
where the Strypes were formed and became inseparable friends.
The parents are practically a band
themselves. In the Eighties, Niall played
bass in an Irish combo, the Fireflys, which
made a couple of singles and once opened
A p r i l 2 4 , 2 014
SPEED BLUES
At New York’s Bowery Ballroom last
month. “It’s not brand-new,” says O’Hanlon
(left). “But it’s different.”
for the Tom Tom Club. Tommy McClorey is a van driver at the hospital where
Niall used to work and a former roadie
for the Fireflys. Tommy also sang in a pub
band with Noelle. (Farrelly’s dad, Brien,
is a plumber.) Niall and O’Hanlon’s father,
Peter, a stained-glass artist and teacher,
were schoolmates.
Evan, Pete and Josh grew up together, first as toddlers, then hanging out at
the Walsh home after elementary school
in Cavan. (Ross was closer to Josh’s
younger brother.) At one point, the three
made films together, creating imaginary
episodes of the TV show Doctor Who and
posting the videos on YouTube. There was
always music at Walsh’s house. “My biggest inf luence, growing up, was Niall,”
McClorey says. “I was exposed to the Beatles and Stones there, when I was four, five
years old.” Niall’s wife, Ann, a hairdresser, was a big help. “She has phenomenal
music knowledge,” Niall says. “We call her
‘Google.’ If we want to know anything, we
call her.”
The Strypes do not have a designated
leader. McClorey started writing the songs
on Snapshot after the group’s first Dublin
club gig in 2011; that night, after the drive
back to Cavan, he came up with “She’s So
Fine,” inspired by a Muhammad Ali poster
on his bedroom wall. (The lyric twists Ali’s
catchphrase: “Float like a bee, sting like a
butterfly.”) The only member of the Strypes
who listens to hip-hop, McClorey
wrote “What a Shame” after trying to decode Jay Z’s vocal flow
in “Dirt Off Your Shoulder,” on
The Black Album. “I was thinking, ‘I should write a rock version
of that.’ ”
“But Evan’s what got us into
this music,” Farrelly says. “He
was the most passionate about it.
When we started, we all picked
songs to do. But his were the ones
that stuck, because they were the
best.” McClorey agrees: “Evan’s
very opinionated. It’s kept us in
tune and focused.”
Over the course of an hour,
Walsh happily drops hip minutiae about Bo Diddley B sides,
Chuck Berry deep cuts and the
original singer of the Beatles’ Cavern Club-era staple “Some Other
Guy” (Richard Barrett). “He’s always been hooked on this thing,”
says Niall, who has a home video
of Evan at seven, interviewing
his sister Becky. “He’s grilling
her about her new album: ‘Have
you done acoustic versions?’ He
wouldn’t let her go.” Niall laughs.
“She was only four.”
That passion helped drive the Strypes’
bedroom rehearsals, which often ran from
one in the afternoon until midnight. “We
had a clear idea,” says Evan. “We wanted
a repertoire. And we were very regimental in how we went about it.” Walsh cites
“early” Elvis Costello and the Attractions
as an influence, “where they just destroyed
the songs. That was appealing – make as
much noise as fast as you can.”
That is how the Strypes made Snapshot – “as live as humanly possible,” Walsh
says, “pretty much in one or two takes.” The
drummer’s idea for the next one, which the
band has just started with Difford in Dublin: “The same, only louder.”
Elton John says the Strypes have only
“touched the surface as to their songwriting gifts. It will be interesting to see how
they can develop as Mick and Keith did in
the Rolling Stones – if they can get those
R&B and blues influences into commercially oriented rock music. But it’s all in
the experience. They’ve only been writing
songs for a year and a half.”
Difford believes progress will come naturally. “Evan is a dyed-in-the-wool rhythm
& blues guy, while Josh is open to everything,” he says, “from the Arctic Monkeys
to Big Bill Broonzy. Those are very good ingredients for a band.”
“The pressure’s on,” O’Hanlon concedes.
“But it’s a nice kind of pressure. We’ve gotten so far on a wing and a prayer. We’ll just
keep going. Keep our heads. Don’t look like
a dickhead.
“We’ve known each other so long,” he
says cheerfully, “that we can’t break up.”
rollingstone.com
| R ol l i n g S t o n e |
49
Though it’s been around since 1967, Rolling Stone covers younger artists like Haim
and the Strypes, as well as music veterans. These spreads are from the print edition.
43
Rolling Stone isn’t just about
music. It’s also known for
tackling serious issues, as
this spread from the print
edition shows.
The explosion of drugs like OxyContin has given
way to a heroin epidemic ravaging the least
likely corners of America – like bucolic Vermont,
which has just woken up to a full-blown crisis
By DAVID AMSDEN
The New
Face of
Heroin
PHOTOGRAPH
BY FREDRIK
BRODEN
E
v e r i va i t r o d e h e r f i r s t h o r s e w h e n s h e wa s f i v e ,
too small to get her feet through the stirrups, let alone give the animal a
kick that registered. Yet even then, bouncing in the saddle, she was aware
that being on the back of a horse provided relief from the boredom and
isolation that, for her, were a more dominant part of growing up in Vermont than the snowcapped mountains and autumn foliage that draw mil-
lions of tourists to the state each year. As Eve got older, she began spending afternoons exercising the herd at Missy Ann Stables, not far from her home in Milton, a working-class
town of about 10,000 located along Lake Champlain, some 30 minutes north of Burlington. Before she could drive a car, Eve was training horses at various barns in the area,
| rollingstone.com
50 | R ol 00
l i n |g RSol
t olnien g
S t o n e | Mo n t h x x , 2 01 3
A p r i l 10 , 2 014
The Reviews section
is another example of
how the DPS issue takes
advantage of rich media
and interactivity.
You’ll also find
popular culture—in
this case, the game
Minecraft—in
the magazine.
44
Separate InDesign layouts used for the print and DPS editions of the magazine
45
Best of the Blog
Best of the Blog
A collection of the most important and informative articles from InDesignSecrets.
If you want to add comments or ask questions, just click the title of the article, or
click the Feedback button to view the original post in your web browser.
A Script for Counting List Items
Mike Rankin | June 11, 2014
Here’s a potential use case. Say you have a bunch of lists with
headings, like so:
Here’s a nifty little script that gives InDesign the ability to find the
number of paragraphs set in a certain paragraph style and make
that number appear in your document. It’s great for displaying the
number of list items, steps in a series of instructions, etc.
The script is called Count Number of Steps, and it’s the work of
Kasyan Servetsky, who generously created it in response to a
question on the Adobe InDesign User Forum.
INDESIGN MAGAZINE 64 August
July 2014
2014
46
Best of the Blog
The list items are styled with a paragraph style called Steps and
the title is styled with a paragraph style called Header.
In the title you’d also like to include the number of items in the
list, like so:
of the preceding paragraph styled with Header. If the number is
already there, the script will update it to match the current last
number in the Steps paragraphs.
You don’t need to have anything selected for the script to
work. It will find all instances of the styles and apply the correct
numbering.
Ah, but what if you don’t use styles called Steps and Header? No
problem! Just open the script in a text editor and Find/Change all
instances of the style names to whatever you use in your InDesign
document.
The script saves you the effort of checking the number of
steps and typing it in the title. It works by looking for a series of
numbered paragraphs with a paragraph style called “Steps” applied
to them.
It then checks the number of the last paragraph in the series (in
this case 10), and inserts that number in a text string at the end
July 2014
2014
47
Best of the Blog
Note that the name of the style applied to the steps or list items
is what will appear in parentheses in the header. Also note that in
the example below, the formatting of the text inserted by the script
comes from a nested style in the Header paragraph style. The script
doesn’t apply any formatting.
Four Causes for Text Wrap Misbehavior
Keith Gilbert | June 11, 2014
Are you having difficulty getting a text wrap around an image
to behave properly? When this happens, go through this quick
checklist to help identify the problem.
Has the image been flipped or rotated?
In the example below, I’m trying to increase the value of the text
wrap boundary on the left side of the image, but it is the boundary
on the right that is increasing. Why? Because the image has been
flipped. In this case, the cause and effect is obvious. But it wouldn’t
be so obvious if I was zoomed in on the left side of the image as I
tried to increase the left text wrap boundary.
Feedback
July 2014
2014
48
Best of the Blog
Has the text wrap been applied to the
image, or the image frame?
You can apply a text wrap to the frame that holds the image, or to
the image itself. In most cases, you want to apply the wrap to the
frame itself. In the example below, I have the frame selected, and
according to the Text Wrap panel, there is no text wrap applied. But
obviously the text is wrapping. What’s going on?
Is “Ignore Text Wrap” selected?
In the example below, the image clearly has a text wrap applied
with a boundary on all four sides. Yet it isn’t affecting the text. Why?
In this case, the text wrap is applied to the image itself. If I select
the image, now the text wrap appears in the Text Wrap panel.
The image is approx. 17p wide, yet note that the text wrap panel
displays that the left text wrap boundary is 14p. How can this be?
The image has been scaled to 6.5% of its original size, so the scale
factor is also applied to the text wrap. This is one reason to apply
the text wrap to the frame instead of the image.
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If I select the text frame (not the image frame) and choose
Object > Text Frame Options, we see that the text frame has the
“Ignore Text Wrap” option applied. This causes the text to ignore
any text wraps that it encounters.
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Has a layer preference been changed?
In the example below, the image frame clearly has a text wrap
applied, but the text is ignoring it. Why? Note that in this case, the
image is positioned below the text.
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In Preferences > Composition, you can see that “Text Wrap
Only Affects Text Beneath” has been selected. Normally, text wrap
ignores the stacking order or layer order of objects. But if this
preference is selected, the object with the text wrap must be above
the text for the text to be affected by the wrap.
A Script to Create a Grid of Color Swatches
Mike Rankin | June 19, 2014
The folks at Rorohiko never cease to amaze me with the cool and
useful add-ons they create for InDesign. One relatively new such
item is SwatchWatch, a free script you can use with InDesign CS5
and later to create a grid of color swatches in your documents.
Feedback
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Interestingly, SwatchWatch also serves as a case study in
custom script development. The download page for the script
details the steps in the process of working with Rorohiko to create
a customized solution to fit a need in your workflow. Issues like
establishing a budget, understanding requirements, working with a
prototype, sign-off, and purchasing source code are discussed.
The script itself is a nifty piece of work. When you run it, a grid
of labeled frames showing the swatches in the current document
(along with their names and color values) is created. The grid is
placed on newly created pages at the end of the document. If you
make changes to your swatches you can simply re-run the script to
update the grid.
The swatch grid is very customizable. By editing a companion
text file, you can set options like the frame size and gutter width,
plus object and paragraph styles to format the grid, and more. And
you can even tell the script which swatches to ignore if you don’t
want them to be part of the grid. The default ignored swatches are
None, Paper, Registration, and Black.
So check out Rorohiko’s SwatchWatch, learn about the process of
custom script development, and add the ability to instantly create
and update grids of the swatches in your documents.
A Shortcut to View Pages Horizontally
Sandee Cohen | June 25, 2014
This post was inspired by InDesign Secrets editor Mike Rankin’s
comments about what happens when he selects Digital Publishing
as the intent for a new document.
From Mike:
This has been bugging me for a long time: every time I create a new
document with digital publishing intent, the Pages panel switches to
display pages by alternate layout for all documents. There’s no way to
get the panel to stick to displaying pages horizontally unless you never
create a doc with digital publishing intent. The only way to get it back
to displaying pages horizontally is to reset it manually. … It certainly is
annoying since I rarely create docs with print intent and I always want
pages displayed horizontally.
Mike wanted to know if others saw the same behavior. I have!
And it irritates me no end.
Feedback
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The Pages panel set to display the pages horizontally.
This makes it easy to see a number of pages in a small area.
At first I thought I could fix the problem by just adding a
keystroke to the Pages panel menu command for View Pages >
Horizontally. That way when the Digital Publishing intent changed
the orientation of the Pages panel, I could easily switch back to
horizontal.
I was stunned to discover that the command is missing from the
Edit Keystrokes controls. (If anyone knows where it is, please let
me know.)
But that doesn’t mean I can’t reset the Pages panel to the
horizontal arrangement.
I start by creating a workspace with the Pages panel set to View
Pages > Horizontally. I name it something like “AAA Horizontal
Pages.” The reason for the “AAA” is that I want to force this
workspace to the top of the user workspace area.
Adding AAA to the front of the workspace name forces it to the top of the
user-defined workspaces.
The Pages panel set to view with alternate layouts set side by side.
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Now that I’ve got the workspace defined, I go back to Edit >
Keyboard Shortcuts and look under the Window Menu product
area. There’s a command for Workspace: Load 1st User Workspace.
Since I know the workspace is at the top of the list, I apply a
shortcut to it. I like a command that includes the hyphen (-) or
equal sign (=) since they are both horizontal.
Once I’ve created the workspace and applied the keyboard
shortcut, I can easily switch from the alternate layout orientation to
the horizontal pages view.
Feedback
Making a Custom Composition Highlighter
to Find Invisible Characters
David Blatner | June 30, 2014
Trog, in a tweet, wrote:
is there a way to add custom composition highlights ex. soft & hard
return invis. characters?
Go to the Window Menu > Workspace: Load 1st User Workspace, and apply a new
keyboard shortcut. This lets you change the workspace with a keyboard command.
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Interesting question! Highlights are usually used to find
special or problematic formatting. We’ve talked about InDesign’s
composition highlights feature several times (such as this overview,
and this clever tip from Mr. Rankin). But this is an interesting
question: why not use highlights to quickly see special invisible
characters?!
My first thought was, sure, you could make a special highlight
character style and then apply it using GREP Styles to characters
such as the new line (Shift+Return/Enter) character. Unfortunately,
this doesn’t work because those characters are technically zero
width—so the highlighting just disappears.
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However, then I thought of a workaround: You could apply the
highlighting to the character before the carriage return or new line
character.
For example, here’s the original text:
And then let’s apply those character styles to the character just
before the invisible characters, with two GREP styles inside the
paragraph style definition:
It’s hard to tell from this what is a new line (Shift+Enter)
and what is a carriage return (Enter). So let’s make a couple of
highlighter character styles like this one:
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Those codes are kind of strange, aren’t they? The first one .(?=\n)
means “any character that immediately precedes a Shift-Return”
(some folks call this a soft return, others a hard line break). The
second one is the same, but for a hard carriage return.
Here’s the result:
Although Show Invisible Characters already shows you what’s
what, this kind of highlighting can be far easier to see, especially at
a glance.
The only problem with this kind of highlighting is that it’s annoying
to have to turn it off when you want to print or export a PDF.
Sandee Cohen showed a clever workaround to this problem at the
recent PePcon: The Print + ePublishing Conference. I’ll see if I can
convince her to write that up soon.
Feedback
Migrating vs. Syncing Settings in
InDesign CC 2014
Steve Werner | July 3, 2014
Of course, you’ll also notice that I have turned on Type > Show
Invisible Characters in the image above so that you can see that
the pink is applied to soft returns and blue shows up at the hard
carriage return.
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When InDesign CC 2014 was released, it introduced a new feature
called Seamless Update. This feature migrates all the preferences
and settings you’ve created in a previous version of InDesign into
the 2014 release. But I’ve observed that many people are very
confused over how this differs from another feature offered in
InDesign CC and CC 2014—Sync Settings. This posting will help you
sort out what each feature is used for, and how they work.
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Seamless Update: Migrating Your Settings
The Seamless Update solves a common problem: You’ve set up a
variety of presets and settings (including application preferences)
on your previous version of InDesign. When a new version appears,
you have to tediously re-create them again in the new version.
The Seamless Update feature requires that (1) you have another
copy of the application (InDesign CS6 or CC) where you have some
local settings you have created. This could be any of hundreds of
different presets or settings you have set up in the application. (2)
You’re installing a major update to InDesign CC. The 2014 release is
such a major update.
The feature takes place automatically, without any intervention
from you, the first time you launch InDesign CC 2014. If the settings
migration from the previous version succeeds, you’ll see a message
like this:
Previous Settings Copied
If for some reason it fails, or if you decide to migrate the settings
from the earlier version later, you can manually choose Edit >
Migrate Previous Local Settings.
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Sync Settings
The Sync Settings feature was introduced with InDesign CC 9.1.
It has a different purpose. It’s currently used to back up only five
specific InDesign settings to the Creative Cloud, or to a second
computer tied to the same Adobe ID. These settings are:
»» glyph sets
»» custom workspaces
»» menu customizations
»» PDF presets
»» keyboard shortcuts
Some limitations: You need to have set up customized settings
(not the default ones) before syncing to another computer. At least
for custom workspaces, you can’t sync a changed custom workspace.
Keyboard shortcuts cannot be synced between different platforms.
Unlike Seamless Update, Sync Settings requires that you initiate
the process; it doesn’t happen automatically. It is limited to two
computers using the same Adobe ID. The syncing happens via
your Adobe Creative Cloud account. The settings are uploaded to
Creative Cloud and then downloaded and applied on the other
computer. So for it to work, both computers must be connected to
the Internet and be signed in to the Creative Cloud.
To set up your Sync Settings on a computer, choose Edit >
[Adobe ID logged in] > Manage Sync Settings (Windows) or
InDesign > [Adobe ID logged in] > Manage Sync Settings (Mac).
Choose what you want to sync and also choose what to do in case
of a conflict.
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InDesign CC 2014, there is the possibility that you might be
prompted to copy settings from those you have already stored in
Feedback
your Adobe ID account on Creative Cloud. Ink Manager: Never Forget This Step
Before Exporting a PDF
David Blatner | July 14, 2014
Sync Settings Preference
When you want to sync your settings, you can choose
Edit > [Adobe ID logged in] > Sync Settings Now (Windows) or
InDesign > [Adobe ID logged in] > Sync Settings Now (Mac). You
can also sync settings from the Sync Settings icon and menu on the
status bar. Click Sync Settings Now.
Sync Settings Status
Where the Two Features Overlap
When installing a major version of InDesign, if no settings
have been created on your computer in an earlier version of
InDesign CS6 or CC, and if you have created no settings yet in
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Talk to any printer and they’ll tell you: designers are forever sending
them PDF and InDesign files with spot colors when they really want
process colors. Please: do yourself and your printer and everyone
around you a favor and learn two things:
»» How to work with spot colors properly;
»» And even more important: Open the Ink Manager each and every
time you export a PDF or send a file to a print provider!
You can tell how important the Ink Manager is by the fact that
you can open it from five different places: the Swatches panel
menu, the Separations Preview panel menu, the Export PDF dialog
box, the Export EPS dialog box, and the Print dialog box. It doesn’t
matter where you choose it from; they all go to the same place.
Ink Manager lets you do all kinds of things, including aliasing
one spot color to another and managing a trapping sequence.
It’s very rare you’d need to worry about the trapping stuff, but it’s
very common that you need to think about something else here:
converting spots to process colors.
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The first thing you should do when you open the Ink Manager
is to scroll through the list of inks at the top. This shows you all the
different inks in your document — not the swatches, or colors, but
specifically inks. That is, if you print color separations, how many
plates will probably come out. The four process colors are always
there, at the top, followed by spot colors.
If you didn’t expect any spot colors at all, this list may come as a
shock! But as I said earlier, printers often open people’s documents
and find not just a couple but a dozen or more! That’s bad.
Converting Spot to Process
So what do you do if you have spot colors in this list and you don’t
want them? You can convert a single spot color to a process color
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by clicking in the column to the left of its name—the small spot
color icon changes to process color. Note that this does not change
the color swatch; it just signals to InDesign that this color should be
converted to process when you print or export to a CMYK format.
Alternatively, you can convert all your spot colors to process by
selecting the (surprise!) All Spots to Process checkbox.
There is another checkbox in there: Use Standard Lab Values for
Spots. This appears to be “the appendix of InDesign’s color system.”
That is, it used to have some use, but doesn’t appear to do much
now. (Once upon a time, the Pantone colors were defined with
CMYK values behind the scenes, so turning this checkbox on usually
resulted in a better output. However, in recent versions of InDesign,
these spot colors have been defined as Lab already. That said, if you
open old documents in which you saved and used spot colors, it’s
possible that this checkbox would have an effect.)
Check It!
By the time you’re ready to print or export a PDF, I know you’re tired
and you think you know your document well enough. But as I said:
it’s always a good idea to check Ink Manager. It just takes a moment
to look it over, and it can save you (and your printer) a lot of time
Feedback
and headache. 59
The InDex:
InDex Your Key to Our Content
Can’t find that article you saw in an earlier issue?
Wondering whether we covered that obscure plug-in?
Never fear, the InDex is here.
The first issue of InDesign Magazine was
published in July 2004. Since then, we’ve
cranked out thousands of pages on hundreds of related topics.
While it’s possible to use Acrobat to
simultaneously search all past issues of the
magazine for one word or phrase, many
readers have clamored for a formal index at
the back of each issue.
However, with 64 issues to account for,
that’s not feasible. Instead, the InDex will
live as a PDF you can download for free.
If you come across a topic you want to
know more about, but it’s in an issue you
don’t have, you’re not out of luck. We sell
back issues at indesignsecrets.com.
If the topic you’re looking for isn’t in the
InDex, you have one more way to search:
that PDF trick we mentioned. To make it
work, all of your magazine issue PDFs must
be in one folder.
Open any issue in Acrobat, and then
press Shift+Command+F (Shift+Ctrl+F
on Windows). In the Search window that
appears, be sure that you click the radio
button that says “All PDF Documents in,”
and in the dropdown menu below that,
choose the folder in which you placed your
magazine issues. You’re on your way to
finding anything in any PDF!
Click here to download the InDex.
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While this PDF is just for you,
you can tell your friends about this great discount:
$10 off a 1-year membership (use coupon code friend)
Send them to: indesignsecrets.com/issues
Coming Soon…
61

InDesign Magazine 64: The Music Issue

Transcription

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