indesign - university of michigansven/classes/cadfun05/indesign05.pdf · open indesign. in the art...

Assignment 11 InDesign CAD Fundamentals I Due April 5 Architecture 411

Objectives To learn the basic concepts involved with desktop publishing.

To become familiar with basic commands in InDesign.

To develop (or begin developing) a portfolio.

Exercise

1. Think about a portfolio design for yourself. Come up with ideas for a booklet that will present images of the work that you have done. This is the sort of booklet that you might show to an architecture firm that is considering employing you, or to a school to which you are applying.

Think about overall organization and page format. Will the portfolio be divided up into individual projects (the typical way of organizing a portfolio) or some other scheme (types of projects, classes you have taken, skills you possess, etc.)? What formatting or graphical elements will link the pages together into a coherent whole? How will the pages be laid out?

Also think about what work you will include in the portfolio. What projects and images will you include? What will you say about each project? For purposes of this assignment, your portfolio should include some images of work from this class, but you do not necessarily need to limit yourself to images of work from this class.

The portfolio can include whatever work you wish, with these restrictions:

The portfolio should have some sort of title/cover sheet with a title for the portfolio (e.g. “Portfolio” or “Transitions and Transformations: Samples of Student and Professional Work, 2001-Present”) and your name.

The portfolio must make use of one or more master sheets, which are used to set the format and display repeated elements for multiple sheets.

The portfolio must include at least one line drawing from AutoCAD, with lineweights clearly distinguishable in the drawing in the portfolio.

The portfolio must include at least one raster image (e.g., a .PSD, .TIFF, .GIF, or .JPEG file).

The portfolio should have headings/titles/captions, as necessary, labeling sections, projects, and images.

The portfolio must include blocks of text (at least 2 paragraph’s worth), probably some sort of written description (or series of descriptions) written in MS Word.

Work shown in the portfolio must be your own, or from a group project that you participated in, or else it should be clearly identifiable as not your own work, e.g., a source of inspiration for a project.

Additional work beyond these minimal requirements will be considered embellishments/additional work. This additional work may include additional line drawings from AutoCAD, raster images from Photoshop, screen capture images, images from a digital camera, scanned drawings, etc.

Note that for a portfolio that you present to an employer/school/etc., you would typically print high-quality color output, and bind the portfolio with a cover. In the interests of keeping costs for the project down and minimizing load on Copy Center facilities, this will not be required (nor interpreted as embellishment) for this assignment. Just print to a good quality grayscale laser printer. Your portfolio will include some sort of title/cover sheet, but it should just printed on paper, not color, not printed on card stock, not bound, not covered with a clear plastic sheet, etc.

1

2

2. Go to AutoCAD and produce one or more .EPS files that you can use. Use the procedure described below, because other methods of getting images from AutoCAD do not necessarily preserve lineweights or even the vector nature of the drawing entities.

To produce an .EPS file, go into AutoCAD, open a drawing that you wish to include in your portfolio, and set up a PLOT. ZOOM the proper amount, go to the Model tab or a Layout, use the ORBIT or DVIEW command, or do anything else you need to do to set up the view that you wish to plot.

Use the PLOT command, and set up the plot to produce the kind of image that you wish to see. It is a good idea to use “monochrome.ctb” as a plot style. Plot the Display, plot a Window, or plot Extents, as you see fit. Select an appropriate setting for “Shaded viewport options.” Select a PostScript printer that you are used to using. You should be able to choose “Fit to paper” for the plot scale, because you won’t really produce plotted paper output in this case; you’ll be producing a file that you can import into InDesign and arrange (and probably re-size) with other text and images.

In the “Plot” dialog box, put a check in the checkbox for “Plot to file”:

Click the “Properties” button (next to the printer name). This should bring up a dialog box titled, “Plotter Configuration Editor”. Click the “Custom Properties…” button. This should bring up another dialog box. The appearance of this dialog box will depend on what printer you have selected, and perhaps on what computer you are using. One possibility is that you will see a dialog box like the one below:

Assignment 11 InDesign CAD Fundamentals I

3

If you see a dialog box like the one above, click the “Advanced…” button. This should bring up yet another dialog box, which you will use to slightly alter PostScript settings:

Click the “+” symbol to expand “PostScript Options”. Click the value associated with “PostScript Output Option:”. Switch the value to “Encapsulated PostScript (EPS)”:


4

Alternately, instead of seeing the dialog box at the top of page 3, you may see a dialog box like the one shown below:


5

For a dialog box like this one, you should click the “Advanced” tab, expand “PostScript Options”, and set ”PostScript Output Option” to “Encapsulated PostScript”.

Alternately, you might see some other dialog box, instead of the one at the top of page 3 or the one at the top of this page. In any event, you should find the “Advanced” settings, find the “PostScript Options”, and change the “PostScript Output Option” to “Encapsulated PostScript (EPS)”.

Once you have done this, click “OK” buttons until you return to the “Plotter Configuration Editor” dialog box. Click OK in this dialog box, as well. This will bring up yet another dialog box:

You should try switching the radio button to “Save changes to the following file:”. Use the default file name, and click “OK”. If AutoCAD lets you make this change, it will help ensure that Encapsulated PostScript is used when plotting to files. However, if AutoCAD does not let you save these changes, it will mean that you must switch to Encapsulated Postscript (using the procedure described above) each time you want to plot to a file.


6

Continue clicking “OK” buttons until you return to the main Plot dialog box. Double-check your plot settings, and click “OK”.

Normally when you plot a drawing, your computer considers your drawing and the current view of it, and based on these, it produces a set of commands for the printer. These commands, in essence, tell the printer something like: “Change to this lineweight. Move to this location. Draw a line from there to this other location…” and so forth.

These commands are normally sent to the printer using some language that the printer understands. There are still multiple languages that can be used, depending on the brand and model of the printer. However, by far the most common language for this is now PostScript. PostScript is a language that is highly portable, meaning that many different brands and models of printers can understand PostScript commands. The printers understand PostScript because PostScript is neutral with regard to device—it does not assume a particular printer resolution, for instance.

These commands are normally sent to the printer, where the printer reads the commands, uses them to produce a print, and then forgets them and moves on to the next print job. However, instead of transmitting the PostScript commands to the printer, AutoCAD (and most other programs) can instead record the series of commands in a file. Such a PostScript file can generally be sent to a printer later for printing.

Some programs can also understand and display PostScript files, but the PostScript file usually needs to contain a little extra information in order for this to happen. The extra information mainly concerns the overall size of the area being printed. PostScript files that have this additional information are called Encapsulated PostScript (.EPS) files.

When you finally click the “OK” button in the “Plot” dialog box in AutoCAD, another new dialog box will appear, in which you should specify a location and a name for a “plot file.” Remember the file name and location that you specify. You will need the file later.

3. Set Windows to let you see/manipulate file extensions. You should have created a valid Encapsulated PostScript file in the previous step. However, because AutoCAD automatically gives all plot files (even Encapsulated PostScript plot files) a filename ending in “.plt”, many other programs will refuse to recognize them for what they are. You will need to change the file extension (the part of the filename after the “.”), but in order to do that, you will likely need to change a Windows setting first.

Go to the “start” button and click “My Computer” (or “My Documents”, depending on where you stored the plot file in step 2). Navigate through the various folders until the window displays the contents of the folder where your plot file is located.

From the pull-down menus, select “Tools->Folder Options…”. This should cause the “Folder Options” dialog box to appear.

Select the “View” tab of the “Folder Options” dialog box:


7

In the list of View settings, make sure that the checkbox for “Hide extensions for known file types” is unchecked. Then click “OK”.

4. Rename the .EPS file as an .EPS file. Go back to the window showing the directory (folder) where your plot file is located. Right-click your plot file; choose “Rename” from the pop-up menu. Change the name of your plot file to something ending in “.eps” instead of “.plt”.

5. Create or locate a .raster graphics image that you will be able to use. An easy way to do this is to simply find one of the files you created for the first assignment, but you are free to use other images of your work, if you prefer. Any .PSD, .TIFF, .GIF, or .JPEG file should work.

6. Go to MS Word (or some other word processor, if you prefer) and produce a text file (or text files). The file should contain text that you intend to include in your portfolio, probably describing various projects you have done. You can come back and do this step later, if you prefer.

7. Open InDesign. In the Art & Architecture Building, it can be found in the “start” menu, classified under “start->Adobe->Adobe InDesign CS”.

8. Begin a practice document in InDesign. You will turn in a copy of this document, but it is not expected to be well composed. This document will merely be used as a place to practice various InDesign commands, and will serve as a record that you have actually tried the commands.

Select “File->New->Document…” from the menus. A dialog box will appear in which you will specify characteristics of your new publication:


8

This will be a short practice document, so tell it “2” for “Number of Pages:”.

Keep the “Page Size” set to “letter” and the “Orientation” portrait-style.

Uncheck the “Facing Pages” checkbox. This means that even- and odd-numbered pages will be formatted the same. This is appropriate for documents that are not intended to ever be printed double-sided. For documents meant to eventually be printed double-sided, you would leave the checkbox checked.

Click “OK” to bring up a window showing your document:


9

In the InDesign window, you will see a floating toolbar on the left. You will see pull-down menus and the “Control” toolbar below them at the top of the screen. You will probably see a set of pull-out palettes along the right side of the screen. Do not panic if not all of the expected elements are in the places shown above. You can make them appear and disappear by checking their names in the “Window” menu.

Of course, you will also notice a large window in the middle of the screen, which shows the document/publication you are creating. Note the scrollbars at the right and bottom, and the rulers along the top and left.

Also notice the small status area on the bottom, to the left of the scroll bars:

This status area has two listboxes. The first shows (and lets you set) how far you are zoomed in on the pages of your document. The other list box tells you (and lets you set) which page is being displayed. To the left and right of the second listbox are navigation buttons that let you move to previous or subsequent pages. You can also move from page to page by typing a new page number in the listbox, or by scrolling down, or by using the “Pages” palette.


10

9. Examine the “Pages” palette. Note that the palettes along the right can be pulled out or collapsed against the right edge of the screen:

This can be controlled by clicking the dark gray area along the left side of the palette, above or below the tabs (not the circle—the circle accesses a pop-up menu of commands).

The “Pages” palette can be used to move from one page to another, including masters pages. (Masters are like underlays or templates that hold information that is repeated on multiple pages. They are used for elements like borders, unifying graphic symbols, headings, or guidelines.)

In the Pages palette, masters are listed above the horizontal bar; pages are listed below the bar. Each page has the page number shown below it. The “A” on each page icon indicates that that page uses master “A”. If your document had multiple masters, you could use the Pages palette to apply a new master to a page, by dragging a master from the top of the palette to a page below the bar.

10. Start editing the master. Double-click “A-Master” in the Pages palette. The status line along the bottom of the main window should update accordingly.

Note: in the remainder of this tutorial, it will be assumed that you use the Zoom (magnifying glass and Alt key + magnifying glass) tool and the scroll bars as necessary.

11. Lock the zero-point of the rulers. Before doing anything else, lock the zero-point (the point from which the rulers measure). To do this, go to the upper left corner of the graphics window (to the little square with the two dotted lines that cross), and right-click. A very short pop-up menu will appear, as shown below. Initially “Unlock Zero Point” will be checked, as shown below, but you should select “Lock Zero Point” from the short menu.


11

The dotted lines should disappear from the little square. More importantly, your rulers will stay in position, both measuring from the upper left corner of the page.

12. Add type to the master. Select the “Type” (text) tool from the tool palette. Click and drag on the page in the graphics window. This will create a box (a text frame) with a blinking cursor in the upper left corner.

Type “This text is on the master.” in the text frame.

13. Center the text and make it 36-point. Highlight the sentence, then select “Type->Size->36 pt” from the pull-down menus. Use the control toolbar at the top of the screen to make the text centered.

Switch to the selection tool (the black arrow on the tool palette) and select the text frame. Drag the corners of the frame so that it spans between the left and right margins along the top of the page:

14. Add your name using 24-point text, centered along the bottom edge of the master page.

15. Make sure that guides will be displayed. Go to the “View” menu and see if there is a “Show Guides” item in the menu. If so, select it. If there is a “Hide Guides” item, leave it alone. Do not hide the guides.

16. Add three vertical guides to the master. Guides are lines that are used to help make things line up on pages. You can use them, for instance, to help make all your images on a page extend equally far to the left. Or you can put them on a master, for instance, to help you put a different block of text in exactly the same position on different sheets.

Guides appear on the screen as cyan lines, but they do not print (unless you specifically tell InDesign to print them).

Move the pointer to the ruler along the left edge of the graphics window. Click on the ruler and drag to the graphics screen; this will drag a vertical cyan line onto the page (or a blue line, when it is highlighted). Position the cyan (or blue) line in the exact center of the sheet (the top ruler will help you tell when you have it centered.)


12

Drag another cyan guide to a position half an inch left of the first guide. Drag a third guide half an inch to the right of the first guide:

Note that you can create horizontal guides as well as vertical ones. Horizontal guides are created by dragging from the top ruler, instead of the left ruler.

17. Draw some sort of small, simple graphic symbol above your name. An example is shown below. Choose something different and add it to your master. Add additional guides, if they will help you draw the symbol.

If you want to change colors, you can do so using the “Swatches” palette that pulls out from the right side of the screen. This palette allows you to set the “fill” color (symbolized by a solid square) and the “stroke” color (symbolized by a hollow square with a thick outline) independently. You can use one of a handful of pre-defined colors, or define a new one of your own. A diagonal red line through a square symbolizes “clear” as a color. Selecting an existing object(s) and then changing the color on the “Swatches” palette will change the appearance of the existing object(s). Changing colors when nothing is selected will change the default colors for new objects that you subsequently create.

Note that the graphics you can create are fairly limited. InDesign isn’t really meant for drawing; it is meant for arranging text and graphics that you created using other programs.

18. Switch to page 1. Go to the “Pages” palette and double-click the “1”. Note that everything you drew on the master is still visible, but you can not select it. Objects on a master appear on all pages that use that master. However, they can only be edited on the master, not on any of the other pages.

19. Draw a rectangular frame on page 1. Use the rectangular frame tool ( ).


13

20. Save your document. Sometimes InDesign crashes when performing complex operations like placing files or printing. You are about to place a file, so you should save your document.

21. Place the .EPS file generated by AutoCAD in the rectangular frame. If the frame that you just created is not already highlighted, select it using the selection tool. Choose “File->Place…” from the menus. In the dialog box, select the .EPS file you created in steps 2, 3, and 4, then click the “OK” button.

22. Resize the graphics frame so that it shows the contents of the .EPS file, but is centered and is 2 to 3½ inches wide . If your .EPS file had lots of white space, and your rectangular frame was small, you might not even recognize your .EPS file in the frame yet. At best, you probably see only a corner of the .EPS file. In order to fit the image in the frame properly, you will need to re-scale it. This may take several attempts. There are a couple different methods that you may find useful.

One method is to shrink the image to fit completely within the frame, then to shrink the frame to fit the proportions of the image. To do this, start by selecting the frame. With the frame highlighted, right-click. From the menu that pops up, select “Fitting->Fit Content Proportionally”. Then, highlight the frame again, right-click again, and choose “Fitting->Fit Frame to Content”.

Another method involves trying to manipulate the frame and the image separately from each other. With the frame highlighted, choose “Object->Select->Content” from the pull-down menus. This will outline the entire image you placed, including those portions that lie beyond the extents of the frame. You can drag the corners of this outline around to re-size the image. Make sure that you hold the “Shift” key when doing this, however; otherwise, you will alter the proportions of the image.

After re-sizing the image in this manner, highlight the frame by clicking it (if necessary, first click away from all objects to de-select everything, then click the frame to highlight it). Grab the small square “handles” on the frame to re-size it. Resizing the frame in this manner will not re-size the image inside the frame. It will only affect where the frame sits relative to the contained image. Manipulate the frame handles to fit the image in a reasonable manner. A small number of points will be deducted if your frame appears to crop the contained image in a haphazard manner, or if the image appears far too small for the frame or is poorly located within the frame.

You may also want/need to rotate your image from the .EPS file. You can do this by selecting “Object->Transform->Rotate…” from the pull-down menus. Make sure that you have selected what you want to rotate when you do this. If you want to rotate just the image (not the frame), do “Object->Select->Content” before rotating. If you want to select both the image and the frame, click to highlight the frame before doing the rotation.

After re-sizing (and possibly rotating) the frame and its contained image, place the frame and image along the centerline of page 1, so that the frame is centered. Move the frame and image by highlighting the frame, then clicking in the interior of the frame and dragging. The guides you created on the master sheet will help you center the frame. The handles in the middle of the top and bottom edges of the image frame will try to snap to the guide whenever you position the frame so as to get them close to the guide. (If this snapping does not seem to be happening, check the “View” menu to make sure that “Snap to Guides” is checked.)

23. Place text on the left side of page 1. First, make sure that nothing is selected. Then choose “File->Place…” from the menus. When you see the “Place” dialog box, select a Microsoft Word file. It can be the file from step 6, or it can be something else. You can use a paper you wrote last year, or some other file that you happen to have handy. The file can even be a series of random words, with occasional punctuation and paragraph breaks, saved as a Word file. The contents of the file are not important for the purposes of this assignment, but it should be your own file, not text written by someone else. The file should also be at least 2 pages long. Select a Word file, and click “OK”.

You will see that the pointer has changed. It resembles an arrow attached to a miniature sheet of text. Click and drag on the page, starting at a point along the left margin, just below the 36-point


14

text. Drag to a point on the leftmost of the 3 vertical guides you created in step 16, just above your name. See the figure below for reference. The text in the right column will be added in the next step.

24. Continue the thread of text on the right side of page 1. After placing the text in the left column, you should see it outlined with a frame similar to the frame around the .EPS image. The text frame should have 8 small handles like the frame around the image had. However, the text frame will also have two additional, larger squares, one below the upper left corner, and one above the lower right corner. The one above the lower right corner should be highlighted in red, and should have a “+” inside it. The red box with the “+” indicates that there is more text than what fits in the frame.

In desktop publishing (and probably graphic design in general), a “story” is stream of text that forms part of a continuous whole, like a single essay, narrative, encyclopedia entry, or newspaper story (which is where the desktop publishing term comes from). A single story is generally stored as a single text file and imported into the desktop publishing program. There, it “flows” from column to column or even from location to location. For instance, a newspaper story may occupy 4 columns on page 1 and be continued on page 12.

In desktop publishing, a story is “threaded” from location to location. This means that if text in one location ends at a certain word in the story, the next word will be found at the start of the next block of text for that story. In addition, the desktop publishing program keeps track of how the text is threaded from location to location. If the block of text in one location is reduced in area, not as much text will fit in that location. The text that no longer fits at that location will instead be moved to the start of the next location. There, the text that was already present will move down to accommodate the displaced text.

Switch to the selection tool (the black arrow), if it isn’t already the active tool. Click the red “+” sign near the lower right corner of the text frame. This indicates that you wish to place the next text from the story. The pointer should again change to the small arrow and sheet of text.


15

Click and drag to mark the extents of the right column on page 1. Click on the rightmost of the three guides from step 16, just below the 36-point text. Drag to the edge of the right margin, just above your name. Refer to the illustration above for an indication of the column extents.

25. Continue the story on page 2. Using the same process, continue the story by threading it into two columns on page 2. If more text remains in the story, do not worry about it; just let the story end in mid-sentence at the end of page 2.

26. Make the text flow around the .EPS image. In the previous illustration, and most likely in your document, the text in the two columns overlaps the image on page 1.You will now correct this situation.

Return to page 1, and highlight the graphics frame.

Choose “Window->Type & Tables->Text Wrap” from the pull-down menus. This causes a new floating palette to appear:

Click the second of the icons in the top row. This will enable the controls in the middle section of the palette. The controls in the middle section of the palette specify how far the text should be offset from the top, bottom, left, and right of the image.

When the controls in the middle of the palette are enabled, set each of them to “0p5”. You should then see a thin outline offset to the outside of the graphics frame. This thin line will “push” text out of its way, so that the text wraps around the graphics frame, as shown below.


16

27. Create a frame in the middle of page 2, and place a raster graphics image in it. Use the raster graphics image from step 5. Resize and center the frame as in step 22, and make text wrap around it, as you did with the .EPS image in step 26.

28. Embed your images in your InDesign file.

Images in InDesign can be either linked or embedded. In some ways, the two ways of including images are analogous to AutoCAD XRefs and Blocks, respectively.

With linked images (the default), the actual image information for each image is stored in a separate file. InDesign keeps track of where the image has been placed and how it has been scaled, rotated, etc., but the actual untransformed (raster or vector) image information is stored elsewhere. This keeps the size of the InDesign file small, but it also means that you must be very careful to keep the images and the InDesign project in the same directory. Otherwise, InDesign will not be able to find the image information at print time, and it will probably print some sort of coarse, low-resolution preview of the image, instead.

With embedded images, a copy of the image is stored in the InDesign file. InDesign should not need the original files after you place them and embed them (although it is a VERY good idea to keep them handy, just in case). Embedding images will make your InDesign file large—larger than all of your image files combined. But provided that the InDesign file still fits on a storage device, transporting a single large file with embedded images will probably be easier than transporting multiple small files and keeping them all together.

Select “Window->Links” from the menus. This will display a dialog box:

Highlight all of the listed image files by clicking and dragging. Then click the circle in the upper right corner, and choose “Embed File” from the pop-up menu. An alert box will appear, warning you that your file size will increase by a certain amount if you embed the files, and asking you whether you wish to continue. Click “Yes”.

A small icon will then appear next to each image in the list, indicating success:


17

29. Print your document. Save your work, then “Use File->Print…” from the pull-down menus.

30. Use InDesign to create a portfolio of your work, fitting the requirements described in step 1. You will need to open a new InDesign document in order to do this.

Your portfolio should have a cover/title page, and you might not want this page to have the same format as your other pages. If this is the case, you should not use the same master for the cover page that you use elsewhere. You can remove a master from a page using the “Pages” palette. Simply click and drag “[None]” from the top part of the “Pages” palette onto the appropriate page in the bottom part of the palette.

As you work, you might discover that you need to add additional pages. If so, go to the “Pages” palette, and click the circle in the upper left corner. Use the “Insert Pages…” command from the pop-up menu that appears. A dialog box will appear, where you will specify how many pages to add, which page they should follow, and which master they should use.

If you need to delete pages, highlight them in the “Pages” palette, and click the circle in the upper left corner of the palette. Use the “Delete Pages” command from the pop-up menu.

If your portfolio is divided into sections, you might wish to create a master for each section. If this is the case, go to the “Pages” palette, and click the circle in the upper left corner. Use the “New Master…” command from the pop-up menu. After you create a new master, you can assign it to a page by dragging it to the appropriate page in the “Pages” palette.

If you wish to include images from Revit in your portfolio, you can follow a procedure very similar to that used for AutoCAD images. Print to a file, changing the properties (advanced properties) of the printer so as to generate .EPS instead of optimizing for speed. Change the name of the resulting “.prn” file to “.eps”, and then place the file in InDesign.

Note: Sometimes lines near the edges of the “bounding box” get ignored in .EPS files. If this happens, one way to fix the problem is to open the .EPS file in Adobe Illustrator, draw some white lines just outside the current bounds of the picture, and re-compute the bounding box.

Another important note: You must not let InDesign “lose track of” images that you have placed. If you ever need to stop working before finishing this assignment, you should make sure that you first embed all of the images you have placed in the document. If you do not embed the images, they will instead remain linked images: the actual image data will be stored in some external file, rather than in the InDesign document itself. If you subsequently work using a different computer, InDesign may not be able to find the actual image data. You might not notice a problem while looking at the computer monitor, because computer monitors are relatively low resolution. But when you try to print, the quality of the printed image will be quite poor if InDesign can not find a linked image. Points will be deducted if you allow this to happen.

31. Embellishment/extra work. Additional work beyond the minimal requirements will be considered embellishment/additional work. This additional work may include additional line drawings from AutoCAD, raster images from Photoshop, screen capture images, images from a digital camera, scanned drawings, etc.

Good composition and investigation of commands not covered in class will also help improve your grade. You might want to investigate the use of color gradients, text that is rotated or that follows a curve, drop shadows, feathered frame edges, non-rectangular frames, or other tools for composing text and graphics in InDesign. Write a note to the instructor to clarify any commands you investigate on your own.

If you are not an architect, artist, landscape architect, etc., or if you are an underclassman, you might not have many images of past drawings, models, or other artwork. If this is the case, consider other images that might be indicative of your experience or studies. Consider screen shots of software you have written, or screen shots from analysis software analyzing one of your projects (with an appropriate notice of the analysis software’s name and copyright, e.g., “…analysis


18

using STAAD-Pro. STAAD Pro is copyright 1997-2003 by Research Engineers Int’l., a division of netGuru, Inc.”). Or consider photos that show you working at a construction site, a group photo of a project team, a photo of the building where you worked, etc.

If you do not have many images of this sort, you might try adding a personal section to your portfolio. This would almost never be done in an actual portfolio submitted to a potential school or employer, but for this assignment, such a section might help you demonstrate consistent control and understanding of InDesign tools.

32. Save and print your portfolio.

Sources:

Weingartner, P.J. 1997. First Guide to PostScript, 3rd ed. Available on the web at: <http://www.cs.indiana.edu/docproject/programming/postscript/postscript.html> and related pages. Last update January 18, 1997; last viewed November 20, 2004.

What’s due:

A print of both pages of the “practice” publication (step 29).

A print of your portfolio. (step 32).
