An overall colour background and two horizontal rule weights, on a white background that automatically adjusts to the depth of the content and still flows from page to page.All this was achieved with simple paragraph rules when it was first originated using InDesign CS4.
Of course, today with InDesign CC a combination of paragraph shading with paragraph rules would achieve the same (but better) result.
This simple looking design throws up several issues, not least the multi-line subheads in the left column.
Using a combination of anchored objects, paragraph styles and object styles provided full typographic control and consistency and the flexibility of the content flowing from page.
Span columns should have been ideal but some very good reasons came up for not using them.
Certain jobs require that InDesign’s table structure take full control of the entire content – usually once all the content has been put in the correct order in Excel.
However, each table cell can only control one paragraph style, which raised an issue here. The workaround employed a nested style triggering a character style change with a soft return.
This job is a prime example of where master pages are an absolute necessity. In these 800 pages over 200 master spreads were needed. It would have been foolish (and costly) to attempt this job without them.
Terms and Conditions
As a traditional typesetter on a code-driven Scantext 1000, circa 1980s, one kept in mind that a ‘change-of-plan’ could be expected from the typographer at any time, so it paid dividends to build in some ‘flexibility’ (just in case).
It’s called artwork today but the general expectation is much the same, planning for changes that haven’t been thought of yet in order to carry them out quickly with consistency.
My particular forté is typographically and technically challenging jobs, catering for large amounts of content from Word and/or Excel and finding efficient ways to apply type, table and object styles to maintian control of it.
Efficiency – The ability to produce the desired result
with the minimum amount of waste, expense or unnecessary effort
Consultancy – Commonly defined as paying a fee to obtain the know-how to do something yourself.
The process is very simple:
Step one is to discuss your intended method of producing the artwork.
Step two is for me to assess your design and content files.
Step three is to supply an efficient ‘detailed plan of action’ for you to implement.
The idea being that this ‘detailed plan of action’ will be quicker for you to implement and save you enough to cover my fee. And you get to use the know-how again and again or adapt it for other jobs.
It’s an investment that will pay you a regular dividend for the rest of your working life.
The red panel comparison titles vary in width but must keep the same angle and spacing, and both with a drop shadow.
The second title in this instance had a fixed starting point. In others the width of the red panel of both headings needs to adjust automatically (from the left/right) according to the content.
And then there are all those wonderfull elements in the bottom panel to cater for...
Keith Scott (a latter-day traditional typesetter) trading as The Scott Partnership • Specialising in typographically and technically challenging artwork
Artwork – Let’s be honest, anyone can slap a few
images on a page, style a bit of type and call it artwork
Artwork definedNot surprisingly the crucial bit is how the artwork is constructed at first‑proof stage – through styles and master pages. This is what provides other people in the studio, who might also work on this artwork file, with the ongoing typographic control and layout consistency.
The rest of the time artwork is about making mundane amendments to the content. But the integrity of the artwork is always maintained by the correct use and application of styles and master pages.
When changes are requested, and this is particularly relevant when working on someone else’s artwork file, you should check what character or paragraph style has been used elsewhere so that you apply the correct style to maintain consistency.
Follow the pigeon
Within these 80 pages of tabular information are around 1200 rows of data, two columns of which are images. The last thing you need to do is place and size some 2400 images.This is where InDesign’s data merge utility comes into its own. And because it can cater for images as well as text you can get it to do all of the above quickly and accurately.