Real World Adobe InDesign CC Paperback – 24 Jul 2013
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About the Author
Olav Martin Kvern is an award-winning illustrator, graphic designer, software developer, and writer. He is the author of several books, including Real World Freehand and Real World PageMaker and was a columnist and Contributing Editor for Adobe Magazine.
David Blatneris the world’s most-recognized authority on Adobe InDesign, and the co-host of InDesignSecrets.com. He is the author of 20 books and video titles, and the editorial director of InDesign Magazine.
Bob Bringhurst worked at Adobe Systems as a Senior Technical Writer for more than 15 years, creating the technical documentation for every Adobe InDesign version since the softwares inception. He currently works on the Adobe Digital Publishing Suite andcreated the popular DPS Tips application.
Top customer reviews
Most helpful customer reviews on Amazon.com
One reason that indexes are so important for nonfiction works is because many people (myself included) use such books as reference materials. In fact, and I don't fault anyone who does, there is no way in hell that I would read this book from cover to cover, so I rely on the index to help me find my way. Books such as The Chicago Manual of Style, 16th Edition and Garner's Modern English Usage do this quite admirably. My experience with most books about technical areas such as coding, design, and programming is that the same people who have difficulty writing in a way that makes sense to the average person have difficulty creating indexes that make sense as well.
Although it's convenient to blame the authors, Adobe makes the problem much worse by creating its own language using words that already have other meanings in the lexicon. For instance, most publishers consider "gutter," absent a modifier, to mean the interior gutter between pages in a spread. Gutters also exist between columns, and that's how Adobe defines them, but most folks in the real world refer to columns by widths, margins, and bleeds rather than gutters, primarily because the term "gutter" could be confused. But Adobe has no qualms and continues to use existing words to refer to things that already have descriptive words associated with them.
But on to the book. As a side note for anyone reading this who thinks, "Well, he didn't read the whole book so what does he know?": I've probably read half the book in various parts and have no interest in trying to read the rest. What's so frustrating about this book is that the authors (1) constantly refer to dropdown menus and tabs and action buttons and panels and sidebars without any map or diagram to explain where they are, another example of someone knowing exactly how something works but being unable to explain it to others who know nothing of the program; (2) go on and on about how cool it is to drop text into a liquid layout and add some cute frilly border, blah, blah, blah, but give other topics short shrift--for instance, considering that InDesign is the primary software used by publishers for layout, why is so little space devoted to spreads and the aforementioned gutters? (Sadly, no mention is made about the single definition of gutter used by Adobe.); (3) fail to provide a section or chapter devoted to all the things InDesign does to drive a people absolutely insane--literally thousands of pages on the Interwebs are devoted to solving perplexing InDesign problems, mostly because Adobe's own help pages are essentially worthless, yet the authors fail to recognize that and provide a handy go-to that lists the typical problems and how to solve them; (4) give Adobe too much credit for its "wonderful" program without ever questioning the bizarre things InDesign does such as inserting white ghost boxes at the top/bottom of imported text, failing to save changes in default settings, inexplicably changing the default settings on its own, referring to a horizontal table split as vertical and a vertical table split as horizontal, etc. Again, these are areas ripe for a troubleshooting chapter that would save countless people millions of hours wasted trying to find answers.
In the end, through a process of trial and error and finding sane, logical answers on the Internet, I learned InDesign on my own, and I still marvel at the stupidity with which Adobe designed it, though at least now I have a complete understanding of how to do just about anything with the software. But my skill with InDesign has nothing at all to do with Adobe or this book. If you decide to buy this book despite the warnings, just keep this in mind--you'll waste a lot of time looking things up in this book only to find no answer or an answer that doesn't work.
The book is split in a rough introduction section focused on the tools and how they are used, but by the end of the book it becomes much more technical and in depth about how powerful InDesign really is.
For reference: I recently finished my 4 year degree and have been working in design for 2.5 yrs, but wow this book is really awesome! The turkey jokes are an added plus!
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