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Adobe InCopy Download for Windows. Endnote support, Add paragraph borders, Find similar fonts, Advanced font filtering, Footnotes that span columns,. Open Type enhancements, Modern user interface, Work with glyphs easily, Place images into tables.
Simple application of shading to text; includes controls for offsets and more, Place Gun for adding borders to tables, New Find Previous command, Shortcuts and preferences memory, Footnote enhancements that respect text wrap. Adobe Typekit integration, Typekit font syncing, Quick font searching, Convenient hyperlink creation. Different page views when editing, Enhanced copyfitting, Save to Cloud command lets you access files on any device. Adobe InCopy is a professional word processor made by Adobe System and offered to worldwide users as a part of the Adobe Creative Cloud subscription.
While many other word processor apps are focused on facilitating the creation, editing, and distribution of home, school, office, and work office-like documents, InCopy also aims to provide the full set of tools, features, and services for formatting text for printed material publishing newspapers and magazines. In addition to the standard word processing toolset with all the necessary features for basic text formatting, spell checking, tracking changes, word counts, dictionary, enhanced font support, search and replace, importing, exporting, and more , it also has a wide array of viewing modes, import tools, graphics formatting, and visual impaction tools that are best suited for tight integration of text and visual content.
Because of its large focus on managing multiple elements on a single page, Adobe InCopy is very closely related to Adobe InDesign, a standalone application for desktop publishing and typesetting of graphics-intensive printed and e-published material such as posters, brochures, flyers, newspapers, magazines, presentations, books, and ebooks.
Adobe InCopy features multiple viewing modes — story mode for regular text entry, formatting, and reading, with most of the advanced tools put aside, galley mode that adds visualization for line numbers and the line breaks, and layout mode — the most comprehensive viewing mode that showcases final output page design layout with full visualization of images and text.
This approach enables the users of InCopy to use it as a basic text editor, but the full potential of the app becomes apparent when they start working on a project using both InCopy and InDesign. This con- cept was so simple, and it made perfect sense. How had someone not thought of it before?
What character styles are nested in the paragraph, in what order, and what triggers the switch between them is entirely customizable. A bold, blue, sans-serif character style subordinate position. When the Nested Styles feature was introduced in InDesign CS, it provided designers with an unprecedented level of formatting power, and it has been continuously improved from CS2 through CS4.
In consistently structured text, nested styles can automate the formatting of bulleted and numbered lists, run- in heads, page number references, price lists, and much more.
TIP Nested styles are appropriate for any project. For large jobs like directories and You can navigate any catalogs with great quantities of text or cyclical publications like magazines and InDesign dialog that has a newsletters where a look and feel is established in advance and reused month pane of options on the left to month, they are the best way to improve productivity, ensure consistency, via some standard keyboard shortcuts.
While they may be less critical for smaller or stand-alone projects option in the pane, press like advertisements and packaging, they are no less useful. Unfortunately, anything that lish in what order the character styles appear. These defaults amount to the same thing as not having any nested styles—no variation from the defaults of the paragraph style. Designate whether 4. Specify the number 5. Select a delimiter the selected style of instances of the from the pull-down extends through or up delimiter to include menu, or type the to the delimiter.
Click New 7. Remove any 6. Change the 2. Select an Nested Style to selected nested order of any existing character begin nesting style instruction selected nested style to nest all instructions. The Nested Styles work area is composed of the following option menus, fields, and buttons:. New Nested Style button. Click this button to begin nesting character styles within a paragraph or paragraph style, or if one or more nested styles already exist and you want to add another.
Once clicked, the four options required to set up a nested style become active. Character Style pull-down menu. Any character styles already present in your doc- ument are immediately available from this menu. In CS4, new character styles can be created without having to leave this dialog by using the New Character Style option at the bottom of the menu:. Unless more nesting will occur later in the same paragraph, there is no need to end each sequence of nested styles with [None].
Once all nesting instructions have been completed, the paragraph automatically returns to its default appearance. If the Preview check box is selected and you choose New Character Style, preview will be disabled while the New Character Style dialog is active. Once the style is defined and you click OK, preview is automatically restored. Character styles built while in the Nested Styles work area are added to the document after the paragraph style is saved. Through or up to pull-down. Nested styles have a fixed range of either through or up to a specific character called a delimiter.
Delimiters trigger the change to the next style. The through or up to option determines whether the nested charac- ter style includes the delimiter character through or stops just short of it up to. For example, a bold style applied through one em dash will also make the em dash bold, but if up to is chosen, the bold style is not applied to that em dash FIGURE 2.
Emphasizes present visualized conceptions. Emphasizes blue style through one em links between society and the development links between society and the development dash, resulting in a blue em of advertising art. Analyzes and compares of advertising art. Analyzes and compares dash. The number 1 or more in this field establishes how style applied. Change this number by typing or using the up or down arrow keys with your cursor in the field. Any character can be a delimiter, and preset options like sentences, words, and some marker characters are available from the menu at the end of each nested style instruction.
There are, of course, many other characters you might want to use as a delimiter. If the particular option you need is not available in the delimiter menu, you can type it into the delimiter field. For example, if you have a run-in heading in your paragraph that should use a nested style through one colon, simply type a colon in the delimiter field.
If, however, the delimiter char- acter you want cannot actually be entered in a dialog a tab or soft return, for example , you can use its metacharacter equivalent a code that represents the character or symbol. Select any nested style from the list and delete it using this button. Only the selected use of the style is removed from the nesting instruction. The styles are not deleted from the document, even if they were created from this dialog with the New Character Style option.
Reordering arrows. To change the order of the nested styles, select any style in the sequence and click either the up or down arrow as often as necessary to move the style to the ap- propriate position. The bold, sans-serif, blue character style Course Name is nested at the start of a paragraph through one en space, which applies different formatting only to the course name. Emphasizes links between society and the start of a paragraph.
Another style Prerequisites is applied after the course name through one closing parenthesis. In both exam- ples so far, the paragraph automatically returns to its default formatting after the nested style instructions have been completed. Logo application is extended to a complete corporate business system and beginning of a paragraph. After the Prerequisites style, [None] is selected to revert to the default para- graph formatting since more nesting will follow it.
This last style can continue until the end of the paragraph. This nesting instruction terminates with an End Nested Style Character for that reason and because:. As such, it will never be found and the last style in the sequence will remain applied through the end of the paragraph.
This successfully formats the credits, studio hours, and so on us- ing that three-style sequence as often as necessary. It will never end until the paragraph does. The top paragraph had its char- acter styles applied manually, so the name of the character style applied to the FIGURE 2.
The bottom paragraph uses nested styles to accomplish the same look. But since the character styles are built into the paragraph style, no character style name is highlighted in the panel.
Often, designers are asked to export content to other formats for repurposing on the Web or elsewhere. Watch out for the following InDesign features in which the character styles in a nested style are not recognized:. Select All Unused. The Select All Unused option in the Character Styles panel is a fast and easy way to clean out styles you may no longer need in your document.
However, if a paragraph style with character styles nested in it is just defined in the document but not applied to any text, the char- acter styles nested in it are also considered to be in use and will be ignored by the Select All Unused function. Nested occurrences of the style are not found.
RTF export. If character styles are nested in a paragraph, the nested formatting is not preserved in the resulting RTF file.
They must then be selected from the styles area of the Word document and reapplied to each instance in the exported file. This feature only recognizes standard nested styles and locally applied charac- ter styles. Export for Dreamweaver.
But not all of that structure is percent consistent, nor does it always conform to the easi- est of nested style scenarios. However, there are ways to push the envelope in a nested style and establish complex formatting results that can be applied over and over with a single click. But nesting can also occur anywhere within a paragraph or at the end of the paragraph. However, the end of a para- graph is harder to define than the beginning.
These types of nesting situations require a bit more thought about which delimiters will successfully accomplish the desired formatting switch at the end of a paragraph. All item numbers must be in a different charac- ter style than the rest of the text. But just how many sentences make up each paragraph? A fashionable low-rise cut and classic five-pocket styling offer all the sentences, but both properly casual versatility of standard jeans with the comfort of a lightweight khaki.
Available in both relaxed and traditional fit. Item DL Boot-cut Stretch Jeans A tapered leg makes for a flattering silhouette, and a touch of Lycra makes these fitted jeans feel as good as they look. Triple-washed for extra softness and comfort.
Item DS You could use an en dash or put the item number in parentheses, tion. The solution should be invisible to the reader and guaranteed not to appear any- If Justify All Lines is not in where else in your text. A handful of special characters in InDesign fit this descrip- use, a flush space looks and tion nicely: white spaces, the right indent tab, and the End Nested Style character.
That makes them unobtrusive, unique, and therefore ideal as delimiters. These are ignored in the delimiter field when typed as metacharacters.
However, the sixth space will work as a delimiter when copied and pasted from the layout into the delimiter field. Right indent tab. The oh-so-useful right indent tab simultaneously positions text and acts as a unique nested style delimiter. It eliminates the need to physically set a right-aligned tab at the farthest edge of a column and keeps your formatting flexible because it will continue to adapt to any changes in the width of the column or frame, keeping any text that follows it aligned to the right edge.
End Nested Style Character. Avoiding repetitive work is the goal of a style-based ap- proach, so this is the last resort option. But how treacherous is fortune! In a little while— say an hour—happened a thing, by my own fault, which—but I have no heart to write that. Let the record end here.
Like white spaces and the right indent tab, this character is invisible. It is also a zero-width character. Most white spaces occupy a fixed amount of space, and the right indent tab and flush space occupy all the space between the text that precedes and follows them, but a zero-width character occupies no space.
Other zero-width characters in InDesign include the anchored object marker, index marker, and cross reference marker. The End Nested Style Character is the best option for triggering style changes in situations where a nested style needs to be applied but the number of words, types of punctuation, and spacing in the text are so inconsistent that the vary- ing conditions rule out any other option FIGURE 2.
If you enter more than one character as a delimiter, any of them will cause the style formatting change. If you want the bold lead-in of a paragraph to switch back to the nor- mal paragraph style after either a colon or any ending punctuation like a period, question mark, or exclamation point, you can type all those characters, one af- ter another, in the delimiter field. Through one period. That triggers the style change. Through one em dash — works like a charm.
Through one ellipse…is recognized as well. Through one question mark? Yes, that, too. Through one exclamation point! All this from one style! InDesign also recognizes multiple metacharacters. You can also on behind the scenes when combine standard characters and metacharacters as delimiters.
Unfortunately, specific words or the delimiter menu. A sen- letter combinations cannot act as delimiters. GREP they appear after the ending styles are more flexible and do not depend on any specific order or even specific punctuation mark. Every style, range, and delimiter op- tion had to be added one by one in the rather small work area of the dialog. This made things particularly difficult if the number of required repetitions was uncer- tain.
InDesign continues to apply those styles over and over until it either runs out of matching criteria or reaches the end of the paragraph. Each song title is preceded by the track number, which is formatted with a Track Numbers character style that uses a custom underline. The last setting is to repeat those last 2 styles, which handles the format- ting for every remaining number and song title in the paragraph. Nested Line Styles A common typographic treatment in books and magazines is to use a particular style through the first few lines of text in a chapter or an article.
Maintaining this formatting throughout the design process—while text is still being revised and column widths are subject to change—can be a chore.
Nested style changes are triggered by specific characters. InDesign CS4 remedied that shortcoming with the addition of Nested Line Styles, which dynamically maintain a particular nested style through a specified number of lines e. As lines rewrap due to text edits or column width resizing, the nested line style automatically adapts to those changes FIGURE 2.
He armor, and the restfulness of his company—for he did all attracted me by three things: the talking. We fell together, as modest people will, in the tail of the his candid simplicity, his marvelous herd that was being shown through, and he at once began to say familiarity with ancient armor, and the things which interested me.
We fell together, as mod- and time, and into some remote era and old forgotten country; and est people will, in the tail of the herd that. We fell together, as modest people will, in the tail of the herd that was being shown through, and he at once began to say things which interested me. Setting up a nested line style is essentially the same as setting up a regular nested style. In the Nested Line Styles work area, select a character style to span a given number of lines.
You can also set up multiple nested line styles in a spe- cific sequence and repeat line styles just as you can with nested styles. For ex- ample, to alternate the formatting of every other line in a paragraph, set a style through 1 line, then another style through 1 line, and then repeat the last 2 lines with the [Repeat] option FIGURE 2.
It seems like a cruel trick to play on the reader, but this is an example of what you can do with multiple nested line styles using the Repeat option.
You can set a drop cap to use a particular character style and span a certain number of letters and lines, and then set a nested style through the first word, add a nested line style through a given number of lines, and include a GREP style to handle text that matches a particular pattern.
All these styles are designed to co- exist. If there are no clashes among the character styles, all styles will be applied properly. In other words, if a bold character style and an all caps character style overlap one another, both styles will be applied.
The text will be both bold and set in all caps. If, however, a nested style calls for all caps and a nested line style calls for small caps, or a GREP style calls for blue text and a nested style calls for red text, those are conflicts.
To resolve these contradictory settings, InDe- sign follows a specific order for which styles it will honor first. GREP styles get top priority, Nested Style settings are obeyed next, and Nested Line Styles are applied last or ignored first, depending on how you choose to look at it.
Similar sequencing is also possible from paragraph to paragraph with the Next Style option, which pro- vides one-click formatting for multiple paragraphs with different styles. When a series of paragraph styles will follow one another in a consistent pat- tern, including a Next Style setting in each style instructs InDesign to change formatting to the next designated style after a paragraph break.
For example, if a newsletter story consistently starts with a headline, followed by a by-line, then a first paragraph with unique formatting, and then standard body copy, each of those four styles can contain instructions about which style follows it FIGURE 2.
When that text is flowed in one thread, you can apply all four styles in that specific order in a single step. Every paragraph from this point on For U. Blowing snow, poor visibility, trailer-toppling squalls, and road closures are further indications that wind alone is a force to be reckoned with. The menu contains all existing paragraph styles in the current handy time-saver is to start document and a New Paragraph Style option if the style you need has not yet with the last style in the been created.
By doing so, Style , and another you should definitely not use Basic Paragraph. Choose Same Style, which is the default, if a style is used for many paragraphs in a row body copy for instance. Each time a hard return is typed, the new paragraph picks up the style of the previous one. In that situation, the style will switch to the designated next style when a hard return is typed.
All paragraphs will be formatted consecutively based on those Next Style settings. If local overrides have been made or character styles have been applied manu- ally to the selected text, the context menu will include these additional options FIGURE 2.
Character styles are removed, but local overrides are preserved. To make this work, modify the last style used in the sequence so that its Next Style setting calls on the first style in the sequence. The entire format- ting routine is then applied continuously until InDesign runs out of paragraphs to which it can apply styles. That style has a Next Style setting of Product Platform.
That ends the sequence of five paragraphs that make up each prod- uct entry. Quickly captures screen activity and both internal or external audio for screencasts and demos.
Simple interface allows for transitions, zooms, and screen highlighting. Multiple export formats. Santa Clara, CA each sequence. Intuitive point-and-click interface helps you customize solutions Another caveat is that no and share them with ease. Robust reporting and data export features. Establishing Relationships: Based-on Styles Paragraph and character styles can be connected in ways other than sequen- tially.
This is extraordinarily useful in long documents where different paragraph styles may be offshoots of the main body copy, such as an opening paragraph with a drop cap or bulleted and numbered lists. Each variation relies on com- mon attributes handed down from the parent body copy style.
The column on the right includes three child styles based on that body copy style including an introductory paragraph that eliminates the first line indent but includes a drop cap, a bulleted list, and a numbered list with a bold run-in first sentence. S Icaectum seque ma dolent eque ma dolent vendi tota et, unt magnatem res quibuscipis vendi tota et, unt magnatem res vollabo reribus sit fuga. Itatis nos alibus molorem etustrum ides quibuscipis vollabo reribus sit fuga. Imiliti busant volupta si soloritatem lam fuga.
Nam quodi ptatur aceptus maiorpor rem velist conempo rectotat iditatatur aliquas piduscia nam reius ea dolor- velit, nimenis itionse porunt, sitatin pore eos est, sinumquodis.
Maximi, suntios es voluptatusae. Velic te eum quam utat enia sedit volor aute. The changes have been passed down to the child styles, but no unique settings—drop cap, bullet formatting, nested styles, or indents—have changed. S Icaectum seque ma dolent eque ma dolent vendi tota et, unt magnatem res quibus- vendi tota et, unt magnatem res cipis vollabo reribus sit fuga.
Itatis nos alibus molorem quibuscipis vollabo reribus sit etustrum ides peritatis re prae neturem faccatemquo fuga.
Itatis nos alibus molorem berspid ulliquas aspere, tenihitatias dolorae. Que del modi etustrum ides peritatis re prae renecumque que nienime cor sende volorem quatend untiberiti neturem faccatemquo berspid officaes ent plabo. Tibus eum, qui ac- dolorepudi soluptium cumenem invellu ptatur acep- tus maiorpor rem velist velit, 1. Nam nimenis itionse porunt, sitatin quodi conempo rectotat iditatatur aliquas piduscia nam cimusapedi re pro te nobiscit reius ea dolorpore eos est, sinumquodis.
Velic te eum quam tempost, sedit volor aute. InDesign only looks at the differences between the parent and the child style. A comparison of the two occurs at all times. Any at- tributes indicated with plus signs following the parent style name are unique to the child style and will be immune from any parent style changes.
All styles in your current document are available in the Based On pull-down menu along with two other options: Basic Paragraph and No Paragraph Style. Basic Paragraph. No Paragraph Style. No Paragraph Style is automatically selected for new paragraph styles unless your cursor is already within text to which a paragraph style is applied. In that case, InDesign assumes you intend to make your new style a child of the current style, so it automatically selects the current style in the Based On menu.
Keep an eye out for this as you create new styles. You may want to pick up the se- lected formatting but not necessarily link your new style to the existing one. By default, new paragraph styles are based on [No Paragraph Style] and new character styles are based on [None]. On the Mac platform, that style is defined as Times Regular, 12 points, with automatic leading. All InDesign users should beware of relying on Basic Paragraph in any way. The inherent problem with Basic Paragraph is that every InDesign document includes it.
If you apply Basic Paragraph, modify it to your liking, or base any styles in your document on it, your chances of encountering a style conflict between documents become quite high. When copying and pasting from document to document, the incoming text is reformatted to match the definition of the style in the destination document if any styles have the same name.
Since Basic Paragraph exists in every InDesign document, your modified version of that style—and any incoming styles based on it—will change. It is, quite literally, an accident waiting to happen. The Reset to Base button in the General area of the Paragraph Style Options dialog removes all unique attributes from a style based on another style, but it only resets a style one level back.
It does not reset all the way back to the body copy style. Itatis nos alibus molorem paragraph with the drop Style: Body Intro etustrum ides peritatis re prae neturem faccatemquo cap is based on the body based on Default Body Copy berspid ulliquas aspere, tenihitatias dolorae. Que del modi copy style in the second renecumque que nienime cor sende volorem quatend untiberiti paragraph. Icaectum seque ma dolent vendi tota et, unt magnatem res quibuscipis vollabo reribus sit fuga.
Itatis nos alibus molorem Style: Default Body Copy etustrum ides peritatis re prae neturem faccatemquo berspid ulliquas aspere, tenihitatias dolorae.
Tibus eum, qui accumenem invellu ptatur aceptus maiorpor rem velist velit, nimenis itionse porunt, sitatin cimusapedi Style: Body Bulleted List based on Default Body Copy Nobiscit dit, sinullor sam, comnimodi tempost, sedit volor aute volessitem aut autem inctiam que autectam quo dolorepudi soluptium 1. Nam quodi conempo rectotat iditatatur aliquas piduscia nam reius ea dolorpore eos est, sinumquodis. Velic te eum quam utat enia culpa dolor ate qui re plabore consequid molupta abo.
Itatis nos alibus molorem etus- first paragraph is reset to trum ides peritatis re prae neturem faccatemquo berspid ul- the base style, it loses all liquas aspere, tenihitatias dolorae.
Que del modi renecumque unique formatting and looks que nienime cor sende volorem quatend untiberiti officaes ent identical to the body copy in plabo. Itatis nos alibus molorem etustrum ides peritatis re prae neturem faccatemquo berspid ulliquas aspere, tenihitatias dolorae. Tibus eum, qui accumenem invellu ptatur aceptus maiorpor rem velist velit, nimenis itionse porunt, sitatin cimusapedi Nobiscit dit, sinullor sam, comnimodi tempost, sedit volor aute volessitem aut autem inctiam que autectam quo dolorepudi soluptium 1.
All styles based on the body copy style—the intro paragraph, bulleted list, and numbered list—inherit that change. GREP General Regular Expression Parser is a means of describing text—or patterns and conditions within text—and it need not include one word or character of actual text. But GREP is not as formidable as it may initially seem, and once you understand its potential, any resistance you may have toward learning it will rapidly disappear.
GREP has historically been used for powerful search-and-replace opera- tions. The ability to analyze text in this manner is called parsing. Consider how you would describe a paragraph. One possible description could be the beginning of a line, followed by an unspeci- fied number of characters up to the end of a line. GREP Styles vs. Nested Styles Nested styles, as powerful as they are, apply character styles in a very precise order, and a specific delimiter must trigger the style change this style through one colon, then another style through one sentence, and so on.
GREP styles have no such limits. They make style changes based on matching patterns within your text. If new text that matches your pattern is added to a paragraph with a GREP style applied, it is formatted automatically. So, how are GREP styles built? How are patterns and conditions described? What instructions ensure that text is parsed for the desired results?
All of this GREP magic is accomplished through special characters or combinations of characters called metacharacters. The combination of the two characters describes a right-align tab. GREP was around long before InDesign, and its established syntax uses a back- slash to define metacharacters.
Anchored object markers, flush spaces, and cur- rent page number markers are just a few examples. While most metacharacters are made up of two or more characters, some are composed of only one character. This can seem a bit confusing at first, since the same character that makes a normal character into a metacharacter is also used to make a metacharacter into a normal character. TABLE 3. Every nonalphanumeric character in InDesign has a corresponding metachar- acter, and there are several types of metacharacters totally unrelated to specific characters that perform a number of different functions.
Some describe the lo- cation of text the beginning of a line or the end of a line, for example , how of- ten something repeats one or more times, exactly three times, etc. Full descriptions of each metacharacter type follow in the next section, and ev- ery one of them will be used in specific examples later in the chapter, so you can see them all in context.
The remaining metacharacter types in this menu from Wildcards through Posix are where the real power of GREP styles lies. Wildcards The simplest of the metacharacter types is the wildcard. Examples of wildcards are any character. This proves very limiting very quickly. Technically, GREP wildcards also describe a single instance of a type of charac- ter, but they can be paired with repeat metacharacters to define repetition in very specific or very powerful and flexible ways.
Repeat metacharacters Repeat metacharacters control how many or how few times a character oc- curs in the text being parsed.
Examples of repeat metacharacters are zero or one time? Combined with wildcards, repeat metacharacters form the foundation of common and useful GREP expressions such as any character one or more times. The exact number or numeric range must be typed between curly brackets directly into the To Text field. The zero or one time and zero or more times repeat metacharacters serve a very useful purpose.
They allow for the possibility that something may one time or more times or may not zero times be there. Not all the patterns you define will be simple and consistent. GREP expres- sions can account for potential inconsistencies with this may or may not be there concept.
I know some of the text being parsed is inconsistent. When it comes to repetition, GREP expressions will always try to make the longest possible match. Unfortunately, the criterion any one or more characters. In the that replaces palettes with panels. In the match limiter right. This minimized icon-only of icons Figure A. This minimized icon-only view replaces the hinged tab method for view replaces the hinged tab method for stowing away palettes of previous versions.
Here again, combining these metacharacters with others makes search queries even more specific and powerful. Location metacharacters help fine-tune a GREP pattern when the description of the text to be found might occur several places in a paragraph, but your goal is to only apply a GREP style to the matching text in a specific part of that paragraph.
They match a zero-width position at the desired location. That same principle applies to all location metacharacters. This is not the first character in a word. Similarly, this is not the last character in a word but the posi- tion after that character and before any nonword character that follows it.
This is another, more general, way of referring to that zero- A useful but undocumented width position between a word character and a nonword character, but it can be location metacharacter used interchangeably for either the beginning or end of a word.
Whether your paragraph is one line or dozens of last position in an InDesign lines, this metacharacter defines the position just before the first character in it.
This is the position after the last character in any paragraph threaded text frames. Match criteria Greater specificity can be built into GREP styles with match metacharacters, which establish a custom range of valid matching characters, define required conditions, or isolate portions of an overall pattern as smaller subpatterns. Marking subexpression. Wrapping text or metacharacters within parentheses has a very significant function in GREP. Marking portions of a regular expression as a subexpression allows that subexpression to be re- membered and recalled for later use.
Nonmarking subexpression? Their use in GREP styles is therefore quite limited. Character set [ ]. Character sets, also called character classes, are ranges or TIP groups of characters to be matched. Character sets can be defined in several ways. To guar- be defined. A character set for all digits from 0 to 5 could be represented as antee that a dash will be [] or more efficiently as [ 0 - 5 ].
Other ranges might include [ a- zA- Z] , which recognized as just a dash, represents any uppercase or lowercase letter. In fact, the any set immediately following the opening square bracket. However, the brackets that define a character set act like kryptonite on some metacharacters, causing them to lose their special powers.
When a period is used in a regular expression, it means any character, but when a period is used within a character set, it just means a period. The same holds true for question marks, asterisks, and other single-character me- tacharacters. Unfortunately, putting a backslash before these characters in a character set does not restore their wildcard status. It just includes the back- slash in the character set. For example, the GREP query for finding the words dog or cat or goldfish or parakeet would be.
Positive lookbehind? This cryptically named match criterion means only if the match is preceded by something in particular. The positive lookbehind statement must be placed before the text to be matched in the GREP pattern. Positive lookahead? The lookahead criteria must be present or the match is disqualified. The positive lookahead statement must be placed after the text to be matched in the GREP pattern.
The full search query would look like this:. Also, the expression representing any one or more characters within the parentheses. Negative lookbehind? As its name suggests, negative lookbehind means only if the match is not preceded by something in particular. Negative lookahead? Similarly, negative lookahead means only if the match is not followed by something in particular. If how- ever, your pattern requires both uppercase and lowercase characters to be con- sidered matches, start your expression with the Case-insensitive On?
If you need only a portion of a pattern to be case insensitive, place the Case-insensitive On metacharacter before that specific part of the expression, and then add the Case-insensitive Off metacharacter? Posix Posix classes are an alternate means of defining character sets that, interest- ingly, must appear within a character set in other words, within square brack- ets.
For example, the Posix-style character class [[ : al num : ] ] , which includes any alphanumeric character, is the same as the character set [ a- zA- Z0- 9]. Most Posix character classes duplicate options available with regular character sets. To keep an already complex subject as simple as possible, Posix will not factor into any GREP style definitions in this chapter.
Clicking the icon opens a menu containing more than GREP metacharacters grouped by type. When selected from the menu, the metacharacters are in- serted automatically in the field. This is an enormously helpful way to construct GREP expressions piece by piece without having to memorize numerous cryptic metacharacters. However, there is a limitation to be aware of when using this menu to build expressions that use metacha- racters in the match category.
For example, choosing Positive Lookbehind from the menu just puts the structure of that metacharacter? The menu only supplies the shell, requiring you to move your cur- sor back into the correct position to define the parameters of the condition.
The same applies to all other lookahead and lookbehind operations, subexpressions, and character sets. The any character and any digit wildcards, as well as the one or more times repeat metacharacter will probably be used most often and are worth committing to memory. Although the Special Charac- ters for Search menu is a very helpful tool for building patterns without having to memorize metacharacters, there are a few metacharacters that are not listed in that menu.
The online Community Help could be updated by Adobe any time, but metacharacters. Notice that all of these are uppercase versions of the me- tacharacter for which they have the opposite meaning.
Like Nested Styles and Nested Line Styles, more than one GREP style can be at- tached to a paragraph style and arranged in a specific order using the up and down arrows at the bottom of the list.
The individual metacharacters and what each one does was covered earlier in the chapter. The following exam- ples are intended to familiarize you with GREP patterns in practical situations. The expressions start off simple and then become more complex as more GREP features are added to each subsequent example. Suppose you have a product named Super Widget in a brochure that must always have a particular character style applied to it.
Applying the character style manually to every instance is tedious work. A simple GREP style can eliminate the need for either of those two format- ting options.
But suppose you have several product names that require the same treatment. Place that vertical divider character between each product name with no space around it to create this GREP expression:.
This applies the character style to each name, wherever and however often each appears in the paragraph. From the people who in a GREP style to format brought you the Wonder Tool and the Miracle Product three possible options in the paragraph as often as they comes this latest time- and money-saving product.
Note that the metacharacters for the dollar sign and the decimal point period have been escaped out with backslashes so they are not treated as the special GREP metacharacters they would be without the backslashes.
When put together, the GREP pattern for a price would look like this:. To fix this pattern requires a different way of describing the dollar amount. In- stead of any digit one or more times, the pattern needs to look for any digit or comma one or more times. The range of any character set can be expanded simply by including the desired character within the square brackets.
The correct pat- tern for a price that can include a comma is:. Both expressions are correct. For example, de- scribing a nine-digit U. Describing just the reference is simple. To describe it as a match only if preceded by an opening parenthesis and only if followed by a closing parenthesis requires the positive lookbehind? The lookbehind expression must specify an opening parenthesis? The parentheses are not considered part of the match. They only establish a requirement for the match.
So, the final pat- tern would be. When assigned a character style that uses a different font, size, weight, and color, the formatted text within the parentheses would appear as it does in FIGURE 3. Domain extensions can be as few as two letters, like.
There are also double domain exten- sions like. The plus symbol out- side the character set adds the one or more times repeat criterion to every char- acter in the set. Also, note that the dash appears first within the character set to avoid being confused for a range definer such as 0—9 or a—z. The symbol can be used literally, because it has no special meaning in GREP. Copying the first portion of the pattern, pasting it after the symbol in the To Text field, and then deleting the period in the character set is a much faster way to define the domain name than building it from the menu or retyping it.
Domain name extensions can only contain letters, and although most domain extensions are three letters. You might be tempted to use any character one or more times. Remember, GREP is greedy. The curly brackets can specify an exact num- ber, but they can also define a minimum and maximum number. Now comes the tricky part, defining domains with double extensions, like. It treats the period and the letters that follow it as separate when they need to be considered together.
If the e-mail address appears at the end of a sentence and is followed by a period, this method will also include the ending period of the sentence in the GREP style. To define this troublesome extra domain possibility as a complete unit of the period and letters, it must be marked as a subexpression. Subexpressions isolate a portion of a larger pattern. Anything defined as a subpattern will be parsed as a complete and stand-alone unit within the overall expression.
Sub- expressions are defined by simply placing the relevant metacharacters within parentheses. This encapsulates the additional domain extension as a whole, not as separate pieces.
Now, when zero or one time metacharacter? The GREP pattern for e-mail addresses, when all these pieces are put together, looks like this:. When this GREP pattern is the basis of a GREP style built into a paragraph style, all e-mail addresses in text using that style will automatically have a character style applied to them.
The character, literally. A period, escaped out. That simple GREP expression would look like this:. So, how do you distinguish between dates and fractions?
It requires imposing conditions on the pattern using negative lookbehind and negative lookahead. You define the fraction by stating that a match exists only if it is not preceded by or followed by other specific characters.
This limitation requires adding a second lookbehind and a second lookahead condition. A fraction, as opposed to a date, is any one or more digits, followed by a port fractions the same way. Negative lookbehind Negative lookahead for any digit followed for a slash followed by a slash. Fractions attribute using a character style can work for Minion Pro Semibold multiple typefaces. Adobe Caslon Pro Semibold Italic.
Describing that pattern is as simple as this:. This requires a closer look at how to truly describe any U. The only true constant is that the phone number is ten digits. The rest is a laundry list of potential inconsistencies that must be accounted for. That means creating a character set to account for the dash or the period [-. That changes the pattern to:. It could have a 1 and a dash before it, or a 1 and a space, or neither of those. It could be enclosed in parentheses or not.
If it is enclosed in parentheses, it will more than likely have a space after the closing parenthesis rather than a dash or a period. This requires accounting for a number 1 that may or may not be there or, in GREP terms, occurs zero or one time 1?
A closing parenthesis escaped out with a backslash , zero or one time. A number 1, zero or The area code, described A dash, period, or space contained in a one time. It is nearly impossible to work collaboratively with writers, editors, and cli- ents without having to work with, at the very least, content provided as Word and Excel documents.
Fortunately, InDesign works with the Word and Excel formats quite well, and it includes tools specifically geared toward maximizing compatibility between its features and theirs. This cross-application compatibility allows InDesign users to capitalize on work already done in Word and Excel, thereby reducing repetition and eliminating the potential for human error. To prevent this and Fortunately, the two applications part company dramatically in their imple- open import options dialogs mentation of these common features with InDesign soundly trumping Word in only when you need them, the ease-of-use department and affording advanced style features like Nested leave the box deselected Styles, Nested Line Styles, and GREP styles for which Word has no equivalent.
When you import Word files without using this dialog, InDesign, by default, im- ports all styles from the Word document along with all table formatting, inline graphics, and page breaks.
Imported Word styles have a small disk icon next to their names in the panel. Those disk icons will appear until the style is modified or if you just view its attributes in the Style Options dialog in InDesign. But there may be a number of other selected when importing things you will want to keep. In the Include area of the dialog, you can choose to include or exclude any of the following:.
But this option does not preserve that dynamic link between text styles and a TOC. It only brings in the text that was generated by the TOC process in Word. Here again, all the associations between a dynamically gener- ated Word index and the references within the text are lost.
Just the index text that was generated within the Word file comes into InDesign. No in- dex markers or topics are preserved in the import process. Word footnotes do transition smoothly when placed into an InDesign document. The footnote reference numbers and their link to the footnote text are preserved. InDesign does not have an endnotes feature. Nonetheless, the text of any endnotes from an incoming Word file can be preserved.
The reference numbers are imported at the same place in which they appear in the Word document, and the endnote text is placed at the end of the story. However, there will be no link between the endnotes and the refer- ence numbers in the text. Deleting a reference number will not delete the endnote, nor will it renumber subsequent references in the imported text. The Formatting area of the dialog is where you choose to either eliminate all Word styles and formatting, or most of it with a few exceptions, or to preserve styles and formatting in either of two ways:.
This first option does just what its name implies. Every style and all manual formatting is stripped out of the Word file, and all incoming text comes in formatted with No Paragraph Style applied to it. Word tables cannot be mapped to InDesign table styles on import.
While this setting does get you off to a clean start, it removes all bold and italics from the Word document, too, which requires you to reapply those attributes in the InDesign file. It also strips out bullets and numbers from bulleted and numbered lists. This preserves bold, italics, and underlines but also preserves some unwanted attributes, like colors applied to text in the Word document. It will not preserve the bullets or numbers in bulleted and numbered lists. The greatest control you can exercise over incoming Word files is to choose Preserve Styles and For- matting from Text and Tables.
This option gives you access to two different methods of Word-to-InDesign style conversion: automatic or custom. The so-called conflicts are, in fact, exact matches. When Auto Rename is chosen, the renamed styles will be applied to the imported text.
Customizing Word style import Automatic style importing assumes that the style names in your InDesign file match the styles in your Word file. This will not likely be the case in most situ- ations. Be sure to either select the Show Import Options check box or hold down the Shift key before you click Open. Click the Style Mapping button. Only style by choosing New Paragraph Style.
Excel files can be mapped to Table Styles in the import process. This group contains a character style named Word Imported List Style1. These styles are applied as local overrides to the bullets and numbers in these lists, and sometimes to the entire list item, even if your list paragraph style contains spe- cific character style settings for the bullets or numbers. You can only remove the overrides after the text is placed. To clear them from your document, delete the imported character style and choose your pre- ferred character style as its replacement in the Delete Character Style dialog FIGURE 4.
Another small anomaly is how footnote styles are handled between the two applications. If you map an in- coming Word footnote style to an existing InDesign footnote style, you may find that the footnote formatting you selected is not applied when the text is placed. You can create as many presets as you like, and any preset can be established as your importing default if you click the Set as Default button with the desired preset selected in the menu FIGURE 4. All ties to spreadsheet linking before the original Word file are broken when the text is placed.
When the Word file is placed with this option on, it will appear in the after the file is imported. If, after the initial import, the the risk of unintentionally Word file is modified and then updated in InDesign, all formatting applied or establishing links to all edits made in InDesign will be wiped out when the linked Word file is updated. First, all Word styles and InDesign styles must be identically named, and those styles must be mapped using the Import Styles Automatically option when the file is placed.
Second, no edits to that text whatsoever can take place in InDesign if the linked Word file will be subsequently updated. Even under those circumstances, this is still something of a pipe dream.
All bold and italics applied file in the Links panel. Maximizing the value of Word and InDesign compatibility requires communication between the content provider editors, writers, clients, etc. The more collaboratively these two sides work together, the better and faster the workflow will be.
The compatibility between Word styles and InDesign styles is not a one-way street. Why would you want to do this? Consider magazines, newsletters, and other publi- cations that use standardized formatting in templates from issue to issue.
These workflows could be vastly streamlined if the editors and writers were applying styles in Word that corresponded to the InDesign styles used by the designers. However, there are two fast, easy ways to get your InDesign styles into Word:. Any InDesign styles applied to the copied text are added to the Word docu- ment Style list.
The InDesign styles are now available in Word. Once the styles are in the Word document, delete the text and save the new docu- ment as a Word Document Template.
They can author in this template with all the transferred styles avail- able to them and return a compatibly styled Word document to the design team. In all likelihood your InDesign styles will use fonts unavailable to those who provide your text, so you may want to take the additional step of simplifying the styles in Word for maximum compatibility.
If your sans-serif headings use ITC Franklin Gothic, change the Word style to Verdana or Arial for maximum compatibility with different users and across operating systems.
Instead of columns, the placed Excel file has tabs between each cel document into a layout cell in a row, and each row is presented as a single line of text. Text to Table from the Table menu. Any adjustment to Excel import behavior is retained only for the length of your current InDesign session. Once you quit and relaunch InDesign, the setting re- verts to the default of importing Excel files as unformatted tabbed text.
Mapping styles to incoming Excel files is a much more limited process than mapping Word styles. An imported Excel file can only be mapped to a single InDesign table style.
The default choice is Basic Table, which is the table equivalent of the Basic Para- graph style. Other choices are No Table Style and any table styles extant in the current document.
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