DESKTOP POWER SERIES
PUBLISHING POWER
Second Edition
]9H
The Complete Teaching Guide
to Xerox Ventura Publisher
Martha Lubow and Jesse Berst
Supports Version 2
DAVID A. RICHARDS, CPA
1627 First Avenue
York, Pennsylvania
17403-1945
PUBLISHING
POWER
WITH VENTURA
The Complete Teaching Guide to
Xerox Ventura Publisher
Second Edition
Martha Lubow and Jesse Berst
New Riders Publishing
Thousand Oaks, California
PUBLISHING POWER WITH VENTURA
The Complete Teaching Guide to Xerox Ventura Pub¬
lisher
Second Edition
by Martha Lubow and Jesse Berst
Published by:
New Riders Publishing
PO Box 4846
Thousand Oaks, CA 91360
U.SA.
All rights reserved. No part of this book may be reproduced
or transmitted in any form or by any means, electronic or
mechanical, including photocopying, recording or by any in¬
formation storage and retrieval system without written per¬
mission from the authors, except for the inclusion of brief
quotations in a review.
Copyright © 1988 and 1989 by Martha Lubow and Jesse
Berst
Second Edition 1989
Printed in the United States of America
Library of Congress Cataloging-in-Publication Data
Lubow, Martha, 1952-
Publishing Power with Ventura
Includes index.
1. Desktop Publishing. 2. Xerox Ventura
Publisher (Computer program) I. Berst, Jesse.
II. Title.
Z286.D47L8 1989 686.2'2 88-33034
ISBN 0-934035-61-X
About the Authors
MARTHA LUBOW has been teaching and writing about
computer graphics and design since 1979. A graduate of
Stanford University, Martha first got hooked on computer
graphics at Bucks County Community College, where she
designed one of the country’s first computer art exhibits.
Since then she has taught and developed computer
graphics teaching guides for university-level and Fortune
500 training programs. She is the author of the popular
training guide, Working Out with AutoCAD.
Martha is the co-author of two other New Riders books
about Ventura, Style Sheets for Business Documents and
Style Sheets for Newsletters: Advanced Designs for Xerox
Ventura Publisher. She has also written articles on com¬
puter-aided-design and desktop publishing for trade publi¬
cations. Martha is a design and editorial consultant in
Bucks County, PA.
JESSE BERST was Executive Editor of MicroPublishing
Report , the nation’s first desktop publishing newsletter. He
has authored or co-authored seven books on desktop
publishing and other computer topics, including the
bestselling Inside Xerox Ventura Publisher. He has written
hundreds of magazine articles for publications such as PC
World , Personal Publishing, Publishers Weekly, Small
Press and many others.
Production
Lead Editor: Keith Thompson
Director of Production: Carolyn Porter
Production Manager: Todd Meisler
Cover design: Jill Casty
Page design: Jesse Berst, Keith Thompson, and Martha
Lubow
Drawings and illustrations: Martha Lubow, Todd Meisler,
Keith Thompson, and Melanie Powell
From a Concept by: Harbert Rice
Warning and Disclaimer
This book is designed to provide information about Xerox
Ventura Publisher. Every effort has been made to make it
as complete and as accurate as possible.
However, no warranty of suitability, purpose or fitness is
made or implied. The authors and New Riders Publishing
shall have neither liability nor responsibility to any person
or entity with respect to loss or damages in connection with
or arising from the information contained in this book.
If you do not agree with the above, you may return this
book for a full refund.
Acknowledgments
The authors and New Riders Publishing wish to express
their grateful appreciation to all the people who con¬
tributed their expertise, support, and inspiration to the
creation of this book:
To John Meyer and Michelle Polliard (Ventura Software),
Ellen Brout (Oracle Corporation), Lainie Howard (Relation¬
al Technology), Richard Katz and the UCLA PC Users
Group, Dorothy Kent (Synergis Technologies), Ivy Strickler
(Drexel University), Lisa Kirk, Mark Hirsh, De Winchell,
and Linda Yoder.
Many thanks to Jon DeKeles for his technical assistance,
support, and troubleshooting.
Special thanks and appreciation goes to Robert E. Sturmer
of WordCraft Publishers, Yardley, PA, whose invaluable
comments and thorough review and testing of the tutorials
made this a better book for everyone.
Heartfelt appreciation goes to Carolyn Porter and Todd
Meisler for their relentless hard work and their skill and
talent in production; and to Keith Thompson for his im¬
aginative suggestions and indispensable contributions to
the design, review, and production of this book.
Martha would like to express her thanks to Jerry Waxier
and Katherine Sharp for their enduring love, patience, and
understanding during the writing of this book; to her
parents, Oscar and Miriam Lubow, for their unconditional
encouragement and support; and to Mac, whose love and
companionship has given new meaning to life after work.
And finally, to Harbert Rice, whose vision brought us all
together.
Special thanks from Jesse to Lori White for encourage¬
ment, assistance, and understanding.
Our appreciation to the companies and individuals who
provided software or hardware for the project: Randi
Doeker and Xerox Corporation, Annie Barfuss and Hill &
Knowlton, Digital Research, Executive Systems, Inc.,
Microsoft Corporation, Moniterm, Symsoft, Verticom, Z-
Soft Corporation.
For the design of the directory in Chapter Seven, many
thanks to Jim Cavuoto, micropublishing Report.
For permission to reprint the computer drawing from Chap¬
ter Five, Digital Research, Inc.
Trademarks
Ventura Publisher is a registered trademark of Ventura
Software, Inc.
Xerox is a registered trademark of Xerox Corp.
IBM is a registered trademark of International Business
Machines
Illustrator and PostScript are registered trademarks of
Adobe Systems.
AutoCAD is a registered trademark of Autodesk, Inc.
WordStar is a registered trademark of MicroPro Interna¬
tional Corp.
MS-DOS, Microsoft and Word are registered trademarks of
Microsoft Corp.
LaserWriter is a registered trademark of Apple Computer,
Inc.
LaserTorq is a registered trademark of LaserTools Corpora¬
tion.
Lotus 1-2-3 is a registered trademark of Lotus Develop¬
ment Corp.
PC Paintbrush is a registered trademark of Z-Soft, Inc.
Contents
Introduction
Becoming a Power Publisher /
Goals and objectives /
How to use this book /V
The Ventura Formula x
Chapter One
A Single-Column Report
1-1
Report on Installation and
Implementation of \fentum
Planning the report 1-7
Ventura prep 1-15
Text 1 -20
Style 1-30
Un of Ventura Company-WM*
Pictures 1 -57
as^aau55aatt^53
Chapter 1-62
Chapter Two
A Two-Column Proposal
Planning the proposal 2-8
2-1
Consulting Proposal to ABC Company
froimtl Dmoiftkm •
Ventura prep 2-10
Text 2-15
SsS5£S55 SSHSjSrs
Style 2-22
StatuHatofWirk i^,ay n.-^ n.
Pictures 2-41
Chapter 2-54
Chapter Three
The Newsletter
A Two-Column Newsletter
Planning the newsletter 3-13
Ventura prep 3-13
Text 3-16
Style 3-17
Pictures 3-58
Chapter 3-61
3-1
Chapter Four
An Invoice
Planning the invoice 4-12
Ventura prep 4-13
Text 4-17
Style 4-17
Pictures 4-47
Chapter 4-53
Chapter Five _
An Advertising Flyer
Planning the flyer 5-10
Ventura prep 5-12
Text 5-13
Style 5-14
Pictures 5-36
Chapter 5-52
The Ventura
Makeover
TkkaagraatUaa ... and make H greater
4-1
5-1
Chapter Six
A Three-Column Newsletter 6-1
Planning the newsletter 6-6
Ventura prep 6-7
Style 6-11
Pictures 6-51
Chapter 6-59
Chapter Seven
A Directory 7-1
Planning the directory 7-6
Ventura prep 7-7
Text 7-7
Style 7-8
Pictures 7-25
Chapter 7-38
Chapter Eight
A Book 8-1
Planning the book 8-3
Ventura prep 8-4
Text 8-5
Style 8-17
Pictures 8-32
Chapter 8-32
Chapter Nine
A Technical Manual
Planning the manual 9-5
Ventura prep 9-6
Style 9-7
Pictures 9-38
Chapter 9-50
9-1
Chapter Ten
J L
1 '
r
The Professional Extension 10-1
Ventura prep 10-16
Text 10-17
Style 10-23
Chapter 10-39
Appendix A
Appendix B
Text Files
A-1
Appendix C
Tag Tables
B-1
Appendix D
Installing the Power Disk
C-1
Colophon
D-1
Index
Introduction
Becoming a Power Publisher
P lease don’t skip this introduction. Yes, we know that many
authors use the introduction just to say hello. Many
readers, therefore, skip to Chapter One so they can get right
to business.
This introduction, however, has several crucial functions.
First, it explains the most productive, efficient way to use
Publishing Power with Ventura. Second, it explains how to
prepare your computer system so you can work along with the
projects. Third, it contains a key formula you will use over and
over again. The Ventura Formula explained at the end of this
introduction is the foundation for the rest of the book.
Goals and objectives
Publishing Power with Ventura will help you tap the full
potential of Xerox Ventura Publisher.
It’s no secret that Ventura has more horsepower than ordinary
page layout programs. Ventura can create virtually any type
of document, from one-page ads to 500-page directories and
anything in between.
With Ventura, you have the power to create almost any docu¬
ment. The samples on page ii were all created entirely with
Ventura.
E
INVOICE
Goals and objectives
Why this Book is different
iii
Yet with all that power at their disposal, some users complain.
They feel like a beginning driver who hasn’t learned to shift
into high gear. They can get Ventura up and running, they can
point it in the right general direction, but they can’t seem to
fine-tune its performance for maximum productivity.
This book will move you into the fast lane. Best of all, it will
show you how to stay in control the whole time. You’ll know
where to start and where to go next, no matter what kind of
document you are preparing. In short, you will always be in
the driver’s seat.
How do we plan to accomplish these goals? First, we put you
behind the wheel right from the start. In every chapter, you
“test drive” Ventura by creating an actual business document.
There’s no better way to acquire skills than with hands-on
practice. Second, you start with simple documents before
moving on to difficult ones. For example, Part One teaches
fundamentals. You can follow along even if you are new to
Ventura. Part Two, on the other hand, shows how to rev up
your publishing with advanced techniques.
Don’t be too impatient. Ventura Publisher is one of the most
powerful applications ever written for the IBM PC. It will take
some time before you reach expert status. To make the journey
easier, we start each project with a roadmap, a before-and-
after look at the document that shows where you are starting
and where you are going. As we proceed, we provide you with
signposts to check your progress. Simply check your results
against the sample screens and printouts. You will always
know if you’re on the right track.
Why this Book is different
Publishing Power with Ventura differs from other books and
tutorials. First, it is not just a beginner’s session. It is a
complete training course in Ventura, from novice to advanced.
Second, it takes you step-by-step through real-life applica¬
tions. If you complete all the chapters, you will have a per¬
sonal library of industrial-strength business documents and
style sheets. You will also have the skills to modify those
documents to fit the unique requirements of your business.
Third, Publishing Power provides more than how-to skills. It
IV
How to use this book
also teaches you strategies, systems, techniques, and for¬
mulas for working through design problems.
We believe that if you follow the examples in this book, you
will be able to gain full control over Ventura’s sophisticated
capabilities. You will be able to create virtually any kind of
document — books, ads, newsletters, manuals, forms, reports
— right on your desktop.
Now that’s true publishing power.
How to use this book
Publishing Power with Ventura contains two sections. Part
One, Getting Started, teaches basic skills. Part Two, Ad¬
vanced Documents, teaches advanced techniques as they
apply to specific business applications. Part Two also includes
a chapter that teaches the advanced features of Ventura’s
Professional Extension. We recommend that everyone com¬
plete Part One (Chapters One, Two, and Three). Even ex¬
perienced Ventura users should skim Part One, because it
does more than clarify basic features. Part One also provides a
systematic plan for using Ventura. The advanced chapters in
Part Two assume that you understand the building blocks
explained up front.
How to use part two
Although Part One is essential, not everyone needs to go
through all of Part Two. The method you use for the second
half will depend on your needs. If you are an occasional user,
produce only one type of document, or are short on time, select
chapters that teach the skills you need right now. If you later
expand to different documents, return to Part Two to learn
more. Table 1 suggests an abbreviated curriculum based on
the type of document you produce.
How to use part two
v
Table 1. An Abbreviated Curriculum
Document to Produce
Chapters to Study
Key Skills
Part One
Basic skills
Books
Chapter Eight—A Book
Multi-Chapter, footnotes, indexing,
table of contents, equations, update
counters, chapter templates
Chapter Nine — A Technical Manual
Frame anchoring, auto-numbering,
figure numbering, spot color
Chapter Ten — Using the Profes¬
sional Extension
Advanced typography, cross refer¬
ences, tables
Corporate
Part One
Basic skills
Documents
Chapter Four—An Invoice
Box Text
Part One
Basic skills
Directories,
Chapter Seven—A Directory
Preformatting text, databases and
Ventura, chapter templates
Catalogs
Chapter Eight—A Book
Multi-Chapter, footnotes, indexing,
chapter templates
Chapter Nine — A Technical Manual
Frames and anchoring, auto-number-
ing, figure numbering
Part One
Basic skills
Marketing
Chapter Four—An Invoice
Box Text
Chapter Five — An Advertising Flyer
Advanced graphics and typography
Chapter Nine—A Technical Manual
Spot color
Part One
Basic skills
Chapter Three — A Two-Column-
Newsletter
Newsletter-style layout, captions
sizing and scaling images
Newsletters, Magazines
Chapter Four—An Invoice
Box Text
Chapter Five—An Advertising Flyer
Advanced graphics and typography
Chapter Six — A Three-Column-
Newsletter
Advanced newsletter-style layout,
captions, table of contents,calendar,
Chapter Ten — Using the Profes¬
sional Extension
Advanced typography
VI
How to use this book
On the other hand, if you plan to use Ventura for many
different documents, try to finish Part Two from start to
finish. Completing all ten chapters guarantees that you will
understand Ventura’s full range of features.
If you have installed the Professional Extension
If you have installed Ventura’s Professional Extension, your
screen will show several more dialog box options than the
sample screens in this book. Do not be concerned if your
screen looks slightly different. It will not effect your ability to
complete the step-by-step instructions.
We suggest you master the basics in Chapters One through
Nine before you tackle the advanced table editing and typo¬
graphic features of the Professional Extension explained in
Chapter Ten.
How each chapter is organized
Each chapter is divided into four sections: skills checklist,
theory, tutorial, and tips. The skills checklist at the beginning
gives you an overview of learning skills and key words. A
glance at the list tells you what you will learn.
The theory section discusses the concepts and principles be¬
hind each chapter. Take the time to read the background
information before you start the hands-on project. That way
you will understand why you are making specific selections.
The tutorial section includes detailed instructions in bite-size,
easy-to-follow steps. Usually, you can produce the desired
result just by imitating the sample screens.
Finally, the tips section summarizes and expands on the tech¬
niques mentioned throughout the chapter. Some people like to
skim through these tips before starting.
A note to instructors
If you are using Publishing Power for classroom instruction,
you should know that each chapter has one or more stopping
points. If you have time for extended sessions, ignore them
and proceed straight through. However, if you want to pause
The ground rules
vii
periodically, you will find clearly marked break points, with
instructions on how to stop and resume.
Instructors may also want to assign advance reading. We
suggest that students prepare by reading the theory section at
the beginning and skimming the tips section at the end.
A final tip for instructors: If you want to focus on certain
techniques, you can confine the classroom session to one por¬
tion of a chapter. Step through the project yourself up to the
point at which you wish to begin. Save your work and dis¬
tribute this partially completed chapter to students on floppy
disks (or via network). Have the students load up the partially
completed project at the beginning of the session. That way
you and they can concentrate only on the specific skill you
wish to present.
The ground rules
While we are explaining how to use this book, we should
acquaint you with a few ground rules. The checklist that
follows spells out six conditions. These are the assumptions
that operate during the self-paced publishing projects. Before
starting with Chapter One, make sure that your system
matches all six.
WARNING: You may have difficulty recreating the examples if you do not meet all the
assumptions explained below.
1. You are using Ventura 2 or higher. The sample projects in
this book use Ventura 2 features. If you have installed the
Professional Extension, your screen will include Table mode
(in the Side-Bar) and several additional dialog box options.
The slight variations you see between your screen and ours
will not affect your ability to follow along.
The sample style sheets on the accompanying Publishing
Power software disk will not work with version 1 or 1.1 Con¬
tact your local dealer or Xerox for upgrade information if you
are working with the older version.
2. Ventura is located on drive C:. If you use a different letter
for the hard disk containing Ventura, substitute that letter
How to use this book
viii
whenever you see C:. Consider, for example, an exercise that
asks you to move to the C:\POWER subdirectory. If your hard
disk is D:, you would type D:\POWER instead.
3. You have the original Ventura examples intact on the
C:\TYPESET subdirectory. If you have moved these style
sheets or picture files, or if you have modified them in any
way, copy the originals from the Ventura installation disk
labelled '‘Examples.” The command “COPY A: &*. STY
C: \TYPESET” will copy all the style sheets you will need for
this book. The commands “COPY A: *. IMG C: \TYPESET” and
“COPY A:*.GEM C:\TYPESET” will copy all the picture files
you will need for the book. You do not need to copy these files
unless 1) you have erased the examples or 2) you answered
“no” during installation when Ventura asked if you wanted to
install the examples.
*+NOTE: If you have modified the example style sheets in any
way, delete or move them from the 1 TYPESET subdirectory
and recopy the originals from the installation disk.
4. You have a Hercules-compatible graphics adapter. The
sample screens in this book were created from a Hercules-
compatible monitor. If you have a VGA, an EGA, a CGA, or a
big-screen monitor instead, your display may look slightly
different than the illustrations. This should not affect your
ability to follow along.
5. You use a mouse. To gain the maximum productivity from
Ventura we recommend a mouse. If you do not have a mouse,
refer to the section “Operation without a mouse” in the Xerox
Ventura Publisher Reference Guide.
6. (Optional) You have installed PostScript as one of your
printer choices. Although you can follow along without install¬
ing a PostScript printer, a few of your dialog boxes will look
slightly different from the examples. You may want to install
PostScript as a second printer while you work through the
projects. That way your screen will match our examples. You
can quickly and easily install PostScript as a printer choice
even if you do not own a PostScript printer and even if you
have already installed Ventura. Simply reinstall the program.
When it asks if this is the first time you are installing, answer
No. Then select PostScript as one of your printer choices.
Rules for Ventura prep
IX
printer choices. When you load Ventura, select Set Printer
Info from the Options menu and change to a PostScript
printer. Before you print at the end of each chapter, switch
back to your original printer.
Rules for Ventura prep
Each chapter contains a section called Ventura prep. This
section explains the file management operations to create the
sample document. These operations include loading and
renaming text files, loading and renaming style sheets, load¬
ing graphics files, and saving chapters. What you do in this
section depends on whether or not you own the Power disk.
The Power disk
The optional Power disk contains the sample text files from
Appendix A, thereby saving you the trouble of typing them in
yourself. In addition, it has style sheets and, in a few cases,
sample chapters, for the advanced documents in Part Two.
These samples give you a headstart. You can order the Power
disk with the postage-free card at the back of the book, or by
phoning New Riders’s toll-free number.
If you own the Power disk
If you already own the Power disk, go to Appendix C to learn
how to install it on your hard disk. During the tutorial, turn to
the Ventura prep subsection marked with the disk icon:
| O |
If you do not own the Power disk
Appendix A gives a complete print out of all the text files and
the style sheets used in the book. If you do not own the Power
disk, turn to the subsection in Ventura prep displaying the no
disk icon:
X
The Ventura formula
This section will tell you which text file and style sheet to copy
from Appendix A.
The Ventura formula
One important task remains before you are ready for Chapter
One: a brief explanation of the strategy that forms the founda¬
tion for this book. Every Ventura document, no matter how
complex, is made up of just three parts: text (the words), a style
sheet (the format), and pictures (the illustrations). Typically
the text comes from word processing files and the pictures
from graphics files, while the style sheets are created with
Ventura Publisher. This formula helps explain how the
software operates. It also becomes a good model for working
with Ventura Publisher:
Text + Style + Pictures = Chapter
This formula illustrates not only the components, but also the
best order for building a document. As we will show you, this
simple idea is a powerful tool. It can serve as a blueprint for
any document, long or short. Table 2 illustrates how the For¬
mula will guide the construction of our projects.
Table 2. Using the Ventura Formula
Text
Load the text file(s)
Style
Load a style sheet
Apply it to the text file
Pictures
Create the frame(s) for the picture(s)
Load the graphics file(s) into the frame(s)
Chapter
Save the chapter
Print the chapter
As Ventura authors and consultants, we’ve talked with
hundreds of users. Most have similar troubles. When con¬
fronted with the complexities of page design and the power of
The Power disk
xi
Ventura, they don’t know where to start. They flounder be¬
cause they don’t have a systematic approach. When they do
get underway, they get lost among the menus. Or they forget
key steps and have to redo the document. In short, they’re
often a bit confused.
It doesn’t have to be that way. As you will see in the next three
chapters, the Ventura Formula can rescue you from confusion.
No matter how complex the project, you can always fall back
on the Formula. As you grow proficient, you may decide to
modify the Formula or abandon it entirely. As you are learn¬
ing, however, it should be the foundation for everything you
do. We have used it throughout this book.
Rather than belabor the theory, let’s see it in practice by using
the Formula to prepare a business report. Turn to Chapter
One for your first hands-on Ventura project.
Chapter One
Skills Checklist
Theory
□ How Ventura manages files and
builds chapters
□ Renaming and relocating files with
Ventura prep
□ The Ventura user interface
□ Multi-Chapter — a built-in copying
function
Text
□ Loading and placing text
□ Renaming and relocating text
i
Style
□ Loading a style sheet
□ Renaming and relocating style sheets
□ The Ventura Formula — easy rules
for faster formatting
□ The secret of the “Big Three” dialog
boxes
□ Why you should always start
formatting with Body Text
□ How to create a standard spacing unit
Picture
□ Adding a frame
□ Using padding to separate text from
pictures
□ Loading and placing a picture
Chapter
□ Saving and printing
□ How to back up Ventura chapters
Chapter One
A Single-Column Report
R eady to start putting Ventura through its paces? This first
chapter provides a solid grounding in Ventura fundamen¬
tals. It also demonstrates how the Formula guides you step-
by-step through a work session. The checklist to the left sum¬
marizes some of the skills you will acquire. You will find a
similar list in every chapter.
A few preliminaries before we begin. All the projects in this
book start with a before-and-after look at the document. In
other words, we start by showing you where you are going.
Then it’s on to the sample project. In most cases, you can
produce the results just by imitating the screens on the page.
When you see an explanation followed by an illustration,
simply make your dialog box match the one in the book.
That’s all there is to it. Merely by following along, you will
learn to handle Ventura like a pro.
Theory
We know you are eager to get started. Before you get behind
the controls, however, you need to understand a few fun¬
damentals. The hands-on practice will make more sense if you
understand how Ventura manages files.
Parts of a chapter
Most other programs do all their work in one large file. By
contrast, Ventura works with many different files. A master
file, called the chapter file, stores pointers to other files, plus
instructions on how to assemble these files onto the page.
When you format on screen or print on paper, the chapter uses
1 -2
v.
Theory
instructions on how to assemble these files onto the page.
When you format on screen or print on paper, the chapter uses
Figure 1-1. Ventura chapter files contain pointers that specify the
location of the other component files.
its pointers to find the files it needs, and then uses its instruc¬
tions to put the document together (Figure 1-1).
What kinds of files go into a document? The Ventura Formula
provides the answer:
Text + Style + Pictures = Chapter
As Ventura builds a document, it creates additional files on its
own if it needs them. For instance, if you put captions on the
page, Ventura creates a separate caption file. If you use the
drawing tools, Ventura opens a graphics file. When it opens
these files, Ventura uses the same name as the chapter, but
with a different extension. Thus, if the chapter is called
SAMPLE.CHP, the caption file becomes SAMPLE.CAP and
the graphics file SAMPLE .VGR. Table 1-1 gives a more in-
depth look at the components of a typical Ventura chapter.
Renaming and relocating files
One more bit of theory about Ventura’s file management and
you will be ready to start the project. Ventura permits you to
rename and/or relocate most of the files that make up a chap¬
ter. Ventura doesn’t care where you store those files, as long as
you tell it where to find them.
Renaming and relocating files
1-3
Table 1-1. Typical file names for a Ventura chapter
File Type
File Name(s)
File Contents
TEXT
SAMPLE.TXT
Text file created with word proces¬
sor and imported into Ventura (can
be more than one)
SAMPLE.CAP
Caption file created and named by
Ventura to match the chapter
name
STYLE
SAMPLE.STY
Style sheet with format instruc¬
tions
PICTURE
PICTURE.IMG
Picture file created with outside
graphics program and imported
into Ventura (can be more than
one)
SAMPLE.VGR
Ventura graphics file for drawings
created inside Ventura to match
the chapter name
CHAPTER
SAMPLE.CHP
Chapter file containing pointers to
all other files
SAMPLE.CIF
Chapter information created and
named by Ventura to match the
chapter name
In Ventura’s eyes, the location of a file is part of its name. The
four files below are completely different as far as Ventura is
concerned:
A:\SAMPLE.TXT
C:\SAMPLE.TXT
C:\TEMP\SAMPLE.TXT
C:\POWER\SAMPLE.TXT
Renaming and relocating are accomplished in the same
fashion (in fact, we use the word rename to mean either
function). Although the procedure is slightly different for dif¬
ferent files, the principle is the same. By entering a new name
and/or a new location, you tell Ventura where to find it in the
future.
1-4
Theory
• You make a copy of the file under the new name at the new
location (you will have to delete the old one if you don’t
want it anymore).
• You change the pointers in the chapter file. From then on,
Ventura looks for that file under the new name in the new
location (Figure 1-2).
Figure 1-2. When you save and rename a file, you change
the pointers in the chapter file. From then on, Ventura looks
for that file under the new location.
WARNING: Do not use standard DOS functions to move Ventura chapters. Use
Ventura’s Multi-Chapter function instead, as taught at the end of this chapter.
DOS is able to copy files, but it does not change the pointers
inside the chapter file. If you reopen the chapter at the new
location, Ventura will be unable to reassemble the document.
It will look for the files in their old locations, because the
pointers were never changed.
By contrast, Ventura’s built-in copying function not only
moves the files, but changes the pointers as well. In addition,
it moves all the files at once. By telling Ventura to copy a
chapter, you are telling it to copy not only the chapter file, but
also every other file associated with that document. You do not
have to specify the individual files. Ventura remembers them
for you, finds them on the disk and copies them to their new
Renaming and relocating files
1-5
location. This copying function is located in the Multi-Chapter
dialog box.
^ TIP: Even though the name Multi-Chapter implies that it is
intended only for multiple chapters, you can also use Multi-
Chapter to copy a single chapter. You will have several oppor¬
tunities for hands-on practice with Multi-Chapter in both Part
One and Part Two.
So much for your first exposure to the principles behind Ven¬
tura Publisher. You will need to learn additional theory before
you’re ready to strike out on your own. In the meantime,
however, we suggest concentrating on the project that follows
without worrying too much about the wherefores and whys.
We will present more fundamentals in Chapters Two and
Three.
1-6
Theory
Report on Installation and Implementation of
Ventura Publisher
Executive Summary _
XYZ Corporation has embarked on a program to implement Vertura Publisher software on
existing IBM AT-compati blc computers as needed thro ughouttbe company. TheKViketing
Communications department will overate and supervise thin project Marketing Com-
♦ Use of Ventura in every department for all pubtiahing/eommunicataona taaka
• A company-wide training program to teach baaic VeoUs-a skills
• Advanced workshop* as needed to teach specialized skills
Use of Ventura Company-Wide
The three-month pilot program undertaken by Marketing Comnsmkstioos haa determined
that Ventura Publisher can be used for every type of document currently produced by the
company. Company-wide useof Ventur* will reduce publiahing/prin ting cotta by 131b over
the next two years (see chart next page). It will reduce the confusion and dupii cati on of effort
now in evidence, whereby every department had developed different (and often incom¬
patible) solutions to publishing problems. It will also permit the company to establish and
enforce appearance and image standards. Since Ventura Publisher uses style sheets to store
for matting i nfo rmstion, the company can create a t> hrary of approved deai gnt and code them
into stylo sheets. Every document produced with these style sheets will automatically meet
mini mum standards for graphic design and quality; and aO documents seen by the public
will reinforce the same imago.
Accounting Department:
Creation and maintenance of electronic forms, including purchase orders, invoices, col lec¬
tion notices, plus formatting of financial statements and reports.
Advertising Department:
In-house creation cf direct mail ft yen, brochures and, resulting in improved turnaround time
and reduced fees from outside agencies and service bureaus.
Marketing Communication*:
Company newsletters, both internal and these intended for customers, plus brochures and
product specification sheets.
Renaming and relocating files
1-7
Planning the report
The first step in producing a business document is to consider
its purpose and audience. Your goal is two-fold: (1) to make the
appearance appropriate to the readership and (2) to make the
document easier and more efficient to use. Ventura’s vast
array of capabilities can help you achieve both goals.
Our first project is a business report. We use the word “report”
to refer to a simple, straightforward document, usually in¬
tended for internal use (as opposed to proposals and annual
reports, which often go outside the company). Target readers
are other members of the company, usually at your own level
or higher. Since reports often summarize difficult or dull infor¬
mation, they must use page design to make that information
easily accessible. They should include charts, graphs, and
other illustrations when possible, to help get the message
across.
Because a report is an internal document, it does not demand
high-end, cutting-edge graphic effects. At the same time, be¬
cause most reports go up the ladder to management, they
need a professional image: clean, simple and uncluttered
without being loud or flashy. Look at the “before” example of
the report. It is a typical report from the days before desktop
publishing. Here are a few ways to enhance its effectiveness
and appearance:
• An easy-to-read line length
• Bullets to make lists stand out
• A header and page numbers to help readers find their way
around
• Prominent headlines and subheads
• Spacing based on a uniform, standard unit
• Additional white space for an open look
You will implement these ideas in this project.
1 - 8
Before you start
Before you start
We assume that you are sitting in front of your computer with
Ventura Publisher on the screen. If you have not already
powered up Ventura, type: VP at the DOS prompt (VPPROF if
you are using the Professional Extension).
If you have the Power disk
If you are using the optional Power disk, you should have
installed it already following the instructions in Appendix C.
If not, stop and do so now.
do not have the Power disk
You do not need to do anything special yet. Read on.
If you just started Ventura, the screen will be empty. If not,
and there is a previous document active, select New from the
File menu to clear the screen. Do not worry about what file
names appear at the top of the screen. You will be changing
the files you use anyway.
The Ventura user interface
Your screen should look similar to Figure 1-3. If it does not,
select the View menu and Reduced View. If you are new to
Ventura, take a moment to familiarize yourself with the key
features of the Ventura user interface as shown in Figure 1-3.
The Menus at the top of the screen drop down when you point
to a name with the mouse cursor. Move the cursor over the
menu you want until it is displayed in reverse video (white on
black). Then click the left button on your mouse to select an
option. Menu options displayed in gray are not available for
selection.
The Title Bar displays the current chapter and style sheet. As
you step through the projects in this book, check to make sure
the names of the chapter and style sheet in the Title Bar
match the ones we show in the sample screens.
The Ventura user interface
1-9
The Mode Selector shows four pictures at the top of the Side-
Bar. Each picture represents one of the four major modes in
Ventura: (from left to right) Frame, Paragraph, Text, and
Graphic mode. In Figure 1-3, Frame mode is enabled. Each
mode allows you to perform a group of related tasks:
• Frame mode lets you create new frames on the page and
place text and pictures inside. You can also cut, copy, paste,
or delete frames.
• Paragraph mode lets you define, change, and apply a set of
formatting rules, called tags, to individual paragraphs.
• Text mode lets you add or delete text on-screen, as well as
change its font and attributes (for example, bold or italic).
• Graphic mode lets you add, delete, copy, size, or paste
graphic lines, rectangles, circles, and Box Text (text inside
a box).
The Addition Button lets you add a frame, tag, or text at¬
tribute, depending on which mode is enabled. Click on the
Addition Button to choose the action (or function) specified in
the Addition Button.
The Assignment List displays an alphabetical listing of items
that you can choose for Frame, Paragraph, and Text mode. (In
the Professional Extension, items are listed for Table mode.)
1 -10
Before you start
L
The Current Selection Box shows the name of the selected file,
tag, graphic, or text attribute.
The Page Number shows the number and side (Right or Left)
of the page.
The Sizing Buttons (also known as “handles”) show the frame
that is currently selected.
The Column Guides display the borders of the columns. You
can turn them on or off. They do not print out.
The Page (referred to as the Underlying Page in earlier ver¬
sions of Ventura) is the blank frame that appears when you
first start Ventura or when you select New from the File
menu. You define the size and orientation of the Page in the
Page Size & Layout dialog box from the Chapter menu. You
can place text and pictures directly onto the Page, or you can
put text and pictures into frames on top of the Page.
*+NOTE: If you are using the Professional Extension , you have
a fifth mode called Table mode. See Chapter Ten.
The other key feature of Ventura’s user interface is the dialog
box. Let’s take a moment to review the major controls inside
(Figure 1-4).
Pop-up menu
Button controls
SIZING R SCALING
_ Off
Upper Left X:
Frane Width: 20, E
Horiz. Padding: 01,00
Picture Scaling:
Aspect Ratio:
Fit in Frane
Upper Left V: 29,E
Frane Height: 14,E
Vert. Padding: 00,E
By Scale Factors
Haintained
Distorted
X Crop Offset: 01,08
Scale Width: 26,06
|0 V Crop Offset: 82,01
Scale Height: 16,09
0
BH
picas R points
!□
Cancel
Help menu
Measurement
Figurel-4.
Our starting configuration
1-11
Pop-Up menus appear when you place the cursor over an
option followed by the double up-down arrow symbol. The
pop-up menus show you all possible choices available for one
option. To make your choice, place the cursor on the arrow
symbol and click the left mouse button. Now hold down the
button and drag the cursor up or down until you highlight the
option you want, then release.
*+NOTE: For easier viewing, we’ve chosen to hide the up-down
arrows in all our illustrations.
Help menus are included in each dialog box. To get on-line
help, click on the question mark inside the square and follow
the prompts.
At any point you can cancel a dialog box choice by pressing
Ctrl-X. To save your choices in a dialog box, press the Enter
key or click the OK button. You’ll get plenty of practice using
dialog boxes as soon as you begin the tutorial section.
Our starting configuration
Ventura Publisher is easier to work with if you use the Op¬
tions menu to make the selections shown in Table 1-2. There’s
nothing that says you can’t configure Ventura differently.
However, our experience has shown that these settings make
page design easier and more accurate.
As you progress, you may decide to use other settings that you
find more suitable to your own working style. In the begin¬
ning, however, we suggest that you follow these suggestions.
Otherwise, your display and your results may differ slightly
from ours, making it more difficult to follow along.
Take a moment now to make sure all your settings in the
Options menu match those shown in Table 1-2. Select the
Options menu and choose each option in turn.
1 - 12
Before you start
Table 1-2 Suggested settings for use with this book
Option
Setting
What It Does
Generated Tags: Shown
Displays tags created by Ventura at the bottom of the
Assignment List
Text to Greek: 6
Speeds screen redraw by showing unreadably small
text as blocks
Set Preferences
Keep Backup Files: Yes
Ventura automatically makes a backup copy of all
related chapter files each time you save
On-Screen Kerning: None
Speeds up screen drawing by eliminating screen
kerning
Auto-Adjustments:None
Does not automatically adjust the inter-line spacing
when you change the font size
Pop-Up Menu Symbols: Shown
Displays arrow symbol next to choices that offer
pop-up menus in dialog boxes
Horizontal and Vertical Units:
Picas
Displays ruler in picas to match the units we use in
this book
Set Ruler
Horizontal Zero Point: 00,00 picas
Sets the zero point at the upper left corner of the
Vertical Zero Point: 00,00 picas
Page
Set Printer Info
Device Name: PostScript
(Optional) Can be used even if you do no have a
PostScript printer so font dialog boxes match those
in the book
Width Table:
\VENTURA\OUTPUT.WID
Uses the default width table so style sheet can be
interchanged between systems with different printers
Show Side-Bar
Menu reads “Hide Side-Bar”
Displays Side-Bar on left side of screen
Show Rulers
Menu reads “Hide Rulers
Displays rulers on top and left side of the Page
Show Column
Guides
Menu reads “Hide Column
Guides”
Displays lines to show the boundaries of the
columns. Makes it easier to line up frames on the
Page
Show Tabs &
Returns
Menu reads "Hide Tabs &
Returns”
Displays on-screen the visible marks in the text
denoting tags, returns, line breaks, footnotes, etc.
Makes text editing easier
Turn Column
Snap On
Display reads “Turn Column Snap
Off”
Forces frames to align with the edges of the column
Turn Line
Snap On
Display reads “Turn Line Snap
Off”
Forces the frame to align vertically with the inter-line
spacing of Body Text
Our starting configuration
1-13
When you are finished, cheek that your settings in the Set
Preferences dialog box and in the Options menu match ours in
Figure 1-5 and Figure 1-6:
Options
Set Preferences...
Set Ruler...
Set Printer Info...
Add/Remove Fonts...
Hide Side-Bar
Hide Rulers
Hide Column Guides
Hide All Pictures
Hide Tabs R Returns
Show Loose Lines
Turn Column Snap Off
Turn Line Snap Off
1 Multi-Chapter.. .
Figure 1-5.
SET PREFERENCES
m
Generated Tags: Shown
Text to Greek: 6
Keep Backup Files: Ves
Double Click Speed: 3
On-Screen Kerning: None
fluto -Adjustments: None
Pop-Up Menu Symbols: Hidden
Menu Type: Drop- Down
Decimal Tab Char: 046j (ASCII)
1 OK 1
Cancel
Figure 1-6.
If you cannot duplicate the results in a project, check to see
that you are configured as shown in Figure 1-5 and Figure 1-6.
*+NOTE: You will learn more about these settings as you work
through the projects in the book.
1 - 14
Before you start
Step one — file maintenance
If you don’t tell Ventura where to put a file, it defaults to the
location used last. The original default location is the
C:\TYPESET subdirectory. Many beginners continue to store
all their files in that one single directory. It soon becomes too
crowded.
If you installed the optional Power disk for this book, you
created a subdirectory called C:\POWER. This subdirectory
stores sample documents and style sheets — the starting
points for your documents. As part of this first project, you will
create a subdirectory to store the results. From now on, you
will always place your documents into this new subdirectory.
Although you can create subdirectories in DOS, you can also
do so within Ventura. Let’s try it right now. Follow the step-
by-step instructions below at your computer to create a sub¬
directory called C:\TEMP.
^ Select DOS File Ops from the File menu.
New
Open Chapter...
Save
Save As...
bbamdon, , ,
Load Text/Picture..
Load Diff. Style...
Save As New Style..
To Pr int...
Quit
DOS File Ops
Move the cursor to the File Spec line and click once. Then
press the Esc key to clear the line. Type: C : \TEMP
^ Choose Make Directory and Done.
Step one — file maintenance
1-15
DOS FILE OPERATIONS Q]
File Spec:
C:\TEMP|
Operation:
| Select Different File Specification |
| Delete Matching File(s)
| Done |
If you already have a C:\TEMP subdirectory, choose another
name. In future chapters, substitute that name whenever you
see C:\TEMP.
*+T!P: The best way to organize the hard disk is to create a
separate subdirectory for each project, and use it to store all
the files for that project — text, style, pictures, and chapter.
Ventura prep
File management is one of the most difficult aspects of
desktop publishing. Novice users sometimes encounter
problems:
• They can’t find files when it comes time to load them into
Ventura
• They use the DOS copy command improperly and cannot
get the chapter to load
• They make permanent, unwanted changes to original text
files
• They destroy new versions by copying the old one on top
• They forget to save and thereby lose their work
To avoid such problems, you will start every project with a
1 - 16
Ventura prep
Ventura prep section. You will load, rename, relocate, and
save all the files for the exercise before you begin working.
After you practice this file maintenance a few times, we hope
it will become a habit.
By taking these steps at the beginning of every document, you
can avoid losing work. In addition, you can easily take a
break. Because all the files you will need are already loaded
and renamed, all you have to do is save the chapter and quit.
When you are ready to resume, you simply load Ventura, open
the chapter and start where you left off.
WARNING: Renaming and relocating files does not take effect until you save the
chapter. If you quit without saving, you lose the benefit of the Ventura prep process.
You will step through the Ventura prep section in the same
order as the Ventura Formula: text, style, pictures, chapter. If
you are used to working with DOS, it may take you a few
times before you are comfortable with Ventura’s methods.
Although you can type in paths and file names, as in DOS, it
is usually faster to navigate with the mouse.
We will step you through the Ventura prep process the first
few times until it becomes second nature. It may seem lengthy
at first, but with experience you can perform the entire
process in a few moments.
If you have the Power disk
Follow the steps outlined below to load, place and rename a
text file called 1RPRT.TXT. This text file is provided on the
optional Power disk. If you did not purchase the disk, skip to
the section below titled “If you do not have the Power disk.”
When you load text, Ventura retrieves the original word
processing file. It does not make a separate copy. It temporari¬
ly places hyphens in this file, then makes it a permanent part
of the chapter by storing a pointer. This pointer tells Ventura
where to find the text file the next time the chapter is loaded.
si Select Load Text/Picture from the File menu.
Step one — file maintenance
1-17
File
Open Chapter...
Save ^S
Save As...
Abandon,,.
Load Text/Picture...
Load Diff. Style...
Save As New Style.. .
To Print...
DOS File Ops...
Quit
Choose Type of File: Text, Text Format: ASCII, # of Files:
One, Destination: List of Files, and OK.
LOAD TEXT/PICTURE
0
Type of File:
Text Format:
8 oF Files:
Destination:
| Generated ] lilOTll | WordStar 3 j | WS 4.B/5.B |
| MS-Word 1 | WordPerfect | 1 XyWrite | | B-Bit ASCII |
p)CA~] j HultiHate I 1 PRH-to-Table 1 [ WordPerfect 5
1 Writer |
[]J3| | Several [
List of Files
Text Clipboard
Text Cursor
■P |Cancel |
The Item Selector dialog box appears. Its listing shows both
file names and subdirectories. Subdirectories are distin¬
guished by a diamond in front of the name.
In the next section, you will practice moving around the hard
disk with the mouse. To move “backward,” you click on the
Backup button in the upper lefthand corner of the listing box.
To move “forward” to a given subdirectory, click on the
diamond that precedes its name, or the subdirectory name
itself (Figure 1-7).
1 - 18
Ventura prep
Directory line —
Backup button —
Subdirectory name
Filename -
ITEM SELECTOR
Directory: C:\TVPESETy*.
File filter
BUSINESS
NEWSLET
TECHDOCS
8B00K-P1.STV
8B00K-P2.STV
8BR0-L2 .STV
8BR0-P3 .STV
8INU-P1 .STV
8LSTG-P2.STV
Selection:
Scroll bar
g OK
■ Scroll arrow
Cancel
Selection line
Figurel-7. The Item Selector lets you locate any file on your
hard disk. Use the Backup button to move to the next
higher level of subdirectories. Open a subdirectory by click¬
ing on the diamond or the subdirectory name.
To move to a new subdirectory, click on its name:
II Click on the Backup button until the C:\POWER subdirec¬
tory appears on the list (preceded by a diamond). Click once
on the diamond or the name to move to that subdirectory.
The Directory line now reads C:\POWER\*.TXT.
To find the file you need, click on the scroll arrows to move
down or up one line at a time. Click on the gray area to move
one screen at a time. To move a distance you select, press and
hold the mouse button to drag the scroll box in the direction
you want to move.
I Use the scroll box and arrow to scroll through the list of text
files until you see 1RPRT.TXT.
II Select the file 1RPRT.TXT by clicking once on 1RPRT.TXT
and once on OK.
Place the text file
1-19
ITEM SELECTOR
Directory: C:\POWERV.TXT
■| ; *.TXT
1RPRT .TXT
2PR0P0S .TXT
3NEWSHED.TXT
3MEWSLG0.TXT
3MEWS0f1E.TXT
3NEWSTW0.TXT
SAD .TXT
6NEWSLT1.TXT
6NEWSLT2.TXT
Selection: 1RPRT .TXT
m
Cancel
t
*+NOTE: Once you click on a file, its name appears on the
Selection line. You can also select a text file by typing the
name directly onto the Selection line and clicking OK or press¬
ing the Enter key, or by double-clicking on the file.
Ventura loads the file and the name 1RPRT.TXT appears in
the Assignment List. If the Underlying Page is selected when
you load a text file, Ventura automatically places the file on
the Page.
^ NOTE: If you are in Paragraph, Text, or Graphic mode when
you load a file, Ventura will not place the file on the Page.
If you do not have the Power disk
To follow along, you will exit Ventura and load a word proces¬
sor. You will type the text 1RPRT.TXT from Appendix A and
save it in ASCII file format under the name and location
C:\P0WER\1RPRT.TXT. Then you will return to Ventura
and follow the steps in the section above for loading the text
file.
Place the text file
After you load a text file you must place it — that is, tell
Ventura where you want it to appear. You can place text onto
1 -20
Ventura prep
the Page, or into separate frames on top of the Page. For this
business report, you will place the text onto the Page.
NOTE: Ventura may have already put the file on the Page
without your intervention. If you select an empty frame or a
Page before loading a single file, Ventura assumes that you
want the file in that location, and places it without being asked.
If Ventura placed the file for you, read through the following
section without doing anything.
Select the Page
^ Enable Frame mode by clicking on the Frame button in the
Mode Selector.
II Select the Page by clicking once anywhere on the Page.
Notice the eight black handles, known as sizing buttons,
around the border of the Page. They show you what has been
selected and where Ventura is going to place the text.
1! Click once on the file name 1RPRT.TXT in the Assignment
List to place the file onto the Page.
The text fills the Page. The text file name is displayed in the
Current Selection Box (Figure 1-8).
Figure 1-8.
Rename the text file
1-21
Don’t worry if your screen differs slightly from the example
shown here. You may have started the project with something
other than the DEFAULT. STY style sheet. That other style
sheet may have different margins and columns. You will soon
load a different style sheet.
Because you placed the file on the Page, Ventura continues to
make new pages until the entire file is placed. If you were to
press the PgDn key to move ahead in the document, you would
find the additional pages already created.
Rename the text file
Once the file is on the Page you can change its name and/or its
location. When you make changes to text they are reflected
back to the original file. If you do not want the original to be
permanently modified, you must rename it before you save the
chapter.
H Select File Type/Rename from the Edit menu.
Move to the New Name line and press Esc to clear the line.
Then type in the new location and name:
C:\TEMP\1REP0RT.TXT
Click on ASCII and OK to close the dialog box.
1-22
Ventura prep
FILE TYPE / RENAME Q]
Old Name: C:\P0WER\1RPRT.TXT_
New Name: C:\TEMP\1REPORT.TXT_
Text Format: Generated
WordStar 3 WS 4.0/5.0
■
XyWrite
8-Bit ASCII
| DCA | | MultiMate~| | PRN-to-Table ] [ WordPerfect 5
Writer
Cancel
WARNING: If you did not make a C:\TEMP subdirectory, Ventura will not know where
to relocate this file. Go back to the section “Step one — file maintenance" to learn
how to make the C:\TEMP subdirectory.
*+ TIP: You can correct typing mistakes by pressing the Back¬
space key to delete one character to the left, or the Del key to
delete one character to the right. Use the Esc key to clear the
line.
If you prefer, you can save the file in your favorite word
processing format instead. Follow the steps above and choose
the text format you want rather than ASCII.
Load a style sheet
To continue the Ventura prep, you will load one of the original
style sheets included with the Ventura software package.
WARNING: If you have moved or changed the style sheets in any way since buying
Ventura, reload the originals as explained in the Introduction to this book.
II Select Load Diff. Style from the File menu.
File
New
Open Chapter...
Save A S
Save As...
Abandon...
Load Text/Picture...
Load Diff. Style...
Save As New Style. . .
To Print...
DOS File Ops.. .
Quit
Use the Backup button to find the C:\TYPESET subdirec¬
tory. The Directory line reads C:\TYPESET\*.STY. Now
select the style sheet &PRPT-P1.STY and click OK.
ITEM SELECTOR
Directory: C:\TYPESET\*.STY_
8NEWS-P3.STY
8PH0N-P2.STY
8PREL-P1.STV
t "B8PRPT-P1.STY ,1
8TBL-P1 .STY
8TBL2-L1.STY
8TCHD-P1.STY
8TDQC-P1.STY
Selection: 8PRPT-P1.STY
If you cannot find the style sheet, check that you are in the
correct subdirectory. Scroll down the listing until &PRPT-
Pl.STY appears.
*+NOTE: You can move from subdirectory to subdirectory either
by clicking on the Backup button and the diamonds, or by
typing the desired subdirectory onto the Directory line and
pressing Enter.
1 -24
Ventura prep
Rename the style sheet
If you save a chapter without renaming the style sheet, you
will permanently change the original. It’s better to leave the
original intact for future use, and rename the new version.
11 Select Save as New Style from the File menu.
File
New
Open Chapter...
Save A S
Save As...
Abandon...
Load Text/Picture...
Load Diff. Style...
Save As New Style...
. *
To Print. . .
DOS File Ops...
Quit_
H Move the cursor to the Directory line, press Esc and type:
C: \TEMP\*. STY and press Enter.
The Item Selector searches the C:\TEMP subdirectory for
files with the .STY extension. Because you haven’t put any
here yet, the list is blank.
^ Move to the Selection line and type: 1REPORT and click OK.
Ventura stores the style sheet as C:\TEMP\iREPORT.STY
(Figure 1-9).
*+TIP: Ventura automatically assigns a .STY extension to style
sheets and .CHP extensions to chapter files. You do not need
to type them in.
The new style sheet name appears in the Title Bar at the top
of the screen.
Load a picture file
1-25
Figure 1-9.
Load a picture file
Loading pictures is very similar to loading text. In fact, you
use the same option from the File menu: Load Text/Picture. As
with text, you first load the file onto the Assignment List and
then place it where you want it.
II Select Load Text/Picture from the File menu.
II Select Type of File: Line-Art, Line-Art Format: GEM, # of
Files: One, and OK.
1 - 26
Ventura prep
Ventura displays the Item Selector, which you will use to
choose a picture file to load.
§i If you are not already in the C:\TYPESET subdirectory,
click the Backup button until C:\TYPESET shows on the
list (preceded by a diamond). Click once on the name to
move to that subdirectory. The Directory line now reads
C:\TYPESET\*.GEM.
1 Scroll down until you see NOZZLE.GEM.
^ Select NOZZLE.GEM and click OK (Figure 1-10).
ITEM SELECTOR
Directory: C:\TVPESET\*.GEM_
Selection: NOZZLE .GEH|
OK
Cancel
I
1=1 *.GEM
♦ BUSINESS
♦ NEWSLET
♦ TECHDOCS
COLUMBIA.GEM
t
Figure 1-10. Selecting NOZZLE.GEM from the Item Selector.
Ventura loads the file. The name NOZZLE.GEM appears in
the Assignment List. Do not place the picture for the moment.
Later in this chapter you will draw a frame and place this
picture inside it.
*+NOTE: Although you can rename text files and style sheets
with Ventura, you cannot rename picture files. You must exit
Ventura and use the DOS Rename command to rename a
picture file or use a third-party utility like Desktop Manager.
Save the chapter
When you save a chapter for the first time, use Save As from
the File menu to specify the new name and location.
Save the chapter
1-27
Select Save As from the File menu.
Mew
Open Chapter
Save
Abandon...
Load Text/Picture
Load Diff. Style.
Save As New Style
To Print...
DOS File Ops...
Quit
H Move the cursor to the Directory line and press Esc. Type in
the new location C: \TEMP\*. CHP and press Enter or click
OK to move to that subdirectory.
H Move to the Selection line and type in the name: 1REPORT
and click OK.
ITEM SELECTOR
Directory: C:\TEMP\*.CHP
|| *.CHP
Selection: 1REP0RT[_._
t
■Pi
..‘—
1
Cancel
*+NOTE: If you lose a chapter through a computer malfunction ,
you may be able to restore it from the backup files.
Ventura maintains backups of all key files, provided you
choose Keep Backup Files: Yes from the Set Preferences dialog
1 -28
Text
box in the Options menu. Each time you save a chapter Ven¬
tura renames the backup files with a $ extension. Thus the
backup filename for SAMPLE.CHP is SAMPLE.$HP.
The backups represent files as they were the last time you
saved the chapter. To restore the backups, you must return to
DOS. Delete the original files. Then rename the backups to
their original names. Thus, you would rename SAMPLE.$HP
to SAMPLE.CHP. SAMPLE.$TY would become
SAMPLE.STY, etc. Be sure you delete and rename all the
chapter files, including those with the extensions CHP, STY,
VGR, CAP, and CIF files.
Stopping point
You have reached the first of our recommended breaking
points for Chapter One. Before you do anything else, save
what you have done so far.
H Press Ctrl-S (or Select Save from the File menu).
At this point you can stop and shut down the computer if you
do not have time to continue. To restart, load Ventura and
open the sample chapter, C:\TEMP\1REP0RT.CHP. If you
have the time, you should simply go straight to the next
section without stopping.
Even if you plan to continue on without stopping, we recom¬
mend that you save your work to prevent loss in the event of a
power surge or computer malfunction.
Text
Even though you haven’t yet started to work on the actual
document, you have already acquired a collection of valuable
Ventura skills. Most Ventura users learn about file main¬
tenance the hard way — by accidentally destroying or losing
some of their work. The Ventura prep section you just com¬
pleted is the key to avoiding such disasters.
What to do if you make a mistake
1-29
What to do if you make a mistake
If you’ve never made a mistake and don’t ever plan to, you can
skip this next section. Otherwise, you may want to know what
to do in the event of a major error. If you goof and can’t recover,
you can always choose Abandon from the File menu. Abandon
reverts to the previous version — that is, it goes back to where
you were the last time you saved the file. For this reason, you
may want to save fairly often. If you make a serious mistake,
it may be simpler just to go back to the previous version with
the Abandon option.
Now you are going to step through the construction of the
sample document. In case you don’t have time to finish the
entire project in one session, we will suggest another stopping
point about halfway through.
The normal progression through a Ventura document follows
the Formula: Text + Style + Pictures = Chapter. You already
have a head start on the text portion, since you loaded and
placed a text file during Ventura prep. Normally you would do
some text editing at this stage. However, to prevent this first
project from dragging on too long, we will postpone teaching
you about text editing until the next chapter. Instead, you will
take a quick look at moving around and viewing the Page.
Move around the page
Before proceeding to the style section of this sample project,
take a moment to practice getting around. To move a few lines
at a time, click on the arrows at the ends of the scroll bars at
the far right of the screen. To move one screen at a time, click
on the gray area. To move a distance you determine, drag the
scroll bar (click and move while holding the mouse button
down).
To move to the next page, use the PgDn key on the numeric
keypad. Use the PgUp key to move to the previous page. Press
the Home key to move to the first page of a chapter and the
End key to move to the last.
1 - 30
Style
WARNING: If the keys on the numeric keypad do not work, it’s likely that you
accidentally enabled keyboard mode. You can turn it off by pressing the Ctrl and the
right Shift key (you will hear a beep).
View the page
Ventura provides four views of the page. You will experiment
with three of them in this exercise.
• Use the View menu to cycle between Enlarged, Normal, and
Reduced Views (Figure 1-11).
View
Facing Pages View
Reduced View A R
Normal View (lx) A N
J Enlarged View (2x) A E
J Frame Setting A U
Paragraph Tagging A I
Text Editing A Q
Graphic Drawing A P
Figure 1-11. To zoom in, press Ctrl-E
or select Enlarged View from the View
menu.
You can also use keyboard shortcuts to cycle between different
views. Press Ctrl-E, Ctrl-N, and Ctrl-R to change from En¬
larged to Normal to Reduced View.
^ TIP: To zoom into a selected area, place the mouse cursor
where you want the upper left corner of the magnified view.
Then press Ctrl-E (or Ctrl-N).
Style
In accordance with the Formula (Text + Style + Pictures =
Chapter), the next section is concerned with style. More
Rules of thumb
1-31
specifically, you will load an existing style sheet and modify
some of its tags.
A style sheet contains formatting rules. Some apply to the
overall Chapter — margins, columns, vertical rules, and so
forth. Others, called tags, apply to individual text elements.
Style sheets are the key to Ventura’s power. In fact, they are so
powerful and so sophisticated they can intimidate a beginning
user. Ventura has so many options you may have trouble
knowing where to begin or remembering where you’ve been
already. Fortunately, there are several easy ways to make
sense of style sheets.
Rules of thumb
Three rules of thumb can help keep you from becoming disor¬
ganized and forgetting important steps.
*+TIP: Concentrate on three key menus during the style phase:
Chapter ; Frame, and Paragraph.
*+ TIP: Format the overall chapter before the individual text para¬
graphs.
** TIP: Work from left to right (from Chapter to Frame to Para¬
graph) and from top to bottom (from Font to Alignment to
Spacing, etc.) in the menus.
These three suggestions are guidelines only. You will find
occasional exceptions to these rules as you work through the
publishing projects. Nevertheless, they work well together.
Most chapter formatting occurs in the Chapter and Frame
menus. Most of the individual text formatting occurs in the
Paragraph menu. Thus, if you move from left to right (Chap¬
ter to Frame to Paragraph), you automatically perform chap¬
ter functions first.
When we say to work from top to bottom, we do not mean that
you must open each and every dialog box in a given menu. In
the very beginning you may indeed want to do so, as a way of
learning your way around. As you grow more accomplished,
you’ll soon know which menu options to ignore. But even if
you skip menu options along the way, it’s best to work from the
1-32
Style
top to the bottom of the menu. If you work randomly you’re
likely to overlook an important menu choice.
You will follow these rules of thumb while in the style section
of this first document. You will concentrate on the Chapter,
Frame, and Paragraph menus. You will start with the design
choices that affect the entire document — margins, columns,
headers, footers, and so on. These layout decisions are applied
to all the pages of the chapter.
You will begin with the first option in the Chapter menu.
Open the Page Size & Layout dialog box
ii Select Page Size & Layout from the Chapter menu.
H Choose Orientation: Portrait, Paper Type & Dimension:
Letter, Sides: Single, Start On: Right Side. Click OK to
close the dialog box.
PAGE LAYOUT
T
■
Orientation:
Portrait
Paper Type 8 Dimension:
Letter, 8,5 x 11 in,
Sides:
Single
Start On:
Right Side
WM Cancel
Page Size & Layout contains several options that affect the
size of the Page and how pages are printed. Figure 1-12
summarizes the effects of some of these choices.
Single sides applies to documents that are printed on only one
side. Later in the book you will work with double-sided docu¬
ments, where print appears on both sides and such things as
headers and footers and margins may be different for the left
and right versions of the page.
Create a header with page numbers
1-33
8.5x11 in.
Portrait size
5.5x8.5 in.
Half size
11x17 in.
Landscape
Figurel-12. Letter, Half and Landscape are the most common
paper size options.
Create a header with page numbers
Our rule of thumb says that you should work from top to
bottom in the Chapter menu. In this document, you will not be
concerned with the Chapter Typography dialog box, or with
any of the counting options. You can, therefore, move down to
the Headers & Footers option.
Although we are using a header as an example, most of the
concepts you are learning apply equally to footers. You can
achieve similar effects in footers instead of headers, or you can
combine both headers and footers on one page. For example,
1 - 34
Style
you could place the document title in the header and the page
numbers in the footer. In this example, however, you will place
both a descriptive title and a page number in the header.
If Select Headers & Footers from the Chapter menu.
Chapter
Page Size & Layout...
Chapter Typography...
Update Counters...
Auto-Numbering...
Renumber Chapter
Re-Anchor Frames...
Headers & Footers,
Turn Header On
Turn Footer On
Footnote Settings...
Insert/Remove Page...
Go to Page, . . _^G.
H Select Define: Right Page Header, Usage: On.
H On the line labeled Left, type:
Ventura Implementation
This action positions the report title (“Ventura Implementa¬
tion”) on the left side of the page.
H Move the text cursor to the line labeled Right (click once
next to the word “Right”). Now type: Page followed by a
blank space.
H Choose the Page # button from the bottom of the dialog box.
The page numbering code, [P#], appears on the line. Then
click OK.
Create a header with page numbers
1-35
0
Center: _
Right: Page [PS]:
Inserts: | Chapter ~5~| | Page 5 | | 1st Hatch"! [ Last Match |
| Text flttr~l 1 Copy To Facing PagT]
OK |\
_L'w
HERDERS S FOOTERS
Define:
| Left Page Header* |
1 Left Page Footer |
| Right Page Footer
Usage:
|2J |~Qff1
Left: Centura Implementation.
When you enter the page numbering code [P#] in the Headers
& Footer dialog box, you tell Ventura to display the current
number of each page in the header. If you prefer, you can also
enter such codes into dialog boxes by typing them directly.
Most people, however, prefer to use the buttons, thereby
eliminating the need to memorize codes.
As soon as you close the dialog box, the header you created
appears at the top of the page. (Since you are working with an
existing style sheet, the format of the header has already been
defined. Later you will change its style.) However, most
reports do not include headers and footers on the first page.
Let’s turn the header off for the first page only while permit¬
ting it to remain on the following pages. Move further down
the Chapter menu.
II Check to make sure you are on page one. If not, press Home
to return to the first page of the document.
H Select Turn Header Off from the Chapter menu.
NOTE: When you turn the header (or footer) off, the Chapter
menu displays “Turn Header On” or “Turn Footer On.” This
menu option affects the current page only.
1 - 36
Style
Chapter
Page Size R Layout...
Chapter Typography...
Update Counters. . .
Auto-Numbering . . .
Rvrambvp Chapter
Re-Anchor Frames...
Headers R Footers...
Turn Header Off
Turn Footer Off
Footnote Settings...
Insert/Remove Page...
Go to Page. . . _ ^G
Change the margins
Since you are finished with the Chapter menu, the rule of
thumb says you should now move to the Frame menu.
Proceeding top to bottom, you come first to Margins &
Columns. You will use this option to increase the margins
from their original setting.
!! Enable Frame mode (click the Frame button in the Mode
Selector) and select the Underlying Page by clicking the
mouse cursor anywhere on the workspace.
li Select Margins & Columns from the Frame menu.
If the dialog box shows measurements in units other than
picas & points, place the mouse cursor anywhere on top of the
unit measurement (e.g. inches or centimeters) and click until
“picas & points” appears. If you are unfamiliar with picas and
points, simply enter the settings for the time being. We will
explain this measurement system in Chapter Two.
II Leave the top and bottom margins at 06,00 picas & points.
Move the cursor to the Left line, press Esc to clear the line
and type: 09,00. Then move to the Right line, press Esc
and type: 09,00. Then click OK.
Reset the header to the new margins
1-37
MARGINS R COLUMNS
m
# of Columns:
HIECDElCEItllEIE]
Settings For:
| Left Page |
Widths
Gutters
Margins
Column 1:
33,00
00,00
00,00
00,00
00,00
Top: 86,00 picas R points
2:
m,m
Bottom: 06,00
3:
m,m
Left: 09,00
4:
m,m
Right: 09,00|
00,00
7:
03, BB
00,00
00,00
Calculated Width = 51,00
8:
m,m
Actual Frame Width = 51,00
Inserts:
| Make
Equal Widths | | Copy To Facing Page | |
1 Cancel |
Reset the header to the new margins
Take a moment to look at the header on page two. It is aligned
with the old margin settings. That’s because Ventura sets the
margins of the header equal to the margins of the Page.
Because you built the headers before you changed the margins,
the header margins remain at the old value. Therefore, you
must now reset the header to match the new margin settings.
Here’s how.
i§ Select Headers & Footers from the Chapter menu and turn
Usage: Off for both the right and left page header. Click OK.
This turns the header off for the entire document. Your set¬
tings are retained even though the header is no longer active.
li Now reselect the same dialog box and turn Usage: On.
When you return to the document you will discover that the
headers have been reset to match the current margins.
TIP: In actual practice, you may want to want to vary our
left-to-right rule of thumb, and change the margins before
creating the header. This way you can eliminate the extra step
of changing the header margins.
If you are feeling overwhelmed about now, remember this: you
are learning valuable tips and techniques at the same time
that you are learning basic skills. If you meet a concept that
confuses you, don’t stop. Go on to the next section. Come back
1 - 38
Style
to the trouble spot later. Then you will see things from a new
(and calmer) perspective. Believe it or not, everything will
begin to fall into place.
Modifying tags
That’s all the chapter formatting you will do for this first
document. Now let’s take a look at formatting individual para¬
graphs.
To Ventura, a paragraph is any line or lines of text that ends
with a carriage return. A paragraph may be a single letter, a
word, or several lines of text — as long as it is ended by
pressing the carriage return (Figure 1-13).
Paragraphs
Desk File Edit View Chapter Frane Paragraph Graphic Options
llllllllliii C:\TVPESET\1PRGHII1G.CHP (1PRGHIMG.STV) • . .
Report on Installation and Implementation of Ventura Publisher*
XYZ Corporation has embarked on a program to implement Ventura Publisher
software on existing IBM AT-compatible computers as needed throughout the
company. The Marketing Communications department will oversee and supervise
this project Marketing Communications makes the following recommendations:!!
Use of Ventura in every department for all publishing/communications tasks*
Figure 1-13. Ventura considers every line that ends with a Return as a
separate paragraph, even “empty” lines.
You can make Ventura treat two or more sentences as one
paragraph if you end a line with a line break (press Ctrl-
Enter) instead of a carriage return. The line break appears as
a backward arrow on the screen. Line breaks are useful when
you want to break up information on separate lines, but you
don’t want to change the format (Figure 1-14).
For the most part, the formatting of individual paragraphs
occurs in (surprise!) the Paragraph menu. The bad news: the
Paragraph menu gives some users headaches because it packs
so much power into so little space. The good news: we have a
suggestion to make it simpler.
Modifying tags
1-39
Desk File Edit View Chapter Frane Paragraph Graphic Options
C:\TEMP\IREPORT.CHP (1REP0RT.S1V) ill
Report on Installation J
and Implementation of J
Ventura Publisher I
K
E
Line breaks
Paragraph
return
Figure 1-14. Line breaks let you start a new line without ending the
paragraph.
^ TIP: Roughly 75% of all paragraph formatting is done in the
first three dialog boxes: Font, Alignment, and Spacing.
If you follow our previous suggestion to work from top to
bottom, you’ll soon make a discovery. By the time you finish
with Font, Alignment, and Spacing, you’ve probably ac¬
complished most of what you needed to do. In the beginning,
concentrate your efforts on the “Big Three” dialog boxes and
you’ll soon gain a sense of control.
Let’s pause for a moment to remind ourselves where we’ve
been and where we’re headed. You’ve completed the text por¬
tion of the report and now you’re working on style. You’ve
completed the chapter formatting and you’re ready to start
formatting the individual paragraphs. As you proceed
through the rest of the style section, you will assign tags to
individual paragraphs. Tags include attributes such as font
type and size, alignment, spacing, and so forth. The style
sheet you loaded at the beginning of the chapter comes with
pre-defined tags.
Assigning a tag begins by enabling Paragraph mode and
selecting a paragraph. While the paragraph is still high¬
lighted, you tell Ventura which tag you want by clicking on a
name from the Assignment List. The Assignment List in¬
cludes all the style sheet’s tags in alphabetical order.
1 -40
Style
*+NOTE: The tags that begin with a “Z” are generated by Ven¬
tura. You will learn about generated tags in Chapter Two.
Your next question might be “Which paragraph should I work
on first?” Here’s a guideline that applies to all documents:
** TIP: When you are ready to start working on individual para¬
graphs, format Body Text first.
As you will discover later in this chapter, the choices you make
for Body Text affect the rest of the document. Thanks to
Ventura’s style sheet approach, the changes you make to the
first Body Text paragraph are automatically reflected in each
and every Body Text paragraph throughout the document.
There is no need to format each one individually. Any format
change to one tag affects them all.
Change the Body Text font
II Enable Paragraph mode (click on the Paragraph button
from the Mode Selector).
Change to Normal View to select the first Body Text para¬
graph “XYZ Corporation has embarked...” (Figure 1-15.)
Edit View Chapter Frane Paragraph Graphic Options
' ' ' 1 C:\IEMP\1REP0RT.CHP (1REP0RT.STV)
Chanji
HiOfl ll
Tit
Z.CAPTICM
Z.FOOTEft
Z.HEOOEA
ZJ.A8EL FIS
■
iEEBMEEl
m
EEma
n
, l',',
jReport on Installation and Implementation of Ventura Publisher
[Executive Summary
Z Corporation has embarked on a program to implen||t Ventu
oftware on existing IBM Al-compatible computers as needed Ira
company. The Marketing Communications department will oversee a
his protect Marketing Communications makes the following re comm
•Use of Ventura in every department for all publishing/commuracatiom
•Designation of an in-house desklop publishing specialist with respj
training, maintenance and standards
Figure 1-15.
m Select Font from the Paragraph menu.
II Choose Face: Helvetica, Style: Normal, Color: Black, and
Size: 012.0 points. Click OK (Figure 1-16).
"Body Text" FONT [T|
Custoa Size: 0i2,0 points
Overscare: OFF
Strike-Thru: OFF
Underline: OFF
Double Underline: OFF
Figure 1-17. The Font dialog box for the Hewlett-Packard LaserJet.
All of the documents in the first section are constructed with
the two basic fonts: Times and Helvetica. If you have a non-
1 -42
Style
PostScript printer, you know these fonts as Dutch and Swiss.
As you may recall, we recommend that you install PostScript
as one of your printer options even if you do not have a
PostScript printer. You can switch to a PostScript printer
during the projects with Set Printer Info from the Options
menu. By selecting PostScript as your printer your screens
will match the ones in the book. Then you would switch back
(using Set Printer Info again) to your actual printer when it’s
time to print.
However, if you prefer not to install or use PostScript, you can
use another printer. When you see instructions to use Post¬
Script fonts, substitute your own font names instead. When
you see Times, substitute Dutch. When you see Helvetica,
substitute Swiss. (As an aid to remember which is which, it
may help to recall that Helvetica is another name for Switzer¬
land.)
^ TIP: If you did not install a PostScript printer, substitute Dutch
whenever you see Times; substitute Swiss whenever you see
Helvetica.
Change the Body Text alignment
Most dialog boxes have multiple choices. We do not have the
time to discuss every choice for every dialog box the first time
we encounter it. For the moment, make the choices we suggest
and leave the others unchanged. Rest assured that almost
every choice in every dialog box is covered somewhere in the
ten chapters of Publishing Power with Ventura.
II With the Body Text paragraph still highlighted, select
Alignment from the Paragraph menu.
11 Choose Horz. Alignment: Justified and click OK.
Change the Body Text spacing
1-43
"Body Text" ALIGNMENT
m
Horz. Alignment:
Justified
Vent. Alignment:
Top
Text Rotation:
None
Hyphenation:
USENGLSH
Successive Hyphens:
2
Overall Width:
Column-Wide
First Line:
Indent
Relative Indent:
Off
In/Qutdent Width:
00,00| picas 8
points
In/Outdent Height:
001 lines
In From Right to Decimal:
00,00
Maximum Rotated Height:
00,00
■m [
Cancel |
Change the Body Text spacing
The Spacing dialog box is one of the most complex, so take a
deep breath. We need to spend a few paragraphs to get you
started in the right direction. If you bear with us for a few
minutes, you will have an easier time from now on.
The Spacing dialog box controls both vertical and horizontal
spacing. Vertical spacing is handled in the top half (Above,
Below, Inter-Line, Inter-Paragraph) and horizontal spacing is
handled in the bottom half (In From Left, In From Right).
Vertical spacing has four variations: Above, Below, Inter-Line,
and Inter-Paragraph. Above, Below, and Inter-Paragraph add
space between paragraphs. Inter-Line puts space between
lines (Figure 1-18).
^ TIP: Use Inter-Line Spacing for all tags. Use Above Spacing if
you need additional space above the paragraph. Do not use
Below unless you cannot get the effect you want with Above
and/or Inter-Line. Avoid Inter-Paragraph.
In other words, for additional space between two paragraphs,
add Above Spacing to the lower paragraph. For instance,
Figures 1-19 and 1-20 show what two paragraphs look like
before and after you add Above Spacing.
Limiting spacing to Above and Inter-Line has advantages.
Above spacing can be suppressed when a paragraph starts at
1 -44
Style
Desk File Edit View Chapter Fnane Paragraph Graphic Options
iHfillIlf!! C:\TEMP\1REP0RT.CHP (1REP0RT.SIV)
Report on Installation and
Implementation of Ventura
.Publisher
AboeSpacing
"Executive Summary
hErineSpac'ng
BetawSpacing
-XYE Corporation haS embarked on a program to implement
_Ventura Publisher software on existing IBM AT-compatible
computers as needed throughout the company. The Marketing
Communications department will oversee and supervise this
project, Marketing Communications makes the following
recommendations:
• Use of Ventura in every department for all publishing/com-
E
IF
Figure 1-18.
Body Text -
Head level 1
Desk File Edit View Chapter Fnane Paragraph Graphic Options
ill!|Il!H§l!I!l| : ! C:\TEIIP\1REP0RT.CHP (1REP0RT.S1V)
sheets. Every document proouceo with these style sheets will automatically
meet minimum standards for graphic design and quality; and all documents:
seen by the public will reinforce the same image.
We have identified potential uses infive departments; more will be developed!
as users become more proficient with Ventura and discover new applies*,
lions.
Accounting Department:
Creation and maintenance of electronic forms, including purchase orders,
invoices, collection notices, plus formatting of financial statements and
reports, The creation of direct mail flyers, brochures and, resulting in im
proved turnaround tim e and reduced fees from outside agencies and service!
bureaus.
Figurel-19. Here are two paragraphsbefore adding Above
Spacing.
the top of a column by choosing Add in Above: When Not at
Column Top. What’s more, if two paragraphs have conflicting
Above and Below spacing, Ventura uses the larger value of the
two. If Body Text had 18.00 fractional pts Below Spacing and
Headl had 24.00 fractional pts Above Spacing, Ventura would
use the 24.00 fractional pts from Headl to add space between
the paragraphs (Figure 1-21).
If you start by setting Below to zero, you don’t have to worry
Change the Body Text spacing
1-45
Body Text
Head level 1
Desk File Edit View Chapter Frane Paragraph Graphic Options
■ fy d l! jj j: " ; j H jj f C~\TEMP\TREPORf ~UV " (iREPORT' STV) i:: 1= =: == = : jj
:^ertsr'£wery""doc'u"f«entVr"©dLiee'd"^rh''these st^eTshelrt^v^irauto'iriincai^e
■meet minimum standards for graphic design and quality; and all documents!
jseen by the public will reinforce the same image,f
;We have identified potential uses in five departments; more will be developed;
las users become more proficient with Ventura and discover new applies
itions, f
Accounting Departments
Creation and maintenance of electronic forms, including purchase orders,
■invoices, collection notices, plus formatting of financial statements and;
reports,t
Figurel-20. With Above Spacing you add extra space above
the Headl paragraph to separate it from the Body Text.
Desk file Edit View Chapter Frane Paragraph Graphic Options
C:\TEMP\1REP0RT.CHP (IREPORT.STV)
24ffactional pts
Above Spacing
Headlwell —
□
We have identified potential uses in five departments; more will
be developed as users become more proficient with Ventura
and discover new applications. - ? —■ Body Text
IBfractional pts
BelowSpacing
Accounting Department:
3
Creation and maintenance of electronic forms, including pur¬
chase orders, invoices, collection notices, plus formatting of
financial statements and reports.
Figure 1-21 . When conflicts arise between the spacing values of tags,
Ventura chooses the largest value.
about one tag overriding another, and you always know where
your spacing effect was created.
It is important to be consistent when working with Ventura. If
you follow the tip above you will minimize the confusion some
beginners experience with the Spacing dialog box. It’s a
simple system for first-time users. Nevertheless, there are
exceptions to this rule. We’ll explain the exceptions as you get
to them. In general, however, you can get the look you want
about 80% of the time using just Above and Inter-Line.
1 - 46
Style
Let’s put this rule of thumb into practice with the paragraph
you were working on previously.
II With the paragraph “XYZ Corporation has embarked...”
still highlighted, select Spacing from the Paragraph menu.
Click on the unit of measurement until it reads fractional
pts.
II Move the cursor to Above, press Esc to clear the line, and
type: 14
There is no need to type the .00. Ventura treats blanks as
zeros. Thus, 14.00 and 14._are the same.
11 Move the cursor to Below. Press Esc to clear the line. Leave
it blank.
Since Ventura treats blanks as zero, leaving the line blank is
equivalent to entering 00.00.
il Move the cursor to Inter-Line. Press Esc and type: 14
!i Move to Inter-Paragraph. Press Esc to clear the line. Leave
it blank.
I! Choose Add in Above: When Not At Column Top. Click OK.
When Not at Column Top eliminates the above spacing if the
paragraph occurs at the top of a page or column (Figure 1-22).
"Body Text" SPACING
Above: 14. fractional pts
Below: _._
Inter-Line: 14. fractional pts
Inter-Paragraph: j_._
m
Add in Above:
Settings For:
Always
When Not at Column Top
Left Page
Right Page
In From Left: GQ,QB picas 8 points
In From Right: GO,00
Inserts: | Copy To Facing Page |
IS [ Cancel ~|
Figure 1-22.
Change the Body Text spacing
1-47
Here’s a second tip on vertical spacing:
^ TIP: Spacing values should be an integer multiple of the inter¬
line spacing of Body Text.
You create a more pleasing page design by using standard
vertical spacing, including spacing above headings, captions,
subtitles and padding around pictures. That unit should be
equal to or a multiple integer of Body Text’s inter-line spacing.
With consistent vertical spacing you can be assured that text
will align across columns (Figure 1-23).
Figure 1-23. To align across columns, make spacing
an integer of Body Text spacing.
In the example above, Inter-Line was 14.00 points, and we
chose 14.00 fractional pts for Above. Other good choices might
have been 07.00 fractional pts, 28.00 fractional pts, 42.00
fractional pts or other multiples of 14.00. If the inter-line
spacing had been 12.00, then 06.00, 24.00 and 36.00 would
have been valid options.
1 - 48
Style
About horizontal spacing
Hang in there. You’re halfway home. You’ve covered vertical
spacing. Stick with it for a few more paragraphs as we explain
the horizontal spacing options in the Spacing dialog box.
*+TIP: Treat In From Left and In From Right as “extra” margins
when the original margins set in the Frame menu are not
enough.
In certain cases, you want an overall margin for most of the
document, but different, smaller margins for other text ele¬
ments. In such a case, use the Spacing dialog box to create
secondary margins with In From Left and In From Right.
Create a secondary margin for Body Text
Try creating a secondary margin for the Body Text tag with In
From Left. Shortening the line length will make the text
easier to read.
II Select Spacing from the Paragraph menu or press Ctrl-X to
bring up the last dialog box. If necessary, change the unit
measurement. (Put the mouse cursor on top of the measure¬
ment units next to In From Left spacing and click until
picas & points shows.)
H Make In From Left spacing 06,00 picas & points. Click OK.
"Body Text" SPACING
m
Above:
14.00
fractional pts
Below:
00.00
Inter*-Line:
14.00
Fractional pts
Inter -Paragraph:
00.00
Add in Above:
When Not at Column"TnrT"Ml
Settings For:
j Left Page | f
In From Left:
06,00|
picas & points
In From Right:
00,00
Inserts:
1 Copy
To Facing Page |
| Cancel | j
Change the Title tag
1-49
*+NOTE: In From Left is measured from the edge of the margin
not from the edge of the paper.
When you return to the document, the Body Text now starts
six picas & points from the original left margin (Figure 1-24).
Desk File Edit View Chapter Frane Paragraph Graphic Options
Body Text
Bullet
Head level
Head level 2
Base Break
Title
2_CAPTICN
Z.FOOTCR
HEADER
Z_LftBEL FIG
R Pg tt0001 | ud
*1111*11 C:\TEMP\1REP0RT.CHP (1REP0RT.STY)
Report on Installation and Implementation of Ventura Publishert
Executive Summary
XYZ Corporation has embarked on a program to implement
Ventura Publisher software on existing IBM AT-compatible
computers as needed throughout the co mpany. The M arketing
Communications department will oversee and supervise this
project, Marketing Communications makes the following
recommendations: ;
Use of Ventura in every department for all publishing/comf
munications tasks
Figure 1-24.
You have already used the Big Three: the Font, Alignment,
and Spacing options. Since there is nothing more that needs to
be done to Body Text, you are ready to move to another text
paragraph.
Stopping point
You have reached another recommended stopping point. If
your time is limited, save your work and exit Ventura. Return
to complete the project when your schedule permits.
Change the Title tag
If you are restarting after leaving Ventura, select Open Chap¬
ter from the File menu to open C:\TEMP\1REP0RT.CHP.
If Body Text should always be the first tag you modify, what
should be the second? We recommend starting at the top and
marching through in order. The next paragraph is the title. In
the next few steps, you will apply the Title tag. Then you will
modify it by changing its font, alignment, and spacing.
1 - 50
Style
H Select the paragraph “Report on Installation and Im¬
plementation of Ventura Publisher.” Select Title from the
Assignment List to apply the tag (Figure 1-25).
Desk File Edit Vie* Chapter Frane Paragraph Graphic Options
C:\TEMP\1REP0RT.CHP (1REP0RT.STV)
iReport on Ins tallation and Impl ementation ot|
/entura Publisher I
Executive Sum unary
XYZ Corporation has embarked on a program to implement
Ventura Publisher software on existing IBM AT-compatiblei
computers as needed throughout the company. The Marketing
Communications department will oversee and supervise thisj
project. Marketing Communications makes the following
recommendations:
Use of Ventura in every department for all publishing/com-i
munications tasks
Figure 1-25.
II Select Font from the Paragraph menu. Make the Size:
024.0 points and click OK.
Change the Title alignment
H Select Alignment from the Paragraph menu. Choose Horz.
Alignment: Left and Hyphenation: Off. Leave the remain¬
ing settings unchanged. Click OK.
"Title'' ALIGNMENT 13
Horz. Alignment: Left
Pert. Alignment: Top
Text Rotation: None
Hyphenation: 0 ff
Successive Hyphens: Unlimited
Overall Width: Column-Wide
First Line: Indent
Relative Indent: Off
In/Outdent Width: 00.00j inches
In/Outdent Height: 001 lines
Irs Frc«:S Right; to Decimal: 00.00
Maximum Rotated Height: 00.00
Adjust the Title spacing
1-51
The title appears flush against the left margin.
Notice that you turned off hyphenation. Titles and display
type over 18.00 fractional pts. should generally not be
hyphenated.
Adjust the Title spacing
II Select Spacing from the Paragraph menu. Verify that the
units of measurement are displayed as fractional pts.
II Move to Above, press Esc to clear the line and type: 42.00
^ Move to Below and press Esc to clear the line. Leave it
blank. Move to Inter-Line, press Esc and type: 28.00
II Move to Add in Above and choose Always. Click OK.
As you can see, the settings in the Spacing dialog box adhere
to the rule of thumb. You set Below Spacing to zero and
created the space between paragraphs with Above Spacing.
Because the Body Text inter-line spacing is 14.00 fractional
pts, you used a multiple of 14 for the inter-line and above
spacing in the Title tag.
WARNING: As you proceed through the additional tags, your results may not match
the book unless you select Auto-Adjustments: None from Set Preferences in the
Options menu (Figure 1-26).
SET PREFERENCES
□
Generated Tags: Shown
Text to Greek: 6
Keep Backup Files: Ves
Double Click Speed: 3
On-Screen Kerning: None
Auto-Adjustments: None
Pop-Up Menu Symbols: Hidden
Menu Type: Drop-Down
Decimal Tab Char: 046| (ASCII)
1 0K 1
Cancel
Figure 1-26.
The Auto-Adjustments setting in the Options menu affects the
settings you use in the Spacing dialog box. If Auto-Adjust¬
ments is set to Styles, Ventura will automatically adjust the
inter-line spacing of a tag each time you change its font size. If
you increase the font size by 20%, Ventura will increase the
inter-line spacing by the same percentage. This automatic
adjustment may seem like a convenience. In practice, how¬
ever, it usually results in hard-to-use fractional spacing. We
recommend spacing related to the standard unit of the Body
Text. Auto-Adjustments throws off this standardization. For
these reasons, we recommend working with it off. Instead, you
will manually adjust spacing as necessary.
In addition, as you get further along, we will not tell you each
and every choice to make in each and every dialog box. In¬
stead, we will mention only the changes. You will leave every¬
thing else unchanged. If you have Auto-Adjustments set to
Styles, the inter-line spacing may differ from what we expect
you to have.
The Head level 1 tag
Now that you are finished with the Title tag, you are ready to
move on to the next paragraph down the page. Tag it as Head
level 1 and then change the way it looks.
II Select the next paragraph “Executive Summary.” Select
Head level 1 from the Assignment List (Figure 1-27).
Desk File Edit View Chapter Frane Paragraph Graphic Options
IrSSliHiMffSl
§
Bods/ Text
Bullet
Chonge Bor
1
Mcod level i\J
0
Poge Breok
Title
Z_C OPTION
Z_F00TEft
Z_HE0DER
ZJ.0BEL FIG
iisaraii
Report on Installation and
Implementation of Ventura
Publisher
lExecutive Summa
XYZ Corporaiion has embarked on a program to implement:
Ventura Publisher software on existing IBM AT-compatiblei
computers as needed throughout the company. The M arketingj
Communications department will oversee and supervise this
Change to the abbreviated format
1-53
The format that appears is part of the original style sheet that
you loaded at the beginning of the project. For instance, the
ruling line below was created by selecting the Ruling Line
Below option in the Paragraph menu (you’ll learn more about
ruling lines later in the book).
**NOTE: If you are curious to know how a format was created,
look for clues in the Paragraph menu options. Exploring on
your own can lead to discoveries. But before you start to
experiment, save the chapter. Then, if you make a mistake,
you can choose Abandon to return to the last saved version.
Change to the abbreviated format
Now that you have assigned the Head level 1 tag, you can go
through the “Big Three” — Font, Alignment, and Spacing—to
change its appearance.
To speed the process, we will use a shorter method to note
changes. For example, to change the Head level 1 font we will
use:
H Font Size: 018.0 points
This abbreviated format means that you should open the Font
dialog box, change the point size to 018.0 points, leave every¬
thing else unchanged , and click OK to close the dialog box.
*+NOTE: Make only the changes indicated. Leave anything not
listed the way you found it when you opened the dialog box.
After making the indicated changes, click OK to close the
dialog box.
Change the Head level 1 spacing
You will use Above Spacing to add extra space between the
Head level 1 and the Title tag.
il Spacing Above: 42.00 fractional pts
Inter-Line: 28.00 fractional pts
Add in Above: When Not at Column Top
1 - 54
Style
The Bullet tag
ii Select the paragraph “Use of Ventura in every depart¬
ment...” and tag it as Bullet (select Bullet from the Assign¬
ment List). (Figure 1-28.)
Desk File Edit View Chapter Frane Paragraph Graphic Options
Bullet |
R
Pg ft 8881 1
3
Hill C:\TEf1P\1REP0RT.CHP (1 REPORT.STV) I! ..I -
Publisher
Executive Summary
XYZ Corporation has embarked on a program to implement
Ventura Publisher software on existing IBM AT-compatibls
computers as needed throughout the company. The Marketing
Communications department will oversee and supervise this
project Marketing Communications makes the following
recommendations:
Use of Venta in every denattmert for all mitilishine/communication
ask
Designation of an in-house desktop publishing specialist with
E
Figure 1-28.
*+NOTE: You may have to scroll up or down the page to find the
paragraph to select
The attributes from the original style sheet are applied to the
paragraph.
To change the tag, you will step through Font, Alignment, and
Spacing. Since you have already encountered these dialog
boxes several times, we will list the changes in abbreviated
form.
11 Font Face: Helvetica
^ Spacing Above: 07.00 fractional pts
Below: 00.00 fractional pts
Inter-Line: 14.00 fractional pts
Add in Above: When Not at Column Top
In From Left: 06,00 picas & points
(or 72.00 fractional pts)
When you are finished, the Bullet tag should look similar to
Figure 1-29:
Select multiple paragraphs
1-55
Desk File Edit View Chapter Frane Paragraph Graphic Options
C:\1EMP\1REP0RT.CHP (1REPORT.STV) i
Head Jiaal 2
Plje Irtak
Title
Z_COPTION
Z_FOOTER
Z.HEfiOER
Z.LOBEL FIG
r
—
fcy
9 It 0091 S
Executive Summary
XY2 Corporation has embarked on a program to implemenf
Ventura Publisher software on existing IBM AT-compatible
computers as needed Ihroughoutthe company. The Marketing
Communications department will oversee and supervise this
project. Marketing Communications makes the following
recommendations:
• Use of Ventura in every department for all publishing/co m-i
munioations tasks
Designation of an in-house desktop publishing specialist witfj
responsibility for training, maintenance and standards
A company-wide training program to teach basic Ventura skills
E
Figure 1-29.
Select multiple paragraphs
Next, you will tag three more paragraphs as Bullet using the
Shift-Click technique. Shift-Click lets you tag several para¬
graphs at one time. Click on the first paragraph as you would
normally. Then hold down the Shift key while clicking on the
additional paragraphs. All the paragraphs are highlighted
simultaneously and the Current Selection Box shows the word
Multiple.
*+TIP: Use Shift-Click whenever possible when giving several
paragraphs the same tag name.
H Select the paragraph “Designation of an in-house... ” While
holding down the Shift key , select the paragraph “A com¬
pany-wide... ” Without releasing the Shift key , select the
third paragraph “Advanced workshops....”
il When all three paragraphs are selected, release the Shift
key. Then choose the Bullet tag from the Assignment List.
When you have finished, your document should look like Fig¬
ure 1-30. Now you will finish the page by assigning the Head
level 1 tag to the paragraph immediately below the bullets.
1 - 56
Style
Desk File Edit View Chapter Frawe Paragraph Graphic Options
C:\TEMP\1REPORT.CHP (1REPORT.STV) il Bililllll l
XYZ Corporation has embarked on a program to implement
Ventura Publisher software on existing IBM AT-compatible
computers as needed throughoutlhe company. The Marketing
Communications department will oversee and supervise this!
project. Marketing Communications makes the following
recommendations:
• Use of Ventura in every department for all publishing/com
munications tasks
• Designation of an in-house desktop publishing specialist
with responsibility for training, maintenance and standards I
• A company-wide training program to teach basic Venturer
skills :
• Advanced workshops as needed to teach specialized skills:
Use of Ventura Company-Wide
11
Figure 1-30.
Select the paragraph “Use of Ventura Company-Wide” and
tag it as Head level 1 (Figure 1-31).
Desk File Edit View Chapter Frane Paragraph Graphic Options
illiliUllillllllij C:\IEMP\1REP0RT.CHP (1REPORT.STV) 111!
IIP
rmmi I
lii
D
Advanced workshops as needed to teach specii
Use of Ventura Company Widen
The three-month pilot program undertaken by Marl
munications has determined that Ventura Publis
used for every type of document currently prodr
company. Company-wide use of Ventura will red: ^
ing/printing costs by 35% over the next two year
next page). It will reduce the confusion and duplica
now in evidence, whereby every department hac
different (and often incompatible) solutions to
problems. H will also permit the company to e:
enforce appearance and image standards. Since V|
E
Figure 1-31.
The Head level 2 tag
Next go to page two, where you will assign the Head level 2
tag and change its attributes.
§1 Press the PgDn key to go to page two (if necessary, scroll to
the top of the page).
Complete the tags
1-57
Select the paragraph “Accounting Department:” and tag it
as Head level 2.
With the paragraph still highlighted, make the changes
shown below in abbreviated form.
^ Font Size: 014.0 points
^ Spacing Above: 28.00 fractional pts
Below: 00.00 fractional pts
Inter-Line: 14.00 fractional pts
Add in Above: When Not at Column Top
In From Left: 06,00 picas & points
H Use Shift-Click to assign the Head level 2 tag to the follow¬
ing paragraphs: “Advertising Department,” “Market Com¬
munications,” “Internal Publications,” and “Engineering.”
Complete the tags
You have made all the changes to tags. All that remains in the
style section is to assign these tags to a few more paragraphs.
II Select the paragraph “In-House Desktop Publishing
Specialist” and tag it as Head level 1.
Because of the tag’s Above Spacing, the paragraph is forced
onto the next page.
^ Press PgDn to go to the next page (page three).
11 Select the two paragraphs at the bottom of the page that
begin “It will explain...,” and “It will teach... ” and tag them
as Bullet.
11 Now select the paragraph “Company-Wide Basic Training
for Ventura” and tag it as Head level 1.
^ Press PgDn to go to the next page.
H Select the paragraph “Advanced Workshops” and tag it as
Head level 1.
Pictures
Congratulations. You have finished the style portion of this
document. By now you should already be seeing some im-
1 - 58
Pictures
provement in the appearance of the report. Before you finish
this first project, you will add a picture by drawing a frame on
the page and placing a picture file inside.
Add a frame
Before placing a picture, you must add a frame to contain it.
Check to make sure the rulers on the top and left side of the
screen are displayed in picas. If not, use Set Ruler from the
Options menu to change the units. Click once on the 0,0
square in the upper left corner. This sets the zero point to its
original position and ensures that your rulers match ours
(Figure 1-32).
Figure 1-32.
Now you will go to the second page and add a frame.
H Select Go to Page from the Chapter menu. Choose Selected
Page: 0002 and click OK.
Ventura takes you to page two.
II Enable Frame mode.
H Click on the Addition button from the Side-Bar. The words
Add New Frame are highlighted (Figure 1-33).
Add a frame
1-59
Desk File Edit Uiew Chapter Frane Paragraph Graphic Options
□1
1
. i*. . t? . t'.*. . i 84 . t“ . i s .‘
♦
T
ilia
ill
Add
jgmiF
Men Frame
i
Venturalmple mentation* »
II
_
NOZZLE.GEM
lisher uses style sheets to store formatting infor
■
company can create a library of approved desigr
them into style sheets. Every document produce
style sheets will automatically meet minimum st
graphic design and quality; and all documents
public will reinforce the same image t
We have identified potential uses in five departmen
_
m
be developed as users become more proficient
i
and discover new applications. 1
□
l
Accounting Department:!
4
□1
0 !
Figure 1-33.
II Place the corner of the cursor where you want the upper left
corner of the frame to appear. Use the ruler to position the
frame cursor so it lines up with the left margin of the Body
Text and the top of the column guide (Figure 1-34.). Perfect
accuracy is not important for this first attempt.
Desk File Edit Uiew Chapter Frane Paragraph Graphic Options
illI|!!POP! C:\TEIIP\1REP0RT.CHP (IMPORT.SIV) Hill
R Pg tt 8082
Jll
Ventura Implementation
|fiher uses style sheets to store formatting infoi
company can create a library of approved desigr
them into style sheets. Every document produce*
style sheets will automatically meet minimum st.
graphic design and quality; and all documents
public will reinforce the same image.
ye have identified potential uses in five depart men|
be developed as users become more proficient
and discover new applications.
Accounting Department:
Figure 1-34.
It may help to position the frame if you change to Normal
(Ctrl-N) or Enlarged (Ctrl-E) View.
II Press and hold down the mouse button. When the cursor
changes to a picture of a pointing finger, drag the lower
right corner of the frame downwards and to the right mar¬
gin. Release the mouse button when you reach the 21-pica
1 - 60
Pictures
position on the vertical ruler and position 42 picas on the
horizontal ruler (Figure 1-35).
Desk
file Edit View Chapter Frane Paragraph Graphic Options
7 ]
II
11
C:\TEMP\1REP0RT.CHP (1REP0RT.S1V)
z
Position 21 picas
Usher uses style sheets to store formatting information, the
company can create a library of approved designs and code
them into style sheets. Every document produced with these
style sheets v.-ll au'omaticailv meet minimum standards for
E
Figure 1-35.
Ventura’s column snap and line snap force the new frame to
line up properly. Column Snap forces the frame to align with
the margins. Line Snap, which is automatically set to Body
Text’s inter-line spacing (14.00 fractional pts), makes the the
frame an integer relationship to the other page elements.
If you have a problem placing or sizing the frame use one of
the following tips:
• To delete a frame, select it and press the Del key (or select
Cut Frame from the Edit menu).
• To adjust the size of the frame, point to one of the black
sizing buttons around the frame. Then press and hold down
the mouse cursor until the pointing finger appears. Then
push or pull the frame into shape.
• To move a frame, place the cursor anywhere inside the
frame (not on one of the sizing buttons) and hold down the
mouse button. When the four-way arrow appears drag the
frame to a new location.
Add padding to the frame
After you set the location of the frame, you should add some
padding — extra breathing space that keeps surrounding text
Place the picture
1-61
from touching the border of the frame. In the following ex¬
ample, you will set vertical padding to 14.00 fractional pts —
the standard spacing unit derived from Body Text.
The vertical padding option places a white space buffer both
above and below the frame. Thus, in the example above, the
frame will have 14.00 fractional pts of padding at the top and
14.00 fractional pts at the bottom. Text will not be allowed to
come within 14.00 fractional pts at top or bottom.
M With the frame still highlighted, select Sizing & Scaling
from the Frame menu.
SIZING 8 SCALING
a
Flow Text Around:
On
Upper Left X:
BE
Upper Left V: 72.00 □ FI
Frane Width:
Frane Height:
Horiz. Padding:
60.00
Uert. Padding: 14.00| fractional pts
Picture Scaling:
| fit in Fraae j
| By Scale factors !
Aspect Ratio:
[ Maintained \ \
Distorted j
X Crop Offset:
oojx) Fin
V Crop Offset: 00,00 FIR
Scale Width:
00.08
Scale Height: IK!.00
| Cancel |
Choose fractional pts as the unit of measurement.
Is Move to the Vert. Padding line, press Esc to clear the line,
type: 14.00 and click OK.
The frame now has a 14-point cushion of white space above
and below it.
Place the picture
II With the new frame still selected, select the picture file
NOZZLE.GEM from the Assignment List.
The picture appears inside the frame (Figure 1-36).
1-62
Chapter
Figure 1-36.
Chapter
With text, style and picture finished, you need only complete
the chapter portion of the report.
Print the chapter
The only real test of a document is how it looks on paper. In
the chapter section of this project, you will print the report
you just created. Then we will show you how to back it up on
a floppy disk using Ventura’s Multi-Chapter function.
H Press Ctrl-S to save the chapter.
H Select To Print from the File menu.
WARNING: If you installed PostScript as your printer for the purposes of this project,
but you do not have a PostScript printer, use Set Printer Info to switch back to your
original printer. Chapter Three contains a detailed explanation of the Set Printer Info
dialog box.
Choose Which Pages: All, Printing Order: 1st to Last. Leave
all other settings alone. The Configuration line should
match the default printer you selected when you installed
Ventura. Click OK to print a single copy of the four-page
report (Figure 1-37).
Back up a chapter
1-63
PRINT INFORMATION (POSTSCRIPT - Ultimate) |T|
Which Pages:
All
From Page:
00011
Through Page:
9999
Number of Copies:
01
Collated Copies:
Off
Printing Order:
1st to Last
Paper Tray:
Default
Crop Marks:
Off
Spot Color Overlays:
Off
WultiChp, Print Files:
Combined
Device Name:
POSTSCRIPT
Output To:
C0M1:
KHJ 1 Cancel |
Figure 1-37.
Ventura displays a message that it is printing. If you need to
cancel the printing command, press Esc. Ventura will then
give you the choice of stopping or continuing.
Back up a chapter
As explained earlier, Ventura uses pointers to keep track of
the files in a chapter. If you use DOS to back up a chapter with
the COPY command, you will move all the files to a new
location but the pointers will still be set to the old location. The
chapter will load from the new location, but when the chapter
looks for the text, style, and picture files it needs it will be
unable to locate them. The chapter will still be looking for
them at the old location.
To solve this dilemma, use Multi-Chapter from the Options
menu to back up chapters. This utility not only copies the
files, it automatically changes the pointers to correspond to the
new locations.
Ventura permits you to create a publication , which can be a
collection of many chapters. You can then copy or print all of
the chapters in the publication with a single command. You
will practice this skill in Chapter Three. But you don’t have to
create a publication just to copy a single chapter. Here’s how it
works:
1! Place a formatted floppy disk in the A: drive.
1 -64
Chapter
1! Select Multi-Chapter from the Options menu. If you
haven’t already saved the chapter, Ventura will ask you if
you want to Save or Abandon your changes. Choose Save.
The Multi-Chapter dialog box appears and the name of the
current chapter, C:\TEMP\1REP0RT.CHP is highlighted
in the list (Figure 1-38).
MULTI-CHAPTER OPERATIONS Q]
liliSilliiil C:\TVPESET\imiTLED.PUB i|jr.j. I f. l\
C:\TEMP\1REP0RT.CHP
| Done*^
Figure 1-38.
New
Open
Close
Save,,,
Save As...
Add Chapter*...
Remove Chap
Print.,,
Hate TOC,,,
Hate Index,,,
ReniMier,,,
Copy All...
II Select Copy All.
The Copy All dialog box appears (Figure 1-39).
COPY ALL
SOURCE (from this file)
PUB or CHP: C:\TEMP\1REP0RT.CHP_
DESTINATION (to these directories)
PUB & CHPs: A:\l
STYs 8 WIDs: A:\_
Text Files: A:\_
Graphic Files: A:\_
Image Files: A:\_
Command: | Make All Directories the Same As the First*
| OK | | Cancel |
Figure 1-39.
Back up a chapter
1-65
The name of the chapter is displayed at the top of the dialog
box. The destination lines show the disk drive and subdirec¬
tory to which each file will be copied. When you first select
Copy All, Ventura will “guess” where you want to copy the
files. You will change this guess to the actual destination (the
A:\ drive).
II Move the cursor to the line PUB & CHPs. Press Esc to clear
the line and type: A: \
As you can see, you have the option to copy different kinds of
files to different subdirectories. In this case, however, you will
copy all the chapter files to the A:\ drive. Luckily, Ventura has
a feature that makes it unnecessary to type A:\ on each line.
M Choose Command: Make All Directories the Same As the
First. Click OK.
Ventura copies all the files to the A:\ drive. When the copy
function is complete, you return to the Multi-Chapter dialog
box.
§§ Choose Done to close the Multi-Chapter dialog box.
If Ventura asks you if you want to abandon or save changes
made to the publication, click on Abandon to return to the
work area.
Once you have completed printing and backing up the chap¬
ter, you can go onto the next project or exit from Ventura. To
exit:
H Select Quit from the File menu.
If you haven’t saved recently, Ventura will ask you if you want
to Save or Abandon. Choose Save.
You made it. You created a business document with Ventura.
Although some of the new concepts and theory may have been
tough going for beginners, you have already learned many of
the basics — basics you will reuse again and again. Along the
way, you made a big improvement in the appearance and
efficiency of the sample report.
And you can do even more to enhance basic business docu¬
ments. Turn to Chapter Two for more ideas and techniques for
power publishing with Ventura.
1 - 66
Chapter
Tips and techniques
Text tips
□ Use File Type/Rename from the Edit menu to relocate text
files (copy them to a new subdirectory) or to convert them to
a different word processing format.
□ Do as much editing, changing, adding, and spell checking
as possible in the word processor before bringing the file
into Ventura. Text editing in Ventura is slower and less
efficient.
Style tips
□ Always rename the style sheet at the beginning of the work
session to avoid corrupting the original.
□ To avoid confusion, many users give the style sheet the
same name as the chapter (for instance, SAMPLE.CHP and
SAMPLE. STY).
□ Perform the Chapter formatting first, then move to in¬
dividual paragraph formatting.
□ You will feel less confused if you concentrate on the Chap¬
ter, Frame, and Paragraph menus during the style phase of
a document.
□ Work from left-to-right and from top-to-bottom in Ventura’s
menus to avoid overlooking important operations.
□ When working in the Paragraph menu, focus on the Font,
Alignment, and Spacing menus.
□ Use Inter-Line spacing for every tag. Use Above spacing if
necessary to provide additional separation from the preced¬
ing paragraph. Use Below spacing only if you cannot get the
effect you want with Inter-Line and Above. Use Inter-Para¬
graph only as a last resort.
□ If possible, make all vertical spacing an integer multiple of
Body Text’s inter-line spacing. This applies to spacing
above and below headlines, subheads and bullets, as well as
to frame sizes and frame padding (white space around
pictures).
Back up a chapter
1-67
□ For faster tagging, use Shift-Click to select several para¬
graphs at once.
Chapter tips
□ Use Save As to rename (and/or relocate) the chapter at the
beginning of every work session. Once you have renamed
the chapter you can save it as you go along simply by
pressing Ctrl-S.
□ Create a separate subdirectory for each project. If the docu¬
ment is very large, subdivide the hard disk even further.
□ Never use DOS copy to move chapters and associated files.
Use Multi-Chapter so the internal pointers are changed to
match the new location. Exception: You can use DOS to
move files between two identically configured computers.
For instance, you could move SAMPLE.CHP from the
C:\TEMP subdirectory of one computer and put it on the
C:\TEMP subdirectory of a second computer. As long as
each and every file is found in the same location on both
computers, the chapter will load properly on the new com¬
puter.
□ You can type the new subdirectory location on the Directory
line and move to it by pressing Enter (or clicking OK).
However, the easiest way to navigate around the hard disk
is with the mouse and the backup button.
Chapter Two
Skills Checklist
Theory
□ Understanding picas and points
□ Preformatting text in your word
processor
□ Inserting special characters with
bracket codes
Text
□ Ventura’s editing tools
□ Adding text attributes with Text mode
Style
□ The benefit of a two-column page
format
□ Adding and changing tags
□ Creating a title page
□ Creating a page break tag
□ Setting off lists with bullets
□ Using horizontal tabs to make a table
Pictures
□ Placing text inside a frame
□ Adding a ruling line around a frame
□ Attaching captions to frames
Chapter
□ Print the current page
Chapter Two
A Two-Column Proposal
A lthough you may not realize it yet, you have already
acquired a solid grounding in Ventura fundamentals just
by completing the first chapter. Chapter Two reinforces these
basics while teaching the new skills summarized in the check¬
list to the left.
Why you should not get discouraged
This may be a good time to reassure novice users. If Ventura
seems a bit intimidating during the first few weeks, remember
that you are really tackling two things at once. First, you must
learn the software, not a trivial task considering that Ventura
is one of the most powerful packages ever written for a per¬
sonal computer. At the same time, you must learn about
layout and design, a separate (and complex) discipline of its
own. This dual struggle frustrates some beginners. The best
solution is to keep practicing.
After each chapter, you may want to apply what you’ve
learned to a real-life project. If you get stuck, go back to the
book for guidance. Remember, mastery of Ventura is a matter
of hands-on experience over a period of time. The more docu¬
ments you work on, the sooner you’ll gain confidence and
reach true proficiency. If you continue to follow along with the
projects in the book, things will soon fall into place.
Theory
In this section, we will introduce you to the measuring system
the professionals use when working with Ventura. The second
2-2
Theory
half of the theory section discusses how to preformat text with
your word processor to save production time in Ventura.
Picas and points
Most Americans are comfortable with inches. But for desktop
publishing, the method called printer’s measure or the point
system is superior. Since type sizes are always specified in
points, it makes sense to use printer’s measure for everything
on the page so you don’t waste time converting back and forth.
In addition, the point system has units that are much smaller
than inches, so it is rarely necessary to complicate things with
fractional units. By contrast, using inches requires you to
make many fractional computations.
For these reasons, printer’s measure is the easiest way to talk
to a page layout program. (Most programs let the user choose
between inches, centimeters or printer’s measure.) The two
most important units in printer’s measure are points and
picas.
Points are very small unit, about V72 inch. They are used to
measure type sizes and rules. The point size of a typeface is
roughly the measurement from the highest ascender (the top
of a “b” for instance) to the lowest descender (the bottom of a
“g”). This is only an approximation, since point sizes originate
from the metal body used to carry type in the days before
phototypesetting. The best way to get familiar with point sizes
is by example. You’ll soon develop an eye for the most common
sizes.
Picas are a larger unit. Don’t confuse them with the
typewriter style of the same name. They are equal to 12 points
(about l /& inch). Printers and typographers use picas to
measure lines, margins and columns. Table 2-1 will help you
convert common sizes from one system to the other.
Preparing text for Ventura
2-3
Table 2-1. Conversion table for common measurements.
Inches
Picas & Points
Fractional Pts.
H in.
1 pica & points
12 fractional pts.
14 in.
01,06 picas & points
(1 pica and 6 points)
18 fractional pts.
VS in.
02,00 picas & points
24 fractional pts.
VS in.
03,00 picas & points
36 fractional pts.
1 in.
06,00 picas & points
72 fractional pts.
5 VS in.
33,00 picas & points
8 VS in.
51,00 picas & points
11 in.
66,00 picas & points
Preparing text for Ventura
You can make life with Ventura a lot easier if you learn how to
prepare text files for Ventura in advance. All the sample files
that you use for the publishing projects in this book are al¬
ready prepared for you, so you won’t have to worry about
doing it now as long as you have the Power disk. Still, we want
you to understand the theory so you can use it for files you
create on your own. Preformatting text files can save you time
in Ventura.
You’ve probably heard the expression “less is more.” When
creating text files for Ventura, however, less is less when it
comes to inserting global formats such as indents, centering,
page numbering, and so forth. The less you format with the
word processor — the less formatting, the less extra spaces,
the less extra carriage returns — the less work you will have
when you bring the file into Ventura. At best, global format¬
ting from a word processor is ignored by Ventura. At worst, it
creates extra spaces, tabs, or characters that must be manual¬
ly removed.
2-4
Theory
** TIP: Do as little global formatting as possible with the word
processor. Perform global formatting in Ventura instead.
Here are some of the things you should not do with the word
processor. Do not:
• Center text
• Justify text
• Indent the first line of a paragraph
• Create temporary (secondary) margins
• Put more than one space after a period, colon, or
question mark
• Put more than one carriage return between paragraphs
• Put more than one tab stop between columns
As you can see, we recommend only one carriage return be¬
tween paragraphs. Although this reduces the time spent
deleting extraneous returns in Ventura, it does make the file
hard to read in the word processor. Luckily, Ventura has a
built-in feature to handle this problem: the ©PARAFILTR ON
= code. By using this code you can put an extra carriage return
between paragraphs and Ventura will filter it out for you.
The @PARAFILTR ON = code must be inserted as the very
first line of the document and it must be typed correctly, or
Ventura will ignore it. Make sure you place a space before and
after the word “ON” and a space before and after the equals
sign (Figure 2-1).
One advantage a word processor has over Ventura’s current
version is an easy search and replace function. For instance,
you could use search and replace to remove all extra spaces
after periods. Likewise, if you make a text change throughout
a document — for example, substituting one name for another
— do it with search and replace before starting Ventura.
We said that ‘less is less” for global formatting. When it comes
to formatting individual paragraphs, however, we could say
the opposite: more is more. The more individual formatting
you do in the text file, the more efficient you’ll be.
Individual formatting in text files
2-5
!*=[••.1.2.3.4.5. ].........7 .-||
0PARAFILTR ON = H
Consulting Proposal to ABC CoMpanyll I
n
XVZ Corporation!! I
A
September 1, 1989!!
n
Consulting Proposal to ABC Conpang!! j
n
Project Description!!
!! j
XVZ Corporation proposes to aduise ABC Ctmpany on all
aspects of desktop H
publishing systeMs, including needs analysis, product and
Market surueys, specifications H
and purchase, and systen inplenentation. Tl
H
The initial short-tem goal is to coMputerize the production
of ABC's !I
l L.. an — - - ZPROPOS. TXT=iJ|
COMMAND: Copy Delete Format Gallery Help Insert Junp Library
Options Print Quit Replace Search Transfer Undo Uindou
Microsoft Uord Uersion 4.0 <S^N 034099-400-0037706)
Pgl Co50 ° O ? CL Microsoft Uord
Figure 2-1 . Place the @PARAFILTR ON = code as the first line of a
document to filter out double carriage returns between paragraphs.
Individual formatting in text files
Individual formatting falls into two categories. The first is
text attributes: boldface, italics, underlines, etc., when applied
to a few words within a paragraph. The word italics in this
sentence is an example of individual formatting (if the entire
paragraph was in italics, it would be considered global format¬
ting). The second category is typographic characters. Ventura
Publisher provides the capability to insert true typographic
characters, including characters that don’t appear on the com¬
puter keyboard, such as the em dash (—), the copyright sym¬
bol (©), and so on.
** TIP: You can enter text attributes and typographic characters
with Ventura, but it’s faster with a word processor.
Bracket codes
Some people use the search and replace to convert standard
keyboard characters into true typographic characters. For
instance, after typing the text file, they search and replace
characters such as “ or — with the bracket code that repre¬
sents true open (“) and closed (”) quotes and an em dash (—).
When Ventura encounters the bracket code, it substitutes the
correct typographic character and displays it on-screen.
2-6
Theory
Other people use keyboard macros instead of search and
replace. They program the keyboard to insert the proper
bracket codes as they go along. Thus, they might program the
key combination Alt-C to insert the code <189>. When Ven¬
tura sees this bracket code, it inserts the copyright symbol
( © ) onto the page. Figures 2-2 and 2-3 show a coded para¬
graph from a word processor and the same paragraph in
Ventura.
Figure 2-2. Bracket codes are used to insert true typographic
characters in Ventura.
i"We Initially thought that desktop publishing would only have advantages for:
tone or two departments," said President Zygniewski, "but our study revealed;
ithat it could save time and money throughout the company while improving;
Jhe appearance and effectiveness of cur documents.”!
□
Figure 2-3. Ventura displays the bracket codes as true typographic
characters.
Bracket codes
2 -
Table 2-3 provides the proper substitutions and codes for the
most common typographic characters not available from the
keyboard, as well as their keyboard shortcuts (if any). You can
use this table as a reference whether you use the search and
replace method or the keyboard macro method.
Table 2-3 Common Typographic Characters
2-8
Planning the proposal
TIP: If you set Auto-Adjustments to “ and — in the Set
Preferences dialog box (Options menu) Ventura will automat¬
ically convert all standard keyboard quotes (”) and hyphens
(—) to true open and closed quotes and em dashes when it
loads a text file.
The next time you begin a project with Ventura, try preparing
the text files with the guidelines we give in this chapter. Look
through the text files in Appendix A for examples of how to
prepare text in advance.
Planning the proposal
In the first chapter you prepared an in-house document. Now
you will work on a document that you might send to a prospec¬
tive customer outside your company.
The typical proposal serves as a sales document. Sometimes it
goes to another department in the same company, or to upper
management. Often, however, it is sent to customers. Since a
proposal may go to the outside world, it must represent your
company in the best light. The graphic design should work
together with the words to reinforce the image your company
wishes to project.
Although we kept our example short to conserve time and disk
space, a real-life proposal may be many pages long. It may
also incorporate graphics and/or financial tables. The docu¬
ment needs headers or footers for easy reference, plus cap¬
tions to help readers correlate the visuals with the text.
Take a look at the “before” and “after” pictures of the proposal.
Here are some of the effects you will work on in this chapter to
improve its appearance:
• A separate title page
• A banner headline
• A two-column format to get more information on the page
while enhancing readability
• A spreadsheet file integrated with the text
Bracket codes
2-9
Before
After
Consulting Proposal to ABC Company
XYZ Corporation
September 1, 1989
Consulting Proposal to ABC Company
Project Description
XYZ Corporation propose* to advise
ABC Company on all aspects of draklop
publishing systems, including needs
analysis, product and market surveys,
specifications and purchase, sad system
implementation.
Tbs initial short-term goal is to com*
puterize the production of ABCs internal
and external publications using personal
computers and deaktop publishing
software. This dbort-term goal must be sub¬
stantially completed before tbe end of
ABCs fiscal year six months from now.
Tbe long-range objective is to integrate all
of ABCs publications into a compmy-
wide system with common procedures,
databases and shared output devices.
Statement of Work
XYZ proposes to accomplish and com¬
plete this project in five phases, as
described in more detail:
Evaluate Needs. XYZ will gain an in-
depth knowledge of ABCs computeriza¬
tion needs through on-site and telephone
interviews. We win consider such areas as:
• Word processing and editorial re¬
quirements
• Graphics requirements
• Laser printer requirements
■ Ease cf learning and use
• Speed and throughput requirement
Market Reserck. XYZ will analyze
suitability. Phase One will culminate in an
in-depth report outlining alternatives and
isoo mm a ada tiona.
Installation. Once ABC makes it pur¬
chase decision, XYZ will oversee installa¬
tion, setup and conversion. This will in¬
clude integration of hardware, software and
peripherals,plus tbe initial setup. Setup will
include the creation of electronic formats,
style dtccti and document templates for
reuse by ABC personnel.
Data Conversion. Once the system is
installed, XYZ will supervise the convtr-
sion of current databas e s and publications
to an electronic form. Ibis will include the
use of optical character recognition when¬
ever possible to minimize the time and ccet
of data entry. Where it is not possible to
optically read existing information, XYZ
will supervise data entry personnel who
will rekey tbe data into the computers. XYZ
win design and implement custom key-
rogoi
2-10
Ventura Prep
Ventura Prep
If you have the Power disk
For the purposes of this publishing project, we will assume
that you have prepared a text file (2PROPOS.TXT) and a
spreadsheet file (LOTUS.TXT) in accordance with the prefor¬
matting tips given in the theory section. (In actual fact, the
sample text files on the Power disk have been preformatted
for you.) Now they are ready to be loaded into the Assignment
List.
Loading multiple files
In Chapter One you learned how to load one file at a time.
Now we will show you how to load several files at once.
II If you are continuing from the last project, select New from
the File menu to clear the work space.
NOTE: You can only use the New option after you have
opened an existing chapter. It is not available when you start
Ventura for the first time. If you are starting from the DOS
prompt, Ventura begins with an untitled chapter and you do not
need to select New from the File menu.
II Select Load Text/Picture from the File menu.
M Select Type of File: Text, Text Format: ASCII, # of Files:
Several, Destination: List of Files, and OK.
M If necessary, use the Backup button to find the C:\POWER
subdirectory. Click on the diamond to go to the POWER
subdirectory. The Directory line should read
C:\POWER\*.TXT. (If the Directory line reads differently,
press ESC to clear the line, type C:\POWER\*.TXT, and
press Enter.)
Scroll through the listing until you see the file
2PROPOS.TXT. Select the file by double-clicking on the name
or by typing the name on the Selection line and pressing
Enter. This action loads it into the Assignment List.
Renaming the document files
2-11
After the first file is loaded, the Item Selector reappears and
you can continue to load the next file.
Ii Scroll through the file listing again to locate the text file,
LOTUS.TXT. To return to the document select the file name
and choose OK, or double-click on the name, which has the
same effect.
H Click OK to return to the work space.
*+NOTE: From this point on, when we ask you to select an item,
use whichever selection method you prefer—typing the name
on the selection line, double clicking, or clicking on the name
and then OK.
If the Page is selected when you load a file, Ventura immedi¬
ately places the file on the Page. When you load several files
at once, Ventura can’t judge which files should be placed
where, so it doesn’t place any of them. When you are ready to
place a file, first select the Page, then select the text file from
the Assignment List.
Renaming the document files
We want you to get in the habit of renaming text files, style
sheets, and chapters immediately to avoid making permanent
changes to the originals. Start by renaming the text files.
To rename the text files, you must place them one at a time
onto the Page. Once they are placed, use File Type/Rename to
rename them and relocate them to a different subdirectory.
ii Select the Underlying Page. When the sizing buttons are
visible around the border of the Page, select the text file
name LOTUS.TXT from the Assignment List.
Ventura places the text on the Page. Now rename and relocate
the file.
ii Select File Type/Rename from the Edit menu.
^ Move to the New Name line, press ESC, and type:
C : \TEMP\TABLE. TXT Choose ASCII and OK (Figure 2-4).
2-12
Ventura Prep
Figure 2-4.
The new file name, TABLE.TXT, appears in the Assignment
List (Figure 2-5).
Next you will remove the first file and place the second text
file on the Page.
II Select Remove Text/File from the Edit menu.
Ventura displays the file name, TABLE.TXT in the dialog box.
il Choose Remove from: Frame and click OK.
Load and rename a style sheet
2-13
** TIP: You can also remove a file from the Page by selecting
another file from the Assignment List Ventura automatically
replaces one text file with the other.
Now place the proposal text on the Page.
H Select the file name 2PROPOS.TXT from the Assignment
List.
Rename the second text file.
11 Select File Type/Rename from the Edit menu.
It Move to the New Name line, press ESC to clear the line,
and type: C : \TEMP\PROPOSAL. TXT
It Choose ASCII and OK.
Leave the file on the Page.
*+NOTE: File Type/Rename works for text files only Use the
DOS command Rename to rename picture files before or after
the Ventura work session.
Load and rename a style sheet
After renaming the two text files, load the style sheet.
M Select Load Diff. Style from the File menu. Use the Backup
button to locate the style sheet &PRPT-P1.STY in the
C:\TYPESET subdirectory. Then load it into the document.
Now save the style sheet with a new name.
§1 Select Save as New Style from the File menu. Locate the
C:\TEMP subdirectory with the Backup button. At the
Selection line type: 2PROPOS and click OK.
2-14
Ventura Prep
ITEM SELECTOR
Directory: C:\TEMP\*.STV_
Selection: 2PR0P0S|_.
MM
I Cancel I
‘ *.STV
1 REPORT .STY
Rename and save the chapter
Now save the new chapter with the new text and style sheet.
i§ Select Save As from the File menu.
H Find the C:\TEMP subdirectory. Move to the Selection line
and type: 2PROPOS. Click OK.
If you do not have the Power disk
^ Use your favorite word processor to type in the two text
files PROPOSAL.TXT and TABLE.TXT from Appendix A.
Save them (or copy them) in the C:\TEMP subdirectory.
Then follow the steps explained above to load the text files,
and to load and rename the style sheet and chapter files.
*+NOTE: If you want, you can use any text file in place of the
ones we include in Appendix A. However, it will be harder to
follow along and match your screen with our sample illustra¬
tions unless you use the same text
Now that you’ve organized the chapter files, you are ready to
begin. Where to start? As you know from the previous chapter,
the Ventura Formula (Text + Style + Pictures = Chapter)
helps with that question. As always, therefore, you will begin
with text.
Ventura’s editing tools
2-15
Text
Ventura’s editing tools
Although it is usually easier to edit large sections of text with
a word processor, Ventura provides a text editing toolkit for
last-minute changes. You can cut, copy, and paste text or
change the attributes of selected words within a paragraph.
Change text attributes
Before you begin, check to make sure the zero point is set
correctly. Click once on the 0,0 square in the upper left corner
of the Page. You may also want to use Normal or Enlarged
View so you can easily position the text cursor.
is Enable Text mode (click on the Text mode button in the
Mode Selector). When you click on the work space, the
mouse cursor turns into an “ I-beam” (Figure 2-6).
When you enable Text mode, Ventura displays attributes —
Normal, Bold, Italic, Small, and so forth — in the Assignment
List and the words Set Font in the Addition Box.
In Chapter One you changed the font using Paragraph mode.
But as you can see, Ventura also allows you to change text
attributes in Text mode. What’s the difference?
2-16
Text
*+ TIP: Use Text mode to change one or two words within a
paragraph. Use a paragraph tag to change the text attributes
of an entire paragraph.
Let’s use Ventura’s text-editing tools to italicize several key
words in the proposal. The italics will add emphasis and set
them off from the rest of the paragraph. To italicize the text,
first select the text then select the attribute.
^ Change to Normal (Ctrl-N) or Enlarged View (Ctrl-E).
II Move the cursor in front of the “M” in the word “Market
Research” near position 38 picas on the vertical ruler. Press
and hold the mouse button as you drag the cursor to the end
of the word “Research.” The selected text appears in reverse
video. Release the mouse button (Figure 2-7).
Desk File Edit Uiew Chapter Frane Paragraph Graphic Options
C:\TEMP\2PR0P0S.CHP (2PR0P0S.STV) i
;
et Font
t
*
Nornol
laid
Italic
Small
Superscript
Subscript
Underline
Double UndrLn
Strike-thru
Overscare
Upper Case
|T
Pg g 8891 l
3
"m
: pCYZ proposes to accomplish and complete this project in five phases, as described ir more:
: detail!
. Phase
[One will culminate in an in-depth report outlining alternatives and recommendations II
«; [Phase Two!
[Evaluate Heeds XYZ will gain an in-depth knowledge of ABC's computerization reeds
[through on-site and telephone interviews We will consider such areas as!
[Word processing and editorial requirements!!
;Graphicsrequirements!
: [Laser printer requirements!
Figure 2-7.
*+NOTE: The traditional rule is not to italicize punctuation.
Therefore, try not to select periods and commas when italiciz¬
ing (or bolding) a phrase.
Now make the text italic.
I! Select Italic from the Assignment List. The words “Attr.
Setting” appear in the Current Selection Box (Figure 2-8).
In Ventura, however, the markers are invisible on the screen.
Nevertheless, you can locate them using the left and right
arrow keys and the Current Selection Box at the bottom of the
Side-Bar.
2-18
Text
** NOTE: Ventura places the hidden text attributes immediately
before and after the word or phrase that was italicized, bolded,
underlined, etc.
11 Place the cursor between the “M” and the “a” in Market
Research and click once. Press the left arrow key on your
keyboard several times until the words “Attr. Setting” ap¬
pear in the Current Selection Box. This shows the location
of the hidden marker.
*+ NOTE: To remove the text attributes, select the text then select
Normal from the Assignment List. Or, use the arrow key to find
the hidden marker (the words "Attr. Settings” appear in the
Current Selection Box) and press the Del key.
Dragging the mouse is one way to select text. However, there
is a more accurate way called the “Shift-Click” method.
!! Place your text cursor before the “E” of “Evaluate Needs”
(two paragraphs down from “Market Research” near posi¬
tion 44 picas on the vertical ruler) and click once. While
holding down the Shift key, move the text cursor to the end
of the phrase (after the “s”) and click again. Now release the
Shift key.
!1 Now select Italic from the Assignment List.
*+NOTE: You can change the amount of text selected by moving
the cursor to another position and clicking again while holding
down the Shift key. You can move forward or backward.
11 Press PgDn to go to the next page and scroll to the top of the
page.
H Use the Shift-Click method to select the three following
phrases and make them italic as explained above: “Installa¬
tion,” “Data Conversion,” and “Training and Implementa¬
tion.”
When you are finished applying text attributes, your screen
should look like Figure 2-10:
Edit text
2-19
Chapter Frane Paragraph Graphic Options
lillSflililiiiiilli C:\TEMP\2PROPOS.CHP (2PROPOS.S1Y) figjljilllilliilljlll
NorHOl
told
Italic
SfMll
Superscript
Subscript
Underline
Double Uhlan]
Strike-thru
Overscore
: Instillation. Ore? ABC makes il purchase decision, XYZ will oversee installation, setup]
]and conversion. This will include integration of hardware, software and peripherals, plus;
ithe initial setup Setup will include the creation of electronic formats, style sheets and;
idocument templates for reuse by ABC personnel,!
•Phase Pour!
[Data Conversion Once thesystem isinstalled, XYZ will supervise the conversion of current:
databases and publications to an electronic form. This will include the use of optical character:
recognition whenever possible to minimize the time and cost of data entry. Where it is not;
jpossibleto optically read existing information, XYZ will supervise data entry personnel who;
iwill rekey the data into the computers. XYZ will design and implement custom keyboard;
macro programs to facilitate data enfry.!
Upper Cue
: ’'.Training an/ Implementation. With the system up and running and data converted tec
L Pg # 8002
; electronic form, XYZ will train ABC personnel in proper computer procedures, use of the;
i
♦1 '
Iflilll*
K
Figure 2-10.
Edit text
Now use Ventura’s cut and paste tools to rearrange the copy in
the proposal. It works like this: First you select the text you
want (by dragging or by using the Shift-Click method). With
the text highlighted, you then select Cut Text or Copy Text
from the Edit menu. After you cut or copy text, Ventura stores
it in temporary memory, called the Text Clipboard. To insert
text from the Clipboard onto the page, select Paste Text from
the Edit menu.
*+ TIP: Use keyboard shortcuts to speed text editing. Press Del to
cut, press Shift-Del to copy, and press Ins to paste.
H Press PgUp or Home to go back to page one. Select the
paragraph starting with “Market Research” as shown
below. Make sure you include the end of paragraph mark
(1) in the text selection by dragging the cursor down to the
beginning of the next paragraph (Figure 2-11).
** NOTE: If the paragraph symbol is not displayed on-screen,
select Show Tabs & Returns from the Options menu (or press
Ctrl-T).
2-20
Text
Desk File Edit View Chapter Frane Paragraph Graphic Options
C:\TEMP\2PROPOS.CHP (2PR0P0S.STV)
ID
jggFextg
I ME3B5BH
ffll
Statement of Work! i
iXYZ proposes to accomplish and complete this project in five phases, as described in more;
detail:!
I Market Research XYZ will analyze commercially available products for suitability. Phascj
One will culminate in an in-depth recoil outlining alternatives and recommendations, til
•yjjhaselwc! j
j Evaluate Needs XYZ will gain an in-depth knowledge of ABC's computerization needs:
ithrough on-site and telephone interviews We will consider such areas as:! •
4jj|Word processing and editorial requirements!
Figure 2-11.
H Press the Del key.
^ NOTE: If you delete the wrong text, press the Ins key immedi¬
ately to paste the text back on the page. Then try again.
The text is cut from the document and placed on the Clip¬
board. Now you can paste it into a new location:
11 Place the cursor before the word “Evaluate.” Click the cur¬
sor once.
il Press the Ins key (Figure 2—12).
Desk File Edit Uiew Chapter Frane Paragraph Graphic Options
C:\TEMP\2PROPOS.CHP (2PRDP0S.STY)
Market Research XYZ will analyze commercially available products for suitability,
One will culminate in an in-depth report outlining alternatives and recommendations
valuate Needs XYZ will gain an in-depth knowledge of ABC's computerization needs
■through on-site and telephone interviews We will consider such areas as:! :
QjgHjaM I
•Word processing and editorial requirements!
iGraphicsrequirements!
Figure 2-12.
Edit text
2-21
*+NOTE: Text remains in the clipboard until something else is cut
or copied.
^ Select the text starting with “Evaluate Needs” and ending
with “Speed and throughput requirements” as shown in
Figure 2-13. (Be sure to include the end of paragraph mark
in your selection. If you have trouble, move the cursor down
below the line and to the beginning of the next paragraph.)
Figure 2-13.
Press the Del key.
Now paste the text back into the document below the para¬
graph “Phase One.”
H Place the cursor in front of the “P” of “Phase Two” and press
Ins.
After you rearrange the text, click once anywhere on the work
space to deselect the text. Your screen should look similar to
Figure 2-14:
*+NOTE: Do not be concerned if the italics change or disappear
during cut and paste. Sometimes when you move text in a
document, you also move a text attribute. Use Normal and
Italic from the Assignment List to get the text looking the way
you want again.
2-22
Style
Desk File Edit View Chapter Frane Paragraph Graphic Options
iilfilliiiiilllillii! c :\te«p\2propos . cup apropos . siv)
Set Font
Italic
snoll
Superscript
Subscript
underline
|Double UrtdrLnj
Strike-thru
Overscpre
I
Upper Case 1
r
I
EEHSII
□1111
m
JhiseOno!
Evaluate Heeds XYZ will gab an in-depth knowledge of ABC’s computerization needs:
through on-site and telephone interviews We will consider such areas as:!
Word processing and editorial requirements!!
Graphics requirements!!
L aser printer requirements!!
JEase of learning and usel!
Speed and throughput requirements!
•Phase Two!
~\-MaiietReseaich XYZ will analyze commercially available products for suitability. Phase;
■iirill mlroinatn in *r. in-dnnth rnnnri ruillininn altnrrvaHura and tnnnn\rr>f>!vi.>liiwg.ft. 1 - *
. - I r
Figure 2-14.
Nice work. With just a little practice, you’ve learned the basics
of text editing.
Style
You will begin the style portion of this project by completing
the chapter layout. Then you will add tags to a style sheet and
use a special tag named Page Break to isolate text on a page.
These steps may save you some of the mistakes and confusion
we experienced as first-time Ventura users.
Page layout strategy
Let’s take a moment to review the formatting strategy we
introduced in Chapter One, a strategy that helps you stay on
course when working on the style of a document. First you
make the global changes to the chapter. Then you tag in¬
dividual paragraphs, starting with Body Text. As you make
changes, you step through the menus from left to right, and
from top to bottom.
Change the page layout
si Select Page Size & Layout from the Chapter menu. Choose
Sides: Single and Start On: Right Side. Click OK.
Build the footer
2-23
Build the footer
Next, build a footer that includes the name of the proposal and
the page number.
§1 Select Headers & Footers from the Chapter menu.
H Choose Define: Right Page Footer, Usage: On. Move to the
Left line and type: ABC Proposal
^ Move to the Right line and type: Page followed by a space.
Then choose the Inserts: Page # button. The [P#] code
appears on the line, instructing Ventura to insert page
numbers in the footer. Click OK to close the dialog box.
HEADERS R FOOTERS \J}
Define: | Left Page Header |
| Right Page Header |
| Left Page Footer |
Usage: E9 l~orf~|
Left: ABC Proposal
Center: _
Right: Page [P#]|.
Inserts:
| Chapter ~5~| | Page tt | | 1st Hatch"] | Last Match |
| Text Attr~1 [ Copy To Facing Page")
HOI | Cancel |
Now turn off the footer for the first page only.
Verify that you are on page one. If not, press Home.
P Select Turn Footer Off from the Chapter menu.
Change to two-column format
After making the footer, you’re ready to change the page
margins and columns. As we explained earlier, a two-column
page layout lets you fit more text on a page and enhance its
readability. When you change from one to two-column format,
watch how easily Ventura reflows the text.
1 Enable Frame mode.
2-24
Style
II Click the cursor anywhere on the work space to select the
Underlying Page.
!1 Select Margins & Columns from the Frame menu. Choose #
of Columns: 2. Make the top and bottom margins 06,00
picas & points and the left and right margins 07,06 picas &
points. Do not press OK yet.
After you set the page margins, you enter the column and
gutter widths. To make the columns equal widths, enter the
first column width, then enter the gutter width (the space
between columns), then choose Make Equal Widths. Do things
in this order to ensure that Ventura accurately calculates the
columns.
*+NOTE: The Make Equal Widths button does not stay high¬
lighted after you choose it.
11 Move to the Column 1 line, press Esc to clear the line, and
type: 1700
il Move to the first line of the Gutters column, press Esc and
type: 0200
H Choose Make Equal Widths. Click OK.
MARGINS 8 COLUMNS
# of Columns: m h m m s s m ra
Settings For: | Left Page |
m
Right Page
Widths
Gutters
Margins
Column 1:
17,00
02,00
00,00
00,00
00,00
00,00
00,00
Top: 06,00 picas 8 points
2:
17,00
Bottom: 06,00
3:
H0,BB
Left: 07,06
4:
5:
6:
7:
ee,Be
Right: 07,06
Calculated Width = 51,83
8:
Actual Frame Width = 51,00
Inserts: 1 hake Equal Widths"! | Copy To Facing Page |
_Bag '
Cancel
Turn column balance on
2-25
Turn column balance on
To balance the text in adjacent columns, turn Column Balance
on in the Chapter Typography dialog box. Without Column
Balance on, Ventura fills the first column with text before
starting the second. With Column Balance on, Ventura fills
both columns equally. (You will notice the effects of column
balance on page two.)
m Select Chapter Typography from the Chapter menu.
Choose Column Balance: On and click OK.
CHAPTER (DEFAULT) TVPOGRAPHV SETTINGS [7]
Widows (Min Lines at Top):
2
Orphans (Min Lines at Bottom):
2
Column Balance:
On
Move Down To 1st Baseline By:
Cap Height
Pair Kerning:
On
Cancel
Modifying individual tags
Since there are no more overall changes to make, you can
begin to tag individual paragraphs. Start with Body Text,
because its inter-line spacing is the basis for all other tags.
Once you complete Body Text, proceed systematically through
the document from top to bottom. You can achieve most of the
effects you want with the Font, Alignment, and Spacing op¬
tions in the Paragraph menu. In this section, you will build up
your tagging repertoire by learning about the Breaks menu.
But first let’s modify the Body Text tag.
Change the Body Text tag
The only change you need to make to Body Text is in the
Alignment dialog box.
2-26
Style
H Enable Paragraph mode.
H Select the paragraph that begins “XYZ Corporation
proposes to advise...” (Figure 2-15).
Desk File Edit View Chapter Frane Paragraph Graphic Options
lill!iSilSl!IillI«i|;! C:\TEMP\2PR0P0S.CHP (2PROPOS.STY) .
September 1,1983
Consulting Proposal to ABC Company
iProject Description
YZ Corporation proposes to advise ABC
ompany on all aspects of desktop publish-
ng systems, including needs analysis,
product and market surveys, spejfications
nd purchase, and system implementation.
Jhemitialshort-teimgoaiisto computerize;
Jhe production of ABC's internal and exter-!
rial publications using personal computers:
land desktop publishing software. This;
short-term goal must be substantially com-;
pleted before the end of ABC's fiscal year;
Speed and throughput retp
Bhase Two
'•tfaiietKeswick XYZ w|
jmertially available producj
jPhase One wiD culminati
ireport outlining altemati'
imendations.
Bhase Three
Instilhtion, Once ABC m
decision, XYZ will over
setup and conversion. Thi:
iegration of hardware,
peripherals, plus the initial
include the creation of eld
E
Figure 2-15.
The tag name Body Text appears in the Current Selection
Box. Make the following changes:
H Alignment
In/Outdent Width: 01,00 picas & points
*+NOTE: Ventura measures indents from the left margin of the
column, not the left edge of the page.
II Spacing
Inter-Line: 14.00 fractional pts
Inter-Paragraph: 00.00 fractional pts
Change the tags on the title page
Now that you’ve finished changing the Body Text tag, you can
change the other tags on the title page of the proposal.
II Select the first paragraph “Consulting Proposal to ABC
Company” and tag it as Title (Figure 2-16).
Change the tags on the title page
2-27
Desk File Edit View Chapter Frane Paragraph Graphic Options
i!!i!l!lililli!l!l!i C:\TEHP\2PROPOS.CHP (2PR0P0S.STV) Iljljilf jiSlljBgiljlijl
JL
Miff
jBIS
XYZ Corporation
September 1,1989
Consulting Proposal to ABC Company
Project Description
XYZ Corporation proposes to adviser
ABC Company on all aspects of desktop;
publishing systems, including needs
analysis, product and market surveys,
specifications and purchase, and system;
implementation
i Phase Three
• Instillation. Once ABj:
ichase decision,XYZ will
tion, setup and conversiol
;dudeintegra1ion of hardwf
peripherals, plus the initial
include the creation of el^
istyle sheets ard documei
reuse by ABC personnel.
; Phase Four
: Data Conversion. Orel
installed, XYZ will super)
isior of current databases
Jto an olofifanwlc^cuacuXb ij
Figure 2-16.
*+ TIP: If you tag the wrong paragraph, just retag it as Body Text
and select again.
The current format of the Title tag is part of the original style
sheet you loaded at the beginning of this project. Now you will
modify its design to better suit the new page design. You will
make the Title tag stand out on the page by centering it
frame-wide, enlarging its type size, and adding extra space
above and below. When you are finished the paragraph will
look like Figure 2-17.
Edit View Chapter Frane Paragraph Graphic Options
111111111110:\TEMP\MaP0S7CHP"(2PR0PQS~. §W) ' * _=' I ♦ I
I R Pg 8881
I <■ iiiiir
Consulting Propoialito ABC Company |
XYZ Corporation
September 1,1989
Consulting Proposal lo ABC Company j
Project Description
XYZ Corporation proposes to advise;
ABC Company on all aspects of desktop;
Speed and throughput requirements
Phase Iwo
Market Desearch XYZ will analyze!:
commercially available products fo i
suitability. Phase One will culminate in art ;
in-depth report outlining alternatives and;
Figure 2-17.
2-28
Style
Face: Times
Size: 024.0 points
Overall Width: Frame-Wide
Above: 98.00 fractional pts
Below: 28.00 fractional pts
Inter-Line: 28.00 fractional pts
A note about spacing: In Chapter One we said that (1) you
should avoid using Inter-Paragraph spacing and (2) you can
do without Below spacing about 75% of the time. The Title tag,
however, is an exception to the rule. Because it is a banner
headline — a headline that stretches across two or more
columns — it usually requires extra space below to separate it
from the following text.
After changing the attributes of the Title tag, apply it to the
next paragraph.
$$ Select the paragraph “XYZ Corporation” and tag it as Title
(Figure 2-18).
Font
Alignment
Spacing
Desk File Edit View Chapter Frane Paragraph Graphic Options
MiBBlllllllllllll C:\TEMP\2PROPOS.CHP (2PR0P0S.STV)
Consulting Proposal
to ABC Company
E533HB
September 1,1969
Consulting Proposal to ABC Company
Enltiate Weeds XYZ will gain an in-j
jicptli knowledge of ABC's computeriza-i
Figure 2-18.
Add a new tag
f
The next paragraph to tag is the date. To make it better match
the Title tag, you will center it frame-wide and make it 12-
point Times Bold. Since there are no tags in the Assignment
List with these attributes, you will add a new tag.
Add a new tag
2-29
To make a new tag, Ventura copies the attributes from an
existing tag to the new one. Then you add or subtract at¬
tributes to the new tag name until you get the right effect.
Here are the steps to add a new tag.
1. Enable Paragraph mode.
2. Select a paragraph with attributes similar to the tag you
want to add.
3. Select Add New Tag from the Side-Bar.
4. Type in the name of the new tag.
5. Go through the Paragraph menus and add or subtract
attributes to achieve the right effect.
Don’t worry if this sounds confusing at first. You will get the
hang of it as soon as you work through a few examples. So let’s
get started. Create a tag named “BodyCenter” and apply it the
date paragraph.
li Select the paragraph “September 1 , 1989.”
H Select Add New Tag from the Side-Bar.
H Move to Tag Name to Add and type: BodyCenter and click
OK to close the dialog box.
Ventura copies the attributes of Body Text — its Font, its
Alignment, its Spacing, etc. — to the new tag.
2-30
Style
Modify the new tag
Now that you’ve added a new tag, you can change its at¬
tributes. Simply work through the Paragraph menu from top
to bottom until you achieve the right effect.
H Font Style: Bold
11 Alignment Horz. Alignment: Center
Overall Width: Frame-Wide
In/Outdent Width: 00,00 picas & points
^ Spacing Add in Above: When Not at Column Top
Add a page break
With the first three paragraphs tagged, the title page is com¬
plete. Now you must separate the title page text from the rest
of the document. To do this you use a special Page Break tag.
The Page Break tag includes a Page Break: After (Breaks
menu) that pushes everything after it onto a new page. The
Page Break tag was already defined in the original style sheet
with the Breaks options from the Paragraph menu.
Here’s how to use the Page Break tag to create a separate title
page.
Make sure that Show Tabs & Returns is turned on from the
Options menu (the menu will read “Hide Tabs & Returns”).
This allows you to see an on-screen display of all the text
symbols (tabs, returns, line breaks, etc.).
H Enable Text mode. Place the text cursor after the “9” in the
word “1989.” The words “Paragraph End” appear in the
Current Selection Box. Now press the Enter key once. This
action creates an empty paragraph, that is, a paragraph
containing an end of paragraph symbol (1) and no text
(Figure 2-19).
Add a page break
2-31
Desk File Edit View Chapter Frane Paragraph Graphic Options
lll«8IllIllillHli|||j C:\TEMP\2PROPOS.taff (gPftOPQS.STVl ilBiailllllliilllillijfg
XYZ Cojfpbration!
September
j I
Consulting Proposal (o ABC Company!;
Project Description! j
XYZ Corporation proposes to advise;
iABC Company on all aspects of desktop;
publishing systems, including needs;
•analysis, product and market surveys,;
specifications and purchase, and system;
implementation I
Ij, 198911
j Evaluate Feeds. XYZ will gain an in-|
depth knowledge cf ABC's computeriza-j
lion needs through on-site and telephone-
interviews. Wewill consider such areas as:!j
: Word processing and editorial require-;
fnentsl
Craphicsrequireraentsl
Laser printer requirements!
pu
Figure 2-19.
** TIP: You can apply tags to empty paragraphs as well as to text
Now tag the empty paragraph as Page Break, just as you
would tag any other paragraph.
II Enable Paragraph mode.
i§ Select the empty paragraph (click on the symbol) and tag
it as Page Break (Figure 2-20).
Figure 2-20.
The remaining text is pushed on to the second page. To under¬
stand this effect, leave the empty paragraph highlighted and
2-32
Style
select Breaks from the Paragraph menu. There you see that
the Page Break: After option was specified (Figure 2-21).
"Page Break" BREAKS
Page Break: 1 Ho 1 | Before
0
Before 8 After
1 Before/Until Left] [ Before/Until Right
Colunn Break: (JQI 1 Before | [ After | [ Before 8 After
Line Break: | No] E3S3I I After 1 | Before 8 After
Next V Position:
Allow Within:
Keep With Next:
Beside Last Line of Prev. Para
Htol
es | HQ|
Cancel
Figure 2-21.
The page break effect is an important one. Use the Page Break
tag whenever you want to start text on a new page. Try to
avoid the common mistake of entering a string of carriage
returns to force text to another page (Figure 2-22).
tesk File
Edit View Chapter Frane Paragraph Graphic Options
il
♦
t
IS
i
Ijpx.jj
■
XYZ Corporation!
rr
V
3 — :
■
Italic
September 1,19891
■
■
Small
I
1
■
Superscript
I
■
Subscript
I
R
■
Underline
3£ i I
1
■
Double Undrln
(
■
m
Strike-thru
1
n
n
overscore
*
.
11
Upper Cose
; *
1
1
n
U2EKZJI
1
D
□
msm
□
Figure 2-22. Wrong. To create a page break, use a page break tag —
not a string oi carriage returns.
This is not the right way to make a page break. If you later
add text, or change the attributes of a tag, some of the extra
carriage returns will “float” onto the next page causing every-
Add a page break
2-33
thing in the document to be pushed out of place. Remember to
use the Page Break tag instead.
Stopping point
You have finished page one and reached a stopping point for
Chapter Two. Continue on to page two if time permits. If not,
you may wish to save the chapter, then print out page one.
Check that your document matches Figure 2-23.
2-34
Style
Apply a tag to multiple paragraphs
If you are beginning fresh, open the chapter
C:\TEMP\2PROPOS.CHP and start from where you left off.
Go to page two to continue tagging.
H Press PgDn to go to page two
§1 Tag the paragraph “Consulting Proposal to ABC Company”
as Title.
Next you will change the Head level 1 tag. Since there are
several Head level 1 tags on the same page, you can use the
“Shift-Click” selection method to tag multiple paragraphs at
one time.
II Select the paragraph “Project Description.”
^ While holding down the Shift key, select the paragraph
“Statement of Work.” Tag both paragraphs as Head level 1
(Figure 2-24).
Des k F ile
iliil
Edit View Chapter Franc Paragraph Graphic Options
iliillill! C:\TEMP\2PR0P0S.CHP (2PROPOS.STV) [j ♦
Odd Men Tag
Body Text
BodyCenttr
Bullet
Chanje Bar
Heed level I
P«9C Break
Title
Z..COPTION
Z_FOOTtR
Z_HE0DCR
Z.LABEL FIS
MULTIPLE
R Pg h 0002
reject Desaiifcrl
XYZ Corporation proposes to adviser
ABC Company on all aspects of desktops
publishing systems, including needs
analysis, product and market surveys,;
Notification* and purchase, and system:
Implementation.!! ;
i The initial short-term goal is to cora-j
puterize the production of ABC's internal:
and external publications using personal’;
computers and desktop publishing;
software, This short-term goal must be sub-;
stantially completed before the end of;
ABC's fiscal year six months from now.;
The long-range objective is to integrate alii
;«f ABC's publications into a company-;
wide system with common procedures,;
databases and shared output devices.! i
Statement of Woikl!
i Muie/ Research XYZ will analyze
commercially available products fori
suitability. Phase One will culminate in an;
jirdepth report outlining alternatives and;
recommendations.!! ;
i Phase Three I!
j InstilMon Once ABC makes it pur¬
chase decision, XYZ will oversee installs-;
jtion, setup and conversion This will inti
jeludeintegration of hardware, software and;
peripherals, plus the initial setup. Setup will;
include the creation of electronic formats,;
style sheets and document templates fori
Arise by ABC personneLfl
; Phase Pour!!
i Dili Conversion Once the system is
installed, XYZ will supervise the conver-i
sion of current databases and publications!
to an electronic form This will include the!
EK
Figure 2-24.
Change the Head level 1 tag
With the two paragraphs still highlighted, change the tag.
First remove the ruling line below that was specified in the
original style sheet, then change its Font, Alignment, Spacing,
and Breaks.
Change the Head level 1 tag
2-35
Select Ruling Line Below from the Paragraph menu.
Choose Width: None and click OK.
"Head level 1" RULING LINES BELOW
m
Width:
None
Color:
Black
Pattern:
Solid
Dashes:
Off
36.00
Space Above Rule 1:
00.00
Height of Rule 1:
01.98
Custom Indent:
00.00
LuL
* j
Space Below Rule 1:
00.00
Custom Width:
00.00
Height of Rule 2:
00.00
Space Below Rule 2:
00.00
Dash Width:
00.00
Height of Rule 3:
00.00
Dash Spacing:
00.00
fractional ptsl
Space Below Rule 3:
00.00
l *\i -j
Overall Height:
01.98
■
S.
Cancel|
11 Font Face: Times
Size: 018.0 points
H Alignment Horz. Alignment: Center
II Spacing Above: 28.00 fractional pts
Inter-Line: 28.00 fractional pts
Add in Above: When Not at Column Top
When you are finished, the tag should look like Figure 2-25:
To keep Head level 1 from becoming isolated at the bottom of
Desk File Edit Uiew Chapter Frane Paragraph Graphic Options
C:\IEMP\2PROPOS.CHP (2PR0P0S.STV)
Consulting Proposal to ABC Company!
Project Description!
XYZ Corporation proposes to advise:
ABC Company on all aspects of desktop
publishing systems, including needs
Analysis, product and market surveys,:
specifications and purchase, and system-
implementation! i
Ease of learning and use! :
Speed and throughput requirements! •
Phase Two! i
Market Research XYZ will analyze
commercially available products for:
suitability. Phase One will culminate in art
jn-depth report outlining alternatives and-
recommendations.! :
■D
m
2-36
Style
a column or page, use the Breaks option Keep With Next.
Keep With Next guarantees that a tag stays next to the para¬
graph that follows it.
H Select Breaks from the Paragraph menu. Choose Keep
With Next: Yes and click OK.
"Head level 1" BREAKS
Page Break:
□
Before After Before 8 After
| Before/Until Left| iBefore/Until Right
Column Break: [ Before | [ After j | Before 8 After
Line Break: [ No | | After | | Before 8 After
hext V Position:
Allow Within:
Keep With Next:
Beside Last Line of Prev. Para
Cancel
^ NOTE: Headlines, headings, and subheads should have Keep
With Next set to Yes to keep them from becoming isolated at
the bottom of a page or column.
The Head level 2 tag
Now tag each paragraph on page one that begins with the
word “Phase” as Head level 2. You may want to change to
Reduced View so that all four paragraphs are visible at once.
H Select the first paragraph “Phase One.” Then use Shift-
Click to select the paragraphs, “Phase Two,” “Phase Three,”
“Phase Four.” and “Phase Five” (Figure 2-26). Tag them as
Head level 2. (If you select the wrong paragraph, simply
click on it again to deselect it.)
Change Head level 2 tag
2-37
Figure 2-26.
^ NOTE: Because of the above spacing in the Head level 2 tag,
the phrase “Phase Five" will move to the next page as soon as
it is tagged.
Change Head level 2 tag
Now change the attributes of the Head level 2 tag.
H Font Face: Times
II Spacing Above: 14.00 fractional pts
Inter-Line: 14.00 fractional pts
Add in Above: When Not at Column Top
Like Head level 1, Head level 2 includes a Break: Keep With
Next to prevent it from becoming isolated at the bottom of a
page or column.
H Breaks Keep with Next: Yes
Check that the tag you just completed looks like Figure 2-27.
Select the Bullet tags
The next tag you encounter is the Bullet tag. You will make
the bullet size larger and you will reduce the Above and In
From Left Spacing.
2-38
Style
Edit View Chapter Frane Paragraph Graphic Options
iiillllliljiiiHiiBiH I C:\1EMP\2PROPOS.CHP (2PROPOS.STY) — j—M ♦
Add Hew Tag
Body Text
BodyCenter
Bullet
Chanje Bar
Heed level
Heed level 2
Peje BreaU
Title
Z..C&PTIOH
Z..FOOTER
ZJIEftOER
Z_LABEL FIG
R Pg 8 8802
computers snd desktop publishing:
software. This short-term goal must he subrj
stantially completed before the end ofj
3 i^ jABC's fiscal year six months from now^
Ihe long-range objective is to integrate alt
of ABC's publications into a company-;
wide system with common procedures,
databases and shared output devices.I
Statement of Work!
XYZ proposes to accomplish and com-j
jrlete this project in five phases, asi
described in more detailrf
iPhaseOnelf
Evaluate Needs. XYZ will gain an irrj
I Honth VniMifloitcc r,l A TV”. COmiUllfliaXa:
pEhase Three!
; Installation Once ABC makes it pur
ichasedeci$ion,XYZ will oversee install*
jion, setup and conversion. This will in-i
icludeintegration of hardware, software and;
peripherals,plusthe initial setup. Setup will:
include the creation of electronic formats,
style sheets and document templates fori
peuse by ABC personnelII
Thase Tourlf
: Data Conversion Once the system isj
installed, XYZ will supervise the conver¬
sion of current databases and publications!
lo an electronic form. This will include the
juse of optical character recognition when-j
jever possible to minimize the time and cost;
jef data entry. Where it is not possible td
imli ca lhi re»H evistine i nf<um a Ii<n .., Xy7?
Figure 2-27.
H Select the following five bullet paragraphs using the Shift-
Click method and tag them as Bullet.
“Word processing and editorial requirements”
“Graphic requirements”
“Laser printer requirements”
“Ease of learning and use”
“Speed and throughput requirements”
** TIP: /Is long as you keep the Shift key depressed, you can
scroll up and down the page to select multiple paragraphs.
Select the first bullet at the bottom of the first column, hold
down the Shift key, then scroll to the top of the second column
and select the rest of the bullets.
Change the Bullet tag
With the paragraphs still highlighted, you can change the
attributes.
11 Spacing Above: 00.00 fractional pts
Below: 00.00 fractional pts
Inter-Line: 14.00 fractional pts
Add in Above: When Not at Column Top
In From Left: 01,00 picas & points
Increase the Bullet size
2-39
*+NOTE: If you tend to confuse Spacing/In From Left with Align¬
ment/Indent, remember this rule of thumb: Alignment/Indent
affects only the first few lines of a paragraph. Spacing/In From
Left affects every line.
^ Breaks Keep With Next: No
Setting the Keep With Next option to No allows Ventura to
split a list of bullets across a column or a page. Otherwise, if
the list is too long, Ventura pushes all the bullets to the next
column or page, leaving a big, empty gap in the document.
Increase the Bullet size
To change the size of the bullet itself, use the Special Effects
dialog box in the Paragraph menu.
^ Select Special Effects from the Paragraph menu. Choose
Set Font Properties.
"Bullet" SPECIAL EFFECTS
Special EfFect: | Hone | | Big First Char 1
“ maos*
0
Space For Big First: j Horttai | I Custom j 000 line
sho«BuiietAs-. pnnnnnrnrnrnr°~i
□ El □ c Hallow Bo7| | Filled BoiT] | Other (
Bullet Char: 195) (ASCII)
Indent AFter Bullet: 01,60 picas & paints
ran [ Cancel |
The Set Font Properties dialog box looks familiar, doesn’t it?
It’s the same Font dialog box you’ve seen before. You simply
got here a new way. The changes you make in this dialog box
will affect only the bullet, not the rest of the paragraph.
H Enter Size: 014.0 points. Then click OK to return to the
Special Effects dialog box. Click OK again to complete the
effect and return to the document.
2-40
Style
Change the Footer tag
Footers are among the special tags that Ventura creates on its
own called “generated” tags. These tags are given names that
begin with the letter Z (for instance, ZJHEADER for the
header, Z_FOOTER for the footer, and so on) to distinguish
them from others in the Assignment List. As with all tags, you
can change the attributes of a generated tag simply by work¬
ing through the options in the Paragraph menu. Let’s change
the font of the Z_FOOTER tag so it matches the rest of the
proposal.
*+NOTE: If you do not see any generated tags in the Assignment
List, check to make sure that Generated Tags: Shown is
selected in the Set Preferences dialog box in the Options
menu.
11 Select the footer on page two.
il Font Face: Times
Style: N-Italic
Size: 010.0 points
When you are finished, the footer should look like Figure
2 - 28 :
Edit View Chapter frane Paragraph Graphic Options
iiiiliiliiiiii l c:\temp\2propds.chp (2propos.stv) ♦
j • XYZ proposes to accomplish and com-;
.aj’jilete this project in five phases, asi
' described in more detail! '■
jBnseOnef
• Evaluate Needs, XYZ will sain an in-j
jiepth knowledge of ABC’s computerisa-;
iion needs through on-site and telephone;
interviews. W ewill consider such areas as:lf;
| ‘Word processing and editorial re
; guirementsfl
i....t...Q!>RW«r?gurietnents|.
ABC Fropostb
' Jrivase'ioiri. .' ■
i Data Conversion. Once the system is!
installed, XYZ will supervise the convert
sion of current databases and publications;
jo an electronic form. This will include the;
rise of optical character recognition wheni
'ever possible tominiraiie the time and cost
iof data entry. Where it is not possible toe
•optically read existing information, XYZ?
jwill supervise data entry personnel whs
will rekey the data into the computers. XY2
Will design and implement custom key-!
♦ K
Figure 2-28.
Finish tagging the document
2-41
Finish tagging the document
After you change the footer, finish tagging the remaining
paragraphs in the document.
H Press the End key to go to the last page of the document.
H Tag the paragraph “Project Costs” as Head level 1.
Pictures
Now that you’ve completed the text and style sections of this
project, let’s continue with pictures.
To add a picture to a document, you load a picture file and
place it in a frame. You can make a frame any size or shape to
fit with the page design and the artwork.
In Chapter One, you added a frame to hold a picture. How¬
ever, frames can also contain text. One common example is a
spreadsheet file. Instead of retyping a worksheet from
scratch, you can load it into Ventura and place it in a frame.
Once you have it in the frame, you can format it into a table.
In this section, you will learn how to place and format a simple
spreadsheet file.
For this project, you will place and format the TABLE.TXT file
from the Power disk, which has already been prepared for you.
If you don’t have the Power disk, you can type in the file from
Appendix A.
Add the frame
Before you place a text file, you must add a frame to contain it.
*+NOTE: Placing text files in frames allows you to place several
different text files on the same page.
To make frame placement easier, make sure Column and Line
Snap are turned on (Options menu). If they are on, the Op¬
tions menu will read “Turn Column Snap Off’ and “Turn Line
Snap Off.” These snap-to functions ensure that frames align
with the margins and the inter-line spacing of Body Text.
2-42
Pictures
^ Switch to Reduced View (press Ctrl-R). Then make sure you
reset the zero point to the upper left comer of the Page
(click once on the 0,0 square).
M Enable Frame mode.
^ Select Add New Frame from the Side-Bar.
M Starting at position 29 picas on the vertical ruler, place the
upper left comer of the frame next to the left margin. Then
hold down the mouse cursor until it turns into a pointing
hand.
II While holding down the mouse button, drag the lower right
corner of the frame downwards and to the right. When the
bottom of the frame aligns with the right margin of the
page and reaches about 50 picas on the vertical ruler,
release the mouse button (Figure 2-29). Don’t worry about
exact placement yet.
Resize the frame
Now that you put the frame in the approximate position, you
can fine-tune its placement. The Sizing & Scaling dialog box
allows you to precisely control the placement and size of
frames. The dialog box uses the terms “Upper Left X” and
“Upper Left Y.” Upper Left X shows the horizontal distance
from the edge of the page to the upper left corner of the frame.
Resize the frame
2-43
Upper Left Y shows the vertical distance from the edge of the
page to the upper left comer of the frame (Figure 2-30).
Figure 2-30. Upper Left X is the horizontal distance from the edge of
the page to the upper left corner of the frame. Upper Left Y is the vertical
distance.
Select Sizing & Scaling from the Frame menu. Make sure
the unit measurements are set to picas & points. Make the
Upper Left X: 07,06 picas & points (if this is not the current
value, press Esc to clear the line and type in 07,06 picas &
points). Make the Upper Left Y: 29,00 picas & points. Make
the frame width 36,00 picas & points and the frame height
21,00 picas & points.
2-44
Pictures
Place the spreadsheet file
After you position and size the frame, place the sample
spreadsheet file.
II Switch to Normal View (press Ctrl-N).
H With the frame still highlighted, select the text file name
TABLE.TXT and place it in the frame (Figure 2-31).
Desk file Edit Uiew Chapter Frane Paragraph Graphic Options
C:\TEMP\2PR0P0S.CHP (2PR0PCS.STV) l lBlIil l
|-Mu¬
table, ixt
R Pg B 8983
i* ^JAinJAKY«IEBRUARY^MAKCHII
Hi»se0e*5000. 00*2750,00* 1225,001!
HiaseTw cr»2500.00* 1175 00*695. OOK
Btas?Tte<>*1600.00«1600.00<00*
Phase F our*1500.00*1500.00*3750. OOlf
Bias?Five*2SOO, 00*2500,00*2500.0011
IOTALSCt310000*69525,00*69370,00q
Figure 2-31.
Add margins to the frame
To center the spreadsheet text within the frame, add margins
to the frame. These margins will affect only the selected
frame. They will not affect the Underlying Page beneath the
frame.
*+NOTE: Frames that you place on top of the Page can have
their own margins and columns , independent of the Page.
II Margins Top: 02,00 picas & points
& Columns Bottom: 02,00 picas & points
Left: 02,00 picas & points
Right: 02,00 picas & points
Place a box around the frame
2-45
Place a box around the frame
Next visually separate the frame from the above text by
making a ruling box around the frame.
H Select Ruling Box Around from the Frame menu.
H Choose Width: Frame. Make sure the unit measurements
are set to fractional pts. Give Rule 1 a height of 00.50
fractional pts. Click OK.
RULING BOX GROUND
m
Width:
Frane
Color:
Black
Pattern:
Solid
Dashes:
Off
Space Above Rule 1:
00.001
Height of Rule 1:
00.50
Space Belou Rule 1:
00.00
Height of Rule 2:
00.00
Space Belou Rule 2:
00.00
Height of Rule 3:
00.00
J 36.00
Custort Indent: 00.00 F* ij - I
Custon Width: 00.09 .."'" i
Dash Width: 00.00
Dash Spacing: 00.00 Fractional pts
Space Belou Rule 3:
Overall Height:
00.00
00.50
DB
| Cancel 1
When you are satisfied with the appearance of the frame, you
can continue to format the table.
Format the table
There are several ways to format tabular material, but the
easiest and simplest way is to use horizontal tabs.
TIP: Use horizontal tabs for tables that do not exceed one line
per entry, and vertical tabs (explained in Chapter Eight), for
more tables with multiple lines. If you require very complex
table formats, we recommend using the Table Editing feature
in the Professional Extension (explained in Chapter Ten).
Ventura allows up to sixteen tab positions per paragraph,
with left, right, decimal, or center alignment. The sample
table uses both right-aligned and decimal tabs. To format the
2-46
Pictures
table properly you need to create two new tags — one for the
table heading and one for the table listings.
Format the table heading
First you must add a new tag for the table heading and modify
its Font, Alignment, and Spacing.
ii Enable Paragraph mode and select the paragraph
"JANUARY, FEBRUARY, MARCH.”
^ Select Add New Tag from the Side-Bar. Move to the Tag
Name to Add line and type: TblHead
ADD NEW TAG [7]
Tag Name to Add: TblHead]_
Tag Name to Copy From: Body Text_
Cancel
Face: Helvetica
Style: Bold
Size: 010.0 points
Horz. Alignment: Left
In/Outdent Width: 00,00 picas & points
*+NOTE: We changed the alignment of the tag to Left because
tabs will not display when text is justified.
Set the first tab stop
Now you will place tab settings at 15,03, 23,03 and 29,03 picas
& points from the left margin of the frame. One at a time, you
II Font
Alignment
Set the second tab stop
2-47
will choose the number of the tab, select the tab alignment,
and enter the tab location.
*+NOTE: Tab locations are measured from the left margin. Be¬
cause the left margin of the frame is 02,00 picas in from the
frame edge, Ventura begins measuring each tab location
02,00 picas in from the edge.
H Select Tab Settings from the Paragraph menu.
Tab number 1 is already selected for you.
il Set the unit measurement to read picas & points.
II Choose Tab Type: Right, Tab Shown As: Open Space. Move
to the Tab Location line, press Esc, and type: 15,03
Do not choose OK yet, since you still have more tabs to set.
"TblHeacT TAB SETTINGS
0
Tab Number:
♦
1
♦
Tab Type:
Tab Shoun As:
Tab Location:
Right
Open Space
15,B3| picas R points
Leader Char:
Spaces
032 (ASCII)
Leader Spacing:
Auto-Leader:
0
Off
| OK | | Cancel
Set the second tab stop
^ Choose Tab Number: 2 by clicking once on the right arrow
next to the Tab Number line. Choose Tab Type: Right, Tab
Shown As: Open Space. Move to the Tab Location line,
press Esc, and type: 23,03
2-48
Pictures
"TblHead" TAB SETTINGS [7]
Tab Number:
1*1 2 | + |
Tab Type:
Right
Tab Shown As:
Open Space
Tab Location:
23,03| picas & points
Leader Char:
Spaces 032 (ASCII)
Leader Spacing:
0
Auto-Leader:
Off
| OK | | Cancel
Set the third tab stop
i§ Click again on the right arrow again to choose Tab Number:
3. Then choose Tab Type: Right, Tab Shown As: Open
Space. Move to the Tab Location line, press Esc, and type:
29,03
u TblHead” TAB SETTINGS [7|
Tab Number:
1*1 3 |+|
Tab Type:
Right
Tab Shown As:
Open Space
Tab Location:
29,03| picas & points
Leader Char:
Spaces 032 (ASCII)
Leader Spacing:
0
Auto-Leader:
Off
I OK | | Cancel
Click OK to close the Tab Settings dialog box.
Format the listings
2-49
Format the listings
If tab settings seem confusing at first, don’t worry. The more
tables you format, the easier tabs will become. You’ll get more
practice with tabs right away by formatting the table listings.
^ Select the paragraph “Phase One ...” and tag it as TblHead.
M Select Add New Tag from the Side-Bar. At the Tag Name to
Add line type: TblList then click OK.
ADD NEW TAG [?]
Tag Mane to Add: TblListj_
Tag Nane to Copy Fron: TblHead_
■nil Cancel
When creating a new tag, Ventura starts by copying the at¬
tributes of an old one. It makes sense, therefore, to copy from
the tag that is most similar to the new effect you want. In this
case, TblHead is nearest to the final format.
** TIP: When adding a new tag, always copy from the tag that is
nearest in appearance and format.
Since you copied from TblHead, the listing tag should be
pretty close to the correct style. To finish the tag, change the
font style to Normal and change the Above Spacing.
H Font Style: Normal
II Spacing Above: 14.00 fractional pts
Add in Above: Always
2-50
Pictures
Set the tab stops
Since the font, alignment, and spacing are already correct,
you need only modify the tab settings to get the new TblList
tag to look the way you want. When you choose tab settings
this time, use decimal tabs to line up the numbers with the
decimal character in each column of the table.
H Tab Settings Tab Number: 1
Tab Type: Decimal
Tab Shown As: Open Space
Tab Location: 14,00 picas & points
Tab Number: 2
Tab Type: Decimal
Tab Shown As: Open Space
Tab Location: 22,00 picas & points
Tab Number: 3
Tab Type: Decimal
Tab Shown As: Open Space
Tab Location: 28,00 picas & points
Check the appearance of your tag with Figure 2-32.
Desk File Edit View Chapter Frane Paragraph Graphic Options
iiliEllllllIlllilillli C:\TEMP\2PRQP0S.CHP (2PR0P0S.STV) IllliilBElil
Text
BedyCenter
Bullet
Chanje tor
Heed level
Heed level Z
Pejc Breok
TblHeod
TblList
Title
Z.CaPTICH
Z_FO0TtA
R Pg It 9883 1 4,
♦ JANUARY*
Phase One* 5000.03*
BaseTwo+2500,00+1175,00*635,001!
rhascThrep*1600.00»1600.00+0. OH j
Jhas*Joui+1500,00*1500,00*3750,0011
PhassPive-+2500.00*2500.00*2500.0QS
IOIAlS6l310a 00+53525,00+S3370i00O
FEBRUARY. MARCH!
2750.00* 1225.001
E
Figure 2-32.
NOTE: If your table doesn’t match our illustration, check the
tab locations for the TbIHead and TblList tags.
Apply TblList to the other paragraphs
2-51
Apply TblList to the other paragraphs
Now that you’ve completed the attribute and tab settings for
the new tag, apply it to the remaining paragraphs in the table.
Remember, you can select multiple paragraphs using the
Shift-Click method.
H Select the five paragraphs shown in Figure 2-33 and tag
them as TblList.
4
Title A
Z_Cftl>TION
Z^FOOTER
""
MULTIPLE
R
Pg tt 0003
5
Figure 2-33.
Add a caption
To put the final touch on the spreadsheet, attach a caption and
label to the frame.
H Enable Frame mode and select the frame that contains the
spreadsheet.
I! Select Anchors & Captions from the Frame menu.
H Choose Caption: Below and OK.
2-52
Pictures
A blank caption frame appears below the existing frame.
Enlarge the caption frame
§1 Click in the caption frame so the sizing buttons appear.
11 Place the cursor on any handle at the bottom of the frame.
Press and hold down the mouse cursor until the pointing
hand appears. Drag the frame downwards about 3 lines
and release the cursor. You should see an end of file marker
(□) in the middle of the frame. If the marker is not visible,
stretch the caption frame downwards a few more lines.
The caption frame should look like Figure 2-34:
Desk File Edit View Chapter Frane Paragraph Graphic Options _
i i|||j|j|li!lililll||i^\TE>ff^PDs:wl2PR^si^liliiiillilllliiililg|| ♦
Add the caption text
2-53
Add the caption text
m Enable Text mode. Place the cursor in front of the end of file
marker in the caption frame. Type: Project Costs for
Desktop Publishing Implementation
Format the caption text
You’ve just created your first caption. Now you can change its
format just as you would change any other tag. Notice that the
caption paragraph is another one of Ventura’s generated tags,
as signaled by a name beginning with Z_ — in this case,
Z_Caption.
^ Enable Paragraph mode. Select the caption paragraph
“Project Costs for Desktop Publishing Implementation.”
^ Font Style: Bold
Size: 012.0 points
Alignment Horz. Alignment: Center
Overall Width: Frame-Wide
In/Outdent Width: 00,00 picas & points
M Spacing Inter-Line: 14.00 fractional pts
Your caption should look like Figure 2-35:
Figure 2-35.
2-54
Chapter
*+NOTE: If the caption text disappears from view, do not be
concerned. Simply enable Frame mode, select the caption
frame, and stretch it downward until the text appears.
Chapter
Now that you’ve completed text, style, and picture, it’s time to
complete the chapter part of the proposal. But first take a
breather and save your work.
H Select Save from the File menu (or press Ctrl-S).
Print the current page
To evaluate the editorial and stylistic changes you’ve made on
screen, and to determine if you’ve achieved a more pleasing
page design, print out the proposal. This time we will show
you how to print the current page of a chapter.
II Select To Print from the File menu.
!i Choose Which Pages: Current and OK.
PRINT INFORMATION (POSTSCRIPT - Ultimate)
m
Which Pages:
Current
From Page:
00031
Through Page:
0003
Number of Copies:
01
Collated Copies:
OFF
Printing Order:
1st to Last
Paper Tray:
Default
Crop Marks:
Off
Spot Color Overlays:
Off
Multi - Ohp, Print Fiies;
Combined
Device Name:
POSTSCRIPT
Output To:
Filename
|Cancel|
Ventura prints out the current page.
To print out the entire report, press Ctrl-X to bring up the To
Print dialog box, choose Which Pages: All and click OK. Ctrl-X
is a keyboard shortcut that recalls the last dialog box.
Print the current page
2-55
In the first two chapters you have learned how to build a
report and a proposal using basic Ventura techniques. In the
next chapter, you will polish off the remaining fundamentals
while learning how to construct a new and important type of
document — the newsletter.
Tips and techniques
Text tips
□ Use a word processor to globally search and replace double
spaces before loading a text file into Ventura.
□ When you prepare text in your word processor for Ventura
follow these guidelines. Do not: center or justify text; indent
the first line of a paragraph; create temporary margins; put
more than one space after a period, colon, or question mark;
put more than one carriage return between paragraphs; or
put more than one tab stop between columns.
□ Use the @PARAFILTR = ON code to filter out extra carriage
returns in a text file. It must be inserted as the very first
item in the document and it must be typed accurately or
Ventura will ignore it.
□ If you want to load a single file into Ventura without it
automatically being placed on the Page, select Load
Text/Picture from the File menu while you are in Para¬
graph, Tfext, or Graphic mode.
□ Rename text, style sheet, and chapter files before you make
any changes to the document. Renaming files eliminates
the possibility of permanently changing the originals.
□ Use a word processor to make changes to large sections of
text. Use Ventura's text-editing tools to make small, last-
minute changes to text. You can cut, copy, or paste text or
change text attributes of selected words within a para¬
graph.
□ Use Text mode to change one or two words within a para¬
graph. Use a paragraph tag to change the attributes of an
entire paragraph.
□ Keyboard shortcuts can be used to speed up text editing in
2-56
Chapter
Ventura. Press Del to cut text, Shift-Del to copy text, and
Ins to paste text.
□ When you cut or copy text, it remains on the Clipboard
until something else is cut or copied. This feature allows
you to insert text from one chapter to another. Simply copy
or cut the text, close the current chapter, then open another
chapter. Press Ins to insert the text into the new chapter.
Style tips
□ To make column widths equal, enter the value of the first
column width, then the first gutter width, then choose
Make Equal Widths from the bottom of the Margins &
Columns dialog box. Use this order so that Ventura makes
the column widths equal.
□ Turning Column Balance on from the Sizing & Scaling
dialog box tells Ventura to fill all columns on the page
equally. Without Column Balance on, Ventura fills the first
column before starting the next.
□ Ventura measures the In/Outdent Width from the left mar¬
gin of the column.
□ When you create a new tag, always copy from the tag that
is nearest in appearance and format the new tag to the
effect you want.
□ To isolate text on a page, use a Page Break tag instead of a
string of carriage returns. If you change a tag or add extra
text, the carriage returns will “float” to the next page and
push everything in the document out of place.
□ You can use the Shift-Click method to tag multiple para¬
graphs.
□ Headlines, headings, and subheads should include a
Breaks: Keep With Next: Yes to keep them from becoming
isolated at the bottom of a page or a column.
□ Headers, footers, and captions are tags that are automat¬
ically generated by Ventura. Like all tags their attributes
can be changed by working through the paragraph menu
options. Generated tags have names that begin with a Z to
distinguish them from other tags in the Assignment List.
Print the current page
2-57
Picture tips
□ The Sizing & Scaling dialog box allows you to precisely
control the position and size of a frame.
□ Use horizontal tabs to format a table that does not exceed
one line per entry. Use side-by-side paragraphs (see Chap¬
ter Eight) to format more complex tables.
□ The tab location is always measured from the left margin.
□ Turn off all tabs you do not use in a tag definition. Unused
tab settings just take up extra memory.
□ The caption labels you type directly into the Anchors &
Captions dialog box can only be edited through that dialog
box. For longer captions, type text directly into the caption
frame.
Chapter Three
Skills Checklist
Theory
□ Frames versus the underlying page
□ Newsletter-style layout
Text
□ Typing text inside a frame
□ Creating a text file inside Ventura
□ Faster tagging with function keys in
Text mode
Style
□ Double-sided page format
□ Vertical rules
□ Renaming and removing tags
□ Flow to create leader dots
□ More effects with ruling lines
Pictures
□ Sizing and scaling an image
□ Creating caption labels
Chapter
□ Manually inserting a page
□ Creating a publication
□ Backing up multiple chapters with
Multi-Chapter
□ Printing selected pages
□ Switching printers properly
Chapter Three
A Two-Column Newsletter
N ow that you’ve gained some momentum with Ventura, are
you ready to step up the pace? In Chapter Three, you will
create a newsletter, a document with different design require¬
ments than business reports and proposals. This project will
introduce you to some of Ventura’s most powerful features.
The checklist on the left lists some of the techniques you will
learn.
Theory
By the time you’ve finished with Chapter Three, you’ll have
been exposed to all of Ventura’s fundamental skills. You’ll be
equipped with the basic tools to construct virtually any type of
document. You are not ready to graduate, however, until you
understand the difference between frames and the Underly¬
ing Page, and how to use this difference to build newsletter-
style layouts.
Understanding frames
Ventura uses frames to contain text and pictures. You can
draw frames anywhere on the page.
To work on a frame — to change its size or to place something
inside — you must first select it. To select a frame, enable
Frame mode, then click once anywhere inside the frame
boundary. Black sizing buttons appear around the edges (Fig¬
ure 3-1).
You can use these sizing buttons to change the size of the
frame. Place the cursor on top of a button and press the mouse
button until the pointing finger appears (Figure 3-2). Now
Theory
Figure 3-1. The black sizing buttons show which frame you
selected.
drag the mouse — that is, move the mouse while holding the
button down. When the frame is the proper size, release the
button.
Figure 3-2. A pointing hand appears when you resize a
frame.
You can also move frames with ease. Place the mouse cursor
anywhere inside the frame. Press and hold the button until
the four-way arrow appears (Figure 3-3). Then drag the frame
to the new location (move the mouse while holding the button
down).
Understanding frames
3 - 3
Figure 3-3. A four-way arrow appears when you move a
frame
You can copy a frame onto the frame clipboard (also called
temporary memory) and then paste as many copies as you
want onto the Page. Initially, the copy is invisible because it
appears on top of the original. When you move the copy away,
you will see the original underneath. You can also overlap
frames (Figure 3-4).
Figure 3-4. You can overlap multiple frames on the Page.
All frames have a boundary. That boundary can be invisible.
Or, if you prefer, you can put a ruling line above, below or
around the frame. The thickness of the ruling line is up to you.
a - 4
Theory
As you can see in the Figure 3-5, the boundary acts as a
container. You can place text or pictures inside.
Figure 3-5. A frame acts as a container to hold text or pic¬
tures.
Suppose, that you pour a long file into a small frame. Ventura
fits as much of the text as it can, then waits. You can draw
additional frames to contain the rest of the text file. You can
link these frames so the text file chains from one to the next.
Frames can have margins and columns inside their boun¬
daries. For instance, you might place a margin inside a frame
to keep a picture from butting up against the edge (Figure
3-6). Or, you might create two columns within a single frame.
Frames can have
their own margins
Frames can have
their own columns
Figure 3-6.
Understanding frames
3 - 5
If you place a frame on top of the Page, the margins and
columns of the frame will override the margins and columns of
the Page. For instance, in Figure 3-7, a three-column frame
has been placed on top of a two-column Page.
Desk File Edit Vie* Chapter Frane Paragraph Graphic Options
Figure 3-7. Frames can have different columns and mar¬
gins from the Underlying Page.
You can also create a caption for any frame. This caption is a
separate, smaller frame attached to the original. If you move
the original frame, the caption moves with it. The text of the
caption is contained within the caption frame (Figure 3-8).
Caption frame
Desk File Edit Uiew Chapter Frane Paragraph Graphic Options
Figure 3-8. A caption frame is a separate frame attached to the
original.
3 - 6
Theory
Understanding the Page
When you first learn Ventura, it is easy to become confused by
Ventura’s Page (referred to as the Underlying Page). Think of
the Page as a large frame. Its boundaries equal the edges of
the page (for instance, 8.5x11 in. for standard letter-size
paper). Even though you can’t see the boundaries, they are
there, just as for smaller frames. In most respects, the Page
acts like any other frame. For instance, you can change its size
with the Sizing & Scaling dialog box. And you can give it
margins and columns just like a frame (Figure 3-9).
Figure 3-9A. The Underlying Page at normal size
Figure 3-9B. The Underlying Page can be reduced in size.
Frames versus Pages
3 - 7
*+NOTE: You cannot change the size of the Underlying Page
interactively with the sizing buttons. You must change its size
through the Sizing & Scaling dialog box.
But the Page differs in one key aspect. When you place a text
file into a frame, Ventura fits as much as possible, then waits
for you to tell it where to put the rest. When you put text onto
the Page, on the other hand, Ventura fits as much as possible
onto the first page, then automatically creates as many pages
as necessary to accommodate the rest of the file.
Frames versus Pages
You have placed text on the Page in the previous two chapters.
Placing text on the Page is the method of choice when most of
the chapter is made up of a single text file. But some docu¬
ments contain many different text files. Newsletters are a
prime example. Theoretically, you could combine all the copy
for a newsletter into one large file, and then format that file on
the Page. In practice, however, it is much easier to keep each
article as a separate text file.
But how do you keep the articles separate when you bring
them into Ventura? Simple: you draw frames on top of the
Page. Then you place the articles into those frames.
By the way, you can combine both frames and pages in the
same document, as we did in Chapter Two. The bulk of the
proposal was in a single text file on the Page. The worksheet,
however, was a separate file that resided inside a frame. That
frame had been drawn on top of the Page.
Newsletter-style layout
Let’s summarize what we’ve learned. Frames create boun¬
daries that separate files. You can use frames to place one text
file into the left column and a second file into the right column
(Figure 3-10). When you put text into a frame, it flows to the
end of that frame. Even if there is text left over, Ventura does
not create additional frames. Instead, it remembers where it
left off, and waits for you to place the remainder. You can put
part of a file into column one on the page one, and continue the
rest of it onto page two (Figure 3-11).
Figure 3-10. Frames allow you to place different files on
the same page.
Newsletter-style layout
3 - 9
Ventura remembers this path. As you make editing changes,
the text automatically flows back and forth between page one
and page two. In addition, articles can “leap-frog'’ one another.
This automatic link between frames on different pages is
sometimes called “chaining.”
TIP: When building newsletter-style documents composed of
several different text files , put the text into frames , not onto the
Page.
How do you know where to position the frames? Simple: for¬
mat the Page with the correct margins and columns. Then use
the Page as a guideline. Thanks to Ventura’s snap-to features,
your frames will automatically align with the columns on the
Page.
TIP: Use the Page to create a snap-to grid for positioning
frames in a newsletter-style layout (Figure 3-12).
Figure 3-12. To create a newsletter-styie layout,
first create a snap-to grid by formatting the
Underlying Page (A). Then stretch frames over
the Page (B,C,D). You will place your text and
pictures inside the frame.
3 -10
Theory
There is one more crucial principle you need to know before
you are ready to start building a newsletter: Ventura can only
flow text in a “forward” direction.
We put quotes around the word forward, because it means
different things to Ventura than it does ordinarily. On a page-
by-page basis, the meaning is straightforward. Ventura can¬
not flow text backwards to a previous page.
The “forward-only” restriction also applies on a single page
with several frames. On a single page, however, the flowing
order depends on which frame was drawn first. Ventura can
flow text from the first frame to the second frame, but it
cannot flow “backward” from the second frame to the first.
The position on the page makes no difference. Ventura deter¬
mines text flow strictly on the basis of the order the frames
were placed on the page. For instance, in Figure 3-13, Ven¬
tura can flow text from frame #1 to frame #2 — not the reverse
(Figure 3-13).
Desk File Edit Vim Chapter Frane Paragraph Graphic Options
g ._..:... iek
Figure 3-13. Since frame #1 was drawn first, text can flow from frame
#1 to frame #2. Text cannot flow in the reverse direction.
WARNING: The sample project in this chapter uses numbered frames. Draw these
frames in the order shown. If you draw them in a different sequence you may be
unable to flow the text properly.
Fortunately, Ventura provides a simple method for changing
the order of frames. To make a frame the “last” one, simply
Newsletter-style layout
3 -11
select the frame, delete it, and reinsert it again. In Ventura’s
eyes, it is now the last frame on the page. If you accidentally
draw frames out of order, use this method to correct the
problem.
You will use the principles explained above to construct the
newsletter in this chapter. First you will format the Page.
Then you will draw frames on top, using the margins and
columns of the Page as your guide. Finally, you will put text
into the frames.
3 -12
Theory
Newsletter-style layout
3 -13
Planning the newsletter
The goal of a newsletter is to provide timely information to a
specialized audience. This chapter’s example is a corporate
newsletter, an in-house organ for the fictitious XYZ Corpora¬
tion.
Most newsletters are 8.5x11 in. The simplest design consists
of two pages stapled together or printed on both sides. Even
the most complex newsletters rarely exceed 24 pages or so.
Overall design should be informal and relaxed to help convey
a sense of timeliness. The best design is simple, open and
uncluttered.
Look at the “before” picture of the newsletter. Below is a list of
the methods you will use to enhance its appearance and effec¬
tiveness.
• Large type for a logo
• Rules to separate and define different sections
• A kicker and a banner headline
• A table of contents
• Two-column format
• Uniform spacing to align text across columns
Ventura prep
As you did in the previous two chapters, you will start the
project by loading and renaming the text, style, picture and
chapter files.
® If you have the Power disk
For this project you will load four files at once. Later in the
chapter, you will place them into frames — one for the logo,
one for the headline, and two for articles. The text files are
provided on the Power disk and should have previously been
copied to the C:\POWER subdirectory according to the direc¬
tions with the disk. These files have been preformatted with
3 - 14
Ventura prep
tag names and non-keyboard character codes. (Refer to Chap¬
ters Two and Seven for more on preformatting.)
*+NOTE: If you did not purchase the Power disk, skip to the
section below entitled “If you do not have the Power disk. ”
H If you are continuing from the previous chapter, select New
to clear the last project from the screen. Ventura removes
the text files and frames but keeps the style sheet.
^ Select Load Text/Picture from the File menu.
^ Choose Type of File: Text, Text Format: ASCII, # of Files:
Several, Destination: List of Files, and OK.
LOAD TEXT/PICTURE
Type of File:
Text Fornat:
tt of Files:
Destination:
□
Line-Art | | Inage
Generated
WordStar 3 [ I WS 4.6/5.0
MS-Word | WordPerfect | XyWrite | | 8-Bit ASCII
DCA MultiMate Pfffl-to-Table WordPerfect 5
Writer
List of Files
Text Clipboard | j Text Cursor
M
Cancel
II Find the C:\POWER subdirectory and scroll through the
list until you find the file 3NEWSHED.TXT. Select the file.
After you select the first file, Ventura loads it, then redisplays
the Item Selector so you can load more files.
M Load the files 3NEWSLGO.TXT, 3NEWSONE.TXT, and
3NEWSTWO.TXT. When you are finished, choose Cancel or
OK to close the dialog box.
Rename the text files
3 - 15
Rename the text files
In Frame mode, you will place each of the text files on the
Page in turn.
H Using File Type/Rename from the Edit menu, rename the
files as shown below:
Load from C:\POWER Save to C:\TEMP
C:\POWER\3NEWSHED.TXT
C:\POWER\3NEWSLGO.TXT
C:\POWER\3NEWSONE.TXT
C:\POWER\3NEWSTWO.TXT
C:\TEMP\3HEAD.TXT
C:\TEMP\3LOGO.TXT
C:\TEMP\3NEWS-1.TXT
C:\TEMP\3NEWS-2.TXT
Use Remove Text/File from the Edit menu to remove the
last text file from the frame. Remember to remove them
from the frame but not from the list of files.
Load and rename a style sheet
As before, you will be modifying one of the style sheets
provided with the Ventura program disks.
^ Select Load Diff. Style from the File menu.
II Use the Backup button if necessary to go to the
C:\TYPESET subdirectory. Load the style sheet named
&NEWS-P2.STY.
H Select Save as New Style from the File menu.
^ Go to the C:\TEMP subdirectory and save the new file as
3NEWS.STY. Then click OK.
Load a picture
H Select Load Text/Picture from the File menu. Choose Type
of File: Image, Image Format: GEM/HALO DPE, # of Files:
One, and OK.
H Move to the C:\TYPESET subdirectory and load
CHANEL.IMG.
3 - 16
Text
If the picture is placed on the Page, use Remove Text/File to
remove it from the frame (not from the list of files).
*+NOTE: CHANEUMG was copied to the \TYPESET subdirec¬
tory during Ventura installation. If you have deleted or moved
this file, use DOS to copy it back from the original Ventura
examples disk.
Rename the chapter
When you have finished loading and renaming the text and
style sheet files, save the chapter with a new name.
H Select Save As from the File menu. Go to the C:\TEMP
subdirectory and type in the new chapter name, 3NEWS,
and click OK.
If you do not have the Power disk
^ Exit from Ventura.
li Use your word processor to type in the text files
3HEAD.TXT, 3NEWS-1.TXT, 3NEWS-2.TXT and
3LOGO.TXT from Appendix A. Copy them to the C:\TEMP
subdirectory.
II Then load Ventura and proceed through the Ventura prep
section starting at “Load and rename a style sheet.”
Text
Normally you would place the text files at this point. However,
since you will be putting those files into frames, and not onto
the Page, you must deviate slightly from the Ventura For¬
mula. The only change is to delay placing the text files until
you build frames to contain them. To build these frames,
proceed to the Style section.
Change to double sides
3 - 17
Style
Your goal is to create frames of the right size and position to
hold the text files. To make this job easier, first construct the
Underlying Page. Then you can use the Page as a guide for
placing frames.
*+NOTE: Remember our rule of thumb: complete the chapter
formatting before the individual text paragraphs. This rule is
even more important when using newsletter-style layout.
Change to double sides
The in-house newsletter will be printed on both sides of the
paper, so you must switch to double-sided page layout. Ven¬
tura then makes a mirror image of headers, margins, etc.,
from the right to the left page. For instance, the page number
format on the right side of a right-page header will be copied
to the left side of the left-page header.
§i Select Page Size & Layout from the Chapter menu. Choose
Sides: Double, and Start On: Right Side.
Change the margins
Now increase the size of the page margins and the gutter
margin. You are altering the original style sheet to make the
columns shorter and to add more white space around the
edges of the page.
P Enable Frame mode.
H Select Margins & Columns from the Frame menu. Make
the top and bottom margins 04,06 picas & points, the left
and right margins 06,00 picas & points. Make the Column
1 width 18,06 picas & points and the first gutter 02,00 picas
& points. Make the Column 2 width 18,06 picas & points.
Choose Copy to Facing Page and click OK. (The Copy to
Facing Page button does not stay highlighted after you
choose it.)
Create a vertical rule
Vertical Rules creates a ruling line between columns. The rule
is always the same height as the columns.
II Select Vertical Rules from the Frame menu.
II Place the cursor on the Rule 1 Width line and change the
unit measurement to fractional pts.
H Select Settings For: Right Page, Inter-Col. Rules: On,
Width: 00.25 fractional pts. Choose Copy to Facing Page to
mirror these settings to the opposite page. Click OK to close
the dialog box.
VERTICAL RULES
0
Settings For:
Inter-Col. Rules:
On
Width: 00.25|
Rule 1 Position:
Rule 1 Width:
0B,G0
00.00
picas 8 points
fractional pts
Rule 2 Position:
Rule 2 Width:
00,00
00.00
Inserts:
1 OK | | Cancel |
Add a header
3 -19
Add a header
To complete the chapter format, add a header that includes
the newsletter’s name, the page, and the month of the issue.
^ Select Headers & Footers from the Chapter menu.
H Choose Define: Right Page Header, Usage: On. Move to the
Left line and type: The Newsletter, move to the Center
line and type: Page [P#] , and move to the Right line and
type: Fall/Winter 1989
'NOTE: You can also use the Inserts: Page # button to insert
the [P#] code.
Choose Copy to Facing Pages to mirror the header settings
to the left page. Click OK to close the dialog box.
HERDERS 8 FOOTERS
Define
B
Right Page Header
Left Page Header
| Left Page Footer ] | Right Page Footer^
Osage: EH [og]
Left: The Newsletter_
Center: Page [P#]_
Right: Fall/Winter 19891
Inserts: | Chapter~5~1 | Page H | [ 1st Match*] | Last Hatch |
eshmb*
»
OK
Cancel
Now turn the header off for the first page only.
H Select Turn Header Off from the Chapter menu.
Fine-tune the chapter format
Now that you are warmed up, we’re going to pick up the pace
and show you how to use some special typographic techniques
to fine-tune the chapter format.
3 - 20
Style
H Select Chapter Typography from the Chapter menu.
There’s a lot to the Chapter Typography menu. We will ex¬
plain only those options you need for this project — so don’t
panic. The other options we will leave for later chapters.
Because Chapter Typography is complex, you may want to
read through this section more than once.
Let’s start with the option: Widows and Orphans.
A widow is a single line of text at the top of a frame or column.
An Orphan is a single line of text at the bottom of a page or
column. The Widows and Orphans option lets you control the
number of lines you will permit on a page.
Normally, the default setting for both widows and orphans is
2. However, for a newsletter-style document, we suggest that
you disable Widows and Orphans completely (by setting both
values to 1). With Widows and Orphans turned off, Ventura
can place a single line of text at the top or bottom of a frame.
This makes it easier for text files to reach the bottom of the
frame and reduces the change for a white-space gap at the
bottom.
II Move to the Widows (Min Lines at Top) line and choose 1.
Move to the Orphans (Min Lines at Bottom) line and once
again choose 1.
Next, verify that Column Balance is off. With Column Balance
on, Ventura fills all the columns on the Underlying Page
equally with text. In a newsletter-style document, however,
you achieve balanced columns by placing text files in in¬
dividual frames on the Page.
^ Choose Column Balance: Off. Do not close the dialog box
yet.
The next option, Move Down to 1st Baseline By, lets you
control the position of text at the top of a column or page. You
can choose either Move Down to 1st Baseline: By Cap Height
or Move Down to 1st Baseline: By Inter-Line.
Fine-tune the chapter format
3-21
Move Down to 1st Baseline by Cap Height places the baseline
of the first line of text so the tops of capital letters touch the
top of the column guide. On the other hand, Move Down to 1st
Baseline by: Inter-Line, positions the baseline a distance
equal to the tag's inter-line spacing. Both methods affect the
way that Ventura will flow the text on the page (See Figures
3-14 and 3-15).
library oi protessionai-quality style sheets. The st)
library will consist of over fifty different business
cal documents including reports and proposals, foi
house flyers, newsletters and manuals for XYZ’s
documentation. Using one of the pre-defined temp
XYZ employees can obtain the benefits of graphic
and typesetting. All they will need to do is select a
propriate style sheet and use it to process their doc
“The average consumer is becoming increasing
to high-quality graphic design,” said President Zyj
“They have come to expect it. In the future, comp;
Continued on page 2
Figure 3-14. Although the differences between By Cap Height and By
Inter-Line are not obvious at first glance...
library will consist of over fifty different business
cal documents including reports and proposals, foi
house flyers, newsletters and manuals for XYZ’s
documentation. Using one of the pre-defined temp
XYZ employees can obtain the benefits of graphic
and typesetting. All they will need to do is select a
propriate style sheet and use it to process their doc
“The average consumer is becoming increasing
to high-quality graphic design,” said President Zyj
“They have come to expect it. In the future, comp;
do not produce attractive documents will be at a d
vantage. We are determined that the documents w
Continued on page 2
Figure 3-15. ...they can add up in a multi-column document.The only
change between these two examples is that the top one is By Cap Height
and the bottom is by Inter-Line.
3 - 22
Style
The position of the text baseline affects the alignment of text
across columns. For best results in a newsletter, we suggest
that you 1) choose Move Down to 1st Baseline By: Inter-Line
and 2) make all vertical spacing an integer multiple of Body
Text. That way you get
• an integral number of Body Text lines per page
• a more uniform-looking page
• text that is aligned across multiple columns
Now go ahead and change the baseline position of the text.
H Choose Move Down To 1st Baseline By: Inter-Line. Then
click OK to close the dialog box.
CHAPTER (DEFAULT) TVPOGRAPHV SETTINGS
Widows (Min Lines at Top):
Orphans (Min Lines at Bottom):
Column Balance:
Move Down To 1st Baseline By:
Pair Kerning:
1
1
Off
Inter-Line
On
0
Cancel |
You made it. You got through the hardest part of the Chapter
Typography menu. Now catch your breath and take a moment
to save your work.
** TIP: Save every 15 minutes or less to reduce the risk of losing
work due to a computer glitch, software crash, or power out¬
age.
Add frames
3 - 23
From now on, we will not remind you to save. We will assume
that you are regularly pressing Ctrl-S as you progress through
the chapter.
Add frames
With the structure of the Underlying Page complete, you can
draw frames on the Page.
Before you start, go to the Options menu and confirm that
Line Snap and Column Snap are turned on (when Column
and Line Snap are on, the Options menu displays “Turn
Column Snap Off’ and “Turn Line Snap Off’) and that the
column guides are visible (the Options menu displays “Hide
Column Guides”).
These snap-to features help line up frames properly. Thanks
to Column Snap, frames automatically snap to the column
guides on the Page. Use the ruler to gauge the approximate
height.
^ TIP: Before you place any frames, check that the zero point is
reset to the upper left corner of the Page (click the 0,0 square
in the upper left corner). Otherwise, the ruler settings on your
screen will not match ours.
il Enable Frame mode. Select Add New Frame from the Side-
Bar. Place the frame cursor at the upper left corner of the
dotted column guides on the Page.
H Press and hold down the mouse button. Drag the lower
right comer of the frame downwards and to the right.
^ Release the button when the bottom of the frame reaches
the right margin and lines up with position 16,06 picas on
the vertical ruler (Figure 3-16).
Figure 3-16.
H Repeat the step above to place all the frames on the page.
Place the frames in the numeric order (1 through 6). Use
Figure 3-17 as a guide before you fine-tune the frame size
as explained in the next step.
Try to get the frame sizes approximately right, but don’t worry
about precise placement yet. Some users prefer to make the
initial placement in Reduced View, before switching back to
Normal View for fine-tuning.
^ NOTE: If you place a frame in the wrong position, delete it and
try again, or move it with the mouse cursor.
After drawing the frames, you can use the Sizing & Scaling
dialog box to make sure they match the values shown in
Figure 3-17.
§i Select each frame in turn.
H Select Sizing & Scaling from the Frame menu. If necessary,
change the frame height, width, or upper left X,Y position.
TIP: You can use Ctrl-X to bring up the Sizing & Scaling dialog
box again. Ctrl-X is the shortcut for “recall the last dialog box. ”
Add frames
3 - 25
Frame #1
Upper Left X: 06,00 picas
Upper Left Y: 04,06 picas
39,00x11,00 picas
Frame #2
Upper Left X: 06,00 picas
Upper Left Y: 15,06 picas
39,00x08,00 picas
Frame #3
Upper Left X: 06,00 picas
Upper Left Y: 23,06 picas
18,06x20,00 picas
Frame #4
Upper Left X: 26,06 picas
Upper Left Y: 23,06 picas
18,06x37,00 picas
Leave a one-pica space
between the frames
Frame #5
Upper Left X: 06,00 picas
Upper Left Y: 44,06 picas
18,06x 7,00 picas
Frame #6
Upper Left X: 26,06 picas
Upper Left Y: 60,06 picas
18,06x01,00 picas
02,00 picas
Figure 3-17
3 - 26
Style
For instance, Figure 3-18 shows the correct Sizing & Scaling
settings for frame #1.
SIZING 8 SCALING Q]
Flow Text Around: On
Upper Left X; 66,00 Q0 Upper Left V: 04,06 QQ
Frame Width: 39,00 Frane Height: 11,00j
Horiz, Padding: 00,00 Vert. Padding: 00,00 picas & points
Picture Scaling: j Fit in frase I I B y Sca le factors
Aspect Ratio:
i Maintained !
Distorted I
X Crop Offset: IX),GO Uj[-j V Crop Offset: 00,IX) {*]{«>
Scale Hidth: IX),00 Scale Height: 00,IX)
Cancel
Figure 3-18.
NOTE: Don't be concerned if the small “jump text frame ” at the
bottom of the page overlaps the frame above it. Later, when
you change the Body Text inter-line spacing, you will make the
frame line up with the bottom column guide.
Add a ruling box around the TOC
Before you place the text, add a Ruling Box Around the frame
reserved for the Table of Contents (frame #5). This box will
visually separate the TOC from the adjacent articles.
H Select frame #5.
1$ Ruling Box Width: Frame
Around Height of Rule 1: 00.25 fractional pts
Place the text tiles
With the frames in place and correctly sized, you are ready to
place the text files. Since the text files were pretagged, they
will be partially formatted as soon as they are placed. You will
do the rest of the formatting later.
H Select frame #1, then place the file 3LOGO.TXT by select¬
ing its name from the Assignment List (Figure 3-19).
Place the text files
3 - 27
Desk File Edit View Chapter Frane Paragraph Graphic Options
Figure 3-19.
M Select frame #2 and place 3HEAD.TXT inside of it (See
Figure 3-20).
Figure 3-20.
H Select frame #3 and place 3NEWS-1.TXT inside.
Ventura fits as much of 3NEWS-1.TXT into the frame as it can
and then stops. To continue placing the text file, select
another frame and click again on the file name in the Assign¬
ment List.
I Select frame #4 and select 3NEWS-1.TXT again from the
Assignment List.
3 - 28
Style
Ventura picks up where it left off and flows more of the file
into frame #4. It stops again when the frame is filled. Later
you will place the remainder of the article on page two. Before
going on, check to make sure your first page resembles the one
we show in Figure 3-21.
Figure 3-21 . After placing the text on the first
page, your page should look like this
illustration.
Create a table of contents
To create a table of contents, you will type text directly into a
frame. The text you enter will be treated as a separate file
when you save the chapter.
** NOTE: Text typed into a separate frame is saved as part of the
caption file unless you rename it as shown below.
II Enable Tfext mode. Change to Normal or Enlarged View.
Make sure Show Tabs & Returns is selected from from the
Options menu. Click the cursor anywhere inside frame #5.
The end of file marker appears at the top left corner of the
frame.
Create a table of contents
3 - 29
** TIP: Remember, you can zoom into a selected area on the
page by placing the mouse cursor at the spot which will be the
upper left corner of the magnified view and pressing Ctrl-N or
Ctrl-E.
Wi Place the text cursor in front of the marker and type: Table
of Contents [Enter]
Now type the TOC entries, line by line. Press the tab key once
between the text and the page number (Figure 3-22).
Edit View Chapter Frane Paragraph Graphic Options
!!!!!!l!!!!!!!!!!!lll|y c:\temp\3HEWS.chp onews.stv) iIIIIiii!iiHiiiiiiilil ♦
Italic
Smell
Superscript
Subscript
Underline
|Couble UndrLn]
Strike-thru
Overscore
Q
E
R Pg B 9881
X
jitibte computes Italy in place it XYZ Many of th^
jrthar softvwi packages would have required the pur-j
phase of new or incompatible computers. Mr. Zyg->
Table of Contentsl
President approves desktop pubbshing-lf
XYZ hies specklist«2ff
Hew plant eomes on*line«3ll
People on the move*51l
Letters to the editor ■»&!
Ofendar-ep
-bV-W
4*
fomplished electronically on 1h{
puter.l
! These time and cost savings
o adoption of desktop pubb'shij
pnty benefits. “We are firmly
desktop publishing program w
|he look and the impact of XY(
t>epthorne. M If you want a docui
lance, it must look important Ve|
Sever/ department Vie ability
jpages.'l
] The new desktop publishing
^ library of professional-qua
Employees an obtain the benefil
typesetting even if they have no I
jvill need to do is select an a.pp]
be it to process their document
Including business, technical d
|ers will be developed for m*hou|
Corporation, f
I “The average consumer is b|
tuned to high-quality graphic
lEII
Figure 3-22
President approves desktop
publishing[Tab]1[Enter]
XYZ hires specialist [Tab] 2 [Enter]
New plant comes on-line [Tab] 3 [Enter]
People on the move [Tab] 5 [Enter]
Letters to the Editor [Tab] 6 [Enter]
Calendar[Tab]8[Enter]
■NOTE: If you make a mistake you can delete a letter by
pressing the backspace or Del key
3-30
Style
Once you type text into a frame, you can give it a name and
save it in the text format of your choice (Figure 3-23).
M Enable Frame mode. Select the table of contents frame
(frame #5).
The default file name, “FRAME TEXT,” appears in the Cur¬
rent Selection Box.
H Select File Type/Rename from the Edit menu.
^ Move to the New Name line. Press Esc to clear the line and
type: C : \ TEMP\3NEWSTOC. TXT
m Choose Text Format: ASCII and click OK to close the dialog
box.
Figure 3-23.
This saves the table of contents text as the file
3NEWSTOC.TXT in the C:\TEMP subdirectory and displays
the new file name in the Assignment List.
There’s one thing left on the first page: the jump text at the
bottom of the page. You will create it just as you created the
TOC text: by typing directly into the frame. This time, how¬
ever, you will not give it a new file name. Because you are not
renaming the file, the text you type will be stored in the
chapter’s caption file.
Insert a page
3 - 31
Enable Text mode and click anywhere inside frame #6 (See
Figure 3—24). Then type: Continued on page 2
Edit View Chapter Frane Paragraph Graphic Options
ii!ll!!i!!i|!!i!il!iil c:\iemp\3MEWs.chp omews.stv) liiijilllllll
Nornol
•♦Id
Italic
Smell
Superscript
Subscript
Underline
|DouDla UrtdrLnj
Strlke-thn
Overscore
\E
Id
t*t?
in irmVf ccnvmccA thatthi nW
Itskiop publishing prograin Mill substantially improve
look and tht impact of XYZ’s docuiraits," said Mr!
ptpthcm*. “If you wint i document trated with impor-j
bnct, it must bok impertint Venturi Publisher will give
kvtry depirtment the ability to creite grut-kokingj
fijes.'f j
j The new desktop publishing specialist will be miking
« library of profcsaml-quabty style sheets, XY«
employees on obtain the benefits of graphic design ind
typesetting even if they hive no special training. All they*
hill need to do is select in appropriate style sheet ini
use it to process their document. Libraries of style sheets
including business, technical documents, and newsletj
tars will be developed for in-house use throughout XY^
corporation, f i
1 The average consumer is becoming increasingly it-j
pined to high-quality gnphx design," said President
1 n*4n*r.~w«T.'r.r. -.-.r.„.-..-r.r.- rJ.
IT
Figure 3-24
Stopping point
Are you keeping up with the pace? If not, take a moment to get
out of your chair and stretch. When you’re recharged, sit back
and review what you’ve done and what remains to be com¬
pleted in the style section. First you made format changes to
the overall chapter. Then you laid out page one by adding
frames and placing text inside.
Now you are ready to tackle page two. Once this layout work
is complete, you can begin to format the text by working
systematically through each paragraph in each frame.
If you must stop now, save your work by pressing Ctrl-S, then
select Quit from the File menu. Return to this spot in the text
when you are ready to resume the project. Otherwise, move on
to the next section now.
Insert a page
If you are starting up again, load Ventura and open the chap¬
ter C:\TEMP\3NEWS.CHP to begin where you left off. Once
3 - 32
Style
you are on page one of the document, you are ready to proceed
with the instructions that follow.
When you place text in frames (as opposed to putting it on the
Page), Ventura does not create new pages automatically.
Therefore, you must manually insert a new page.
II Select Insert/Remove Page from the Chapter menu. Choose
Operation: Insert New Page After Current Page. Click OK.
INSERT/RBIOVE PAGE [7]
Operation;
Insert New Page Before Current Page
Insert New Page After Current Page 1
Remove Current Page
Cancel
Ventura inserts the new page and moves you to it.
At this point, you can add frames to the new blank page as you
did earlier on page one. Use Figure 3-25 to gauge the ap¬
proximate positions and sizes.
You can use several strategies for placing frames on the page.
One idea is to draw the frames in approximate position, then
return to each frame one by one to check its position with the
Sizing & Scaling dialog box (as explained below). In that case,
we recommend that you press and hold the Shift key as you
click on the Add New Frame button. As long as the Shift key is
depressed, Ventura will let you continue to draw frames
without the need to choose the Add New Frame button each
time.
Insert a page
3 - 33
Frame #8
Upper Left X: 06,00 picas
Upper Left Y: 06,06 picas
18,06x16,00 picas
Frame #9
Upper Left X: 06,00 picas
Upper Left Y: 22,06 picas
18,06x39,00 picas
Frame #7
Upper Left X: 06,00 picas
Upper Left Y: 04,00 picas
18,06x02,00 picas
Frame #10
Upper Left X: 26,06 picas
Upper Left Y: 04,06 picas
18,06x34, 00 picas
Leave a two-pica space
between frames for the caption
Frame #11
Upper Left X: 26,06 picas
Upper Left Y: 40,06 picas
18,06x21, 00 picas
Figure 3-25
3-34
Style
If you prefer, you can draw and position each frame as you go.
First, draw the frame as closely as you can. Then, with the
frame still highlighted, choose Sizing & Scaling, you can
return to this dialog box for the next frame by pressing Ctrl-X,
a keyboard shortcut that tells Ventura to bring up the last
dialog box again.
*+NOTE: If you make a mistake , you can always delete a frame
by pressing the Del key or selecting Cut Frame from the Edit
menu.
Finally, you can also create frames by drawing the first one,
then copying it to the clipboard. Create new frames by press¬
ing the Ins key to put a copy on the page. Move the copy into
position and change its size. This is particularly useful when
creating multiple frames of the same size.
Size and scale the frames
After adding the frames, check the dimensions one by one
with Sizing & Scaling from the Frame menu. Use Figure 3-22
as your guide.
Place the text
Finish placing the text files by selecting the frame, then
choosing a file name from the Assignment List. At this stage,
don’t worry whether or not the text fits perfectly inside the
frame.
H Select frame #8 and place the remainder of text file
3NEWS-1.TXT inside.
^ Select frame #9 and place 3NEWS-2.TXT inside.
^ Select frame #10 and place 3NEWS-2.TXT inside.
When you have finished, change to Reduced View to check
that your screen looks similar to Figure 3-26:
Add jump text on page two
3-35
Desk file Edit Vie* Chapter Frane Paragraph Graphic Options
Figure 3-26.
Add jump text on page two
^ Enable Text mode.
H Change to Normal or Enlarged View. Place the text cursor
anywhere in the small frame (frame #7) at the top of the left
column (Figure 3-27). Type: Continued from page 1
Desk File Edit Vie* Chapter Frane Paragraph Graphic Options
11 -= = C:\TEK>\3MEWS.CHP (3NEKS.SM
FilVWmter 1389*
ifT
Continued from page 1]
^ygniewskiThey have come to expect it In the future!
pompanies that do not produce attractive documents wil|
$>e at a disadvantage. We are determined that the docu-j
Jnents we produce at XYZ, both internal and external*
kill demonstrate the same commitment to quality that
bis always set this company apart from the crowd.** j
| According to President Zygniewski, the desktop*
publishing project is the first step toward total com*
fcuteriaationitXYZ.D j
jhis library to create documents
jext and graphics files into the
| U A style sheet defines the nil
Continued Belden. “Once these]
lypesetters an quickly achieve
pimply by tagging the paragraph
is a Headline, Sub-Head, etc. Sty
^ers achieve a typeset look, a \
Results that previously required
by high-priced professionals.**
I Ms. Belden will be institut
help XYZ personnel get up to s]
Jbe completing approximately fo
$veek from a list compiled
kninigers. Once completed and
kill be available for reuse!
j Belden will also be leading
pasic workshop for beginners inf
feower users. In addition, she
E
Figure 3-27.
As before, the text you type into the frame is automatically
saved to the caption file the next time you save the chapter.
3 - 36
Style
Mission accomplished. Since frame #11 is reserved for a pic¬
ture file (to be added later), you have finished the basic layout.
Now you can start tagging. As always, you should start with
Body Text and then step through the document from begin¬
ning to end.
Format the Body Text
You may want to change to Normal View (Ctrl-N) as you tag
the document.
P Press the Home key to return to the first page of the
document.
H Enable Paragraph mode.
i§ Select the paragraph in frame #3 that begins “We initially
thought... ” (Figure 3-28). Refer back to Figure 3-17 if
necessary to recall the frame numbers and positions.
Desk File Edit Uiew Chapter Frane Paragraph Graphic Options
!|ii!i||iiij(|i(i|!ii!lill! C:\TEHP\3NEWS.CHP (3NEWS.STV) Hi!
sss-ssssj
s*
Address
11
Body Text
■
Bullet
Byline
Credo
DATE
■
Deckheod
■
Headline
1
Hosthcod
i
Subhead
TOC entry
LL
TOC Title
□
□j
■■i
j President Xavier Y. Zygniewski announced today his
approval of a 12-month pton to install desktop publishing
Workstations in key departments throughout XYZ Cor
poration. The announcement follows a three-month pilot
■study conducted by the Marketing Communications
Department!_
Several technological advances make the company-;
Wide strategy feasible. First, XYZ was ible to stand-:
Wdize on a single software program for all applications.:
•This standardization will reduce startup, training and;
•support costs. Second, the selected software, Xerox Ven-;
Win Publisher, will run on the IBM XT* and AT-torrr;
gabble computers akeidy in place it XYZ Many of the]
pther software packages would have required the pur:
jrhase of new or incompatible computers. Mr. Zyg-:
jniewsld confirmed that the new:]
tin over a 12-month period on ]]
iment basis, beginnmg with Mir ]:
: “We are delighted to be p:
desktop publishing for XYZ,’
•Manager of Marketing Comm
jpassing on what we learn in thi
•seminars for employees in o
Marketing Communications I
jlesktop publishing specialist
•training and support [see relate
• Mr. Depthome said the pile
■that XYZ can expect cost saving:
ithe manual meins now used t(
documents. In addition, turnaro
icut by 50% as well, since the d<
Ho be sent to an outside com
•typesetting and pasteup. Thes
•complished electronically on th
iputer.1
: These fame and cost savings
of desktop puV:sh;
) adoptio
Figure 3-28.
11 Alignment Horz. Alignment: Left
ii Spacing Inter-Line: 12.00 fractional pts
Add in Above: When Not At Column Top
Format the Logo
3 - 37
*+NOTE: From this point on, any spacing values not specified
should be set to 00.00 fractional pts (or 00,00 picas & points).
In the example above, for instance, you would set Above,
Below, and Inter-Paragraph to 00.00 fractional pts.
Format the Logo
A newsletter’s nameplate, or logo , should be the dominant
element on the page. It should be easy to read and large
enough so it doesn’t vie for attention with the credo or the
headlines.
^ Go to frame #1. Select the paragraph “The Newsletter,”
which has been defined as the Masthead tag in the original
style sheet. Let’s change some of its attributes.
^ Font Size: 072.0 points
*+NOTE: Your printer may not be capable of 72-point type.
You have several choices if your printer cannot produce 72-
point type. First, you can use the Set Printer Info dialog box to
switch to PostScript just for the on-screen examples. Switch
back before printing. When you switch back, Ventura will
make an attempt to substitute font and font sizes.
Second, you can simply use your original printer, and sub¬
stitute the largest font available in place of 72-point type.
Keep the line spacing and other selections the same so your
screen will match the book’s as closely as possible. Your ex¬
ample will not look quite as good at printout time, but you
should be able to follow along for learning purposes without
any problems.
Third, you can add a 72-point font to your system, either by
buying it from a third-party vendor, or by generating it with a
font building program.
Don’t worry yet about the way the logo looks (Figure 3-29). In
a moment you will adjust it to fit. First work through the
Paragraph menu and change the Alignment and Spacing.
3 - 38
Style
Figure 3-29.
Overall Width: Frame-Wide
Below: 12.00 fractional pts
Inter-Line: 48.00 fractional pts
The logo is too large for the current frame. You could reduce
the font size, but that would diminish the impact of the logo.
Instead, you can use one of Ventura’s typographic functions to
tighten up the spacing between individual characters. This
technique, called tracking, has two benefits: It fits the word
into the frame and it enhances its readability. Tracking is
most often used to improve the look of large banner headlines.
Headlines tend to appear loose if spaced with the same
proportion as sub-heads or Body Text. Figure 3-30 shows how
different tracking values affect the apperance of a headline.
By changing the tracking of the Logo tag you can make it fit
into the frame without changing the font size or the frame
size.
Alignment
Spacing
Format the Logo
3 - 39
Very tight The Newsletter
Tight The Newsletter
Normal The Newsletter
Loose The Newsletter
Very Loose The Newsletter
Figure 3-30
11 Select Paragraph Typography from the Paragraph menu.
^ Choose Automatic Pair Kerning: On, Letter Spacing: Off.
Choose Tracking: Tighter. Press Esc to clear the tracking
line and type 0.048 Ems. Click OK.
■Masthead" TVPOGRAPHV SETTINGS
Automatic Pair Kerning: On
Letter Spacing: Off
Tracking: Tighter
Up to: 0,100 Eat?
0.048j Ems
Grow Inter-Line To Fit: On
0
Minimum Space Uidth;
Normal Space Width:
Maximum Space Width:
0.600 * (space width) = 0,167 Ens
1.000 * (space width) = 0.278 Ens
2.000 * (space width) = 0.555 Ens
Cancel
3-40
Style
*+NOTE: Don’t worry if the text overlaps on-screen. When you
print out the document, the text will appear correctly.
There’s a lot of power in the Paragraph Typography dialog
box. For now, we’ll talk about tracking and leave the other
features for later. Tracking controls the space between letters.
It is measured in ems. An em space is equal to the point size of
the type. For 10-point type, an em space is 10 points, for
18-point type it is 18 points, and so on.
*+TIP: Standard spacing is generally too wide for display type
larger than 24.00 fractional pts. To make your pages look more
professional, use tracking to tighten display type.
Once you adjust the tracking, the logo should fit neatly into
the frame on one line. If not, use tracking to tighten it further.
Change the Credo paragraph
If you continue with our suggested top-down order, the next
paragraph you should format is the credo. You will change the
font and increase the width of its ruling line.
i! Select the next paragraph in frame #1 starting with “News
and Information....”
$$ Confirm that it is tagged as Credo.
Font
Alignment
Spacing
Face: Times
Style: Normal
Overall Width: Frame-Wide
Inter-Line: 18.00 fractional pts
Now add a ruling line below. Notice that when you widen the
rule, you also add extra space above it. The extra white space
helps visually separate the rule from the text.
H Select Ruling Line Below from the Paragraph menu.
Choose Width: Frame. Make Space Above Rule 1: 06.00
fractional pts and Rule 1:10.00 fractional pts.
Create a dateline
3 - 41
"Credo" RULING LINES BELOW
1
0
Width:
Frane
Blank
Pattern:
Solid
Dashes:
Off
36.00
Space Above Rule 1 :
06 . eel
Height of Rule 1 :
io.ee
Custon Indent:
00.00
<■ s j
71
Space Below Rule 1 :
0Q.ee
Custom Width:
00.00
Height of Rule 2:
QQ.ee
Space Below Rule 2:
QQ.ee
Dash Width:
00.00
Height of Rule 3:
00.00
Dash Spacing:
00.00
fractional pts 1
Space Below Rule 3:
00.00
BQ
Overall Height:
16.00
BBS
3 _
Cancel |
When you are finished the frame should look like Figure 3-31:
Desk File Edit Uiew Chapter Frane Paragraph Graphic Options
- C:\TEMP\3NEWS.CHP (3MEWS.STV)
News and Information for Eniplojees of the XYZ Corporation!
Cost savings prtdxMl I j
President approves desktop publishing
oompany-wideD
Figure 3-31.
Create a dateline
Next you will create a dateline that puts two different tags —
Date and Volume — on the same line.
II Select the next paragraph “Fall/Winter 1989.”
Since this paragraph was already pretagged, the tag name
(DATE) appears in the Current Selection Box. However, since
the format for this tag doesn’t yet exist in the style sheet,
Ventura displays it with Body Text attributes and in all caps
3 - 42
Style
in the Assignment List. You will adjust its font, alignment,
and spacing and add a rule below.
Size: 008.0 points
Horz. Alignment: Left
In/Outdent Width: 00,00 picas & points
Inter-Line: 12.00 fractional pts
H Select Breaks from the Paragraph menu. Confirm that Line
Break is set to Before.
Now add a frame-wide rule below the tag.
H Select Ruling Line Below. Choose Width: Frame. Enter
06.00 fractional pts of Space Above Rule 1, and give Rule 1
a height of 00.25 fractional pts (Figure 3-32.)
"DATE" RULING LINES BEL0N
□
Width: Frane
Color: Black
Pattern: Solid
Dashes: Off
36.00
Space Above Rule 1: 06.00
Height of Rule 1: 00.25|
Custon Indent:
00.00 f <• i!
Space Below Rule 1: 00.00
Custon Width:
00,00
Height of Rule 2: 00.00
Space Below Rule 2: 00.00
Dash Width:
00,00
Height of Rule 3: 00.00
Dash Spacing:
00,00 fractional ptsl
Space Below Rule 3: 00.00
D H
Overall Height: 06.25
| Cancel |
Figure 3-32.
Font
Alignment
Spacing
Change the Volume tag
Now you will select the paragraph pre-tagged as Volume. To
allow it to reside on the same line as the Date, make it
right-justified and set the Line Break after the tag instead of
before. (A Line Break Before would cause a break between the
date and the volume paragraphs.)
i! Select the last paragraph in frame #1, “Vol.l No. 4.”
^ Font Size: 008.0 points
Add the Kicker tag
3 - 43
Horz. Alignment: Right
In/Outdent Width: 00,00 picas & points
Line Break: After
Check that your screen resembles Figure 3-33 (if you do not
see the tab and end of paragraph symbols, make sure Show
Tabs & Returns is turned on in the Options menu).
Alignment
Breaks
Desk File Edit Uiew Chapter Frane Paragraph Graphic Options
C:\TEMP\3MEWS.CHP (3NEWS.STV)
,12 ,« ,24 ,22
i.i J :
Th^Jewsletterf
News jnd Information for Employees of the XYZ Corporation!
Cost savings predxtalfl
4 President approves desktop publishing
company-wideO
Figure 3-33.
You’ve just learned a valuable skill: How to make two different
tags reside on the same line. As you saw, the trick is to give the
first tag a line break before and the second tag a line break
after.
You have to be careful when putting two paragraphs on the
same line or the text will overlap. In the example above, you
kept them separate by making one flush left and the other
flush right. You could also have used In From Left and In
From Right spacing to separate the two.
Add the Kicker tag
A kicker is a lead-in heading that introduces a headline. Since
the tag name and format does not exist in the current style
sheet, you will add a new tag.
§i Select the paragraph “Cost savings predicted.”
II Select Add New Tag from the Side-Bar.
When the dialog box appears, move to the Tag Name to Add
line and type: Kicker (Figure 3-34).
Figure 3-34.
Format the Kicker tag
§! Font Face: Helvetica
Style: N-Italic
Size: 012.0 points
11 Alignment Overall Width: Frame-Wide
H Spacing Above: 12.00 fractional pts
Inter-Line: 24.00 fractional pts
Add in Above: When Not at Column Top
Now you will add a ruling line below the kicker to separate it
from the headline.
H Ruling Line Width: Text
Below Space Above Rule 1: 03.00 fractional pts
Height of Rule 1: 00.25 fractional pts
By selecting Text in the Ruling Line Below dialog box, you are
telling Ventura to make the ruling line exactly as long as the
text. If you write a longer kicker, the rule will automatically be
lengthened. For a shorter kicker, the rule will be shortened.
Change the Headline tag
3 - 45
Change the Headline tag
To make the headline in frame #2 easier to read, increase its
size and its inter-line spacing.
H Select the paragraph “President approves desktop publish¬
ing company-wide” in frame #2.
^ Font Size: 030.0 points
H Spacing Below Spacing: 00.00 fractional pts
Inter-Line: 30.00 points
Add in Above: When Not at Column Top
^ Paragraph Tracking: Tighter
Typography Ems: 0.035
When you are finished making these changes, the headline
should look like Figure 3-35:
Desk File
Edi
Vie* Chapter Frane Paragraph Graphic Dptions
0,0
.1*..f*.1".1“.I 3 ".1“. t
Body Text
' Bullet
Byline
-L
Tti&lews letter
Credo
DATE
12-
I News and Information foi Eniplojees of the XYZ Corporation! ■>
Decfchcdd
Headline
19690 { • VeSS:-
__ Kicker
Masthead
su&tiead
i Cost savings predidedf i | Ki
TOC entry
* TOC Title
R Pg tt 0001
]
President approves desktop
ipublishingcompkny-wideG m
Figure 3-35.
Are you beginning to notice improvements? By enlarging the
logo and the headline and adding rules, you have made the
front page easier to read and less cluttered.
We realize you are working very hard in this chapter. You are
duplicating the steps you must go through in real life to
construct a professional-looking newsletter. Although taking
the “real-life” approach means spending a few extra minutes,
it pays off. By the end of this chapter, you will be familiar with
all of Ventura’s basic functions. Stick with it.
3-46
Style
Add a BodyFirst tag
To distinguish the lead-in paragraph from Body Text, you will
create a tag called BodyFirst. The tag will be aligned flush left
with no first-line indent.
11 Select the paragraph that begins “President Xavier Y. Zyg-
niewski announced...” in frame #3.
H Add New Tag Tag Name to Add: BodyFirst
M Alignment In/Outdent Width: 00,00 picas & points
The first paragraph should look like Figure 3—36:
Body Text
BodyFirst
Bullet
Bylin*
Credo
DATE
Deckhcad
Headline
Richer
Hasthead
Subhead
TOC entry
111
President approves desktop
ipublishingcompdriy-widen
•President Xavier Y. Zygniewsld announced today his
approval of i 12-monlh plan io instill desktop publish¬
ing workstations in key departments throughout XYZ
Corpontion. The announcement follows i three-
Imonth pilot study conducted by the Marketing Com-
jmunications Department!
• “We initially thought that desktop publishing would
jonty have advantages for one or two departments,”
-aid President Zygniewski, "but our study revealed
jihat it could save time and money throughout the com¬
pany while improving the appearance and effective¬
ness of our documents."!!
would have required the purchase of m
■ patible computers. Mr. Zygniewski conf|
hew software will be phased in over a
•period on a departmenMy-department
jning with Marketing Communxabcns,!]
• “We are delighted to be pioneering
desktop publishing for XYZ," said John
jManiger of Marketing Communication:
•passing on what we learn in the form ol
and seminars for employees in other de \
The Marketing Communications Depart i
a desktop publishing specialist to overs
Figure 3-36.
Change the TOC Title
The last frame (frame #5) on the page includes the text for the
table of contents. To format the TOC, first tag the text, then
change the tag attributes.
^ Select the paragraph “Table of Contents” and tag it as TOC
Title, which was already defined in the original style sheet
(Figure 3-37).
II Font Face: Times
!! Alignment Horz. Alignment: Left
Figure 3-37.
Use the In From Left spacing option to move the TOC Title in
from the left margin of the frame.
H Spacing Above: 12.00 fractional pts
Inter-Line: 12.00 fractional pts
In From Left: 01,00 picas & points
P Ruling Line Width: Text
Below Height of Rule 1: 05.00 fractional pts
Space Below Rule 1: 30.00 fractional pts
After adding the ruling line below, the TOC Title should look
like Figure 3-38
Desk File Edit View Chapter Frane Paragraph Graphic Options
C:\TEMP\3f1EWS.CHP (3MEPS.STV)
Table of Contents!
President approves desktop publishing* 1 1
XYZ hires specialist*
2f
New phnt comes on-line*
3f
People on the move*
51
Letters to the editor*
Calendar* 80
51
microcomputer!
: These tin* and cost siring* provided
'spur to adoption of desktop publishing,
inot the only benefits. “We are firmly
the new desktop publishing program
improve the look and the impart of
Jnents^sud Mr. Depthome. If you
greeted with importance, it must look
•tun Publisher will give every departm
■create great-looking piges."l
• The new desktop publishing speeafy
faking a library of professional-quality
]XYZ employees an obtain the benefits
jdesign and typesetting even if they havr
itraining. All they will need to do is seler
jpropnate style sheet and use it to process
:...Continued. an.pLgt.2D.
3 - 48
Style
** TIP: We used Below Spacing to visually separate the Title of
the TOC from the following TOC entries.
Modify the TOC entry tag
Hi Select the paragraph “President approves desktop publish¬
ing... ” and tag it as TOC entry.
Face: Times
Style: Bold
Above: 18.00 fractional pts
Inter-Line: 06.00 fractional pts
You will use Tab Settings to create leader dots. As the name
implies, these dots help lead the eye across the page. They are
useful for indexes, tables of contents, and other lists.
II Select Tab Settings from the Paragraph menu. Choose Tab
Number: 1, Tab Type: Right, Tab Shown As: Leader Char.,
Tab Location: 17,00 picas & points. Then choose Leader
Char: (...) and Leader Spacing: 1.
HI Font
M Spacing
u T0C entry" TAB SETTINGS
m
Tab Number:
♦
Tab Type:
Right
Tab Shown As:
Leader Char 1
Tab Location:
17,00|
picas & points
Leader Char:
...
046 (ASCII)
Leader Spacing:
1
Auto-Leader:
Off
Cancel
i! Tag the remaining paragraphs in the table of contents as
TOC entry. (Hint: use the Shift-Click method to tag them
all at once.)
The finished TOC should look like Figure 3-39.
Add the Jump tag
3-49
Desk File Edit View Chapter Frane Paragraph Graphic Options
|g iiaiiilllilii ialil5ircT\fD«Aaiiiisjaf'?3NalsTV)'liiililili iiiil iiilililg ♦
i*..i 1 *.I”.
Tableo^oatentsff
IVtsifcni approves desktcp publishing*_Iff
XTZhres specialist*.2f
Ho* pint (ims 3f
ftoapte an the mavr*..51
Letkrsto Iht editar*.61
Calendar*.SI
'deoir.pisntA Medronicilly on 'ihe \
L fr
microcomputer!
: These time and cost savings provided
spur to adoption of desktop publishing,
inot the only bnebts. “We ire irmly coif
the new desktop publishing program wi'
improve the took and the impart of XYl
merits,” said Mr. Depthome. If you wai|:
•treated with importance, it must took im
■tura Publisher will give every department
•create great-looking pages’ll
■ The new desktop publishing spedabi
jmikmg a library of professional-quality
•XYZ employees an obtain the benefits
idesign and typesetting even if they hard
;training. AH they will need to do is setoc
jpropr&te style sheet and use it to procesj
:...Contiiui«daii.pige2fl.
E
Figure 3-39.
Add the Jump tag
There’s only one more paragraph to tag on page one: the jump
text.
li Select the paragraph "Continued on page 2.”
H Add New Tag Tag Name to Add: Jump
M Font Style: N-Italic
Size: 010.0 points
H Alignment In/Outdent Width: 00,00 picas & points
^ NOTE: If necessary, adjust the frame size so the text aligns
with the bottom of the column guide.
After you finish making these changes, your screen should
look similar to Figure 3^40.
Do not be concerned if your screen doesn’t match ours exactly.
Different monitors and slight differences in frame sizes can
vary the position of elements on the page. The important
thing is to understand how to adjust for these differences. You
may have to experiment with font size or frame size to make
the small jump text appear correctly. Remember, we are
giving you guidelines, not a rigid structure for creating docu¬
ments. You should feel free to explore on your own if you don’t
like the way something turns out.
Stopping point
With only a page to go, take a break and admire your work.
(Hint: Save what you've done so far before you start patting
yourself on the back.) Your efforts have paid off: The newslet¬
ter is really shaping up. If you must pause, you can quit now
and resume at a later time. Otherwise, continue on to the next
section.
Assigning function keys
If you are starting up anew, load Ventura and open the chap¬
ter C:\TEMP\3NEWS.CHP. Before you go to page two, we
want to introduce another time-saving Ventura feature that
speeds up tagging.
Until now you have always tagged text with the mouse while
in Paragraph mode. You can decrease formatting time by
assigning tag names to Function Keys in the Update Tag List
Option (Paragraph menu). By assigning key tags to each of
the 10 function keys, you can edit and tag simultaneously,
without switching back and forth between Text and Para¬
graph modes. Here’s how:
II While you are in Paragraph mode, select Update Tag List
from the Paragraph menu.
Assigning function keys
3 - 51
^ NOTE: You can also bring up the Assign Function Keys dialog
box by pressing Ctrl-K. If you press Ctrl-K while you are in
Paragraph mode, Ventura displays the Update Tag List dialog
box. Then you choose Assign Func Keys button to view the
function keys. If, however, you press Ctrl-K while you are in
Text, Frame, or Graphic mode, Ventura automatically displays
the Assign Function keys dialog box.
H If Ventura asks you if you want to Save or Abandon your
work, choose Save.
H Choose Assign Func Key from the dialog box. A list of ten
function keys appears.
M Move to the F2 line and type: BodyFirst
H Now complete the dialog box as shown in Figure 3-41.
Make sure you match the existing tag names character for
character and space for space. Click OK to return to the
dialog box. Click OK again to return to the document. When
Ventura asks if you want to Save, Save As, or Abandon the
changes to the style sheet, choose Save.
ASSIGN FUNCTION KEVS Q]
FI:
Address
F2:
BodyFirst
F3:
Bullet
F4:
Byline
F5:
Credo
F6:
Date
F7:
Deckhead
F8:
Headline
F9: Junto
F10:
Body Text!
Cancel
Figure 3-41. The Assign Function Keys dialog box.
Notice that we have listed the tags in the same alphabetical
order as they are found in the Assignment List. Alphabetical
order makes it easier to remember which tags are assigned to
which function keys. However, feel free to use any order that
makes sense to you. For instance, you might choose to assign
3 - 52
Style
Headl to FI, Head2 to F2, and so on. Many people reserve the
F10 key for Body Text, to follow the convention established
with the style sheets that come with Ventura.
TIP: It is generally best to assign tag names to function keys in
the same alphabetical order as they appear in the Assignment
List. If you have more tags than function keys, assign the most
commonly-used tags to the ten keys.
Now go to page two and try out the new function key assign¬
ments.
!! Press End to go to the last page of the document.
^ Go to frame #9. Enable Text mode. Place the text cursor
anywhere within the paragraph “By Joe Smith.” Press the
F4 key to tag it as Byline (See Figure 3-42).
File Edit Vie* Chapter Frane Paragraph Graphic Options
IHIIIIII c:\temp\3mews.chp (3NEHS.STV) ilililiililliiillililil ♦
Jhat the documents we produce it X?Z, both internal
jnd external, will demonstrate the sure commitment
jo quality thit his always set this company ipirt from
jhe ffowiTf
| According to President Zygniewsld, the desktop
publishing project is the first step toward total com¬
puterization at XYZ.D
| XYZ hies DTP speckfctl
IfoanBelden joins Marketing Comminici-
fcore teamff
; The Marketing Communxabons Department his
jired in experienced desktop publishing pTP)
specialist to help XYZ mike the transition to the new
technology. Ms. Belden, formerly the president of her
t>wn consulting firm, is i noted authority on electronic
publishing in general, ind Ventun Publisher software
In partxular.f
layout " continued Belton. “On
Refined, non-typesetters an
ijuility results simply by tigginj ;i
jheir own document as a Headl
fctyle sheets let even beginners
ind let professionals get results
Juired typesetting and paste-up
fcionals. , 1l
| Ms. Belden will be institutij
fielp XYZ personnel get up to s]
jvill be completing approximate!
Sheets per week from a hst coi
departmental managers. Once
proved, these formats will be a]
i Belden will also be leading
Itusic workshop for beginners
for power users. In addition, sh
jy “newsletter" of tips, tricks, te|
ind news of interest to XYZ'
Wll be distributing the first edH|
bed month □
EH
Figure 3-42.
Now you will use the function keys again to tag the first
paragraph of the article as BodyFirst.
Place the text cursor anywhere in the paragraph “The
Marketing Communications Department...” Press F2 to tag
it as BodyFirst.
Change the Z_Header tag
3 - 53
** TIP: If you forget which tags are assigned to which function
keys while you are tagging in Text mode, press Ctrl-K to bring
up the Assign Function Keys dialog box and review the key
assignments. When you are finished, click OK to close the
dialog box.
H Go to small frame (frame #7) at the top of the page. Move
the text cursor to the paragraph “Continued from page 1.”
Press F9 to tag the paragraph as Jump.
*+NOTE: You can use function keys to apply tags, but you must
switch to Paragraph mode to change or add tags.
Change the Z Header tag
Now you will continue to format page two by adding a ruling
line below the header text. As you will see, you can change the
appearance of the header just as you can change any other
paragraph on the page. The difference, however, is that any
changes apply to all the headers throughout the document.
is Enable Paragraph mode. Select the header paragraph
“Fall/Winter 1989 Page 2 The Newsletter,” (Figure 3-43)
,$ .12 . 1 $ .24
■ 1 i ■ ' ■ i ' i ' ' i i * ' ' ' ' i i i i ' ' i 1 i i i i ' ' 1 ' ' ' ' I ' ' i i i ' i ' '
■Fall/Winter 1989- I
3 aee 2-
Continued from pigs W
Ibe a gr
design
ment. Libraries of style sheets including business, tech¬
jstylesb
nical documents, and newsletters will be developed for
tinyone
in-house use throughout KYZ Corporation, ff
|task of
l The average consumer is becoming increasingly at¬
■KYZ. I
tuned to high-quality graphic design, 11 said President
J:hoose
Figure 3-43.
Alignment
Overall Width: Frame-Wide
In/Outdent Width: 00,00 picas & points
3 - 54
Style
Ruling Line Overall Width: Frame
Below Space Above Rule 1: 02.00 fractional pts
Height of Rule 1:10.00 fractional pts
Add a Headline2 tag
Since the original style sheet contained only one tag for head¬
lines, you will add a second tag to achieve a different look. The
new Headline2 tag will include a rule with a custom width.
Hi Select the paragraph “XYZ hires DTP specialist” in frame
#9.
Tag Name to Add: Headline2
Face: Helvetica
Style: Bold
Size: 024.0 points
Overall Width: Frame-Wide
In/Outdent Width: 00,00 picas & points
Above: 24.00 fractional pts
Inter-Line: 24.00 fractional pts
Add in Above: When Not At Column Top
Select Ruling Line Above. Choose Width: Custom. Make the
Height of Rule 1: 06.00 fractional pts and the Space Below
Rule 1: 06.00 fractional pts. Now switch from fractional
points to picas & points by clicking on top of the unit
measurements several times. Next move to Custom Width,
press Esc to clear the line and type: 14,00 and click OK.
il Add New Tag
Font
II Alignment
M Spacing
Change the Deckhead tag
3 - 55
"Headline2" RULING LINES ABODE
0
Width:
Custon
■
Color:
Black
Pattern:
Solid
Dashes:
Off
03,00
Space Above Rule 1:
00,00
.
Height of Rule 1 :
00,06
Custon Indent:
00,00
nm
Space Below Rule 1 :
00,06
Custon Width:
14,00|
Height of Rule 2:
00,00
Space Below Rule 2:
00,00
Dash Width:
00,00
Height of Rule 3:
00,00
Dash Spacing:
00,00
picas ft points 1
Space Below Rule 3:
00,00
DQ
Overall Height:
01,00
E
Cancel |
Change the Deckhead tag
Only two more tags to change. Then we will show you how to
rename and remove tags and you will be ready to move on to
the picture section.
A deckhead is a short lead-in paragraph that follows the
headline and introduces the body copy. Change the format of
the deckhead paragraph.
H Select the paragraph “Joan Belden joins Marketing Com¬
munications... ” in frame #9.
Face: Helvetica
Style: B-Italic
Above: 12.00 fractional pts
Inter-Line: 12.00 fractional pts
Inter-Paragraph: 00.00 fractional pts
The finished tag looks Figure 3-44:
Font
Spacing
3 - 56
Style
Desk File
Chapter Frane Paragraph Graphic Options
ililiiliilillil c:\temp\3«ews.chp onews.stv)
Cr«Ja
DATE
Osckhead
Headline
Headlines
KKker
Subhead
TOC entry
TOC Title
VOLUME
L Pg * 0062
£hit the documents we produce it XYZ, both internal
jind external, will demonstrate the same eommitment
■b quality that his llways set this company apart from
■the crowd. 11
i According to President Zygniewslri, the desktop
publishing project is the first step toward total com¬
puterization at XYZ.
jXYZ hires DTP
Specialist
\Joan Bet den joins Marketing Com
Imunicaiions team
&y 3oe Smith
The Marketing Communications Department his hired j
an experienced desktop publishing (DTP) specialist to :
help XYZ make the transiticn to the new technology. •
choose from this library to treat
»wn by pouring text and graphi^
precoded formats.
“A style sheet defines the
layout," continued Bolden. "On
lefined, non-typesetters can q\
quality results simply by tagging
[hear own document as a Head.1
Style sheets let even beginners
ind let professionals get results
paired typesetting and paste-up|
siojials."
Ms. Belden will be institute
help XYZ personnel get up to sj
will be completing approximate!
sheets per week from a list con
departmental managers. Once
proved, these formats will be i
Belden will also be leading
basic workshop for beginners a
for power users. In addition, sh
ft "newsletter" of tips, tricks, te
E
Figure 3-44.
Change the Byline tag
H Select the Byline paragraph “By Joe Smith.”
H Font Style: N-Italic
Spacing Above: 12.00 fractional pts
Below: 00.00 fractional pts
Inter-Line: 12.00 fractional pts
Rename a tag
After tagging the text, take a moment to clean up the Assign¬
ment List. Remove tags you don’t need, and rename tags with
unclear names. When you rename and remove tags, the
results are reflected in the current style sheet and in every other
document that uses that style sheet. If you do not want to
rename or remove a tag in every document, remember to
choose Save As and enter a different style sheet name when
you close the dialog box.
In this section you will rename the tag “Masthead” to “Logo.”
Then change the DATE and VOLUME tags from all caps to
upper and lower case. Since this is the only document so far
that uses the style sheet 3NEWS.STY no other documents will
be affected by these changes.
Rename a tag
3 - 57
*+NOTE: The masthead is a listing of the staff and publisher of
the newsletter that is normally placed on the inside or last
page. People commonly confuse the terms logo and mast¬
head.
^ Select Update Tag List from the Paragraph menu and
choose Save.
Scroll through the tag name list at the top of the dialog box
until you see the name Masthead. Click once on the name
to highlight it.
^ With the name selected, choose Rename Tag. Move to the
New Tag Name line and type: Logo then click OK.
H Scroll through the list again and highlight the tag name
DATE. Choose Rename Tag. Then move to the New Tag
Name line and type: Date
II Repeat the step above to rename the VOLUME tag to
Volume (from all caps to initial capital only).
*+NOTE: Do not use Ctrl-X to bring up the Rename Tag dialog
box again. This will cancel the Update Tag List dialog box
without saving your changes.
3-58
Pictures
Remove a tag
H While you are still in the Update Tag dialog box, scroll
through the tag name list until you see the name Address.
Click once on the name to highlight it. Choose Remove
Selected tag, then click OK. The Remove Tag dialog box
appears.
REMOVE TAG [?]
Tag Name to Remove: Address]_
Tag Name to Convert to: Body Text_
Cancel
H Click OK again to close the dialog box and choose Save to
save your changes.
*+NOTE: When you remove a tag, Ventura converts all occur¬
rences of this tag to Body Text unless you tell it otherwise.
Pictures
Give yourself another pat on the back. You’ve completed the
style portion of this document. With text and style complete,
you’re ready to add a picture to your newsletter. In this section
you will load and place a picture, and then add a caption.
Make sure you are on page two.
H Enable Frame mode. Click anywhere on the empty frame
(frame #11).
H Select CHANEL.IMG from the Assignment List.
Remove a tag
3 - 59
The picture is placed into the frame. Now size the picture to
fill the frame.
*+NOTE: If the picture is not visible, select Show This Picture
from the Options menu.
Hi Select Sizing & Scaling from the Frame menu.
§ Choose Fit in Frame and Aspect Ratio: Maintained.
SIZING 8 SCALING [7]
Flow Text Around: On
Upper Left X: 26,06] HQ Upper Left V: 40,06 OH
Frame Width: 18,06 Frame Height: 21,06
Horiz. Padding: 00,00 Vert. Padding: 00,00 picas 8 points
Picture Scaling;
Aspect Ratio:
| By Scale Factors
| Distorted |
X Crop Offset: 06,00 OH V Crop Offset: 00,06 OH
Scale Width: 18,06 Scale Height: 21,(MI
jgm | Cancel
Choosing Fit in Frame and Aspect Ratio Maintained fits the
picture in the frame and maintains the same horizontal and
vertical proportions.
Once the picture has been placed, you can add a caption to the
frame. In the previous chapter, you created a caption by
typing directly into the caption frame. This method allows you
to create long captions and edit them in text editing mode.
This time you will create a caption label. Caption labels are
entered and edited in the Anchors & Captions dialog box. They
cannot be entered or changed in text editing mode. Chapter
Nine explains how to use caption labels for automatic num¬
bering. Right now, however, you will simply use this feature to
add a short, unnumbered label.
H Select Anchors & Captions from the Frame menu.
H Choose Caption: Above. Move to the Label line and type:
Ms. Joan Belden and then click OK.
3 - 60
Pictures
*+NOTE: If the caption frame overlaps the frame above it, don’t
worry. Later you will resize the frame to fit the space.
At this point you can change the attributes of the caption label
you just created.
H Enable Paragraph mode. Select the paragraph “Ms. Joan
Belden.”
Notice that the Current Selection Box displays a generated
tag name: Z_LABEL CAP. Ventura automatically assigned
this tag to the label when you typed it into the Anchors &
Captions dialog box. You can change this tag in Paragraph
mode as you would any other.
Style: B-Italic
Size: 010.0 points
Above: 06.00 fractional pts
Inter-Line: 10.00 fractional pts
Add in Above: Always
After you change the attributes, shorten the caption frame
one line length so the caption text is visually separated from
the text above.
H Enable Frame mode.
11 Select one of the sizing buttons on the caption frame menu
and reduce the frame by one line snap unit (Figure 3-45).
Font
Spacing
Print selected pages
3 - 61
Figure 3-45.
^ NOTE: If you make the frame too small, select Sizing & Scal¬
ing from the Frame menu and make the frame height 02,00
picas & points.
Chapter
Print selected pages
Having added a picture, you are ready to print the newsletter
to see the results of your changes. The To Print option (File
menu) lets you specify which pages to print and the order in
which to print them.
P Save the chapter (press Ctrl-S).
H Select Tb Print from the File menu.
^ Choose Which Pages: Selected. Move to Through Page,
press Esc, and type: 0002
^ Choose Printing Order: 1st to Last and click OK.
3-62
Chapter
PRINT INFORMATION (POSTSCRIPT - Ultimate)
m
Which Pages:
Selected
From Page:
0B01
Through Page:
0002
Number of Copies:
01
Collated Copies:
Off
Printing Order:
1st to Last
Paper Tray:
Default
Crop Marks:
Off
Spot Color Overlays:
Off
Huiti■ Chp, Print Files:
Combined
Device Name!
POSTSCRIPT
Output To:
C0M1:
|Cancel|
Ventura prints both pages of the newsletter.
*+NOTE: Because of the image on page two of the newsletter,
the document will take longer to print.
Understanding set printer info
This is a good point to introduce you to the Set Printer Info
dialog box. This selection from the Options menu allows you to
change printers. Take a moment to glance through the sample
dialog box in Figure 3-43.
SET PRINTER INFO (POSTSCRIPT - Ultimate)
□
Device Name:
I HP LJ+, 300 dpi | ■lUMKiiilliM
Screen Fonts:
EGfi| (Use those Hatching this File extension.)
Output To:
| LPT1 j| LPT2 II LPT3 | —ifcONn | Directl |
Filename |
Width Table:
C:\UENTURA\0UTPUT.WID
Cownand:
| Load Different Width Table (i.e., Font Metrics) | |
ran
I Cancel j
Figure 3-46.
Understanding set printer info
3 - 63
Let’s consider each line and its function. At the top is Device
Name. As you can see from the example above, this line
permits you to choose between different printers. If you in¬
stalled only one printer during VPPREP then only one printer
name will appear on the Device Name line.
** TIP: To add a new printer after installing Ventura, insert Ven¬
tura Disk #1 into the A: drive and type vpprep, just as you did
when originally installing the program. Answer No when
VPPREP asks you if you are installing for the first time so you
will not have to redo the entire installation.
Switching printers is not as simple as making a choice from
the Device Name line. You must also confirm that the width
table matches the printer. The width table is a separate file
that tells Ventura how much space to allow for each character.
The last line in the dialog box, Quality, signals whether or not
the width table matches the printer. If Quality says “Ul¬
timate,” then you have a correct match. If Quality reads
“Draft,” you have a mismatch.
Suppose you choose a new device name and notice that
Quality says “Draft.” lb switch to the correct width table, click
on the Load Different Width Table button. Ventura will dis¬
play an item selector. Width tables are clearly labeled with
names similar to printer names. Pick the one that matches
your printer, then click OK. When you will return to the Set
Printer Info dialog box, the Quality line will read “Ultimate.”
^ TIP: Use Draft quality to mimic one printer with another. For
instance, you could use a LaserJet Plus to imitate a PostScript
typesetter for proofing purposes. Select the LaserJet device,
but use the PostScript width table. Although the output will not
be very attractive, the line endings will be accurate.
The Screen Fonts line enables you to add screen fonts that
more closely mimic printed fonts. Adding screen fonts is out¬
side the scope of this project. The Output To line lets you
change the printer port. For example, if you switch your
printer from COM1 to COM2, there is no need to reinstall
Ventura. Just make the correct selection on this line. From
then on, Ventura will send its output to the COM2 serial port
instead.
3 - 64
Chapter
The Width Table line enables you to confirm which width
table is in use. It is originally set for the default width table,
called OUTPUT.WID. Under most circumstances, OUT-
PUT.WID is the best choice for the documents you create.
Ventura saves the name of the width table with the style
sheet. As long as a style sheet specifies the default OUT¬
PUT.WID, it can be used on another system, even if that
system has a different printer. OUTPUT.WID automatically
matches the printer in use on that particular computer.
Back up a publication
You have already encountered Multi-Chapter, which you use
to back up individual chapters. You can also combine chapters
into what Ventura calls a publication. The chapters that make
up a publication can be copied or printed as a group.
Create a publication
You will use Multi-Chapter to create a publication called
PART_ONE. You will use this publication to back up all three
of the chapters you created in the first section of this book.
H Place a formatted floppy disk in the A: drive.
H Select Multi-Chapter from the Options menu. If you
haven’t saved recently, Ventura asks you to Save or Aban¬
don your changes. Choose Save.
The Multi-Chapter dialog box appears and the current chap¬
ter, C:\TEMP\3NEWS.CHP appears highlighted in reverse
video at the top of the list.
^ Choose Add Chapter.
Ventura displays the Item Selection box.
li With the Backup button, locate the C:\TEMP subdirectory
and scroll through the listing until you find the
1REPORT.CHP chapter. Select the chapter.
Ventura returns you to the Multi-Chapter Operations Box.
Use the same Add Chapter function to add 2PROPOS.CHP to
the publication list.
11 Choose Add Chapter. Select the chapter 2PROPOS.CHP.
Save the publication
3 - 65
Save the publication
H While still in the Multi-Chapter dialog box, select Save As.
H Use the Backup button to find the C:\TEMP subdirectory
and enter the name PART_ONE (notice the underline char¬
acter between the “T” and the “O”). Click OK.
Copy the publication
^ Make sure that none of the chapters is highlighted.
3-66
Chapter
If a chapter is highlighted, you will copy just that chapter
instead of the publication. To deselect a chapter, click
anywhere inside the dialog box.
H Select Copy All.
The name of the publication is displayed at the top of the
dialog box. The destination lines show the disk drive and
subdirectory to which each file will be copied. Tell Ventura
which disk and subdirectory you want to use.
Hi Move the cursor next to the PUB & CHPs: line, press Esc to
clear the line and type: A: \
H Choose Make All Directories the Same As the First. The
click OK.
COPV ALL
m
SOURCE (from this file)
PUB on CHP:
C:\TEMP\PART ONE.PUB
DESTINATION (to these directories)
PUB 8 CHPs:
A:\j
STVs 8 WIDs:
A:\
Text Files:
A:\
Graphic Files:
A:\
Image Files'.
A:\
Command:
1 Hake fill Directories the Sane As the First HbRI
| OK | | Cancel |
Ventura copies all the files for all three chapters to the A:
drive. When the copy function is complete, you return to the
Multi-Chapter dialog box.
Hi If you have the time, print the publication by selecting
Print from the Multi-Chapter dialog box.
H' Choose Done. When Ventura asks you if you want to aban¬
don or save changes made to the publication, click on Aban¬
don to return to the work space.
Congratulations — you made it through Ventura boot camp.
Getting started from scratch is always the hardest part. Now
that you’ve completed basic training you’re in shape for al-
Copy the publication
3 - 67
most any assignment. You’ve got the know-how to make docu¬
ments more professional, more pleasing, and more effective.
In the next section of this book, you will use this fundamental
knowledge as the jumping off point. Part Two will teach you to
put Ventura through its paces by creating a series of special¬
ized, high-performance documents.
Some of you may not plan to go on to Part Two immediately.
We recommend that you skim the theory sections of the ad¬
vanced chapters even if you can’t take the time to complete the
exercises. Chapter Four, for instance, introduces the impor¬
tant concept of thumbnail sketches. Thumbnail sketches are
such time-and-trouble-savers that some Ventura instructors
won’t let their beginning students start a document until they
have completed a sketch.
Tips and techniques
Frame tips
□ To select a frame, click once anywhere inside its boundary
while in Frame mode.
□ To resize a frame, place the cursor on a sizing button on the
edge of the frame and drag with the mouse to the new size.
□ To move a frame, place the mouse cursor anywhere inside
the frame. Hold down the mouse button until the four-way
arrow appears. Then drag the frame to a new location.
□ Once you copy a frame into the clipboard, it stays there
until you replace it with another frame (or until you exit
Ventura).
□ You can copy several frames into memory at once. Use
Shift-Click to select the frames, then delete them or copy
them to temporary memory.
□ You can move frames and their contents from one chapter
to another using temporary memory. Open the first chapter.
Place the frames you want to move onto one page, then copy
or delete them to put them into temporary memory. Now
open the second chapter. (Abandon the changes to the first
chapter so it will revert to its original form.) Enable Frame
3 - 68
Chapter
mode and press Ins. The frames will appear inside the new
chapter.
□ If you will be drawing many frames with similar attributes
(frame backgrounds, ruling lines, etc.), use the clipboard to
speed the process. Draw one frame and change its at¬
tributes. Copy it to memory. Now paste copies for the suc¬
ceeding frames. This is faster than changing line and back¬
ground attributes one by one for each frame as you draw it.
□ Ventura can flow a long text file from one frame to another.
Select the first frame and click on the file name in the
Assignment List. Now select the second frame and click on
the file name again. If you make additions or deletions to
the text, it will flow back and forth between the frames.
□ Ventura cannot flow text “backwards.” It cannot flow text to
a previous page. In addition, it cannot flow text to a pre¬
vious frame (one that was drawn on the page first).
□ Use sizing & scaling from the Frame menu to fine-tune the
size and position of frames.
□ Think of the Page as a page-sized frame that automatically
repeats itself if necessary to accommodate large text files.
□ You can change the size of the Page with Sizing & Scaling
just as if it were an ordinary frame.
□ For documents with several text files, such as newsletters,
place text into frames rather than placing it on the Page.
□ When creating a newsletter-style document with frames,
format the Page first and use it as an invisible snap-to grid
for drawing frames.
Text tips
□ You can type text directly into frames while in Ventura.
□ Text typed in frames is stored in the caption file unless you
specify otherwise. To save to a different file, select the
frame, then use File Type/Rename from the Edit menu to
specify the file name and format you want instead.
□ Use the function keys to tag paragraphs while in Text
mode. First assign tag names to different function keys
using Assign Function Keys from the Update Tag List
Copy the publication
3 - 69
dialog box (Paragraph menu). Then you can retag any para¬
graph in Text mode just by pressing a function key while
the cursor is anywhere within that paragraph.
□ You can assign a tag to multiple paragraphs in Text mode.
Drag the cursor through (or use Shift-Click) the para¬
graphs you want to tag. When all the text is highlighted
press a function key.
□ Assign function keys alphabetically, or in any fashion that
makes the assignments easy to remember (for example, FI
for Headl, F2 for Head2, etc.).
□ If you cannot remember which tags are assigned to which
function keys while you are in Text mode, press Ctrl-K to
bring up the Assign Function Keys dialog box. Click OK to
close the dialog box.
□ If you press Ctrl-K while you are in Paragraph mode, Ven¬
tura displays the Update Tag List dialog box. Choose As¬
sign Function keys to review the function key assignments.
Then click OK twice to return to the work space. If you are
in Text, Frame, or Graphic mode, Ventura automatically
displays the Assign Function Keys dialog box.
Style tips
□ To place two tags on the same line, give the first tag a line
break before. Give the second tag a line break after.
□ There are two ways to keep two tags on the same line from
overlapping. First, you can align one flush left and the
other flush right. This method is satisfactory as long as the
text is short enough that the tags will not meet in the
middle and overlap each other. Second you can use In From
Left and In From Right (Spacing, Paragraph menu) to
confine each tag to a specific area.
□ Create leader dots with the Tab Settings dialog box. In¬
stead of showing the tab as an open space, show it as leader
dots. The dialog box also lets you vary the spacing between
the dots.
3 - 70
Chapter
Picture tips
□ Use Ventura’s caption label function for brief captions, or
captions that must be numbered (for example, “Figure 1-
1”). Use the Anchors & Captions dialog box to type them in
or to edit them. Longer captions are typed directly into the
caption frame in Text mode.
□ Caption labels are automatically tagged by Ventura and
Can be modified in Paragraph mode like any other para¬
graph.
Chapter tips
□ Use the Last to 1st print option if your printer produces
pages face up. If it puts out pages face down, use the 1st to
Last option.
□ You can install additional printers by reusing the VPPREP
installation program. You will not have to go through the
entire process. Ventura will only copy over the new fonts
and drivers you need.
□ Use Set Printer Info from the Options menu to switch from
one printer to another. Be sure to change width tables at
the same time.
□ You can mimic one printer with another by using a different
width table. The most common use of this capability is to
use a non-PostScript laser printer to preview pages that
will ultimately be sent to a PostScript typesetter.
□ To copy or print several chapters at once, place them into a
publication using Multi-Chapter from the Options menu.
Then copy or print the entire publication.
Chapter Four
Skills Checklist
Theory
□ How Graphic mode works
□ Easy drawing with the snp-to grid
□ When (and when not) to use Box
Text
□ Modifying generated tags
Text
□ Typing and editing Box Text
Style
□ Adding text attributes to the header
□ Line and fill attributes
□ Using leader dots for a tear off line
□ Creating an underscore
□ Number lists with decimal alignment
Pictures
□ Enhancing graphic shapes with line
and fill attributes
□ Adding lines and arrows
□ Showing graphics on all pages
Chapter
□ Updating page counters
□ Inserting a page
□ Printing multiple copies
Chapter Four
An Invoice
W elcome to Chapter Four, where you will learn a simple
but highly effective strategy for creating a standard
business form. In this first advanced chapter, we will be show¬
ing you a lot of new techniques and features. The checklist on
the left lists some of the skills you will learn.
Like all of the advanced section, Chapter Four assumes that
you understand the basics from Part One. We will move faster
than we did before. We will assume you can handle standard
functions such as loading and placing files, adding and chang¬
ing tags, etc., with a minimum of instructions. We will save
step-by-step explanations for techniques you haven’t seen
before.
Theory
Most of this chapter’s sample document is built using
Ventura’s Graphic mode. You will find it easier to follow along
if you understand these three important concepts:
• How Graphic mode works
• The snap-to grid
• Box Text
Graphic mode
Ventura has tools for building lines, circles, rectangles, and
Box Text (text inside a rectangle). You can use these shapes to
draw simple artwork, create tables, add crop marks, annotate
illustrations from other programs, or to build forms. Once
you’ve learned to operate these tools, you’ll find important
4-2
Theory
uses for them in many kinds of documents. Nevertheless, we
recommend using a specialized, stand-alone graphics program
to create complex illustrations, just as we recommend using a
stand-alone word processor to create more than a paragraph
or so of text.
How graphic mode works
The five key points explained below will help you understand
how the Graphic mode operates. We use the term shape(s) to
refer to lines, boxes, or circles created in Graphic mode.
*+ Key Point #1:Every shape is attached to a ‘‘parent, ’’ which can
be a frame or the Page.
If you move, copy, or delete the parent, the shapes are moved,
copied, or deleted as well.
*+Key Point #2: The parent is the frame or Page that is active
when you select a graphic shape.
The parent can be the Page itself, or a frame on top of the
Page. Anything you draw is attached to that parent. In both
Frame and Graphic mode, look for the sizing buttons that
indicate which frame is active (Figure 4-1).
Figure 4-1 . Sizing buttons are displayed around the edge of the active
frame or Page.
How graphic mode works
4 - 3
Parent frame of _
graphic shape below
Key Point #3: Shapes do not have to be near the parent frame,
but they must be on the same page.
There is no restriction on the placement of shapes on a page.
They can be inside the parent frame; touching the parent
frame; or completely removed from the parent frame, as long
as they are on the same page. For instance, you could place a
tiny frame in the upper left comer of the page, and then draw
a shape in the lower right comer. That shape would still be
tied to the parent, even though the two are nowhere near each
other on the page (Figure 4-2).
Desk File Edit View Chapter Frane Paragraph Graphic Options
Figure 4-2. You can place a graphic shape anywhere on the page. It
doesn’t need to be near the parent frame.
*+Key Point #4: Different shapes can have different parents even
if they are on the same page.
To choose a new parent frame, select a new frame in Graphic
mode. The new frame will be the parent to any shapes you
draw from now on.
** Key Point #5: You can make a shape repeat on all pages of the
document.
Normally, when you draw a shape on the Underlying Page it
appears only on that page. If you want to make the shape
appear in the same position on every page of the document,
you select Show On All Pages from the Graphic menu.
4-4
Theory
^ NOTE: In earlier versions of Ventura , the shapes you attached
to the Underlying Page automatically repeated on every page
in the document. In Version 2, you must select Show On All
Pages (Graphic menu) to make the shapes display throughout
the document.
The five points above are the major factors to consider when
using Graphic mode. There are additional tips at the end of
the chapter. If you have never used Graphic mode before, you
may want to read through the tips now. Then, after you’ve had
some practice drawing shapes, you can review the list again.
The snap-to grid
The most important part of graphics drawing is getting
shapes the right size and position. Ventura’s Column Snap
and Line Snap functions do not work in Graphic mode. For¬
tunately, Graphic mode has its own snap-to grid function.
The snap-to grid is the secret to working painlessly and
productively in Graphic mode. If you know how to set up a
good grid, Ventura does the hard work for you. The Grid
Settings feature is found in the Graphic menu. It allows you to
turn the grid snap on and off, and to set the horizontal and
vertical grid spacing.
The invisible grid starts from the upper left edge of the page,
dividing it into horizontal and vertical units. Take a look at
Figure 4-3, which shows how a typical grid would appear if its
lines were visible. Figure 4-3 has both horizontal and vertical
units set to six picas. The tick marks on the ruler show that
the first grid lines begin six picas from the left edge of the
paper and six picas from the top edge of the paper, and con¬
tinue in six-pica increments.
The grid acts like a magnetic field. Any shape you place on the
Page snaps to the nearest invisible line. You cannot misalign a
shape; Ventura won’t let you. With the grid shown in Figure
4-3, for example, you can draw a box that is six picas on each
side; or 12 picas; or 18 picas — or any shape with measure¬
ments in units of six (Figure 4^4). You cannot, however, draw
a 10-pica box. To do that, you would have to change the grid
settings to 2, 5, or 10.
Planning the grid
4 - 5
Desk File Edit Viet* Chapter Frane Paragraph Graphic Options
Figure 4-3. If you could make the snap-to grid visible, you would be
able to see how it divides the page into horizontal and vertical units.
Figure 4-4. Any shape you place on the page automatically snaps to
the nearest grid unit. (Grid made visible for illustration purposes only.)
Planning the grid
Once you understand that the grid is measured from the
upper left corner of the page or frame no matter what the
margin settings are , then you can plan the grid settings to
coordinate with the overall page design.
First you must consider the size of the grid setting. With a
large grid setting it is harder to make mistakes. If you want to
4-6
Theory
draw six-pica boxes and you set the grid at six picas, it will be
hard to go wrong.
Next consider the margin settings. For instance, to draw a
row of six-pica boxes across the page, you might set your page
margins and your grid settings to six picas. The grid would let
you line up the shapes with the margin. But if you were
drawing those same boxes on a page with four-pica margins,
the boxes would not line up with the margin. The grid would
allow the shapes six picas from the edge of the paper, or 12
picas, or 18 picas — but not four picas (Figure 4-5).
Figure 4-5. The six-pica shapes will not align with the four-pica margin
in this illustration. To line up boxes with the margins, make the grid
setting a common denominator of the shapes and the margins.
To line up boxes with the margins, set the grid to the common
denominator of the shapes and the margins . For instance, you
might choose two picas for the grid setting in the example
above. Two picas is the lowest common denominator between
the six-pica boxes and the four-pica margins. You could even
turn the grid off and align the boxes by eye. However, you will
never be as accurate manually as Ventura’s automatic grid.
In some cases, you might want to change the grid as you go
along. For instance, you might select six picas to draw six-pica
boxes, then switch to two picas to draw narrower boxes. Be
careful, though. If you change the size of the boxes you have
already drawn, they will automatically snap to the new grid
settings.
Box Text
4 - 7
*+NOTE: Each frame can have a different grid setting, if you are
working inside multiple frames , make sure they alt have the
same grid settings to avoid confusion.
You will learn more about how to use the snap-to grid by
following along with this chapter’s project.
Box Text
Box Text is the third and final concept you should understand
before tackling the invoice. Box Text is a special type of
graphic shape. It is drawn, placed, and sized just like an
ordinary rectangle. But when you release the mouse key, the
end of file marker ( □ ) appears inside the rectangle. Then you
can switch to Text mode to type your own text directly into the
box (Figure 4-6).
Figure 4-6. Type your own words into the Box Text shape.
The name Box Text leads some users to believe that the text
must always appear inside a visible rectangle. In fact, you can
make the rectangle “invisible” so the text is the only thing that
shows. This is a convenient way to stick a word or two
anywhere on the page without regard to the margin or frame
boundaries. Box Text, like all shapes, can appear anywhere on
the same page as the parent frame (or Page).
You can vary the lines and the background shading of Box
Text to create a variety of effects (Figure 4-7). When combined
with Ventura’s line drawing function, Box Text is a handy way
4 - 8
Theory
Figure 4-7. By changing Box Text’s line and till attributes, you can
create a variety of effects.
to create callouts — labels that point to a particular feature of
an illustration.
WARNING: Not all of the effects shown in Figure 4-7 are available with all printers.
i
\ You may have to test your printer to see just how well it
. performs at overlapping one graphic shape with another. With
many PostScript printers, for example, you cannot place Box
Text with a white background over a frame with a pattern
background. The Box Text will show on screen, but it will not
print out. Here’s how to trick most PostScript printers into
printing overlapping graphics: First draw a solid white rec¬
tangle shape over the frame background. Then place a white,
hollow, transparent Box Text shape on top of the rectangle.
This double overlap effect allows you to print out Box Text
shapes on patterned backgrounds.
Box Text versus frame text
In some ways, Box Text resembles text in small frames. In¬
deed, there are many situations when you can create the same
effect with frame text as with Box Text. Perhaps the easiest
way to distinguish between them is to say that frame text can
be a separate file (if you want it to be). Box Text, by contrast,
must always be typed by the user directly into the chapter,
Box Text versus rectangles
4 - 9
where it is stored in the caption file. As a general rule, you
should use frames to place more than two dozen words or so.
Use Box Text to place smaller amounts of text. At the end of
the chapter we give you more tips on when to use frames and
when to use Box Text.
Box Text versus rectangles
A final point about Box Text: Sometimes you should use it
instead of the standard rectangle drawing tool. If you simply
want a box without any words inside, the rectangle tool is fine.
But if you think that you might want to place text inside at
any time, use the Box Text tool instead. You will be able to
type text into this rectangle at a later time.
For example, when creating the form in this chapter, we used
Box Text to build all the empty boxes and columns. Because of
this, an operator could fill in the form on-screen (Figure 4-8).
Desk File Edit View Chapter Frane Paragraph Graphic Options
11
1 C:\fWESET\iUSlHESS\ltW0ICE2.CiP (IMUDfCC.STV) !iiilH1111111- ♦
l‘ .. 1” . 1 *
i Order No.
Order Date
Customer No. 11
#1234
11/488
345009-90
Qy. Ordered
Unit
Item No.
Hem Description
1
1
23409
41/4" Cedar Table
30 _
I Mew Fra
E
Figure 4-8. Use Box Text instead of a rectangle if you plan to enter text
inside a shape.
The Z_BOXTEXT tag
Now that you understand the graphic capabilities of Box Text,
let’s take a closer look at the “text” part of Box Text. Box Text,
like headers, footers, and captions, is a generated tag (ZJBOX-
TEXT). You can format it with the attributes in the Paragraph
4 - 10
Theory
menu, rename it to another tag, or remove it from the Assign¬
ment List. In this chapter’s invoice, for example, all the text is
created via Box Text, then formatted with different tags from
the style sheet.
After reading the theory behind Graphic mode, you’re ready to
put the theory into practice. While you work on the invoice,
you may find it helpful to refer back to this theory section or
refer ahead to the tips at the end of the chapter.
The ZBOXTEXT tag
4 - 11
G>t/A/t=R d>OL0
■itfit Heiver
CeuTefieo A& c APi
)
~^o%5cfie6hJ
I.ZftfA Holc
• l2fit Heu/£TICA 8o<-0 ITALIC
LeprJiKTifiiBP
XYZ
CORPORATION
123 Main Street
Lae Angeles. CA 90000
(213) 555-1111
Ship to:
International Paper Co.
1701 Broad Street
Philadelphia, PA 19000
Peaae Return Top Portion Win Payment Amo uni of Payments _
XYZ CORPORATION
123 Umm Street
Lot AngtbB, CA OOOOO
4 -12
Planning the invoice
Planning the invoice
An invoice is a standard business form for billing information.
Its goal is to present separate categories of information in an
orderly fashion, while making the most important numbers
stand out. For example, you want it to be very easy for your
customers to spot how much they owe you. Our example uses
boxes, lines, and shading to differentiate and clarify informa¬
tion.
There are other design considerations. For instance, many
invoices are divided into two parts so customers can return
one portion with their payments. The design should include a
place for the company address on both halves of the form, so
customers know where to write or call even if they have
already sent off the other half. In addition, the customer’s
mailing address should be positioned to show through a stand¬
ard-size window envelope.
The method of fill-in must also be part of your planning. If the
form will be filled out with a typewriter, make the (Body Text)
inter-line spacing in increments of one pica, so it matches the
standard line spacing of typewriters. If it will be filled out by
hand, make sure the blanks and boxes are large enough for
easy writing.
The invoice you make can be used as a camera-ready master
and sent to a printer, or it can be filled in on-screen on an “as
needed” basis.
A thumbnail sketch
It is easier to work with Ventura if you draw a simple
thumbnail sketch before starting. In the first three chapters,
the “after” versions of the sample documents have served this
role. As you begin creating documents of your own, spend a
few moments planning the design with pencil and paper
before loading Ventura. Creating a thumbnail sketch forces
you to do some hard thinking and decision-making up front.
The suggestion to “start with a thumbnail sketch” is probably
found in more books on page design than any other piece of
advice. Certainly, advance planning can speed the process of
Start a new chapter
4 - 13
producing pages in Ventura. Here are a few of the elements to
consider as you draw the sketch:
• Margins
• Columns
• Gutters
• Size of frames or Box Text
• The upper left starting position of frames or Box Tfext on the
page
Do as many of the calculations as possible while preparing the
sketch. Jot down dimensions and positions of key page ele¬
ments. While you’re at it, figure out the horizontal and verti¬
cal grid units by finding a common denominator between the
margins and the size of the shapes. It is much easier to do
calculations on paper than in your head while staring at a
dialog box.
Look at the pictures of the thumbnail sketch and the final
version of the invoice. Here are some of the techniques you
will use to achieve these effects:
• Snap-togrid
• Black type on a patterned background
• Lines and line attributes
• Box Text, rectangles, and tint screens (fill patterns)
• Automatic invoice numbering in the header
• Dotted tear line
Ventura prep
As always, prepare for the project by loading and renaming
files to their proper location.
Start a new chapter
If you are continuing directly from Chapter Three, select New
from the File menu to start a new chapter. Selecting New
4-14
Ventura prep
removes the current chapter and text from your screen, but
retains the current style sheet.
£8 Select New from the File menu.
If you have the Power disk
If you have the Power disk, complete the next two steps, then
skip to the text section.
li Use Load Diff. Style to load the style sheet 4FORM.STY
from the C:\POWER subdirectory. Then select Save As
New Style to save and rename it as C:\TEMP\4IN-
VOICE.STY.
Save and rename the chapter so you can safely save your
progress under the correct name just by pressing Ctrl-S.
H Select Save As and save the chapter as C:\TEMP\4IN-
VOICE.CHP.
^NOTE: Save As makes a copy of the files (.CHP,. VGR, .CIF,
etc.) linked to the chapter. It does not make a copy of the
picture files.
Since all the text for this document is created with Box Text
shapes, you do not need to type in a separate text file for this
project.
If you do not have the Power disk
You will find it a bit more difficult to follow along without the
Power disk in the advanced section. The Power disk includes
sample style sheets, text files and (in a few cases) sample
chapters with most of the basic work done already. You need
only work on advanced techniques and skills to complete the
document.
Nevertheless, with just a bit more work on your part it is
possible to complete all the sample documents without the
disk. In general, you must take these four steps:
Start a new chapter
4 - 15
1. Type in the text file for that chapter from Appendix A using
a word processor. Then load it into the \TEMP subdirectory.
2. Load one of the style sheets that come with Ventura instead
of the style sheet from the Power disk. In each advanced
chapter, we give you brief suggestions on which style sheets to
use and what modifications to make.
3. Modify the columns and margins as necessary to match the
Power style sheet using the illustrations provided.
4. Find the tag table in Appendix B and change or modify the
tag attributes. The tag table describes the style sheets that
come with the Power disk. If you don’t have the disk, you must
enter these attributes manually before you start the project.
For this chapter, we recommend starting with the &INV-
Pl.STY sheet from the \TYPESET subdirectory. (If you can¬
not find it, then copy the style sheet from the original Ventura
Examples Disk.)
ii Load the &INV-P1.STY style sheet into the new chapter
and then save it under the new name C:\TEMP\4IN-
VOICE.STY. Change the margins and columns to match
Figure 4—9.
If you do not have the Power disk, manually format your Page
as shown in the Figure 4-9.
H Change the tags to match the attributes provided in the tag
table in Appendix B.
All the text in this chapter is created with Box Text. You do not
need to load a separate text file.
After loading and renaming the style sheet, save and rename
the chapter file.
H Select Save As from the File menu and save the chapter as
C:\TEMP\4INVOICE.CHP.
Figure 4-9 The margins and column settings for the Invoice.
Build the header
4 - 17
Text
The Ventura Formula provides a solid strategy for completing
most documents, but you must vary it slightly for documents
where you place text in frames and boxes. In Chapter Three,
for example, you placed text files after building frames to
contain them. Similarly, to create this chapter’s invoice you
will add text after building boxes. Here’s the order to follow:
• Format the Page
• Build a snap-to grid
• Draw the Box Text shapes
• Add your own text to the boxes
After you enter the text to the boxes you can proceed with the
rest of the Ventura Formula.
^ NOTE: The Ventura Formula is a handy rule of thumb to get
you started. As you become more proficient, you will discover
new strategies to fit your personal style.
Style
Whether you loaded the style sheet from the Power disk or
recreated it on your own, you should have the correct values
for the paper size, starting page, and margins and columns. To
complete the chapter layout you only need to enter the header
text. Header text is not stored in the style sheet (although the
header format is).
Build the header
Since you learned how to create basic headers in Part One, we
are now going to show you some advanced techniques.
You already know that you can change the attributes of the
header text using the Paragraph menu. In this example, you
will learn how to make similar format changes using text
attribute codes in the Headers & Footers dialog box. By using
the dialog box, you can make part of the header display in one
4 - 18
Style
format (which you set in the dialog box) while another part
displays a different format (which you set with the Paragraph
menu).
If you refer back to the “After” picture earlier in this chapter,
you will notice that the “Invoice No.” portion of the header
displays in 14-point Times, but the “1001” portion is in 18-
point Courier Bold. Now we will show you how to achieve this
effect.
Change text attributes in the dialog box
In the instructions that follow, you will change text attributes
in the Headers & Footers dialog box. To do so, you will make
use of the buttons at the bottom of the dialog box to enter a
generic code. After you choose a button, you must then erase
part of the code and put in the information you want to use.
For instance, choosing the Text Attr. button inserts the code
<D>, which is the code to turn off all text attributes. To turn
on the text attributes you want, you must substitute another
code inside the brackets. For instance, you could substitute
the letter B inside the brackets to specify bold or I for italic.
Keep in mind that all the buttons in the dialog box merely
serve as a shortcut. You could just have as easily typed <B> or
<I> right from the start. However, most people find that it is
faster to use the buttons, since they eliminate the need to
memorize the correct codes.
*+NOTE: The buttons at the bottom of the dialog box are for
convenience only. If you prefer ; you can type in the codes
without using the buttons.
H Select Headers & Footers from the Chapter menu. Choose
Define: Right Page Header, Usage: On. Move to the Right
line and type: No . followed by a space.
II Choose the Text Attr.button and delete the letter “D” (do not
delete the right and left brackets). Then type the following
codes inside the brackets: BF1P18
Change text attributes in the dialog box
4-19
You have just inserted the codes for three text attributes. Let’s
look at each one in turn.
• B tells Ventura to make the following text bold.
• FI tells Ventura to switch to font #1, which is Courier.
(Ventura assigns numbers to fonts. The Xerox Ventura Pub¬
lisher Reference Guide lists the font number codes).
• P18 tells Ventura to change the point size to 18 points.
Now you will tell Ventura to display the current page number
after the word “No.” As you will see, Ventura’s page counter
will then automatically number the invoices in sequence when
you add a new page.
HI Move the cursor after the right bracket and choose Inserts:
Page #. The page numbering code [P#] appears on the line.
To complete the header dialog box, turn off the attributes at
the end of the line.
H Choose Inserts: Text. Attr.
The last <D> symbol tells Ventura to return the font to nor¬
mal.
Make sure the dialog box looks like Figure 4-10:
Right Page Header
HEADERS » FOOTERS
Define: | Left Page Header ]
| Left Page Footer"] | Right Page Footed
Usage: Q HofTI
Left: _
Center: _
m
Right: No. <BF1P1B>[P«]<D>L
Inserts: | Chapter B~| | Page tt 1 1 1st Natch"! | Last Hatch |
| Text Attr~] | Copy To Facing Pag^l
Cancel |
Figure 4-10.
4 - 20
Style
After you close the dialog box, the header appears at the top
right comer of the page (Figure 4-11).
Figure 4-11.
Change the page number
Right now the header displays the number 1. With Ventura’s
Update Counters feature, you can make a document begin on
any page number. For example, let’s make the first page start
at 1001.
§i Select Update Counters from the Chapter menu. Choose
Which Counter: This Page, Update Method: Restart Num¬
ber, Restart Number: 1001, and Number Format: 1,2.
Reset the zero point
4 - 21
When you select Which Counter: This Page, you change the
numbering starting with the current page only. On the other
hand, when you select Which Counter: Initial Page, Ventura
resets the numbering starting with the first page in the docu¬
ment. In both cases, the subsequent pages follow sequentially.
Since the invoice number is based on the current page num¬
ber, it will change as soon as you click OK and return to the
page (Figure 4-12).
Desk File Edit View Chapter frane Paragraph Graphic Options
C:\TEMP\4IIW0ICE.CHP (4IIW0ICE.STV)
No. 1 0 0 1
II
Figure 4-12.
Once you finish the header, the chapter layout is complete.
Now you can begin to add the boxes, starting with the lower
half of the form and then continuing with the top half. The
dimensions in Figure 4-13 will help you gauge the size of the
shapes.
Reset the zero point
IPs easier to draw the invoice shapes if you reset the zero point
of the ruler so it lines up with the upper left corner of the
column margin. Here’s how:
H Change to Reduced View (press Ctrl-R).
4 - 22
Style
Select grid settings
4 - 23
Place the cursor on the zero point square (0,0) in the upper
left comer of the Page. Press and hold the mouse button
until the four-way arrow appears. Drag it downwards until
the horizontal and vertical crosshairs line up with the
upper left corner of the column margin. Then release the
mouse button. Notice that “0” on the horizontal and vertical
rulers now lines up with the upper left corner of the column
margin (Figure 4-14).
Desk File Edit View Chapter Frane Paragraph Graphic Options
Figure 4-14.
WARNING: If you do not reset the zero point as we explained above, your horizontal
and vertical rulers will not match the rulers we show in the project’s illustrations.
Select grid settings
After you reset the zero point, you are ready to draw.
To help you accurately line up graphic shapes, you should use
Grid Settings from the Graphic menu. You will set the
horizontal and vertical spacing to the largest common meas¬
urement between the margins and the graphic shapes. In this
example, we recommend that you set the horizontal spacing to
01,06 picas & points and the vertical spacing to 03,00 picas &
points.
il Enable Graphic mode (click on the Graphic button in the
Mode Selector).
H Select the Box Text tool from the Side-Bar.
4 - 24
Style
Now select Grid Settings from the Graphic menu. Change
the unit measurements tp picas & points.
Choose Grid Snap: On. Make the Horizontal Spacing: 01,06
picas & points and Vertical Spacing: 03,00 picas & points.
Click OK.
GRID SETTINGS
□
Grid Snap: On
Horizontal Spacing: 01,06
picas R points
Mertical Spacing: 03,00
Cancel
Draw Box Text
H Place the upper left corner of the Box Text 21 picas down
from 0,0 so it lines up with the left page margin.
H Drag (press and hold down the left mouse button) the box
downwards and to the right until it lines up with position
51 picas on the vertical ruler and 6 picas on the horizontal
ruler. Release the mouse button (Figure 4-14).
The end of file marker ( □ ) appears inside the shape.
*+NOTE: You may have to change to Normal or Enlarged View
to see the end of file marker.
If you need to change the dimensions of a shape after it is
drawn you can resize it with the cursor. Place the cursor on
one of the black sizing buttons around the outside of the
shape. Then press and hold the mouse button until the point¬
ing hand appears. Stretch the shape to the new size and
release the mouse button. Ib delete a shape, select it and press
the Del key (or select Cut Graphic from the Edit menu).
Change line attributes
4-25
End of file marker
Figure 4-15.
P Now move the shape until it snaps to the horizontal and
vertical grid.
Change line attributes
When you are satisfied with the size of the first Box Text, save
the line and fill attributes so they will automatically apply to
the other Box Text shapes you draw.
il Select Line Attributes from the Graphic menu (or press
Ctrl-L).
^ Choose Thickness: Thin and Color: Black. Make both End
Styles: Square. Choose Save To and click OK.
LINE ATTRIBUTES Fon BOX TEXT [7]
Thickness: Thin 00,06 fractional pto
Color: Black
4-26
Style
^ NOTE: The Save To button does not stay highlighted after you
choose it in the dialog box.
Save To stores these line attributes as default values. Ventura
remembers your choices the next time you draw a Box Text.
Let’s take a moment to explain Ventura’s application of end
styles, which can be confusing. Ventura doesn’t care which
end is left or right. It only cares which end was drawn first.
Look again at the Line Attributes dialog box. The End Styles
field on the left applies to the starting point. The End Styles
field on the right applies to the ending point. This holds true
whether you draw from left to right, from right to left, from
top to bottom, or from bottom to top.
Change fill attributes
H With the Box Text still selected, select Fill Attributes from
the Graphic menu (or press Ctrl-F). Choose Color: White,
Pattern: Hollow, Result: Transparent, and Defaults: Save
To. Now click OK.
FILL ATTRIBUTES fop BOX TEXT [7]
Color: White
Pattern: Hollow
Result:
Opaque [
Transparent
Defaults: | Load From,
r~QK i
Cancel
Copy the Box Text
Now that you’ve made one Box Text, we will show you a
shortcut for the next four. Instead of using the Box Text tool to
draw each shape, use the copy and paste commands to
reproduce four copies of the original.
Paste the Box Text
4-27
M With the first Box Text still selected, press Shift-Del (or
select Copy Graphic from the Edit menu).
You have just copied the Box Text onto the Graphic clipboard.
*+NOTE: Ventura uses the same copy and paste procedures for
Graphic, Text, and Frame mode. Since Ventura treats all three
independently, you can copy or delete to three clipboards at
the same time.
Paste the Box Text
^ Press the Ins key (or select Paste Graphic from the Edit
menu).
You will see the screen redraw itself, which is your sign that
Ventura has pasted a new Box Text onto the Page. Otherwise
you might not know for sure, since Ventura pastes the copy
directly on top of the original.
Move the copy
Once you paste the copy, you can move it to a new position.
H Press and hold the cursor anywhere in the middle of the
Box Text until the four-way arrow appears. With the mouse
button still depressed, move the Box Text to the right of the
original as shown in Figure 4-16.
Figure 4-16.
4-28
Style
Repeat the above step by pasting and moving three more
Box Text shapes into place. The snap-to grid should make
aligning the shapes easy (Figure 4-17).
Desk File Edit View Chapter Frane Paragraph Graphic Options
Figure 4-17.
*+NOTE: Once you copy a shape onto the clipboard, it remains
there until replaced by something else. To insert another copy,
simply press the Ins key again.
Stretch the last Box Text
Now you will stretch the last Box Text so it lines up with the
right edge of the right page margin.
M Select the last Box Text (the one on the far right).
ii Place the cursor on any black sizing button on the right
side. Press and hold down the mouse button until the point¬
ing hand appears.
H Stretch the Box Text until it lines up with the right page
margin. Release the mouse button. The Box Text is now
twice the size as the other shapes (Figure 4-18).
Resize Box Text
You will shorten four of the Box Text shapes to make room
above for the next Box Text shape.
Draw Box Text
4-29
Figure 4-18.
^ Click on the right-most shape. Then as you hold down the
Shift key select the three shapes to the left (the left-most
Box Text is not selected). The word MULTIPLE appears in
the Current Selection Box.
*+NOTE: If you accidentally click on the wrong graphic shape,
while holding down the Shift key, click on the shape again to
‘deselect” it. Then choose another shape.
After all four shapes are selected, you can resize them
together.
11 Place the cursor on the black sizing button at the upper
right corner of the right-most Box Text. Press and hold the
mouse button until the pointing hand appears. Drag the
boxes downwards one snap grid unit (Figure 4-19).
See how quick and easy it is to draw when you use a grid? Now
that you’ve resized the four boxes, you’re ready to draw the
next Box Text shape.
Draw Box Text
Select the Box Text tool from the Side-Bar.
4 - 30
Style
Figure 4-19.
*+NOTE: You can draw several shapes, one after another, by
holding down the Shift key while you draw. The cursor stays in
the current shape drawing mode (Box Text, rectangle, line, or
ellipse) and you can draw a second shape without reselecting
a graphic tool from the Side-Bar.
M Line up the Box Text cursor with the upper right corner of
the first rectangle. Stretch it down one snap grid unit and
all the way over to the right so it lines up with the right
column margin (Figure 4—20).
Figure 4-20.
Draw more shapes
4 - 31
Draw more shapes
Now that you have the basics of Graphic mode under your
belt, you can draw the bottom section of the form.
H Select the Box Text tool.
H Align the cursor with the bottom left corner of the right¬
most box. Stretch the Box Text down one snap grid unit and
over to the right margin (Figure 4-21).
Figure 4-21.
Now you will add another Box Text shape immediately below.
H Select Box Text.
H Align the cursor with the lower left corner of the Box Text
just drawn. Stretch the shape down one snap grid unit and
over to the right column margin. The bottom of the shape
extends below the column guide (Figure 4-22).
^ NOTE: You could also copy and paste the graphic to create
the second shape.
Draw the final shape
Only one more shape and you are finished with the lower half
of the form.
Select the Box Text tool.
4 - 32
Style
Figure 4-22.
II Align the cursor with the lower left corner of the left-most
column. Stretch the shape down two grid snap units (06,00
picas & points) and over two columns to the right, as shown
in Figure 4-23.
Desk File Edit View Chapter Frane Paragraph Graphic Options
Figure 4-23.
Stopping point
Good work. You’ve already completed more than half of the
invoice. Now that you’ve learned how to draw and resize
shapes, the second part of the invoice should be easy. Take a
moment to evaluate your progress. You may want to change to
Draw the final shape
4 - 33
Normal or Enlarged View to make sure each shape is correctly
placed. Check that your screen matches Figure 4-24.
No. 1001
Figure 4-24 Check to make sure your form matches this illustration
before you continue.
This is a good point in the exercise to take a break and save
your work (press Ctrl-S to save). If you’re short on time, quit
now and start again later. If your schedule permits, continue
on to the next section without stopping. If you’re in a real
rush, you can simply read through the next few pages without
actually drawing in the rest of the box text, and skip to the
section titled “ReCap,” where we show you how to type in your
own text. However, we highly recommend that you complete
the entire project if you possibly can. The more time you
devote to practice now, the easier it will be to do your own
projects later. And drawing the last shapes should only take a
few more minutes.
4 - 34
Style
If you are starting again after a break
If you are starting fresh, reload Ventura and open the chapter
C:\TEMP\4INVOICE.CHP. Continue to the next section
where you will finish drawing the invoice.
Change grid settings
To create the narrower boxes in the top portion of the form
(refer back to Figure 4-12), make the vertical spacing smaller.
The horizontal grid spacing stays the same.
11 Make sure you are in Graphic mode with the Page selected.
H Grid Settings Grid Snap: On
Horizontal Spacing: 01,06 picas & points
Vertical Spacing: 01,00 picas & points
Draw Box Text
You will now draw the next five box shapes, which will contain
the words Date, Invoice #, Charges, Credits, and Balance. Use
the same shortcut you did to create the first set of boxes —
draw one shape, then copy and paste it to make four more.
*+NOTE: Depending on your display screen, you may find it
easier to draw these smaller shapes if you change to Normal
(Ctrl-N) or Enlarged (Ctrl-E) View.
11 Select Box Text.
II Starting at position 19 picas on the vertical ruler, draw a
Box Text shape that is 02,00 picas high and 06,00 picas
wide. Since the vertical spacing is 01,00 picas & points and
the horizontal spacing is 01,06 picas & points, the box is
two snap grid units high and four snap grid units wide
(Figure 4-25).
You will now copy the Box Text to the clipboard and paste it
back onto the page.
II With the first Box Text still selected, press Shift-Del to
place a copy into the clipboard.
Paste and place the copies
4 - 35
Desk File Edit Vie* Chapter Frane Paragraph Graphic Options
Figure 4-25.
Paste and place the copies
H Press the Ins key to paste a copy back onto the page.
H Insert three more Box Text shapes to the right of the first
ones and move them so they line up side-by-side as shown
in Figure 4-26. Then stretch the last Box Text so it snaps to
the right page margin. After you make the copies, the in¬
voice should look like this:
Figure 4-26. Here's what your invoice should look like at this stage.
4 - 36
Style
Add Box Text for the tear off line
You will add another Box Text above the five just drawn. You
will use it later to contain the dotted tear off line. (The dotted
line itself will be created with the Tab Settings option from the
Paragraph menu.)
H Select the Box Text tool.
H Starting at position 17 picas on the vertical ruler, stretch
the Box Text shape so it measures 02,00 picas high and the
width of the entire column (Figure 4-27).
*+NOTE: If your monitor won’t allow you to draw the Box Text the
entire column width, stretch it as far as you can to the right
Then scroll to the right side of the page and stretch the Box
Text to the right margin.
Figure 4-27.
Add two Box Text shapes
Now you will add two more Box Text shapes to contain the text
“Please Return Top Portion With Payment” and “Amount of
Payment $.” Initially, these shapes will overlap the Box Text
shapes below them by one pica. Later, when you change the
line and fill attributes, the overlap will become “invisible.”
H Select Box Text.
H Starting at position 16 picas on the vertical ruler, draw a
Box Text shape that measures 02,00 picas high and 21,00
Draw the final shapes
4 - 37
picas wide. Draw a second shape next to the first and make
it 02,00 picas high and 15,00 picas wide. It will automat¬
ically snap to the right page margin (Figure 4-28).
Desk F
ile Edit View Chapter Frane Paragraph Graphic Options
_
1 IliliSSH
21 picas IS picas
Jt
2(*u f
J 2 picas
a
a
a
a
□
1
a
a
1
□
□
D
□
1
D
♦111
■■■
■i^B
■HD
□
Figure 4-28. Draw the two shapes that appear shaded in the above
illustration.
*+NOTE: The shading in the Figure 4-27 is to help you distin¬
guish the shapes on-screen. Do not fill them in with a pattern.
Draw the final shapes
Only six more shapes to go. Now that you’ve had some prac¬
tice, you’re ready to step out on your own. For the last part of
the layout, refer to Figure 4-29 for placing and drawing the
final shapes.
Here are some tips to help you get started:
^ TIP: Reset the zero point to line up with the upper left corner of
the Box Text that will contain the word "DATE” (Figure 4-29).
^ TIP: Use the zero point and rulers to align and measure
shapes. Simply place the zero point of the ruler on one corner
of the shape. Then count off the tick marks to measure the
width and height of the shape.
4 - 38
Style
Figure 4-29. Finish by drawing the six shapes that are shaded in this
drawing.
^ TIP: If you draw a Box Text that is too small for the text size
inside it, Ventura displays the message, ‘This frame has text
which won’t fit on any page..." To cancel the message, choose
OK. Then draw a larger Box Text or make the Box Text font
smaller.
When you finish, your screen should look like Figure 4-30:
A Recap
At this point, you have built a header and added Box Text.
Now you are ready to add text. As explained earlier, you will
type this text directly into the Box Text shapes. You will use
Text mode to enter your own words. (You may want to change
to an Enlarged View while you type.)
Add the logo text
Start at the top of the page and work downwards. Do not be
concerned yet with appearance of the text, which you will
later reformat with tags from the style sheet.
I! Enable Text mode.
il Place the cursor in front of the end of file mark in the
top-most shape (Figure 4-31).
Add the logo text
4 - 39
Figure 4-31.
4-40
Style
II Now type:
XYZ [Ctrl-Enter]
CORPORATION [Enter]
The line break (hold down the Ctrl key and press Enter) tells
Ventura to treat the first two sentences as the same para¬
graph even though they are on separate lines. Line breaks are
useful when you want information on separate lines, but you
don’t want to bother retagging each line.
Add the logo address
H With the text cursor still in the first box, type:
123 Main Street [Ctrl-Enter]
Los Angeles, CA 90000 [Ctrl-Enter]
(213) 555-1111
Add the shipping address
When typing the shipping address, make a line break after
each sentence so Ventura treats all the lines as one para¬
graph.
M Place the cursor in front of the end of file mark in the
shipping address box (immediately below the top box) and
type:
Ship to: [Ctrl-Enter]
International Paper Co. [Ctrl-Enter]
1701 Broad Street [Ctrl-Enter]
Philadelphia, PA 19000
Add the amount of payment
Now place the text cursor in the Amount of Payment box
(Figure 4-32). Type: Amount of Payment [Space] $
Add the remaining text
To add the rest of the text, remain in Text mode and reposition
the text cursor from box to box. Use Figure 4-33 as your guide.
Don’t worry about matching the font of the illustration.
Figure 4-33 Use this illustration to finish adding text.
4 - 42
Style
Tag the text
The style sheet loaded at the beginning of the chapter already
includes pre-defined tags. This will make formatting go fairly
fast — all you need to do is apply the right tag to the right
text. Once you apply the pre-defined tags, we will show you
how to create the tear off line with a new tag. Otherwise, the
tags we provide in the style sheet will create the effects you
need without modification. (If you did not purchase the Power
disk, you must build the tags on your own from Appendix B.)
Apply the first tags
Start at the top of the document and work down. Although
Box Text starts as a generated tag, you can retag it as any
other tag name.
11 Enable Paragraph mode. Select the paragraph “XYZ COR¬
PORATION” and tag it as Logo.
H Select the company address paragraph and tag it as Logo-
Address (Figure 4-34).
Desk File Edit View Chapter Frane Paragraph Graphic Options
iilill C:\TEMP\4IIW0ICE.CHP (4INU0ICE.STV) f|
XYZ«J
ICORPORATIONfl
Ship to:J
International Paper Co.J
1701 Broad StreetJ
Philadelphia, PA 190000
No. 1001B
ACCOUNTO
DATED
0
□
I1
Figure 4-34.
11 Select the “Ship To” address paragraph and tag it as Body
Text.
11 Use Shift-Click to select the next three paragraphs, “AC¬
COUNT,” “DATE,” and “Please Return Top Portion With
Payment,” and tag them as Label.
Apply the first tags
4-43
In the Label tag, we used Vert. Alignment: Middle to vertically
center the text within the Box Text shapes. As a general rule
use Middle alignment to center text within Box Text or
frames. Figure 4-35 shows the alignment settings for the
Label tag.
"Label" ALIGNMENT
m
Hor*z. Alignment:
Center
Uert. Alignment:
Middle
Text Rotation:
None
Hyphenation:
OFf
Successive Hyphens:
2
Overall Width:
Column
Wide
First Line:
Indent
Relative Indent.’
Off
In/Outdent Width:
oo, ool
picas
8 points
In/Outdent Height:
001
lines
In From Right; fco Decimal;
00,00
Maximum Rofcafced Height;;
00,00
c
“ok |
| Cancel |
Figure 4-35. The alignment settings for the Label tag.
Select the paragraph “Amount of Payment $” and tag it as
LabelLine (Figure 4-36).
Desk File Edit View Chapter frane Paragraph Graphic Options
lilliisiiiiilliiiiiil c:\temp\4inijoice.chp (4 invoice.stvj mil
ACCOUNT
DATE
□
□
Am ountof Pay m erit $
Figure 4-36.
4 - 44
Style
Create an underscore
Let’s pause for a minute to show you how we got the under¬
score effect in the LabelLine tag above. Open the Tab Settings
dialog box so you can see what we did.
^ With the “Amount of Payment” paragraph still selected,
select Tab Settings from the Paragraph menu.
'’LabelLine" TAB SETTINGS
m
Tab Number:
♦
Tab Type:
Off
Tab Shown As:
Leader Char
Tab Location:
00,00| picas & points
Leader Char:
—
095 (ASCII)
Leader Spacing:
0
Auto-Leader:
On
| OK | Cancel
To make the solid line, we turned Auto-Leader on in the Tab
Settings dialog box. Auto-Leader creates a leader line from the
end of the paragraph all the way to the right margin. The
leader character itself is a series of small straight lines (_)
with no space between. In other words, the solid line was
created by placing small underline characters side-by-side
with no spaces between them.
*+NOTE: Do not be concerned if the lines appear dashed on¬
screen. When you print out the invoice , the lines will be solid.
Create the tear off line
You will use the Auto-Leader technique to construct the
dotted line in the next Box Text shape. First you will add a tag
named TearOff. Then you will turn Auto-Leader on to create a
line to the right margin. In this case, however, the leader
character will be a dotted line instead of a solid line.
Create the tear off line
4 - 45
^ Select the end of file marker ( □ ) just as you would select
any other paragraph you wanted to tag (Figure 4-37).
End of file
marker
Desk File Edit View Chapter Frane Paragraph Graphic Options
iiiiiiili c:\temp\4ihvoice.chp c^iiwoice.sty) i
tody Tftxt
Label
LabelBlacK
lobelLeft
LabelLlne
ll*tD«clnal
l*fO
losoAddres*
Z.BOXTEXT
Z_HEA0Cft
Z BOXTEXT
R Pg t* 0001
E
Figure 4-37.
Please Return Top Portion With Payrt
“0--
DATED
INVOICE #□
CHARG
□
PREVIOUS BALANCI
□
150.0011
^ Add New Tag Tag Name to Add: TearOff
To create the dotted tear line effect turn Auto-Leader on in the
Tab Settings dialog box.
II Select Tab Settings from the Paragraph menu. Choose Tab
Number: 1, Tab Type: Off, and Tab Shown As: Leader Char¬
acter. Then choose the Leader Character (...) with 1 Leader
Spacing and choose Auto-Leader: On.
"TearOff" TAB SETTINGS
m
Tab Number:
♦ M
♦
Tab Type:
Off
Tab Shown As:
Leader Char
Tab Location:
18,00]
picas & points
Leader Char:
...
046 (ASCII)
Leader Spacing:
1
Auto-Leader:
On
U9j^ Cancel
The dotted line extends across the Box Text to the margin.
4 - 46
Style
Tag the remaining text
Now finish tagging the invoice using the pre-defined tag
names from the Assignment List. Change views as necessary.
M Select the paragraphs “DATE,” “INVOICE #,” “CHARGES,”
“CREDITS,” and “BALANCE” and tag them as Label.
II Select the paragraph “PREVIOUS BALANCE” and tag it as
LabelLeft.
H In the Balance column tag “50.00, 150.00, and $200.00” as
Balance. Then tag “150.00 and 150.00” in the Charges
column and “100.00 and 00.00” in the Credits column as
ListDecimal.
M Select the paragraph “PLEASE PAY THIS AMOUNT” at
the bottom of the page and tag it as LabelBlack.
II Select the paragraph at the bottom of the page that begins
“XYZ CORPORATION, 123 Main Street...” and tag it as
Address.
Number lists with decimal alignment
If you work with lists of numbers on a regular basis, you may
want to know how we got all the numbers to line up in the
columns. (If you do not work with tables, feel free to skip to the
next section.) The trick is to use Ventura’s Decimal Alignment
feature (Alignment, Paragraph menu). With Decimal Align¬
ment you tell Ventura how far from the right margin you want
to position the first decimal point of the paragraph. For the
Balance tag in the example above, we specified In From Right
To Decimal spacing as 05,06 picas & points. Then all the
paragraphs tagged as Balance line up under the decimal
point. Figure 4-38 shows the Alignment dialog box settings
for the Balance tag.
Change fill attributes
4 - 47
"Balance'’ ALIGNMENT
m
Harz. Alignment:
Decimal
Uert. Alignment:
Top
Text Rotation:
None
Hyphenation:
Off
Successive Hyphens:
2
Overall Width:
Column-
Wide
First Line:
Indent
Relative Indent:
Off
In/Outdent Width:
bb,bq|
picas &
points
In/Outdent Height:
001
lines
In From Right to Decimal:
05,06
Maximum Rotated Height - :
00,00
c
OK | [
Cancel |
Figure 4-38. The Alignment settings for the Balance tag.
Pictures
With Tfext and Style behind you, you can look ahead to the
next part of the formula: Pictures. Now that you’ve placed and
positioned the shapes, you can modify the line and fill at¬
tributes of the shapes to create new effects. In this section you
will create a gray pattern (tint screen) effect and make the
border lines around selected Box Text invisible.
Change fill attributes
Start by selecting the shapes you want to fill with a pattern.
11 Enable Graphic mode.
H Use Shift-Click to select the boxes that will be shaded. Use
Figure 4-39 as your guide. (You may want to change to
Reduced View to select the shapes.)
*+NOTE: If you click on the wrong box, simply click it again to
deselect it. Then select another shape.
H Select Fill Attributes from the Graphic menu (or press
Ctrl-F). Choose Color: Black, Pattern: 2, and Result:
Transparent and click OK (Figure 4-40).
Figure 4-39 Select the boxes that are shaded in this illustration.
FILL ATTRIBUTES for BOX TEXT
Color: Black
Pattern: 2
Result:
| Opaque “
Transparent
Defaults: I Load From... I I Save To...
Figure 4-40.
Cancel
Change line attributes
4 - 49
Change line attributes
Now you will remove the lines around selected shapes.
H Use Shift-Click to select the Box Text shapes highlighted in
Figure 4-41.
Figure 4-41 . Select the Box Text shapes shown in this illustation.
*+NOTE: Make sure you select the Box Text shapes, ‘‘Please
Return.“Amount of Payment, ” and the tear off line.
M Select Line Attributes from the Graphic menu (or press
Ctrl-L). Choose Thickness: None. Click OK.
4-50
Pictures
If any of the Box Text still have borders, simply reselect the
box and change its line attributes to none.
Check that the invoice resembles Figure 4-42.
No. 1001
XYZ
CORPORATION
123 Main Street
Los Angeles, CA 90000
(213) 555-1111
Ship to:
International Paper Co.
1701 Broad Street
Philadelphia, PA 19000
a Return Top Portion Wllh Payment Amount of Payment $ _
PREVIOUS BALANCE
XYZ CORPORA VON
123 Main Street
Los Angeles, CA 90000
PLEASE PAY THIS AMOUNT
Figure 4-42 After shading some of the boxes, and removing some lines,
the invoice should look like this.
Add line and arrow
To add the finishing touches to the form, you will add an arrow
after the words “Previous Balance.”
H Select the line tool from the Side-Bar. When the slanted
pencil appears, place its “point” after the e in the word
Balance. You may want to change to Enlarged View to draw
the line (Figure 4-43).
Figure 4-43.
H Press the Alt key as you drag the line to the right. (The Alt
key keeps the line perfectly straight as you draw.) Stretch
the line until it lines up with the letter “B” in the word
BALANCE on the line above.
Use the Line Attributes dialog box to put an arrow at one end
of the line.
II Select Line Attributes (or press Ctrl-L). Choose Thickness:
Thin, Color: Black and choose the arrow in the right column
of End Styles.
LINE ATTRIBUTES for LINE [7]
Thickness: Thin 00.06 Fractional pfctv
Color: Black
4 - 52
Pictures
Show the graphics on all pages
To create more numbered invoices you will add pages and tell
Ventura to repeat the graphics on all pages. Because the
header includes the page numbering code ([P#]), when you
add a page the invoice number will increase by one.
You must select all the graphic shapes before you tell Ventura
to repeat them on all pages of the document.
^ Choose Select All from the Graphic menu (or press Ctrl-Q).
§1 Select Show On All Pages from the Graphic menu.
PW04RPTG.IMG
To see the shapes repeated, you will insert a new page.
*+NOTE: When you use Box Text as the only text in the docu¬
ment, Ventura doesn’t automatically create a new page for
you. Therefore, you must insert one manually.
^ Select Insert/Remove Page from the Chapter menu. Choose
Operation: Insert New Page After Current Page and click
OK.
Ventura adds a page and moves you to it. Because you in¬
serted a page manually, you must update the page counter so
that the invoice number will change.
il Select Update Counters from Chapter menu.
11 Choose Which Counter: This Page, Update Method: Pre¬
vious Number + 1, Number Format: 1,2 and click OK.
Show the graphics on all pages
4 - 53
The header now reads “1002.” Now every page you insert will
increase the page number by one (Figure 4-44).
Desk File Edit Uiew Chapter Frane Paragraph Graphic Options
C:\TEMP\4IIW01CE.CHP (4IHUOICE.STV)
no. ioo 2 n
XYZ+i
CORPORATION1
123 Main Street
Los Angeles, CA 30000J
(213)555-11110
ISiUHIII
□
□
Figure 4-44.
Chapter
Now that you’ve seen the invoice on the screen, let’s see how it
looks printed out. Ventura’s print option allows you to print
multiple copies of a document. When you print this time, tell
Ventura to make three copies of the form.
H To Print Which Pages: Current
Number of Copies: 3
Ventura prints out three copies of the invoice. Incidentally,
once a laser printer has processed one copy of a single page, it
takes less time to make additional copies, because the fonts
are already in memory.
In this chapter, you learned how to create a graphics-intensive
document using Ventura’s graphic tool kit. In the next chap¬
ter, you will learn how to create another document that relies
heavily on graphics to convey a message: an advertising flyer.
4 - 54
Chapter
Tips and techniques
When to use Box Text
Use Box Text to contain text if you want to:
□ Quickly place less than two dozen words. For longer selec¬
tions, consider using a frame so the text can be placed into
a separate file if desired.
□ Attach the text to something else. If, for example, you wish
to create callouts for an illustration, you want the text to be
tied to that frame. When you move the frame, the Box Text
automatically moves with it. And since you can anchor a
frame to a text reference, the graphics attached to the
frame will move according to the text reference.
□ Move Box Text shapes as a group. Box Text can be grouped
by attaching them all to the same parent frame. When you
move the parent you automatically move all the Box Text.
Frames, on the other hand, cannot be permanently linked
(although you can temporarily group them using shift-click
to select several at a time).
When to use frames
Use a frame to contain text if you want to:
□ Import a file. You cannot load a file into Box Text. You must
always type Box Text directly onto the page.
□ Rename the text to a separate file. Even if you originally
type the text into the chapter, you may sometimes want to
rename text into a separate file. A stand-alone text file can
be easily edited or updated with a word processor.
□ Create more than one column inside the rectangle. You can
create multiple columns inside a frame, but not inside Box
Text.
□ Flow text around the rectangle. Text can flow automatically
around a frame. By contrast, Box Text coexists with
whatever else is in the same space.
□ Put more than one ruling line around the rectangle. Box
Show the graphics on all pages
4 - 55
Text can have only a single ruling line around. Frames can
have up to three.
More graphic drawing tips
□ Align Box Text shapes along a grid. The snap-to grid avail¬
able in Graphic mode is more versatile than the eolumn-
and line-snap available in Frame mode.
□ When you draw a shape it appears on that page only. To
repeat graphic shapes on all pages of the chapter select
Show On All Pages from the Graphic menu.
□ When selecting the parent, make logical groupings so all
related shapes can be moved as one by moving the parent.
For instance, if you were constructing a two-part form
using frames instead of the Page, you could attach all the
shapes on the top half to one parent, and all the shapes on
the bottom half to a different frame. That way the two
halves could be adjusted independently.
□ Ctrl-Q is the keyboard shortcut for Select All from the
Graphic menu. This graphics command operates even in
Frame mode. (It is the only one that works in this manner.
To use any other graphic commands, you must switch to
Graphic mode.)
□ Establish snap-to grid settings before you start to draw.
There may be a few exceptions where you wish to turn grid
settings off for complete freedom in placing a shape. In
most cases, your drawings will be more accurate and attrac¬
tive if you establish a snap-to grid in advance.
□ Set the grid as large as possible. The larger the units of the
grid, the smaller the possibility for error.
□ Consider the margin when setting the grid. If possible,
make the snap grid units an integer multiple of the mar¬
gins so the shapes can also snap to the margin.
□ To move a very small shape, attach it to a larger frame.
(The frame can be “invisible” if you do not want it to print.)
Then move the frame. The shape moves with it.
□ To draw several shapes at once, hold the Shift key down
while dragging the mouse. The cursor stays in shape draw¬
ing mode and you can draw a second shape immediately.
4 - 56
Chapter
□ To speed the creation of identical shapes, use the Save To
button in the Line Attributes and Fill Attributes dialog
boxes. This saves the attributes you have just chosen. From
then on, every shape you draw is identical to the previous
one.
□ To select several shapes at once, use the same Shift-Click
method that operates in Paragraph mode. Once you have
selected more than one shape, you can move, resize, or
change the attributes of these shapes as a group.
□ To select a shape that is underneath another, hold down the
Ctrl key while clicking on the shape with the mouse. Each
time you Ctrl-click, Ventura selects the next lowest “layer,”
no matter how many shapes are piled one on top of the
other.
Chapter Five
Skills Checklist
Theory
□ How Ventura manages pictures
□ Line-art versus bit-mapped images
□ Encapsulated PostScript
Text
□ Improving headlines with manual
kerning
□ Entering non-keyboard characters
□ Understanding letter spacing
□ Reducing loose lines
Style
□ Combining two page formats in one
document
□ Improviing display type with
interactive tracking and kerning
□ Adding columns to frames
□ Adjusting the vertical spacing in
frames
□ Rotating text
Pictures
□ Sizing and scaling pictures
□ Cropping pictures
□ Loading and placing PostScript files
□ Creating text runarounds
□ Adding drop shadows to frames
Chapter
□ Printing to a disk file
□ Creating PostScript files
□ Printing hidden pictures
Chapter Five
An Advertising Flyer
A dvertisements and flyers are invaluable promotional
tools. In Chapter Five, you will learn how to create a
self-mailing ad. Although we constructed this project as a
direct mail piece, many of the techniques apply equally well to
print advertisements. In essence, we will show you the basics
of creating an ad plus the added techniques to turn that ad
into a self-mailing flyer. The checklist on the left lists some of
the special skills you will learn.
Theory
In Chapter Four, you learned how to use Ventura’s built-in
graphics to create simple box, line, and rectangle shapes.
These basic shapes are useful for forms, annotations, and
simple artwork. But for the sophisticated graphics required of
an advertisement, you need dedicated, stand-alone graphics
programs. Programs like AutoCAD, Adobe Illustrator, and PC
Paintbrush provide specialized drawing and painting tools for
creating high-quality images. Fortunately, Ventura makes it
easy to import these complex images into a document.
The advertising project you will complete in this chapter
depends heavily on graphics effects. You will find it easier to
follow along if you understand these three key concepts:
• How Ventura manages picture files
• The two kinds of pictures
• How to change the size and position of pictures inside the
frame
5-2
Theory
How Ventura manages pictures
After you create a picture, you load and place it in a frame.
However, the chapter file doesn’t store the image itself, it
stores a pointer to the picture file with information about how
to display and assemble the picture in the chapter. Picture
files cannot be changed from inside Ventura.
Two kinds of pictures
Ventura accepts two kinds of picture files: bit-mapped images
and line-art. Paint programs, scanners, and screen capture
utilities create bit-mapped images. These images are a collec¬
tion of thousands of individual dots (or bits). As you draw, the
computer makes a map of the screen and figures out which
dots to turn on and off (Figure 5-1).
Figure 5-1 . With a bit-mapped image, the picture is made up of
individual dots.
Since an image is a map of the screen, the final quality of the
picture is only as good as the screen’s resolution. Few screens
can match the 300 dots-per-inch resolution of a laser printer.
Therefore, at print time, bit-map curves and diagonals appear
jagged. Despite this trade-off in quality, a paint package can
provide subtle, artistic effects, shades and shadows that are
difficult to achieve with line-art.
By contrast, line-art programs such as AutoCAD, MacDraw,
and GEM Draw do not use bit-maps. They combine basic
Encapsulated Postscript files
5-3
geometric shapes to build up pictures. Shades, surfaces, and
planes are rendered as lines, arcs, circles, and other geometric
objects. Hence the term “object-oriented” graphics.
These objects are stored as mathematical expressions. A circle
is described as a center point and a radius, a line is described
as a starting and ending point, an arc as three consecutive
points, and so forth. Line-art has several advantages. When
you print an object-oriented picture, the computer sends its
description to the printer. The picture is then printed at
whatever resolution the printer or phototypesetter is capable
of — 300, 600, 1200, or 2500 dots per inch. As a result, lines
and curves appear smooth (Figure 5-2).
Figure 5-2. When you print an object-oriented picture, you send its
mathematical description to the printer. The picture is printed at the
resolution of the printer or typesetter.
Line-art has another advantage. You can enlarge or reduce it
without losing picture quality. You don’t have to worry about
creating it at the same size as the final version.
Encapsulated Postscript files
If you have a PostScript printer you can also use a special kind
of line-art. With the Encapsulated PostScript (EPS) format
you can create a small facsimile of each of your Ventura
documents and insert them as line-art in a frame. For in¬
stance, we used the EPS format to produce the “after” pictures
5-4
Theory
near the beginning of each chapter. When you place a Encap¬
sulated PostScript file created in Ventura, the picture is not
displayed on screen. Instead, the picture appears as a large
“X” (Figure 5-3). The picture, however, is visible when you
print. You will have a chance to use Encapsulated PostScript
to build the sample advertisement in this chapter.
Desk file Edit Mie« Chapter Frane Paragraph Graphic Options _
C 7\ fVPES ET \ E US \ ftD RTlLPGT C HP ~~(MF0LLP6.S~Ty) IlllJljlilHI:
Figure 5-3. Encapsulated PostScript files generated by Ventura
appear on-screen as a large X.
*+NOTE: Programs that embed TIFF image or Windows metafile
representations of PostScript within the EPS file will be visible
on-screen.
Sizing and scaling pictures
Both line-art and images can be scaled and cropped through
the Sizing & Scaling dialog box (Figure 5-4).
For many beginners, Sizing & Scaling is one of the most
difficult Ventura functions to grasp. We will present you with
basic concepts here in the theory section, but don’t be too
surprised if you don’t understand all the ins and outs until
you’ve had some hands-on practice.
The dialog box gives you two options: Fit in Frame and By
Scale Factors (Figure 5-5). Fit in Frame enlarges the picture
until it fills the entire frame. (If you’ve set margins, Ventura
will fill the frame up to the frame margins.)
Sizing and scaling pictures
5-5
SIZING 8 SCALING
0
Flow Text Around:
On
Upper Left X:
M □□
Upper Left Y:
13,0B □
□
Frane Width:
17,08
Frane Height:
22,00
Horiz. Padding:
00,00
Uert. Padding:
00,00 picas & points
Picture Scaling:
By Scale Factors
Aspect Ratio:
Distorted
X Crop Offset:
00,80 □□
V Crop Offset:
00,00 □
□
Scale Width:
17,00
Scale Height:
22,00
HH
Cancel
Figure 5-5. Fit in Frame enlarges the picture to fill the frame up to its
margins.
When you fit a picture into a frame, you can instruct Ventura
whether to maintain or ignore the original aspect ratio. By
setting Aspect Ratio: Maintain Ventura enlarges the picture
as much as it can without changing the original horizontal
and vertical proportions. This may leave some extra white
space around the image. Aspect Ratio: Distorted, on the other
hand, stretches the picture as necessary to fill the frame even
if it has to distort the proportions (Figure 5-6).
Remember when we warned you earler that Sizing & Scaling
can be confusing at first? Here comes the part that trips up
5-6
Theory
Aspect Ratio
Maintained
Aspect Ratio
Distorted
Figure 5-6. You can maintain or distort the aspect ratio to achieve the
desired effect.
many beginners. When you choose Fit in Frame, Ventura
scales (resizes) the picture for you. If you want to resize the
picture manually, you must choose By Scale Factors.
Maybe it’s the name that puzzles people. By Scale Factors is a
fuzzy phrase that doesn’t really explain what’s going on. Per¬
haps it will be easier for you to grasp if you think of it as
Manual Resizing or Changing Dimensions. Here’s the idea in
a nutshell: Ventura displays the old dimensions. You type in
the new ones. Simple, isn’t it? Now let’s examine the operation
in more detail.
When you choose Picture Scaling: By Scale Factors, Ventura
displays the picture’s original size (on the lines Scale Width
and Scale Height). To change the size, you enter a new width
or height (or both). Suppose you start with a picture 06,00
picas & points wide by 08,00 picas & points tall. To double the
picture’s width, you would choose Picture Scaling: By Scale
Factors and then enter 12,00 picas & points as the new width.
After you enter the new width, you can choose whether or not
to keep the original proportions. Aspect Ratio: Maintain calcu¬
lates the height to maintain the same proportions as the
original. In the previous example, if you entered a new width
of 12,00 picas & points, Ventura would double the height to
16,00 picas & points to maintain the original width and height
ratio. With Aspect Ratio: Distorted you can choose any com¬
bination of widths and heights (Figure 5-7).
Cropping pictures
5-7
Desk File Edit View Chapter Frane Paragraph Graphic Options
iliiaiilligiilililliI1^pISEf\umlTLEif^'~TDM!:s1W' , illllS|jlllilllilllilT
06£0 picas 12,00 picas 01,00 picas
Originalsize ByScale Factor. ByScale Factor
Aspect Ratio M aintain Aspect Ratio Distorted
3 mcii
Figure 5-7. When you increase the size of a picture By Scale Factors,
you can maintain or distort the aspect ratio.
** TIP: When working with scale factors, the height and width in
the Sizing & Scaling dialog box represent the current size of
the picture. To change the dimensions of a picture, enter a new
height and width.
Cropping pictures
While scaling enlarges or reduces a picture, cropping moves it
up, down, right, or left within the frame to display selected
portions of the picture.
With both bit-mapped and line-art images, you can crop inter¬
actively by moving the picture within the frame with the
mouse cursor. Here’s how: In Frame mode, you select the
frame containing the picture to crop, and place the mouse
cursor somewhere in the middle of the frame (or picture).
Then you hold down the mouse button while pressing the Alt
key. A picture of a hand appears. You hold the mouse button
down and drag the hand to move the image (Figure 5-8).
If you need more precision, you can crop the picture by enter¬
ing a positive or negative X or Y offset. The offset is the
distance the picture moves from its original position. Imagine
a horizontal and vertical axis starting at the upper left corner.
You can slide the picture along the horizontal (X) axis or the
vertical (Y) axis. A positive X offset moves the picture left; a
5-8
Theory
Figure 5-8. You can crop bit-mapped and line-art pictures interactively
by pressing the Alt key and holding down the button as you move the
mouse inside the frame.
negative X offset moves it right. A positive Y offset moves the
picture up; a negative Y offset moves it down.
If you want to practice cropping, try changing one variable at
a time: enter a positive X offset only, then a positive Y offset,
and so forth. Then try combining a positive X and a positive Y
offset; a negative X and a Y. The more you practice, the better
you’ll be able to visualize the position of the picture in the
frame. Figure 5-9 shows one example.
Figure 5-9. You can also crop pictures by entering numbers into the
Sizing & Scaling dialog box.
Cropping pictures
5-9
Before
3,oO
r
he Ventura'
Makeover
'/*** ,
\
| PA&lNATlOA/Sj ^
1
1****'»*'> V '-*AA- ^
JBS-r
b
g = —-
i
V T»:hr^nr l in,mnm
Wt*Pt*l4**U+t*-
*W4+444** /t ** r
**t 4+wH***
*U****4* t/t ***s>
4HMA******
ti/i^r^yyy^yyyu**^
tt4A*yU~*+<4*V 1< 00 % ,
m*i/ti*n***l* , +&
*uAA*1/iaA*'
' ^ TfpJ /fsute-acA £>oco
TXALK ,C4oeM$ TjeMfEA
~Xopk tieufeTiCA
tfAUC Socv
pRo/ $n*Qou)
£o% ScKGGN
Cftjf
?irt& Jvtf'FGP
"Text RunAmohd
(PICTURE
% £ TirAes
t Shire m p
Introducing a cure for the common document...
jdopjsap jno/f uo jq8u
— sjuauinaop 8ui5|oo|-]Euoiss9jcud ‘paqsqod
oju; scapi Jno/f ujnj oj Avoq uaeaq
XYZCd^snlwn
IUMmSim
L o« Aaf«lM.CA 90000
_ After
The Ventura
Makeover
Take a great idea ... and make it greater
PAGINATIONS
Training WorUuqta Udrrwy
8 B 3 E 5 Egglfi = 3 ggjj|
BSBS3 mnMu gK“H
|p£^ iigs ggp
K^tSl igKKJS jS=“|
e 55§H SStES WMM
W ai r^wirn _ ,_i r . II
sggg llil jilS
Now you eta give an ordinary per¬
sonal computer the power of a pro¬
fessional print shop. With
Xerox Ventura Publisher and
expert training from the
people at XYZ Corporation,
you can learn to create
professional- quali ty
documents using a per¬
sonal computer and an inexpensive
laser printer. For this week only,
when you come in for a no-
risk demonstration, we will
redesign one of your cor-
documents, while you
watch! But hurry—our
offer is limited. Call
13)555-1111 today.
°m^sflEBSE^a3sr
Xac«<li aB » hwk«XwoiCBrp»wa att
5-10
Planning the flyer
Planning the flyer
Consider the thousands of advertisements you see each year.
How many do you remember? In a small amount of space an
advertisement must provoke, lure, entice (or annoy) the
prospect into reading the copy and (hopefully) buying the
product. Advertisements also carry another responsibility:
They project the company name and image to the outside
world. For these reasons, good design is crucial to the success
of an advertisement. Some documents — reports, proposals,
memos — can get by with an adequate page design. But
adequate is not good enough for an ad. The public is bom¬
barded by hundreds of advertisements each day. Sales
materials that are merely average will be ignored.
The design of an advertisement carries several burdens. First,
it must attract attention. Second, it must lead the eye into the
copy and keep it moving. And third, it must reinforce the
underlying theme and message of the words. Meeting these
goals requires attention to all the details that make up good
design — the layout, the typography, the white space, the
graphics, and so on. Fortunately, Ventura Publisher provides
the tools to fine-tune your pages so they stand out from the
crowd.
This chapter’s sample advertisement is a self-mailer — it can
be folded in thirds, stapled, and mailed without needing an
envelope. The first page is the mailer. It has been divided into
three panels as illustrated in Figure 5-10. The top panel (#1)
is the inner flap. It is tucked inside when the flyer is folded
and stapled for mailing. The center panel (#2) is the back flap.
Both the inner and the back flap contain “teaser copy,”
designed to entice the reader into opening the mailer and
reading further. The bottom panel (#3) is for the address. It
appears on top when the flyer is folded and contains the
return address, mailing label, and stamp.
The second page of this document is the advertisement itself.
It will be printed on the opposite side from the mailer. When
the readers open the flyer, they can see the ad as a single,
full-page unit.
Cropping pictures
5-11
Desk File Edit Uiew Chapter Frane Paragraph Graphic Options
Figure 5-10. The first page of the flyer has three panels that can be
folded for mailing.
^ NOTE: If your company does not prepare mailers, you can
skip the instructions for page one and produce only the ad on
page two. The principles and theories taught for page two
apply equally to print advertisements.
The thumbnail sketch for the the advertisement shows you
some of the techniques you will use to create these effects:
• Frames on the Page
• Box Text
• Text runarounds
• Kerned headlines
• Drop shadows
• Special non-keyboard characters for a trademark symbol,
ellipsis, and em dash
• Typographic controls to fine-tune the headlines and body
copy
5-12
Ventura prep
Ventura prep
If you have the Power disk
H If you are continuing from the previous chapter, select New
from the File menu to clear the screen.
H Enable Frame mode and select the Page.
H Select Load Text/Picture to load the ASCII format text file
5AD.TXT from the C:\POWER subdirectory. The text auto¬
matically flows onto the Page. Use File/Type Rename to
rename it as C:\TEMP\5MAILER.TXT.
Because the Page was selected when you loaded the file,
Ventura placed the file on the Page for you (when you load
several files, Ventura does not attempt to place any of them.
You must remove the file from the Page, however, before you
can add frames to contain text and graphics.
^ Select Remove Text/File from the Edit menu. The file name
5MAILER.TXT appears on the File name line. Choose
Remove from: Frame.
*+NOTE: As we explained earlier in Chapter Two, Ventura will
not allow you to rename a text file until it has been placed on
the Page.
i§ Select Load Diff. Style to load the style sheet 5AD.STY from
the C:\POWER subdirectory.
H Use Save As New Style to save it as
C:\TEMP\5MAILER.STY.
Now load the two PostScript files.
II Select Load Text/Pictures and choose Type of File: Line-Art,
Line-Art Format: PostScript, and # of Files: Several. Load
the two files, 5AD.EPS and 5COURIER.EPS in turn from
the C:\POWER subdirectory. When you are finished, click
OK or Cancel to return to the document.
Next, load the line-art picture.
II Press Ctrl-X to redisplay the Load/Text Picture dialog box.
Cropping pictures
5-13
Choose Type of File: Line-Art, Line-Art Format: GEM. Load
the file COMPUTER.GEM from the C:\POWER subdirec¬
tory.
*+■ TIP: You can use Ctrl-X whenever you want to redisplay the
previous dialog box.
H Use Save As to save the chapter as
C:\TEMP\5MAILER.CHP.
If you do not have the Power disk
Using your word processor, type the text file for Chapter 5
from Appendix A and save it as C:\TEMP\5MAILER.TXT.
Load the original Ventura style sheet &PREL-P1.STY from
the C:\TYPESET subdirectory. Change the margins and
columns to match Figure 5—11. Rename it as
C:\TEMP\5MAILER.STY.
i Change the tags to match the ones listed in the tag table in
Appendix B.
i Load three Ventura sample line-art picture into the Assign¬
ment List. If you don’t have any line-art pictures of your
own, load the Ventura sample picture COLUMBIA.GEM
from the C:\TYPESET subdirectory.
i Save the chapter as C:\TEMP\5MAILER.CHP.
Text
In this project, you will use three techniques to place text. You
will place a file into a frame; you will type text directly into a
frame; and you will use Box Text. This is a good opportunity to
apply what you’ve already learned about text to a design that
requires a combination of different skills. Like the newsletter
and form in Chapters Three and Four, this sample document
relies heavily on text in frames and Box Text. Therefore, you
will vary slightly from the Ventura Formula and delay placing
text until you build frames and boxes to contain it.
Figure 5-11. If you do NOT have the Power disk, change &PREL-P1 .STY to match these
dimensions.
Style
Your first task is to size and position frames and Box Text. If
you start by laying out the margins and columns on the Page,
you can use them later as a guide.
Select the page format
5-15
*+■ TIP: Even when creating a free-form, graphics-intensive docu¬
ment, start by formatting the Page as a framework.
Select the page format
Since this piece is a self-mailer, it will be printed on both sides
— the mailing information on the outside and the ad on the
inside. As you know from Chapter Three, a double-sided for¬
mat allows you to mirror identical headers, footers, margins,
etc., on right and left pages. For this advertisement, however,
you will create left and right pages that have completely
different values (Figure 5-12).
Desk File Edit Uiew Chapter Frane Paragraph Graphic Options
Figure 5-12. This project has different formats for the left and right
pages.
H Select Page Size & Layout from the Chapter menu. Choose
Sides: Double, Start On: Right Side.
Layout page one
The style sheet you loaded (or created) contains the column
and margin settings for the first page. This one-column format
lets you easily place and size frames for the mailing panels.
Continue on to add frames and Box Text to the page.
H Verify that Column Snap and Line Snap are turned on from
the Options menu. (The menu displays “Turn Column Snap
Off’ and “Turn Line Snap Off”)
5-16
Style
H Reset the zero point to line up with the upper left corner of
the column guide (Figure 5-13).
Figure 5-13.
*+NOTE: If you reset the zero point (to a point other than the
upper left corner of the Page), the Upper Left X and Y values
in the Sizing & Scaling dialog box do not change to reflect the
new ruler positions. The Upper Left X and Y values are always
measured from the upper left corner of the page.
Draw three frames on page one
11 Draw three frames on top of the Page. Draw frame #1
starting at position 0,0 picas on the ruler. Draw frame #2
starting at position 21 picas on the vertical ruler and frame
#3 starting at position 42 picas on the vertical ruler.
Use the horizontal and vertical crosshairs and rulers, and the
Sizing & Scaling dialog box to position and size the frames on
the Page. Figure 5-14 will help you gauge the frame dimen¬
sions.
TIP: For more accuracy, you may want to change to Normal
View . Place the upper left corner and stretch the frame as
large as possible. Then enter the width and height of the frame
through the Sizing & Scaling dialog box.
Figure 5-14. Draw these three frames on page one.
You will notice that the frames are not of equal size; nor are
they spaced equally. Rather, they have been sized so that the
smaller inner flap can fold up comfortably beneath the ad¬
dress flap.
5-18
Style
Draw Box Text shapes in the bottom frame (frame #3)
Now that you have placed the three frames, you will add the
Box Text and rectangle shapes that show the position of the
return address, mailing label, and stamp in the bottom frame.
Start by setting a snap-to grid.
H Enable Graphic mode. Select the bottom frame (frame #3).
il Select Grid Settings. Choose Grid Snap: On. Make both the
Horizontal and the Vertical Spacing 01,00 picas & points.
GRID SETTINGS
0
Grid Snap:
On
Horizontal Spacing:
01,00
picas
& points
Vertical Spacing:
01,00
Cancel
Draw the return address Box Text
Draw the return address using Box Text.
§1 Reset the zero point of the ruler to line up with the upper
left corner of the bottom frame (Figure 5—15).
H Select the Box Text tool from the Side-Bar. Starting at
position 01,00 picas on the vertical ruler and position 01,00
picas on the horizontal ruler, draw a box 05,00 picas high
and 12,00 picas wide.
** TIP: Remember ; you can check the size of a Box Text or
rectangle by placing the ruler’s zero point on one corner of the
shape.
Draw the mailing label
5-19
Figure 5-15.
Next you will change the line attributes for the Box Text.
M Line Attributes Thickness: Thin
End Styles (Beginning and End): Square
Defaults: Save To
II Fill Attributes Color: White
Pattern: Hollow
Results: Transparent
Defaults: Save To
Draw the mailing label
Now you will use the Box Text shape to draw a mailing label
06,00 picas high and 24,00 picas wide (1 inch by 4 inches, a
standard label size) in the bottom frame (frame #3).
H Select the Box Text tool. Starting from position 08,00 picas
on the vertical ruler and 13,00 picas on the horizontal ruler,
draw the box 06,00 picas high and 24,00 picas wide (Figure
5-16).
Ventura remembers the line and fill attributes from the last
Box Text.
5-20
Style
Desk File Edit Vie* Chapter Frene Paragraph Graphic Options
Figure 5-16.
Draw the stamp
Now you will draw the “stamp” with a rectangle shape.
^ Grid Settings Grid Snap: On
Horizontal Spacing: 00,06 picas & points
Vertical Spacing: 00,06 picas & points
H Select the rectangle tool from the Side-Bar. Draw a rec¬
tangle 03,00 picas high and 04,06 picas wide in the upper
right corner of the frame (Figure 5-17).
If necessary, move the rectangle into position.
Desk File Edit View Chapter Frane Paragraph Graphic Options
Figure 5-17.
Change the rectangle’s attributes
5-21
NOTE: Judge the position as best you can from previous
illustrations. Accuracy is not essential.
Change the rectangle’s attributes
^ Line Attributes Thickness: Thin
End Styles (Beginning and End): Square
Defaults: Save To
i! Fill Attributes Color: White
Pattern: Hollow
Results: Transparent
Defaults: Save To
Layout page two
You have completed the layout for page one. Before you con¬
tinue, reset the zero point back to its original position at the
upper left corner of the column margin. As you saw earlier,
when you place text in frames (instead of on the Page), Ven¬
tura doesn’t automatically create new pages. Therefore, you
must add one manually.
H Select Insert/Remove Page from the Chapter menu to in¬
sert a new page after the current one.
H Choose Operation: Insert New Page After Current Page
and click OK.
On the second page, you will create a two-column format with
different margins and columns from the first page. The new
format will make it easier to size and place the frames for the
finished layout.
H Enable Frame mode and select the Underlying Page.
i§ Select Margins & Columns from the Frame menu. Choose #
of Columns: 2. Set the top and bottom margins at 03,00
picas & points. Make the left and right margins 08,00 picas
& points. Make the Column 1 width 16,03 picas & points
and the first gutter width 02,06 picas & points. Choose
Make Equal Widths and click OK.
5-22
Style
MARGINS R COLUMNS
# of Columns: m o m m m m m m
Settings For:
Left Page
| Right Page 1
m
Column 1:
2 :
3:
4:
5:
6 :
7 :
8 :
Widths
16,63)
16,03
m,m
88,88
88,88
m,m
88,88
88,88
Gutters
02,06
00,00
00,00
00,00
00,00
00,00
00,00
Margins
Top: 03,60 picas R points
Bottom: 03,00
Left: 08,00
Right: 08,00
Calculated Width = 51,00
Actual Frame Width = 51,00
Inserts:
Make Equal Width
f
| Copy To Facing Page |
| OK | | Cancel |
TIP: As a general rule, always enter the top, bottom, left, and
right margins before you enter the column widths. If you want
all the columns equal, use this sequence: enter the first
column width, then the first gutter width, and then choose
Make Equal Widths. If you want unequal columns, enter the
first column width, then the first gutter width, and then man¬
ually enter the second column width.
Add frames to page two
Once you set the margins and columns for page two, you are
ready to add the frames. Use the ruler plus Line and Column
Snap to accurately position the frames as shown in Figure
5-18. Use the Sizing & Scaling dialog box to verify the posi¬
tion and size of the frames.
H Draw the frames on page two using Figure 5-18 as a guide.
*+NOTE: We intentionally placed the bottom-most frame (frame
#6) so it extends below the bottom column guide.
Add a ruling box around the center frames
To make the two center frames (frame #6 and #7) stand out on
the page, and to enclose the pictures that will be placed inside,
add a Ruling Box Around.
H Select the left frame (frame #6).
Add a ruling box around the center frames
5-23
Figure 5-18. Draw frames matching these dimensions on page two.
Select Ruling Box Around from the Frame menu. Choose
Width: Frame. Give Rule 1 a height of 00.25 fractional pts
and click OK.
5-24
Style
RULING BOH AROUND
ml
Width: Frane
Color: Black
Pattern: Solid
Dashes: Off
Space Above Rule 1: 00.00
Height of Rule 1: 00.2S|
Space Below Rule 1; 00,00
Height of Rule 2: 00.00
Space Below Rule 2: 00.00
Height of Rule 3: 00.00
Custom Indent:
Custon Width:
Dash Width:
Dash Spacing:
36.00
00.00 fT] |T"!
00.00
00.00
00,00 fractional pts
Space Below Rule 3: 00.00
Overall Height: 00.25
DQ
Cancel|
Repeat the step above for the right picture frame (frame #7).
When you are finished the frames should look like Figure
5-19:
Figure 5-19.
Change the number of columns in one frame
When you place a frame on the Page, Ventura gives it a single
column and sets all the margins to 00,00 picas & points. With
Margins & Columns you can change the margins of a frame.
Select the frame reserved for the body copy (frame #8).
H Select Margins & Columns. Choose # of Columns: 2. (Notice
that Ventura remembers the two-column and gutter set-
Add text to page one
5-25
tings from the Page.) Leave the column and gutter settings
as they are and keep all the margins at 00,00 picas &
points. Then click OK to close the dialog box.
MARGINS 8 COLUMNS
m
« of Coiunns: rTlHlTIfTllTlfTllTIpn
Settings For: | Right Page |
Widths
Gutters
Margins
Column 1: 16,03
02,06
00,00
00,00
00,00
Top: 00,00 picas 8 points
2: 16,03
Bottom: 00,00
3: 88,88
Left: 00,00
4: 88,88
Right: 00,00
00,00
7: $3,88
00,00
00,00
Calculated Width = 35,00
8: 111,88
Actual Frame Width = 35,00
Inserts: | Make Equal Widths | | Copy To Facing Page |
SEiilSSft 1 Cancel |
Now the frame has the same column and gutter settings as
the Page (even though the column guides are not visible inside
the frame).
Add text to page one
With the frames in their proper place you can enter the text.
Start on page one and work frame-by-frame until you have
placed all the text.
^ Press PgUp to go to page one.
H Enable Text mode and click the text cursor anywhere inside
the top frame (frame #1).
*+NOTE: You may want to change to Normal or Enlarged View
as you type in the text
Type the first teaser
Use a non-keyboard character to create the ellipsis at the end
of the first teaser headline. At this point, do not worry about
the appearance of the text. You will format it later.
5-26
Style
^ Type:
Introducing a cure for the common document
Now make the ellipsis:
^ Hold down the Alt key and use the numeric keyboard to
type: 193
Then release the Alt key.
Type the second teaser
Now enter the second headline, which includes another non¬
keyboard character — the em dash in frame #2.
H Place the text cursor anywhere in the middle frame (frame
#2), and type the text shown in the Figure 5-20. Place a line
break (press Ctrl-Enter) at the end of each line.
(To make the em dash, hold down the Alt key and type: 197 on
the numeric keypad, or type Ctrl-]).
Desk File Edit Uiew Chapter Frane Paragraph Graphic Options
■ - C:\TEHP\5HflILER.CHP (5MflILER.STV)
team how to turn your ideas into J
polished, professional-looking documents - J
light on youi desktapID
Figure 5-20.
Type the return address
Now move to the bottom frame (frame#3).
H Type the text into the Box Text shape as shown in Figure
5-21. Place line breaks (press Ctrl-Enter) at the end of each
line. If the text doesn’t fit, make the Box Text shape bigger.
Type the mailing address
5-27
■ iiiiiiiiii!
IIBiiSISi C:\TEHP\SHflILER.CHP ( 5 ttftiLBR.SlVf mmwmmsms - mmi * 1
gjjp*<g
Biai
aYZ urporauonj m
123 Main Street J M
in
iH
Los Angeles, CA 90000 j 0 II
g
□ m
EasKa
uaiiia
ummm
knnnnnnanHni
| | iiIIilI||S;iS:i|i|S
lilllllp C:\TEMP\5MflILER.CHP (5(1flILER.STV) •
ggtog
,i°.i*.i";.r*..i”.i f
msMnm
DBI
IH
• KY2 CorporationJ ||
1 123 Main Street J
i Los Angeles, CA 90000 □
i -
i m
\ M
9
| International Paper Company J *§
| 1701 Broad Street J
| Philadelphia, PA 19000D
j ^
i
|
)
lamiaun
ummm
5-28
Style
Add text to page two
Continue on to page two and finish adding text.
11 Press PgDn to go to page two.
II Enable Text mode.
II Place the cursor inside the top frame (frame #4) (Figure
5-23) and type:
The Ventura [Ctrl-Enter]
Makeover
Figure 5-23.
^ Now place the text cursor in the second frame (frame #5)
(Figure 5-24) and type:
Take a great idea [tab] [Alt-193] [tab] and make it
greater
Place a text file on page two
The two frames in the middle of the page are reserved for
pictures. Skip them for now and move to the frame that is
second from the bottom (frame #8). It will contain the body
copy you loaded at the beginning of the project.
II Enable Frame mode and select the frame.
Select the file 5MAILER.TXT from the Assignment List.
Type the remaining text on page two
5-29
Desk File Edit Vie* Chapter Frane Paragraph Graphic Options
told
Halle
1 V
Snell
Superict'lpt
Subscript
Underline
Double unorLn
Strike-thru
Overscore
Upper Case
li
BlSBHWa
U
isEBraa
♦
Take a great idea*..,-and make it greater □
4
Mi
Figure 5-24.
Ventura flows the text into the frame and stops (Figure 5-25).
Do not be concerned that the text doesn’t fill the frame. When
you get to the picture section, you will insert a small frame
between the text columns, which will reflow the text to the
end of the frame.
Desk File Edit Vie* Chapter Frane Paragraph Graphic Options
■ pllll 11111111II111111; C:\TEMP\5MAILER.CHP (5MAILER.STY) j|HHHHH!!||Hill
500.EPS
5C0UMEft.EPS
SMAILEK.TXT
COHPUTEA..GEM
u
EHS3
I I I ) l.L
.1.,,
$fow you can give an ordinary per
lonal computer the power of a pro
Sessional print shop. With Xerox
Centura Publisher and espert train-
jpg from the people at XY2 Cor¬
poration, you can learn to create
professional-quality documents
using a personal computer and an
Inexpensive laser printer. lor this!
v jweek only, when you come in for ?
bo -risk demonstralion, we will!
iedesign one of your corporate
documents, while you watch! But!
hurry-our offer is limited. Ca^
£213) 555-1111 today. □
f[7
Figure 5-25.
Type the remaining text on page two
Now you will place text in the bottom-most frame (frame #9)
(Figure 5-26). Use a non-keyboard character to create the
registered sign after the word Xerox.
5-30
Style
H Enable Text mode.
II Place the text cursor in the bottom-most frame (frame #9)
and type:
Contact your nearest XYZ representative for fur¬
ther information . [Ctrl-Enter]
XYZ Corporation, 123 Main Street, Los Angeles, CA
90000 [Ctrl-Enter]
Xerox [Alt-190] is a trademark of Xerox
Corporation.
Desk file Edit View Chapter Frane Paragraph Graphic Options
lliiilil C:\TEMP\5MflILER.CHP (5t1flILER.STV) ill
|fow you can give an ordinary per¬
sonal computer Ihe power of a prod
Sessional print shop, With Xerox:
:Ventura Publisher and espert train '
jng from the people at XYZ Cor¬
poration, you can learn to create
professional-quality documents
jusing a personal computer and an
inexpensive laser printer. Por this
•week only, when you come in for a
bo-risk demonstration, we will
Redesign one oi your corporate]
documents, while you watch! But:
hurry-our offer is limited. Call!
i[213) 555-1111 loday.D
^Contact your nearest XYZ representative for further information. J
|XYZ Corporation, 123 Main Street, Los Angeles, CA 90000 J
Xe r ox Q i s a t r adema rk o f Xe r ox C o r p or a t io n, i i _
Figure 5-26.
Apply tags to page one
Now it’s time to format the text. Because the tags have been
predefined in the style sheet from the Power disk, all you need
to do is to choose the right paragraph and apply the proper
tag. Start on page one and apply the first two headline tags. If
you have questions about any tags or effects, take a few
moments to examine the appropriate dialog boxes from the
Paragraph menu.
*+NOTE: If you are not using the pre-defined style sheet from the
Power disk, you must create the tags as you go along, using
the tag table provided in Appendix B.
11 Press PgUp to go to page one.
Apply tags to page one
5-31
Enable Paragraph mode.
Select the teaser headline in frame #1 and tag it as Head3.
Select the teaser headline in frame #2 and tag it as Head-
Rotate (Figure 5-27).
Figure 5-27.
i§ In frame #3, select XYZ’s return address and tag it as
Address.
H Select the mailing address and tag it as BodyCenter.
Your screen should look like Figure 5—28:
Figure 5-28.
5-32
Style
*+NOTE: If your screen shows tab and line break symbols, you
know that Show Tabs & Returns is on from the Options menu .
Before you go to page two, let’s take a moment to show you
how we got the effect of rotated text.
II Select the teaser headline (the HeadRotate tag) in the
second frame.
H Now select Alignment from the Paragraph menu.
Notice that Text Rotation is set to 180. Because we want the
teaser to appear right-side up when the mailer is folded, we
made it upside-down — that is, rotated 180 degrees on-screen.
You can edit rotated text by placing the text cursor through
the “invisible” rotated text. In practice, however, it is easier if
you edit your text before rotating it.
Apply tags to page two
!! Press PgDn to go to page two.
si Select the first headline “The Ventura Makeover” and tag it
as Headl.
Select the second headline “Take a great idea ... and make
it greater” and tag it as Head2 (Figure 5-29).
Figure 5-29.
Apply tags to page two
5-33
Leave the main body copy tagged as Body Text.
H Go to frame #9 and select the paragraph that begins “Con¬
tact your nearest... ” and tag it as BodyCenter (Figure
5-30).
Desk File Edit View Chapter Frane Paragraph Graphic Options
I f H,tiIlSl!Iii 11 IlilHjl C:\TEMP\5HflILER.CHP (5HAILER.SW) pilillllillllllllll
jtfow you can give an eidinary per¬
sonal computer the power of a pro
Sessional print shop, With Xerox
Centura Publisher and expert train
ing from the people at XYZ Cor
joration, you can learn to create
professional-quality documents
using a personal computer and an
inexpensive laser printer, Por this
jweek only, when you come in for a!
bo-risk demonstration, we will!
Redesign one of your corporate:
documents, while you watch! But:
hurry-our offer is limited. Call:
£213) 555-1111 today. □
a
Figure 5-30.
That was fast, wasn’t it? The more you tag, the easier it
becomes. Before you continue, let’s examine the Head2 tag
more closely. You may recall that you entered two tab charac¬
ters as part of the Head2 text. The first tab setting is a center
tab and the second tab setting is right-aligned (Figures 5-31
and 5-32). To position the tabs correctly you should measure
their locations from the edge of the frame (not the edge of the
page). The location of the second tab forces the text past the
visible column guides. We chose this tab location so the text
would line up with the right-most picture frame.
NOTE: The second tab setting pushes the text outside the
normal frame and column boundaries.
5-34
Style
"Head2" TAB SETTINGS
m
Tab Number:
♦
♦
Tab Type:
Center
Tab Shown As:
Open Space
Tab Location:
17,B6|
picas & points
Leader Char:
Spaces
032 (ASCII)
Leader Spacing:
0
Auto-Leader:
Off
| OK | Cancel
Figure 5-31.
"Head2 u TAB SETTINGS
HI
Tab Number:
♦
2| +
Tab Type:
Tab Shown As:
Tab Location:
Right
Open Space
35,06| picas & points
Leader Char:
Spaces
032 (ASCII)
Leader Spacing:
Auto-Leader:
0
Off
F0K 1 Cancel
Figure 5-32. Tab settings for Head2
Stopping point
This is a good place to stop and save what youVe done so far.
Check your progress against the sample page in Figure 5-33.
If you wish, you can quit now and return to this project later.
If you have the time, continue on to the next section. In the
pictures section you will learn some helpful tips and tech¬
niques.
Apply tags to page two
5-35
The Ventura
Makeover
Take a great idea ... and make it greater
Now you can give an ordinary per- week only, when you come in for a
sonal computer the power of a pro- no-risk demonstration, we will
fessional print shop. With Xerox redesign one of your corporate
Ventura Publisher and expert train- documents, while you watch! But
ing from the people at XYZ Cor- hurry—our offer is limited. Call
poration, you can learn to create (213)555-1111 today,
professional-quality documents
using a personal computer and an
inexpensive laser printer. For this
Contact your nearest XYZ representative for further information.
XYZ Corporation, 123 Main Street, Los Angeles, CA 90000
Xerox ®is a trademark of Xerox Corporation
Figure 5-33.
5-36
Pictures
Pictures
In this section you will add the final graphic touches to the
advertisement by placing three line-art pictures into frames
on page two.
Place pictures on page two
An advertisement relies heavily on visual imagery to create
an impact and convey a message. For this example, you will
place three pictures. Two of them are Encapsulated Postscript
Files (which Ventura treats as line-art) and the third is a
standard line-art picture (in GEM format). If you do not have
a PostScript printer, leave the two EPS frames blank, or fill
them with any picture of your choice.
^ NOTE: EPS files will not print on non-PostScript printers.
II Make sure you are on page two.
II Enable Frame mode.
si Select the left frame (frame #6) and place the file
5COURIER.EPS.
11 Select the right frame (frame #7) and place the file
5AD.EPS (Figure 5-34).
Add drop shadows to the frames
5-37
** TIP: If you see the message, “You’re about to overwrite an
existing caption. You won’t be able to recover the caption text.
Is that OK?,’’ choose Yes. Ventura displays this message if you
previously typed in text or added a caption to the frame.
When Ventura loads the Ventura-generated PostScript file
into a frame, it displays an “X” on the screen. You will not see
the picture until you print the chapter.
** TIP: Since it is impossible to preview a Ventura-generated
EPS file on-screen, it is important to make the frame size the
same aspect ratio as the original EPS file.
Add drop shadows to the frames
A drop shadow gives the illusion of depth to a two-dimensional
object. One way to create a drop shadow is to lay one frame on
top of another. The bottom frame, which is gray or black, is
offset slightly so that only the two edges show. However, this
method may not work on all printers, and slows down some
others. We recommend a second method: drawing two rec¬
tangle shapes with a gray screen pattern at right angles to
each other.
Before you start drawing, choose a grid value that will make it
easy to place your shapes on the page.
II Enable Graphic mode and select the left picture frame
(frame #6).
i§ Grid Settings Grid Snap: On
Horizontal Spacing: 00,03 picas & points
Vertical Spacing: 00,03 picas & points
TIP: Every frame on the Page can have its own grid settings.
Draw a horizontal shadow
H Draw a rectangle along the bottom edge of the left frame.
Stretch it to the right to create the bottom shadow (Figure
5-35).
5-38
Pictures
Desk File Edit View Chapter Frane Paragraph Graphic Options
■ 1 fSiffiilifslili!lISi»! C :\f EflPXaifl I LER 7cw>" _ CSrtfi fLER. S1V) ♦
Figure 5-35.
Change the rectangle’s attributes
Now change the line and fill attributes of the rectangle.
M Line Attributes Thickness: None
Defaults: Save To
II Fill Attributes Color: Black
Pattern: 4
Result: Transparent
Defaults: Save To
Draw a vertical shadow
is Draw a second rectangle at a right angle to the first as
shown in Figure 5-36.
^ NOTE: Do not be discouraged if it takes some time to draw the
two drop shadows. If you want, go on to the next section
(placing and sizing an image) and complete the shadows later.
When you are satisfied with the size and position of the drop
shadow, you must use the Send to Back option, so the rec¬
tangles don’t cover up the frame’s ruling lines.
WARNING: If you omit this next step, the ruling lines at the bottom and side of the
frame will not be visible when you print the page.
Shadow the second frame
5-39
Desk File Edit Mien Chapter Frane Paragraph Graphic Options
Figure 5-36.
I Use the Shift-Click method to select both rectangles. Then
select Send to Back from the Graphic menu (or press Ctrl-
Z), as shown in Figure 5-37.
Figure 5-37.
Shadow the second frame
To eliminate a drawing step, you will copy the drop shadows
from the left frame (frame #6) to the right frame using the
following steps.
H Use Shift-Click to select both rectangles. To copy them into
the Graphic clipboard, press Shift-Del (or select Copy
5-40
Pictures
Graphic from the Edit menu). To paste them back onto the
Page, press Ins (or select Paste Graphic from the Edit
menu). While the rectangles are still selected, press and
hold down the mouse button and drag the shapes over to
the right frame. Carefully line them up with the edges of
the frame. You may want to switch to Normal or Enlarged
View to fine-tune the placement of the rectangles (Figure
5-38).
Figure 5-38.
H While the two rectangle shapes are still selected, choose
Send to Back from the Graphic menu.
Place and size an image
Now that you’ve completed the drop shadows, you will place a
picture of a computer in the next frame (frame #8) the one
which contains the body copy. First, however, you will need to
add a smaller frame within the frame to contain the picture.
11 Enable Frame mode. Add a frame with the dimensions
shown in Figure 5-39. Position the center of the frame in
the center of the gutter margin. Use Sizing & Scaling to
verify its position and dimensions.
Place and size an image
5-41
Figure 5-39. Draw a frame with the dimensions shown here to contain
the picture of the computer.
Ventura automatically flows the Body Text around the new
frame. Do not be concerned how the text fits into the frame or
if it matches the illustration we show below. You will have a
chance to make adjustments later.
Now you will place the picture of the computer inside.
II With the small frame still highlighted, place the file COM-
PUTER.GEM from the Assignment List.
5-42
Pictures
Scale the image
After placing the picture, you can use the Sizing & Scaling
dialog box to scale the picture in the frame and to make the
text runaround.
H Select Sizing & Scaling from the Frame menu. Choose Flow
Text Around: Off, Picture Scaling: By Scale Factor, and
Aspect Ratio: Distorted.
Now crop the image.
^ Enter X Crop Offset: (+) 7,00 picas & points, Y Crop Offset:
(+) 11,06 picas & points. Scale Width: 30,00 picas & points
and Scale Height: 30,00 picas & points.
^ NOTE: You can also interactively crop the image. Place the
mouse cursor inside the picture frame. Then press the Alt key
as you hold the mouse button. Slide the image back and forth
until you achieve the placement you want.
When you turn Flow Text Around: Off, Ventura allows the text
to flow into the frame and the over the picture inside it (Figure
5-40).
Create a text runaround
5-43
Desk File Edit View Chapter Frane Paragraph Graphic Options
iltliii C:\TEMP\5MfiILER.CHP (5MAILER.STV) 1111111111111111111
5ftD.EPS
5C0UftIER.EPS
SMAIUER.TXT
COMPUTED.GEH
Easmasa
Now you can give an ordinary per- week only, when you come in for a|
willi
orporalej
sonal computer the po wer o f a_Mjisk ..demonstration, we
professional print shotfwiih X ° T ^y aM ipn ole of your corp
professional print shop.
Fentura Publisher and expert
jng from the people jal XY2
(rotation, you can le^n to c
professional-quality! doc
(using a personal computer,
inexpensive laser prim
pents, While you watch! But;
-our bffer is limited. Calk
555-1^11 today.O
Oorftcr yor nans* XYZ far Islta- frcrarbrj
XV2 cwpcnwa 123 h*m sm, La u&os, oft 90000J
JCrwo 3 Irotencrtc of Xsroc O c rpcnta o na
Figure 5-40.
Create a text runaround
Now that you’ve turned Flow Text Around off, you will now
place small frames over portions of the computer to create an
irregular text runaround. Place the frames in a pyramid ar¬
rangement to make the text run around in a stair-step
fashion.
Before you add your frames, make sure that Line Snap is on
and Column Snap is off (the Options menu).
** TIP: Turning Line Snap on guarantees that the new frames will
be sized in increments of the Body Text inter-line spacing. You
will be able to create frames exactly one or two lines deep.
!i Add four small frames over the computer image as shown
in Figure 5—41. If you want absolute accuracy, check each
frame’s dimensions with the Sizing & Scaling dialog box. If
you don’t have the time, use your best judgment to gauge
the sizes of the frame.
Copy fit the body copy
Now that you’ve created the text wraparound, it’s time to
copy-fit the text so it fills the frame exactly. With Ventura you
can copy-fit in several different ways:
1. Add or delete from the text.
5-44
Pictures
Figure 5-41.
The traditional way to copy-fit is to add or delete words to
make the text fit the space. If you trim all the excess from your
copy and the text still won’t fit the space, try one of the other
options.
2. Change the size of the frame containing the text.
When text is placed in a frame on top of the Page, you can
increase or reduce the size of the frame to make the text fit.
With Line Snap On you can add to or subtract from the frame
size by one-line increments.
3. Fine-tune the frame typography settings.
Initially, Ventura makes all the Frame Typography settings
equal to the Chapter Typography settings (e.g. Widows and
Orphans, Column Balance, and Move Down to 1st Baseline).
You can, however, change a setting in the Frame Typography
menu so it overrides the chapter settings you defined in the
Chapter Typography menu.
In this project, you will adjust the Frame Typography to make
the body copy fit into the frame.
H Enable Frame mode and select the frame reserved for the
body copy (frame #8).
ii Select Frame Typography from the Frame menu.
H Choose Widows (Min Lines at Top): 1, Orphans (Min Lines
at Bottom): 1.
Kern the headline
5-45
Select Column Balance: On and Move Down to 1st Baseline
By: Inter-Line. Then click OK to close the dialog box.
FRAME TVPOGRAPHV SETTINGS
Widows (Min Lines at Top): 1
Orphans (Min Lines at Bottom): 1
Column Balance: On
Move Down To 1st Baseline By: Inter-Line
Pair Kerning: Default
□
Cancel
With the baseline position of text changed to inter-line, the
text will align across columns (Figure 5^42).
SOB.EPS
SCOUKIEft.EPS
SMflILEH.TXT
COMPUTES.GEM
pj
IfllLER.fXT I
Pg # 8802 |
2
f
Jow you can give an ordinary per sonal computer and an inexpensive
jonai computer the poKerjif^mi!!;._J.am.ptMei, lor this week only!
[essional print shopj. With;
Xeros Ventura Publisher and!
Expert training frojm the!
people at XYZ Corpioratipn,;
you can learn to creite-Li
prof ess ional-quaUtyUJi
when you come in for a no
risk demonstration, we willj
redesign one of your cor^
jjiqrale 'documents, while you!
..watch! But hurry— our)
r .... .L yhlfer is limited. Call
documents using a 555-1111 today.
Cerfad yar mret KYI rvrcvtorirt fcr Utff fifmoriarv
XYS CotpDfWwt 133 Una SfrwJ, Us 06 90000
X»o< Oil a tasaofc <t Xcck C vpi 'af ui
Figure 5-42.
These adjustments should make the text reach to the bottom
edge of the frame. If not, try adding or deleting a few words
until it looks right.
Kern the headline
Before you complete this project, well show you how to make
5-46
Pictures
some adjustments to your headlines and body copy. Because of
space limitations, we will not go through all the fine-tuning
that would ordinarily occur for an advertisement. We will,
however, introduce you to the methods. Once you grasp these
techniques, you can use them to adjust this and other docu¬
ments until all the details are perfect.
Kerning is a typographic technique that allows you to selec¬
tively reduce the amount of space between individual letter
pairs and leave the rest of the word the same. Kerning (or the
lack of it) is most noticeable in display type of 18 points or
larger. Ventura has two ways to kern: automatically and
manually.
Automatic pair kerning occurs only if the fonts for your
printer come with special files called kerning tables (Ventura
2 includes kerning tables for most printers). Kerning tables
contain information about special letter pairs that look better
spaced more closely. Certain letter combinations are improved
by kerning, such as AV, YO, Ve, LY, and Te. Figure 5-43 shows
how kerning alters the appearance of the word “wave.”
Unkerned WAVE
Kerned WAVE
Figure 5-43.
*+NOTE: You will not do any damage if you specify automatic
kerning for fonts that do not have kerning information. Ventura
will simply ignore the command.
In our example, the kerning table contains information that
told Ventura what to do if it found a capital letter A followed
by a capital V. More specifically, it told Ventura just how far to
move the V to the left to improve the appearance of this letter
pair. Although we used “AV” as an example, most kerning
tables also include information on 200 or more combinations.
Enable automatic kerning for the headline
5-47
To implement automatic kerning, you must take two steps: (1)
turn it on globally for the entire document and (2) turn it on
for each tag that you want kerned. You must take both steps.
Turning kerning on globally has no effect if you haven’t turned
it on for the individual tags. Likewise, turning it on for an
individual tag does nothing unless you also remember to turn
it on globally.
Enable automatic kerning for the headline
Let’s begin by enabling automatic kerning for the headline.
Later you will do some manual kerning as well. First you
should verify that kerning is globally on.
^ Select Chapter Typography from the Chapter menu.
Choose Pair Kerning: On then click OK.
H Enable Paragraph mode. Select the headline “The Ventura
Makeover” in frame #4.
H Select Paragraph Typography from the Paragraph menu.
Verify that Automatic Pair Kerning is on, Letter Spacing is
off, and Tracking is set to 0.040 Ems Tighter. Click OK.
"Headl" TVPOGRAPHV SETTINGS Q]
Automatic Pain Kenning: On
Letten Spacing: Off Up to: 8.100 &s
Tracking: Tighten B.640j Ens
Grow Inter-Line To Fit: On
Minium Space Width: 1.008 * (space width) = 6.277 Ems
Morinal Space Width: 2.000 * (space width) = 0.555 Ens
Maximum Space Width: 3.000 * (space width) = 0.832 Ens
1 Cancel
With the Paragraph Typography dialog box, you can also
tighten type with the tracking command. Refer to Chapter
Three for an explanation of tracking.
5-48
Pictures
Perform manual kerning on the headline
You can also kern manually in addition to, or instead of auto¬
matic pair kerning. For example, here’s how to move the “e” in
the word ‘‘Ventura” close to the “V”.
^ Enable Text mode. Select the letter “V” in the word “Ven¬
tura” (Figure 5-44).
Desk file EditView_Chapter Frane Paragraph Graphic Options
iSlilillllllllll C:\TEMP\5MflIlER.CHP (5HAILER.STV) Hill
l Pg t* B892
■t
■.. i*..r*.i?.i*. 4 ..i 3 .°.i“.
fThe J
Mata
ientura
sover I
1 Take a great idea
...j and make it greater
E
Figure 5-44.
H Hold down the Shift key and press the left arrow key 8
times to move the letter “e” closer to the V.
*+NOTE: When you kern manually, the letter following the
selected letter moves in the direction of the arrow.
This moves the “e” closer to the V. The amount of kerning is a
matter of personal taste. We suggest you experiment with
different values until you come up with the best look.
*+NOTE: Do not be concerned if the letters overlap on-screen.
When you print out the page, the two letters will look right.
You can also kern manually using the Set Font Addition but¬
ton in Text mode. Highlight the letter “V” and choose Set Font
from the Side-Bar. Choose Kern: Tighter and enter the
amount in Ems to kern. When you close the dialog box you can
see the result of the kerning.
About screen kerning
5-49
FONT SETTING FOR SELECTED TEXT
a
11 Style !1
HASH
Light
CSB1
Nornal
Black
Bold
Red
L-Italic
Green
N- Italic
Blue
B- Italic
Cyan
Vellow
Magenta
Helvetica
T
Tines
Courier
Synbol
flvant Garde Gothic Book/Demi
ITC Booknan Light/Deni
Helvetica Narrow
Palatino
ipjjjj
RffHf
n
CUSTOM 1
u
i
D
1
CustoM Size: 074.0 paints
Overscore: Off Shift: Up 00.00 fractional pts
Strike-Thru: Off Kern: Tighter B.991 Ems
Underline: Off
Double Underline: Off
OK i\
[Cancel 1
About screen kerning
You may not notice much difference on the screen when you
apply kerning. Check Set Preferences from the Options menu
to see if On-Screen Kerning is on for all display type 18 points
and larger.
^ Select Set Preferences from the Options menu. Choose On-
Screen Kerning: 18. Click OK.
SET PREFERENCES
Generated Tags:
Shown
Text to Greek:
6
Keep Backup Files:
Ves
Double Click Speed:
3
On-Screen Kerning:
18
fluto-fldj ustments:
None
Pop-Up Menu Symbols:
Hidden
Menu Type:
Drop-Down
Decimal Tab Char:
046| (ASCII)
m
Cancel
Ventura permits you to select the size at which to show kern¬
ing on the screen. In general, it is best to show on-screen
kerning only for large type sizes or not at all. Otherwise,
on-screen kerning slows down the display. And because of the
5-50
Pictures
low resolution of computer screens, it is not effective or ac¬
curate at lower point sizes. In fact, don’t be surprised if your
monitor doesn’t show any visible on-screen kerning. Because
Ventura uses generic screen fonts, on-screen kerning is an
approximation at best.
*+ TIP: The only way to accurately gauge the effects of typo¬
graphic adjustments is to print out the page.
WARNING: Remember to reset On-Screen Kerning to None before you continue on
to the next section.
About letter spacing
Ventura has another typographic control called Letter Spac¬
ing. To understand letter spacing, it is first necessary to un¬
derstand how Ventura justifies text. Although the explanation
below is not technically thorough, it will help you understand
the letter spacing option. As it flows text onto the page, Ven¬
tura fits as many words as possible onto each line before
moving to the next. If the words do not fit, Ventura adds or
subtracts space between words, but not between letters. Ven¬
tura will not reduce the word space beyond the minimum or
maximum word spacing values. Ventura has default maxi¬
mum and minimum space widths, but you can change them in
the Paragraph Typography dialog box (Figure 5-45).
'■Body Text" TVPOGRflPHV SETTINGS
E
Automatic Pair Kerning: Off
Letter Spacing: On
Tracking: Tighter
Up to: 0.100] Ens
8.600 Ens
Grow Inter-Line To Fit: On
Minimum Space llidth: 8.660
Normal Space Width: 1.000
Maximum Space Width: 2.000
(space width) = 0.150 Ens
(space width) = 0.249 Ens
(space width) = 0.498 Ens
Cancel
Figure 5-45.
Enter letter spacing
5-51
Quite often Ventura cannot fit the words onto the line without
exceeding the maximum or minimum values. In that case, it
searches for the discretionary hyphens that were placed in the
text file when it was loaded. If it can find a hyphenation point,
Ventura will split a word, so part goes on one line and part
goes on another.
Even with the help of hyphenation, Ventura still encounters
some lines that cannot be justified without exceeding the
maximum space width. These lines, which have too much
white space between the words, are known as loose lines. You
can instruct Ventura to highlight these lines by selecting
Show Loose Lines from the Options menu.
There are several ways to reduce the number of loose lines:
• Manually hyphenate words (sometimes Ventura’s hyphena¬
tion algorithm misses opportunities)
• Edit your text
• Allow Ventura to use its Letter Spacing feature to adjust
the space between individual letters as well as the space
between words
*+NOTE: Even if you fix the loose lines with letter spacing,
Ventura will still highlight them on screen.
Enter letter spacing
Let’s use the letter spacing technique to fine tune the body
copy. You will tell Ventura that it is allowed to add a small
amount of space between letters if necessary to justify a line.
^ Enable Paragraph mode and select the Body Text para¬
graph in frame #8.
H Paragraph Letter Spacing: On
Typography Up to: 0.100 Ems
Experiment with fixing loose lines
As we mentioned above, letter spacing is just one of the ways
you can avoid loose lines in body copy. If you are interested,
you may want to take some time to experiment on your own to
5-52
Chapter
further reduce the number of loose lines in the ad copy. Try
adding a discretionary hyphen or two (place the text cursor
where you want and press Ctrl-Hyphen), edit the text, or
stretch one of the small frames. To continue practicing these
adjustments, refer to Figure 5-46 for places to hyphenate
text. Since this is for practice only, do not be concerned if your
text is off a word or letter. The important thing is to under¬
stand that you have several powerful typographic tools at
your command.
Desk File Edit View Chapter Frane Paragraph Graphic Options
„:| C:\TEMP\5MflILER.CHP (5MAILER.S1Y) fUMiilliilil
jKow you can give an ordinary per; sonal computet and an inexpensive-
jonal computer the pqjReuif 1 a^ua£.—iaxei-jirintei, lor this week only,
Sessional print shop:, With!
jXerox Ventura Publisher and]
bxpert training frojm the!
people at XYZ CorpjoratLnnU
you can learn to create,-Ljg
when you come in for a no-j
Irisk demonstration, we will;
jredesi^n one of your cor
Jporate Idocuments, while youj
3-,'witch! But hurry-our,
SSah-Mfer is limited. Call;
Certatf yw raret XVZ fcr mtw Trfmctm
| XVZ Ocrjcratwv 123 XAp Strict! US fiftffos, CA 90000
■h l ...Q ygn ftr...
E
Figure 5-46.
Now that you’ve completed the ad, let’s see the results of your
efforts and print the chapter.
Chapter
Take a moment to save your work (press Ctrl-S). Then use the
Print option to print out the entire document.
*+NOTE: Because of the size of the Encapsulated Postscript
files , you should allow extra time for printing.
H Select To Print from the File menu. Choose Which Pages:
All.
Print hidden pictures
5-53
PRINT INFORMATION (POSTSCRIPT - Ultinate)
m
Which Pages:
All
From Page:
0001|
Through Page:
9999
Number oF Copies:
01
! Collated Copies:
Off
Printing Order:
1st to Last
Paper Tray:
Default
Crop Marks:
Off
Spot Color Overlays:
Off
Hulti•Chp. Print F ilea:
Combined
Device Name:
POSTSCRIPT
Output To:
C0M1:
HP
|Cancel|
Print hidden pictures
If you customarily work with documents that use many pic¬
tures, you can save time printing a rough draft if you hide all
the pictures in the document. When you hide pictures, Ven¬
tura prints out a gray box in place of the picture.
To hide pictures, choose Hide All Pictures from the Set
Preferences dialog box (Options menu). When you print the
document, Ventura first tells you that the document contains
at least one hidden picture and then asks if you want to print
all hidden pictures or keep them hidden. Choose Hide Them to
hide the pictures.
*+ TIP: You can also use Hide Pictures to decrease screen
redraw time.
Print to file
As you see from the final printed version of the advertisement,
an Encapsulated Postscript file allows you to take a “snap¬
shot” of a page and make it part of a document. If you have a
PostScript printer, you can make your own EPS file by using
the print option Print To File. Before we conclude this chapter,
we’d like to show you how you to make an EPS file from the
second page of this document.
^ Go to the second page (the advertisement itself).
5-54
Chapter
*+NOTE: You can only make an EPS file of one page at a time.
ii Select Set Printer Info from the Options menu.
In this dialog box you can select which printer port (LPT1,
COM1), to print a file to or you can choose to print to a
filename.
Is Choose Output To: Filename.
SET PRINTER INFO (POSTSCRIPT - Ultimate)
Device Name:
| HP LJ+, 308 foil
POSTSCRIPT
□
Screen Fonts: EGfl| (Use those matching this file extension.)
Output To: | LPT1 H LPT2 ||TPT3l fcHT!fclTl |Direct|
Width Table; C:\VENTURA\OUTPUT.WID_
Command: | Load Different Width Table (i.e., Font Metrics) |
| Cancel |
*+ NOTE: You may want to review Chapter Three for an explana¬
tion of the other printer options in this dialog box.
WARNING: Remember to use Set Printer Info to return the settings to the original
output device (e.g. COM1, COM2) after you are finished making the EPS file.
if Select To Print from the File menu. Select Which Pages:
Current and click OK.
Ventura displays the Item Selector, which asks you for the
name of the print file.
i§ Move the cursor to the Directory line and replace the
filename extension COO with EPS.
H Locate the C:\TEMP subdirectory and type in the file
name, 5MAILER.EPS on the Selection line. Click OK.
Print to file
5-55
ITEM SELECTOR
Directory: C :\TEMP\*.EPS.
*.EPS
Selection: 5MAILER .EPS|
t
*
| OK |
%
Cancel
♦
TIP: Always use the .EPS extension when printing to a
filename.
Ventura prints as normal, except the output goes to the file
instead of to the printer. Once you create an EPS file, you can
load it into a frame like any other picture.
Tips and techniques
Picture tips
□ Use a stand-alone graphics program for complex illustra¬
tions. Ventura’s built-in graphics tools are most useful for
annotating existing drawings or producing very simple il¬
lustrations such as organization charts.
□ Ventura does not store or modify outside graphics files. It
stores a pointer to the file.
□ If you revise a picture with an outside program and give it
the same name as the old version, Ventura will load the
new picture the next time you open the chapter.
□ When sizing pictures with By Scale Factors, remember that
the numbers shown in the dialog box represent the original
size of the picture. To change the picture, enter the new
values you want.
□ When using By Scale Factors together with Aspect Ratio:
5-56
Chapter
Maintain, Ventura lets you choose the width. Then it auto¬
matically calculates the necessary height to avoid distort¬
ing the aspect ratio.
□ Scanned images look better if you leave them at their
original size. If you must enlarge or reduce, do so in integer
amounts.
□ A positive X offset moves the picture to the left. A positive Y
offset moves the picture up.
□ Reset the zero point of the ruler for more accurate position¬
ing of graphics elements.
□ To create a text runaround, turn Flow Text Around to Off in
the original frame. Then use smaller overlapping frames to
keep the text away from the object inside the frame.
More Box Text tips
□ Use the snap-to grid for easy, precise sizing and placement
of Box Text.
□ Once the first Box Text looks correct, use the Save To
buttons in the Line and Fill Attributes dialog boxes. These
buttons store the attribute settings. From then on, every
Box Text you draw will have the same attributes.
□ If you must position a Box Text with extreme accuracy,
attach the upper left corner of the Box Text to the upper left
corner of a small, invisible frame. Use Sizing & Scaling to
position the frame. Since the Box Text is attached, it will
move to the correct position too.
□ If you must size a Box Text with extreme precision, first
draw a frame of that size. Use Sizing & Scaling to verify the
size. Then place the Box Text over the sizing frame. You can
then delete the frame. Be careful to attach the Box Text
where you really want it, and not to the sizing frame, which
will be deleted.
□ Use Send to Back and Bring to Front from the Graphic
menu to force graphics shapes to overlap in the order you
want them to.
□ See Chapter Four for more tips on Box Text.
Print to file
5-57
Other tips
□ Always format the Chapter first, even when creating a
free-form document. Use the Page as a guide to positioning
page elements.
□ Type non-keyboard characters by holding down the Alt key
while typing the decimal code on the numeric keypad.
□ lb select a frame underneath another, hold down the Ctrl
key and click the mouse button on the frame you want.
Each time you press Ctrl-Cliek, Ventura selects the next
layer down. Continue clicking until you see sizing buttons
around the frame you want.
□ To achieve automatic kerning, you must (1) turn it on
globally using Chapter Typography from the Chapter menu
and (2) turn it on for the individual tag using Paragraph
Typography from the Paragraph menu.
□ Use the Set Preferences dialog box from the Options menu
to set On-Screen Kerning to None. Screen kerning slows
down the display and is generally not very accurate.
□ Enter additional discretionary hyphens on-screen with
Ctrl-Hyphen.
□ To keep Ventura from hyphenating a word, enter a discre¬
tionary hyphen immediately before the word.
□ Enter additional discretionary hyphens permanently by ad¬
ding the word to the user hyphenation dictionary. This
dictionary is called HYPHUSER.DIC and is found in the
Ventura subdirectory. Use the ASCII mode of your word
processor to load the file. Then type in the words as you
want them hyphenated.
□ lb permanently prevent Ventura from hyphenating a word
(such as a product name), enter it into the user hyphena¬
tion dictionary without a hyphen.
□ To create an EPS file, choose the PostScript printer and
print the page to a file, using the Set Printer Info dialog
box.
Chapter Six
Skills Checklist
Theory
□ The grid system
□ Using frames to design a complex
page layout
Text
□ Converting file formats from different
word processors
□ Adding jump text
□ Typing a pull quote
Style
□ Adding editorial color to frames
□ Improving display type with tracking
and kerning
□ Using pull quotes for spacing and
graphic effect
□ Adding style with big first characters
(drop caps)
□ Understanding chapter and frame
typography
□ Creating boldface lead-in heads
□ Advanced effects with double and
dashed rules
Pictures
□ Building a calendar with Box Text
□ Placing and sizing an image
□ Adding captions to illustrations
Chapter
□ Saving production time with chapter
templates
Chapter Six
A Three-Column Newsletter
P roducing newsletters is one of the most popular desktop
publishing applications. With Ventura and a laser printer,
there is virtually no limit to what you can do. In Chapter
Three you learned how to build a simple, two-column newslet¬
ter. In this chapter, you will tackle a second newsletter, a
three-column format that shows off some of Ventura’s ad¬
vanced design capabilities. You will create this sophisticated
layout using the skills and effects listed to the left. At the end
of the chapter we will also explain two time-saving production
tips that make newsletter production faster and easier.
Theory
The grid system
It is easiest and most efficient to build newsletters by pouring
text into frames. The format of the Page determines the size
and placement of those frames. For example, a two-column
page presents two columnar alternatives: (1) frames that are
one column wide or (2) frames that are two columns wide
(Figure 6-1).
A three-column Page offers more alternatives. Frames can be
one, two, or three columns wide (Figure 6-2).
As you can imagine, four- and five-column pages offer even
more possibilities. However, more alternatives also mean
more decisions. In general, four- and five-column grids are
best left to those with graphic arts experience.
Theory
Figure 6-1. On a two-column page you can place frames that are one
column or two columns wide.
Figure 6-2. When you use a three-column grid, frames can be one,
two, or three columns wide.
The three-column format is a good compromise (Figure 6-3).
It is simple enough that production doesn’t become too time-
consuming. Yet it is also flexible enough to provide the variety
and visual excitement lacking in one- and two-column for¬
mats. You can fit more text on the page with three columns
than with one or two. And you have many more ways to
present illustrations. In short, you can solve almost any
layout problem within the framework of a three-column grid.
For these reasons, it is the most popular newsletter style. You
will learn it in this chapter.
The danger of overdesign
6 - 3
VENTURA
SCOOP
Xerox Introduces ■ nav product
Will Ventura rt*i on the Macintosh?
Xerox tikes on Aldus In IBM market
Scanner producei 256 levels of grey
Xerox shows Ventura 1.1
at Spring conference
Xotn Corporation bra introduced w
■ioo 1.1 of its fint oloctrooic publishing
distribute** (including CoropatwLstfid,
Board approves
Ventura purchase
President DsvkM. Fulbright announced
today bis approval of a 12-month plan to
in key department throughout Aptoa
Post Typography. The announcement
follows a throe-month pilot study con¬
ducted by tbe Marketing Communica¬
tions Department
“W» initially (bought (bat deaktop
publishing would only have advantage*
for one or two department” said froei-
deot Pulbrigit, "but our study revealed
that it could save time and money
throughout tbo company while improv¬
ing the appearanc* and effectiveness of
our document.”
Several technological advances
make tbe company-wide strategy
feasible Pint, Aptoa was able to stand¬
ardise on a single software p ro gram for
all applications. Second, the selected
software, Xmn Ventura Publisher, will
Comitmtntl on pogtJ
software product (hat runs on industry
standard personal computers. Confer,
•oca at t endees west Impressed by the
eighty-one new features, all of which
wars added without compromising tbe
speed of (ha product and its depth of
functionality. In addition, Xerox spon¬
sored a second booth for third party dev.
eloper* who have created add-on
producte that work with Ventura. Over
(hirty companies displayed books, edu¬
cational videos, hardware and soft-ware
eaahnoamenta for Ventura.
Tbe updated patch to (be Xerox
Desktop Publishing Software Series:
added new meaning to (be term "Desktop
Publishing.” Before tbe introduction of
Ventura Publieber Bdition, deektop pub¬
lishing referred primarily to advanoed
drawing pecksgee that were extended to
handle different text fonts.
These types of peckagce were char¬
acterised by a band-intensive approach
that attempted to mimic what graphic
artiste and t y peset t ers ware used to doing
using (he pemortal computer screen an an
electronic paste-up boeud. While this ap¬
proach was easy for artiste to pick up, it
did not result in much time-saving be-
Microage, and PacteQ, and tee Xerox
Business Software Center via (8O0>£22-
8221, and (be Xerox general tine aides
fores. Comm «ntod one observer, "Xerox
bn* always bad a reputation of good
quality aarvioe and aftor-support. V*
feel we can expect tee same excel lent
technical back-up with the Ventura
product Una.”
"A* one of the piooeera in the field
of electtonic publishing, Xerox Billy un¬
derstands users' requirements for a
de s ktop publishing software product,”
•aid fames Brown, vice president, office
system*. "There are some very ox citing
developments we can look forward to in
drudgery of band-adjusting each piece of
text on (be page.
Fortunately, tee software dovotop-
•m at Ventura Software Inc. recognized
this and adopted a tty k sftott approach.
In tee same way that * spreadsheet
define* the rules for • complex set of
rap-etitive calculations, a Style Sheet
defines tee rules for complex layout.
Once these rotes are defined, aon-
typeeettera can quickly achieve typeset¬
ter-quality reaulte simply by applying or
tagging each paragraph aa a Heads oe,
Sub-Head, etc. Style shoots give typeeot
results, and let professionals got the
quality they expect from high-priced
pr o fe s s io nal type-setting systems.
Ventura 1.1 takes on PageMaker in battle
for IBM PC marketplace
Figure 6-3 Three-column newsletters are one of the most versatile
and popular design formats.
The danger of overdesign
As you venture into more complex layouts, beware of an afflic¬
tion that strikes many first-time desktop publishers: Over-
designitis. This disease results in an overwhelming urge to
cram as many fonts, rules, patterns, and other effects onto one
page as possible.
Good page design doesn’t call attention to itself. For instance,
when readers pick up a business-oriented newsletter, you do
not want their first reaction to be surprise, amazement or
shock. Rather, you want the design to pull them into the page
and entice them to start reading. Overdesign shouts. It says
“Stop! Look at me first! See what I can do!” Proper page
design, by contrast, talks in a quiet voice: “Come on in, make
yourself comfortable, here’s something you’ll enjoy....”
6-4
Theory
So don’t let Ventura’s power lure you into the trap of over-
design. Don’t let your layouts become a barrier to communica¬
tion. Yes, you want enough pizzazz so pages look pleasing and
professional. But your main goal is to make it easier for busy
readers to find information.
The danger of overdesign
6 - 5
Before
6 - 6
Planning the newsletter
Planning the newsletter
The first thing you see on the front page of a newsletter is the
logo or nameplate. The logo draws attention to the page and
identifies the publication. Most newsletters need a carefully
thought-out logo design because it sets the tone for the rest of
the publication. For instance, as you proceed through this
chapter, you will see how several effects from the logo are
repeated elsewhere. Newsletters benefit from a design theme
that is repeated throughout. This consistency improves the
look while helping readers identify different parts of the pub¬
lication.
The headlines are sized in proportion to the logo and to each
other. This hierarchy — the bigger the story the bigger the
headline — helps the reader judge which information is most
important.
Since this newsletter will be mailed, the back page includes
space for a label and a stamp. Depending on the amount of
editorial space you need, you can allocate a full, half, or frac¬
tion of a page to mailing information.
As you create layouts of your own, you will discover that
Ventura contains lots of built-in power you can put to work in
your newsletters. Here are some of the effects you will learn to
use to add character and punch to your newsletter designs.
• Three-column format
• Frame backgrounds
• Custom and double rules
• Big first character
• Boldface lead-ins
• Box Text for a calendar of events
Even though this newsletter is more a complex layout than
the one from Chapter Three, the same basic principles apply.
First you will format the Page. Next you will place frames
using the Page as your guide. Then you will put text into the
frames.
Converting file formats
6-7
Ventura prep
Verify that the settings from the Options menu are the way
you want them. In particular, be sure that Column and Line
Snap are turned on so frames automatically snap to the Page.
Choosing Show Column Guides also makes it easier to posi¬
tion frames.
!»® if you have the Power disk
Instead of building the newsletter chapter from scratch, you
will use the sample newsletter chapter from the Power disk.
The chapter file contains the newsletter style sheet and most
of the frames for the newsletter text.
m Open the chapter C:\POWER\6NEWSLET.CHP.
H Load the ASCII text files 6NEWSLT1.TXT,
6NEWSLT2.TXT, 6NEWSLT3.TXT, 6NEWSLT4.TXT,
6NEWSLT5.TXT, and 6NEWSTOC.TXT from the
C:\POWER subdirectory.
^ Use Save As New Style to save the style sheet as
C:\TEMP\6NEWS.STY
§§ Load the image file, WPVP.IMG (GEM/HALO DPE format)
from the C:\POWER subdirectory.
** NOTE: If Ventura automatically places the image on the Page,
use Remove Text/File to remove the image from the frame (do
not remove it from the list of files).
Before you place the text files, we want to show you how to
convert text files from one word processing format to another.
Converting file formats
If you publish a newsletter composed of articles from several
writers, you are likely to receive files in different formats.
Ventura can convert from one file format to another. After
loading a text file you can use File Type/Rename from the Edit
menu to convert it to a different word processing format.
Thanks to File Type/Rename you can standardize the text
6-8
Ventura prep
format of the newsletter without restricting writers to any one
word processor.
For practice, convert the six ASCII text files you just loaded
into your favorite word processing format (at the same time
you rename them).
Change formats
Follow these instructions for each of the six files in turn. First,
place the text file on the Page. Then call up the File
Type/Rename dialog box. Type in the new name (and new
location) and choose the new file format. As always, you will
be placing the new file in the \TEMP subdirectory along with
the projects from other chapters. Figure 6-4 shows how it
would look if you were changing 6NEWSLT1.TXT to Microsoft
Word format:
FILE TYPE / RENAME
Old Name: C:\P0WER\6MEWSLT1.TXT
New Name: C:\TEMP\6NEWS-1.TXT_
Text Format: | Generated~| | ASCII | | WordStar 3~| | WS 4.0/5.B~~|
■
IIS-Word
WordPerfect | | XyWrite |
8-Bit ASCII ||
■
MHMiliMiMi
■
| MultiMate | | PRN-to-Table | |
ilordPerfect 51
Writer
°K M
Figure 6-4.
If yoti were changing to MultiMate format, the dialog box
would look identical except that the MultiMate button would
be highlighted instead.
When you have finished, put the next file on the Page and
repeat the process.
*+NOTE .When you place a new file on the Page, Ventura auto¬
matically replaces the old file with the new one.
0
Change formats
6-9
Here’s a listing of the new file names (you can change the
extension to your own word processing format if you prefer):
Load from C:\POWER
6NEWSLT1.TXT
6NEWSLT2.TXT
6NEWSLT3.TXT
6NEWSLT4.TXT
6NEWSLT5.TXT
6NEWSTOC.TXT
Save to C:\TEMP
6NEWS-1.TXT
6NEWS-2.TXT
6NEWS-3.TKT
6NEWS-4.TXT
6NEWS-5.TXT
6TOC.TXT
WARNING: Neither the format change or the name change/relocation takes effect
until you save the chapter.
Using File Type/Rename merely tells Ventura, ‘Please make
these changes the next time you save to the disk.” If you
abandon the chapter without saving you will lose the changes.
II After you rename all the text files, use Remove Text/File to
remove the last file from the frame.
H Select Save As to save the chapter as
C:\TEMP\6NEWS.CHR
If you do not have the Power disk
Using your favorite word processor, type the text files for
Chapter Six from Appendix A. Save them under the
C:\TEMP subdirectory using the names listed in the right
column in the table above.
M Load the original Ventura style sheet &NEWS-P3.STY
from the C:\POWER subdirectory. Change the margins
and columns to match Figure 6-5. Change or add tags
according to the tag table for Chapter Six in Appendix B.
Save and rename the style sheet as
C:\TEMP\6NEWS.STY.
6 - 10
Ventura prep
Load the sample image file, CHANEL.IMG from the
C:\POWER subdirectory or substitute your own bit¬
mapped image in place of the one provided on the Power
disk.
Verify the page layout
6 - 11
Style
Since the newsletter is composed of text files in frames, it is
easier to add frames before placing text. Start by formatting
the Page, then use it as a guide for drawing the frames.
Verify the page layout
Although the 6NEWS.STY style sheet should have the correct
values for page layout, margins, columns, and global kerning,
verify that the values match Figure 6-5.
Add a footer
Select Headers & Footers from the Chapter menu. Choose
Define: Right Page Footer, Usage: On. Type: Fall/Winter
1989 on the Left line and Page [P#] on the Right line.
HEADERS 8 FOOTERS Q]
Define: | Left Page Header [
1 Right Page Header |
1 Left Page Footer |
Usage: Q [~0Ff~|
Left: Fall/Winter 1989
Center: _
Right: Page
Inserts: | Chapter ~5~| | Page 5 | | 1st Match"] | Last Hatch |
| Text flttr, | | Copy To Facing Page | _____ _____
|___0K_J 1 Cancel |
^ Choose Define: Left Page Footer, Usage: On. Type: Page
[P#] on the Left line and Paginations on the Right line.
Choose Turn Footer Off from the Chapter menu for the first
page of the newsletter.
Change the chapter typography
Now you will change the settings in the Chapter Typography
dialog box to complete the chapter format. (See Chapter Three
for a detailed explanation of these settings.)
6 - 12
Style
^ Select Chapter Typography from the Chapter menu.
Hi Choose Widows (Min. Lines at Top): 1 and Orphans (Min.
Lines at Bottom): 1.
H Choose Move Down to 1st Baseline By: Inter-Line.
H Verify that Column Balance is off.
Chapter Typography settings ensure that the text will align
across multiple columns and reach the bottoms of the frames.
Add frames to page one
li Place nine frames on page one using Figure 6-7 as a guide
for their size and position.
II Use Sizing & Scaling to fine-tune the size and placement.
Don’t forget that you can use temporary memory to create
identical frames. See Chapters Two and Three.
*+NOTE: With Line Snap turned on, the frames (frames #6 and
#7) at the bottom of the page will extend below the column
guide. Nevertheless, the text you pour into the frames will line
up properly with the bottom of the column guide.
Place the two “jump text” frames (frames #8 and #9) inside the
column frames as shown in Figure 6-6. (Shading in the figure
is for illustration purposes only. Do not add shading.)
Add a ruling box around
6 - 13
Frame #1
Upper Left X: 04,06 picas
Upper Left Y: 04,06 picas
42,00x12,00 picas
Frame #2
Upper Left X: 04,06 picas
Upper Left Y: 16,06 picas
42,00 x 07,00 picas
Frame #3
Upper Left X: 04,06 picas
Upper Left Y: 23,06 picas
13,00x24,00 picas
Frame #4
Upper Left X: 19,00 picas
Upper Left Y: 23,06 picas
13,00x24,00 picas
Frame #5
Upper Left X: 33,06 picas
Upper Left Y: 23,06 picas
13,00x24,00 picas
Frame #8
13,00x02,00 picas
Frame #6
Upper Left X: 04,06 picas
Upper Left Y: 47,06 picas
27,06x13,00 picas
Frame #9
13,00x01,00 picas
Frame #7
Upper Left X: 33,06 picas
Upper Left Y: 47,06 picas
13,00x13,00 picas
Figure 6-7. Use this illustration to draw the frames on page one.
6 - 14
Style
Add a ruling box around
When you are finished adding the frames, you will make a
ruling box around the frame reserved for the logo.
H Select the top frame (frame #1).
II Ruling Box Width: Frame
Around Height of Rule 1: 00.25 fractional pts
Add a pattern
To add intrest to the page design, put a gray fill pattern inside
the Logo frame (frame #1).
si Select Frame Background from the Frame menu. Choose
Color: Black and Pattern: 1. Click OK.
FRAME BACKGROUND Q]
Color: Black
Pattern: 1
| Cancel
Change columns
Use Margins & Columns from the Frame menu to change the
bottom left frame (frame #6) to a two-column format. The size
of the columns inside this frame will match the columns on
the Page.
H Select frame #6.
Add a ruling box around the TOC
6 - 15
m Margins & # of Columns: 2
Columns Column 1: 13,00 picas & points
Column 2: 13,00 picas & points
Gutter 1: 01,06 picas & points
Add a ruling box around the TOC
H Select the frame that will contain the TOC (frame #7).
^ Ruling Box Width: Frame
Around Height of Rule 1: 00.25 fractional pts
Add frames on page two
If you are using the Power disk, proceed directly to the section
entitled, “Add a dashed ruling line.”
If you do not have the Power disk and the sample newsletter
chapter file, use Figures 6-8, 6-9, and 6-10 as guides to lay out
the remaining frames on pages two, three, and four.
Insert/Remove Operation: Insert New Page
Page After Current Page
Use Figure 6-8 to guide the placement of frames on page two.
Then check for accuracy with Sizing & Scaling.
Add margins and a ruling box around
If you do not have the Power disk, you will add margins and a
ruling box around the frame reserved for the staff box (frame
#12). Start by adding margins to the frame. This keeps the
text in the frame from touching the ruling box around it.
^ Select the frame for the staff box (frame #12).
H Margins & Top: 02,00 picas & points
Columns Bottom: 02,00 picas & points
Left: 01,00 picas & points
Right: 01,00 picas & points
Select Ruling Box Around. Choose Width: Frame. Give Rule
1 a height of 00.25 fractional pts.
6 -16
Style
Frame #13
13,00x02,00 picas
Frame #10
Upper Left X: 04,06 picas
Upper Left Y: 04,06 picas
27,06x48,00 picas
Frame #11
Upper Left X: 33,06 picas
Upper Left Y: 06,06 picas
13,00x46,00 picas
Frame #12
Upper Left X: 04,06 picas
Upper Left Y: 52,06 picas
42,00x07,06 picas
Figure 6-8. If you do NOT have the Power disk, you must draw these frames on page two.
On to page three
6 - 17
RULING BOX AROUND
0
Width: Frame
Color: Black
Pattern: Solid
Dashes: Off
36.00
Space Above Rule 1: OO.BOj
Height of Rule 1: 00.25
Custon Indent:
oo.oo h i!
- 1
Space Below Rule 1: 00.00
Custom Width:
00.00
Height of Rule 2: 00.00
Space Below Rule 2: 00.00
Dash Width:
00.00
Height of Rule 3: 00.00
Dash Spacing:
00*00 fractional ptsj
Space Below Rule 3: 00.00
DEI
Overall Height: 00.25
[ Cancel |
On to page three
Good work — you’re halfway through placing the frames (If
you have the Power disk, these frames were drawn for you).
Two more pages to go. Insert another page before drawing the
frames on page three.
H Insert/Remove Operation: Insert a New Page
Page After Current Page
Add frames to page three
Using the Figure 6-9 as a guide, draw the five frames on page
three, then check your results with Sizing & Scaling. The
upper right frame (frame #18) is reserved for a picture and a
caption. You will add a caption to the picture frame in the
picture section of the chapter. For now, simply leave enough
space for the caption.
Add a ruling box around the picture frame
To visually separate the picture from the rest of the text, add
a ruling box around the frame that will contain it.
§1 Select the frame that will contain the picture (frame #18).
^ Ruling Box Height of Rule 1: 00.25 fractional pts
Around
6 - 18
Style
Frame #14
Upper Left X: 04,06 picas
Upper Left Y: 04,06 picas
13,00x56,00 picas
Frame #18
Upper LeftX: 19,00 picas
Upper Left Y: 04,06 picas
27,06x24,00 picas
Allow 03,00 picas for caption frame
Frame #17
13,00x02,00 picas
Frame #15
Upper LeftX: 19,00 picas
Upper Left Y: 31,06 picas
13,00x29,00 picas
Frame #16
Upper Left X: 33,06 picas
Upper Left Y: 33,06 picas
13,00x27,00 picas
Figure 6-9. If you do NOT have the Power disk, draw these frames on page three.
Insert page four
6 - 19
Insert page four
H Insert/Remove Operation: Insert a New Page
Page After Current Page
Add frames to page four
Add the two frames shown in Figure 6-10.
Frame #19
Upper Left X: 04,06 picas
Upper Left Y: 04,06 picas
42,00x27,00 picas
Frame #20
Upper Left X: 04,06 picas
Upper Left Y: 31,06 picas
42,00x29,00 picas
Figure 6-10. If you do NOT have the Power disk, draw these frames on page four.
6-20
Style
Add a dashed ruling line above
To create a fold line, you will add a dashed rule above the
bottom frame on page four.
^ Go to page four.
H Select Go To Page from the Chapter menu (or press Ctrl-G).
Move to the Selected Page line and enter 0004
II Select the bottom frame (frame #20).
HI Select Ruling Line Above. Choose Width: Frame, Dashes:
On. Make the Dash Width: 02.16 fractional pts and the
Dash Spacing: 02.16 fractional pts. Give Rule 1 a height of
00.50 fractional pts.
RULING LINES ABOVE
0
Width: Frane
Color: Black
Pattern: Solid
Dashes: On
Space Above Rule 1: 00.08
Height of Rule 1: 00.50|
Custon Indent: 00.00 [ * ji
36.00
Space Below Rule 1: 00.60
Custon Width: 00.00
Height of Rule 2 \ 00.00
Space Below Rule 2: 00.00
Dash Width: 02.16
Height of Rule 3: 00.00
Dash Spacing: 02.16 fractional ptsl
Space Below Rule 3: 00.00
DR
Overall Height: 00.50
| Cancel |
Place text files
Now that the frames are completed, you are ready to place the
text. Start with the two articles on page one.
II Press Home to go to page one.
II Select frame #3.
II Select 6NEWS-1.TXT from the Assignment List.
Ventura pours as much of the text file it can fit in the frame
and then stops.
Place text files
6 - 21
*+NOTE: Most of the sample text files have been pretagged.
Ventura will automatically format these paragraphs as you
place the text
Finish placing the first article.
II Select frame #4 then select 6NEWS-1.TXT from the Assign¬
ment List.
H Select frame #5 then select 6NEWS-1.TXT from the Assign¬
ment List.
You will place the rest of 6NEWS-1.TXT when you get to page
two. For now, continue working on page one. Place the article
“Ventura Complements CAD” (6NEWS2.TXT).
^ Select frame #6 and place the text file 6NEWS-2.TXT.
Ventura flows the text in the two columns and stops when it
reaches the end of the second frame (Figure 6-11). You will
place the remaining text when you get to page three.
Figure 6-11.
II Select frame #7 and place the text file 6TOC.TXT.
^ TIP: You do not have to place all of a file at once. Ventura will
“remember" where you left off when you get to the next page.
Generally ; the most efficient way to work is to do everything
you can on one page before moving on to the next.
6-22
Style
After placing the last text file, take a moment to compare your
first page to Figure 6-12. Your newsletter is now starting to
shape up.
Figure 6-12. The first page so far.
Add logo text on page one
To complete the text on page one, add the logo, headline,
dateline, and jump text to the proper frames. Change to Nor¬
mal or Enlarged View (your choice) so you can see the text as
you type.
ii Enable Text mode.
^ Click anywhere in the logo frame (frame #1) and type the
following three paragraphs:
PAGINATIONS [Enter]
NEWSLETTER [Enter]
Design and Production News for Ventura Publishers
Add dateline and headline
H Click anywhere in frame #2 and type the next two para¬
graphs:
Volume 1, Number 1 [Tab] Winter 1989 [Enter]
Training workshops underway
Add jump text
6 - 23
The text in the first two frames should look like the sample
screen in Figure 6-13.
Desk File Edit View Chapter Frane Paragraph Graphic Option!
llililiilBircT\fDi^EMs^(i^sTvr i h \ i HBB i? j j ff | if ji ♦
; ;
•: ; 1 •
’ /KMtoBrtSftf -.. :: 1 ' J ■ • .
M $3 ii M iiMmmM •;S i J:•: : :;:S$ •: V:.
j i'l
; * .• *■ S : : I 1- ;
l :•«s i > S :• S :•: : :• •: > 5 > •: 5 •:> •: J: i: •: •: •: :• i < < 5:
i
:•: :• > •: •:; :•; >f : : > j: :| :j J :| f: |: :j > |: j::
•; •• > ^) •; &
J? U H :• \ $ ^ 0 .:
• : *• : | • J
! VoKim«1,NunW 1-Wnter 1988f :
| Tnininj workshops uiufcfwyp
1 : i
: :
EE
Figure 6-13.
Add jump text
H Click once inside the small frame (frame #8) above the
Table of Contents and type: (Figure 6-14)
See WORKSHOP next page
^ Click anywhere in the small frame at the bottom of the page
(frame #9) and type: (Figure 6-14)
See CAD page 3
*+NOTE: If you do not see the end of file marker after clicking on
the frame, make the jump text frame larger. Later, you can
resize the frame so it measures 01,00 pica high. The logo,
headline, and jump text will be stored as part of the chapter’s
caption file.
If you wish to place this text into separate files, switch to
Frame mode. Select the frame containing the text you want to
put in a separate file. Select File Type/Rename from the Edit
menu. Ignore the name you see listed as Old Name. Clear the
New Name line and type in the new name and location. Then
click OK.
Place text on page two
i§ Press PgDn to go to page two and enable Frame mode.
II Select frame #10 and place the text file 6NEWS-3.TXT.
Now continue the article from page one in frame #11 and put
a new article into frame #12.
Is Select frame #11 and place the text file 6NEWS-1.TXT.
II Select frame #12 and place the text file 6NEWS-4.TXT.
Upon finishing, your page will look similar to Figure 6-15:
Figure 6-1 5. Page two as it should appear at this stage.
Add a pull quote
6 - 25
Notice that the text does not completely fill frame #11. What
do you do with the empty space? You could type in additional
text. Or you could add something to take up space, like an
illustration or a pull quote (sometimes called a lift out).
Add a pull quote
A pull quote is a short quotation or extract that can be used as
a graphic element to fill space and to attract attention to an
article.
To create the pull quote, you will add a small frame inside the
existing frame (frame #11). To set it apart from the rest of the
text add vertical padding and rules to the frame. The style of
the rules is derived from the graphic look of the logo. After you
add the frame, you will type in the pull quote text.
H While still in Frame mode, select Add New Frame from the
Side-Bar.
II Make sure that the zero point is set to its original position
at the upper left corner of the Page (click the 0,0 square in
the upper left corner of the Page).
si' Starting at position 19,06 picas on the vertical ruler, draw a
frame 13,00 picas wide by 09,00 picas high inside frame
#11 as shown in Figure 6—16. You can check for accuracy
with the Sizing & Scaling dialog box.
Desk File Edit Uiew Chapter Frane Paragraph Graphic Options
If C:\TEMP\6MEWS.CHP C6HEWS.STV)
is i netvwli'suIpuVieloK wlieii Imitdi'
like those in ,use at XYZ Corporation. In the future^
J make it possible for Ventura users to send documents*
ter vs t ioaliarea network If j
ky has be4n augmented by the purchase of the Docu-j
Infections frpm New Riders Publishing. The collections’
documents, riarketing documents, forms, books andj
dcms
DC MS
NEMS
dcms
fT0C.TXT
WW.1HG
r
EMPTV |
t
Pg tt 8002 1
' yniMgemen{ 1 L i 'typeset appearance^ f
gives your documents in edge. Anyone*
tvho wmts to keep up should attend one*
pr more of the workshops and seminars.^
| All workshops, both basic and ad-j
nreA^are...brrV4J|,rJ«si«OT_A;.A.ii
iced a ne*i large-screen display compatible with Xeroxj
I kX-IOOis Jhe first display to incorporate four graphics]
I is a special microchip that speeds dkpfcy speed]
! n graphic* adapter will ship in the last quarter of this*
j | j
B pen fjom 5:00 to 7:00 pm Tuesday and Thursday*
iarketing Communications Department wiTl be on*
que^bonS and help with problems ! \
nnounce4 for|the purchase of small computers X?Z»
Imt on its cpmpUter purchases, has made arrangements*
Kent to the cafeteria. Interested user^
tan also sign up for supervised practice^
Jime on one of its six computers frojr$
5:00 to 7:00 p.m. on Tuesdays ant|
Thursday s.1 j
j The classroom features state-of-the*
^rt equipment including high resohif
H
Figure 6-16.
6-26
Style
Add padding
Add vertical padding to keep the text from butting up against
the pull quote frame.
M With the frame still highlighted, select Sizing & Scaling
from the Frame Menu. Make the vertical padding 00,06
picas & points.
You have just added padding of 06.00 fractional pts above
(00,06 picas & points) and 06.00 fractional pts below the frame
— a total of 12.00 fractional pts which is equal to the inter-line
spacing of the Body Text. By making the frame padding an
integer of the Body Text inter-line spacing, you maintain even
spacing throughout the document.
Add ruling lines to the pull quote frame
With the frame still highlighted:
M Ruling Line
Above
II Ruling Line
Below
Width: Frame
Height of Rule 1: 00.25 fractional pts
Width: Frame
Height of Rule 1: 00.25 fractional pts
Add the pull quote fext
6-27
Add the pull quote fext
H Enable Text mode. Click anywhere inside the pull quote
frame. Type the following pull quote text using non-key¬
board characters to create the quote marks. (For example,
[Alt-169] means “type 169 on the numeric keypad while
holding down the Alt key.” This procedure creates an open
quote mark when you release the Alt key.) (Figure 6-17.)
[Alt-169] Anyone who wants to make an impression on
paper should attend a Ventura training
workshop.[Alt-170]
TIP: You can also enter open and close quotes with Ventura’s
built-in keyboard shortcuts, Ctrl-Shift-[ (open bracket) and Ctrl-
Shift-] (closed bracket).
Desk File Edit View Chapter Frane Paragraph Graphic Options
C:\TEMP\6f1EWS.CHP (6HEWS.STV) I
Set Font
No mol
•old
none
Snail
Superscript
Subscript
Underline
|Double UndrLn]
Strike-thru
Overscore
p
id oF File j
L
Pg « 0082 |
ideals icr iseVs 1 1 iwtwwYcuVput 'deWce wken ImlceSil A
like thosfe m -use at XYZ Corporation. In the future,!
mike it possible for Venturi users to send documents!
.ter Yi i Jocaljirea network.* \
^ry his bein. augmented by the purchase of the Doeu-j
actions fr'pm New Riders Publishing. The collections]
i documenjs, rtarketing documents, forms, books and}
I ced a net large-screen display compatible with Xerox]
l-X-IOQ isJhe first disphy to incorporate four graphics!
is a specialize^ microchip that speeds display speed]
n graphics adapter will ship in the last ([uarter of thii
pw open ftom 5:00 to 7:00 pjn Tuesday and Thursday}
e Marketing Communications Department will be on]
f (pie^tioni and help with problems! j
^nnounee<| for:the purchase of small computers. XYZ]
mt on its ^mpjiter purchases, has made arrangements]
“managemenVa rypesei appearance]'
gives your documents an edge. Anyone]
Ivho wants to keep up should attend on^
br more of the workshops and seminars.*]
\ All workshops, both basic and ad]
] “Anyone who wants to make an inn-;
■pression on paper should attend a Ven-j
Ituratraining workshop*^ j
Jranced, are held in classroom A-6 id!
beent to the cafeteria. Interested uses i
jan also sign up for supervised practice!
jime on one of its six computers froirf
^:00 to 7:00 p.m. on Tuesdays an<S
jlhursdiys.f :
1 Tha fbtcrftftm
Figure 6-17.
Add jump text
Next type in the jump text at the top of the right-hand column
and change its attributes.
!I While still in Text mode, click anywhere inside the small
frame at the top of the right-hand column (frame #13) and
type: WORKSHOP from page 1
6-28
Style
Select the word “WORKSHOP” and change its attributes.
Highlight the word and choose Bold. Then choose Italic
from the Assignment List (Figure 6-18).
Desk File Edit View Chapter Frane Paragraph Graphic Options
iililllllliillliiilli C:\TEMP\tf1EWS.CHP (6NWS.STV) ■ llllIBii
£
jL
been instilled in the Engineering ud Publications,
and Adv^tisijig departments ire scheduled to receive*
1 Je its first pubic demonstrations of i new 40-pagfper-j
“pi* with |the; PostScript pige description language]
desktop publishing, and is supported by Ventura]
Ideals for Use is i network output device when linked]
tike those in .use it KTZ Corporation, In the future^
mike it possible for Ventura users to send documents,’
ter via i ioaljirei network.! j
i I i
|ry his be4n augmented by the purchase of the Docu-j
tions frbm New Riders Publishing, The ejections,
documenjs, nkrketing documents, forms, books and]
ffrompage 10 ]
juive i tremendous impact it XYZ A J
khe puts it "Anyone who rants to ere j
tile a better impression on piper should*
feim to use Ventura Publisher, or make
^ure someone in their department
kirns. Whether you ire trying to gei
lour message to the public or to uppeij
ynanagement, i typeset ippetrane^
gives your documents in edge. Anyone*
jvho wants to keep up should attend on^
pr more of the workshops and seminars.!,
j All workshops, both basic and ad|
i "Anyone who wants to make an im-j
jpression on paper should attend i Ven-;
Figure 6-18.
Create boldface lead-in heads
In addition to using headings on a separate line, you can also
draw the reader’s attention to an article with lead-in heads.
Lead-in heads use boldface, italic, or small capitals for the
first few words of a paragraph. To create the boldface lead-in
heads in frame #10, highlight the text (by dragging or the
Shift-Click method), then choose Bold from the Assignment
List.
li Make sure you are still in Text mode.
II Select the two following phrases in the first two paragraphs
in frame #10 and make them bold:
“Ventura Workstations... ”
“Digital Laser Corporation... ”
Place text on page three
6-29
*+NOTE: If you accidentally click your text cursor on the Under¬
lying Page instead of in the desired frame, Ventura asks you if
you intend to type text on an empty page. Choose Cancel to
remove the message.
The rest of the lead-in heads have been completed for you.
When you are finished the page should look like Figure 6-19:
Desk file Edit View Chapter Frane Paragraph Graphic Options
iiiiiiiiiliiliiiiiiill c:\tehp\6«ews.chp uhehs.stv) iiiiiiliiilllliilll
Venture Workstations hive tain injlilleii in the Engineering ind Pubbationsj
ileputments. Tht Accounting ind Advertising departments ire scheduled to receive;
Venturi next month.1 j j ;
pijiil Laser Corporation give Hs first public demonstrations of i new W-page;
J*r-minute liser printer compatible with thje PostScript pige description language;
fostSffipt is the standard for desktop publishing, and is supported by Venturi;
publisher. The printer seems ideals for use is a network output device when linked*
Jo VAX minicomputer systems like those in Kis* at XYZ Corporation. In the future^
jiser printers like this one may make it piossilite for Ventura users to send document^
Jo the central high-speed printer vk i Vxiliam network.!
hvXTZ Style Sheet Library has bedn augmented by the purchase of the Doeu-
tont Gallery style sheet collections frjom New Riders Publishing. The collections
Include newsletters, eorponte documents, marketing documents, forms, books and*
technical documentibonf j
jdoM Company has announced a new large-saeen display compatible with Kero*
Centura Publisher. The new B-X-100 is'the first display to incorporate four graphics;
Jo-processors A co-processor is a specitzef microchip that speeds display speed;
|The 19-inch monito' and add-in graphics adapter will ship in the last quarter of this*
Jvive a trej
jhe puts
Jte a bette
Jearntous
Jure som
Jearns. W)
your mess
Jnanagem
jpves your
Who wants
br more of
All wo
“Anyoi
pression
jura trainij;
EH
Figure 6-19. Check your progress against this illustration.
Place text on page three
H Press PgDn to go to page three.
Now you will place the article “Preformatting Ventura Docu¬
ments” in frame #14 and frame #15 and the rest of the article
“Ventura Complements CAD” in frame #16 as explained
below.
H Enable Frame mode.
H Select frame #14 and place 6NEWS-5.TXT.
H Select frame #15 and place the rest of6NEWS-5.TXT.
H Select frame #16 and place the rest of 6NEWS-2.TXT.
Your page should look like Figure 6-20:
6 - 30
Style
Desk File Edit View Chapter Frane Paragraph Graphic Options
Figure 6-20. At this stage, your page should look like this.
Add jump text
H Enable Text mode. Click anywhere inside the small frame
above the right-hand column (frame #17). Then type:
CAD frontpage 1
H Select the word “CAD.” Choose Bold, then Italic from the
Assignment List (Figure 6-21).
*+NOTE: If you select the wrong attribute from the Assignment
List, choose Normal to return the text to its original format.
Then reselect another attribute.
Edit View Chapter Frane Paragraph Graphic Options
llllliillllllliliiillll C:\TEHP\6MEWS.CHP (6NEKS.STV) 111111111111111
template files. Load in unformatted textj
lilt into Ventura and tig it is you would*
hormilty. When everything is perfedj
we the chapter (thereby saving the tigs!
lo the text fife! 'j
Now mile i <opy of the file tinder £
iew name Remove the text, leaving
ity the tigs. Assuming the tig nameS
re self-descriptive, i template miles ft
frill-in-the-blinks simple to creit^
^reformatted files. To mile it ever?
pripW, innotite the tempfcte with th^
jwd processor’s hidden text feituxe.1 |
| The temphte method is parbcuIirTyj
jiseful when in editor must worl withe
Multiple authors.! »
j Authors (in also assist in the hvout
rfrompage ID
1
fvhat it does best, the Engineering
jDepirtment expects to achieve superior
documents in a fraction of the time it
jvould tale to produce them by rmnui j
plains. Ease of revision is etpuffy im|
tortint As produets change, so must the!
drawings ind technical manuals that
support them. Ventura and AutoCAD!
together provide the ability to produce
Almost instant updates.! I
{ For instance, i Ventura chapter file?
jontains pointers to the graphics fitaj
' sed in the document If these graphx«f
e changed, Venturi will lutomabally?
dude the new drawings the next time
Figure 6-21.
Add text to page four
6 - 31
Add text to page four
You’re almost done with the text on page four.
Use Text mode to create the address panel on page four.
H Press PgDn or End to go to page four.
H Click anywhere in the bottom frame on page four (frame
#20) and type the following address (use Ctrl-Enter to cre¬
ate a line break):
New Riders Publishing [Ctrl-Enter]
31125 Via Colinas, Unit 902 [Ctrl-Enter]
West Lake Village, CA 91362 [Enter]
^ Start a new paragraph for the postage text and type:
Bulk Rate [Ctrl-Enter]
US Postage [Ctrl-Enter]
PAID [Ctrl-Enter]
LOS ANGELES, CA [Ctrl-Enter]
PERMIT # XXXX
M Select the text “PAID, LOS ANGELES, CA, PERMIT #
XXXX” and make it Bold.
K Now select the text “LOS ANGELES, C A PERMIT # XXXX”
and make it Small.
When you are finished, check that your page looks similar to
Figure 6-22.
Edit View Chapter Frane Paragraph Graphic Options
Nornol
uu
Italic
Snail
Superscript
Subscript
Underline
lOouMe UndrLn|
Strike-thr i
Overscore
M
HRSfll
u
) N«wRidir*PubTishmg4
£1125 VaCrt'nis, Unit 902j
^V*st Life Vilkgt, CA 913621
1 Bulk Rite J
$JS Postage.)
J>AIDJ
faomM xxxxB
Figure 6-22. At this point, your page four should look similar to this
illustration.
6 - 32
Style
Stopping point
This is a good point to stop, take a break and save your work
(press Ctrl-S). You’ve already done a lot of work, so we should
probably remind you the first time through a newsletter is
always the hardest. Make no mistake — it takes a substantial
effort to produce a newsletter the first time around. But don’t
become discouraged. Once you’ve set up your pages and
finished the first issue, the production gets easier each time,
particularly if you use the techniques we show you at the end
of this chapter.
If you want to take a break now, and start again later, save the
changes to the document and quit Ventura. When you have
more time, load Ventura, open the chapter
C:\TEMP\6NEWS.CHP and start from where you left off.
If you’re ready to forge ahead, proceed directly to the next
section.
Tagging the newsletter
With the text in place, you can format the rest of the newslet¬
ter with tags. As always, start with the Body Text tag. Then
proceed from the first frame to the last until all the text is
tagged.
M Go to page one.
^ Enable Paragraph mode.
H Select the second paragraph in frame #3, which starts “Ms.
Belden will conduct basic skills workshops....”
Confirm that the Body Text matches the following attributes:
H Font Face: Times
Style: Normal
Size: 010.0 points
H Alignment Horz. Alignment: Justified
Overall Width: Column-Wide
First Line: Indent
In/Outdent Width: 01,00 picas & points
Add the Logo tag
6 - 33
II Spacing Inter-Line: 12.00 fractional pts
Add in Above: When Not At Column Top
When you’re finished with Body Text, you will then go to
frame #1 and add a new tag called Logo.
Add the Logo tag
The logo is the most important element on the front page. It
distinguishes a newsletter from others, projects the overall
tone, and lends consistency from issue to issue. A logo can be
letters and pictures or just letters and rules combined in a
visually exciting way. The logo’s size should relate to the other
elements on the page. It should be easy to read without con¬
flicting with the headlines.
H Select the paragraph “PAGINATIONS.”
P Add New Tag Tag Name to Add: Logo
^ Font Style: Bold
Size: 072.0 points
WARNING: If you are using a non-Postscript printer, you may not be able to print
fonts as large as 072.0 points. Use the largest size available to you instead.
H Alignment Horz. Alignment: Center
Width: Column-Wide
In/Outdent Width: 00,00 picas & points
*+NOTE: In this style sheet, tags are copied from Body Text,
which has a first-line indent of 01,00 picas & points. Therefore,
you must remove this indent for all the tags that follow.
H Spacing Inter-Line: 80.00 fractional pts
Add in Above: Always
Now use kerning and tracking to reduce the space between
the individual letters and improve the appearance of the type.
li Select Paragraph Typography from the Paragraph menu.
Choose Automatic Pair Kerning: On, Letter Spacing: Off.
Make Tracking 0.050 Ems Tighter.
6-34
Style
’Logo" TVPOGRflPHV SETTINGS
Automatic Pair Kerning:
Letter Spacing:
Tracking:
On
Off
Tighter
Up to: 0.100 £h*
0,658* Ens
Grow Inter-Line To Fit:
On
Minimal Space Width:
Normal Space Width:
Maximum Space Width:
0.600 *
1.000 *
2.000 *
(space width) = 0.150 Ens
(space width) = 0.250 Ens
(space width) = 0.500 Ens
You can also track the letters interactively. Enable Text mode
and select the letters you want to track. With the letters
highlighted press the Shift key and the left arrow about five
times. Each time you press the left arrow key you move the
letters together about .01 Em. (Conversely, you can press the
right arrow to move the letters further apart.) To find out the
how much tracking you’ve done on-screen, choose Set Font
from the Side-Bar while the letters are still highlighted.
Add Logo2 tag
Now you will add a tag named “Logo2.”
H Try to select the paragraph “NEWSLETTER.”
You may find it impossible to select the NEWSLETTER para¬
graph. The inter-line spacing of the Logo tag is so large (80.00
fractional pts) that it causes the Logo paragraph to overlap
the paragraph below. Fortunately, there are a few techniques
to get around this problem:
• Select the second paragraph before you tag the Logo para¬
graph. This is a good method only if you know ahead of time
that one tag will overlap the next.
• Tag the Logo paragraph as Body Text. This reduces the
Logo tag to the size of Body Text and lets you select the
paragraph below. After you add the Logo2 tag (to the
Newsletter paragraph), retag the paragraph above it as
Logo.
Review move down to 1st baseline
6 - 35
• Change the Frame typography. Select the frame reserved
for the logo and change the setting for Move Down to 1st
Baseline By from Default to Cap Height (Frame Typo¬
graphy, Frame menu). This action raises the baseline of the
logo text and lets you select the paragraph below.
NOTE: If you are interested in understanding the subtle dif¬
ferences between Move Down to 1st Baseline By: Cap Height
and Move Down to 1st Baseline By: Inter-Line, we encourage
you to read the next section. On the other hand, if you have
little interest in advanced typographic techniques, just follow
the step-by-step instructions and watch what happens.
Review move down to 1st baseline
In Chapter Three we introduced you to the concept of Move
Down to 1st Baseline By in the Chapter Typography menu.
Because most beginners have a hard time with this concept,
we’re going to take the time to review it.
Move Down to 1st Baseline By affects the starting position of
text at the top of a column or page. For instance, when you
select Move Down to 1st Baseline By: Inter-Line, Ventura
positions the baseline (the imaginary line on which the text
rests) of the word PAGINATIONS 80.00 fractional pts from
the top of the margin (the value of its inter-line spacing).
When you select Move Down to 1st Baseline By: Cap Height,
Ventura “hangs” the word PAGINATIONS from the column
margin by the tallest capital letter in the word. (Imagine the
word PAGINATIONS hanging down from the top of the
column like laundry hanging from a clothesline.)
Using Move Down to 1st Baseline By: Cap Height causes the
word to be raised upward in the frame (Figure 6-23 and
Figure 6-24).
Figure 6-24. Move Down to 1st Baseline By: Cap Height.
If you’re still struggling with this concept, you may under¬
stand it better if you step through the process. Go ahead and
change the frame typography and watch what happens.
Change the frame typography
Enable Frame mode.
II Select the logo frame.
11 Select Frame Typography from the Frame menu.
Change the frame typography
6 - 37
H Choose Move Down to 1st Baseline By: Cap Height and
click OK.
The word PAGINATIONS is raised up and you can now select
the paragraph below.
H Enable Paragraph mode and select the paragraph
“NEWSLETTER” in frame #1.
Tag Name to Add: Logo2
Style: Bold
Size: 030.0 points
Horz. Alignment: Center
In/Outdent Width: 00,00 picas & points
Above: 02.00 fractional pts
Inter-Line 34.00 fractional pts
Add in Above: Always
As you saw earlier, you can use tracking to reduce the in¬
dividual space between characters and make a headline more
legible. You can also use tracking to add space between char¬
acters for special effects. You will now add extra space be¬
tween letters in the Logo2 tag.
^ Select Paragraph Typography. Choose Automatic Pair
Kerning: On, Letter Spacing: Off. Choose Tracking: Looser
and enter 0.750 Ems.
When you are finished, the tag should look like Figure 6-25:
H Add New Tag
Si Font
H Alignment
H Spacing
Desk File Edit View Chapter Fnane Paragraph Graphic Options
■ [ ~cT\f^Eijs^l6H^sTvn|aii8il|[giaiiiiiiiii!a ♦
m [ ..." ....... I?......... i?.,,,,, i 8 *,,,,,,,, i”,,,,,,, i»,,,,,,, ,,\ a , ,,, t
Figure 6-25.
6 - 38
Style
Add a ruling line above and below the Logo2 tag
With the paragraph still highlighted, add ruling lines above
Width: Frame
Height of Rule 1: 01.00 fractional pts
Width: Frame
Height of Rule 1: 01.00 fractional pts
H Select the paragraph “Design and Production News for
Ventura Publishers.”
Tag Name to Add: Motto
Size: 012.0 points
Horz. Alignment: Center
Overall Width: Frame-Wide
In/Outdent Width: 00,00 picas & points
Now use tracking to tighten the spacing between letters.
^ Paragraph Letter Spacing: Off
Typography Tracking: Tighter
Ems: 0.030
Add a custom rule to the Motto tag
To create the effect of a double line — one thick and one thin
— you will add a custom rule above the Motto tag. Even
though these two lines look like one unit, they are not. The
top, thinner rule is part of the Logo2 tag above. The bottom,
thicker rule will be attached to the Motto tag.
fi With the Motto paragraph still highlighted, select Ruling
Line Above. Make the unit measurement picas & points.
Choose Width: Custom. Make the Space Above Rule 1:
00,01 picas & points. Give Rule 1 a height of 00,10 picas &
points. Enter a Custom Indent of (+) 06,00 picas & points
and a Custom Width of 30,00 picas & points.
H Add New Tag
M Font
i§ Alignment
and below.
11 Ruling Line
Above
II Ruling Line
Below
Add the Motto tag
Add a Dateline tag
6-39
"Motto" RULING LINES ABOVE
Width:
Colon:
Pattern:
Dashes:
Space Above Rule 1:
Height of Rule 1:
Space Below Rule 1:
Height of Rule 2:
Space Below Rule 2:
Height of Rule 3:
Custom
Black
Solid
Off
BO.OI
00,10
00,00
00,00
00,00
00,00
Space Below Rule 3: 00,00
Overall Height: 00,11
□
03,00
Custom Indent:
Custom Width:
Dash Width:
Dash Spacing:
06,00
30,0B|
00,00
00,00
IS
picas & points!
IH
|Cancel|
*+NOTE: If the text below the motto paragraph disappears
belows the frame try 1) enlarging the frame, 2) reducing the
Height of Rule 1, or 3) reducing the Space Above Rule 1.
Add a Dateline tag
Now move to the next frame to create the Dateline and Head¬
line tags. In Chapter Three, you learned how to create a
dateline by placing two different tags on the same line. Now
we will show you another way to achieve the same effect, but
this time with Tab Settings.
^ Select the paragraph “Volume 1, Number 1.... ”
H Add New Tag Tag Name to Add: Dateline
H Font Style: N-Italic
H Alignment Horz. Alignment: Left
In/Outdent Width: 00,00 picas & points
M With the paragraph still highlighted, select Tab Settings
from the Paragraph menu. Choose Tab Number 1, Tab
Type: Right, Tab Shown As: Open Space. Make the Tab
Location: 42,00 picas & points and the Leader Char:
Spaces. Click OK.
6-40
Style
"Dateline" TAB SETTINGS
m
Tab Number:
♦
1
nr
Tab Type:
Right
Tab Shown As:
Open Space
Tab Location:
42,
00|
picas & points
Leader Char:
Spaces
032 (ASCII)
Leader Spacing:
0
Auto-Leader:
Off
Cancel
Tab settings are always measured from the left margin. By
setting a right tab at 42,00 picas & points (the width of the
frame) you position the words ‘Winter 1989” flush against the
right margin.
Tag the headline
Since most of the text on this page has already been prefor¬
matted for you, there are only a few more paragraphs to tag.
II Tag the paragraph “Training workshops underway” as
Headl (Figure 6-26).
Desk File Edit Uiew Chapter Frane Paragraph Graphic Options
Body Text
8odyFlr*t
Byline
ColDey*
ColTltle
Dateline
Deckhcod
Heod»
Hcod4
Jun*Lcft
Headl
R Pg 8 9881
C:\TDP\6NEWS.CHP (6HEKS.STV)
: N B W
illllljfiiflfiKliil
FMriw 1, Nunber 1-
i
rainingwoiikshopsunddrway
jVentui Piblisher users miyj
i»ow enroll in training-
Workshops!
Venturi Publisher workshops in task'
and advanced skills begin this month.-
Interested XYZ personnel may enroll
■by contacting loin BeMen of Marketing;
Caaaauftiaiiaafcjd avt 2221 _L
pf different documents (hit cm be;
Treated with this softwire package.” Ini
ithe second half of the daylong
workshop, attendees will practice on in-;
flividual workstations. They will learn-
ihe basic Ventura skills necessary to
joad and format their own documents:
•using a style sheet from XYZ’s growing
library of preformatted designs Ms<
SUldnn tairi that irihar mamhact. of th.»,,.
The reference book
complete explanation]
lures and offers in:
methods of operaboj
Advanced Semii
■ The advanced sen
•specialized skills nec
bon of specific docu
.j t i fc o. p .. t o.. k »je y a<i
Figure 6-26.
Tag the TOC
6 - 41
H Select both jump text paragraphs (in frames #8 and #9) and
tag them as JumpRight (Figure 6-27).
Figure 6-27.
11 Select the paragraph “Ventura Complements CAD” and tag
it as Head2.
To create the banner headline (“Ventura complements CAD”)
we gave the tag a frame-wide alignment. Ventura stretches
the text across the full width of the frame. If you are unclear
about the difference between frame- and column-wide align¬
ment, open the Alignment dialog box for Head2 and switch
back and forth a few times.
^ TIP: You can also create a banner headline by placing text in a
separate frame that spans more than one column. You used
this second technique to create the Headl headline above the
first article.
Tag the TOC
The last format changes on this page are in the Table of
Contents (TOC) in the bottom right frame (frame #7). Add a
new tag called DeptTitle.
^ Enable Paragraph mode.
H Select the word “INSIDE” in the bottom right frame.
11 Add New Tag Tag Name to Add: DeptTitle
6-42
Style
Style: Bold
Size: 018.0 points
Horz. Alignment: Center
In/Outdent Width: 00,00 picas & points
Below: 06.00 fractional pts
Inter-Line: 24.00 fractional pts
Add tracking to the DeptTitle tag
You can use tracking to add more space between the letters
and mimic the graphic effect used in the logo.
H Paragraph Letter Spacing: Off
Typography Tracking: Looser
Ems: 0.800
Font
Alignment
Spacing
Add ruling lines
A ruling line above and below the DeptTitle tag separates it
from the TOC entries below.
Width: Frame
Height of Rule 1: 01.00 fractional pts
Space Below Rule 1: 06.00 fractional pts
Width: Frame
Space Above Rule 1: 06.00 fractional pts
Height of Rule 1: 01.00 fractional pts
Ruling Line
Above
Ruling Line
Below
Check the page
Page one is now complete. Take a moment to look carefully for
changes that might improve the design. For instance, examine
the TOC title (“INSIDE”). If it does not appear properly
centered you might want to use Text mode to add a thin space
(Ctrl-Shift-T) or a figure space (Ctrl-Shift-F) in front of the
word. (Figure 6-28.) Also, check that the jump text lines up
with the text in the adjacent column. If it does not, adjust the
size or position of the jump text frame (turn Line Snap off
temporarily).
Apply the DeptTitle tag
6-43
Thin Space ■
Desk File Edit Uiew Chapter Frane Paragraph Graphic Options
C:\TEMPWlEWS.CHP (6NEWS.STV) illllillilglliiii ii§l ill ♦
[will receive i tnining guide ind i refer-;
knee book. The training guide and its
'accompanying software disk are used as
!the basis for the hands-on exercises that
imih up the second half of the seminar.
3t can also be used for self-paced ad¬
vanced self-study after the workshop.*
pl e m -p n ts- C A Dt-
UfM
photographs are made ink) printing;
jplates, and the document an then be)
reproduced via offset lHhography.1 j
; Ms Betden believes that desktop)
•publishing with Ventura Publisher will)
sMOJOC&cr /x<r wed,
iDXF file format and HPGL format:
jCAD users can now include electronic:
[AutoCAD drawings in technical docu-:
jments and manuals. The Engineering)
Department has been an enthusiastic)
juser of AutoCAD, the leading CAD pro-)
-gram, for more than two years. Its 2D)
land 3D capabilities make it the perfect)
BS&ttfio&Xt
U N S I D E I
Training workshops
underway*.. 11 ]
Ventura complements
CAD*. 11
Newsinet.......21
Tipofthe month*..X
Figure 6-28.
TIP: If you come across text alignment problems in a frame-in¬
tensive document, try adjusting your frames so they do not
touch. Sometimes, when frames butt up against each other,
Ventura pushes the text in the upper frame up a line.
Apply the DeptTitle tag
is Press PgDn to move to the next page.
^ If necessary, enable Paragraph mode before you continue.
M Select the paragraph “NEWSLINE” at the top of frame #10
and tag it as DeptTitle.
II Select the jump text ‘WORKSHOP from page 1” (frame
#13) and tag it as JumpLeft.
Add a Pul I Quote tag
Earlier, you created a special frame that separated the pull
quote from the main text. Now you will enhance its ap¬
pearance by enlarging the size of the text and adding a second
ruling line above. This second line echoes the double line
effect from the logo.
^ In the pullquote frame (in the middle of frame #13), select
the paragraph that begins “Anyone who wants.... ”
!! Add New Tag Tag Name to Add: PullQuote
6 - 44
Style
Style: B-Italic
Size: 014.0 points
Horz. Alignment: Left
In/Outdent Width: 00,00 picas & points
Inter-Line: 14.00 fractional pts
In From Left: 01,00 picas & points
In From Right: 01,00 picas & points
II Select Ruling Lines Above. Make the Width: Custom. Give
Rule 1 a height of 00,08 picas & points and the Space Below
Rule 1: 01,01 picas & points. Make the Custom Indent: (+)
00,07 picas & points and the Custom Width: 10,00 picas &
points.
The pull quote should look like Figure 6-29:
Font
Alignment
Spacing:
Desk File Edit View Chapter Frane Paragraph Graphic Options
C:\TQff\6NEWS.CHP C6HEWS.STV) i liiiaiiliilililli
•mJiMt
A*
tt 0002
make it possible for Venturi users to send documents;
.ter vii i joal [ith network.!
iry Jus teen ujgmented by the purchase of theDocu-
:t»ns frpm (few Riders Publishing. The collections
document, n^irketing documents, forms, books and
( ad i nevj lirje-screen disphy compatible with Xerox
l-X-100 is Ihe first display to incorporate four graphics
is a specialized microchip that speeds display speed,
n graphic^ adapter will ship in the last garter of this-
Low open fjom 5:00 to 7:00 pjn Tuesday and Thursday
(he Marketing Communications Department will be on
f question? and help with problems.!
3 -£jmnounee4 for;the purchase of small computers. XYZ;
itsftmpiiter purchases, has made arrangements:
employed who wish to buy computers or related
•or more of 4e workskop's and seminars.!;
All workshops, both basic and ad'
fomiie in impres¬
sion on piper should
if fend a Venfun frlin¬
ing workshop 77
jvinced, are held in classroom A-6 ad¬
jacent to the cafeteria. Interested users
ican also sign up for supervised practice:
itime on one of its six computers from!
£00 to 7:00 p.m. on TWsdays and!
Thursdiys.t
The classroom features stite-otthe-
•art equipment: including high resolu¬
tion monitors and network cards. All;
iunrVftaHftag-fia. jfjfcCf-ihA /laggaaro 1
H
Figure 6-29.
Add a big first character to the StaffBox tag
Now let’s change the text in the staff box frame at the bottom
of page two. To set it apart from the surrounding text, change
the text to italics and add a big first character.
11 Select the paragraph from the staff box “Paginations is
published.... ”
Style: N-Italic
Apply JumpLeft tag
6-45
Select Special Effects from the Paragraph menu. Choose
Special Effect: Big First Character. Choose Set Font
Properties to bring up the Font dialog box. Choose Style:
B-Italics, and Size: 024.0 points. Click OK to return to the
first dialog box. Now choose Space for Big First: Custom
and make the custom lines 001. Click OK to close the dialog
box.
"StaffBox" SPECIAL EFFECTS
Special Effect: | Hone | I Bullet |
Connands: | Set Font Properties"!
Space for Big First: | Normal | 00l| lines
Sho« Bullet As: ! *
0
»_! j > j [ NoUph Box
Bullet Char: 000 (ASCII)
Indent After Bullet;; 00,00 picas R points
Filled Box i I Other 1
OK
| Cancel 1
If you had chosen Space for Big First: Normal, Ventura would
have made its own best decision where to place the big first
character. In this particular case — a 24-point big first charac¬
ter on 12-point lines — it would have chosen two lines. It
would have set the first character on the baseline of the
second line, creating a two-line indent.
When you choose Custom instead, you get to decide which
baseline to use. By entering 1, for example, you tell Ventura to
place the big first character on the baseline of the first line. To
make a big first character start below the first line, enter a
number greater than one.
Apply JumpLeft tag
H Press PgDn to move to page three.
H Select the jump text “CAD from page 1” (frame #17) and tag
it as JumpLeft.
6-46
Style
Add an end of article symbol on page three
To distinguish the beginnings and ends of articles in a
newsletter, it is common to place a special editorial symbol,
like a square (either hollow or solid) or a small version of the
logo at the end of the article. In a text-intensive, multi-column
format, this symbol is easy to spot and guides the reader from
the end of one story to the beginning of another. We will show
you how to create a special end of article symbol using the Ins
Special Item option. You will insert a small hollow box at the
end of an article on page three.
*+NOTE: You can also create an end of article symbol with a
character from the international character set or (if you have a
PostScript printer) Zapf Dingbats. In Text mode, insert the
code you want by pressing Alt and the number from the
numeric keyboard. Then highlight the character and choose
Set Font from the Side-Bar to change the font to either Zapf
Dingbats or Symbol.
i§ Enable Text mode. Place the cursor in front of the end of file
marker at the end of the middle frame on page three (frame
#15). (Figure 6—30.)
Desk File Edit Uiew Chapter Frane Paragraph Graphic Options
lliillllllllllillilll C:\TEMP\6MEWS.CHP (6NEHS.STY) 1111111111111111111111
Iwd* pcoo^sor V1
’ The tempkte method is parlkukrty
juseful when an editor must work with|
Multiple authors.! j
| Authors an also assist in the layout
process by inserting kgs that create;
foace for illustrations. If you uses;
yisuak in standard sices, create a tag
ihat leaves the correct amount of space!
|>n the page The authors an type in the!
hame of the illustration or even its capi
lion This tigged paragraph created
kpace where the layout editor will want
lo place the actual frame The editor cant
jlelete the tag and insert ttji frame thalj
JviTl contain the illustration^
equalfy i
ahs. use bi revision is i
^: riant As products change, so must the;
jin wings and technical rnanuik tha^
Support them. Venturi and AutoCAEi
jogether provide the ability to product
ptmost instant updates! j
1 For instance, a Venturi chapter filej
Contains pointers to the graphics files;
iised in the document If these graphics!
kre changed, Ventura will automabaHyj
include the new drawings the next time!
Jhe document is loaded, as long as thei
hew files have the same name as the old]
Keeping the document up-to-date is isi
pimple as repkang oM files with new]
jutes.! I
E
Figure 6-30.
Select Ins Special Item from the Edit menu (Ctrl-C).
Add an end of article symbol on page three
6-47
Choose Box Char or press the FI function key.
Desk File I3!ff| View Chapter Frane Paragraph Graphic Options
| Set Font I
m
t
*
Normal
•«»
Italic
Snail
Superscript
Subscript
Underline
Double Undrln
Strlk«*thru
Overseer*
Upper Case
Htt
r. Setting
R
m
Pg tt 0003
; The tonpfett method it pirtxulirbj
Wful whin in editor must work withj
pultipk authors. j
j Authors ran also assist in Iht kyou^
process by inserting kgs that emit
; MlMSj
ethent
««, tigs
kMj’wilj
| Thin
1 ichingt!
it i
1 rraerej
Irocessori
Footnote F2*
M Index Entry... F3
r Fraction... F4
L* Frane finchor... F5
top Cross Ref... F6
Jlelett the tig ind insert the frune tlul
Will contain the illustration.
cortint As products thing e, so must thi
drawings and kchniul animals thij
support them. Ventura and AutoC,
together provide the ability to prodiu^
ltmosl instant updates. j
J For instinct, i Venturi chapter fils
jontiins pointers to the graphics files*
|ised in the document. If these gnphksj
Ire (hinged, Venturi wil! lulcmibalty
include the new drawings the next tinuj
the document is baled, is long is the
kew files hive the seme name is the oldj
keeping the document up to-dite is uj
pimple is repkdng old files with nt^
i
Fif*3
J±
II When you are asked to insert a hollow or filled box charac¬
ter, choose hollow.
Ventura places the hollow box at the end of the text. Now you
can interactively change the size of the hollow box.
^ While you are still in Text mode, highlight the box by
dragging or by using the Shift-Click method.
.11 Once it is selected, hold down the Shift key and tap the
down arrow key until you see the box get smaller. (To
increase the box, hold down the Shift key and press the up
arrow key.)
^ NOTE: If the box does not appear smaller, press the ESC key
once to redraw the screen.
When finished, your page should resemble Figure 6-31:
6-48
Style
D
if
esk File
Edi
t Vie* Chapter Frane Paragraph Graphic Options
_
m
&
!
t
1
el Font
Hemal
B old
Italic
Small
Superscript
Subscript
Underline
Double UndrLn
Strike-thru
Overscere
0,0
...r. 8 . i? . iv. . i” . i s ‘ . i" ...
T
you an capitause
is you prefer. Many
st ail capitals, or start
rmbol such as Iso the
n the text
ffames
"generic" tag mines
t you an reuse them
in. For instance, tags
" and “Subhead” wilt
ocumenls. Then by
isets, you can change
if the document
ce the keyboard macro
ng word processor
tvora p'ocessor*s nmen text rniure. > means. tase oi revision is equally mis
| The template method is particularly! ^ortant As products change, so must the|
fistful when an editor must work wtfcj firawings and technical manuals fa j
fnultiple authors. j Support them Ventura and AutoCAD*
| Authors can also assist in the feyout; together provide the abibty b product
process by inserting tags fat create; Almost instant updates. j
?pace for illusfrations If you use$ ; For instance, a Ventura chapter file;
visuals in standard sizes, create a tag; Contains pointers to the graphics fifes;
b at leaves the correct amount of space! 3used in the document. If these graphics;
tn the page. The authors an type in the! *re changed, Ventura will automatically!
Hare of the illustration or even its cap*; include the new drawings the next time;
ben. This tagged paragraph creates the document is loaded, as long as the!
Space where the layout editor will want hew files have the same name is the oHi
to place the actual frame The editor can! Keeping the document up-to-date is a£
jtelete the tag and insert the frame that} pimple as repfedng old fifes with new*
fvill contain the illustration^ > jmes. \
T
Upper Case
mm
Fiat 3
R
3 g 8 0003
: 1 IIIF
K
Figure 6-31.
*+NOTE: When you move the text cursor over a box character
on-screen the words “Box Character’’ appear in the Current
Selection Box. You can cut, copy, and paste a box character
just as you would any other text character — use the Edit Text
option in the Edit menu or use the equivalent keyboard
shortcuts.
11 If you want more practice inserting box characters, repeat
the steps above to add a hollow box to the end of the each
article in the newsletter.
** TIP: You can copy the hollow box to the clipboard and then
paste it in where you want
The final page
Since the rest of page three is already preformatted, go to the
last page of the newsletter.
H Press End to go to the last page.
Adding the Address tag
To complete the style section, you will add two tags that reside
on the same line: the Address tag and the BulkRate tag.
The Address tag
6-49
The Address tag
II Enable Paragraph mode.
H Select the paragraph “New Riders Publishing....”
II Add New Tag
Tag Name to Add: Address
H Font
Face: Helvetica
H Alignment
Horz. Alignment: Left
In/Outdent Width: 00,00 picas & points
H Spacing
Above: 24.00 fractional pts
Inter-Line: 24.00 fractional pts
Add in Above: Always
In From Left: 02,00 picas & points
As you learned earlier, you can use Breaks to place two tags on
the same line. The first tag — in this case the Address tag —
uses a line break before.
M Breaks
Line Break: Before
Allow Within: Yes
Keep With Next: No
The BulkRate Tag
Now create the BulkRate tag and change the Line Break to
After so it appears on the same line with the Address tag
(Figure 6-32).
II Select the paragraph that begins “Bulk Rate... ”
li Add New Tag
Tag Name to Add: BulkRate
^ Font
Face: Helvetica
H Alignment
Horz. Alignment: Center
In/Outdent Width: 00,00 picas & points
H Spacing
Above: 24.00 fractional pts
Add in Above: Always
In From Left: 30,00 picas & points
In From Right: 02,00 picas & points
Using In From Left and In From Right pushes the BulkRate
tag to the right margin. The In From Left and Right spacing
prevents the two tags from overlapping.
6 - 50
Style
Now place the BulkRate tag on the same line as the Address
tag.
ii Breaks Line Break: After
Desk File Edit View Chapter Frang Paragraph Graphic Options
11
11
11
II
li
||
11
ii
ii
li
ii
C:\TEMP\6MEWS.CHP (6NEHS.STV)
lliiliil
New Riders Publlshingj
31125ViaCo!inas, Unit902j
West take Village, CA 91362f
Bulk Rate j
US Postagsj
PHDj
UK AtCaCS. OAj
pp>Mrr»xnx.Q
Figure 6-32.
Add ruling lines to the BulkRate tag
Add the finishing touches by adding ruling lines above and
below the margins of the BulkRate tag.
Width: Margin
Height of Rule 1: 04.00 fractional pts
Space Below Rule 1: 06.00 fractional pts
Width: Margin
Space Above Rule 1:06.00 fractional pts
Height of Rule 1: 04.00 fractional pts
Ruling Line
Above
Ruling Line
Below
** TIP: We made the ruling line width equal to Margin so it lined
up with the margin created by In From Left and In From Right
spacing.
Place the picture
6 - 51
Pictures
Illustrations are an important part of many newsletters. In
this section, you will import and scale an image file and use
Box Text shapes to draw a monthly calendar. Let’s start by
adding an illustration and caption to the article on page three.
Place the picture
P Press PgUp to move back to page three.
H Enable Frame mode.
H Select the picture frame (frame #18) and place the image
file WPVP.IMG from the Assignment List.
Scale the picture
H Sizing & Picture Scaling: Fit in Frame
Scaling Aspect Ratio: Distorted
SIZING 8 SCALING
0
Flow Text Around: On
Upper Left X: 19,00| HE] Upper Left V: 04,06 HE]
Frane Width: 27,06 Frame Height: 24,00
Horiz. Padding: 00,00 Vert. Padding: 00,00 picas & points
Picture Scaling:
Fit in Frane
By Scale Factors
Aspect Ratio: | Maintained
Distorted
X Crop Offset: 00,00 BE] V Crop Offset: 00,00 HP1
Scale Width: 27,06 Scale Height: 24,00
Cancel
By choosing Distorted, you allow Ventura to stretch the
dimensions of the picture as much as needed to fit it exactly
inside the frame.
*+NOTE: Because the picture is close to the actual size of the
picture frame, there is very little visable distortion.
6 - 52
Pictures
Add a caption to the frame
With the picture frame still selected, add a caption.
H Anchors Caption: Below
& Captions
Ventura attaches an empty caption frame to the original
frame. Now add the caption text inside this frame.
II Enable Text mode. Place the cursor in front of the end of file
marker inside the caption frame. Type:
Insert tag names into word processing files to
preformat Ventura documents.
The caption is already formatted for you (Figure 6-33).
Desk File Edit View Chapter Fnane Paragraph Graphic Options
ililliil C:\TEMP\6fiEWS.CHP (6NEHS.STV)
Set Font
gRPgM»03|
M
IJie til It- night loak like tkij jb th« k i Je^l
9GHEHM.1N2 - Pc-nlomattinj Uutura
Wt fDJ-jct tic sjjocc at kill siica of tic cfinh aigri id
ioi't fojjct to ip el I tie tos rant mctly as it ayjeics ir|
i \% eich text pint
; us is also i hand)?
1 abilities, so writers?
24 ! without worrying
“ look tte.ff |
: the ultimate time]
1 ffieutt. One simple}
; e tag names into ij
irocessor to save;
3t) ! er format uses the} \ | j ;
ft margin followed} Jnserttagnames into word processing tiles to preformatVenturadocumentsp;
: ag, an equals sign} —J-:
: j, if we were using} Jemptate fifes. Load an unformatted text! 'fADfrcmptgn IB I
' preformat this ar t jfite into Ventura and tag it as you would! } }
I »k Kke this in the? When everything is perfect^ Resign tool AutoCAD, however, is not
34 '. | save the chapter (thereby saving the tags} optimised for the layout of pages that
tef or matting Ven | jnto the text fikf I ynerge text with graphxs.ff 5
j j Now make a copy of the fill under aj 1 Venturi Publisher, by contrast, was}
1 >pace at both sides! new name. Remove the text, leaving} designed expressly to merge text and}
! nd don’t forget toj jmly the tags Assuming the tag names} graphics. By letting each package 4c}
! <actly as it appears? *re self-descriptive, a template mikes itj What it does best, the Engineering?
tptoved XYZ style* Till-in-the-blanks simple to create Department expects to achieve superkxj
F
Figure 6-33.
Draw a calendar
Many readers consider the calendar the most useful part of a
newsletter. It lists current and future events in an eye-catch¬
ing, visual format. By placing the calendar on the back page,
you make it easy for someone to find and refer to throughout
the month.
Draw the title box
6 - 53
H Go to page four.
Before you begin to draw the Box Text, set up a snap-to grid
for the frame that will contain the calendar.
^ Enable Graphic mode.
M Select the top frame.
^ Grid Settings Grid Snap: On
Horizontal Spacing: 06,00 picas & points
Vertical Spacing: 02,00 picas & points
Draw the title box
Start the calendar by drawing the Box Text shapes to contain
the calendar title and the days of the week.
P Before you draw the first Box Text, reset the zero point of
the ruler to the upper left comer of the frame (frame #19).
P Select the Box Text tool from the Side-Bar. Starting at the
upper left column margin, draw a Box Text 42,00 picas &
points wide (the width of the frame) by 02,00 picas & points
high (one grid snap unit). (Figure 6—34.)
Desk File Edit View Chapter Frane Paragraph Graphic Options
Figure 6-34.
** NOTE .-Remember, you can align the ruler with any edge of a
Box Text to check its measurements.
6 - 54
Pictures
Now change the line and fill attributes.
H Line Attributes Thickness: None
H Fill Attributes Color: White
Pattern: Hollow
Result: Transparent
Default: Save To
Draw the days of the week
Draw one Box Text for the first day. Then use copy and paste
to duplicate the shape across the frame.
II Switch to Normal or Enlarged View to draw the next shape.
Starting at position 2 picas on the vertical ruler, draw a Box
Text 06,00 picas wide by 02,00 picas high (Figure 6-35).
if Line Attributes Thickness: Thin
End Styles: Square
Default: Save To
H Fill Attributes Color: Black
Pattern: 2
Result: Transparent
Figure 6-35.
Copy the shape
6 - 55
Copy the shape
M Press Shift-Del to copy the last shape into the clipboard.
Press Ins to paste a copy on the page.
Remember, Ventura pastes the copy on top of the original.
H Use the mouse to move the shape to the right. Thanks to
the grid, it will snap into position.
Complete the remaining boxes
H To add the rest of the boxes for the days of the week, copy
the last Box Text shape, then copy it five times across the
width of the frame.
When you are finished, your screen should look similar to
Figure 6-36:
Desk File Edit View Chapter Frane Paragraph Graphic Options
■
SI
a CATOPXSilWS.Dl 1 (6NEIK.STV) iil==i= ==i5iEE=iiS==
a
,.f, . i‘ . i? . i" .. i” . i” . i?„ t
0
l
- r
s
0
1!
:=£;=§i==;|I:5^;=|:=5i=|:i|;||:=
Hill
liilii
:=|:==:==;~=:=E:=i;==:====!==:=
jlili
liisiisiilii
==== =
•
T
1
i
♦
ill ill
□□
Figure 6-36.
Finish the calendar
Now you will copy the entire row of boxes four times, using
Shift-Click to select the entire row at once.
** TIP: Be careful when trying to move an entire row of boxes.
You must avoid accidentally resizing the boxes, or selecting
just one and leaving all the others behind.
6 - 56
Pictures
To move an entire row, use Shift-click to select all the shapes.
Now hold down the Shift key and press down the mouse
button in one of the shapes. Do not move the mouse until the
four-way arrow appears. If the pointing finger appears in¬
stead, release the button immediately without moving the
mouse. Then reposition the cursor and try again.
With these precautions in mind, complete the following steps.
Draw the first box
By changing the vertical grid settings, you make it easier to
create the right size box.
^ Grid Settings Grid Snap: On
Horizontal Spacing: 06,00 picas & points
Vertical Spacing: 04,00 picas & points
H Starting from position 4 picas on the vertical ruler draw a
Box Text 06,00 picas wide by 04,00 picas high.
Copy the box
i! Press Shift-Del to copy the first box to temporary memory.
li Paste a copy of the box back onto the page.
II Use the mouse to move the copy to the right until it snaps
into place.
Desk File Edit View Chapter Frane Paragraph Graphic Options
IT W§*>\M«S:w"l6NEHS.S:r) 1 .IT = = I ♦
1
_
—^~
_
=1
S**d" *
i
i ii
=F===PSiig
ii
minis
-~ = = ~!-EU
- - - D
~--r : li
==:-= ==-=ai|
□
□
□
□
n
D
Q
[
1
1
[
I
i
♦III 1 HE
Figure 6-37.
Copy the row
6 - 57
Paste five more copies and move them into position to
complete one row of the calendar (Figure 6-37).
Copy the row
Now you will copy the entire row of boxes into the clipboard.
^ Select the first box. Shift-Click to select the remaining
boxes. Then press Shift-Del to copy the entire row into
temporary memory.
H Press Ins to paste a copy of the row onto the page.
H Hold down the Shift key and place the cursor in the middle
of one box shape. Drag the entire row of shapes down one
grid unit.
H Paste three more copies and move them into position to
complete the calendar (Figure 6-38).
Desk File Edit Uiew Chapter Trane Paragraph Graphic Options
1
Ijil
iiSIIiliiS C:\TEMP\df1EWS.CHP (6NEWS.STV) i
tim
• H-
tiii
.
iiiii
ill
ill ♦
M
“.
«. i
L..... i
1ft
».
30
36
« n t
£
z±
=£:==
c:==
-— c
;ss;======~
Ipill
;==== ^
I
T
D
□
□
o
0
D
D
D
0
□
□
°
D
a
D
n
°
n
□
D
°
0
D
□
D
□
0
0
D
□
a
□
0
□
♦
1 FI 7 !
*\K
Figure 6-38.
NOTE: If you have trouble moving the shapes as a group,
move them one at a time.
Add text to the calendar
Now that all the Box Text shapes are in place, use Text mode
to enter the calendar text. Use Figure 6-39 as a guide.
6-58
Pictures
*+NOTE: Use a line break (Ctrl-Enter) to separate lines within a
Box Text
Figure 6-39 Your calendar will look like this after typing in the text and tagging it.
Apply tags to the calendar
6 - 59
Apply tags to the calendar
Use the predefined tags in the Assignment List to format the
calendar.
li Enable Paragraph mode.
H Select the paragraph “February 1989” and tag it as Cal-
Title.
H Tag all the days of the week as CalDays.
Chapter
Nice work. You should be proud of yourself. After completing
this project, you’re ready to take on any type of newsletter,
whether simple or complex. Let’s take a look at the finished
product.
H To Print Which Pages: All
Printing Order: Last to 1st
Once you have the final copy in your hands, inspect each page,
looking for small changes that will improve its appearance.
Remember, no matter how good it might appear on the screen,
the true test of your talents shows up after printing.
Creating a chapter template
As promised, we’re going to finish this chapter with tips that
speed newsletter production. Once you establish a successful
format, the hard part has been done. You can reuse your
newsletter chapter over and over again for future issues.
Here’s how it works. Open the newsletter and save it under a
new name — TEMPLATE.CHP, for example, or BLANK.CHP.
Now remove all the text files and graphics files with Remove
Text/File from the Edit menu (Figure 6-40).
6 - 60
Chapter
Desk File Edit Mien Chapter Frane Paragraph Graphic Options
Figure 6-40.
*+NOTE: You do not have to remove the logo text, unless you
are using the same template for different newsletters with
different names.
Now save TEMPLATE.CHP again. From now on, you will use
this chapter full of blank frames as your starting point. Start
by renaming the template so you preserve it intact. Then load
and place text files into the empty frames. Change the
headers and footers if necessary to reflect the new dates.
Adjust frame sizes, add frames, edit copy and make any other
minor changes as necessary to make the new text and pictures
fit. Newsletters that vary quite a bit from month to month
may require more extensive adjustments. Even so, you will
still be finished with the newsletter in a fraction of the time it
takes to build one from scratch.
Another time-saving trick
If you want to save a step, simply use the same file names for
each issue’s text and pictures. This technique is most useful if
the newsletter format is nearly the same each month. Make a
copy of the first issue under a new name, but do not remove the
text and graphics files. Keep this new version in a subdirec¬
tory of its own, together with all the files that make up the
chapter. For example, you might call the copy FINAL. CHP
and store it in a directory called \FINAL because this is the
Another time-saving trick
6 - 61
chapter you will use to print the final version of the newsletter
each month.
Collect the text and graphics for each new issue in a separate
subdirectory (for instance, \JANUARY, \FEBRUARY,
\MARCH, etc.). When everything’s ready to go, copy the text
files to the \FINAL directory, but rename the files so they
match the names used in the first issue. Once you’ve updated
the files in \FINAL directory, you can load FINAL.CHR Since
the file names are the same, Ventura will immediately flow
the new text and graphics into the old layout. You won’t even
need to place the files. You will, however, need to make some
minor adjustments before printing.
Tips and techniques
Text tips
□ After you convert a text file format, or rename it to a new
location, the changes do not take effect until you save the
chapter. If you abandon the chapter without saving, you
will lose the changes.
□ To create a dashed line effect, choose Ruling Line Above,
Below or Ruling Box Around from either the frame or para¬
graph and select Dashes On. You can adjust the width of
the dashes and the space between them.
□ The text you type directly into a frame or caption is stored
in Ventura’s caption file. If you wish to save the text as a
separate file use File Type/Rename from the Edit menu.
Ignore the name you see listed in Old Name. Type in the
new name and location and click OK.
Style tips
□ A pull quote is a short quotation that can be used as a
graphic element to fill space or add emphasis to an article.
To make a pull quote, place and size a separate frame
within a column. Then type the pull quote text directly into
the frame. Add a new tag called PullQuote and change the
text attributes to create the desired effect.
6 - 62
Chapter
□ Use tracking to reduce or increase the space between in¬
dividual letters in a word.
□ To create a banner headline, tag the text as frame-wide, or
place text in a separate frame that spans more than one
column.
□ If you choose Space for Big First: Normal, Ventura makes
its best guess where to place the big first character. When
you choose Custom instead, you decide which baseline to
use. By entering 1, for example, you tell Ventura to place
the big first character on the baseline of the first line. To
make a big first character start below the first line, enter a
number greater than one.
□ Use an end of article symbol to show where one article ends
an another begins. Use the Ins Special Item to insert a
hollow or filled box at the end of a story.
Picture and frame tips
□ It is easiest and most efficient to build newsletters by pour¬
ing text into frames.
□ Frames can have fill patterns and up to three ruling lines
around.
□ Frames that reside on top of the Underlying Page can have
the same or different margins and columns as the Underly¬
ing Page.
□ Make the vertical padding of frames equal to the current
inter-line spacing of the Body Text tag.
□ If you come across text alignment problems in frame-inten¬
sive layouts, try adjusting the frames so they do not touch
each other. Sometimes when frames butt up against each
other, Ventura pushes the text in the upper frame up one
line.
□ Be careful when you move a group (a row or a column) of
graphic shapes together. To avoid accidentally re-sizing
them, or selecting one by itself, be sure to select them by
holding down the Shift key before you go to move the boxes.
After you press the mouse button, do not move the shapes
until the four-way arrow appears.
Another time-saving trick
6 - 63
Chapter tip
□ You can re-use a standard chapter format over and over
again by converting it into a chapter template. Take the
original chapter and save it as a new chapter. Then remove
all the text and picture files. Once they are removed, save
the new chapter with a name like BLANK.CHP. From now
on, you will use this chapter, including its frames, headers
and footers, and so forth, to begin your new projects.
Chapter Seven
Skills Checklist
Theory
□ The power of pretagging
□ Creating a directory from a database
file
Text
□ Line breaks versus paragraphs
□ More timesaving tips on preformatting
Style
□ Live headers and footers that change
from page to page
□ How to make your own crop marks
□ Advanced typographic effects using
reverse type
□ Inserting the page number anywhere
on the frame
Picture
□ Creating thumb tabs with repeating
frmaes
□ Adding fill patterns to frames
Chapter
□ Creating a publication
□ Linking page numbers from chapter
to chapter
□ Using Multi-Chapter to print a
publication
□ Using chapter templates to speed
production
Chapter Seven
A Directory
C ombining the power of a database program with Ventura’s
batch formatting allows you to publish professional-
quality directories quickly and easily. In this chapter, you will
create a sample directory using the skills and techniques
listed on the facing page.
In Chapter Two, you learned the basics of preparing text in
advance, including how to use bracket codes to enter at¬
tributes directly into word processing files. In this chapter,
you will also learn how to enter tag names directly. In addi¬
tion, we will pass along a few ideas on how to use a database
program to generate pretagged files for Ventura.
Theory
Because of time and space limitations, you will not actually
use a database to build the sample document in this chapter.
However, the text file you will load into the sample document
resembles a file you would get from a database. If you expect
to use a database in your real-life applications, you will
benefit from understanding the theory of using a database to
generate pretagged files.
The power of pretagging
The fastest way to format text from a database is to include
tag names in the text file. As soon as the file is loaded into
Ventura, the style sheet definitions are automatically applied.
Pretagging virtually eliminates the need to tag inside Ventura
and reduces layout time and formatting errors. You can, of
course, produce sophisticated documents without pretagging.
7-2
Theory
course, produce sophisticated documents without pretagging.
In the long run, however, this pretagging shortcut saves time
and increases productivity.
Rules for pretagging
When you load a text file, Ventura treats all untagged para¬
graphs as Body Text. For this reason, you do not need to
pretag Body Text. All other paragraphs, however, can be
pretagged using the format @TAGNAME = . The “at” sign (@)
comes first followed by the tag name (e.g. HEAD1, HEAD2,
etc.), a space, an equals sign, and a second space. Leaving out
any character or space cancels the tagging instruction.
Likewise, the tag will not take effect unless it is the first line
in the paragraph and flush against the left margin. Moreover,
the tag name in the text file must match the name in the style
sheet exactly. Ventura doesn’t care whether you capitalize or
not, but it does care that you spell both tag names the same.
In the files you will load for this chapter, @HeadSection = is
the tag code for the title of each directory section. @Headl = is
the tag code for the first-level heading (the single letters that
precede each alphabetical section); @Head2 = is the tag code
for the second level heading, and so on. Backward arrows (J)
at the end of lines indicate line breaks. Paragraph symbols (<[[)
indicate paragraph returns.
At first glance, it seems like extra trouble to type in tag names
at the beginning of each paragraph. Once you settle on a
standard set of names, however, you can store them as key¬
board macros (with your word processor or a separate pro¬
gram like Smartkey). Then you can enter tags in quickly by
pressing a single macro key. Or, as suggested below, you can
have a database program do the work for you.
You’ll find more tips on pretagging text at the end of the
chapter.
Using a database file with Ventura
Database programs are more practical than word processors
for generating lists and directories. Businesses use database
programs to maintain client lists, mailing lists, inventory
lists, and so forth. You can transform such a list into a Ventura
Line breaks versus paragraphs
7-3
document by having the database program generate an ASCII
file, which then can be loaded into Ventura. Creating an
ASCII file can be as simple as printing a report to disk.
*+NOTE: If you are not familiar with the structure and use of a
database, you may not understand some of the terminology
(e.g. fields, records, and so forth) we introduce in the strategy
section below. Don’t worry. Just skip ahead to the planning
section and read about the Ventura skills you will learn in this
chapter. You will be able to apply most of these skills to
practical projects that don’t require the use of a database.
A “raw” ASCII file, however, needs lots of formatting once
inside Ventura. You can make things even easier by using the
database to pretag the file. Here’s the strategy:
• Prepare a thumbnail sketch of the directory. Choose names
for the tags (for instance, Headl, Head2, Company, Phone#,
etc.).
• Use Ventura to create a style sheet with matching tag
names. Format it to match the thumbnail sketch.
• Sort the database to pull out the specific information you
need.
• Specify a database report with the fields in correct order.
So far you’ve done nothing out of the ordinary with Ventura or
with the database. To pretag, however, you must take two
additional steps:
• Use the database report generator to insert the tag names
in front of the fields.
• Print the report (which now includes the tag names) to
disk.
Once you’ve generated the pretagged ASCII file, you can load
it into Ventura. The text will be formatted as soon as you place
the file on the Page.
Line breaks versus paragraphs
The sample text file you will use in this chapter contains line
breaks as well as paragraph returns. For long documents such
7-4
Theory
as directories, you should get in the habit of using line breaks
to create new lines whenever both lines have the same tag
name. Line breaks consume less memory than returns.
Memory considerations do not come into play for short docu¬
ments, but they can become a concern with long documents,
especially those with many lines of small type and memory-in¬
tensive effects such as leader dots.
A database can enter line breaks by inserting the bracket code
<R> in place of a carriage return (Figure 7-1).
Figure 7-1 . Use line breaks instead of returns in a long directory file.
Ventura’s line break code is <R>.
Line breaks versus paragraphs
K zTm
^3U?t
lAv!>Sc4Pts FoAshAT
3 Coc.Ufi\A/$ l4,0l SA
2 t oo 6 otter
Reseat tieAOBt
Bleep
tiff fives Bu.o
Voobio Rule
ABot/tE
Q&iouu
-Cn/e Foote R
Heivenc a
1870 Embarcadero Rd.
Palo Alto, CA 94303
Pro duct: PostScript, Illustrator, Adobe
Type Library
Phone: (415)852-0271
Allied Linotype Co.
_ Digital Research Inc. _
60 Garden Court
Monterey, CA 93942
Product: GEM Desktop, GEM Draw
Plus, GEM Paint
Phone: (408)649-3896
55 Cambridge Parkway
Cambridge, MA 02142
Product: Lotus I -2-3. Symphony.
Freelance, Graphwriter
Phone: (617)577-8500
425 OserAve.
Hauppauge, NY 11788
Pro duct: Linotronic 100 and 300
Phone: (516)434-2016
2320 Marinship Way
Sausalito.CA 94965
Product: AutoCAD, AutoSketch
Phone: (415)332-2344
1215 Terra Bdla Ave
Mountain View, CA 94043
P.O.Box 15
Boise, ID 83707
Product: LaserJet Plus, LaserJet II, Scan-
j*t
Phone: (208)323-3869
2650 San Tomas Expressway
Santa Clara, CA 95051
Product: DDL Language
Phone: (408)986-9400
_ Media Cybernetics _
8484 Georgia Ave., Ste. 200
Silver Spring, MD 20910
Product: Halo Desktop Publishing Editor
Phone: (301)49S-330S
Micro Publishing
21150 Hawthorne BlvtL, Ste. 104
Torrance, CA 90503
Product: m icroPublishing Report
Newsletter, Ventura Style Sheets
Phone: (213)376-5724
1889 Edition
Manufacturers A-A
Chapter
7-6
Planning the directory
Planning the directory
Directories are text-intensive documents with detailed list¬
ings of people, products, organizations, etc. Most directories
are quick reference guides. They are scanned and skimmed to
pinpoint information. As such, they should be designed to help
the reader find facts quickly and efficiently. Since most direc¬
tories maintain the same format from page to page they are
fast to format, especially if you pretag the files.
The landscape page format of this chapter’s sample directory
provides three spacious columns for text. Graphic techniques
such as reverse type, ruling lines, and thumb tabs help the
reader spot different sections, headings, and entries. For in¬
stance, the thumb tabs bleed to the edge of the page. Even
with the book closed, you can tell where one section begins
and another ends by the dark edges of the pages. The reverse
type effect on the heading creates a visual contrast between
major headings and minor entries and helps establish an
hierarchical order of information.
Here are some of the effects and techniques you will learn in
the directory:
• Live footers
• Thumb tabs
• Landscape layout
• Reverse type (or shaded type)
• Crop marks
• Page numbers anywhere on the page
This chapter’s sample contains two partial sections of a three-
section directory. The first section is arranged alphabetically
by manufacturer, the second by category. You will create each
section as a separate chapter. At print time, you will use
Ventura’s multi-chapter operation to combine them into a
single publication. In actual practice, you may find it practical
to create directories of up to 30-40 pages as a single chapter.
For longer directories, we recommend breaking the individual
sections into separate chapters.
Line breaks versus paragraphs
7-7
Ventura prep
t* If you have the Power disk
Load and rename/relocate the files for this chapter.
H Load the text file 7LIST.TXT from the C:\POWER sub¬
directory. Use File Type/Rename to save it as
C:\TEMP\7DIRECT.TXT.
H Load the style sheet 7LIST.STY from the C:\POWER sub¬
directory. Save it as C:\TEMP\7DIRECT.STY.
H Save the chapter as C:\TEMP\7DIRECT.CHP.
If you do
not have the Power disk
If you don’t own the Power disk, type in 7DIRECT.TXT
from Appendix A. Save it as C:\TEMP\7DIRECT.TXT.
Load &TBL2-L1.STY from C:\TYPESET. Modify it to
match Figure 7-2. Add or change tags using the tag tables
in Appendix B. Save it as C:\TEMP\7DIRECT.STY.
Save the chapter as C:\TEMP\7DIRECT.CHP.
WARNING: When you type in the directory file listings in ASCII format, remember to
place two carriage returns between each paragraph. Otherwise, Ventura runs all the
lines of text together. This warning applies to database files you create on your own.
Text
For this project, you will act as if you have already used a
database program to generate and preformat the ASCII file
7LIST.TXT. Although the text file contains tag names, those
tags have not yet been defined in the style sheet, so all the text
is displayed as Body Text. When you get to the style section,
you will build the tags while learning some new graphic ef¬
fects.
Place the text file 7DIRECT.TXT on the Page.
7-8 Style
Figure 7-2. If you do NOT have the Power disk, modify the right page of &TBL2-L1 .STY to match this illustration with
Margins & Columns, then copy these settings to the facing page.
Style
In the style section you will learn a variety of useful techni¬
ques, including crop marks, live headers and footers, leader
dots, and more.
Chapter layout
If you loaded the preformatted style sheet from the Power
Disk, all the chapter settings should be intact. To be on the
safe side, confirm both the page layout and the margins and
columns.
H Page Size & Orientation: Landscape
Layout Sides: Double
Start On: Right Side
Draw crop marks
7-9
Margins & # of Columns: 3
Columns Settings For: Right Page
Top: 06,00 picas & points
Bottom: 06,00 picas & points
Left: 08,00 picas & points
Right: 10,00 picas & points
Column 1,2,and 3 width: 14,08 picas &
points
Gutter width: 02,00 picas & points
Draw crop marks
Although the size of the paper is 11x8.5 in., the paper will be
trimmed by V 2 inch on all four sides to create a page size of
10x7.5 in. Crop marks (also called trim marks ) show the “live
area” — the area which remains after the paper is trimmed by
the printer (Figure 7-3).
You will create the crop marks in this project using the rec¬
tangle tool in Graphic mode. Then you will tell Ventura to
repeat the graphic shapes on every page of the document.
Before you draw the rectangle, plan the grid settings. Because
you are trimming the paper V 2 inch (03,00 picas) on each side,
you will make the grid settings 03,00 picas & points. This grid
setting guarantees that the crop marks will be exactly
03,00 picas from the edge of the Page.
H Reset the zero point to the upper left corner of the Page
(click on the 0,0 square in the upper left corner of the
screen).
H Enable Graphic mode. Then select the rectangle tool from
the Side-Bar. Now set the grid for the Page.
^ Grid Settings Grid Snap: On
Horizontal Spacing: 03,00 picas & points
Vertical Spacing: 03,00 picas & points
H Change to Normal or Enlarged View to draw the crop
marks.
H Starting at position 0,0 picas on the ruler, use the rectangle
tool to draw a 03,00 by 03,00 pica shape.
The grid settings force the rectangle into position (Figure 7-4).
Figure 7-4.
*+NOTE: If you draw the rectangle and the grid doesn’t take
effect, just set the grid again while the rectangle tool is high¬
lighted.
Now change the line attributes.
H Line Thickness: Thin
Attributes End Styles: (Beginning and End) Square
Defaults: Save To
Draw crop marks
7-11
M Fill Color: White
Attributes Pattern: Hollow
Result: Transparent
Defaults; Save lb
** NOTE: You may have to experiment a few times before you
get the hang of drawing shapes with a mouse. Keep trying until
you master this new skill.
Repeat the above steps to place crop marks at the other three
corners. Your finished page should look like Figure 7-5:
Desk File Edit View Chapter Frane Paragraph Graphic Options
Figure 7-5.
Now that you’ve completed the crop marks for this page, you
will make them repeat on every page of the directory
II Choose Select All from the Graphic menu (or press Ctrl-Q)
to select all the line shapes.
II Select Show On All Pages from the Graphic menu.
*+NOTE: You can also use Ventura’s built-in crop mark feature
from the To Print dialog box instead of drawing marks on the
page.
Although Ventura has a crop mark feature in the To Print
dialog box, we taught you to draw your own crop marks as an
alternate technique. Ventura’s automatic crop marks are
visible only on the printed page. They cannot be seen on the
7-12
Style
screen, since they are not selected until print time. By con¬
trast, if you draw the crop marks you can see them on the
screen, which helps when you visualize the page design. To get
Ventura’s generated crop marks for this size directory you
would have to reduce the size of the Page to 10x7.5 in. But
reducing the size of the Page makes it harder to accomplish
bleed effects like the thumb tabs in this chapter.
In general, Ventura’s built-in crop marks are most useful
when working with the Paper Type & Dimension: Half option
from the Page Size & Layout dialog box, or for those who have
a printer that creates pages larger than 8.5x11 in. In most
other cases, we recommend drawing the crop marks yourself.
Build the footer
Headers and footers are vital to a good reference document.
They help readers zero in on the facts. For instance, a phone
book’s header shows the first and last names on the page. A
dictionary’s header tells the first and last word on the page.
Headers and footers that change from page to page are called
live headers and live footers.
For this exercise, you will build a live footer that shows the
first and last entries on each page. The commands to ac¬
complish this effect are shown in Figure 7-6:
Figure 7-6.
Build the footer
7-13
Here are the steps for creating a live footer.
H Select Headers & Footers. Select Define: Right Page Footer,
Usage: On.
11 Move to the Left line and type: 1989 Edition
li Move to the Center line and select Inserts: 1st Match.
Delete the words “tag name” between the brackets (do not
delete any of the brackets) and replace them with: Head-
Section
H Next, use the right arrow key to move past the right brack¬
et. Press the space bar to enter a space following the right
bracket.
You have just given the 1st Match instruction. Ventura will
look on every page and find the first paragraph tagged as
HeadSection. It will display this paragraph in the footer. If it
gets to a page and doesn’t find a new HeadSection tag, it will
use the one from a previous page.
li Select Insert: 1st Match again. Delete the words “tag name”
and replace them with: Headl
This command tells Ventura to display the first occurrence of
the Headl tag in the center of the footer.
si Move past the right bracket and select Inserts: Text Attr.
Delete the letter “D” between the brackets and replace it
with: 196
You just told Ventura to print an en dash (a dash the size of
the letter n in the current font). The decimal code for an en
dash is 196.
$$ Move past the right bracket and select Inserts: Last Match.
Delete the words “tag name” and replace them with: Headl
This copies the last occurrence of Headl to the center footer.
!i Move to the Right line and type: Chapter followed by a
space.
^ Choose Inserts: Chapter #.
Now you will copy these settings to the left page and modify
them slightly.
7-14
Style
li Choose Inserts: Copy to Facing Page to copy the footer
settings to the left page.
M Select Define: Left Page Footer, Usage: On. Move to the
Right line, press Esc to clear the line, and type: Desktop
Publishing Directory and click OK.
When you are finished, your page should look similar to
Figure 7-7.
Change the footer frame margins
When the paper is trimmed, it will later lose V 2 in. from each
side. If you trimmed the page as it is, the footer text might get
clipped off (Figure 7-8).
To raise the footer into the live area of the Page, you will
change the top margin of the footer frame.
H Enable Frame mode and select the footer frame.
I! Margins & Top: 01,00 picas & points
Columns
Change the footer frame margins
7-15
Notice that the right and left margins of the footer are equal
to the Page margins (Figure 7-9). You raised the footer text on
the page by decreasing the top margin from 02,04 picas &
points to 01,00 picas & points.
Figure 7-9.
^ TIP: You can also change the position of headers and footers
by changing the Above Spacing value in the Z_HEADER or
Z_FOOTER tag (Spacing, Paragraph menu).
Spacing attributes are stored with the style sheet and can be
reused if it is easier. Document attributes, such as footer
margins, are stored with the chapter. They cannot be reused
7-16
Style
unless you construct a chapter template (as described in
Chapter Six). Sometimes, however, you cannot achieve the
effect you want without changing the header or footer mar¬
gins, especially if you have large trim margins — as is the case
with this document.
Building new tags
Now that you’ve completed the changes to the Page, you are
ready to format the tags. Start with the Body Text tag, then
proceed through the document paragraph by paragraph.
Verify the Body Text tag
^ Enable Paragraph mode.
Select the paragraph “1870 Embarcadero Rd.” at the top of
the page and check that the Body Text tag matches these
settings:
Font
H Alignment
Face: Times
Style: Normal
Color: Black
Size: 010.0 points
Horz. Alignment: Justified
Overall Width: Column-Wide
II Spacing Inter-Line: 12.00 fractional pts
Add in Above: When Not At Column Top
Build the HeadSection tag
The HeadSection tag uses a Ruling Line Above to create the
reverse type effect. Later, in the picture section, we will show
you how to achieve the same effect by placing white text in a
solid black frame.
*+NOTE: Certain printers may not be able to print out white text
on a black background You can, however, achieve a similar
effect using black text over a gray patterned rule (or frame).
We will show you how to create both effects.
il Select the first paragraph “Manufacturers.”
Build the HeadSection tag
7-17
The tag name, HeadSection, appears in the Current Selection
Box (Figure 7-10). Now change its font.
Desk File Edit View Chapter Erane Paragraph Graphic Options
11 C:\1EMP\7DIRECT.CHP (7D1RECT.S1V) jilil lll Bl lglllilliiil
iCTiWHWBE
•At
jAdobf, Incf
*1870 EmUradero Rd.J
fib AHo, CA *3031
Product 1
f wlScripi, Illustrate, Adobe Typt Librarfl;
fbc'.t.l
jdl5) 8S2-02711
Allied Linotype Col
}1250s«r A*tJ
peuppiuje, NT 117891
product 1
tinctronx 100 end 3001
^bone: 1
?516l 43.-2C161
Sf
SewleltPidardl
J>.0 RoxISj
Soist, ID 837071
Product I
jet Plus, Usenet 0, Scinjet IF
Phone: I
J208) 323-386SIF
It
Jrigen f
£650 Sin Tonus Express wiyj
jSanti Gin, CA 350511
product 1
£>DL Language!
Ehone t
E
Figure 7-10.
i§ Font Style: Bold
Color: White
Size: 024.0 points
Because you just made the text white, it is invisible against
the white screen. But as soon as you drop a black background
behind it, the text will become visible again.
§1 Alignment Horz. Alignment: Center
Overall Width: Frame-Wide
Frame-wide alignment forces the text to extend across all
Below: 24.00 fractional pts
Inter-Line: 24.00 fractional pts
Add in Above: Always
Page Break: Before/Until Right
This Page Break selection places a page break before every
HeadSection tag. As a result, every section of the directory
starts on a separate right-hand page.
three columns.
11 Spacing
H Breaks
*+NOTE: If you want the HeadSection tag to start on either a new
right or a new left page, choose Page Break: Before instead of
Before/Until Right
7-18
Style
Create reverse type
Now you will create the reverse type effect with Ruling Line
Above. The strategy behind this effect is simple: You make the
type white and drop a black ruling line on top of it.
*+NOTE: If your printer is incapable of reverse type, follow the
substitute procedures explained in the next section.
You will start by giving Rule 1 a height larger than the type.
In this example, HeadSection is 24.00 fractional pts and Rule
1 is 36.00 fractional pts. If you did nothing else, the rule would
appear above the white type. You can, however, shift the rule
downwards, by entering a negative value for the Space Below
Rule 3. If you enter a positive value, Ventura adds space below
the rule. If you enter a negative value, Ventura subtracts
space so the rule shifts downwards.
^ TIP: Although it is called Space Below Rule 3, this measure¬
ment refers to the space below the last rule, whether that last
rule is the first, second, or third.
To calculate how many points to shift the rule down, use the
following formula:
• Add the ruling line height and the font size
• Divide the sum by two
This formula vertically centers the text within the rule.
Here’s the simple math for finding the Space Below Rule 3 in
our example above:
• 36 + 24 = 60 (fractional pts)
• 60 + 2 = 30 (fractional pts)
You would, therefore, make the Space Below Rule 3 equal to
negative 30.00 fractional pts to center the type exactly in the
middle of the rule. The formula, however, is only a starting
point. In many cases, you will find it necessary to adjust the
Space Below Rule 3 to create a more pleasing visual effect. For
instance, in this example, you will use 34.00 fractional pts
instead of 30.00 for the Space Below Rule 3. This places the
text slightly above the center of the rule.
If you cannot print reverse type
7-19
H Select Ruling Line Above. Choose Width: Frame. Give Rule
1 a height of 36.00 fractional pts. Make the Space Below
Rule 3: 34.00 fractional pts. Choose the minus sign to shift
the rule downwards (Figure 7-11).
"HeadSection" RULING LINES ABODE
Width:
Color:
Pattern:
Dashes:
Space Above Rule 1:
Height of Rule 1:
Space Below Rule 1:
Height of Rule 2:
Space Below Rule 2:
Height of Rule 3:
Space Below Rule 3:
Overall Height:
Frane
Black
Solid
Off
oe.ee
36.ee
ee.ee
ee.ee
ee.ee
ee.ee
m
36.ee
Custon Indent: 00.00 {
Custon Width: (X).00
Dash Width: 00.00
Dash Spacing: 00.00 fractional pts
34.ee rn i
e 2 .ee
0K |v
|Cancel |
Figure 7-11.
If you cannot print reverse type
If your printer is incapable of reverse type, create black text
on a gray rule instead. Use the same steps as above, but
change the font color to Black and make the Ruling Line
Above a gray pattern. For instance you would select:
^ Font Style: Bold
Color: Black
Size: 024.0 points
H Select Ruling Line Above. Choose Width: Frame, Color:
Black, Pattern: 3. Make the height of Rule 1:36.00 fraction¬
al pts and the Space Below Rule 3: (minus) 34.00 fractional
pts (Figure 7-12).
7-20
Style
"HeadSection" RULING LINES ABOVE
ED
Width:
Frane
— nr
Color:
Black
Pattern:
3
Dashes:
Off
36.00
Space Above Rule 1 :
00.00
Height of Rule 1 :
36.00
Custort Indent:
00,00 1 H!
- j
Space Below Rule 1 :
00.00
Custon Width:
00.00
Height of Rule 2:
00.00
Space Below Rule 2:
00.00
Dash Width:
00.00
Height of Rule 3:
00.00
Dash Spacing:
00.00 fractional ptsl
Space Below Rule 3:
34.00
□ D
Overall Height:
02.00
mm
Cancel|
Figure 7-12. Without special add-on cards, printers such as the
Hewlett-Packard LaserJet Series II cannot printer reverse type, but they
can produce black text on a gray background.
Change the Headl tag
The next paragraph to tag is Headl. You will use the method
described above to create reverse type. Because the file was
pretagged, every Headl paragraph will be effected by the
changes you make in the following step.
i§ Select the paragraph “A” that was pretagged as Headl.
il Font Style: Bold
Color: White
Size: 018.0 points
li Alignment Horz. Alignment: Left
In/Outdent Width: 00,06 picas & points
il Spacing Above: 18.00 fractional pts
Inter-Line: 18.00 fractional pts
To prevent Ventura from isolating the Headl tag at the top or
bottom of a page or column, you will choose Keep With Next:
Yes from the Breaks dialog box.
il Breaks Keep With Next: Yes
Create the ruling line above
7-21
"Headl" BREAKS
Page Break:
Column Break:
Line Break:
Next V Position:
Allow Within:
Keep With Next:
0
m 1 Before 1 [ After | | Before & After
Before/Until Left [ [ Before/Until Right
Before After Before 8 After
| No | I After | | Before 8 After |
| Beside Last Line of Prev. Para
fitol
Cancel |
Create the ruling line above
Now you will create a black ruling line above the Headl tag
and move it down over the white type. This time you will make
the rule a custom width so it is confined to a smaller space
within the column.
^ Select Ruling Line Above. Choose Width: Custom. Give
Rule 1 a height of 24.00 fractional pts. Make the Space
Below Rule 3 (minus) 24.00 fractional pts. Then make the
Custom Width 24.00 fractional pts.
"Headl” RULING LINES ABODE
Width:
Custom
Color:
Black
Pattern:
Solid
Dashes
Off
Space Above Rule 1:
00.00
Height of Rule 1:
24.00
Custom Indent:
Space Below Rule 1:
00.00
Custom Width:
Height of Rule 2:
00.00
Space Below Rule 2:
00.00
Dash Width:
Height of Rule 3:
00.00
Dash Spacing:
Space Below Rule 3:
24.00
SB
Overall Height:
00.00
m
36. B0
00.00
24.001
GO.tttt
00,00
IS
fractional pts
|Cancel |
7-22
Style
*+NOTE: The centering formula would indicate a negative space
of 21 fractional pts (18 + 24 = 42. 42 + 2 = 21). We have
increased the Space Below Rule 3 setting by 03.00 fractional
pts to raise the text slightly above the center line of the rule.
If you cannot print reverse type
To make black text on a gray rule, change the font color to
Black and the rule Pattern to 3.
Change the Head2 tag
Now you will change the Head2 tag.
^ Select the paragraph “Adobe, Inc.”
Style: Bold
Horz. Alignment: Center
Above: 12.00 fractional pts
Below 12.00 fractional pts
Inter- Line: 14.00 fractional pts
The space below separates the title from the entries below.
H Breaks Keep With Next: Yes
Keep With Next prevents the title from being isolated at the
top or bottom of a column or page.
H Select Ruling Line Above. Choose Width: Column. Give
Rule 1 a height of 02.00 fractional pts. Make the Space
Below Rule 1 02.00 fractional pts (Figure 7-13).
M Select Ruling Line Below. Choose Width: Column. Make the
Space Above Rule 1 02.00 fractional pts, then give Rule 1 a
height of 00.50 fractional pts (Figure 7-14).
Change the Head3 tag
^ Select the paragraph “Product.”
11 Font
H Alignment
P Breaks
Style: Bold
Horz. Alignment: Left
Keep With Next: Yes
II Font
ii Alignment
II Spacing
Change the ItalKWN tag
7-23
”Head2" RULING LINES ABOUE
□
Width:
Colunn
Color:
Black
Pattern:
Solid
Dashes:
Off
36.00
Space Above Rule 1:
00.ee
Height of Rule 1:
02.BB
Custon Indent:
00.00
i <• 11
- ! |
Space Below Rule 1:
02 . eel
Custon Width:
TO .00
Height of Rule 2:
oo.ee
Space Below Rule 2:
0 e.ee
Dash Width:
00.00
Height of Rule 3:
00.00
Dash Spacing:
TO . 00
fractional ptsl
Space Below Rule 3:
00.00
BE]
Overall Height:
04.01
■
IP
Cancel|
Figure 7-13.
”Head2'' RULING LINES BELOW
0
Width:
Colunn
Color:
Black
Pattern:
Solid
Dashes:
Off
36.00
Space Above Rule 1:
02.ee
Height of Rule 1:
00.58]
Custon Indent:
TO. 00
<• ! 1
- {
Space Below Rule 1:
oo.ee
Custon Width:
TO. 00
Height of Rule 2:
00.ee
Space Below Rule 2:
ee.ee
Dash Width:
TO. 00
Height of Rule 3:
0o.ee
Dash Spacing:
00,00
fractional ptsl
Space Below Rule 3:
0o.ee
BE]
Overall Height:
02.51
m
Cancel |
Figure 7-14.
The Breaks dialog box accomplishes two things. Line Break
Before allows another tag to reside on the same line. Keep
With Next: Yes keeps the listing from being separated from
the following tag.
Change the ItalKWN tag
H Select the paragraph “PostScript, Illustrator, Adobe Type
Library.”
The tag name ItalKWN (short for Italics Keep With Next)
appears in the Current Selection Box.
7-24
Style
H Font Style: N-Italic
H Alignment Horz. Alignment: Left
In/Outdent Width: 00,06 picas & points
Relative Indent: On
Relative Indent: On positions the tag next to the previous
paragraph.
^ Breaks Line Break: After
Keep With Next: Yes
Line Break: After allows the ItalKWN tag to reside on the
same line as the previous tag.
Change the ItalSeparate tag
The next tag encountered is ItalSeparate. It is identical to the
ItalKWN tag, except that Keep with Next is set to No in the
Breaks menu. Choosing No permits Ventura to split the text
to a new column after the tag.
11 Select the paragraph “(415) 852-0271.”
Font
Style: N-Italic
11 Alignment
Horz. Alignment: Left
In/Outdent Width: 00,06 picas & points
Relative Indent: On
11 Breaks
Line Break: After
Keep With Next: No
Stopping point
Here’s the stopping point for the chapter. Take a moment to
save your work and relax. You should also congratulate your¬
self for all the progress you are making. Before you continue,
check to make sure your document matches Figure 7-15.
Change the ItalSeparate tag
7-25
| Manufacturers 1
□
Product: Model 730 Scanmr
Phone: (415)965.7900
D
Adobe, Inc
Lotu* Development Carp.
1S70 Hmbarcodoto Pd.
dOOeidoe Court
S3 Cambridge Pathway
Preduct: rcxiScrtpt. Itkum tor. Adobe
Type Library
Phono: (413)832-0271
Monterey, CA 93942
Product: OEM Desktop. GEM Dren*
Flu. GEM FcAiti
Phone: (408) 649-3496
Product: Loan 1-24. Symphony.
Prmhutct, Grapkwrittr
Phone: (62 7) 377-8500
Allied Linotype Co.
m
Ej
Hottppeopo, NY 11788
Howldt-Pochord
Media Cyb emetic*
Product Linobomc 200 and 300
Phone: (516)4344016
PX>. Box 13
•4*4 Oeorgi* Are., Mo. 200
Moor Spring. MD 20910
Aut«doA,he.
Product: LaserJet Pitts, LaserJet IT, Scan-
Product: Halo Desktop rubksMnf Edlsyr
Phene: (301)493-3303
2320 Martmhip Way
J*t
(tM)
MlcroPubliahlng
Product: AutoCAD, Am toSJoet^h
Phone: (415) 332-2344
n
21130 Hawthorne BNd., Me. 104
Tonaaoo.CA 90303
□
Imogen
Product mkcroPubltsking Report
Phene: (213) 376-5724
Detecopy Corp.
Seat* CJoto, CA 95031^
1213 Tom BoD* An
Mountain View, CA 94043
Product: DDLLtmgttafs
Phone: (408)986-9400
imUMn ManJeotvere A-A Chapter 1
Figure 7-15. Your document should look similar to this illustration at this stage of the project.
If you don’t have time to continue, quit Ventura and come back
later. Simply open the chapter C:\TEMP\7DIRECT.CHP and
jump right into the pictures section.
You are now ready to proceed with the pictures section. If you
plan to continue without a break, proceed directly to the next
section.
Pictures
Now that you have finished the style section, you are ready to
make the thumb tabs. As explained earlier, thumb tabs make
it easier to find different sections of a directory. You will create
the thumb tabs with repeating frames. As the name implies, a
repeating frame shows up on every page of the document.
Before you draw the thumb tabs you must do two things:
1. Determine how high the thumb tab should be.
For the three-section directory, the height of each thumb tab
will be V 3 of the total column height, or 13,00 picas & points
(Figure 7-16).
7-26
Pictures
Figure 7-16.
2 . Calculate how wide the thumb tab should be.
You will make the thumb tab wider than necessary, so it will
bleed off the edge of the paper. Since the margin from the live
area to the trim edge is 03,00 picas & points, you could make
the thumb tab 04,00 or 05,00 picas & points — anything larger
than 03,00 picas & points will extend past the trim area. It is
easier to position if you use a six-pica frame. Then you can line
it up with the top column guide and the edge of the paper for
perfect alignment.
Create the thumb tab frame
^ Enable Frame mode. Select Add New Frame from the Side-
Bar.
11 Make sure the zero point is reset to the upper left corner of
the Page. (Click the 0,0 square at the upper left corner of
the Page.)
H Starting at position 60 picas on the horizontal ruler and 6
picas on the vertical ruler, draw a thumb tab frame 06,00
picas wide by 13,00 picas high. You may want to change to
Normal View to draw the frame (Figure 7-17).
Add a frame margin
7-27
Desk File Edit Uiew Chapter Frane Paragraph Graphic Options
c \TEMP\7DIRECT.CHP (7D1RECT.STV) illllllllilBIll
■
r
ufadurers!
Ifodil 730 Sannerf
is} SS&TSOOf
jita1R*s«ireh
l 93S42I
3EN Dusllop, G&l Dnw
fyitf
to ms 89 st
2
UtusDtytWfmtuI Cfp.l
■55 CjraUidje PukvayJ
idmWdje, KA 02W2I
■Pr*du?t f uhis 1-2-3, Sfmphmy,
\Fmkntt, OnpMmkrf
iPhmt: I led) S77-SS30f
Figure 7-17.
Verify the position and size of the frame with the Sizing &
Scaling dialog box.
SIZING g SCALING
Flow Text Around: On
0
Upper Left X: 60,0O| B[Z] NPP er Left V: 06,W Hltl
Frane Width: 06,00 Frane Hei^it: 13,00
Horiz. Padding: 00,00 Uert. Padding: 00,00 picas g points
Picture Scaling: I Fit in Franc | i By Scale Factors
Aspect Ratio: j Haintained | I Bistwted i
X Crop Offset: 00,80 = * ~ j j - j V Crop Offset: 00 J® I <•!i -
Scale Width: 00,00 Scale Heiglit: 00,00
rm ffancel
Add a frame margin
By adding a right margin inside the thumb tab frame, you will
center the text inside the three-pica area that remains after
trimming. Without the right margin, the text would be
centered inside the full six-pica width — and part of it would
get trimmed off by the printer.
I! With the thumb tab frame still highlighted, select Margins
& Columns. Make the right margin 03,00 picas & points.
7-28
Pictures
Add a page number to the thumb tab frame
To make the vertical text within the frame, you will use line
breaks as spacers after each letter in the word.
^ Enable Text mode and type within the thumb tab frame:
[Ctrl-Enter]
[Ctrl-Enter]
[Ctrl- Enter]
M[Ctrl-Enter]
f [Ctrl-Enter]
g[Ctrl-Enter]
s [Ctrl-Enter]
[Ctrl-Enter]
Now you will insert a page number inside the thumb tab
frame with the Ins Special Item option (Edit menu). With the
text cursor still at the bottom of the thumb tab:
M Select Ins Special Item from the Edit menu (or press the
keyboard shortcut Ctrl-C).
H Choose Reference or press the F6 key.
H When asked if you wish to insert a reference to the current
page or chapter number, choose Page #. The number 1,
preceded by a degree symbol appears in the thumb tab
frame.
Change the frame’s fill pattern
7-29
By inserting a page number reference in the frame, Ventura
displays the current page number in the thumb tab. If you
turn on Show Tabs & Returns (Options menu) you can see the
Reference marker (a degree symbol) at the bottom of the
frame. The word “Reference” is displayed in the Current
Selection Box (Figure 7-18).
rr
Normal
LI
1*24
■
■
Snell
■
Superscript
■
Subscript
■
Underline
■
Double Undrln
H
Strike-thru
n
Ovtrscore
Li
upper Case
E
azEnnj
jelopmentCorp.T
Figure 7-18.
*+NOTE: Like other text attributes, you can cut, copy and paste
a page reference using Ventura’s editing tools.
Now you will tag the thumb tab text to make it white.
H Enable Paragraph mode. Select the letters “Mfgs” and tag
them as ThumbTab.
The white text is invisible against the screen until you change
the frame background.
Change the frame’s fill pattern
Now you will change the frame’s fill pattern to solid black.
^ Enable Frame mode and select the thumb tab frame.
11 Select Frame Background from the Frame menu. Choose
Color: Black and Pattern: Solid.
7-30
Pictures
FRAME BACKGROUND |T|
Color: Black
Pattern: Solid
Result:
mm [ Cancel |
*+NOTE: If you cannot print white text on solid black; make the
text color black and the frame background pattern gray.
The thumb tab should look like Figure 7-19:
Desk File Hit View Chapter Frane Paragraph Graphic Options
Figure 7-19. The completed thumb tab.
Copy the thumb tab frame
Now you will make a copy of the frame to place on the second
page of the directory.
H With the thumb tab frame still selected, copy it into the
clipboard (press Shift-Del).
Change the thumb tab frame to a repeating frame
7-31
Be sure to make this copy before taking the next step. You will
need to paste in this frame on page two.
Change the thumb tab frame to a repeating frame
To make the thumb tab repeat on every right page, turn it into
a repeating frame.
H While the thumb tab frame is still selected, select Repeat¬
ing Frame from the Frame menu. Choose For All Pages:
Right, On Current Page: Show This Repeating Frame.
REPEATING FRAME
7
For All Pages:
On Current Page:
Off Left
Left 8 Right
Show This Repeating Frame
Hide This Repeating Frame
Show All Hidden Frames
Cancel
*+NOTE: You cannot copy, delete, or change a repeating frame.
To change a repeating frame, first return it to normal, then
make the changes, then make it a repeating frame again.
Create a thumb tab for the left page
Thumb tabs gain part of their effectiveness because they sit
back-to-back on both sides of a page. This creates a black area
that can easily be seen along the edge of the document. To
mirror the thumb tab from the first page, you will paste the
copy onto page two, then move it into its new position.
II Press PgDn to go to page two.
H Press the Ins key or select Paste from the Edit menu.
The thumb tab frame will appear in the same position it had
7-32
Pictures
on the first page. Now move it to the left page margin, as
shown in Figure 7—20.
Figure 7-20.
Use Sizing & Scaling to position the frame accurately. Other¬
wise, the two frames may not line up back-to-back.
i! Select Sizing & Scaling. Make the Upper Left X: (+) 00,00
picas & points and the Upper Left Y: (+) 06,00 picas &
points.
SIZING R SCALING
0
Flow Text Around:
On
Upper Left X:
00,00 QH
Upper Left V: 06,00 D FI
Frame Width:
06,06
Frarte Height: 13,00
Horiz. Padding:
00,08
Uert. Padding: 00,00 picas & points
Picture Scaling:
| Fit in Fret* 1
1 By Scale Factors j
Aspect Ratio:
1 Haintained j |
Distorted i
i X Crop Offset:
00,1X1 FIR
V Crop Offset: $1,00 | * ij - !
Scale Width:
00,(X)
Scale Height: 00,00
HOBb Cancel
Verify frame margins
7-33
Verify frame margins
Check the frame margins so the text is properly centered
within the tab. (The margins should be the mirror opposites of
the margins for the right page.)
^ Margins & Left: 03,00 picas & points
Columns Right: 00,00 picas & points
Make the left page thumb tab a repeating frame
As you did on page one, make the left page thumb tab a
repeating frame.
^ Repeating
Frames
Create a chapter template
Now that you’ve formatted the first section of the directory,
you can use it to create a blank template. Normally we would
teach this technique in the chapter section. However, we want
you to practice starting with a template. As you will see, a
template speeds production by eliminating the need to rebuild
headers and footers.
Save your chapter with its existing name before turning it into
a template.
^ Press Ctrl-S.
Now you will remove the text file from the Page and save the
chapter under a new name to make a copy, which you will turn
into a template.
Remove the text file
^ Enable Frame mode. Select the Page.
II Select Remove Text/File from the Edit menu. Choose
Remove from: List of Files.
For All Pages: Left
On Current Page: Show This Repeating
Frame
7-34
Pictures
REMOVE FILE |7]
File Mane: 7DIRECT .TXT
Remove from: List of Files
Ventura removes the text file 7DIRECT.TXT from the Assign¬
ment List.
H Select Save As from the File menu. Save the chapter as
C:\TEMP\DIRPLATE.CHP.
You just made a template — an “empty” chapter. Now you are
ready to use it to create the next section of the directory.
*+NOTE: If you had selected Save As while the text file
7DIRECT.TXT was still on the Page, Ventura would have
automatically renamed and relocated the text file to
DIRPLATE.TXT
Load text into the template
Load the text for the second section. Since the text is
pretagged and all the tag definitions are present in the style
sheet, the document is formatted as soon as you load it.
11 Make sure the Page is selected.
H Load and place the text file 7CATGORY.TXT from the
C:\POWER subdirectory.
*+NOTE: If you don’t have the Power disk, remember that you
will have to create this file in advance.
The text flows onto the Page.
Rename the text
7-35
Rename the text
H While the Page is still highlighted, select File Type/Rename
from the Edit menu. Rename the text file as
C:\TEMP\7DIRECT2.TXT.
H Use Save As to save the new chapter as
C:\TEMP\7DIRECT2.CHP.
By saving under a new name, you preserve the template in its
original form. The empty template can be used over and over
again to create additional directory sections.
Change the thumb tab
The thumb tab for the second section of the directory will be
shifted down so it aligns with the bottom edge of the first tab.
To make a copy of the original thumb tab, select the frame and
change it from a repeating frame to a normal frame (remem¬
ber, you cannot copy a repeating frame).
^ Select the thumb tab frame. Select Repeating Frame from
the Frame menu. Choose For All Pages: Off.
Now you are ready to copy the frame.
WARNING: Do not delete the original frame until you place the copy. You will use the
original as a guide to line up the second thumb tab.
7-36
Pictures
H Select Copy from the Edit menu (or press Shift-Del).
Now you will paste a copy on top of the original.
H Press the Ins key or select Paste Frame from the Edit
menu.
Move the frame into place below the first thumb tab, so the
top edge aligns with the bottom edge of the original (Figure
7-21).
Figure 7-21.
Once the frame is properly placed, delete the original.
^ Select the top frame and press Del.
M Select Repeating Frame from the Frame menu. Choose For
All Page: Right and On Current Page: Show This Repeating
Frame. Then click OK.
Now you will change the text in the frame to read “Products.”
1§ Enable Text mode. Delete the text but do not delete the page
reference symbol (°) from the frame.
Is Now type:
Make a second thumb tab on page two
7-37
[Ctrl-Enter]
P [Ctrl-Enter]
r [Ctrl- Enter]
o [Ctrl-Enter]
d[Ctrl-Enter]
u [Ctrl-Enter]
c [Ctrl-Enter]
t [Ctrl-Enter]
s [Ctrl-Enter]
[Ctrl-enter]
*+NOTE: If you delete the page number by mistake, reinsert
another page reference. Select Ins Special Item (Edit menu).
Choose Reference then Page # (See the section ‘‘Add a page
number to the left thumb tab frame” in this chapter).
Make a second thumb tab on page two
Go to the next page and repeat the previous instructions to
create a second thumb tab.
2. Select the left thumb tab frame.
3. Make it a non-repeating frame.
4 . Copy it to temporary memory.
5. Paste a copy on top of the original.
6. Move the new frame into place below the first thumb tab, so
the top edge aligns with the bottom edge of the original.
7 . Delete the original once the frame is properly placed.
8. Make it a repeating frame again.
9 . Change the text in the frame to read “Products” and leave
the page reference as is.
When you are finished your screen should look like Figure
7-22 for page two.
7-38
Chapter
Figure 7-22. Page two of the completed directory.
Because of space limitations, we will not show you how to
complete the third section of the directory. You would, how¬
ever, use the identical steps and methods.
Chapter
In this section, you will renumber the chapters, place both
sections into a publication and print the publication.
Update the page counter
You will now use the Update Counters option to renumber the
second chapter to start on page three. (In this teaching ex¬
ample, the first chapter was only two pages long. Normally, it
would be much longer. Nevertheless, the principles are the
same.) Ventura can link the page numbers across chapters in
a publication. Once you make a publication in the Multi-
Chapter dialog box (Options menu) you will renumber the
chapters so that the second chapter starts on the next page
number after the previous chapter.
Press Home to go to page one of the chapter
7DIRECT2.CHP.
II Select Update Counters from the Chapter menu. Choose
i Which Counter: This Page, Update Method: Previous Num¬
ber + 1, Number Format: 1,2. Then click OK.
Create a new publication
l — 6V
You will not actually see the new page numbers until you
perform the renumber operation in the Multi-Chapter dialog
box.
Since the directory is composed of two chapters, you can use
Ventura’s Multi-Chapter function to print both at once. First
you will put both chapters into a publication. Then you will
renumber the chapters. Finally, you will use the Print option
from the Multi-Chapter dialog box to print both chapters with
a single command. Although you are using only two chapters
in our example, you can use this same technique to print
many chapters at once.
li Select Multi-Chapter from the Options menu.
^ NOTE: If you have made any changes, Ventura asks if you
want to Save or Abandon. Choose Save.
Create a new publication
Select New from the Multi-Chapter dialog box.
Add the two chapter names from this project to the publica¬
tion.
& Select Add Chapter. Select C:\TEMP\7DIRECT.CHP from the
Item Selector.
The chapter appears at the top of the Multi-Chapter dialog
box.
7 - 4U
Chapter
Now add the next chapter.
P Select Add Chapter again. Select C:\TEMP\7DIRECT2.CHP
from the Item Selector.
Ventura returns you to the dialog box and displays the two
chapter names (Figure 7-23).
MULTI-CHAPTER OPERATIONS [7]
Ill I-1! : C:\POWER\UNTITLED.PUB -• =
D
C:\TEMP\7DIRECT.CHP
C:\TEMP\7DIRECT2.CHP
uMmMsm
|
Save...
Save As...
I
Add Chapter >.
Remove Chap
Q
,,
Hake TOC,,.
Hake Index,,,
Raamher...
Copy AIL,,
Figure 7-23.
Now you are ready to save the chapters as a publication.
II Select Save As from the Multi-Chapter dialog box. If neces¬
sary, use the Backup button to locate the C:\TEMP sub¬
directory. Then save the publication as C:\TEMP\DIREC-
TOR.PUB.
ITEM SELECTOR
Directory: C:\TEMP\*.PUB.
Selection: DIRECTOR.PUB|
PfiRTJNE.PUB
D
.—‘—
1
D
1^^* 0K A
_ \
Cancel
Create a new publication
7-41
The publication name appears in the Multi-Chapter menu
bar. Once the publication is created, you can renumber it.
*+NOTE: If a single chapter is highlighted in the list, Ventura will
not be able to perform the renumber operation.
i§ Choose Renumber from the Multi-Chapter dialog box.
^ When asked if you want to renumber chapters, pages,
tables, and figures across the entire publication, choose
Renumber.
Ventura displays a message telling you it is renumbering all
the chapters in the publication.
After the publication is renumbered, you are ready to print.
H While still in the Multi-Chapter dialog box, select Print.
Choose All, Last to 1st.
NOTE: If your printer puts out pages printed-side down,
choose 1st to Last instead.
PRIMT INFORMATION (POSTSCRIPT - Ultinate)
m
Which Pages:
All
From Page:
00011
Through Page:
9999
Number of Copies:
01
Collated Copies:
Off
Printing Order:
Last to 1st
Paper Tray:
Default
Crop Marks:
Off
Spot Color Overlays:
Off
Hu.'lti • Chp. Print F .i les:
Combined
Device Name:
POSTSCRIPT
Output To:
C0M1:
■^■1 OK J
|Cancel|
Ventura prints out both chapters, one after another. When you
are finished, select Done to return to the work space.
7-42
Chapter
Tips and techniques
Pre tagging tips
□ Always use the format @TAGNAME = . Make sure the tag
name is the first thing in the paragraph.
□ Ventura assumes that any paragraph without a tag name is
Body Text.
□ The tag name must precede the rest of the paragraph.
Ventura applies the tag name until it encounters a hard
carriage return (<[[). Then it switches back to Body Text, or
to the next tag name.
□ Put the @ sign in the left margin. If the @ sign is any other
place in the text file, it will not be recognized as part of the
tag code.
□ Tag names are not case-sensitive. Ventura doesn’t recog¬
nize any difference between upper and lower case.
□ Always match the tag name in the text file with the tag
name in the current style sheet. Ventura recognizes any
minor mismatch between tag names, including spaces. For
instance, CHAP # and CHAP# would be listed as two
separate tags in the Assignment List.
□ When Ventura finds tag names in the text file that are not
part of the current style sheet, it lists them in the Assign¬
ment List in uppercase and displays them on the screen
with Body Text attributes.
□ Use the ©PARAFILTR = tag to strip out double carriage
returns in a document. This allows you to retain normal
spacing (two carriage returns between paragraphs) for
readability in the text file, but strips out the extra returns
when you bring the file into Ventura.
□ Tags added in Ventura with Paragraph mode will be saved
back to the original text file when the chapter is saved.
□ When producing files in ASCII format, make sure to enter
two carriage returns between each paragraph.
□ The fastest way to format a text generated from a database
is to include the tag names in the text file.
Create a new publication
7-43
Other tips
□ You can create crop marks manually by drawing line
shapes on the Page. To repeat them on every page of the
document, choose Show On All Pages from the Graphic
menu. You can also use Ventura’s built-in crop marks in the
print option. Use the automatic crop marks when you are
creating half-size pages, or if you have a printer that can
print larger than 8.5x11 in. format.
□ You can create live headers and footers that change from
page to page throughout the document in the Headers &
Footers dialog box. If you select 1st Match, Ventura places
the first occurrence of the tag in the header (or footer). If
you select Last Match, Ventura places the last occurrence of
the tag into the header (or footer). If Ventura doesn’t find
the tag on a page, it uses one from a previous page.
□ Initially, the frame margins of headers and footers are set
to vertically center the header. You can raise or lower the
header or footer by changing the frame margins (in Mar¬
gins & Columns) or by changing the space above or below
(in Spacing). The spacing attributes are stored with the
style sheet and therefore can be reused. The header and
footer frame margins are stored with the chapter and can
only be reused by creating a chapter template.
□ A reverse type effect can be created by placing white text in
a black frame, or by dropping a solid black rule down over
white text. If you want to use reverse text as a predominant
effect in your style sheet, it’s best to make it as a tag using
the rule above technique.
□ Some non-PostScript printers cannot print white type on a
black background. Substitute black type on a gray back¬
ground.
□ Space Below Rule 3 refers to the space below the last rule in
the tag (or frame), whether that last rule is the first, second
or third. If you enter a positive value the Ventura adds
space below the rule and the rule shifts upwards. If you
enter a negative space, Ventura subtracts space below the
rule, so it shifts downwards.
□ The Breaks option Keep With Next can be used to keep tags
from being isolated at the top or bottom of a column or page.
7-44
Chapter
□ When you turn select the Relative Indent:On in the Align¬
ment dialog box, Ventura makes the first line indent equal
to the length of the last line in the previous paragraph.
When this is used in combination with the Breaks option,
you can make two tags reside on the same line side-by-side.
□ To make a thumb tab that repeats on every page of the
document, use a repeating frame.
□ You can insert a page number anywhere on the page includ¬
ing captions, frames, and Box Text with the Ins Special
Item option.
□ Once you make a frame into a repeating frame you cannot
cut or delete it. Change it back to a normal frame with the
Repeating Frame dialog box if you need to make changes.
□ Multi-Chapter allows you to combine a list of chapters
together into a publication. Once the publication is created,
you can print all the chapters at once.
□ Once you create a publication you can renumber the chap¬
ters so the page numbers follow sequentially from chapter
to chapter. Open a chapter and use Update Counters to
update the initial page to Previous + 1. The new page
numbers will not be displayed until you choose Renumber
from the Multi-Chapter dialog box.
Chapter Eight
Skills Checklist
Theory
□ The parts of a book
Text
□ Inserting footnote references
□ Adding footnote text
□ Working with true typographic
fractions
□ Inserting index entries
□ Changing the attribute overrides
□ Preparing text for vertical tabs
(side-by-side paragraphs)
Style
□ Using a half-size page layout
□ How to update the page and chapter
counters
□ Understanding widows and orphans
□ Creating a table with side-by-side
paragraphs
□ How to use spacing and breaks to
create multiple columns
□ Adding a big first character to the
lead-in paragraph
Chapter
□ Creating and printing a publication
□ Rearranging the chapter list
□ Renumbering a publication
□ Generating a table of contents
□ Creating an index
□ Printing crop marks
Chapter Eight
A Book
F or book publishers large and small, Ventura can mean
faster production and lower costs. In this chapter you will
learn the special Ventura skills that apply to long documents.
You may need to make a few changes to your current produc¬
tion practices to accommodate the realities of working with
Ventura.
Theory
There are three parts to a traditional book: the front matter,
the main text, and the back matter. Each section has its own
format and style, but all three work together to complement
the overall design. It is tempting to put the entire book into
one large chapter file. For easier production, however, we
recommend a separate Ventura chapter for each book chapter,
plus separate Ventura chapters for the front and back matter.
Preformatting text files in advance can help reduce the bot¬
tlenecks that typically occur in the book production cycle. By
establishing standard tag names and using bracket codes,
authors and editors can format as they write.
8-2
Theory
-f- JO,™
Oesipo Principles
ifAUC
14.fit 'Times Bou> TeAfte 7 tet>
- i^ eoce x 12,00 pic# Tessre/ieD
- Jo fit Ttwies doLO Cet/reft ev
l>R0PC*P
Q*+a+ Tlj-VfVkv*
-> / ^itA/S /AJOChTT IjOOpt*
L. r^xr 1 2fit Times
Ifyt spAcitob
( 1/2 f¥^beiT 0 <MAT
- ' 5 l /zxrt‘/z _
8-3
Planning the book
For the example in this chapter, you will use the 5.5x8.5 in.
half-size format. This size lends itself to text-intensive books
with only a few illustrations. It is easy and economical to
produce; it is easy to bind (either perfect, sewn or saddle-
stitched); and it fits nicely in your hand. In the corporate
environment, this format is especially useful for in-house
booklets and software documentation.
The page design taught in this chapter is quiet and under¬
stated. It has large right and left margins with a generous
amount of space separating the chapter title and subheads
from the Body Text. The use of white space conveys an open
feeling and makes the page more readable. Single horizontal
rules separate the header and index title from the rest of the
Body Text.
In this project, you will use several special Ventura long-docu¬
ment features:
• Generating a table of contents
• Generating an index
• Inserting footnotes and fractions
• Big first character
• Vertical tabs (side-by-side paragraphs)
• Changing chapter and page counters
• Printing crop marks
To learn these long document techniques, you will work with
four chapters in all: one for a table of contents, two main text
chapters, and one for an index.
8-4
Ventura prep
Ventura prep
If you have the Power disk
m Load the ASCII text files 8TBL.TXT and 8DESIGN.TXT
from the C:\POWER subdirectory. Using File
Type/Rename from the Edit menu save and rename them
respectively as C:\TEMP\8TABLE.TXT and
C:\TEMP\8BOOKTXT. When you are finished, the file
8BOOK.TXT should be on the Page.
^ NOTE: Do not load the file 8PRINT. TXT It will be used later in
the project
Since there are no pictures to place in this document, load the
proper style sheet.
i§ Load the style sheet 8DESIGN.STY from the C:\POWER
subdirectory and save it under the name
C:\TEMP\8BOOKSTY.
tt Save the chapter as C:\TEMP\8BOOK.CHP.
If you do
not have the Power disk
In your word processor, rename any two existing text files
as 8BOOK.TXT and 8PRINT.TXT. Save them in the
C:\TEMP subdirectory. Choose files of more than five pages
if possible. (If you have the time and the energy you can
type in the two text files for Chapter Eight from Appendix
A.) Then type in the file 8TABLE.TXT from Appendix A and
save it in the C:\TEMP subdirectory.
II Load the &BOOK-P1.STY style sheet from the
C:\TYPESET subdirectory and save it as
C:\TEMP\8BOOKSTY.
H Format the style sheet to match Figure 8-1. Then use the
tag table in Appendix B to format the necessary tags.
H Select Save As from the File menu to save the chapter
under the name and location C:\TEMP\8BOOK.CHP.
Figure 8-1. If you do NOT have the Power diisk, modify &BOOK-P1 .STY as shown here.
Text
In this section, you will learn a variety of powerful text func¬
tions. You will enter footnotes, true typographic fractions, and
index references. If you do not expect to use any of these three
features, you may skip ahead to the style section. The sample
text file for this chapter (8BOOK.TXT) has, for the most part,
been pretagged and precoded for you.
8-6
Text
Inserting a footnote
Before you insert a footnote in Ventura, you must set the
format using Footnote Settings from the Chapter menu. Once
you choose the format, you create a footnote in two steps: (1)
you insert the reference into the text file and (2) you type the
footnote text at the bottom of the page.
Set the footnote format
Your first task is to design how the footnotes will appear on
the page. You only have to do this once for the entire docu¬
ment.
i! Select Footnote Settings from the Chapter menu. Choose
Usage & Format: # From Start of Page (User-Defined),
Position of Number: Superscript.
Now create a “separator line” to visually separate the footnote
from the main Body Text above.
II Make the Separator Line Width 12,00 picas & points, the
Space Above Line: 01,01 picas & points. Switch from picas
& points to fractional pts and make the Space Above Line
14.00 fractional pts and make the Height of Line 00.25
fractional pts. Then click OK.
FOOTNOTE SETTINGS
m
Usage 8 Fornat:
| Off | | 8 From Start of Page (1,2,3) |
I From Start of Page (User-Defined) I
| 8 From Start of Chapter (1,2,3) |
Start With #:
0001
Number Template:
8_
Position of Number:
Superscript
User-Defined Strings:
T; * 2 : #* 3 : *** 4: ****
5: +_ 6: ++_ 7: *■**■_ 8: ++++
Separator Line Width:
. fractional pts
Space Above Line:
14.00
Height of Line:
00.251 BHap | Cancel |
Insert the footnote reference
8-7
^ NOTE: Be careful to make the height of the line 00.25 fraction¬
al pts, not picas & points. If you switch back to picas & points,
the height will show as 00,00 picas & points. Do not be con¬
cerned. Your measurements have not disappeared. They are
simply too small to show up in picas & points mode.
The separator line is measured from the left edge of the page,
not from the margin. The left margin is 06,00 picas & points,
and the separator line is 12,00 picas & points. The portion of
the separator line in the margin (the first 06,00 picas) will not
print. The portion on the live area (the second 06,00 picas) will
print (Figure 8-2).
The portion in the
margin
will not print
Figure 8-2.
The separator line is not yet visible on your screen. It will
appear after you insert the footnote reference in the following
step.
Insert the footnote reference
After setting the format, you’re ready to insert the footnote
reference in the text file.
H Go to page seven and change to Normal View.
H Enable Text mode.
H Place your cursor after the period at the end of the sentence
as shown in Figure 8-3.
8-8
Text
Figure 8-3.
*+NOTE: Do not be concerned if there are minor discrepancies
between the position of text on your screen and the text shown
here. Different monitors and graphic cards may show more or
less than our illustrations.
H Select Ins Special Item from the Edit menu (or hit Ctrl-C).
!§ Choose Footnote (or press F2).
A small cross shows the location of the footnote reference in
the text. Ventura also displays the separator line, the footnote
symbol (an asterisk), and the words “Text of Footnote” at the
bottom of the page (Figure 8—4).
Edit View Chapter Frane Paragraph Graphic Options
IllSI C:\TEMP\8B00K.CHP (BBOOK.STY)
jJa
X
•Poetry often uses centered lines, Plush left is occasional-;
iy chosen for special formats Plush right has few ap-i
plicationsin toots outside of titles, tables and charts.II
; Hyphenation and justification are crucial to achieve aj
jtypeset loot When justifying lines, page layout-
programs attempt to end lines at the space between;
words. When that is not possible, they insert a hyphen,;
■and put part of the word on one line and the remainder oi>;
the line below. lest can be justified without hyphena-
?!f Iextof Footnoted
Figure 8-4.
Add footnote text
8-9
Add footnote text
After you insert the footnote reference into the text, you will
delete the words “Text of Footnote” at the bottom of the page
and type in the footnote text.
^ Delete the words “Text of Footnote.” Then type:
For more information on this program, see Inside
Xerox Ventura Publisher by James Cavuoto and Jesse
Berst (MicroPublishing and New Riders, Westlake
Village, CA, 1987)
*+NOTE: If you backspace to erase the footnote text and get the
message ‘The paragraph you are trying to tag/edit is made up
of text that was automatically generated...,’’ simply press OK
to delete the message.
When you are finished the footnote should look similar to
Figure 8-5.
Figure 8-5.
The footnote symbol is a generated tag named Z_FNOT# and
the footnote text is a generated tag named Z_FNOT ENTRY.
For now, do not be concerned with their appearance. Later
when you get to the style section of the chapter, you will
change their appearance.
8-10
Text
*+NOTE: Like headers and footers , footnotes occupy their own
frames. You can raise or lower the footnote on the page by
changing the top margins of this frame or by changing the
space above the tag. You cannot, however, resize the frame.
To delete a footnote and its text reference, delete the footnote
symbol (the asterisk) in the text file. When the footnote sym¬
bol and its corresponding footnote text are deleted, Ventura
automatically renumbers the remaining footnotes.
Insert a fraction
In earlier chapters, we taught you how to use bracket codes to
insert true typographic characters in your word processor. In
this section we will show you how to enter true typographic
fractions directly in a text file. The Fraction option in the Ins
Special Item dialog box (Edit menu) gives you true fractions
that display as smaller-than-normal letters separated by a
fraction bar.
^ Go to page four.
For this project, you will replace the fraction “1/6” in the
second paragraph with a true typographic fraction.
II In Text mode, place the cursor in front of the fraction and
press the Del key three times to delete the 1, the separator
bar, and the 6 (Figure 8-6).
Desk File Edit View Chapter Frane Paragraph Graphic Options
Delete
fraction here
, UIII
Superscript
Subscript
Underline
Couble Undrin
Strike-thru
Overscore
Upper Cose
I L Pg n 8804 S
3
III!
C:\TEMP\8B00K.CHP (8BOOK.STY)
example. soon aeve lop an eye' tor ttf
mon sizes.!
Picas are a larger unit. Don’t confuse t|
typewriter style of the same name. They ar
points (ab oMinlbh). Printers and typograph
to measure lines, margins and columns
shows a page from this book with the n
expressed in picas and points. (The measu;
to the full-sized page.)!
EtnsancTens are less imnortant hut yo u
1
Figure 8-6.
Insert a fraction
8-11
Now you are ready to insert a real fraction.
^ Without moving the text cursor, select Ins Special Item
from the Edit menu.
View Chapter Frame
Cut Text
0 vpy Text
Paste Text
Del
fBe l
Ins
Ins Special Item
Edit Specie I 1 tee„, * " I)
Remove Tex t /File *„,
File lype/Rerse^Cs s,
^ Choose Fraction (or press F4).
The fraction editing screen appears (Figure 8-7).
Desk File Edit View Chapter Frane Paragraph Graphic Options
■
iS:gi=li===3=;i Fraction Editinq •• (Press A D to Exit) i=:== -= b ~- z -=
*
a
.l‘.1“.l".I*. 4 ..
C
□
r
ir
\£
| • > :•>:: : : : : :: : ; /.
j:j:| |:i: < • U > |>; >:* |:v
*
D
Figure 8-7.
m Type: 1/6
Ventura displays the typographic fraction on-screen.
ffl Now press Ctrl-D to return to the document, where you will
see the new fraction format (Figure 8-8).
8-12
Text
Figure 8-8. After you close the fraction editing screen, the true
typographic character appears in the main text file.
You can also make a fraction that looks like this: Select Ins
o
Special Item and choose fraction. When the equation editing
screen appears type: 1 over 6. Make sure you leave a space on
both sides of the word over.
After creating a simple fraction, you are ready to learn how to
index.
^NOTE: To create complex mathematical equations, we recom¬
mend the equation editing capabilities of Ventura’s Profes¬
sional Extension.
Insert an index
Indexing is a difficult concept to teach and to learn. The best
way to master the process is simply to go through it a time or
two. It is a three-step process: (1) insert index references into
the text file, (2) generate the index file, (3) format the
generated index file. For the moment, you will insert sample
index entries into the text file. Later, in the chapter section,
you will generate and format the index.
Before you insert your first index reference, take a moment to
review the different levels of an index as shown in Figure 8-9.
Insert an index entry
8-13
Edit View Chapter Frane Paragraph Graphic Options
Body Text
Bodyireok
BodyFIrst
Bullet
ChepB
ChdpTltle
Head
Heodi
TDJJCo.11
TDJJC012
TDlJColJ
3_EQUQTI0N
R Pg tt 0981
C:\TEMP\8BOOKIDX.CHP (8BG0K.STV) 1111111111
iisrtm.103:
Body 1yp« .102j
ioii .
| Sie ito Text Attributes
Books
• Book (ovirs .105:
• Book denjn .97;
i Book jubtishmi.105:
: Sot itso Dtsipi GuidifiJts it Books
i Plje fomst .10t|
Clltadl .98
^option .98
.htui Morks_SB
Figure 8-9.
In Figure 8-9, each major index section is preceded by a letter
heading — A, B, C , and so forth. The first entry below the
letter is the Primary Entry (for example, Books in the illustra¬
tion above). The indented words are Secondary Entries (for
example, Book covers, Book design, and Book publishing). See
and See also references can also be secondary entries. For
instance, “See also Design Guidelines for Books” is a secon¬
dary entry. Instead of listing a page number, the See and See
Also references direct the reader to a related entry elsewhere
in the index.
Insert an index entry
To learn how to insert references, you will place a Primary
Entry and a See Also Entry.
H Go to page five.
^ Enable Text mode.
Place the cursor immediately in front of the “a” in the word
“attributes” in the third paragraph. (The word attribute is
underlined in Figure 8—10 to help you place the text cursor
on the page. Do not underline the word.)
Select Ins Special Item from the Edit menu (or press the
shortcut Ctrl-C).
Figure 8-10.
^ Select Index Entry (or press the F3 key).
M Choose Type of Entry: Index. Place the text cursor on the
Primary Entry line, type: Attributes and click OK.
Ventura inserts a degree symbol (°) in front of the word At¬
tributes. If you do not see the symbol on-screen, make sure
Show Tabs & Returns is on from the Options menu (or press
Ctrl-T).
Now you will add the identical entry on another page.
P Go to page six.
Add a see also entry
8-15
Place the text cursor in front of the letter “A” in the word
“ATTRIBUTES” (Figure 8-11).
Desk file Edit Vie* Chapter Frane Paragraph Graphic Options
giailllllllliilillBlil C:\TEMP\8B00K.CHP (8B00K.STY) 181118 111111!
jlonts,sometimes called “pi fonts, contain special chaiac-;
Sem, symbols, foreign language characters and so on. If ;
; There are other kinds of type available from desktop;
publishing systems, including script, cursive, shadow,;
■outline and reverse (white letters on a black back-f
ground) These decorative effects can be achieved direct-;
jy in some page layout programs, They can also be;
treated in a special graphics programs and imported onto;
•the page. These unusual typestyles are rarely used irt
■books expept for covers or chapter openings, 1
TYPE Attributes, The same typestyle can vary irt
Several ways. Weight refers to the thickness of the leH
jterstrokes. Most desktop publishing programs provide-
only normal and "bold. A few programs offer light as;
JevcO. Slopeitfm to the slant of the letters, either vertical;
(called normal or roman) or slanted (italic or obligue);
•The proportion of type is its horizontal width Most:
desktop publishing programs offer only normal propori
Figure 8-11.
il Select Ins Special Item and press F3.
H Select Type of Entry: Index. Place the text cursor on the
Primary Entry line and type: Attributes and click OK.
** TIP: When you insert multiple entries be careful to use identi¬
cal spelling and case.
For instance, if you were to enter the word Attributes as one
Primary Entry and the word Attribute as the other Primary
entry, Ventura would create two separate entries in the index.
Add a see also entry
Ventura permits you to go back to a reference to make changes
or additions. Let’s return to the previous index reference and
add a secondary entry.
^ Go to page five.
^ Place the cursor immediately in front of the degree symbol
(°) that precedes the word “attributes” (Figure 8-12).
il Move the cursor back and forth with the arrow keys until
the words “Index Entry” appear in the Current Selection
box.
8-16
Text
Desk File Edit View Chapter Frane Paragraph Graphic Options
III C:\TEMP\8B00K.CHP (8BOOK.STV) Ilillllllliilili!
Jpet
y, different programs use different words
and its£ attributes. The definitions given
|mo$t common in the desktop publishing
e cases, they vary from those in use by
setters.!
re specified in points as explained above.
|erstand the point system to give correct
the software. Many people refer to small
Figure 8-12.
Select Edit Special Item from the Edit menu. Select Type of
Entry: See Also. Move the cursor next to the Secondary
Entry line and type: Text Attributes and click OK.
1HSERT/EDIT INDEX ENTRV
0
Type of Entry: See Also
Prinarv Entry: Attributes
Prinarv Sort Key:
Secondary Entry; Text Attributes!
Secondary Sort Key:
■9
Cancel
You will see the words “Index-See Also” in the Current Selec¬
tion Box.
Because of space limitations, we will not ask you to insert
additional index entries. Instead, we have done this for you in
the files you loaded from the Power disk. We have inserted
additional entries into the text file so you will have enough
entries to generate a sample index later. If you look closely,
you will see the degree symbols marking these entries on the
screen.
Verify the page size and layout
8-17
Stopping point
You have learned two of Ventura’s most complex features,
footnoting and indexing. This is a good place to save your work
and take a break. When you’re ready to continue, begin with
the style section.
Style
If you are returning to this project after turning off your
computer, open the chapter C:\TEMP\8BOOK.CHP to
resume where you left off. In this next section, you will learn
more about page and chapter counters, and widows and or¬
phans.
Verify the page size and layout
Now you will verify the settings for Page Size & Layout and
Margins & Columns. You can do this while on any page in the
document.
Page Orientation: Portrait
Paper Type & Dimension: Half
Sides: Double
Start On: Right Side
Enable Frame mode and select the Page. Then check the
margins and columns.
Margins & # of Columns: 1
Columns Settings For: Right Page
Column 1: 22,06 picas & points
Top: 06,00 picas & points
Bottom: 06,00 picas & points
Left: 06,00 picas & points
Right: 04,06 picas & points
*+NOTE: The above settings are for the right page only. The left
and right margins are reversed for the left page.
8-18
Style
Build the header
^ Go to page one.
H Select Headers & Footers from the Chapter menu.
Choose Define: Right Page Header, Usage: On. Type:
Design Principles on the Left line and [P#] on the
Right line.
!1 Without closing the dialog box, choose Define: Left Page
Header, Usage: On. Type: [P#] on the Left line and
Chapter [C#] on the Right line. Then click OK.
Update the chapter counter
8-19
ii Turn off the header on the first page only.
Update the chapter counter
In the header you just made, the chapter number is displayed
as part of the header text. For each consecutive book chapter,
you must update the chapter counter (Update Counters,
Chapter menu) so this number is correct. If you do not update
the counter, the header will read “Chapter 1” for every chap¬
ter. The chapter counter controls both the number and the
numbering format.
Hi Make sure you are on page one of the chapter.
^ Select Update Counters from the Chapter menu.
^ Choose Which Counter: Chapter, Update Method: Restart
Number, Restart Number: 0006. Do not click OK yet. In the
next section, you will change the page counter in the same
dialog box.
UPDfiTE COUNTERS
0
Which Counter 4 :
Update Method:
Restart Number:
Number Format:
This Page! i This Table j i Ibis Figure
Initial Page
Initial Table
Initial Figure
Previous Number ♦ 1
Restart Number
1,2
You have restarted the chapter counter at six. When you close
the Update Counters dialog box the header will now read
“Chapter 6.” If you had chosen, for example, the One, Two
button, it would read “Chapter Six.” If you had chosen I, II, it
would read “Chapter VI.”
8-20
Style
Update the page counter
The page counter function is similar to the chapter counter. It
allows you to reset the current page number to any number
and override the automatic page number counter. In the fol¬
lowing example, let’s assume that the previous five chapters of
this book have taken 96 pages. You will, therefore, reset the
starting page number of Chapter Six to 97.
H Choose Which Counter: Initial Page, Update Method: Res¬
tart Number, Restart Number: 0097, and Number Format:
1,2. Click OK to close the dialog box.
Because you turned off the header on this page, you must go
to page two to see the new page numbers.
^ Press PgDn to go to page 2.
Check that the number in the header is 98 (Figure 8-13).
*+ NOTE: The page numbers you see at the bottom of the Side-
Bar are not affected by the Update Counters dialog box. The
new page numbers appear only when you print the chapter.
Widows and orphans
As we explained in an earlier chapter, a widow is a single line
of text at the top of the page. An orphan is a single line of text
at the bottom. The Widows & Orphans dialog box determines
the minimum number of lines Ventura can leave at the top or
Widows and orphans
8-21
bottom of a page or column. For this book chapter, turn off the
widow and orphan control so Ventura has the flexibility to
place single lines at the top and bottom of the page.
m Select Chapter Typography from the Chapter menu.
Choose Widows (Min. Lines at Tbp): 1 and Orphans (Min.
Lines at Bottom): 1.
Before you close the dialog box, change the position of the 1st
baseline:
§1 Chapter Move Down to 1st Baseline By:
Typography Inter-Line
8-22
Style
Changing the position of the text baseline from cap-height to
inter-line ensures that the text reaches all the way to the
bottom of the column.
Tag the first paragraph
Now that you’ve completed the overall page format, you will
fine tune the appearance of the document by changing two
tags. First you will change the book’s first paragraph to in¬
clude a big first character. Earlier, in Chapter Six, you learned
to make a big first character rise above the first line. This
time, you will create a big first character that drops below the
baseline. This effect is often called a Drop Cap.
^ Go to page one.
^ Enable Paragraph mode.
!i Select the first paragraph of the chapter, which was
pretagged as BodyFirst (Figure 8-14).
Desk file Edit View Chapter Frane Paragraph Graphic Options
illlllllillillSlIlIlll C:\TEHP\8BOOK.CHP (8B00K.STV) l ljjliilllljl
soap Text
BodyBrcok
BodyFirst
Bullet
Chop*
ChopTltle
{.EQUATION
Z.FNOT *
Z^NOT ENTRY
Z.HEADCR
r
odyFirst j
Pg h 8801 I
Jl
Design Principles^
jutting top-polity books horn a desktop publishing sys- :
'em requires special know-how in two areas: design and
rinting. Ibis chapter discusses the theory of design. The
ollowing chapter. Chapter Seven, outline s the steps t
‘ate beforegenre to a commercial printer, II
i This chapter offers comments on the principles of;
■book design is they ipp!)< to desktop publishing, In some!
bases, the realities of desktop publishing force changes;
from traditional methods, II
Design Terminology!
Figure 8-14.
P Special Effects Special Effect: Big First Char
Space for Big First: Normal
Selecting normal lets Ventura choose the number of lines the
character should take up, based on the point size of the big
first character. You will set that point size next.
Change the footnote tag
8-23
^ Without leaving the Special Effects dialog box, choose Set
Font Properties. When the Font dialog box appears, choose
Style: Bold and Size: 030.0 points.
Before you exit the Font dialog box, use the Shift option to
shift the first big character down a point. This fine-tune ad¬
justment will ensure that the first big character lines up
properly with the first line of the paragraph.
H Select Shift: Down. Enter 01.00 fractional pts.
FONT SETTING FDR BIG FIRST CHARACTER
•§=-S
t
Helvetica
i Tines
*
Courier
Symbol
Avant Garde Gothic Book/Deni
ITC Bookman Light/De*i
Helvetica Harrow
Palatino
Gusto* Size: 030.8 points
Overscope: Off Shift: Down
Strike-Thru: Off
Underline: Off
Double Underline: Off
01 .G
fractional pts
— 1
Click OK to return to the Special Effects dialog box. Click OK
again to return to the workspace.
Change the footnote tag
Now you will change the attributes of the footnote tag so the
two tags (Z_FNOT# and Z_FNOT ENTRY) reside on the same
line.
^ Go to page seven and select the footnote text (the Z_FNOT
ENTRY tag) at the bottom of the page.
Style: N-Italics
Size: 010.0 points
Inter-Line: 10.00 fractional pts
In From Left: 01,06 picas & points
For now, this is the only tag you need to change.
Font
Spacing
8-24
Style
Change attribute overrides
There’s one more small detail to complete in the style section.
You will change the size of the small text (small caps) at¬
tribute with the Attribute Overrides option.
M Go to page five.
The lead-in heads you see on the page (for example, TYPE
STYLES) were created in Text mode by applying the small
(capitals) attribute. You can customize the size of the small
caps attribute and apply it to selected words throughout the
document. Let’s say you wanted to change all the lead-in
heads from 12 points to 14 points. Normally, you would have
to scan the document for every occurrence of the lead-in head,
and change its font to 14 points using Set Font from the
Side-Bar (Text mode). However, there’s an easier method.
Select the Attribute Overrides option from the Paragraph
menu and change the default size of the small text attribute.
Now every occurrence of small text throughout the document
automatically changes size.
Try out this feature for yourself.
H In Paragraph mode, select the Body Text paragraph that
includes the small text lead-in head, “TYPE STYLES.”
(Figure 8-15)
Desk File Edit Uiew Chapter Frane Paragraph Graphic Options
Hill millllllHHII C:\TEMP\8B00K.CHP (BBOOK.STV) IIIllHilBIIl
B«<Jy Text
BoflyBreck
Bullet
Chap*
ChopTltJe
Hcadl
Heod2
z.equotion
2.FN0T i
*_FN0T INTU
Z.HCODER
r
ody Text |
&
Pg ft 0005 1
j!:
'■traditional typesetters.!
: Type sizes are specified in points as explained above.!
jYou must understand the point system to jive correct!
instructions to the software. Many people refer to small;
Jypeinthe9to 12 point range as “body type. larger sizes
‘used for headings is often called flisplay type. §
PE styles. Most desktop publishing programs use
'ypeface and lypestyle sponymcnsly to mean one par¬
ticular typedesign. Each design has a name, Helvetica is
me typestyle; Century Schoolbook is another; ard so on.
Io choose a different design from the page layout pro-
yam, the user specifies it byname or picks its name fron
i A font is one particular variety of a lypestyle. Thus;
itnost software manuals would refer to Dutch as a types-;
ityle and 12-point Dutch bold italic as a font. Most
publishing programs have a Tont menu item where the!
Figure 8-15.
Select Attribute Overrides from the Paragraph menu.
Place the 8TABLE.TXT file
8-25
Move to the Small Caps Size line and enter Oil points.
Then click OK.
"Body Text" ATTRIBUTE OVERRIDES
□
Line Width:
Text-Wide
Overscore Height:
60.66
Shift t By:
11.94 fractional pts
Strike-Thru Height:
60.66
03.72
Underline 1 Height:
66.24
Shift | By:
02.52
Underline 2 Height:
00.66
02.04
Superscript Size:
010
Shift t By:
05.64
Subscript Size:
010
Shift | By:
01.32
Snail Cap Size:
011| points
| Cancel |
Now every occurence of the small text attribute throughout
the document changes to 11 points.
Stopping point
You’ve reached the stopping point for this chapter. We know
that we’re packing a lot of information into one chapter. Stick
with us. The next section includes some powerful, valuable
Ventura features. If you’re tired, get up from your desk,
stretch, and come back when you’re refreshed.
Place the 8TABLE.TXT file
If you are continuing after a break, load Ventura and open the
chapter 8BOOK.CHP and go to page four.
You have finished formatting the 8BOOK.TXT file. Now you
are ready to place and tag the second text file, 8TABLE.TXT.
To format this file you will use a technique called side-by-side
paragraphs (what the Ventura manual calls vertical tabs). It’s
a complicated procedure but extremely powerful. Even if it
seems a bit confusing, try to stick it out to the end of the
exercise.
8-26
Style
*+NOTE: If you do not use tables in your documents, skip this
section and go directly to the chapter section. However, if you
use tables of any kind, we recommend that you learn side-by-
side paragraphs.
Before you place the text, insert a new frame to contain it.
Goto page four.
H Reset the zero point to its original position at the upper left
corner of the Page by clicking on the 0,0 square in the upper
left comer of the page.
^ Enable Frame mode and select Add New Frame. Add a new
frame that measures 22,06 picas & points wide by 17,06
picas & points high. Place the upper left corner of the frame
at position 28,00 picas on the vertical ruler. Stretch the
frame downwards to position 45,06 picas and over next to
the right column. The frame will extend slightly below the
bottom column guide (Figure 8-16).
Figure 8-16.
^ NOTE: You may want to Turn Column Snap and Line Snap Off
to help you place the frame.
H Use Sizing & Scaling to confirm that the frame measures
22,06 picas & points by 17,06 picas & points.
Before closing the Sizing & Scaling dialog box, add vertical
padding to the frame.
Create a table
8-27
^ Sizing & Vertical Padding: 07.00 fractional pts
Scaling
Now add a box around the frame.
H Ruling Box Width: Frame
Around Height of Rule 1: 00.05 fractional pts
Give the frame its own margins.
Margins & Number of Columns: 1
Columns Top: 01,00 picas & points
Bottom: 01,00 picas & points
Left: 01,00 picas & points
Right: 01,00 picas & points
With the frame still selected, place the text file,
8TABLE.TXT, by selecting it from the Assignment List.
*+NOTE: You will not see the entire text file when you first place
it in the frame. Do not be concerned. Later ; when you tag the
text, it will become visible.
Create a table
There are several ways to create tables in Ventura. You can
use tab settings; you can use Box Text; or you can use the
technique referred to as vertical tabs in the Reference Guide.
In this chapter you will learn the vertical tabs method, which
we prefer to call side-by-side paragraphs.
We will start by reviewing the process and showing examples.
Then we will give you a chance to try it yourself.
To use side-by-side paragraphs, you must do two things. First
you must properly format the text file. Second, you create a
separate tag for each column.
*+NOTE: As a general rule, use tab settings when each table
entry is only a single line. For tables with multi-line entries, it is
easier to use side-by-side paragraphs, which allows each
column to have more than one line.
8-28
Style
Preparing text for side-by-side paragraphs
To prepare text for side-by-side paragraphs, type each column
entry as a separate paragraph. The text file you just loaded
(8TABLE.TXT) is already in the proper format. Do not enter a
tab stop at the end of an entry. Figure 8-17 shows what the
text file looks like before loading it into Ventura.
r=I.1.2.3.4.5.]. 7 .
[jnchesH
fl
Picas and Points!]
U
Points!!
11
1/6 inchi!
n
01,00 picas & points!!
n
1Z points]]
U
1/4 inchi!
n
01,06 picas & points!!
H
18 points!!
il
1/3 inchi!
1 -=—=-= ===== -~ ■■ == 8TBL. TXT=JI
COMMAND: Copy Delete Fornat Gallery Help Insert .limp Library
Options Print Quit Replace Search Transfer Undo Uindou
Edit document or press Esc to use Menu
Pgl Col O ? Microsoft Wore
Figure 8-17.
Once you create, load, and place the text, you are ready to
create the tags for each column.
Spacing with side-by-side paragraphs
Spacing and Breaks are the two keys to building columns with
vertical tabs. With In From Left and In from Right Spacing
you restrict the text to individual columns (Figure 8-18).
The hard part is calculating the column settings. Start by
deciding the width of the columns and gutters. In the example
you will build for this project, we divided the space into three
equal columns of 07,06 picas & points. Once you know these
widths, you must translate them into settings for In From Left
and In From Right. To figure these settings, subtract the
cumulative column widths from the margins (Figure 8—19).
Breaks with side-by-side paragraphs
8-29
Column
1
16,00 picas
06,00 picas
Column
06,00 picas
2
16,00 picas
Column
3
Figure 8-18. Figure 8-19.
Breaks with side-by-side paragraphs
After using Spacing to confine the text to columns, move to
Breaks. Change the line breaks to allow all three column tags
to co-exist on the same line. In the example below, the left
column has a line break before; the center column has no line
breaks; and the right column has a line break after. Now that
we’ve reviewed the key concepts, you are ready to go ahead
and create the table.
Add the tag for the first column
At this point, you will create the tags for all three columns.
H Enable Paragraph mode.
^ Select the paragraph “Inches.”
II Add New Tag Tag Name to Add: Tbl3Coll
II Font Face: Helvetica
Style: Normal
Size: 010.0 points
8-30
Style
P Alignment Horz. Alignment: Center
Overall Width: Column-Wide
In/Outdent Width: 00,00 picas & points
;! Spacing Above: 06.00 fractional pts
Inter-Line: 12.00 fractional pts
Add in Above: When Not at Column Top
Do not close the dialog box yet. You will now create a tem¬
porary right margin with In From Right Spacing.
H Make the In From Left Spacing 00,00 picas & points and
the In From Right Spacing 16,00 picas & points.
"Tbl3Col1" SPACING
m
Above:
06.001 fractional pts
Below:
00.00
Inter-Line:
12.00 fractional pts
Inter-Paragraph:
00.00
Add in Above:
Uhen Not at Column Top H
Settings For:
1 Right Page |
In From Left:
00,00 picas K points
In From Right:
16,00
Inserts:
| Copy To Facing Page |
■ap
| Cancel |
You just completed the first column. Now create the other two
tags. You can use the Tbl3Coll tag as a starting point for
building the second and third column tags.
H Select the paragraphs “Picas and Points” and “Points” and
tag them as Tbl3Coll.
Now change the attributes of both tags.
Add the Tbl3Col2 tag
^ Select the paragraph “Picas and Points.”
II Add New Tag Tag Name to Add: Tbl3Col2
^ Spacing In From Left: 06,00 picas & points
In From Right: 06,00 picas & points
Add the Tbl3Col3 tag
8-31
The In From Left Spacing and the In From Right Spacing
create a temporary left and right margin to restrict the text to
the center of the page.
H Breaks Line Break: No
Add the Tbl3Col3 tag
Finally, create the tag for the third column.
^ Select the paragraph “Points.”
Tag Name to Add: Tbl3Col3
In From Left: 16,00 picas & points
In From Right: 00,00 picas & points
Line Break: After
Now that you’ve created the tags for all three columns, you’re
ready to apply them to the rest of the paragraphs in the text
file. Use Figure 8-20 as your guide to tag the rest of the table.
^ Add New Tag
li Spacing
^ Breaks
Desk File Edit View Chapter Frane Paragraph Graphic Options
HHU|1 HHHIIHH C:\TW\8BOOK.DHP (BB00K.STV) iilliiilgiili
Set Font
L P 3 B B684
. I'.*.
Expressed in picas and points. (The measurements refer:
Jo the full-sized page.)
t
Inches
Picas and Points
Points
1/6 inch
01,00 picas 4 points
12 points
1 Minch
01,06 picas 6 points
18 points
1/3 inch
02,00 picas 4 points
4 points
1/2 inch
03,00 picas 4 points
36 points
1 inch
05,00 picas 4 points
72 points
51/2 inches
33,00 picas 4 points
81/2 inches
51,00 picas 4 points
11 inches
66,00 picas 4 points
Figure 8-20.
To put the final touches on the table, make the column head¬
ings bold.
II Enable Text mode.
P Select each column heading (“Inches,” “Picas and Points,”
and “Points”) in turn and make it bold.
8-32
Pictures
Congratulations. You made it through one of Ventura’s most
difficult and most useful techniques. Your reward awaits you
in the next section.
Pictures
Since you will not be placing any pictures in this sample
project, proceed directly to the Chapter section.
Chapter
So far you have formatted the text and inserted index entries.
You are now ready to advance to the Chapter section, where
you will generate a table of contents (TOC) and an index. To do
either function, you must first make a publication. The publi¬
cation would normally include all the chapters in the book.
For this example, you will include only two chapters: Chapter
Six, which you completed above, and Chapter Seven, a fully-
formatted sample chapter from the Power disk (or typed in
from Appendix A).
Prepare for the publication
Before you generate a TOC or index, you must update the
page and chapter counters for every chapter in the publica¬
tion. If you were to omit this step, the page numbers in the
TOC and index would be incorrect.
Add a page to Chapter Six
Now you will go to the end of Chapter Six (8BOOK.CHP) to
find the last page number in the chapter.
*+ TIP: When Ventura updates the page number, it displays the
new number in the header or footer, not in the Side-Bar.
M Press the End key to go to the last page in the chapter.
Note that the page number is 107 and that it is a right-handed
page. Traditionally, book chapters start on a right-hand page.
Therefore, to start the next chapter (Chapter Seven) on a right
Update the chapter counter
8-33
page, you will insert a blank left page as a “spacer” page at the
end of the Chapter Six.
P Insert/ Operation: Insert Page After Current
Remove Page Page
Now, the last page reads as 108. Chapter Seven will start on
the right-hand page number 109.
Save the chapter.
^ Press Ctrl-S.
L: Open Chapter Seven (if you have the Power disk)
Now you will change the starting page number of Chapter
Seven.
11 Select Open Chapter from the File menu and open the
chapter C:\POWER\8PRINT.CHR
M Save the text file as C:\TEMP\8PRINT.TXT.
M Load the style sheet C:\TEMP\8BOOKSTY.
m Save the chapter as C:\TEMP\8PRINT.CHP.
Open Chapter Seven (if you do not have the disk)
Load the text file 8PRINT.TXT from the C:\TEMP sub¬
directory.
li Load the style sheet 8BOOK.STY from the C:\TEMP sub¬
directory.
^ Save the chapter as C:\TEMP\8PRINT.CHP.
Update the chapter counter
Now update the chapter counter to make the header read
“Chapter 7”.
li Select Update Counters from the Chapter menu.
8-34
Chapter
Select Which Counter: Chapter, Update Method: Previous
Number + 1, Number Format: 1,2. Do not close the dialog
box until you also update the page counter.
Update the page counter
After setting the chapter number, reset the first page of the
chapter.
Select Which Counter: Initial Page, Update Method: Pre¬
vious Number + 1, Number Format: 1,2. Click OK to close
the dialog box.
When you select the initial page counter, Ventura resets the
first page of the chapter as you specified in the update
method. By selecting Update Method: Previous Number + 1,
Ventura makes the first page of Chapter Seven start one page
after the last page of Chapter Six. The header will not reflect
the new page and chapter counters until later, when you
renumber the publication in the Multi-Chapter dialog box.
Save Chapter Seven before continuing on.
*1 Press Ctrl-S.
Create a publication
To create the publication, you will use the Multi-Chapter
dialog box in the Options menu.
Rearrange the chapter list
8-35
Select Multi-Chapter from the Options menu.
Select New to start a new publication.
Select Add Chapter.
Select the chapter C:\TEMP\8PRINT.CHP.
MULTI-CHAPTER OPERATIONS
0
= C:\POWER\UNTITLED.PUB-=
D
1
D
C:\TEMP\8PRINT.CHP
New
Open
Close
Save...
Save As...
Add Chapter...
Tteftove Chap
Print.,,
Hake TOC.,,
Hake Index.
Rentinber..,
Kopy All...
| Done
Now add the second chapter to the list.
^ Select Add Chapter.
H Select the chapter, 8BOOK.CHP, from the C:\TEMP sub¬
directory.
The chapter name 8BOOK.CHP is the second item in the list.
Rearrange the chapter list
Before saving the publication, you will practice rearranging
the chapters in the list so that 8BOOK.CHP (Chapter Six) is
first and 8PRINT.CHP (Chapter Seven) is second.
H Press and hold down the mouse button over 8BOOK.CHP
until you see the hand cursor appear. Now drag the
filename to the top of the list and release the button (see-
Figure 8-21).
Before you save the publication, make sure that none of the
names are highlighted. Otherwise, Ventura will save only that
chapter.
8-36
Chapter
MULTI-CHAPTER OPERATIONS [7]
New
Open
Close
Save...
Save As...
Add Chapter...
Remove Chap
Print...
Hake TOC...
Hake Index,,,
Renunher,,.
Copy All,..
|MDorie_J
Figure 8-21.
H Select Save As from the dialog box.
H The Item Selector appears. Use the Backup button to locate
the C:\TEMP subdirectory if necessary. On the Selection
line type the name of the publication: 8BOOK. PUB and click
OK. Ventura returns you to the Multi-Chapter dialog box.
Renumber the publication
After making the publication, you can renumber the chapter
and page counters for every chapter in the publication. This
will generate the correct page numbers in both the Index and
the TOC.
*+NOTE: Make sure that none of the chapter names are high¬
lighted. Otherwise, Ventura will not let you renumber the publi¬
cation.
11 While you are in the Multi-Chapter dialog box, choose
Renumber. When asked if you want to renumber chapters,
pages, tables, and figures across the entire publication,
choose Renumber. Ventura displays a message that it is
renumbering the publication.
Generate a table of contents
Now you are ready to generate the TOC. A table of contents
provides an outline of a book’s major topics and sub-topics,
Generate a table of contents
8-37
along with their page numbers. Ventura generates a TOC in
two steps. First, it searches the publication for the tag names
you specify. Second, it generates a text file that shows each
instance of those tags and the page on which they appear.
The generated TOC text file can be loaded and formatted like
any other text file. Ventura assigns the different levels of the
TOC a generated tag. For example, Level One is tagged as
Z_TOC LVL 1, level two is Z_TOC LVL 2, etc. As with other
generated tags, you can change the attributes of the tags to
achieve the desired effect.
ii While still in Multi-Chapter, select Make TOC.
MULTI-CHAPTER OPERATIONS
ft
-
II C:\TENP\9B00K.PUB
D
D
C:\TEMP\8B00K.CHP
C:\TEMP\8PRINT.CHP
New
□pen
Close
Save,,,
Save As...
Add Chapter...
flenove Chap
Renumber...
Copy AH,..
Done
TIP: You cannot select the Make TOC option if a single chapter
is highlighted.
The Generate Table of Contents dialog box appears. Notice
that the name of the current publication is displayed next to
TOC File except that the last three letters have been changed
to TOC and the file extension to GEN. This is the default
name that Ventura assigns to a generated TOC file. Although
you can change the name of this file, we suggest that you not
change the three-letter extension GEN.
WARNING: Make sure that the TOC File line reads C:\TEMP\8B00KT0C.GEN. If a
different subdirectory name is displayed, press Esc to clear the line and type in
C:\TEMP\8B00KT0C.GEN.
8-38
Chapter
For this project, you will not change the Title String that tells
Ventura to display the words “Table of Contents” at the top of
the page. You will, however, make additions to the other levels
of the TOC.
H Place the text cursor next to the Level 1 line and select the
Inserts: Text Attr. button at the bottom of the dialog box.
The bracket code <D> appears on the line.
^ Delete the D and replace it with the letter B.
The bracket code <B> turns on the Bold text attribute.
H Move the cursor past the right bracket and choose the
Inserts: Chapter # button.
The bracket code [C#] appears on the line.
The [C#] code tells Ventura to display the number of the
chapter.
II Now choose Inserts: Tab from the bottom of the dialog box.
The tab symbol appears on the line. The tab separates the
chapter number from the next tag name.
si Choose Inserts: Tag Text. The code [*tag name] appears on
the line. Delete the words “tag name.” Type in: ChapTitle
within the brackets.
[*ChapTitle] tells Ventura to scan for all occurrences of the tag
ChapTitle and to list them as level 1 entries in the TOC.
II Move the cursor past the right bracket and choose Inserts:
Tab.
The tab separates the entry from the page number that fol¬
lows. Later in this chapter you will use this tab setting to
create leader dots between the entries and the page numbers.
^ Choose Inserts: Page #
The [P#] code tells Ventura to display the page number on
which it found this occurrence of the tag you indicated.
II Choose Inserts: Text Attr.
The bracket code <D> appears on the line. <D> turns off the
Bold text attribute and returns the font to normal.
Insert the codes for second and third levels
8-39
When the TOC is generated and formatted the first level will
look similar to Figure 8-22:
Desk File Edit Uigw Chapter Frane Paragraph Graphic Options
ilSlillillilliiilll! C:\rENP\BBGOKTOC.CHP ( 8 B 00 K.STV) llililiilililil
ItOOKTOC.GEN
mnaasi
Table of Contents
6 Design Principles 97
Design Terminology .97
Describing Pages .98
Measuring Pages ..99
Describing Type 1 .101
Other Important T eras .103
Design Guidelines for Books.104
The Purpose of Page Design , , . . 105
n
Figure 8-22.
Insert the codes for second and third levels
Place the text cursor on the Level 2 and Level 3 lines and type
in the codes shown in Figure 8-23. Use the buttons at the
bottom of the dialog box as shortcuts.
GENERATE TABLE OF CONTENTS
TOC File:
Title String:
Level 1:
Level 2:
Level 3:
Level 4:
Level 5:
Level 6:
Level 7:
Level 8:
Level 9:
Level 10:
C:\TEMP\8E00KT0C.GEN_
Table of Contents_
<B>[C#]-H*ChapTitle]*[P8]<D>
[*Head1]HP#]_
r«HeacB1»rP4] |
m
Inserts: | Tag Tex~ ] [ Chapter B~| | Page B |
| Text Rttr. |
Cancel
Figure 8-23.
Generate the TOC by clicking the OK button.
8-40
Chapter
Ventura displays a message that it is generating the TOC text
file and shows which chapter files it is scanning. When the
TOC is finished, you return to the Multi-Chapter dialog box.
Later you will format this file. For the moment, complete the
last Multi-Chapter operation.
Generate an index
Do you remember the index entries you inserted into the text
file? Ventura will generate its index based on those references
(plus some extras we inserted for you in advance). Once the
index is complete, you will load and format both the index and
the TOC generated files.
With the Multi-Chapter dialog box still open, select Make
Index from the Multi-Chapter Side-Bar.
The Generate Index dialog box appears on the screen. On the
Index File line Ventura displays the current publication name
with the last three letters changed to IDX and the extension
changed to GEN. Do not change this file name extension.
WARNING: If a different subdirectory name is displayed, change the TOC File line to
read C:\TEMP\8B00KIDX.GEN.
Leave the Title String line as “Index.” This tells Ventura to
display the word “Index” as the heading for the index.
^ Choose Letter Headings: On.
When you turn Letter Headings on, you instruct Ventura to
place an A before the entries starting with A, a B before the B
index entries, and so forth.
H Move the cursor to the For Each # line and delete both
occurrences of the [C#] code and the hyphen {do not delete
the hyphen between the page number [.P#] codes). This tells
Ventura to display only the page numbers in the completed
index, not the chapter numbers (Figure 8-24).
M Choose OK to generate the index.
During index generation, Ventura locates the index refer¬
ences, and builds them into a sorted list with the correspond¬
ing page numbers. After each entry, Ventura inserts a line
Format the TOC and the index
8-41
GENERATE INDEX
0
Index File:
C:\TEMP\8B00KIDX.GEN
Title String:
Index
Letter Headings:
On
Before 8s:
♦
For Each ft:
IP8] - IPH]|
Between 8s:
After 8s:
"See ":
See
"SeB Also":
See also
Inserts:
| Tab | | Chapter 8 | | Page 8 |
| Text Attr. |
[
Figure 8-24.
break and a horizontal tab character. After the last entry of a
letter heading, Ventura inserts a paragraph return.
The index contains three generated tags: Z_INDEX TITLE,
Z_INDEX LTR, and Z_INDEX MAIN. Later in this chapter
you will change the attributes of these generated tags.
After generating the index, Ventura returns you to the Multi-
Chapter dialog box.
H Choose Done to exit the Multi-Chapter dialog box.
M If Ventura asks, choose Save to save the changes you made
to the publication.
Format the TOC and the index
This is a good place to pause and remind ourselves where
we’ve been and where we are headed. At this point, you have
used Ventura to generate “raw” text files. By searching the
chapter, Ventura was able to find and insert the page numbers
where each entry can be found.
With that work out of the way, you can load and format the
TOC and the Index text files. You will create them as two
separate chapters using the same style sheet (8BOOK.STY).
Begin with the table of contents.
8-42
Chapter
*+NOTE: If you are in a hurry, you can skip over this formatting
section, since it does not introduce any new skills. However,
we suggest you read over it, if you plan to do TOCs and
indexes of your own. For instance, because of the way Ven¬
tura outputs the index file, you must use Tab Settings to create
the proper indents.
Start a new chapter
Since you are using the same style sheet, you can simply
“empty out” the current workspace by choosing New from the
File menu.
H Select New from the File menu.
The screen is emptied of text, but Ventura retains the current
8BOOK.STY style sheet.
li Enable Frame mode and select the Page.
II Select Load Text/Picture from the File menu. Select Type of
File: Tfext, Text Format: Generated, # of Files: One, and
Destination: List of Files.
si Use the Backup button to locate the C:\TEMP subdirec¬
tory. Then load the text file 8BOOKTOC.GEN and place it
on the Page.
Change the Z_TOC TITLE tag
8-43
Select Save As to save the chapter as C:\TEMP\BOOK-
TOC.CHP.
Change the Z TOC TITLE tag
You will change the text attributes of the generated tags in the
TOC. Start with the title.
II Enable Paragraph mode.
Select the paragraph “Table of Contents.” (Notice the tag
name Z_TOC TITLE in the Current Selection Box.)
Font
Alignment
Spacing
Breaks
Style: Bold
Size: 024.0 points
Horz. Alignment: Center
In/Outdent Width: 00,00 picas & points
Above: 28.00 fractional pts
Below: 56.00 fractional pts
Inter-Line: 28.00 fractional pts
Page Break: Before/Until Right
Selecting Before/Until Right forces the TOC to start on a
right-hand page, the traditional placement in books. When
you are finished, the title should look like Figure 8-25:
Figure 8-25.
8-44
Chapter
Change the Z_TOC LVL1 tag
H Select the paragraph “6 Design Principles97.”
Horz. Alignment: Left
In/Outdent Width: 00,06 picas & points
Above: 28.00 fractional pts
Below: 07.00 fractional pts
Inter-Line: 14.00 fractional pts
Add in Above: When Not at Column Top
You will now use tab settings to position the text across the
page, as shown in Figure 8-26.
11 Tab Settings Tab Number: 1
Tab Type: Left
Tab Shown As: Open Space
Tab Location: 02,00 picas & points
Tab Number: 2
Tab Type: Right
Tab Shown As: Open Space
Tab Location: 21,09 picas & points
Alignment
Spacing
Ttncoii
T6J3C012
TB1K013
Z.EQUOTICtN
Z..FN0T •
Z_FN0T ENTR.V
Z_HEfiDER
INDEX UR
Z_IN0EX MAIN
|z_:mdex title
Z.TOC LVL
Z.TOC LVL
R Pg tt 8601
Table of Contents!
6+ Design Principles*
DesignIerminology«97(!
DescribingPages<98l!
Measuring ?ag«*99ll
DescribingTvpe*10HI
m
Figure 8-26.
Change the Z TOC LVL 2 tag
11 Select the paragraph “Design Terminology97.”
Change the Z_TOC LVL 3 tag
8-45
^ Alignment
Hi Spacing
Horz. Alignment: Left
In/Outdent Width: 02,00 picas & points
Add in Above: When Not at Column Top
Tab Settings Tab Number: 1
Tab Type: Right
Tab Shown As: Leader Char
Tab Location: 21,09 picas & points
Leader Char:...
Leader Spacing: 3
Change the Z TOC LVL 3 tag
Select the paragraph “Describing Pages98.”
Alignment
Spacing
Horz. Alignment: Left
In/Outdent Width: 04,00 picas & points
Add in Above: When Not At Column Top
Tab Settings Tab Number: 1
Tab Type: Right
Tab Shown As: Leader Char
Tab Location: 21,09 picas & points
Leader Char:...
Leader Spacing: 3
Apply the tags
When you are finished, the table of contents should look like
Figure 8-27:
Congratulations on completing your first table of contents.
Now save your work.
^ Press Ctrl-S
11 Select New from the File menu to create a new chapter for
the index. Load the generated file 8BOOKIDX.GEN from
the C:\TEMP subdirectory and place it on the Page. Save
the chapter as C:\TEMP\8BOOKIDX.CHP. With the text
file loaded, you’re ready to change the tags.
8-46
Chapter
Table of Contents
6 Design Principles
97
Design Terminology .
97
Describing Pages .
98
Measuring Pages.
99
Describing Type.
101
Other Important Terms .
103
Design Guidelines for Books.
104
The Purpose of Page Design . . .
105
7 Offset Printing From Laser Mechanicals
109
Traditional Book Printing .
109
The Desktop Workflow .
111
Preparing Photographs .
111
Positioning Photographs.
114
Scanning and Digitizing.
115
Crop Marks.
116
Screen Tints.
117
Color printing.
118
Covers .
120
Adjusting Page Count.
121
Improving the Look of Laser-printed Pages
122
Improving Mechanicals.
122
The Lithographer Can Help . . .
126
Figure 8-27.
Change the ZJNDEX TITLE tag
Enable Paragraph mode. Select the title “Index” at the top
of the page.
II Font
II Alignment
is Spacing
H Ruling Line
Below
Style: Bold
Size: 024.0 points
Horz. Alignment: Left
In/Outdent Width: 00,00 picas & points
Above: 28.00 fractional pts
Below: 28.00 fractional pts
Inter-Line: 21.00 fractional pts
Width: Column
Color: Black
Pattern: Solid
Space Above Rule 1: 02.00 fractional pts
Height of Rule 1: 00.25 fractional pts
Change the Z_INDEX LTR tag
8-47
8-48
Chapter
Print the publication
8-49
Desk File Edit View Chapter frane Paragraph Graphic Options _
j lll!!ilili ;iS11liiII;il i~C FVTEhPNBBDOKllwTCHP f 8B55k rSTVl~ IIII11111111 SllililllB ♦ I
tcdy Ttxt
lodylraok
IcdyMrft
Bullet
Chop*
cnopTitn
HOtid 1
Heed*
Tpncoit
tbjko12
TP 13 C 013
Z.EQUATION
Advtfbsingj
* Dtrijn ippbabon**.106 il
[ R Pg ft 0001 | ,«
0
.Attribute*.
. . . 103?
• St* iko Ttxt Attributel
Bf
$istbne*.
. . . ircii
Body type* .
. . . 102 jl
Bold*.
... 103*1
* St* tko Ttxt Attribute J
Soobj
•* Book coYtrs*.
. . . 105*1
<• Book design*.
. . . S7il
T Book publishing*.
. . . lOSjl
<* Sit tlso Design Guidelines for Booksj
i* Pige formal*.
. . . 10«
Figure 8-28.
When you have completed the changes to the index tags, save
the chapter.
^ Press Ctrl-S.
Print the publication
Now that you’ve created the TOC, the index and two sample
chapters, you are ready to print them. First, add the TOC and
the index to the C:\TEMP\8BOOK.PUB publication.
1! While still in BOOKIDX.CHP, select Multi-Chapter from
the Options menu.
M Open the C:\TEMP\8BOOKPUB publication if it is not
already open. Select Add Chapter and then choose
C:\TEMP\8BOOKTOC.CHP.
M Select Add Chapter, and then choose the chapter
C:\TEMP\8BOOKIDX.CHP.
Organize the book chapters by moving the TOC chapter to the
top of the list.
m Drag C:\TEMP\8BOOKTOC.CHP to the top of the publi¬
cation list.
!§ Make sure none of the files are highlighted.
H Select Save As to save this publication under the name
C:\TEMP\8BOOKPUB.
8-50
Chapter
When Ventura asks you if you want to overwrite the existing
publication, choose Overwrite.
Leave the Multi-Chapter dialog box open for printing.
Print crop marks
Now you will print out all the chapters listed in the publica¬
tion using the Print function found in the Multi-Chapter
dialog box. This time you will tell Ventura to print crop marks.
Ventura is able to print crop marks as long as they reside
within the live area of the printer (the area of the page on
which the printer can actually produce marks). Almost all
laser printers can show crop marks that fall inside a 7x10 in.
area.
*+ TIP: To find out the exact live area of your printer, print out the
sample chapter CAPABILI.CHP in the \TYPESET subdirec¬
tory.
H To Print Which Pages: All
Crop Marks: On
Ventura prints out each chapter of the publication in order.
*+NOTE: This project contains more than 30 pages. It will take
longer to print than other, shorter sample chapters in this book.
Tips and techniques
Book tips
□ The last thing you must do before generating an index and
TOC, is to udpate the chapter and page numbers in every
chapter included in the publication. Use Update Counters
from the Chapter menu to reset the numbering in the
correct sequence.
□ If you want each chapter to start on a right-hand page (as
is traditional), check that the preceding chapter ends on a
left-hand page. If not, insert a blank left-hand page at the
end of the preceding chapter.
Print crop marks
8-51
□ Changing page numbers with Update Counters (Chapter
menu) does not affect the page numbers shown at the bot¬
tom of the Side-Bar.
□ Some publishers use a single style sheet for the whole book.
Others create a separate style sheet for each section. Al¬
though Version 2 of Ventura automatically numbers pages
sequentially across chapters, it may be tempting to put the
entire book in one large chapter file. In practice, very large
chapters can lead to crashes or other problems, especially, if
there are many pictures involved.
□ Putting the entire book into one chapter file also makes it
difficult to work in groups. When one person is busy with
the one and only file, no one else can work on it. For easier
access and manageability, most books should have separate
Ventura chapters for every book chapter.
Table tips
□ Generally, it’s best to use tab settings when creating a table
with single-line entries. For tables with multiple-line
entries it is easier to use side-by-side paragraphs which
allow each column to have more than one line.
□ To prepare text for side-by-side paragraphs, make sure you
enter each table entry as a single line. Enter a carriage
return instead of a tab at the end of each line.
□ Spacing and Breaks are the key to creating a table. Use In
From Left and In From Right spacing to restrict text to
individual columns. Use Breaks to allow multiple tags to
reside on the same line.
Footnote and index tips
□ The footnote separator line is measured from the left edge
of the page, not from the margin. Only the portion inside
the margin actually prints. Suppose, for example, that you
have a five-pica margin. If you wanted a three-pica
separator line, you would enter a Separator Line Width of
eight picas (5 + 3 = 8). Only the three-pica portion that is
inside the margin would print.
8-52
Chapter
□ If you cannot see the symbols which marks footnotes,
anchors and index entries, choose Show Tabs & Returns
from the Options menu.
□ Footnotes occupy a special frame created by Ventura. You
can change the margins inside this frame, but you cannot
change the size of the frame.
□ You can insert footnotes, anchors and index entries directly
into word processing files using the following bracket codes:
Footnote: <$Ftext>
Anchor (same page): <$&Anchor name>
Anchor (below): <$&Anchor name[v]>
Anchor (above): <$&Anchor name[ A ]>
Fraction: <$Enumerator/denominator>
Fraction: <$Enumerator over denominator
Index: <$IPrimary; Secondary>
□ Indexes and tables of contents are created with Multi-
Chapter from the Options menu.
Chapter Nine
Skills Checklist
Theory
□ Technical illustrations for desktop
publishing
□ Importing AutoCAD drawings into
Ventura
Text
□ Assigning tags in Text mode
□ Creating empty paragraphs
Style
□ How to format numbered lists
□ Adding a page break tag
□ A double rule effect with ruling line
above
□ A special note tag with ruling box
around
□ Adding space with a tag
□ Adding spot color to page elements
Picture
□ Attaching callouts to illustrations
□ Anchoring frames to text references
□ Automatic figure numbering in
captions
Chapter
□ Printing spot color overlays
Chapter Nine
A Technical Manual
M odem industry has produced a new generation of pub¬
lishers, writers, and designers, dedicated to creating
“user-friendly” technical manuals. These manuals are in¬
strumental in selling and maintaining high-tech equipment,
from microwaves to machinery to personal computers. In this
chapter, you will learn some special techniques for producing
technical documentation with Ventura. The checklist on the
left gives you an overview of the skills you will learn.
Theory
Technical documentation is a demanding application. Conse¬
quently, this chapter may require more than one attempt to
create some of the effects. If you can stick with it, however, you
will be rewarded with hands-on knowledge of some of
Ventura’s most powerful capabilities. Before starting with the
project, let’s take a moment to examine how Ventura deals
with technical illustrations.
Technical illustrations
Skip this section if you do not use illustrations from line-art
programs, such as AutoCAD.
As a general rule, line-art is used for technical drawings and
illustrations because of its higher quality (see Chapter Five
for more details on the difference between line-art and im¬
ages). AutoCAD is one of the most popular line-art programs.
AutoCAD drawings can be imported into Ventura in four
different formats (SLD, GEM, HPGL, and PostScript), three
of which produce line-art.
9-2
Theory
AutoCAD Slide Files (SLD) are image files (bit-mapped
graphics) produced by taking a “snap shot” of an AutoCAD
screen. Their quality is only as good as the resolution of the
screen. Consider using slide files if you have access to a
monitor with at least a 1,024 x 960 resolution, or if you do not
require high-quality images. Otherwise, you will get better
results from line-art.
You can import AutoCAD line drawings in three ways: in
GEM format (via Ventura’s DXFTOGEM utility), in HPGL
format (Hewlett Packard Graphics Language), or in Encap-
sualted PostScript format.
DXFTOGEM conversion
Ventura’s conversion utility takes AutoCAD DXF files (which
it cannot read directly) and transforms them into GEM files
(which it can use in documents). Before using the
DXFTOGEM conversion, you must produce a DXF drawing
file in AutoCAD (or any other CAD program that supports the
DXF drawing interchange format). After the DXF file is
created, use the DOS copy command to copy the file to the
C AVENTURA subdirectory.
Move to the C:\Ventura subdirectory. At the DOS prompt,
type:
DXFTOGEM Filename Filename
First type the command name, followed by the AutoCAD DXF
file name, a space, and the GEM file name, leaving off the
three-letter extension. The DXF and the GEM file names can
be the same or different. For example, here’s the command for
converting a DXF file named SAMPLE.DXF to a GEM file
named CADTEST.GEM:
DXFTOGEM SAMPLE CADTEST
After creating the GEM file, copy it to the subdirectory of your
choice.
TIP: The DXFTOGEM utility is normally located in the C:\Ven-
tura subdirectory. If you cannot find it there, load it from the
Ventura Utilities disk.
HPGL format
9-3
You may find that certain AutoCAD shapes are lost during the
DXFTOGEM conversion. For a complete listing of shapes that
are converted, see the Xerox Ventura Publisher Reference
Guide.
HPGL format
HPGL is an alternative to the DXFTOGEM conversion. To
create a HPGL file in AutoCAD, first configure your plotter as
any Hewlett Packard plotter (for example, the HP 7475). Then
plot the drawing to a file instead of to the plotter. The result¬
ing file has a .PLT extension. You can load this file directly
into Ventura, by selecting Line-Art Format: HPGL in the Load
Text/Picture dialog box. Simply change the .HPG extension to
.PLT on the Directory line of the Item Selector before selecting
a file.
Encapsulated PostScript
AutoCAD can also produce a PostScript file, that, when
modified, can be loaded into Ventura. To create a PostScript
file in AutoCAD, configure your plotter for the desired resolu¬
tion (300 dpi for a laser printer, 1270 or 2540 for a
phototypesetter, etc.) and plot the drawing to a file instead of
to the printer. The resulting file has a .PLT extension. Before
you load it in Ventura, you must do two things: change the
extension from .PLT to .EPS, and change three lines in the
PostScript file itself.
To encapsulate an AutoCAD PostScript plot file, you will need
to edit the file with an ASCII text editor. Begin by recording
the four sets of numbers on the the bounding box line that is
second from the end of the file listing. Now delete that line. To
the top of the file add the following three lines:
%!PS-Adobe-2.0 EPSF-1.2
%%BoundingBox: XX XX XXX XXX
%%EndComments
Substitute the numbers you recorded from the original bound¬
ing box line for the Xs in the second line above. Now you are
ready to load the encapsulated file. Select Load Text/Picture
from the File menu, and choose Line-Art and PostScript for¬
mat in the dialog box.
9 -4
Theory
Encapsulated PostScript
9 - 5
Planning the manual
Whether it deals with a microwave or a microcomputer, the
primary responsibility of a technical manual is to teach the
user how to operate and benefit from the system. It must
include all the technical specifications. It must also help the
user get started, discover features, and learn both elementary
and advanced operations. Finally, it must help people know
what to do when things go wrong.
The manual you will create in this chapter includes instruc¬
tions for assembling and using a laser printer. Its landscape
format provides space for three columns without crowding the
text. The three-column format also provides flexibility for
varying picture sizes and column combinations. On some
pages, the left column is used for the major heading and
nothing else. The resulting white space gives the page a more
open, non-threatening appearance.
Throughout the manual, lists are identified with bullets, and
step-by-step instructions are shown with boldface section
numbers. The instructions are slightly indented from the
numbers to make them easy to locate on the page. The box
around the warnings is a visual device to draw attention to
important material not included in the main body of text.
The manual has two standard sizes for illustrations. Smaller
pictures fit three across. Because they are positioned directly
above descriptive text, they do not demand captions or cal¬
louts. On the other hand, a full page illustration needs a
caption and/or callouts for clarity.
The “before” and “after” illustrations show the manual in the
planning and final stages. In addition to many of the skills you
already have learned, you will use the following effects to
create the technical manual:
• Column breaks
• Section numbers
• Rules around table entries
• Callouts for illustrations
• Spot color for emphasis
9 - 6
Ventura prep
Ventura prep
If you have the Power disk
H If you are continuing from a previous chapter, select New
from the File menu to clear the work area.
M Load the ASCII file 9TECH.TXT from the C:\POWER sub¬
directory. Use File Type/Rename to save it as
C:\TEMP\9TECHDOC.TXT. Leave the file 9TECH-
DOC.TXT on the Page.
Load the style sheet, 9TECH.STY from the C:\POWER
subdirectory and save it as C:\TEMP\9TECHDOC.STY.
II Load the GEM Line-Art format files 9-LASER1.GEM,
9LASER-2.GEM, 9LASER-3.GEM, and 9LASER-4.GEM
from the C:\POWER subdirectory.
B Save the chapter as C:\TEMP\9TECHDOC.CHP.
If you do not have the Power disk
^ Use your word processor to type in the text file 9TECH.TXT
from Appendix A. Then save it as C:\TEMP\9TECH-
DOC.TXT.
^ Use Load Text/Picture to load and place the file 9TECH-
DOC.TXT on the Page.
^ Load the &TBL2-L1.STY style sheet from the
C:\TYPESET subdirectory. Change the margins and
columns to match Figure 9-1. Use the tag table in Appendix
B to change the tags you will need for the project. Then save
the revised style sheet as C:\TEMP\9TECHDOC.STY.
H Since you do not have access to the AutoCAD drawings
included on the Power Disk, load any four pictures to use as
substitutes in the picture section of this chapter.
M Save the chapter as C:\TEMP\9TECHDOC.CHP.
Draw crop marks
9 - 7
Style
You will learn several powerful new functions in the style
section of this chapter. You will start by learning a fast way to
draw crop marks. Then you will learn about new tagging
effects using column breaks, page breaks, and ruling lines.
You will continue with an example of auto-numbering, a use¬
ful technique for technical documentation.
Draw crop marks
Crop marks designate the live area of the paper. For this
document, you will draw the crop marks at each corner of the
Page and instruct Ventura to show them on every page of the
document.
9 - 8
Style
>TIP: It is easier to draw crop marks if you temporarily change
the margin settings to equal the trim size. Then you can use
the (temporary) column guides to help you position the lines.
Enable Frame mode and select the Underlying Page. Select
Margins & Columns from the Frame menu.
Choose # of Columns: 1. Make the top and bottom margins
09,00 picas & points, and the left and right margins 07,06
picas & points (Figure 9-2).
Desk File Edit View Chapter Frane Paragraph Graphic Options
lliilll! lf:\TEMP\9fECiiDBcr(5i J C9 fEOfflocTsWrilil
Top and bottom mar¬
gins: 09,00 picas
Left and right mar¬
gins: 07,06 picas
t
?LASEfc - 1.GEM
?LASEfc-2.GEM
9LASER-3.GEH
9LASER-4.GEM
mCHDOC.TXT
7
9T
R
Pg H 0001 1
3
Figure 9-2. After you change the margins, your page should look like
this illustration.
Choose grid settings
II Make sure the zero point is reset to the upper left corner of
the Page. (Click on the 0,0 square at the upper left corner of
the Page.)
H With the Page selected, enable Graphics mode.
Hi Select the line tool from the Side-Bar.
Make the grid settings an integer multiple of the margins so
the lines automatically snap to the margin.
^ Grid Settings Grid Snap: On
Horizontal Spacing: 01,06 picas & points
Vertical Spacing: 01,06 picas & points
Choose grid settings
9-9
Select the line tool again. Starting from the upper left
corner of the column margin, draw a 03,00 pica vertical line
(two snap-grid units) perpendicular to the horizontal
column guide and toward the edge of the Page (Figure 9-3).
Press the Alt key as you draw to keep the line absolutely
straight.
Desk File Edit View Chapter Frane Paragraph Graphic Options
Figure 9-3.
*+NOTE: Don’t worry if it takes you a couple of attempts to draw
the correct line. Drawing with a mouse can be tricky. If you
make a mistake, simply delete the line (press the Del key) and
try again.
Now make sure the line attributes match the following values:
H Line Attributes Thickness: Thin
End Styles: (Beginning and End) Square
Defaults: Save To
^ TIP: If you hold down the Shift key while drawing, you can
continue to draw lines without reselecting the line tool.
!! Select the line tool. Starting at the upper left corner of the
column guide draw a 03,00 pica horizontal line (two snap-
grid units) perpendicular to the vertical column guide and
toward the edge of the Page (Figure 9-4).
Figure 9-4.
Repeat the steps above to create crop marks on the other three
corners on the page. When you are finished, reset the margins
and columns to their original values. Refer to Figure 9-5 for
the original margin and column sizes.
Figure 9-5.
After drawing the crop marks, make them appear on every
page of the document.
i§ ’While still in Graphic mode, choose Select All from the
Graphic menu (or press Ctrl-Q) to select every line shape on
the Page.
H Select Show On All Pages from the Graphic menu.
Build the footer
9 - 11
Build the footer
You will complete the chapter format by building the footer.
H Select Headers & Footers from the Chapter menu.
^ Choose Define: Right Page Footer, Usage: On. Move to the
Left line and choose 1st Match. Delete the words “tag
name” and type: Headl
H Move to the Right line and choose Inserts: Page #.
Choose Define: Left Page Footer, Usage: On. Move to the
Left line and choose Inserts: Page #. Move to the Right line
and type: Laser AstroZ Manual
9 - 12
Style
The footer text is automatically formatted as soon as you close
the dialog box. (The Z_FOOTER tag was predefined in the
style sheet you loaded at the beginning of the chapter.)
Raise the footer
To prevent the footer from being cropped off at print time, you
must raise it upward on the page.
H Enable Frame mode. Select the footer frame so you can
change its margins.
II Margins & Top: 02,00 picas & points
Columns Inserts: Copy To Facing Page
Now you will turn off the footer on page one.
H Select Turn Footer Off from the Chapter menu.
Because a cover page is not normally numbered, you must
update the page counter so that “page one” starts on the
second page of the chapter.
Press PgDn to go to page two.
11 Select Update Counters from the Chapter menu.
11 Choose Which Counter: This Page, Update Method: Restart
Number, With Number: 0001, Number Format: 1,2.
The page number in the footer changes to 1 (Figure 9-6).
Figure 9-6.
Verify the Body Text settings
9 - 13
*+NOTE: If the following pages do not automatically increase ,
you will have to renumber them manually. Move to each page
in turn and select Update Counters from the Chapter menu.
Choose Which Counter: This Page, Update Method: Previous
Number + 1, and click OK, until all pages are in the correct
sequence.
With the chapter format complete, you can begin to assign
tags to the text.
Verify the Body Text settings
H Press Home to go to the beginning of the chapter.
H Enable Paragraph mode.
H Select the paragraph “Thank you for choosing the Laser
Face: Times
Style: Normal
Color: Black
Size: 010.0 points
Horz. Alignment: Left
Overall Width: Column-Wide
Above: 12.00 fractional pts
Inter-Line: 12.00 fractional pts
Add in Above: When Not At Column Top
Create a title page with the BodyBreak tag
To isolate the title page text from the rest of the document, you
will create an empty paragraph (a paragraph that includes a
carriage return only) and tag it with the BodyBreak tag. Since
the BodyBreak tag (which has already been defined in the
style sheet) includes a page break after, the text following the
tag will be forced to the next page.
si Enable Text mode to create the empty paragraph. Place the
text cursor at the end of the paragraph “Guide to Opera¬
tions — Model XYZ-11” and press Enter once.
li Enable Paragraph mode.
AstroZ... ”
H Font
^ Alignment
1 Spacing
9 -14
Style
Select the empty paragraph (click on the paragraph symbol
*11) and tag it as BodyBreak (Figure 9-7).
This text will be
forced to the next
page by the Body-
Break tag
Desk File Edit Mlew Chapter Frane Paragraph Graphic Options
C:\TEMP\9fEOiD6C.CHP(9fEM)6cTSTV)l
*
Z.CftPTIOH
ZJ'OOTER
itleSub
R
Pg n 0601
jL
JlL
riteLaser
Guide to Operations
r-. I
Getting Started!
j A Word to Ownersf
Thank you for choosing the Laser AstroZ
print* from XYZ Corporation.
Jjuality laser printer gives you t
flexibility and power for afl yot
ipublishing needs. The Laser As
•comes standard with PostScript
is Hewlett-Pickard PCL and H
■programs you still use that are
E
Figure 9-7.
The text following the tag moves to the next page (Figure 9-8).
Desk File Edit Uiew Chapter Frane Paragraph Graphic Options
i==i=Ei=Ei=£
lliiil
ll
ii
E=
,< ,11 ,11 ,14 ,30 ,31
i,..i..r
The.Laser
Guide to Operations—
Figure 9-8.
With the title page complete, go to the second page to continue
tagging.
^ Press PgDn to go to the second page.
Change the Headl tag
9 - 15
Change the Headl tag
To isolate the Headl tag in the far left column, you will
include a column break before and after. The Column Break
Before keeps the heading from slipping back to the previous
page. The Column Break After forces the text following the
tag to start at the top of the next column.
M Select the paragraph “Getting Started.”
H Select Breaks. Choose Column Break: Before & After.
"Headl" BREAKS
0
Page Break: UQ 1 Before [ | After | | Before & After
1 Before/Until Left| | Before/Until Right
Column Break: | Ho 1 | Before | [ After 1 IjQSSBSQQZSSI
Line Break: | Ho | ^22331 I After | [ Before 8 After
Next V Position:
Allow Within:
Beside Last Line of Prev. Para
UD
Keep With Next: | Ves |
Cancel 1
Use the BodyBreak tag
To start a new page, you will put a page break after the
BodySmall paragraph at the end of page one. You will first
create an “empty” paragraph. Then you will assign the Body-
Break tag to a function key so you can tag the empty para¬
graph while you are in Text mode.
Enable Text mode. Place the text cursor after the words
“LOS ANGELES, CA” at the bottom of the page and press
Enter once (Figure 9-9).
Figure 9-9.
H Without moving the cursor from its current position, press
Ctrl-K to bring up the Assign Function Keys dialog box.
*+NOTE: If you press Ctrl-K while you are in Paragraph mode,
Ventura will ask you if you want to save your changes.
M Assign the BodyBreak tag to the FI key. Click OK to close
the dialog box.
ASSIGN FUNCTION KEVS
□
FI: BodyBreakl
F2:
Head2
F3: Head3 ‘
F4:
F5: Head5
F6:
ListBullet
F7:
F8:
F9:
FIB:
Body Text
^ Cancel
*+NOTE: Do not be concerned if your function key assignments
do not match ours exactly
About auto-numbering
9 - 17
H Press FI to tag the empty paragraph you just typed as
BodyBreak.
The text following the tag is pushed to the next page.
^ TIP: If you accidentally hit the wrong function key while tag¬
ging, you can usually recover by pressing the correct key
immediately, before you do anything else.
About auto-numbering
For the first two pages, you formatted the manual using
predefined tags from the style sheet. In the next section, you
will create some advanced effects by adding several tags.
Many technical documents include section numbers, outlines,
or numbered lists. Ventura’s automatic numbering can handle
these chores for you. It can create anything from simple lists
to multi-level outlines. Rearrange part of the list, and Ventura
will renumber it for you — automatically. Automatic number¬
ing includes two basic steps: First, you choose which tags to
number and what style of numbering to use; second, you
format the section numbers Ventura has generated. For the
first step, use the Auto-Numbering dialog box from the Chap¬
ter menu to choose which tags to number and what style to
use. For example, Figure 9-10 shows the dialog box settings
for Headl displayed in roman numerals (I, II, III, IV, etc.)
Figure 9*10.
9 - 18
Style
When Ventura creates the numbers, it assigns generated tags
at the same time. The name of the tag depends on the level of
the numbers. Numbers created at Level 1 are tagged as
Z_SEC1. Level 2 numbers are tagged as Z_SEC2, and so on.
Once Ventura has generated and tagged the numbers, you can
format them as you like. The theory of auto-numbering will
become clearer after you perform the sample project in this
chapter.
To create the numbered list of instructions, you will add a new
tag named List#. The tag is indented from the margin to make
room for the section numbers (which you will add below using
Auto-Numbering).
1! Press PgDn to go to the third page of the chapter.
H Enable Paragraph mode.
il Select the paragraph in the second column that begins “Lift
the release lever....”
11 Add New Tag Tag Name to Add: List#
^ Spacing In From Left: 01,00 picas & points
Use Shift-Click to select the next two paragraphs shown in
Figure 9-11 and tag them as List#.
Desk File Edit View Chapter Frane Paragraph Graphic Options
lllliiiil
Rod/ Text
BodyBr&ale
BodySnall
Hcfldi
HtodZ
HftOdJ
HccdS
list mutt'
Title
Titles*
r_CftPTI0N
MULTIPLE
R Pg B 6803
j3\--gg
Add Hen Tag
Ilill C:\TEMP\9TECHD0C.CHP (9TECHD0C.STV)
Unpacking' and
Setting Up!
You; User AstroZ weighs 73 pounds, so
do not try to lift it without someone's
jhelp. Lift the printer "by its handles ind
jplaee Horn dean, stable surface, ff
UnpackingV'
The Caie of Your
Piinteif
1-UrU
Replidng
clewing s|
» Clewing
Clewing
* Clewing
Wtsf
'•■About
Caitiid\
The toner <n
jserves as ink
irtseK has a e
;<ate the level
<of prints. If y|
graphics) at a
Will get more;
•graphics at a
tey in to look]
E
Figure 9-11.
Next, we will show you how to use Auto-Numbering to
generate the numbered list.
Using auto-numbering
9 - 19
Using auto-numbering
To create the numbered list, use Auto-Numbering from the
Chapter menu. By placing the List# tag on Level 1, you in¬
struct Ventura to place numbers before each paragraph
tagged as List#. After Ventura generates the section numbers,
you format them to reside on the same line as the List#
paragraph.
*+NOTE: Although we are teaching a single level list, you can
use these same basic principles to create multi-level num¬
bered lists such as outlines.
H Select Auto-Numbering from the Chapter menu.
^ Choose Usage: On. Move to the Level 1 line and choose
Inserts: 1,2. This button defines the number format for the
list.
H Delete the words “tag name” and type List#, then move
the cursor past the right bracket and type a period. The
period separates the automatically generated numbers
from the text that follows. Click OK.
AUTO-NUMBERING [7]
Usage: QJj | Off |
Level 1: [*List#, 1 ] .1_
Level 2: _
Level 3: _
Level 4: _
Level 5: _
Level 6: _
Level 7: _
Level 8: _
Level 9: _
Level 10: _
Inserts: | Chapter *5~| | 1,2 | | fl,B | | a,b | [ I, II | | i,ii |
| Suppress Previous Level | | Text ftttr. |
0K I>
| Cancel |
Notice that the numbers (which are tagged as Z_SEC1) and
the text paragraphs (tagged as List#) appear on separate
lines. To place both number and paragraph text on the same
line, you will change the attributes of the Z_SEC1 and List#
tags (Figure 9-12).
9 - 20
Style
Should U funilBr|:j:
Repliang the t
(toning slid* >
* Clearing the c< >
Ctoningthe :£
* Cleaning and r
heltsl
Locate the green wire (toner and
remove its protective sealing tape.
You will use the wire (toner to clean j
the corona wire in the print cartridge.! •
'About the
Cartridge
The toner artridg
serves is ini to t%
itself has a color c
jate the level of pel-:
jof prints. If you pn>:
graphics) at a high f
Figure 9-12.
Change the Z SEC1 tag
!! Select the number 1 (the Z_SEC1 tag).
M Font Style: Bold
II Breaks Line Break: Before
Keep With Next: Yes
Change the List# tag
II Select the first List# paragraph “Lift the release lever and
raise the upper part of the printer.”
Now you will change the tag to include a line break after . The
line break after allows the List# and Z_SEC1 tag to reside on
the same line.
m Breaks Line Break: After
Earlier, you used In From Left Spacing to add a first line
indent to the List# tag. You can see now how this indent keeps
the List# paragraphs from touching the numbers. When you
are finished the list should look like Figure 9-13:
*+NOTE: If you had created the indent with the In/Outdent option
in the Alignment dialog box , only the first line of the paragraph
would have been indented.
Aaa a page oreaR
u -
Desk File Edit Uiew Chapter Frane Paragraph Graphic Options
I i!ll!l!!l!!S!!l!!llli C:\TEMP\9TECHDQC.CHP (9TECHD0C.STV) ililllllllllillllllli ♦
ling an'cf
Up
'Unpacking
•Your Laser AstrcZ weighs 73 pounds, so
[do not try to bft it without someone's
■help. Lift the printer by its handles and
jplice it on a clean, stable surface.
it Lift the release lever and raise the
upper part of the printer
2 Lift the green fixing assembly cover
and remove the four red spacers.
3. Locate the green wire cleaner and
remove its protective seating tape
You will use the wre cleaner to clean
the corona wire in the print cartridge
The Care of Your
Printer _
Replacing the toner cartridge
cleaning stick
» Cleaning the corona wires
Cleaning the guides
* Cleaning and replacing the sej
belts
■■Aboutthe Toner
'■Cartridge
The toner cartridge includes pow^^’j
ser ves as ink to the printer. The
itself has a color coded bir that 4
cate the level of powder and the
of prints. If you print plain text (n|:
•graphics) at a higher toner setting
[will get more prints than if you pcj
graphics it a lower setting If y<
[begin to look faded in areas, or stj
Figure 9-13.
Add a page break
To complete the page, you will create an empty paragraph and
tag it as BodyBreak. The text following the tag will move to
the next page.
11 Enable Text mode.
H Place the text cursor at the end of the last paragraph in the
third column “...replace your toner cartridge.” Then press
Enter once (Figure 9—14).
il While the text cursor is next to the end of paragraph sym¬
bol, press FI to tag the new paragraph as BodyBreak.
Desk File Edit View Chapter Frane Paragraph Graphic Options
llllillililliliilill C:\TEt1P\9TECHDQC.CHP (9TECHD0C.STV) lilllilliililli
Set Font
Remove the four red spacers!
the green wire cleaner and
> its protective sealing tape,
jwfll use the wire cleaner to clean
Jrona wire in the print cartridge!
Care of Your
\terf
e several routine maintenance
!S you can perform to keep your
jrtroZ running smoothly. You
Cartridge!
The toner cartridge includes powder that
serves as ink to the printer. The cartridge
itself has a color coded bar that will indi¬
cate the level of powder and the number
[of prints. If you print plain text (not
‘graphics) at a higher toner setting, you
Will get more prints thin if you print
graphics at a lower setting. If your prints
•begin to look faded in areas, or streaked
jit the edges, replace your toner cartridge.!
Figure 9-14.
ouyie
Stopping point
Let’s pause here to summarize where we’ve been and what lies
ahead. You certainly have reason to be pleased with yourself.
In the last few pages, you have been working with two of
Ventura’s most powerful and sophisticated functions, Breaks
and Auto-Numbering. The ability to associate breaks and
numbers with tags sets Ventura apart from ordinary
programs. When you can manipulate these two dialog boxes
with ease, you will stand out from the crowd.
Before you stop, check your progress against Figure 9-15.
Unpacking and
Setting Up
Unpacking and Setting Up
Unpacking
Your Laser AstroZ weighs 73 pounds, so
do not try to lift it without someone's
help. Lift the printer by its handles and
place it on a clean, stable surface.
L Lift the release lever and raise the
upper part of the printer
2. Lift the green fixing assembly cover
and remove the four red spacers.
3. Locate the green wire cleaner and
remove its protective sealing tape.
You will use the wire cleaner to clean
the corona wire in the print cartridge.
The Care of Your
Printer
There are several routine maintenance
procedures you can perform to keep your
Laser AstroZ running smoothly. You
should be familiar with:
• Replacing the toner cartridge and
cleaning stick
• Cleaning the corona wires
• Cleaning the guides
• Cleaning and replacing the separation
belts
About the Toner
Cartridge
The toner cartridge includes powder that
serves as ink to the printer. The cartridge
itself has a color coded bar that will indi¬
cate the level of powder and the number
of prints. If you print plain text (not
graphics) at a higher toner setting, you
will get more prints than if you print
graphics at a lower setting. If your prints
begin to look faded in areas, or streaked
at the edges, replace your toner cartridge.
Figure 9-15 At this stage in the project, page three of your document should look like this.
If you’re planning to stop and relax for awhile, save the docu¬
ment and exit from Ventura. When you’re ready to start again,
reload Ventura and open the chapter C:\TEMP\9TECH-
DOC.CHP.
Add the Head4 and Rule tags
9-23
If you plan to forge ahead, you will discover a well kept secret
about Auto-Numbering. You will also learn a fancy effect
created with ruling lines.
Add the Head4 and Rule tags
H Press PgDn to go to page four.
Now get ready to create two new tags: a heading (Head4) and
a double rule (Rule). The double rule stretches from the end of
the Head4 paragraph to the right-hand margin, no matter
how long or how short the Head4 paragraph turns out to be.
This advanced effect uses two different tags side by side on the
same line. Figure 9-16 gives an idea of how the effect looks.
Figure 9-16.
Because this is an advanced effect, we suggest that you save
the chapter (press Ctrl-S) before you proceed. Then, if you
make a mistake, you can Abandon the chapter and return to
where you were the last time you saved.
You will start by adding the Head4 tag.
^ Enable Paragraph mode.
H Select the paragraph “Paper Trays, Paper Cassettes.”
I! Add New Tag Tag Name to Add: Head4
M Font Style: Bold
Size: 014.0 points
9 - 24
Style
II Alignment Overall Width: Frame-Wide
H Spacing: Above: 00.00 fractional pts
Inter-Line: 18.00 fractional pts
H Breaks Page Break: Before
Keep With Next: No
Your paragraph should now look like Figure 9-17.
Figure 9-17.
The Page Break Before guarantees that Head4 will always
start on a new page.
Next you will add the Rule tag. The paragraph tagged as Rule
will include two characters: a horizontal tab and a paragraph
return (<[[). With Tab Settings (Paragraph menu), you will set
the tab location at the right margin of the page. Then you will
choose Ruling Line Above: Text. In this case, the only text is
the tab character itself. Ventura extends the rule the length of
the text — that is, to the tab location at the right margin.
WARNING: The effect you are learning is a complex one. Do not be concerned if text
temporarily overlaps as you proceed. Once you complete all the steps, the text will
realign properly.
1! Enable Text mode.
H Verify that Show Tabs & Returns is on from the Options
menu.
Add the Head4 and Rule tags
9 - 25
Place the text cursor before the “P” in the word ‘Taper
trays” on the second line. Press Enter once to create an
empty paragraph (Figure 9-18).
Desk File Edit Uie* Chapter Frane Paragraph Graphic Options
Italic
Small
Sup*r*cript
Subscript
Underline
|0ouble unarm
Strike-thru
Overscare
D
Hi
E
EBESEIS] 1
n
iimam
E
II C:\TEMP\9TECHD0C.CHP (9TECHD0C.STY)
X
J 'L
k
•Paper Tnjsl
Print tny pesitiea. Hold the print tray
iso the wide end filed towards the front
jof the printer. Insert the photic pins into
•the front slots ito*e the handle. II
iPapei Trays, Paper CassettejsIF I
JapeiCassettesI
•Place the piper in the cassette ind
fonder the piper dips. Insert the;
itissetle into the slot under the frorf:
khe printer until it stops. The ossej
holds approximately 110 sheets.1
f
Figure 9-18.
Now you will enter the tab character.
H Place the text cursor in front of the new end of paragraph
symbol (<[[) and press the tab key once.
You will see the tab character on-screen (Figure 9-19).
Desk File Edit Uiew Chapter Frane Paragraph Graphic Options
: . C:\TEMP\9TECHD0C.CHP (9TECHMC.STV) ilBfilili illlgilliil l
X
jPaper Trays, lapei Cassettejsff
k
•Piper Tzijrsf
Print tray pa sit ion. Ho 1 ! the print tny
<sc the wide end faced tcwirds the front
pi the printer. Insert the phstic pins into
|the front slots above the handle, 1
iPaper Cassettes 11
•Place the piper in the cassette ind
fonder the paper dips. Insert the;
jeassette into the slot under the frorf
the printer until it stops. The eassel
holds approximately 110 sheets.1
F
Figure 9-19.
9 - 26
Style
Now you will change the tab location with Tab Settings in the
Paragraph menu.
li Enable Paragraph mode.
^ Select the paragraph that includes the tab character and
the end of paragraph symbol (Figure 9-20).
Desk File Edit Mien Chapter Frane Paragraph Graphic Options
1 1 111 | ||||||| || I! |||||| C:\TEMP\9IECHDDC.CHP (9TECHD0C .STV) Ilii iiiHII ii l illilli
SBSm
HU
•Piper TnjrsV
Stmt tray fsitk*. Hold the print tray
to the wide end faced towards the front
pf the printer. Insert the pbslfc pins into
Jhe front slots above the handle II
jPaper Trays, lapei Cissetteisf i
iapeiCassettesll
?kt( fin pi;ir in the assitti ini
Jtunder the paper dips. Insert the ]
kissette into the slot under the frorj
jthi printer until it stops. The rassej:
holds ipproxiratety 110 sheets !
Ill
Figure 9-20.
ii Add New Tag Tag Name to Add: Rule
^ Alignment Overall Width: Frame-Wide
First Line: Indent
Relative Indent: On
In/Outdent Width: 00,04 picas & points
The relative indent aligns the beginning of this paragraph
with the end of the previous paragraph — no matter how long
or how short the previous paragraph may be. Since you don’t
want the rule to touch the text, you must also specify an extra
00,04 picas & points indent to separate the rule from the text.
H Tab Settings Tab Number: 1
Tab iype: Right
Tab Shown As: Open Space
Tab Location: 46,00 picas & points v
The new tab location moves the paragraph symbol to the right
margin (Figure 9-21).
Add a ruling line above
9 - 27
Desk File Edit View Chapter Frane Paragraph Graphic Options
IBBIHHilIBBliillH C:\TEMPV9TECHD0C.CHP (9TECHD0C.STV) II
SPapeiCassettesff
Phct the piper m the eissette wd push
Sunder the pipes clips. Insert the piper
<(issette into the slot under the front of
|the printer unlil it stops. The assette
A Quick Tour
of the Laser
AstroZtl
sfl
Figure 9-21.
At this point the Head4 and Rule tags still reside on separate
lines. With the Rule paragraph still selected, use the Breaks
dialog box to put them on the same line.
^ Breaks Line Break: After
Add a ruling line above
You’ve placed the Rule tag on the same line, but it doesn’t
make much difference yet because nothing is showing in the
Rule paragraph. Now you will make it visible by creating two
ruling lines above.
In the next step you are going to create a double rule that is
the width of the text. Recall that you created the paragraph
with a tab stop (which is invisible) instead of actual text.
Nevertheless, Ventura sees the tab as text. When you make
the ruling line text-wide, the double rule stretches from the
end of the Head4 paragraph to the tab location at the right
margin.
^ With the empty paragraph still highlighted, select Ruling
Line Above. Choose Width: Text. Give Rule 1 a height of
02.00 fractional pts and make the Space Below Rule 1
02.00 fractional pts. Give Rule 2 a height of 00.50 fractional
pts. Make the Space Below Rule 3 negative (-) 09.00 frac¬
tional pts. Click OK.
9 - 28
Style
’Rule" RULING LINES ABOVE Q]
Width:
Text
Color:
Black
Pattern:
Solid
Bashes:
Off
36. BO
Space Above Rule 1:
oo.ee
Height of Rule 1:
02.06
Custon Indent:
oo ,do Fir
» !
Space Belou Rule 1:
02.ee
Custora Width:
00,00
Height of Rule 2:
00.56
Space Belou Rule 2:
00.66
Dash Width:
00,00
Height of Rule 3:
Qo.ee
Dash Spacing!
(XhO0 fractional pts
Space Belou Rule 3:
0?.0e|
□ B
Overall Height:
OKjvi
The negative value for Space Below Rule 3 shifts the rule
down from its original location and aligns it with the Head4
paragraph (Figure 9-22).
r
—
L
Pg tt 0004 |
jPapei Tuys, Paper Casselleisf
iPaperlnysl
Prmtkiy position. HoW th« print tray
to the wide end faced, towards the front
jof the printer. Insert the plistk pins into
the front slots ibove the Kindle, !
flOTE Do not oertoid the piper tray,
packing it too full will ause piper juns
imd print errors.!
ifUtuhtheiHnul feed juke. Hold the
Jnmuil feed guide with the plastic brack¬
ets towuds the rear of the printer. Fiee
ihe ribbed side up. ff_
sunder the piper dips. Insert the piper
tissette into the slot under the front of
the printer until it stops. The ossette
holds ipproxinately 110 sheets.!
NOTE: If you wmt to print on letter
held, place the piper FACE DOWN
■beneith the tbps!
AQ
of tt
Astr
M.
Figure 9-22.
Since you gave the Rule tag a line break after, the double rule
appears right next to the Head4 tag.
Add the Note tag
The Note tag isolates special warnings and procedures inside
a box. To create the box around the Note tag, you will use the
Ruling Line Around dialog box. As is often the case with
Ventura, there is more than one way to create the effect we
Add the Note tag
9-29
will show you. You could also achieve a similar effect with
frames or with Box Text. Each method has its advantages and
disadvantages. The method we are showing you relies on tag
attributes. It has the advantage of allowing you to change the
look of multiple paragraphs throughout the entire document
by changing a single tag.
Select the paragraph that begins “NOTE: Do not overload
the paper tray ... ” in the first column of the page.
Tag Name to Add: Note
In From Left: 01,00 picas & points
In From Right: 01,00 picas & points
I! Select Ruling Box Around. Choose Width: Column. Give
Rule 1 a height of 00.06 fractional pts and make the Space
Below Rule 1: 03.00 fractional pts.
The Space Below Rule 1 adds extra space between the text
and the ruling box (Figure 9-23).
Add New Tag
^ Spacing
Desk File Edit Miew Chapter Frane Paragraph Graphic Options
iiisiiauiiiiiiiiiii c:\temp\9techdoc.chp (9techdqc.stv) l isiiBigiiiiBiii
Heod4
Id
l-u:i
Prmttny positioi Bold the print tray
to th« wide end faced towards the front
pf the printer. Insert the plastic pins into
-the front slots above the Kindle, ff
NOTE: Do not oyerloid the
piper tray. Parking H too full will
ause piper jams and print errors.*
Altirhthemni.il feed glide. Hold the
jninuil feed guide with the plisbc brad*
ets towards the rear of the printer. Face
ihe ribbed side up. ff
Laid paper in annul feed. Insert one
jsheet of paper at a time. Gbde the paper
kbng the tray until it ant go any fur¬
ther, then stop.*
•PapaCassettesff
the printer until it stops. The cassette
holds approximately 110 sheets.!
^OTE: If you want to print on letter
fail, place the paper FACE DOWN
beneath the elips.ff
of tl
Astr
E
Figure 9-23.
Once the Note tag is defined, you can apply it to the next Note
paragraph.
H Select the paragraph that begins “NOTE: If you want to
print on letterhead ...” in the second column and tag it as
Note.
9 - 30
Style
*+NOTE: You can force Ventura to keep all of the paragraph
together by choosing Allow Within: No from the Breaks dialog
box. Ventura will not allow line breaks within the paragraph.
Instead, it will move the entire paragraph to the next column or
page if necessary to keep the paragraph together. However,
this method has the danger of leaving large gaps of white
space at the bottom of the previous column.
Create a second list
You will now create a second numbered list by tagging three
paragraphs as List#.
*+NOTE: Because the List# tag has a Line Break After, the three
paragraphs you tag will shift on top of preceding paragraphs.
This temporary confusion will be eliminated as soon as you
renumber the chapter.
H Select the following paragraphs and tag them with the
List# tag.
“Print tray position... ”
“Attach the Manual Feed Guide... ”
“Load Paper in Manual Feed... ”
To generate numbers for the newly tagged List# paragraphs,
use Ventura’s Renumber Chapter function.
H Select Renumber Chapter from the Chapter menu or press
Ctrl-B (Figure 9-24).
TIP: Despite its name, Renumber Chapter does not affect
chapter numbering. It applies only to Auto-Numbering.
Figure 9-24.
Create multiple lists
After renumbering the chapter, the instructions are num¬
bered sequentially, but they start with the number four (Fig¬
ure 9-25).
Desk File Edit Uie** Chapter Frane Paragraph Graphic Options
iFiper Tnysl
jtfftjiifriy ptlttjui Hold the print
! triy so the wide end heed towirds the
| front of the printer. Insert the phstie
• pins into the front slots above the
: handle.!
NOTE Do not overload the
paper tray. Packing it too full will
cause paper jams ind print errors!
l
iPiperCassettesfl
iPkce the piper in the cassette and i
junder the paper dips Insert the pi]
cassette into the slot under the frori
She printer until it stops. The asset
holds approximate))' 110 sheets.f
NOTE: If you want to print on
ter head, pfcce the piper PACE
DOWN beneith the dips.!
5.!Aftaeh the manual feed guide. Bold
the nunuil feed guide with the plistx
brackets towards the rear of the
printer. Face the ribbed side up. f
GUnri paper it manual feed Insert
one sheet cf paper it a time. Glide the
piper along the tny until it can't go
iny further, then stop.ff
H
□
Ventura starts with the list with the number four because it
assumes that the sequence continues from the list on the
previous page. In some cases, you may want a list that is
numbered sequentially throughout the chapter. In other
cases, however, you may want multiple lists that start num-
9 - 32
Style
bering over again at one. We will show you a quick way to
restart the numbering.
Whenever Ventura encounters a Level 1 tag, it resets the
numbering for all the lower levels. By putting ordinary Body
Text at Level 1, you trick Ventura into restarting the number¬
ing for Levels 2 and below. In this case, then, you will use
Body Text for Level 1 and List# for Level 2.
H Select Auto-Numbering from the Chapter menu.
H Place the text cursor next to the Level 1 line and press Esc
to clear the line. Choose Inserts: 1,2. Delete the 1, the
comma, and the words “tag name.” Then type: Body Text
By deleting the 1, you tell Ventura to number Body Text but
not to show the numbers. In effect, then, you have “invisible”
numbers.
II Move the text cursor next to the Level 2 line. Select Inserts:
1,2. Remove the words “tag name”, but keep the 1 and the
comma. Then type: List#
si Add a period after the right bracket. Click OK.
The list now starts over at one (Figure 9-26).
Add a page break
y - 33
| Desk File Edit View Chapter Frane Paragraph Graphic Options |
||taii=i*iiis=rfl=i=M C:\TEMP\9TECHD0C.CHP (9TECHD0C.STY) M
1
□
1 Add he* Tag |
Pi
t
Body Text
BodyBrcek
todySMoll
Keodl
—
Heads
List*
ustluiiet
i
Mote
Mile
L Pg H 8884
iPiperTnjrsI
jtfftiittray psttisn. Hold th* print
tii/ »the wid« end ficed towirds the
front of the printer. Insert the phsfa'e
pint into the front slots ibove the
hindle.f
NOTE Do not overload the
piper tny. Picking it too full will
ause piper jims ind print errors.!
2.! Attack the nurasl feed suite Hold
the iranuil feed guide with the plistk
brackets lowerds the reir of the
printer. Faee the ribbed side up. f
•IfLaadptper in manual feed. Insert
one sheet of paper it i time. Gbde the
piper ifong the tny until it cin't go
iny further, then stop !
iPaj»r Cassettes*
iPhce the piper in the cassette and
under the piper dips. Insert the pal
kissette into the slot under the fron
ihe printer until it stops. The ossej
holds approximately 110 sheets.!
NOTE: If you want to print on|
terhead, place the piper FACE]
DOWN beneith the dips.!
Figure 9-26.
*+NOTE: The numbers are now tagged as Z_SEC2, since they
are now on Level 2 in the Auto-Numbering dialog box. If you
are using the style sheet from the Power disk, this tag has
already been defined for you. If not, copy the attributes set
forth for Z_SEC1 earlier in this chapter.
Add a page break
When you’re finished with Auto-Numbering, you will enter a
page break after the last Note paragraph to push the rest of
the text to the next page. Then leave the page as is. In the next
section you will add frames and pictures to this page.
H Enable Text mode.
P Place the text cursor at the end of the paragraph “NOTE: If
you want to print on letterhead....” Press Enter (Figure
9-27).
H Press FI to tag the new paragraph as BodyBreak.
You have formatted the final paragraph in the 9TECH-
DOC.TXT file. Before we continue, let’s take stock once again.
You’ve already learned about breaks and Auto-Numbering.
Now you are ready to tackle a new feature that will add spark
and dazzle to your Ventura documents. Get ready for some
fun.
y - 34
Style
Figure 9-27.
Adding spot color
If you have the budget, color can add an extra dimension to
your visual communication. With color, you have a powerful
visual aid that can add impact and import to information in a
document. Color can jazz up a dull report or transform a
lackluster manual. As you plan for color in your publication,
don’t get lured into the snare many beginners find themselves
in: placing too many colors in too many shades on a single
page. You’ll find that too many conflicting colors can be garish,
amateurish and at worse, distracting to your main com¬
munication. If you are just starting out in design, we suggest
you stick to one or two colors for your document.
Without going into all the complexities of color theory, in this
section we will show you how to define and apply one color. We
will start with a few basics about color printing.
*+NOTE: If you never use or intend to use color in any of your
documents, feel free to skip ahead to the pictures section.
In traditional printing, there are two ways to print color:
Process color and spot color. Let’s look at both in turn.
In process color printing you run a page through the press
four times. One time for each primary color (cyan, magenta,
and yellow) and another time for black. By mixing these four
colors in different combinations, you get a limitless palette of
L/isaoie cotuns
colors. You would use process color printing to print color
photographs or illustrations with a range of colors. If you have
the budget for photography and/or color illustrations, you can
define over 125 million colors in Ventura and print directly to
a color printer, such as the QMS ColorScript.
On the other hand, if you don’t have the luxury of a color
printer, you can still use Ventura to define one or two colors.
When your document uses only a few colors, you do not use
process printing. Instead, you use what is known as “spot
color.” Spot color runs a page through the press for each color
(plus black) that you define on the page.
Before you give a document to a printer for spot color printing,
you must create a set of color separations, that is, a separate
page for each color you define. For instance, let’s say you
wanted to use two colors, black and red. First, you would
define the colors. In our example, you would apply red to the
desired text, ruling lines, or graphic shapes and backgrounds
in the document. (You can apply the color in any dialog box
that includes color selections.) Second, you would instruct
Ventura to print out a page for every page element that is black
and a separate page for every element that is red. The end
result is a set of color overlays that you can send to an offset
printer for printing.
*+NOTE: With Ventura’s color capabilities, you eliminate the
extra expense of paying an offset printer to make the color
separations for you.
So let’s get started. In this section you will define and apply a
color to one page element. Later in the Chapter section, you
will print out your color overlays. For this example, we will
assume that you are printing to a black and white printer, not
a color printer.
Disable colors
First you will disable the colors that you will not use — in this
case, everthing exept red, black, and white.
§i Enable Paragraph mode.
H Select Define Colors from the Paragraph menu.
Assign a color to selected page elements
Next you will tell Ventura which page elements will be red.
^ Make sure you are on page four.
H Select the Note in the first column (Figure 9-28).
li Select Ruling Box Around from the Paragraph menu.
M Choose Color: Red and click OK.
Assign a color to selected page elements
9 - 37
"Mote" RULING BOX AROUND
□
Width: Column
Colon: Red
PatternSolid
Dashes: Off
36.00
Space Above Rule 1: 00.0 b|
Height of Rule 1: 00.06
Custon Indent:
oo.oo Mi
' !
Space Below Rule 1: 03.08
Custon Width:
GO.OO
Height of Rule 2: 00.00
Space Below Rule 2: 00.00
Dash Width:
00.00
Height of Rule 3: 00.00
Dash Spacing:
80*GO fractional ptsl
Space Below Rule 3: 00.00
DEI
Overall Height: 03.06
mm
Cancel |
You just changed the color of the ruling box around the note.
Now you will change the color of the Head4 tag to red.
^ Select the paragraph “Paper Trays, Paper Cassettes” at the
top of the page.
^ Select Font from the Paragraph menu. Choose Color: Red
and click OK.
Notice that the only colors in the dialog box are white, black
and red, the ones you defined and enabled in the Define Colors
dialog box. Because of time and space limitations, you will
only add color to one page.
9 - 38
Pictures
Pictures
Before you print out the color overlays, you will place pictures
into frames. In this section, you will incorporate illustrations
by adding new frames and importing AutoCAD pictures. You
will also learn to anchor frames to text. As with the rest of this
chapter, you will be learning advanced techniques that may
take extra time and effort to master completely.
Add three frames
Before you place the pictures, you must add the frames to
contain them.
II Check that you are on page four.
II Reset the zero point to its original position at the upper left
corner of the Page by clicking on the 0,0 square in the upper
left corner of the page. Check to make sure that Line snap
and Column Snap are on.
^ Enable Frame mode. Select Add New Frame from the Side-
Bar.
II Add a frame in the first column, starting from position 13
picas on the vertical ruler. Stretch it 14,00 picas wide and
11,00 picas high (Figure 9-29).
Place pictures inside the frames
9 - 39
Desk File Edit View Chapter Frane Paragraph Graphic Options
iilHiil C:\TEI1P\9TECHDGC.CHP (9TECHD0C.STV)
nascit'i.GEn
ELASEK-2
ELGSEft-3.GEM
ElflSEK-i.GEM
ETtCHOOC.TXT
r
EMPTY I
E
Pg 8 0064 |
•Paper Trtys, Piper Cassettejs !
ja-*-t
j UpperLeftX: D9.06 picas i
) UpperLekY: 13,00 picas :
: WkMiiHOO picas |
1 Height: 11,00 picas ■
k_■_ft
jPiperTraps
It Prinl tray >«sitj*n. Hold the print
I tray so the wide end faced towards the:
: fror.t cf the pfir.ttr Insert 1h< phst; :
2 Attachfhemuul feel glide]
the manual feed guide with the
brackets towards the rear of the
printer. Face the ribbed side up
3 LaalpiperinMBu1feel.il
one sheet of paper at a time G
paper along the tray until it or
any further, then stop.
iPiperCassettro
iPk<e the paper in the cassette and
under the paper dips. Insert the pa|
kassette into the skt under the froi
the printer until it stops. The assei
m
Figure 9-29.
NOTE: You can check the frame’s width and height with the
Sizing & Scaling dialog box.
To visually separate the frame from the Page, you will add a
ruling box around.
Ruling Box Width: Frame
Around Height of Rule 1: 00.05 fractional pts
Now you will copy the frame and paste it twice.
i! With the frame still selected, press Shift-Del.
H Press the Ins key to paste a copy on top of the original.
H Press Ins again to insert another copy of the frame.
ii Move the two copies into position. Make sure the top and
bottom edges of the new frames line up with the top and
bottom edge of the original frame (Figure 9-30).
Place pictures inside the frames
H Select the left frame and place the file 9LASER-1.GEM
inside.
^ Select the middle frame and place the file 9LASER-2.GEM
inside.
H Select the right frame and place the file 9LASER-3.GEM
inside (Figure 9-31).
9-40
Pictures
Desk File Edit Uiew Chapter Frane Paragraph Graphic Options
C:\TEMP\9fECHD0C.CHP (9TECHD0C.STY)
1. Print tray position HoVI the print
tray so the wide end faced towards the
front of the printer, Insert the plastic
pins into the front slots above the
Z Attach the nuuul feed ipnde. Hold
■ the manual feed guide with the plastk
| brackets towards the reir of the
| printer. Face the ribbed side up.
2- Load paper in manual feeilnsert
•PaperCassettes
^Uee the paper in the assette ind push it
[under the paper clips. Insert the paper
[assette into the slot under the front of
Jthe printer until it stops. The cassette
mm
Figure 9-31.
NOTE: If you do not have these three pictures from the Power
Disk, substitute others of your own choosing.
Size and scale the pictures
You will use Picture Scaling: By Scale Factors (Sizing & Scal¬
ing dialog box) to scale the pictures in the frames. Select the
left-most frame.
Add a Spacer paragraph
9 - 41
§1 Sizing & Picture Scaling: By Scale Factors
Scaling Aspect Ratio: Maintained
X Offset: + 03,00 picas & points
Y Offset: + 12,00 picas & points
Scale Width: 29,00 picas & points
Use Figure 9-32 to gauge the scale and aspect ratio for the
rest of the three frames.
Desk File Edit View Chapter Frane Paragraph Graphic Options
T
-
t
paper Tra js. Paper Cassettejs
Picture Seating: By Scale Factors
AspectRaio: Maintained
XOfcet+03,00 picas
YOtse* +12D0 picas
Scale Wdfc 29,00 picas
Paper Trays
t Mil tray pasHian Hold the print
tray so the wile end feoed towirds the
front of the printer. Insert the phstir
pins into the front slots above the
Picture Seating: ByScale Factors
AspectRabo: Maintained
XOtiseC +01,06 picas
YOtiset+01,06 picas
Scale Width: 15,00 picas
J2. Atbdi the rranual feed guide. Hold
: the manual feed guide with the phstic
• brackets towards the rear of the
■ printer. Fate the ribbed side up.
il Leadpeper iamanualfeed-lnsert
• one sheet of saner it i time Qbde the
i Picture Seating: ByScale Factors
j AspectRabo: Maintained
j XOfset +01,00 picas
| Y OOset+01,06 picas
i ScaJeWidth: 14,00 picas
TapeiCasseltes i
■Pkct the paper in the cassette and push it i 5®
junder the paper tbps Insert the piper is®
jussette into the slot under thefront of i : :■
•the printer until it stops. The cassette : "T
noils. lUDrmnraiih-. .HQ. jhteli, JL
Figure 9-32.
Add a Spacer paragraph
When you placed the frames, the text automatically re-flowed
on the page. Now you will finish the formatting with one
adjustment — you will add a spacer tag to an empty para¬
graph in the second column to keep the spacing of the num¬
bered items even.
^ Enable Text mode.
H Place the text cursor after the last period in the first Note
paragraph in column 1 (Figure 9-33). Press Enter. Then
press F10 to tag the empty paragraph as Body Text.
^ Enable Paragraph mode.
H Select the empty paragraph you just created (which was
tagged as Body Text).
II Add New Tag Tag Name to Add: Spacer
9 - 42
Pictures
Figure 9-33.
^ Spacing Add in Above: Always
Unlike Body Text, you want the Spacer tag to keep 12.00
fractional pts of extra white space at the top of the column.
The extra space above in the Spacer tag makes the top of all
three columns line up with each other (Figure 9-34).
*+NOTE: You also did not use Body Text as the spacer because
Body Text would cause the Auto-Numbering to reset to one.
Add the final illustration
9-43
Add the final illustration
Now you will go to page five and add the frame for the final
illustration.
^ Go to page five.
H Enable Frame mode.
^ Select Add New Frame. Start the frame at the upper left
corner of the second column and stretch it 30,00 picas wide
and 24,00 picas high. You may want to change to reduced
view to place the frame (Figure 9-35).
Figure 9-35.
U With the frame still selected, choose the file 9LASER-
4.GEM from the Assignment List.
Sizing &
Scaling
Picture Scaling: By Scale Factors
Aspect Ratio: Maintained
X Crop Offset: +08,00 picas & points
Y Crop Offset: +20,00 picas & points
Scale Width: 63,00 picas & points
Add a caption label
You are almost finished with the manual. Let’s make a few
more enhancements to the page by including automatic figure
numbering.
9-44
Pictures
!i With the frame still selected, choose Anchors & Captions
from the Frame menu.
H Choose Caption: Below. Move to the Label line and type:
Figure followed by a space.
^ Choose Inserts: Chapter #, type a hyphen and choose In¬
serts: Figure # and type a period. The code will read [C#] -
[F#] . Click OK.
Add caption text
1! Enable Text mode.
§§ Place the text cursor in front of the end of file mark inside
the caption and type:
The front view of the Laser AstroZ, showing the dis¬
play panel, the toner cartridge door, the release
lever, the paper cassette, and the print tray.
Add a frame anchor
We promised to show you some advanced picture techniques,
and frame anchoring is one of the most useful. Frame anchor¬
ing keeps frames on the same page as the text they refer to.
Once a frame has been anchored, you can make large addi¬
tions and deletions to a text file without worry that the frame
will be displaced from its text reference. It is a two-step
process: (1) insert an anchor reference into the text file and (2)
Add a frame anchor
9 - 45
attach an identical reference to the frame. Once a frame has
been anchored, you can make large additions or deletions to
the text without the fear that you will move the frames. The
Re-Anchor Frames function searches the text file for anchor
references and then moves frames to the correct pages again.
As is so often the case, the best way to understand this ad¬
vanced function is to try it out. Start by placing an anchor
reference into the text on page five.
H! Place the text cursor after the “Z” in the phrase “A Quick
Tour of the LaserAstroZ” on page five.
M Select Ins Special Item (or press Ctrl-C) from the Edit
menu (Figure 9-36).
Cut Text
Paste Text
hi
(Del
Ins
Ins Special Item...
Edit Spsciai Stea*„ I)
Rmm fext/fife^»
Fife
Figure 9-36.
H Choose Frame Anchor (or press the F5 key).
H Move the text cursor to the Frame’s Anchor Name line and
type: 1-1
H Choose Frame’s New Location: Fixed, On Same Page As
Anchor and click OK.
^ NOTE: When Ventura tells you it cannot find the Anchor Frame
1-1, and asks what you want to do about it, choose Ignore.
You have not yet added the anchor.
9-46
Pictures
If Show Tabs & Returns is selected, you will see a degree
symbol (°) in the text to indicate the anchor reference.
** TIP: Like footnotes and index entries, anchor references can
be typed directly into text files using a bracket code. See the
tips at the end of Chapter Eight for details.
After placing the anchor reference in the text, you will attach
an identical anchor name to the frame with Anchors & Cap¬
tions.
H Enable Frame mode. Select the frame.
^ Select Anchors & Captions from the Frame menu.
H Move the text cursor to the Anchor line and type: 1-1
(Figure 9-37).
WARNING: Type the anchor reference exactly the same in both dialog boxes.
Otherwise, Ventura cannot match the two references.
Re-anchoring frames
There is no need to use anchoring until a frame is separated
from the text reference. Just to see the feature in operation,
try deleting the frame you just anchored. Move to any other
page of the document and paste the frame there.
Now you will try re-anchoring.
Adding callouts
9-47
Figure 9-37.
H Select Re-Anchor Frames from the Chapter menu (or press
Ctrl-B) and choose All Pages. If you press the keyboard
shortcut, Ctrl-B, you will automatically Re-Anchor Frames
for all pages.
The frame returns to the page containing the anchor reference
in the text. You may need to re-position it slightly.
Adding callouts
Ventura’s graphics tools are perfect for adding callouts to
pictures. Using Box Text and lines, you can create annotations
and arrows. Since graphic shapes stay tied to the parent
frame, when you move the frame, the callouts move with it.
Draw Box Text
To create callouts, you will start by creating the Box Text.
Then you will type in the actual words, and draw arrows
pointing to specific features in the picture. First you will set
the horizontal and vertical grid settings.
H Enable Graphic mode. Choose the picture frame to make it
the parent to the shapes you will draw.
^ Grid Settings Grid Snap: On
Horizontal Spacing: 00,06 picas & points
Vertical. Spacing: 00,06 picas & points
9-48
Pictures
Select the Box Text tool. Draw a Box Text shape 06,00 picas
wide and 03,00 picas high. Position it close to where we
show in Figure 9-38.
Desk File Edit Uieu Chapter Frane Paragraph Graphic Options
Figure 9-38.
li Line Attributes Thickness: None
Defaults: Save To
H Fill Attributes Color: White
Pattern: Hollow
Results: Transparent
Defaults: Save To
Now add the text part of the callout.
^ Enable Text mode.
H Place the cursor inside the Box Text and type: Display
Panel
Now you will draw an arrow.
II Enable Graphic mode and make sure the picture frame is
selected as the parent. Then select the line tool. Starting
from the end of the word “Panel,” draw a line from the text
to the picture as shown in Figure 9-38.
*+NOTE: Although you could have drawn the arrow before typing
the words, you would have been forced to guess at the precise
location. Placing the arrow after typing the callout makes
placement easier.
Draw Box Text
9 - 49
Figure 9-39.
^ Line Attributes Thickness: Thin
End Styles: (Beginning) Arrow
Defaults: Save To
Repeat the steps above to add two more callouts as shown in
Figure 9-40.
Figure 9-40.
When you are finished, save the chapter and move on to the
Chapter section.
9 - 50
Chapter
Chapter
Now you are ready to print out the chapter and create a set of
color overlays. You will get two sheets of paper for the color
overlays on page four.
^ Go to page 4.
§1 Choose To Print form the Chapter menu.
II Choose Which Pages: All and Spot Color Overlays: On.
Then click OK.
^ When Ventura asks if you want to print 2 spot overlays per
page of the chapter, choose Overlays (Figure 9-41).
PRIMT INFORMATION (POSTSCRIPT - Ultimate) (7]
Which Pages: Current
From Page: 0004
Through Page j 0004
f-
STOP
Are you sure you want to print
2 spot color overlays per page
of this chapter? IF not, either
print just one page for all colors
or cancel the print request.
| One Page |
| Cancel j
Huiti-Chp. Print tiles: i.;onh.me£S
Device Name: POSTSCRIPT
Output To: C0M1:
OK
Figure 9-41.
Ventura prints out the manual. When it gets to page four, it
prints out one sheet for black and one sheet for red.
*+NOTE: If you place the two overlays pages on top of each
other, you can see the resulting effect
Now give yourself a big pat on the back. You made it through
all nine chapters of Ventura expert training. You should be
proud of yourself. Now you are ready to show off your talents
to the world. Get started on those high-powered, award-win¬
ning designs.
For all of you who have the ambition and the determination to
go beyond your own limits, don’t stop here. You are just one
Draw Box Text
9 - 51
chapter away from becoming a true Ventura master. In Chap¬
ter Ten, we tackle the advanced features of the Professional
Extension. If you have the Professional Extension and are
ready for the challenge, go to the next chapter.
Tips and techniques
Text tips
□ You can create a special page break (BodyBreak) tag that
includes a Page Break: After. To force a page break within
the text file, tag an empty paragraph with the page break
tag. All the text following the tag will be forced to the next
page.
□ Auto-Numbering includes two basic steps: first you choose
which tags to number and what style of numbering to use.
Second, you format the numbers that Ventura generates.
□ Initially the generated section number tags have the same
attributes as body text. You can format them like any para¬
graph.
□ You can create a traditional outline format (uppercase
Roman numerals, uppercase letters, lower case Roman,
and so forth) with the Auto-Numbering dialog box. Insert
the Suppress Previous Level symbol ([-]) as the first item on
the Level line. This selection instructs Ventura to suppress
printing of the higher level numbers.
□ Whenever Ventura encounters a Level 1 tag, it resets the
numbering for all the lower levels.
□ Using Body Text to reset numbering will not work properly
if you want to intersperse Body Text between consecutive
numbers in the same list. In these cases, you can create a
special Reset tag. Here’s how you do it: First, go to the
Auto-Numbering dialog box and place the tag name Reset
on the Level 1 line. Now select an empty paragraph and add
a tag called Reset. Align the new tag flush right. Set the
line spacing to a very small amount. Use the Breaks dialog
to set the Line Breaks to No. In essence, you will create an
invisible tag that resides on the same line with other para-
9 - 52
Chapter
graphs. Its only function is to signal Ventura when to start
renumbering from one.
□ When a tag with a ruling box around crosses a page or
column boundary, the paragraph text continues but the
ruling line does not. To avoid this problem, try creating the
same effect with Box Textor text inside a frame.
Picture tips
□ Frame anchoring allows you to tie frames to the text refer¬
ence they refer to. Once a frame has been anchored you can
make large additions and deletions to a text file without
worry that the frame will be displaced from its text refer¬
ence.
□ Like text references and footnotes, frame anchors can be
typed directly into the text file in advance using a bracket
code. The anchor codes are as follows (where anchor name
is the frame reference name specified in Anchors & Cap¬
tions):
Picture frame on same page: <$&anchor name>
Picture frame below: <$&anchor name[v]>
Picture frame above: <$&anchor name[ A ]>
Picture frame floats with text <%8ianchor name [-]>
□ Make sure you type the anchor name exactly the same in
the Insert/Edit Anchor dialog box and the Anchors & Cap¬
tion dialog box. Otherwise Ventura cannot match the two
references.
Miscellaneous tips
□ You can create a special spacer to insert extra spaces be¬
tween paragraphs. Simply tag an empty paragraph with
the above, below, or inter-line spacing desired.
□ It is easier to draw crop marks manually if you temporarily
reset the page margins to equal the trim size of the paper.
Then you can use the column guides to help you position
the marks.
Chapter Ten
Skills Checklist
Theory
□ Using cross references to link text
with frames
□ Ventura’s Table mode
□ The parts of a table
□ Editing tables
□ Understanding vertical justification
Text
□ Inserting cross references
□ Table text
□ Editing table text
Style
□ Building a table
□ Adding tint screens to tables
□ Applying vertical justification
□ Vertical justifications in paragraphs
Chapter
□ Printing a publication to a single disk
file
Chapter Ten
The Professional Extension
B y completing the first nine chapters of Publishing Power
you have gained a solid, working knowledge of Ventura.
Now you are ready to advance beyond the basics to reach a
higher level of expertise. In Chapter Ten, you will broaden
your inventory of Ventura skills and techniques as you learn
the specialized features of Ventura’s Professional Extension.
The checklist on the left gives a preview of the skills you will
learn in this chapter.
Theory
In the first half of the theory section, we will show you how to
operate Ventura’s Cross Reference feature. In the second half,
we will cover the principles behind vertical justification and
Ventura’s automatic table generator, two features that bolster
Ventura’s professional publishing capabilities.
*+NOTE: Because of time and space limitations, we did not
include complex equation editing in this chapter. We did, how¬
ever, include a simple example of equation editing in the
“Insert Fractions”section in Chapter Eight.
Cross references
As you begin to work on long documents of your own, you will
find that keeping track of all the figures, tables, captions, and
pictures is crucial to the success of the project. With the
Professional Extension, Ventura provides a high-powered
device for creating and updating all the page, chapter, figure,
table, caption, or section number references in a document.
10-2
Theory
Among other things, the Cross Referencing feature lets you
keep track of pictures and text as you change a document.
To help you understand cross referencing, let’s apply its basic
principles to the following hypothetical situation:
Imagine that you have created a technical manual with fifty
illustrations. You numbered each frame (with automatic fig¬
ure numbers) and gave it a Frame Anchor name. Figure 10-1
shows how the Anchors & Caption dialog box would appear for
a typical frame in our sample document.
In the text, you have also inserted a reference to each illustra¬
tion that reads “See Figure 1,” “See Figure 2,” and so forth
(Figure 10—2).
Now it’s time to update the manual. You insert a new illustra¬
tion on the first page of the document. With Ventura’s auto¬
matic figure numbering, when you add a frame, you “bump
up” all the subsequent figure numbers in the document. But
the “See Figure...” references in the text keep their old num¬
bers — which are now inaccurate. Normally you would have to
renumber each one individually in Text mode. But if you use
the Cross Reference feature to link each text reference with its
corresponding frame, Ventura can update the numbers auto¬
matically. The following steps show how you can make a cross
reference and link the text reference with a frame. We are
assuming that you have already inserted frames and given
them anchor names, as explained in Chapter Nine.
Cross references
10-3
Figure 10-2.
^ NOTE: The steps below illustrate the theory of cross-refer¬
encing. Later in the chapter you will have a chance to try some
hands-on practice.
• Enable Text mode.
• Place the text cursor where you want the figure number to
appear. Typically, you would place the number after the
word “Figure ” as in Figure 10—3.
Set Font
Nomol
•♦Id
it<uac
Soon
Superscript
Subscript
Underline
|Doublc UndrLn|
Strike-thru
Overscore
L Pg S 8804
joilfLoad I'aper in Manual heed! insert
onesheetofpaperata time. Glide the
paper along the tray until it can’t go
anyfurther, then stop (Figure^).!
P
Figure 10-3.
10-4
Theory
To insert a cross reference you would:
• Select Ins Special Item from the Edit menu and choose
Cross Reference (Figure 10-4).
Desk File 1739 View Chapter Frane Paragraph Graphic Options
■
D
|
|
Nornai
laid
Italic
Small
Superscript
Subscript
Underline
Double UndrLn
Strike-thru
Overscore
upper Cate
■
auHsa;
\*mmm
iBililllilllHIHIII C:\P0HER\PR0FEXT.CHP (PROFEXT.STV) IllilSlll
p.HLoadriaper in Manual heed! insert'
onesheet of paper ata time. Glide the
until it can’t go
n SZE*" ” kFigureb-IT
Box Chan...
Ft
Footnote
F2
Index Entry...
F3
Equation...
F4
Frane Anchor..
. F5
Cross Ref...
F6
Marker Hane...
Fin
Variable Def..
. F8
Table...
Figure 10-4.
• Move to the At The Name line and type in the name of the
frame you want to reference.
*+NOTE: Make sure you enter the same name as you entered
for the Anchor Name line (Anchors & Captions dialog box).
Otherwise , Ventura won’t link up the frame with the cross
reference.
• Move to the Refer Tb line and enter the type of reference
you want to create (Figure 10-5). For our example above,
you would choose F# to references the figure numbers.
Click OK to close the dialog box.
No new numbers appear yet. First you must generate a cross
reference for the chapter. Tb do so, you save the chapters) as
a publication. Then you select Renumber from the Multi-
Chapter dialog box. When Ventura renumbers the publica¬
tion, you will see the correct figure numbers inserted into the
text (Figure 10-6).
If cross referencing seems difficult, don’t be concerned.
Table mode
10-5
Remember you are learning an advanced application that
goes beyond everyday skills. It will become clear with practice.
INSERT/EDIT REFERENCE Q]
fit The Name: 1 -1[_
Refer To: Ftt
Format: Default
OK
Cancel
Figure 10-5.
Desk File Edit View Chapter Frane Paragraph Graphic Options
HA5ER-1.GIH
HASIH-I.GIM
»LASER*!.Gth
K()JEK*4. GIH
PMFEXT.TXT
PROFEXT.TXT
L Pg tt 9604
III C:\PQKER\PROFBU.CHP (PROFEXT.STV) |i»
ii'lfjJoail i’aper in Manual heed! insert'
onesheetofpaperatatime. Glide the
paper along the tray until it can’t go
any further, then stop (Figure l-l°).f
L.
if
III
Figure 10-6.
Table mode
In earlier chapters, you learned several methods for creating
tables. Chapter Two showed how to format simple, single-line
tables using Tab Settings. Chapter Eight explained side-by-
side paragraphs for complex tables. In this chapter, you will
learn how to use the Professional Extension’s table editor, an
advanced capability for generating simple or complex tables.
10-6
Theory
The parts of a table
A table is any text (words or numbers) that is formatted in a
grid of rows and columns (up to 9999 rows or columns with the
Professional Extension). Each table is a collection of in¬
dividual grid units called “cells” (Figure 10-7).
Desk
File Edit View Chapter Frane Paragraph Graphic Options
—
u
a
|« 112 |tt 12 4 |30 |3< |42
T
R
iJL
*
♦
m
□
Figure 10-7. In Table mode, tables are constructed of individual cells.
Ventura can place a ruling box around the table and ruling
lines between each row and column. Or, at your option, you
can hide or change any or all of the lines (Figure 10-8).
Figure 10-8.
The parts of a table
10-7
The table editor assigns row and column numbers. This built-
in numbering system makes it easy to specify a cell or range of
cells. For instance, Figure 10-9 shows the row and column
numbers for a three-row by four-column table.
Figure 10-9.
In Figure 10-9, the grid cell in the upper left corner is
R0C0...R0C1, or row zero, column zero through row zero,
column one. To see the position of a cell, point and click on one
of its ruling lines. Ventura highlights the selected ruling line
in gray and displays the range of rows and columns in the
Current Selection Box (Figure 10-10).
Figure 10-10.
10-8
Theory
** TIP: Ventura sees each grid cell as a box defined by four
borders.
Each cell can contain one or more lines of text. In fact, you can
make every cell a different size. You can also dress up the
table by adding a tint screen to an individual or group of cells.
A tint screen adds visual contrast and helps separate diverse
information.
*+NOTE: You may not be able to get all of the effects if you do
not have a PostScript printer.
You can place a table on the Underlying Page or in a separate
frame that resides on top of the Page. If your table is exces¬
sively long, you can instruct Ventura to continue the table
across a column, a page, or a frame (Figure 10-11).
Figure 10-11.
Editing tables
After you generate a table, you can use Ventura’s standard
editing tools to add or delete rows and columns. You start by
highlighting the cell or range of cells you want to cut or copy.
Then you select Cut or Copy Row/Column from the Edit menu
(or press the Shift-Del or Del keys) to copy or cut cells to the
clipboard. To paste a row or column, select the line between the
row or column where you want to insert the cell(s) and select
Paste from the Edit menu (or press the Ins key).
Editing tables
10-9
*+NOTE: You can select a ruling line even if it is hidden.
In addition to cut, copy, and paste, Table mode lets you change
the table specifications and change column widths.
To change the table settings, click anywhere in the table and
select Edit Table Settings from the Edit menu (or press Ctrl-
D). The Insert/Edit Table dialog box appears. Now you can
change the # of header rows, the ruling line attributes, and
the spacing values for the entire table.
Once you create a table, you cannot change the number of
rows and columns through the Insert/Edit dialog box. Instead,
you must add or subtract rows and columns using Ins Row
and Ins Column from the Assignment List. To do this, you
place the Table Edit cursor on the ruling line where you want
to insert the row(s) or column(s). Then you drag the cursor
across the number of cells you want to insert. If you drag the
cursor over three rows, you are instructing Ventura to insert
three rows. If you drag the cursor across two columns, you are
instructing Ventura to add two columns. After selecting the
number of rows or columns to add, select Ins Row or Ins
Column from the Assignment List.
To change the width of a column, click on the column you wish
to change then select Set Column Widths from the Edit menu.
The current column number is displayed on the Column Num¬
ber line (Figure 10-12).
TABLE COLUMN WIDTHS
Column Number:
*
Width Setting: Variable
Fixed Width:
Variable Width:
00,00
00011
picas R points
proportions
OK
Cancel
Figure 10-12.
10-10
Theory
*+NOTE: To change the column number, click on the left or right
arrows next to the Column Number.
In the Set Column Width dialog box, you can change the
column width by a fixed or variable amount. If you choose
Width Settings: Fixed, Ventura applies the width you specify
to the selected column. To make the column exactly 06,00
picas & points wide, you would enter 06,00 for the Fixed
Width (Figure 10-13).
TABLE COLUMN WIDTHS
Column Number:
1 +
Width Setting: Fixed
Fixed Width:
Uarkble Width:
06,00 picas 8 points
1200 proportions
OK
Cancel
Figure 10-13.
On the other hand, if you choose Variable Width, Ventura
sizes the current column in proportion to all the other columns
in the table. For instance, if you entered a variable width of 2,
Ventura would give the current column two proportional units
of the space left over after creating the fixed columns. Perhaps
the easiest way to understand variable widths is to use per¬
centages. Let’s say you assign columns 1, 2, and 3 variable
widths of 20, 30, and 50. Ventura will give column 1 20 percent
of the space, column 2 30 percent, and column 3 50 percent.
From there, it should be apparent that you could also enter
widths of 2, 3, and 5 to achieve the same effect. To make things
easy on yourself, when first learning variable widths, make
sure that the numbers you enter always add up to a total of 10
or 100 (Figure 10-14).
Figure 10-14.
To determine the size of each column, Ventura uses the vari¬
able proportion you enter in the Insert/Edit Table dialog box
and calculates the relative proportions of the current column
width, the fixed column widths, and the overall width of the
table.
You can also change column widths interactively. In Table
mode, put the cursor anywhere in the column you want to
change. Press and hold down the Alt key. A line appears from
the top to the bottom of the screen (Figure 10-15). Move the
line to change the position of the right-hand column.
Figure 10-15. Press and hold the alt key while sliding the mouse to
interactively change the column width.
10 - 12
Theory
Table text
Now that you’ve learned how to set up the physical dimen¬
sions of a table, let’s take a look at the “text” part of tables. For
every cell in the table Ventura automatically generates a tag
named Table Text. You can format it with the attributes from
Paragraph menu or rename it as a different tag. In this
chapter’s table, you will change the text attributes of Table
Text and add a new tag for the table title.
Vertical justification
Vertical justification is a sophisticated typographic technique
that makes text fill to the bottom of a column, frame, or page.
Just as horizontal justification aligns text on both right and
left edges of a column or page, vertical justification aligns text
with the top and bottom edges of a column or page (Figure
10—16 and Figure 10-17).
To understand vertical justification, you must first under¬
stand why Ventura cannot always fill text to the bottom of the
page. As you know from earlier projects, Ventura flows as
much text onto a page or frame as possible, then stops. If the
text file you place does not contain enough text to reach the
bottom, a large gap is left over. Likewise, gaps are made when
you force headings to stay with the following text using Keep
With Next (Breaks menu), and when you prevent single lines
Vertical justification
10-13
Figure 10-17. After applying vertical justification.
of text at the top or the bottom of the page with the Widows
and Orphans control (Chapter Typography menu). Further¬
more, you make extra spaces whenever you arbitrarily insert
a page or column break (Figure 10-18).
Figure 10-18.
To eliminate unattractive “holes” at the bottom of a page, you
can use the vertical justification control in the Professional
Extension. Ventura will add space until the text reaches the
bottom of the column or page according to the rules you define.
You tell Ventura how much space to add between frames,
paragraphs, tables, and lines of text. Ventura then adds space,
to the maximum you specified, in the following order:
10-14
Theory
1. Between frames and the surrounding text
2. Between paragraphs or between paragraphs and tables
3. Between individual lines of text
*+NOTE: During vertical justification, space is always added,
never subtracted. Vertical justification never moves text across
the boundary of a page.
For a preview of each vertical justification control, take a
moment to read through Table 9-1. The table shows you
where to find each vertical justification control, which settings
are available, and what each option does .
Because vertical justification is an advanced typographic ef¬
fect, you may not understand the effects of every vertical
justification control. Don’t let that bother you. For now, con¬
centrate on observing how text flows and reflows on the page
before and after you turn on vertical justification. Then try
changing one or another vertical justification setting to see
the results. As you already know, the best way to understand
a complex feature is to explore its options on your own. For the
project in this chapter, you will have the chance to experiment
with vertical justification as you fine-tune the page format in
the technical manual.
Now that you’ve read through the theory section of the chap¬
ter, you are prepared for some hands-on practice. In the next
few sections, you will have a chance to apply the Professional
Extension’s powerful tools to a real-life project.
Vertical justification
10-15
Table 9-1. Vertical Justification Settings
Menu
Setting
Option
What It Does
Chapter
Vert. Just. Within Frame
Carding
Space added in multiples of Body Text
inter-line spacing only
Feathering
Space added in exact amount of space
needed for text to reach the bottom of
the page or column
Vert. Just. Around Frame
Moveable
Frame can be moved down and space
added below
Typography
Fixed
Frame cannot be moved from its original
position.
Space can be added below frame only
Vert. Just. Allowed
100.0%
Increase or decrease amount of vertical
justification allowed on each page
At Top of Frame
Enter value
Set equal to Body Text inter¬
line spacing
At Bottom of Frame
Enter value
Set equal to Body Text inter¬
line spacing
Frame
Typography
Same as Chapter Typography
same
Can override global settings from Chap¬
ter Typography menu for an individual
frame or inserted page
Paragraph
Typography
Vert. Just. At Top of Para
Enter value
Set equal to Body Text Above Spacing
Vert. Just. At Bottom of Para.
Enter value
Set equal to Body Text Below Spacing
Between Lines of Para
Enter value
Set to zero
Insert/Edit
Tables
Same as Paragraph Typography
same
Tables are treated like paragraphs for
vertical justification
10 - 16
Ventura prep
Ventura prep
For this project you will work with the technical manual you
created in Chapter Nine of Publishing Power. If you have
already completed the project in Chapter Nine, follow the
instructions outlined in the section, “If you completed chapter
nine.” If you did NOT complete Chapter Nine, you can use the
preformatted chapter supplied on the Power Disk, following
the instructions in the section “If you have the Power disk.” If
you do not own the Power disk and you did not complete
Chapter Nine, follow the instructions in the section “If you do
not have the Power disk.”
*+NOTE: We recommend that you finish Chapter Nine before
you venture any further with the Professional Extension.
Otherwise, you may find it difficult to follow along. Many skills
presented in this chapter build on techniques in Chapter Nine.
If you have the Power disk
m Open the chapter C:\POWER\PROFEXT.CHP.
H Use Save As New Style to save the style sheet as
C:\TEMP\PROFEXT.STY.
^ Use File Type/Rename to rename the text file as
C:\TEMP\PROFEXT.TXT.
^ Save the chapter as C:\TEMP\PROFEXT.CHP.
If you do
not have the Power disk
Use your word processor to type in the text file for Chapter
Ten from Appendix A. Load it in Ventura and save it as
C:\TEMP\PROFEXT.TXT.
H Load the original style sheet &TBL2-L1.STY from the
C:\TYPESET subdirectory. Use the tag table for Chapter
Ten from Appendix A to change the columns and margins
and the tag definitions you will need for the project. Then x
save the revised style sheet as C:\TEMP\PROFEXT.STY.
If you completed chapter nine
10-17
Figure 10 - 19 . Those WITHOUT the Power disk must insert the above
frames into the document.
H Add frames to pages in the document (Figure 10-19).
m Save the chapter as C:\TEMP\PROFEXT.CHP.
If you completed chapter nine
S Open the chapter 9TECHDOC.CHP from the C:\TEMP
subdirectory.
HI Use Save As New Style to save the style sheet as
C:\TEMP\PROFEXT.STY.
H Use File/iype Rename to rename the text file as
C:\TEMP\PROFEXT.TXT.
M Save the chapter as C:\TEMP\PROFEXT.CHP.
Text
How many times have you used your word processor’s search
and replace feature to quickly update information in a text
file? More than likely, search and replace has become an
indispensable part of your text editing tool kit. In this section,
we will show you how to use the Professional Extension’s cross
referencing feature to replace text while you are in Ventura.
Before you can trigger the replace operation, you must define
the variable text and the substitute text. Variable text is a
10-18
Text
word or phrase that changes in the document. For instance, in
the sample technical manual, the product name , “Laser Astro-
Z,” is the variable. (The product name will change when the
XYZ corporation manufacturers a new line of printers next
month.) The substitute text in our example is the new product
name, “TurboSpeed-X.” When you activate the replace func¬
tion, the new product name will appear throughout the docu¬
ment.
After you define the variable and substitute text, you must
insert a cross reference marker in the text wherever you want
the substitute text (the product name) to appear. For instance,
on page one of the document you would delete the words Laser
AstroZ, then insert a cross reference in the space between the
words “the” and “printer ” in the first paragraph “Thank you
for choosing the_printer from XYZ Corporation.”
** TIP: The cross reference you insert is a hidden text attribute,
similar to the hidden footnote and index attributes you inserted
in Chapter Eight. If you want to see the attribute marker (the
degree symbol) displayed on-screen, make sure you select
Show Tabs & Returns from the Options menu.
After all cross reference markers are inserted, you will select
Renumber from the Multi-Chapter dialog box to activate the
replace operation. From now on, whenever you want to change
the product name in the manual, just enter new substitute
text and Renumber the chapter.
*+NOTE: You can replace different variables within one chapter.
Now it’s time to apply the theory to a practical test. Start by
defining the text variable.
^ Go to page one (the cover page) of the technical manual.
II Enable Text mode.
II Place the text cursor before the “T” in the word “The”
(Figure 10-20).
P Select Ins Special Item from the Edit menu. Choose Vari¬
able Def (or press the F8 key).
Figure 10-20.
i§ Move to the Variable Name line and type: Product, which
is the variable name to which you will refer when you insert
the cross reference attributes in the text file.
*+NOTE: When you insert a variable text definition in a text file,
Ventura generates a hidden attribute and attribute marker (you
can see the marker, a degree symbol, when Show Tabs &
Returns is on). By inserting the attribute marker at the begin¬
ning of the document, you make it easier to locate.
Now move to the Substitute Text line and type:
TurboSpeed-X
The words Variable Def. appear in the Current Selection Box
and a degree symbol is displayed on-screen to show the hidden
text attribute. Later, when you renumber the publication,
Ventura will insert the name “TurboSpeed-X,” at each cross
reference location.
Now that you’ve entered the variable and substitute text, you
are ready to insert the cross reference markers.
i§ While you are in Text mode, delete the name “Laser Astro-
Z,” on the cover page. (Be careful not to delete the variable
definition you just inserted.)
Now you will place a cross reference after the title word “The”
on the cover page.
M Without moving the cursor, select Ins Special Item from the
Edit menu (Figure 10-21).
II Choose Cross Reference (or press F6). Move to the At The
Name line and type: Product
H Choose Refer To: V* and click OK (Figure 10—22).
The word Reference appears in the Current Selection Box and
a degree symbol is displayed on-screen to show the hidden
text attribute.
You will now continue to insert cross references in the docu¬
ment.
If you completed chapter nine
10-21
Delete here
INSERT/EDIT REFERENCE
0
fit The Name: Product
Refer To: U*
Format: Default
■P
Cancel
Figure 10-22.
^ Press PgDn to go to page 2.
M Delete the first occurrence of the words “Laser AstroZ,” in
the first paragraph of the second column. Be careful to
retain the space before and after. (Figure 10-23).
Desk File Edit View Chapter Frane Paragraph Graphic Options
j E5 h;e=;=~==;==
lipra
1 ™ ie •«• 1
et Font
t
a
Hornoi
•old
Italic
Small
Superscript
Subscript
underline
Double Undrln
Strike-thru
Overscore
Upper Cate
L
I gii!iii!|iiiiBiBiBiliiri^\TEiflp\PROFExf tPROFDrrsT^liiigai
Getting Started!
I A Word to O .
^printer jives you the
•power for ill your desktop publishing
needs The Laser AstroZ comes standard
jtfith PostScript, as well as Hewlett-Paclf
*rd PCI and HPGL for programs you
stall use that are non-PostScript com¬
patible. I
•Introduction!
Tirst well show you hot to unpack and
Instill your User AstroZ p inter. You
•should carefully check to make sure you
^ave the following rtems.f
ONE IBM PC DISKETTE in 5-W
format!
■You am
Before you in
•sure it is Vxa
jtway from di
•make sure th
[wiring is ade<;
•should not
[tied voltage n
jprinter. Avoid
loffxe with ab
tore. Do not p
faucets, heat*
humidifiers,
Place the print
jehes away frej
jroom in the frj:
•open freely.!
E
Figure 10-23.
Now you will place another cross reference between the words
“the” and “printer” in the first paragraph.
^ Without moving the text cursor, select Ins Special Item
from the Edit menu (Figure 10-24).
10-22
Text
Desk File ML View Chapter Frane Paragraph Graphic Options
yyygg-jgjigj
gj Table Edit |
et Font
7
Normal
Bold
italic
Snail
Superscript
Subscript
Underline
Double UndrLn
Strike-thru
Overscere
Upper Case
L
Pg 8 8002
C:\1EMP\PR0FEXT.CHP (PROFEXT.STV)
Getting Started!
Box Chan...
FI
Footnote
F2
Index Entry.,,
F3
Equation...
F4
Frane Anchor.,
F5
Hrt*
Marker Matte...
Fn
Variable DeF..
FB
Table...
F9
IA Word to Owners f
Think you for choosing the (printer from
" Corporation. This high quality User
ter gives you the flexibility and
F2 fr for all your desktop publishing
s. The Laser AstroZ comes standard
PostScript, as well as Hewlett-Pack
CL and HPGL for programs you
use that are non-PostScript com
tie. I
>ductionT
well show you hot to unpack and
SnstaTI your Laser AstroZ printer. You
•should carefully check to make sure you
Juve the following items!
ONE IBM PC DISKETTE in 5-1/4"
formitf
■You am
Sefore you m
•sure it is loca
jaway from di
jmake sure th
firing is id«
•should not va
tied voltage
printer. Avoid
office with ib.
ture. Do not p
faucets, heate:
humidifiers,
PUcetheprinj;:
dies away frdj
jroom in the frj
iopen freely!
E
Figure 10-24.
M Choose Cross Reference (or press F6). Move to the At The
Name line and type: Product
H Choose Refer To: V* and click OK to close the dialog box..
Repeat the steps above to insert five more cross references in
place of the name Laser AstroZ everywhere in the document
(pages 2, 3, and 5).
Now that you’ve inserted all the cross references, you are
ready to Renumber the chapter.
H Save the chapter by pressing Ctrl-S.
II Select Multi-Chapter from the Options menu. The chapter
C:\PROFEXT.CHP appears at the top of the list.
*+NOTE: If the PROFEXT.CHP chapter is not listed, select New
to start a new publication. Then choose Add Chapter. Move to
the C:\TEMP subdirectory and select the chapter PROF-
TEXT.CHP. Ventura will return you to the Multi-Chapter dialog
box and place the PROFEXT.CHP at the top of the list.
il Select Save As to save the publication as
C:\TEMP\PROFEXT.PUB.
Once you’ve made the publication, you can renumber it.
^NOTE: Be sure the chapter is not highlighted. Otherwise, the
Renumber operation will not be available for selection.
Appendix A
A- 9
@BODYFIRST = <B>Acme Company<D> has an¬
nounced a new large-screen display compatible
with Xerox Ventura Publisher. The new B-X-100
is the first display to incorporate four graphics
co-processors. A co-processor is a specialized
microchip that speeds display speed. The 19-inch
monitor and add-in graphics adapter will ship in
the last quarter of this year.!
!
@BODYFIRST = <B>The Ventura Classroom<D>
is now open from 5:00 to 7:00 p.m Tuesday and
Thursday of every week. A member of the Market¬
ing Communications Department will be on hand
during those hours to answer questions and help
with problems.!
!
@BODYFIRST = <B>An employee discount<D>
was announced for the purchase of small com¬
puters. XYZ, which receives a volume discount on
its computer purchases, has made arrangements
to pass this discount on to employees who wish to
buy computers or related equipment for home use.
©BODYFIRST = <B>A new desktop publishing-
related job position<D> has been created in the
Engineering Department, which recently an¬
nounced its intention to convert its entire library
of technical documentation to electronic form.
Now the production of technical manuals and
other technical documentation will be automated
as well. In accordance with company policy, the
new position will be filled from within XYZ if
possible. If no suitable internal candidates
present themselves within two weeks, the job will
be advertised in local papers.!
!
©BODYFIRST = <B>ABC Company<D> has
released a low-cost document scanner capable of
sensing and transmitting 16 levels of gray. Priced
under $3,000, the scanner permits desktop pub¬
lishers to convert halftones to electronic form.
ASCII file to create: C:\TEMP\6NEWS-4.TXT
©STAFFBOX = Paginations is published quarter¬
ly for the employees of XYZ Corporation, Los An¬
geles, CA. Copyright 1989 by XYZ Corporation, all
rights reserved. Reproduction in whole or in part
ASCII file to create: C:\TEMP\6NEWS-5.TXT
@KICKER = Tip of the month!
!
©HEAD3 = Preformatting Ventura documents!
!
©BODYFIRST = Ventura Publisher allows you to
preformat text files by inserting tags names into
the original word processing file. By inserting
these tags in advance, you save the time of paging
through the document and tagging each text para¬
graph in Ventura. This is also a handy way to
divide responsibilities, so writers can tag docu¬
ments without worrying what the format will look
like.!
!
Preformatting is the ultimate time-saver and it’s
not difficult. One simple trick is to program the
tag names into a keyboard macro processor to
save typing time. The proper format uses the at
sign (@) at the left margin followed by the name of
the tag, an equals sign (=) and the text. Thus, if
we were using a word processor to preformat this
article, the title might look like this in the file:!
!
without written permission is strictly forbidden.
The editors welcome submissions, but cannot be
responsible for manuscripts or their return.
©HEADLINE = Preformatting Ventura docu¬
ments!
!
Don’t forget the space at both sides of the equals
sign and don’t forget to spell the tag name exactly
as it appears in the style sheet. Approved XYZ
style sheets come with a listing of all the tag
names for handy reference. As you add tags to the
style sheet, you can capitalize the name or not as
you prefer. Many people choose to use all capitals,
or start the name with a symbol such as ! so the
tags stand out from the text.!
!
©HEAD4 = Choosing tag names!
!
By choosing <169>generic<170> tag names, you
will find that you can reuse them over and over
again. For instance, tags like <169>Title,<170>
<169>List,<170> and <169>Subhead<170> will
apply to most documents. Then by changing style
sheets, you can change the entire format of the
document.!
!
A - 10
Text Files
If you don’t like the keyboard macro idea, try
building word processor template files. Load an
unformatted text file into Ventura and tag it as
you would normally. When everything is perfect,
save the chapter (thereby saving the tags into the
text file.*n
!
Now make a copy of the file under a new name.
Remove the text, leaving only the tags. Assuming
the tag names are self-descriptive, a template
makes it fill-in-the-blanks simple to create prefor¬
matted files. To make it even simpler, annotate
the template with the word processor’s hidden
text feature.!
ASCII file to create: C:\TEMP\6TOC.TXT
INSIDE!
!
@TOCENTRY = Training workshops
underway—>11
!
Chapter Seven
ASCII file to create: C:\TEMP\7DIRECT.TXT
@HEADSECTION = Manufacturers !
!
@HEAD1=A!
!
@HEAD2 = Adobe, Inc!
!
1870 Embarcadero Rd.<R>Palo Alto, CA 94303'!
!
@HEAD3 = Product: f
u
©ITALKWN = PostScript, Illustrator, Adobe Type
Library'll
@HEAD3 = Phone:f
!
@ITALSEPARATE = (415) 852-02711
1
@HEAD2 = Allied Linotype Co.!
!
425 Oser Ave.<R> Hauppauge, NY 11788!
!
@HEAD3 = Product: !
!
@ITALSEPARATE = Linotronic 100 and 300!
!
@HEAD3 = Phone: !
!
!
The template method is particularly useful when
an editor must work with multiple authors.!
!
Authors can also assist in the layout process by
inserting tags that create space for illustrations.
If you uses visuals in standard sizes, create a tag
that leaves the correct amount of space on the
page. The authors can type in the name of the
illustration or even its caption. This tagged para¬
graph creates space where the layout editor will
want to place the actual frame. The editor can
delete the tag and insert the frame that will con¬
tain the illustration.
@TOCENTRY = Ventura complements CAD->1!
!
@TOCENTRY = Newsline-»2!
!
@TOCENTRY = Tip of the month->3
©ITALSEPARATE = (516) 434-2016!
!
@HEAD2 = Autodesk, Inc.!
!
2320 Marinship Way<R>Sausalito, CA 94965!
!
@HEAD3 = Product:!
!
@ITALKWN = AutoCAD, AutoSketch!
!
@HEAD3 = Phone:!
!
©ITALSEPARATE = (415) 332-2344!
!
@HEAD1 =D!
!
@HEAD2 = Datacopy Corp.!
!
1215 Terra Bella Ave<R>Mountain View, CA
94043!
!
@HEAD3 = Product:!
!
@ITAL KPWTHNXT = Model 730 Scanner!
!
©HEAD3 = Phone:!
!
Appendix A
A -11
©ITALSEPARATE = (415) 965-79001
1
©HEAD2 = Digital Research Inc.1
1
60 Garden Court<R>Monterey, CA 939421
1
@HEAD3 = Product: 1
1
©ITALKWN = GEM Desktop, GEM Draw Plus,
GEM Paintl
1
©HEAD3 = Phone: 1
1
©ITALSEPARATE = (408) 649-38961
1
©HEAD1 = HI
1
@HEAD2 = Hewlett-Packardl
1
P.O. Box 15<R>Boise, ID 837071
1
@HEAD3 = Product: 1
1
@ITALKWN = Laseijet Plus, Laserjet II, Scanjet
1
1
@HEAD3 = Phone: 1
1
@ITALSEPARATE = (208) 323-38691
1
@HEAD1 = I1
1
@HEAD2 = Imagen 1
1
2650 San Tomas Expressway<R>Santa Clara, CA
950511
1
@HEAD3 = Product: 1
1
@ITALKWN = DDL Languagel
1
@HEAD3 = Phone:1
1
©ITALSEPARATE = (408) 986-94001
1
@HEAD1=LI
1
©HEAD2 = Lotus Development Corp.1
1
55 Cambridge Parkway<R>Cambridge, MA
021421
1
@HEAD3 = Product: 1
1
©ITALKWN = Lotus 1-2-3, Symphony, Freelance,
Graphwriterl
1
©HEAD 3 = Phone: 1
1
©ITALSEPARATE = (617) 577-85001
1
©HEAD1 = M1
1
©HEAD2 = Media Cyberneticsl
1
8484 Georgia Ave., Ste. 200<R>Silver Spring, MD
209101
1
@HEAD3 = Product: 1
1
©ITALKWN = Halo Desktop Publishing Editorl
1
©HEAD 3 = Phone: 1
1
©ITALSEPARATE = (301) 495-33051
1
@HEAD2 = MicroPublishingl
1
21150 Hawthorne Blvd., Ste. 104<R>Torrance,
CA 905031
1
©HEAD3 = Product: 1
1
©ITALKWN = microPublishing Report Newslet¬
ter, Ventura Style Sheetsl
1
©HEAD3 = Phone: 1
1
©ITALSEPARATE = (213) 376-57241
1
©HEAD1 = R1
1
©HEAD2 = Ricoh Corp.1
1
5 Dedrick Place<R>West Caldwell, NJ 070061
1
@HEAD3 = Product: 1
1
@ITALKWN = IS30 Scannerl
1
@HEAD3 = Phone: 1
1
©ITALSEPARATE = (201) 882-20001
1
©HEAD1 = SI
1
©HEAD2 = Sigma Designsl
1
46901 Landing Parkway<R>Fremont, CA 945381
A -12
Text Files
'll
©HEAD3 = Product: !
!
©ITALKWN = LaserView Display System'll*1
!
@HEAD3 = Phone: !
1
@ITALSEPARATE = (415) 770-0 100!
1
@HEAD2 = Symsoft!
1
P.O. Box 477<R>Mountain View, CA 94040*0
1
@HEAD3 = Product: 'll
1
@ITALKWN = HotShot*!
1
@HEAD3 = Phone: !
1
@ITALSEPARATE = (415) 941-1552*11
1
@HEAD1 = T1
!
@HEAD2 = Tall Tree Systems!
!
ASCII file to create: C:\TEMP\7DIRECT2.
@HEADSECTION = Products !
@HEAD1 = FI
!
@HEAD2 = Fonts and Font Software'll
H
©HEAD4 = Adobe Typeface Library!
!
©COMPANY = Adobe Systems Inc.!
!
@HEAD3 = PostScript:!
!
@ITALKWN = Yes!
!
@HEAD3 = Computers:!
!
©ITALKWN = Macintosh, IBM PC!
!
©PHONE = (415) 852-0271!
!
©HEAD4 = Conofonts!
!
@COMPANY = Conographics!
!
©HEAD3 = PostScript:!
1120 San Antonio Rd.<R>Palo Alto, CA 94303!
!
©HEAD3 = Product: !
!
@ITALKWN = JLaser Plus!
!
©HEAD3 = Phone: !
!
©ITALSEPARATE = (415) 964-1980!
!
©HEADl=V!
!
@HEAD2 = Verticom, Inc.!
!
545 Weddell Dr.<R>Sunnyvale, CA 94089-2114!
!
@HEAD3 = Product: !
!
@ITALKWN = Desktop 1280!
!
©HEAD3 = Phone: !
!
©ITALSEPARATE = (408) 747-1222!
!
©ITALKWN = No!
!
@HEAD3 = Computers:!
!
©ITALKWN = IBM PC!
!
©PHONE = (714) 474 -1188!
!
©HEAD4 = Fluent Fonts!
!
©COMPANY = Genny Software Research and
Development!
!
©HEAD3 = PostScript:!
!
@ITALKWN = Yes!
!
©HEAD3 = Computers:!
!
@ITALKWN = Macintosh!
!
@PHONE = (409) 860-5817!
!
@HEAD4 = Hewlett Packard Soft Fonts!
!
@COMPANY = Hewlett Packard!
Appendix A
A - 13
!
@HEAD3 = PostScript:!
!
@ITALKWN = No!
@HEAD3 = Computers:*!
!
©ITALKWN = IBM PC'!
@PHONE = (800) 538-8787!
1
@HEAD4 = PC Fontwarel
!
©COMPANY = Bitstream^
@HEAD3 = PostScript:!!
!
@ITALKWN = No!!
!I
@HEAD3 = Computers:!!
!
©ITALKWN = IBM PC'!
1
@PHONE = (617) 497-6222!!
1
@HEAD1 = GH
@HEAD2 = Graphics Software!!
1 !
@HEAD4 = AutoCAD !I
!
©COMPANY = Autodesk,Inc.*!
1
©HEAD3 = Ventura Format:*!
1
@ITALKWN = SLD or GEM*!
!
©HEAD3 = Computers:!!
1
©ITALKWN = IBM PC*!
1
@PHONE = (415) 332-2344*!
!
@HEAD4 = Desktop Publisher’s Graphics!
!
@COMPANY = IMS I!
!
@HEAD3 = Ventura Format:!
@ITALKWN = Image!
!
@HEAD3 = Computers:!
!
@ITALKWN = IBM PC!
!
©PHONE = (415) 454-7101!
!
@HEAD4 = Halo DPE!
!
@COMPANY - Media Cybernetics!
!
@HEAD3 = Ventura Format:!
!
@ITALKWN = Halo DPE!!
!
©HEAD3 = Computers:!
!
©ITALKWN = IBM PC!
!
@PHONE = (301) 495-3305!
!
@HEAD4 = PC Paintbrush Plus!
!
@COMPANY = ZSoft!
!
©HEAD3 = Ventura Format:!
!
©ITALKWN = PC Paintbrush!
!
©HEAD3 - Computers:!
!
©ITALKWN = IBM PC!
!
@PH0NE = (404) 980-1950!
!
@HEAD1 = M!
!
©HEAD2 = Monitors!
!
@HEAD4 = Crystal View!
!
©COMPANY = Taxan!
!
@HEAD3 = Resolution:!
!
@ITALKWN = 1,280 x 960!
!
@HEAD3 = Display Size:!
!
@ITALKWN = 19!!
!
©PHONE = (818) 810-1291!
!
@HEAD4 = Laserview!
!
©COMPANY = Sigma Design!
!
©HEAD3 = Resolution:!
!
@ITALKWN = 1,664 x 1200!
A -14
Text Files
1
@HEAD3 = Display Size:*!
©ITALKWN = 191
1
©PHONE = (415) 770-01001
1
@HEAD4 = Viking II
1
©COMPANY = Moniterml
1
©HEAD3 = Resolution:1
1
@ITALKWN = 1,280 x 9601
1
@HEAD3 = Display Size:1
1
©ITALKWN = 19.61
1
@PHONE = (612) 935-41511
1
@HEAD4 = Wy-7001
1
@COMPANY = Wyse Technologyl
1
@HEAD3 = Resolution: 1
1
©ITALKWN = 1,280 x 8001
1
@HEAD3 = Display Size:1
1
@ITALKWN = 151
1
@PHONE = (408) 433-10001
1
@HEAD1 = SI
1
©HEAD2 = Scanners - Graphics and OCR1
1
@HEAD4 = Crystal Scan Image Scanner Model
30011
1
©COMPANY = Taxan Corporationl
1
©HEAD3 = Scan Area:1
1
@ITALKWN = Platen Feedl
1
@HEAD3 = List Price: 1
1
©ITALKWN = $1,6951
1
@PHONE = (818) 810-12911
1
@HEAD4 = Datacopy 7301
1
©COMPANY = Datacopyl
1
@HEAD3 = Scan Area:1
1
@ITALKWN = Flatbedl
1
@HEAD3 = List Price :1
1
©ITALKWN - $1,8001
1
@PHONE = (800) 821-28981
1
©HEAD4 = Microtek MS-300C1
1
@COMPANY = Microtek Lab, Inc.1
1
©HEAD3 = Scan Area:1
1
@ITALKWN = Platen Feedl
1
©HEAD3 = List Price:1
1
©ITALKWN = $1,7951
1
©PHONE = (213) 321-21211
1
@HEAD4 = The Laser Scanner, Model KS-3001
1
©COMPANY = Princeton Graphics Systemsl
1
@HEAD3 = Scan Area:1
1
©ITALKWN = Platen Feedl
1
©HEAD 3 = List Price :1
1
@ITALKWN = $1,0951
1
©PHONE = (609) 683-16601
1
@HEAD1 =U1
1
@HEAD2 = Utilitiesl
1
©HEAD4 = PubSetl
1
©COMPANY = EDCO Servicesl
1
@HEAD3 = Description^
1
©ITALKWN = Software typesetter driver to send
Ventura documents directly to your typesetterl
1
©HEAD3 = List Price :1
Appendix A
A - 15
1
©ITALKWN = $4,2331
H
@PHONE = (813) 962-78001
1
©HEAD4 = VPToolboxI
1
@COMPANY = SNA, Inc.1
1
@HEAD3 = Description:1
*1
©ITALKWN = File management program that
lets you review the contents of related files and
style sheetsl
1
@HEAD3 = List Price:1
1
@ITALKWN = $991
1
©PHONE = (609) 683-12371
1
@HEAD4 = VP/Saddlel
1
©COMPANY = The Laser Edgel
1
©HEAD3 = Description:!
1
@ITALKWN = Enhanced features for printing
books and booklets with PostScript Printersl
1
©HEAD3 = List Price:1
1
@ITALKWN = $791
1
©PHONE = (415) 835-15811
1
@HEAD4 = Headlinel
1
©COMPANY = Corell
1
@HEAD3 = Description:1
1
©ITALKWN = Application program which gives
access to the powerful graphics features of Post-
Scriptl
1
@HEAD3 = List Price:!
1
©ITALKWN = $891
1
@PHONE = (613) 728-82001
1
Chapter Eight
ASCII files to create: C:\TEMP\8BOOK.TXTand C:\TEMP\8PRINT.TXT
If you do not want to type in the two text files
below, substitute two text files of your own and
rename them as shown above. Text files of five
ASCII file to create: C:\TEMP\BOOK.TXT
@CHAP# = Chapter Sixl
1
@CHAPTITLE = <$IDesign;Design Prin-
ciples>Design Principles!
1
@BODYFIRST = Getting top-quality books from a
desktop publishing system requires special know¬
how in two areas: design and printing. This chap¬
ter discusses the theory of design. The following
chapter, Chapter Seven, outlines the steps to take
before going to a commercial printer. 1
1
This chapter offers comments on the principles of
<$IBooks;Book design>book design <MI>as they
apply to desktop publishing<D>. In some cases,
the realities of desktop publishing force changes
from traditional methods. 1
pages or longer are best. Save them in ASCII
format.
1
@HEAD1 = Design Terminology!
1
If you're new to page design and typography,
you’ll need to learn a few words. You’ll encounter
this vocabulary over and over again in software
manuals and in conversations with graphic desig¬
ners and commercial printers. This specialized
terminology applies to three areas: (1) describing
pages, (2) measuring pages and (3) describing
type.1
1
©HEAD2 = <$IDescribing pages>Describing
Pages 1
1
The most common page elements used in tradi-
A -16
Text Files
tional and desktop publishing are described
below:!
1
A <$ICallouts>callout is a brief text label used to
describe one part of an illustration. Callouts are
often accompanied by arrows. <MS>!
!
A <$ICaption>caption is a brief description that
labels or describes the entire illustration. Also
referred to as a <$ACutline;CaptionxMI>cut-
line<D> or a <MI>legend<D>. 1
!
The chapter number and chapter title identify the
section of the book. Often one or both are repeated
in the header.!
1
<$ICrop marksx$SCrop marks;Describing
Pages>Crop marks are small lines, usually at the
corner of the live area, that show the offset
printer where to cut the pages after printing.
They are also used by the printer to align each
page correctly. Also called <$ICorner Marksx$A-
Corner marks;Crop marks>corner marks, or<MI>
<D>trim marks.f
1
The <$IFolio>folio is the page number.'ll
!
A <$IFooter>footer is a line or two of text that
appears at the bottom of every page (or almost
every page). A footer may include the folio (page
number) or other information.!
!
A <$IGutter>gutter is the white space between
two areas of text. Gutters appear between
columns on a page. The word also refers to the
margin between facing pages.<MS>!
1
A <$IHeader> header is a line or two of text that
appears at the top of every page (or almost every
page). A header often includes the title of the
book, the title of the chapter and/or the
folio.<MS> <D>Alternating <$IHeader;Alternat-
ing headers and footers>headers and footers put
different information on left and right pages.
Quite often the header is omitted from the<MI>
<D>first page of a chapter.<MI>1f
!
A <$IHeading>heading is a few words set off from
the rest of the text to describe a major section of
the chapter. Also called a main heading.<B>!
1
A keyline is a thin rule that shows the printer
where to position a halftone or other illustration.’ll
!
The live area is the area of the page that receives
ink when printed.!
1
The margins are the white borders that surround
the live area. Margins must be carefully con¬
sidered to take into account the look of the book,
the binding method and the limitations of laser
printers. !
1 /
A subhead is a few words set off from the rest of
the text to describe a minor section of the chapter.
Also called a <MI>minor heading<D>. !
H
@HEAD2 = Measuring Pages'll
Most Americans are comfortable with inches. But
for desktop publishing, the method called
<MI>printer’s measure<D> or <MI>the point sys-
tem<D> is superior. Since type sizes are always
specified in points, it makes sense to use printer’s
measure for everything on the page so you don’t
waste time converting back and forth. In addition,
the point system has units that are much smaller
than inches, so it is rarely necessary to complicate
things with fractional units. By contrast, using
inches requires you to make many fractional com¬
putations.1
!
For these reasons, printer’s measure is the easiest
way to talk to a page layout program. (Most
programs let the user choose between inches, cen¬
timeters or printer’s measure.) The two most im¬
portant units in printer’s measure are
<MI>points<D> and <MI>picas<D>.!
1
Points are a very small unit, about 1/72 inch.
They are used to measure type sizes and rules.
The point size of a typeface is is roughly the meas¬
urement from the highest ascender (the top of a
<169>b<170> for instance) to the lowest descend¬
er (the bottom of a <169>g<170>). This is only an
approximation, since point sizes originate from
the metal body used to carry type in the days
before phototypesetting. The best way to get
familiar with point sizes is by example. You’ll soon
develop an eye for the most common sizes.'ll
H
Picas are a larger unit. Don’t confuse them with
the typewriter style of the same name. They are
equal to 12 points (about 1/6 inch). Printers and
typographers use picas to measure lines, margins
and columns. Figure 6-2 shows a page from this
book with the measurements expressed in picas
and points. (The measurements refer to the full-
sized page.)!
Appendix A
A - 17
!
<$IEm Dash>Ems and <$IEn Dash>ens are less
important but you’ll hear them mentioned. Ems
and ens vary according to the size of the type. In
12-point type, an em is 12 points. In 18-point type
it is 18 points, and so on. An en is 1/2 the em. In
12-point type, then, the en is 6 points; in 18-point
type it is 9 points, and so on.<MS>!
n
The em is the basis for spacing. An <MI>em in-
dent<D>, also called an em square, is an indent
from the left margin equal to the em size <197> 12
points in 12-point type, 18 points in 18-point type,
and so on. It is the standard indent for books, f
!
The most common use for the em is to describe the
<MI>em dash<D>. The em dash is, obviously, the
length of one em. Em dashes are used to separate
sentences <197> like this. The most common con¬
vention is to use the em dash without any space
between the dash and the word<197>like this. It
is also acceptable to use the em dash with a space
on both sides, as has been done in this book.!
!
En dashes are half the length of the em. They are
used to represent <169>to<170> between num¬
bers and words, as in
<169>1950<196>1955<170> or <169>Figure 1-
2.<170> The hyphen is even shorter yet. It is used
to <$IHyphenation;Use of en dash>hyphenate
words. Some desktop publishing programs make
no distinction between hyphens and en dashes.!
!
@HEAD2 = Describing Type !
!
Unfortunately, different programs use different
words to refer to type and its attributes. The
definitions given below are the most common in
the desktop publishing industry. In some cases,
they vary from those in use by traditional typeset¬
ters.!
H
Type sizes are specified in points as explained
above. You must understand the point system to
give correct instructions to the software. Many
people refer to small type in the 9 to 12 point
range as <$IBody type>body type. Larger sizes
used for headings is often called <$IDisplay
Typex$ADisplay Type;Headings>display type.!
II
<MS>TYPE STYLES.<D> Most desktop publish¬
ing programs use typeface and typestyle
synonymously to mean one particular type design.
Each design has a name. Helvetica is one types¬
tyle; Century Schoolbook is another; and so on. To
choose a different design from the page layout
program, the user specifies it by name or picks its
name from a menu. !
11
A font is one particular variety of a typestyle.
Thus, most software manuals would refer to
Dutch as a typestyle and 12-point Dutch bold
italic as a font. Most publishing programs have a
<$IFonts>Font menu item where the user can
specify all the attributes of the typestyle.!
!
<MS>KINDS OF TYPE.<D> Different people
divide type in different groups. Book publishers
are most likely to use three different kinds: serif,
sans serif and symbol. Serifs are curlicues that
decorate the ends of letters, so serif type is distin¬
guished by these tiny lines. This book uses a serif
typestyle. Sans is the French word for without, so
sans serif is type without the curlicues. And sym¬
bol fonts, sometimes called <$IFonts;Pi fonts>pi
fonts, contain special characters, symbols, foreign
language characters and so on.<MI> !
!
There are other kinds of type available from
desktop publishing systems, including script, cur¬
sive, shadow, outline and reverse (white letters on
a black background). These decorative effects can
be achieved directly in some page layout
programs. They can also be created in a special
graphics programs and imported onto the page.
These unusual typestyles are rarely used in books
except for covers or chapter openings. !
!
<MS>TYPE ATTRIBUTES<D>. The same types¬
tyle can vary in several ways. <MI>Weight<D>
refers to the thickness of the letterstrokes. Most
desktop publishing programs provide only normal
and <$IBoldx$ABold;Text Attributes>bold. A
few programs offer light as well. <MI>Slope<D>
refers to the slant of the letters, either vertical
(called normal or roman) or slanted (italic or obli¬
que). The <MI>proportion<D> of type is its
horizontal width. Most desktop publishing
programs offer only normal proportions. Oc¬
casionally they also provide access to condensed
and expanded versions.!
!
@HEAD2 = Other Important Terms!
!
Understanding printer’s measure is the most im¬
portant part of becoming a good desktop designer.
But you’ll also encounter a few other phrases. - !
!
The <$IBaseline>baseline is the invisible line the
type sits on. Some programs use this term and/or
A -18
Text Files
display the baselines as a light gray or dashed
line on screen. Whether or not the term is used by
the program, line spacing is measured from
baseline to baseline. If you were using 8-point
type with 2 points of leading, the baseline to
baseline measurement would be 10 points (8 +
2).<MS>!
1
Some programs, including Xerox Ventura Pub¬
lisher, modify this concept slightly. Ventura Pub¬
lisher considers the baseline to be the bottom of
the lowest descender rather than the line upon
which the body of the type rests. 1
1
<MS>PAGE FORMAT<D>. There are four basic
formats. <MI>Flush left<D> has an even left mar¬
gin and a ragged right margin. For this reason it
is often referred to as ragged right. <MI>Flush
right<D> is the reverse: even right margin,
ragged left margin. <MI>Justified<D> has even
margins left and right. <MI>Centered<D> puts
each line in the center, leaving both margins
ragged. Justified is the choice for almost all books.
Poetry often uses centered lines. Flush left is oc¬
casionally chosen for special formats. Flush right
has few applications in <$IBooks;Page for-
mat>books outside of titles, tables and charts.1
1
<$IHyphenation;Hyphenation and justifica¬
tion:* Hyphenation and justification are crucial to
achieve a typeset look. When justifying lines,
page layout programs attempt to end lines at the
space between words. When that is not possible,
they insert a hyphen, and put part of the word on
one line and the remainder on the line below. Text
can be justified without hyphenation, but this for¬
ces the program to stretch the words too far apart.
!
The computer program needs to know where it is
allowed to insert hyphens when needed. Good
page layout programs insert invisible <$I-
HyphenationjDiscretionary hyphens>discretion-
aiy hyphens into text files when they are loaded.
These discretionary hyphens tell the program
where to divide a word if necessary. By hyphenat¬
ing a word, the program can fit a few extra char¬
acters on the line, improving the spacing and ap¬
pearance. !
!
@HEAD1 = <$ABooks;Design Guidelines for
Booksx$IDesign;Design Guidelines for
Books>Design Guidelines for Books!
!
Good page design is inconspicuous <197> it calls
attention to the message, not to itself. But just
because good design isn’t loud and flashy doesn’t
mean there isn’t a lot going on behind the scenes.
Definite rules, skills and aesthetic choices go into
the creation of book pages. Until now, this
knowledge was the province of specialists.
Desktop publishing, however, forces untrained
users to grapple with the same decisions.!
!
Fortunately, there is a way to harness the power
of desktop publishing <197> <MI>design<D>.
Design is a business tool, a way to make words
more effective. It is often regarded as an innate
ability <197> you’re born with it or you’re not. In
reality, you <MI>can<D> learn the fundamentals
of good design. Creating straightforward, profes¬
sional pages just takes a little know-how. You can
get such pages by consistently applying a few safe
and sane rules.!
!
@HEAD2 = <$IDesign;Purpose of>The Purpose of
Page Design!
!
Page design has five goals: !
!
©BULLET = Attract attention!
!
@BULLET = Please the eye!
!
@BULLET = Provide guideposts!
!
@BULLET = Improve legibility!
!
©BULLET = Make production easier and more
efficient!
!
<MS> ATTR ACTING THE EYE<D>. The atten¬
tion-grabbing power of design does not play a
large role in <$IBooks;Book covers>books, except
on covers. Covers are such a crucial part of
marketing that they are best left to design profes¬
sionals. It is valuable to understand, however,
that cover design can set a book apart on the
shelves and entice browsers.!
!
<MS>PLEASING THE EYE<D>. Once again, this
aspect of design does not have the same crucial
role in <$IBooks;Book publishing>book publish¬
ing as in magazine publishing and <$I-
Advertising;Design applications>advertising.
Nevertheless, a book’s physical format can add (or
detract) from its sales appeal. To compete in the
marketplace, books must meet certain minimum
standards of design and attractiveness. What’s
more, the book must project the right image for
Appendix A
A - 19
the target market, whether business, educational,
scientific or mass market. 1 !
1
This chapter does not go into the more esoteric
aspects of pleasing the eye. But it is valuable to
realize that top-quality books utilize balance,
symmetry and proportion for aesthetic effect.
Novice desktop publishers are well-advised not to
stray too far from time-tested formats, f
<MS>GUIDING THE EYE<D>. A page can be a
structuring device, a way to organize information.
The eye needs guideposts or it becomes lost in a
sea of type. Readers need signals so they don’t
miss key information. Good page design makes
documents easier to use by providing these visual
cues. There are three keys to guiding the eye:
contrast, separation and consistency, f
n
Light against dark, small against large, slanted
against upright, one typestyle against another
<197> these are all examples of contrast. The eye
picks up these differences, which provide signals
and separation. *|
‘tt
Visual separation tells the eye that something
new is coming along. You can achieve it with con¬
trast, with barriers or with formatting. Barriers
are page elements that stop the eye. The most
common barrier <197> and generally the best one
<197> is white space. This book, for example, con¬
tains extra white space above <$IHeadings>head-
ings and subheadings. Rules (lines across the
page) are another effective barrier. Format can
ASCII file to create: C:\TEMP\8PRINT.TXT
@CHAP# = Chapter Seven'll
1
@CHAPTITLE = Offset Printing From Laser
Mechanicals 1
1
@BODYFIRST = This is not a report on printing
or production. Nevertheless, it will be valuable to
briefly review the traditional production process.
We can then examine how that process changes
for desktop publishing. Our discussion centers
around laser printers, but much of the advice also
applies when electronic pages are sent to
phototypesetting machines. The workflow is the
same. The difference is that phototypeset pages
don’t need the extra precautions necessary with
low-resolution laser type. *!
H
also provide visual separation. The way text is
spaced and indented give clues to the reader. The
more complex the document, the more important
it is to use formatting to guide the reader <197>
one reason technical documentation often has
several levels of indents. Headings, subheadings,
lists and quotes are often good candidates for spe¬
cial formatting. U
1
But contrast and separation won’t accomplish
their purpose without consistency. Once a rule
has been established, it should be used
throughout the book. Every heading, for example,
should use the same format.*!
H
<$IDesign;Design Guidelines for Books>Improv-
ing legibility is the fourth goal of page design. The
way text is laid out on the page affects how easy it
is to read.You must be careful to avoid designs
that look good on the screen but are difficult to
read for long stretches.'!
u
Making production easier and more efficient is
the final goal of page design and certainly one of
the most important. Page designs must take into
account the realities of today’s desktop publishing
programs to minimize their weaknesses and play
up their strengths. Often a few small changes can
make a format much faster and easier to work
and/or improve the final printed result. At the
same time, a page design should be cost-efficient
<197> for example, by using trim sizes that cor¬
respond to standard offset press dimensions.
@HEAD1 = Traditional Book Printing*!
H
Traditionally, book publishers delivered camera-
ready copy to the lithographer (the commercial
printer). This material was in the form of
<169>mechanicals.<170> Mechanicals were
made by pasting type and line art onto stiff
mounting boards. These mechanicals were then
photographed to produce printing plates. *!
1
Photographs were not pasted on the boards.
Original photographs have continuous tone <197>
a full range of shades ranging from dark to light.
Printing is an all or nothing, black or white
process <197> either there’s ink on the page or
there’s not. To simulate continuous tone, a
photograph must be <MI>screened<D>. This
A-20
Text Files
process converts the photo into a
<MI>halftone<D>. A halftone breaks the
photograph into tiny dots. Since the human eye
perceives closely spaced black dots as gray, a
halftone permits a printing press to simulate the
shades of a continuous tone photograph. 1
!
Black and white line art can be treated like text
<197> it does not require a halftone. But con¬
tinuous tone drawings <197> those with shadings
and gray tones <197> must be converted into
halftones before printing. Black and white pic¬
tures need one halftone. Color photographs need
four, one for each of the three primary colors and
one for black. These four halftones are called
<MI>color separations<D>.!
!
The more dots per inch, the better the quality of a
halftone. Newspapers typically use a screen of 65
to 85 dpi. Inexpensive books sometimes use 100-
line screens (100 dpi), which give quality that’s
good but not great. Modern photocopiers can
reproduce screens up to 100 dpi. Most books, how¬
ever, are printed using the superior resolution of
133- to 150-line screens. After the halftoning
process, the converted photograph can be recom¬
bined with the text to form the complete page. 1
!
How the photographs are combined with the text
depends on the type of printing. <MI>Getting It
Printed<D>, an outstanding book for anyone who
buys printing services, divides the industry into
two categories: commercial printers and quick
printers. Commercial printers typically produce
longer jobs. They produce metal printing plates by
combining line negatives (negatives of the text
and the line art) with halftone or separation nega¬
tives (negatives of photographs). Quick printers
are sometimes used for short-run books. They
produce plates directly without an intervening
negative stage. For this reason, photographs must
be pasted onto the page in the correct position
before they are given to a quick printer. Those
photographs must first be converted to a printable
form through halftoning.!
!
@HEAD1 = The Desktop Workflow!
!
Desktop publishers do most of their paste-up
electronically. Then they substitute laser-printed
pages for mounting boards. Typically, the text is
laid out first. Then line art is placed on the page,
since line art can be imported directly into page
layout programs. !
!
@HEAD2 = Preparing Photographs!
!
Photographs, on the other hand, must still be
handled the old-fashioned way. Although page
layout programs can accept scanned photos, the
end result is generally not up to the standards of
book publishers. So a space, or <MI>window<D>
is created for each photo. What you do with the
window depends on whether you are using a com¬
mercial printer or a quick printer. !
!
If you are going to a co mm ercial printer, the win¬
dows are left blank. The photographs are given to
him separately. He makes separate negatives of
the text (including the windows) and the photos.
At this time the photographs are screened (con¬
verted to a halftone) and scaled (re-sized) if neces-
saiy. Then the two negatives are combined in a
process called <MI>stripping.<D> This method
produces the best results. It is mandatory for
color photographs.!
!
There is a second, less expensive alternative for
black and white photos. If you are using a quick
printer, you must paste the photos onto the page
directly. However, normal photos won’t reproduce,
so they must first be screened. Rather than creat¬
ing a halftone negative, as you would for a com¬
mercial printer, you obtain a halftone <MI>posi-
tive<D>. While it is being screened, the photo is
also re-sized if necessary. This converted version
of the photograph is pasted directly onto the laser-
printed page, in the window. The combined page
is given to the lithographer. This method is less
expensive, because the lithographer no longer has
to strip the two negatives together. He can take a
single shot of the combined page and use it to
create a printing plate. There is, however, some
loss of image quality (reproducing a photo of a
photo). There is also the risk that cut lines will
show. !
!
Positive halftones go by several different names,
including <MI>PMTs<D>, <MI>veloxes<D> and
<MI>stats.<D> Although there are slight dif¬
ferences, they all work in the same basic fashion.
Many books and references state that 100 dpi is
the best you can expect using the PMT method. In
fact, knowledgeable printers can obtain results up
to 120 dpi. The loss in quality, therefore, does not
have to be great. On the other hand, this second
alternative does require the desktop publisher to
do some paste-up.!
!
There are two easy ways to obtain a positive
Appendix A
A - 21
halftone. The best is to take the photo to a com¬
mercial printer or a trade camera shop. (To locate
trade camera services, look in the yellow pages
under <169>lithographic negative and plate
makers.<170>) These services turn photos into
positive halftones for $5 to $15 each. At the same
time they can resize the photo if necessary. Ask
them to use fixer during development. Otherwise
the prints will yellow and fade in a few months.
When you get the screened PMTs back, check to
make sure they are printed on pure white paper
with no chemical stains. 1
1
If quality is not a concern and the photo is the
right size already, you can also buy special plastic
screens. The plastic is pasted on top of the
photograph on the page. Cost is $3 to $4 per sheet
from most graphic arts supply houses. You can
achieve up to 85 dpi or so with this method <197>
somewhat less than the 100 dpi most experts con¬
sider the minimum for a professional-quality
book. You can also use a 85 dpi or 100 dpi
photocopier screen for <169>homemade<170>
veloxes. Run the photo through the copier with
the screen on top. Use the copier’s facilities to
enlarge or reduce. Paste the resulting image
directly onto the page. <MI>Warning<D>: quality
suffers with this method.*!
1
Use rubber cement to paste photos down. Pay
extra attention to the edges <197> if they lift up
they will cause a shadow line on the printed page.
Use extra glue, then rub off any excess that shows
after it’s dry with a special rubber cement lifter
available at art supply stores. You can also paste
line art directly onto the page if you prefer to use
existing hand drawings rather than creating the
art with the computer.H
'll
@HEAD2 = Positioning Photographs*!
1
Whether you strip photos or paste them on the
page you must create a window. Decide which
photographs you plan to use, what size they will
be and where they belong in the text. Using the
tools of the page layout program, create a box for
each picture. Make it the exact size you want the
final photo. Place a thin rule around the box. This
rule is called the keyline, and it’s vital. The lithog¬
rapher uses it to properly size and position the
halftone. So will you if you decide to paste positive
halftones directly onto the page. Normally the
lithographer will drop out the keyline so it does
not show on the printed page. If you want the rule
to show, specify “Keyline prints” in your instruc¬
tions.^
1
Both the photos and the windows must be careful¬
ly labeled. Desktop publishers have an advantage
here. They can use the text editing capabilities of
the page layout software to insert labels in the
center of the blank window as they go along.*!
1
Here’s another possibility for creating windows:
draw a box as before. Now use the page layout
program to fill the box with black. This solid black
box is the equivalent of the Rubylith window some
layout artists use to key photographs to mechani¬
cals. When the page is photographed by the
lithographer, the black box leaves a transparent
window on the film negative. The separately
prepared halftone negative is positioned behind
this window.*!
1
With the keyline method, the lithographer actual¬
ly cuts the negative along the line before stripping
in the halftone. This provides the ultimate in
quality, since there’s no intervening layer of film.
Ask the printing company which method it
prefers. If you are using the PMT or velox method,
key lines are the way to go. Why waste toner and
print time creating black boxes? All you need is
something to indicate where to paste down the
velox. 1
1
@HEAD2 = Scanning and Digitizing*!
If the job requires special care, consider using a
scanner to provide position stats. In traditional
publishing, a position stat is a photocopy that’s
pasted on the page in the window. It’s only func¬
tion is to show the printer what goes where. If you
have a scanner, you can accomplish the same
thing electronically. Digitize the photograph and
place it in the window using the desktop publish¬
ing software. Scanned images from today’s tech¬
nology are not good enough for reproduction. At
best they produce the equivalent of a 50 to 70 line
screen. But scanned images are ideal for proofing
purposes. They allow you and the lithographer to
accurately visualize how the final page will look.
Scanned position stats are the ultimate in con¬
venience and safety. It’s virtually impossible to
put the wrong picture on the page when you can
look at a sample. But they may be too much
trouble for all but the most demanding projects.
Most scanners still cost over $1000. Creating
scanned images requires extra time and effort.
A-22
Text Files
And storing the results demands lots of space on
the hard disk. !
!
If there’s one thing a commercial printer wants
it’s consistency <197> consistent density and con¬
sistent placement. Density refers to the type.
Placement refers to the position of folios, rules,
column tops and bottoms, captions, key lines and
other repeating page elements. They must be in
the same place from page to page. Consider a rule
at the top of the page. If the desktop publisher
places it inconsistently, the lithographer will be
unable to use it to align pages. The rule will
<169>jump<170> up and down as the reader
pages through the book. And it may not match up
across the top of facing pages.!
@HEAD1 = Crop Marks!
!
While using the page layout program, you can
take several steps to make life easier for the
lithographer. One is to add keylines for photos, as
discussed above. Another is to place crop marks
on each page. Crop marks are also known as
<169>register<170> or <169>comer<170> marks.
These tiny lines help the lithographer position the
page. Lithographers can work without crop
marks. In such cases, they try to line up each page
by using the folio or a rule as the
<169>anchor.<170> Some lithographers also sug¬
gest avoiding ragged right margins. Ragged right
is a good effect for certain brochures and newslet¬
ters, but it’s generally inappropriate for books. If
margins are even and consistent, the lithographer
can use them to help position the pages. But com¬
mercial printers are happier when they can work
from crop marks. Most prefer hairline rules
placed just outside the live area. However, some
lithographers like register marks placed inside
the trim area. Ask in advance, then use your page
layout program to produce the marks. !
!
The specifics of creating crop marks depends on
the software. In Ventura Publisher, for example,
lines placed on the Underlying Page appear on
every page of the document. Most software pack¬
ages have a similar <169>Master Page,<170>
<169>Repeating Page<170> or <169>Underlying
Page<170> feature to place crop marks
throughout the manuscript.!
!
@HEAD1 = Screen Tints!
!
Most page layout programs provide screen tints. A
screen is a pattern of tiny dots. With black ink,
the dots make an area look gray. With colored ink
they give a light tint. Lithographers use percent¬
ages to describe the amount of ink laid down. A
10% screen is very light; a 90% screen is very
dark. Screen tints are used to highlight an area,
to set text apart and to accent charts and graphs.
Often type is <MI>overprinted<D> <197> laid
down on top of the tint. !
!
Short-run publishers who use quick printers must
supply complete mechanicals. They must, there¬
fore, put the screen tint on the page themselves.
One alternative is to use the page layout program.
Trouble is, the dots produced by laser printers are
too large for top-quality screens. There’s no prob¬
lem if the screen if simply used as a pattern to fill
in a pie chart or a graph. But if type is difficult to
read when placed on top of a coarse screen. The
smaller the type, the harder it is to read. Tb mini¬
mize problems, use screens of 20% or less (if the
program doesn’t specify percentages, use one of
the two lightest shades). Keep the type as large as
possible <197> 14 points or bigger if possible. An
alternative is to buy tint material from an art
supply store and paste it over the area to be
screened. Use this option if you must put small
type inside a large screened area. Buy tint
material with the highest resolution you can find.
H
!
Publishers who use commercial printers should
the printer do the screen. Indicate the area to be
screened. Use a non-reproducing blue pencil, a
stick-on Post-It note or write the instructions on
top of a see-through tissue overlay. !
!
@HEAD1 = Color printing!
!
Multicolored documents are created in several
passes through the printing press. Each time
another color is added to a page, it must be sent
through the press again. The lithographer must
have a separate plate for each color. Normally, the
commercial printer makes these color separa¬
tions. It costs extra, of course. But desktop pub¬
lishers can easily create their own separations,
thereby saving money and time. The process
described here works for spot color. Continuous
tone color photographs must still be handled
using traditional methods.!
!
The method relies on the ability of some software
to specify the color of different text elements. It is
most effective with programs such as Xerox Ven¬
tura Publisher that use style sheets <197> docu-
Appendix A
A-23
ment formatting guidelines that can be prepared
once and used over and over again. This report
describes a method for Ventura Publisher, but it
can be
adapted to other programs as well.’ll
1
Let’s use a two-color example. The same prin¬
ciples would apply for more than two colors. Con¬
sider, for instance, black text with blue headings.
Start by creating the document as normal. The
style sheet for this step will have all text elements
specified as black. Now create another style sheet
for each color. These style sheets will be identical
to the first except for the color of the text ele¬
ments. *!
H
To create a color separation for the black text,
specify that all the headings (all the blue text)
should print in white. By changing the color to
white, the text disappears<197>white text on
white paper is invisible. The beauty of this
method is that the invisible headings are still on
the page. Consequently, the position of the page
elements does not change. The overlay for each
color will match up with the others, *!
The third and final style sheet reverses the
process. All the headings print in black. Eveiy-
thing else is set to print in white. When you print
this version out on the laser printer, it shows only
the text that is to be printed in blue ink. The
lithographer will match the two separations to
create a composite page with the black and the
blue text in perfect registration.
H
The beauty of the system described here is its
speed and ease-of-use. The only real investment
in time is to create the two extra style sheets.
Once these have been prepared, the user can cre¬
ate color separations in moments just by calling
up the different style sheets and printing out the
separate versions. If your page layout program
does not have these capabilities, you can simulate
the effect by manually deleting text, as long as
you do so without changing the position of any¬
thing on the page. Naturally, you can also use the
traditional method. Specify which elements are to
be what color and let the printer prepare the
separations.*!
1
@HEAD1 = Covers *!
1
Some publishers may be tempted to produce
covers using laser mechanicals. It is not recom¬
mended. Most covers use display type on slick
stock. That’s simply too demanding for the 300 dpi
resolution of laser printers. The imperfections
stand out. The design of the cover is also an issue.
Most publishers are unlikely to do as good a job as
a professional designer. Buyers judge books by
their covers, especially wholesalers, distributors
and retailers. If those individuals aren’t im¬
pressed, your books will never get on the shelves
for readers to find. The most common failing of
small independent publishers is to put a good
book inside a shoddy, amateurish cover, 'll
H
If you insist on producing camera ready art for the
cover, send the file to a phototypesetter for high
resolution output. And be sure to calculate care¬
fully for the spine. You must know the number of
pages and the bulk of the paper (the pages per
inch) to figure the correct width. Printers say it is
very difficult to correct for an improperly-sized
spine. ^
@HEAD1 = Adjusting Page Count*!
1
Desktop publishing differs from traditional
publishing in another key aspect <197> the
ability to make last minute changes. That
capability can be put to good use to make the
books you publish mesh properly with the work
customs of commercial printers.*!
1
The final page count is vitally important to a book
printing job, and desktop publishers are ideally
suited to adapt to the constraints of the printing
industry. Lithographers print in signatures of 16
and 32 pages. You can save money by working
within these limitations, coor planning can force
the lithographer to add a <169>bastard
eight<170> (an undersized, eight-page signature).
This extra work can add a surprising amount to
the total print bill.*!
1
And it’s unnecessary, since desktop publishing
gives you the control to tailor books to the right
size. If the final page count is not a multiple of 16,
make changes until it fits. Often a small change
creates a substantial difference by the time it
ripples through the entire manuscript. To shorten
a book, try removing words and lines. Add
hyphens to shorten paragraphs. Expand margins
slightly. Reduce the size of illustrations. Go down
a point size or two. Or try a different types-
tyle<197>some take more space than others, even
when set at the same size and line spacing.*!
1
In other cases, you might want to up the page
A-24
Text Files
count. For instance, you might be able to increase
156 pages to 160 by removing a single line from
each page. An added bonus would be more white
space and a more readable manuscript. Or you
could add illustrations, or make existing illustra¬
tions slightly larger. As long as you need extra
pages to fill up the signature anyway, consider
adding some order cards at the back, or a page or
two of sales copy and testimonials at the front.f
!
@HEAD1 = Improving the Look of Laser-printed
Pages'll
1
Several advanced techniques can boost the
quality of pages printed from laser mechanicals.
Although desktop laser printers can create im¬
pressive documents, the density and resolution of
the type simply isn’t up to the standards of tradi¬
tional photo typesetters. Nowhere is this more ap¬
parent than when laser output is used as
mechanicals for offset printing. Three problems
occur most often:*!
1
@BULLET = Washed out areas <197> sections or
even entire pages that have a pale gray, washed-
out appearance!
!
@BULLET = Broken letters <197> characters
where small sections have dropped out 1 !
!
@BULLET = The jaggies <197> rough, uneven
edges an,d diagonals caused by the low resolution
of laser printers'!
!
Fortunately, there are tricks and techniques that
improve the quality of pages printed from laser
mechanicals. !
!
@HEAD2 = Improving Mechanicals'!
!
<MS>SELECTING THE RIGHT TYPEFACE<D>
is the first step. Some typefaces are more suitable
than others for offset reproduction. If you produce
more than one or two books each year, experiment
with different typefaces. It may be cost effective to
purchase additional fonts, either from the original
supplier or from an outside company. As a bonus,
your documents will not have the all-to-familiar
<169>Times-Roman body, Helvetica head-
lines<170> look that is common to 90% of all
desktop publishing documents. !
1
Getting dark, dense type is the next challenge.
Laser printers, unfortunately, are plagued by
drop outs and washed out, gray areas. Sometimes,
the problem lies with the toner or the toner
cartridge. It also has to do with the way printers
work. Some laser printer engines are better than
others at creating solid black areas. The Canon
CX engine at the heart of most first- generation
laser printers was notorious for weak, gray let¬
ters. If your printer has a front panel control of
any kind, put it on the darkest setting. Many pros
also suggest removing the toner cartridge and
rotating it. This may overcome clumping and clot¬
ting and help achieve a uniform print quality
across the page. And cartridges work better than
others. When you find one that creates dense,
dark type, set it aside and save it for special print
jobs. U
1
It’s best to have type as dark and dense as pos¬
sible. Nevertheless, if all the pages are slightly
pale, most lithographers can compensate. What
they hate is type that fluctuates from page to page
or, worst of all, within each page. Check each page
before the job goes to the lithographer. Reprint
any pages that aren’t consistent.*!
!
<MS>SPRAYING WITH A MATTE FIXA-
TIVE<D> usually causes laser-printed pages to
<169>darken up.<170> Not only does the fixative
make black areas appear darker, it also protects
the pages. Fixative helps prevent smears,
fingerprints and flaking. The aerosol cans are
sold at art supply stores. To the best of our
knowledge, any fixative suitable for charcoal
drawings will also work with laser-printed
pages.*!
1
<MS>SPECIAL LASER PRINTER PAPER <D>is
sometimes recommended for laser mechanicals.
The theory is that this paper has whiter whites
and blacker blacks. It also has a smoother even
coating that makes it easier for the camera
operator to produce a good negative. Warning:
Some desktop publishers complain that certain
coated laser papers jam repeatedly in laser
printers. Buy a small sample and test first.*!
!
Special paper may be an especially good idea for
publishers who create galleys with the laser
printer and paste them up using traditional
methods. Some special papers contain wax hold¬
out that minimizes problems from waxing and
paste-up. Be aware, however, that coated papers
must be treated with care. The laser-printer type
tends to crack and fall off if coated pages are bent,
folded or stacked.!
!
Appendix A
A - 25
<MS>PHOTOREDUCTION<D> is a difficult
technique, but it also has great potential for im¬
proving pages from laser mechanicals. Reducing
an image makes flaws less apparent. (Conversely,
enlarging magnifies flaws. That’s why you should
never enlarge laser type). By reducing laser type,
you increase its apparent resolution. Most laser
printers create type at 300 dpi. Researchers think
the human eye loses its ability to distinguish in¬
dividual dots at about 450 dpi. (By way of com¬
parison, graphic arts-quality phototypesetters
produce 900 dpi or higher.)!
!
It would seem an obvious step, then, to create
pages at a larger size and reduce them down. In
practice, this method creates problems. You can,
for example, start with 18 point type and
photoreduce it to 10 points. Unfortunately, the
letterspacing and line spacing will be incorrect.
Although subtle, these spacing problems begin to
be noticeable when type is reduced more than 10
percent or so. In addition, fine lines or dot pat¬
terns may end up too thin to print, or disappear
altogether. You may not want to make a small face
even smaller or decrease the margins too much, !
1
Careful planning is essential to make sure every¬
thing fits properly on the page after the
photoreduction. As anyone who has sized photos
already knows, its easy to make mistakes. Basi¬
cally, it’s just another step and one that many
publishers don’t want to bother with.!
!
<MS>THERE IS A SIMPLER METHOD<D> for
pages where the live area is 5 x 7 or smaller. Start
by laying out the page exactly as you would other¬
wise. Use normal linespacing, letterspacing and
type sizes. At print time, however, use the Print
dialog box to enlarge. The laser printer will in¬
crease by the percentage you specify. (Note: Some
programs cannot perform this enlargement func¬
tion. Others require a separate, add-on pro¬
gram.)!
1
Now take the enlarged page to the lithographer
and instruct him to reduce back down to the
original size. Since these are the dimensions you
originally worked with, everything will be exactly
as you saw it on the screen. The letterspacing,
margins, and so on will be correct, but the type
will be at a higher apparent resolution.!
!
Why doesn’t this technique work for pages larger
than 5x7? Today’s laser printers accept 8 1/2 x 11
paper, but they can only print to within an inch or
so of the margin, for an effective live area of only
7 1/2 x 10. You can enlarge a 5 x 7 page up to about
150% before you run out of room. When you bring
this 150% enlargement back down to the original
5X7, you will have achieved an effective resolu¬
tion of 450 dpi.!
!
This photoreduction technique can distinctly im¬
prove the look of a page. One Southern California
publishing company, for example, wanted to
produce a final live area of 3 3/4 x 6. Through trial
and error, they discovered they could enlarge by
165% before coming up against the laser printer’s
<169>dead zone.<170> By bringing this enlarge¬
ment back down to the original size, they
achieved an apparent resolution approaching 500
dpi.!
!
What if you must produce pages larger than 5x7?
Access to an 11 x 17 printer is one answer. The
Dataproducts LZR-2665 is a PostScript com¬
patible laser printer that produces 11 x 17 pages
at 26 ppm. At $17,900, it’s too high-priced for most
desktop publishers, but you may be able to find a
service bureau or print center to output final copy
for a page charge.!
!
@HEAD2 = The Lithographer Can Help
So far we’ve covered how the publisher should
prepare laser mechanicals. In addition, the lithog¬
rapher can take steps to improve the final out¬
put.!
!
<MS>ALTERING THE EXPOSURE<D> is one
relatively simple technique. The kind of altera¬
tion depends on whether the lithographer creates
a positive or a negative. In either case, the idea is
the same: to alter the exposure so the type looks
darker. For the traditional, high-quality method
involving a film negative, a 10 percent underex¬
posure is generally enough to help <169>fill
in<170> the type. !
!
Discuss this concept with the lithographer. Most
of them are more familiar with the same proce¬
dure done in reverse. For example, when creating
negatives, camera operators will often
<MI>over<D>expose. This causes tiny specks and
dots to disappear and become white. Sometimes
operators refer to a <169>dropout<170> halftone,
since the overexposure causes imperfections and
small details to drop out. If the operator knows
how to alter exposure for dropouts, ask if he can
do the same thing in reverse to make the type
A-26
Text Files
denser. One warning: When you darken the type,
you also darken dirt, dust and other imperfections
that would normally disappear. Both the publish¬
er and the lithographer must take exceptional
care to make sure the mechanicals are spotless. 1
H
<MS>THE PAPER STOCK<D> can also make a
difference. Work with the lithographer to select
the paper that gives the best look for the money.
There may not be much point in going to expen¬
sive coated stock. Slick paper only brings out the
shortcomings of laser type by making jagged
edges and drop outs more visible. On the other
hand, cheap newsprint will cause the ink to
spread, making characters even fuzzier. A good
grade of uncoated book stock is probably the best
bet. Ask the lithographer to run some tests and
give his suggestions.
Chapter Eight
ASCII file to create: C:\TEMP\8TABLE.TXT
Inches!
1
Picas and Points'!
!
Points'!
1
1/6 inch!
!
01,00 picas & points!
!
12 points!
!
1/4 inch!
!
01,06 picas & points!
!
18 points!
!
1/3 inch!
!
02,00 picas & points!
!
4 points!
!
1/2 inch!
!
03,00 picas & points!
!
36 points!
!
I inch!
!
06,00 picas & points!
!
72 points!
!
5 1/2 inches!
!
33,00 picas & points!
!
8 1/2 inches!
!
51,00 picas & points!
!
II inches!
!
66,00 picas & points !
!
Chapter Nine
ASCII file to create: C:\TEMP\9TECHDOC.TXT
@TITLE = The Laser AstroZ!
!
©TITLESUB = Guide to Operations <197> Model
XYZ-11!
!
@HEAD1 = Getting Started!
!
@HEAD2 = A Word to Owners!
!
Thank you for choosing the Laser AstroZ printer
from XYZ Corporation. This high quality laser
printer gives you the flexibility and power for all
your desktop publishing needs. The Laser AstroZ
comes standard with PostScript, as well as
Appendix A
A-21
Hewlett-Packard PCL and HPGL for programs
you still use that are non-PostScript compatible, !
!
©HEAD3 = Introduction!
!
First we’ll show you hot to unpack and install
your Laser AstroZ printer. You should carefully
check to make sure you have the following items:*!!
!
@LISTBULLET = ONE IBM PC DISKETTE in
5-1/4" format*!!
1
©LISTBULLET = A PRINT TRAY and manual
feed guide'll
!
@LISTBULLET = A PAPER CASSETTE and
toner cartridge'll
!
©HEAD2 = You and Your Printer!
1
Before you install your printer, make sure it is
located in a well-ventilated area away from direct
sunlight. Check to make sure that your office’s
electrical wiring is adequate. The line voltage
should not vary from the factory warrantied volt¬
age marked on the back of the printer. Avoid plac¬
ing the printer in an office with abrupt changes in
temperature. Do not place the printer near open
faucets, heaters, air conditioners, humidifiers, or
radiators. !
1
Place the printer on a flat surface 8-9 inches away
from the wall. Leave enough room in the front for
the cartridge door to open freely.!
!
@BODYSMALL = This manual prepared by the
publications and communications department,
XYZ Corporation, Los Angeles, CA. !
!
@HEAD1 = Unpacking and Setting Up!
!
@HEAD2 = Unpacking!
!
Your Laser AstroZ weighs 73 pounds, so do not try
to lift it without someone’s help. Lift the printer
by its handles and place it on a clean, stable
surface. !
!
Lift the release lever and raise the upper part of
the printer!
!
Lift the green fixing assembly cover and remove
the four red spacers.!
1
Locate the green wire cleaner and remove its
protective sealing tape. You will use the wire
cleaner to clean the corona wire in the print
cartridge.!
!
©HEAD2 = The Care of Your Printer!
!
There are several routine maintenance proce¬
dures you can perform to keep your Laser AstroZ
running smoothly. You should be familiar with:!
!
©LISTBULLET = Replacing the toner cartridge
and cleaning stick!
!
©LISTBULLET = Cleaning the corona wires!
!
©LISTBULLET = Cleaning the guides!
!
©LISTBULLET = Cleaning and replacing the
separation belts!
!
©HEAD2 = About the Tbner Cartridge!
!
The toner cartridge includes powder that serves
as ink to the printer. The cartridge itself has a
color coded bar that will indicate the level of pow¬
der and the number of prints. If you print plain
text (not graphics) at a higher toner setting, you
will get more prints than if you print graphics at a
lower setting. If your prints begin to look faded in
areas, or streaked at the edges, replace your toner
cartridge.!
!
Paper Trays, Paper Cassettes!
1
©HEAD5 = Paper Trays!
!
<B>Print tray position<D>. Hold the print tray so
the wide end faced towards the front of the
printer. Insert the plastic pins into the front slots
above the handle.!
!
NOTE: Do not overload the paper tray. Packing it
too full will cause paper jams and print errors.!
!
<B>Attach the manual feed guide<D>. Hold the
manual feed guide with the plastic brackets
towards the rear of the printer. Face the ribbed
side up.!
!
<B>Load paper in manual feed.<D> Insert one
sheet of paper at a time. Glide the paper along the
tray until it can’t go any further, then stop. !
!
@HEAD5 = Paper Cassettes!
!
A-28
Text Files
Place the paper in the cassette and push it under
the paper clips. Insert the paper cassette into the
slot under the front of the printer until it stops.
The cassette holds approximately 110 sheets.!
1
NOTE: If you want to print on letterhead, place
the paper FACE DOWN beneath the clips.f
@HEAD1 = A Quick Tour of the Laser AstroZ
Chapter Ten
ASCII file to create: C:\TEMP\PROFEXT.TXT
©TITLE = The Laser AstroZ']]
1
@TITLESUB = Guide to Operations<197> Model
XYZ-111
1
©BODYBREAK = 1
1
@HEAD1 = Getting Started']}
!
@HEAD2 = A Word to Owners*]]
1
Thank you for choosing the Laser AstroZ printer
from XYZ Corporation. This high quality laser
printer gives you the flexibility and power for all
your desktop publishing needs. The Laser AstroZ
comes standard with PostScript, as well as
Hewlett-Packard PCL and HPGL for programs
you still use that are non-PostScript compatible. U
!
©HEAD3 = Introduction!
!
First we’ll show you hot to unpack and install
your Laser AstroZ printer. You should carefully
check to make sure you have the following items:!
!
©LISTBULLET = ONE IBM PC DISKETTE in
5-1/4" format!
!
@LISTBULLET = A PRINT TRAY and manual
feed guide!
!
@LISTBULLET = A PAPER CASSETTE and
toner cartridge!
!
©HEAD2 = You and Your Printer!
!
Before you install your printer, make sure it is
located in a well-ventilated area away from direct
sunlight. Check to make sure that your office’s
electrical wiring is adequate. The line voltage
should not vary from the factory warrantied volt¬
age marked on the back of the printer. Avoid plac¬
ing the printer in an office with abrupt changes in
temperature. Do not place the printer near open
faucets, heaters, air conditioners, humidifiers, or
radiators. !
!
Place the printer on a flat surface 8-9 inches away
from the wall. Leave enough room in the front for
the cartridge door to open freely.!
1
@BODYSMALL = This manual prepared by the
publications and communications department,
XYZ Corporation, Los Angeles, CA!
!
@BODYBREAK = !
!
@HEAD1 = Unpacking and Setting Up!
!
@HEAD2 = Unpacking!
!
Your Laser AstroZ weighs 73 pounds, so do not try
to lift it without someone’s help. Lift the printer
by its handles and place it on a clean, stable
surface. !
!
©LIST# = Lift the release lever and raise the
upper part of the printer!
!
©LIST# = Lift the green fixing assembly cover
and remove the four red spacers.!
!
@LIST# = Locate the green wire cleaner and
remove its protective sealing tape. You will use
the wire cleaner to clean the corona wire in the
print cartridge.!
!
@HEAD2 = The Care of Your Printer!
!
There are several routine maintenance proce¬
dures you can perform to keep your Laser AstroZ
running smoothly. You should be familiar with:!
!
@LISTBULLET = Replacing the toner cartridge
and cleaning stick!
!
©LISTBULLET = Cleaning the corona wires!
!
Appendix A
A - 29
@LISTBULLET = Cleaning the guides!!
H
@LISTBULLET = Cleaning and replacing the
separation belts'!
1
@HEAD2 = About the Toner Cartridge'll
H
The toner cartridge includes powder that serves
as ink to the printer. The cartridge itself has a
color coded bar that will indicate the level of pow¬
der and the number of prints. If you print plain
text (not graphics) at a higher toner setting, you
will get more prints than if you print graphics at a
lower setting. If your prints begin to look faded in
areas, or streaked at the edges, replace your toner
cartridge.^
1
@BODYBREAK = 1
U
@HEAD4 = Paper Trays, Paper Cassettes'!
1
@RULE =
1
@HEAD5 = Paper Trays'!
H
©LIST# = <B>Print tray position<D>. Hold the
print tray so the wide end faced towards the front
of the printer. Insert the plastic pins into the front
slots above the handle. *!
1
©NOTE = NOTE: Do not overload the paper tray.
Packing it too full will cause paper jams and print
errors.U
1
©SPACER = 1
1
@LIST# = <B>Attach the manual feed guide<D>.
Hold the manual feed guide with the plastic
brackets towards the rear of the printer. Face the
ribbed side up. *5
1
©LIST# = <B>Load paper in manual feed.<D>
Insert one sheet of paper at a time. Glide the
paper along the tray until it can’t go any further,
then stop. 1
1
@HEAD5 = Paper Cassettes'!
1
Place the paper in the cassette and push it under
the paper clips. Insert the paper cassette into the
slot under the front of the printer until it stops.
The cassette holds approximately 110 sheets.^
1
©NOTE = NOTE: If you want to print on letter¬
head, place the paper FACE DOWN beneath the
clips.^l
1
©BODYBREAK = 1
1
©HEAD1 = A Quick Tour of the Laser Astro-
Z<$&1-1>
Appendix B
Tag Tables
If you do not have the Power disk, you can construct the
sample style sheets using the tag tables below. Each tag table
includes the settings for the Page (e.g., page size and layout,
margins and columns, etc.) and the settings for each tag in the
style sheet. The tag tables omit all settings that are identical
to the Body Text tag. So if a tag has the same Font as Body
Text, the Font for that tag is not included in the list. Just
make it the same as Body Text.
To create the style sheets, open a blank chapter, load the
DEFAULT. STY style sheet from the \TYPESET subdirectory
and load a sample text file onto the Page. (Make sure the text
file you load does not contain any predefined tag names — or
they will become part of the style sheet.) Change the Page
settings first using the Chapter and Frame menus. Then go
on to creating the tags.
Start with the Body Text tag. Select a paragraph and modify
its font, alignment, spacing, and so forth until it matches the
settings Body Text in the tag table. Once the Body Text tag is
completed, begin to add new tags, one at a time, for each tag
name in the table. In Paragraph mode, select any Body Text
paragraph, then choose Add New Tag. Enter the new tag
name. Then modify the tag’s font, alignment, spacing, etc.,
until it matches the settings in the tag table.
After you have completed all the tags in a style sheet, select
Save As New Style (File menu). Save the new style sheet in
the C:\TEMP subdirectory with the name we give below.
Then abandon the chapter.
B - 2
Appendix B
C:\POWER\4FORM.STY
Save as C:\TEMP\4INVOICE.STY
Underlying Page Settings
Page Size & Layout
Orientation:
Portrait
Sides:
Single
Paper Type:
Letter, 8.5 x 11 in.
Margins & Columns
# of Columns:
1
Settings For Right Page
Settings For Left Page
Top:
06,00 picas & pts.
Top:
06,00 picas & pts.
Bottom:
06,00 picas & pts.
Bottom:
06,00 picas & pts.
Left:
07,06 picas & pts.
Left:
07,06 picas & pts.
Right:
07,06 picas & pts.
Right:
07,06 picas & pts.
Wi dths/Gutters—1:
36,00 picas & pts.
Wi dths/Gutters—1:
36,00 picas & pts.
Tag Settings
Body Text
Font
Face:
Helvetica
Style:
Normal
Size:
12 points
Color:
Black
Alignment
Horz. Alignment:
Left
First Line:
Indent
Vert. Alignment:
Tbp
Relative Indent:
Off
Text Rotation:
None
In/Outdent Width:
00,00 picas & pts.
Hyphenation:
Off
In/Outdent Ht.:
1
Successive Hyphens:
2
In Fm. Rt. to Dec.:
00,00 picas & pts.
Overall Width:
Column-Wide
Spacing
Above:
07.00 fractional pts
In Fm. Left (L):
00,00 picas & pts.
Below: ^
00.00 fractional pts
In Fm. Right (L):
00,00 picas & pts.
Inter-Line:
14.00 fractional pts
In Fm. Left (R):
00,00 picas & pts.
Inter-Paragraph:
00.00 fractional pts
In Fm. Right (R):
00,00 picas & pts.
Add in Above:
Always
Breaks
Page Break:
No
Next Y Position:
Normal
Column Break:
No
Allow Within:
Yes
Line Break:
Before
Keep With Next:
No
Logo
Font
Size:
18 points
Style:
Bold
Tag Tables
B - 3
Alignment
Horz. Alignment:
Center
Spacing
Above:
Inter-Line:
00.00 fractional pts
24.00 fractional pts
Add in Above:
When Not at C.T.
Label
Font
Size:
10 points
Alignment
Horz. Alignment:
Center
Vert. Alignment:
Middle
Spacing
Aibove:
00.00 fractional pts
Inter-Line:
12.00 fractional pts
Breaks
Keep With Next:
Yes
Z_BOXTEXT
Spacing
Above:
Inter-Line:
03.00 fractional pts
12.00 fractional pts
In Fm. Left (L):
In Fm. Left (R):
00,06 picas & pts.
00,06 picas & pts.
Balance
Font
Style:
Bold
Alignment
Horz. Alignment:
Decimal
In Fm. Rt. to Dec.:
05,06 picas & pts.
Spacing
Above:
03.00 fractional pts
Inter-Line:
12.00 fractional pts
Address
Font
Style:
B-Italic
Spacing
Above:
10.00 fractional pts
LabelBlack
Font
Size:
10 points
Style:
Bold
Alignment
Horz. Alignment:
Center
Spacing
B - 4
Appendix B
Above:
04.00 fractional pts
Inter-Line:
12.00 fractional pts
Breaks
Keep With Next:
Yes
LabelLeft
Font
Size:
10 points
Alignment
Vert. Alignment:
Middle
In/Outdent Width:
00,06 picas & pts.
Spacing
Above:
00.00 fractional pts
Inter-Line:
12.00 fractional pts
Breaks
Keep With Next:
Yes
LabelLine
Font
Size:
10 points
Alignment
Vert. Alignment:
Middle
Spacing
Above:
00.00 fractional pts
Inter-Line:
12.00 fractional pts
Breaks
Keep With Next:
Yes
Tab Settings
Leader Char:
95
Auto-Leader:
On
Leader Spacing:
0
LogoAddress
Alignment
Horz. Alignment:
Center
Spacing
Above:
00.00 fractional pts
Add in Above:
When Not at C.T.
ListDecimal
Alignment
Horz. Alignment:
Decimal
In Fm. Rt. to Dec.:
03,00 picas & pts.
Spacing
Above:
03.00 fractional pts
Inter-Line:
12.00 fractional pts
Tag Tables
B - 5
Tab Settings
LabelLine
Tab Number 2:
Tab Number 3:
Tab Number 4:
Tab Number 5:
Tab Number 6:
Tab Number 7:
Tab Number 8:
Tab Number 9:
Left, 06,00, 32
Left, 09,00, 32
Left, 12,00, 32
Left, 15,00, 32
Left, 18,00, 32
Left, 21,00, 32
Left, 24,00, 32
Left, 27,00, 32
Tab Number 10
Tab Number 11
Tab Number 12
Tab Number 13
Tab Number 14
Tab Number 15
Tab Number 16
Left, 30,00, 32
Left, 33,00, 32
Left, 36,00, 32
Left, 39,00, 32
Left, 42,00, 32
Left, 45,00, 32
Left, 48,00, 32
B - 6
Appendix B
C:\POWER\5AD.STY
Save as C:\TEMP\5MAILER.STY
Base Page Settings
Page Size & Layout
Orientation:
Portrait
Sides:
Double
Paper Type:
Letter, 8.5 x 11 in.
Start On:
Right Side
Margins & Columns
# of Columns:
1
Settings For Right Page
Settings For Left Page
Top:
03,00 picas & pts.
Top:
03,00 picas & pts.
Bottom:
03,00 picas & pts.
Bottom:
03,00 picas & pts.
Left:
03,00 picas & pts.
Left:
03,00 picas & pts.
Right:
03,00 picas & pts.
Right:
03,00 picas & pts.
Wi dths/Gutters—1:
45,00 picas & pts.
Wi dths/Gutter s—1:
45,00 picas & pts.
Tag Settings
Body Text
Font
Face:
'limes
Style:
Normal
Size:
14 points
Color:
Black
Alignment
Horz. Alignment:
Justified
First Line:
Indent
Vert. Alignment:
Top
Relative Indent:
Off
Text Rotation:
None
In/Outdent Width:
00,00 picas & pts.
Hyphenation:
USENGLSH
In/Outdent Ht.:
1
Successive Hyphens:
2
In Fm. Rt. to Dec.:
00,00 picas & pts.
Overall Width:
Column-Wide
Spacing
Above:
00.00 fractional pts
In Fm. Left (L):
00,00 picas & pts.
Below:
00.00 fractional pts
In Fm. Right (L):
00,00 picas & pts.
Inter-Line:
16.00 fractional pts
In Fm. Left (R):
00,00 picas & pts.
Inter-Paragraph:
00.00 fractional pts
In Fm. Right (R):
00,00 picas & pts.
Add in Above:
When Not at C.T.
Breaks
Page Break:
No
Next Y Position:
Normal
Column Break:
No
Allow Within:
Yes
Line Break:
Before
Keep With Next:
No
Address
Font
Size: 10 points
Tag Tables
B - 7
Spacing
Inter-Line:
In Fm. Left (L):
12.00 fractional pts
02,00 picas & pts.
In Fm. Left (R):
02,00 picas & pts.
Head3
Font
Size:
24 points
Style:
Bold
Alignment
Horz. Alignment:
Center
Spacing
Above:
Inter-Line:
60.00 fractional pts
30.00 fractional pts
Add in Above:
Always
Paragraph Typography
Tracking: 0.025 Ems Tighter
Vert. Just. At Top of Para:0.833 inches
Headl
Font
Face:
Size:
Helvetica
74 points
Style:
Bold
Alignment
Horz. Alignment:
Hyphenation:
Center
Off
Overall Width:
Frame-Wide
Spacing
Inter-Line:
74.00 fractional pts
Paragraph Typography
Automatic Pair Keming:On
Letter Spacing: Off
Tracking:
0.040 Ems Tighter
Head2
Font
Face:
Size:
Helvetica
20 points
Style:
B-Italic
Alignment
Horz. Alignment:
Hyphenation:
Left
Off
Overall Width:
Frame-Wide
Spacing
Inter-Line:
28.00 fractional pts
Tab Settings
Leader Char:
32
Leader Spacing:
0
B - 8
Appendix B
HeadRotate
Font
Size:
24 points
Style:
Bold
Alignment
Horz. Alignment:
Center
Text Rotation:
180
Spacing
Above:
Inter-Line:
60.00 fractional pts
30.00 fractional pts
Add in Above:
Always
Paragraph Typography
Tracking: 0.025 Ems Tighter
BodyCenter
Font
Size:
8 points
Alignment
Horz. Alignment:
Center
Overall Width:
Frame-Wide
Spacing
Above:
Inter-Line:
08.00 fractional pts
08.00 fractional pts
Add in Above:
Always
Tab Settings
Head2
Tab Number 1:
Center, 17,06, 32
Tab Number 2:
Right, 35,06, 32
Tag Tables
B - 9
C :\POWER\6N EWSLET.STY
Save as C:\TEMP\6NEWS.STY
Base Page Settings
Page Size & Layout
Orientation:
Portrait
Sides:
Double
Paper Type:
Letter, 8.5 x 11 in.
Start On:
Right Side
Margins & Columns
# of Columns:
3
Settings For Right Page
Settings For Left Page
Tap:
04,06 picas
& pts.
Top:
04,06 picas & pts.
Bottom:
06,00 picas
& pts.
Bottom:
06,00 picas & pts.
Left:
04,06 picas
& pts.
Left:
04,06 picas & pts.
Right:
04,06 picas
& pts.
Right:
04,06 picas & pts.
Widths/Gutters—
-1:
13,00/01,06
pcs & pts
Wi dths/Gutters—1:
13,00/01,06 pcs & pts
Widths/Gutters—
-2:
13,00/01,06
pcs & pts
Widths/Gutters—2:
13,00/01,06 pcs & pts
Widths/Gutters—
-3:
13,00 picas
& pts.
Widths/Gutters—3:
13,00 picas & pts.
Tag Settings
Body Text
Font
Face:
Size:
Times
10 points
Style:
Color:
Normal
Black
Alignment
Horz. Alignment:
Justified
First Line:
Indent
Vert. Alignment:
Tbp
Relative Indent:
Off
Text Rotation:
None
In/Outdent Width:
01,00 picas & pts.
Hyphenation:
USENGLSH
In/Outdent Ht.:
1
Successive Hyphens:
Overall Width:
3
Column-Wide
In Fm. Rt. to Dec.:
00,00 picas & pts.
Spacing
Above:
00.00 fractional pts
In Fm. Left (L):
00,00 picas & pts.
Below:
00.00 fractional pts
In Fm. Right (L):
00,00 picas & pts.
Inter-Line:
12.00 fractional pts
In Fm. Left (R):
00,00 picas & pts.
Inter-Paragraph:
Add in Above:
00.00 fractional pts
When Not at C.T.
In Fm. Right (R):
00,00 picas & pts.
Breaks
Page Break:
No
Next Y Position:
Normal
Column Break:
No
Allow Within:
Yes
Line Break:
Before
Keep With Next:
No
B -10
Appendix B
Byline
Font
Style:
N-Italic
Alignment
Horz. Alignment:
Hyphenation:
Left
Off
In/Outdent Width:
00,00 picas & pts.
Spacing
Above:
12.00 fractional pts
Paragraph Typography
Letter Spacing: Off
Z_FOOTER
Font
Style:
N-Italic
Alignment
Horz. Alignment:
Hyphenation:
Left
Off
In/Outdent Width:
00,00 picas & pts.
Spacing
Above:
Inter-Line:
06.00 fractional pts
12.00 fractional pts
Add in Above:
Always
Ruling Line Above
Width:
Color:
Pattern:
Dashes:
Space Above Rule 1:
Height of Rule 1:
Frame
Black
Solid
Off
00.00 fractional pts
00.12 fractional pts
Space Below Rule 1:
Height of Rule 2:
Space Below Rule 2:
Height of Rule 3:
Space Below Rule 3:
06.00 fractional pts
00.00 fractional pts
00.00 fractional pts
00.00 fractional pts
00.00 fractional pts
Kicker
Font
Face:
Size:
Helvetica
12 points
Style:
N-Italic
Alignment
Horz. Alignment:
Left
In/Outdent Width:
00,00 picas & pts.
Spacing
Add in Above:
Always
Attribute Overrides
Superscript Size:
pts
10 points/05.64 fractional
Subscript Size:
10 points/01.32
fractional pts
Small Cap Size: 10 points
Tag Tables
B - 11
Ruling Line Below
Width:
Color:
Pattern:
Dashes:
Space Above Rule 1:
Height of Rule 1:
Tfext
Black
Solid
Off
02.00 fractional pts
00.06 fractional pts
Space Below Rule 1:
Height of Rule 2:
Space Below Rule 2:
Height of Rule 3:
Space Below Rule 3:
00.00 fractional pts
00.00 fractional pts
00.00 fractional pts
00.00 fractional pts
00.00 fractional pts
Headl
Font
Size:
36 points
Style:
Bold
Alignment
Horz. Alignment:
Hyphenation:
Successive Hyphens:
Left
Off
Off
Overall Width:
In/Outdent Width:
Frame-Wide
00,00 picas & pts.
Spacing
Above:
Inter-Line:
18.00 fractional pts
36.00 fractional pts
Add in Above:
Always
Paragraph Typography
Letter Spacing: Off
Tracking:
0.030 Ems Tighter
Head2
Font
Size:
24 points
Style:
Bold
Alignment
Horz. Alignment:
Hyphenation:
Successive Hyphens:
Left
Off
Off
Overall Width:
In/Outdent Width:
Frame-Wide
00,00 picas & pts.
Spacing
Above:
Below:
12.00 fractional pts
12.00 fractional pts
Inter-Line:
Add in Above:
24.00 fractional pts
Always
Breaks
Allow Within:
No
Keep With Next:
Yes
Paragraph Typography
Letter Spacing: Off
Tracking:
0.030 Ems Tighter
Z_CAPTION
Font
Face:
Helvetica
Alignment
In/Outdent Width:
00,00 picas & pts.
Spacing
Above:
12.00 fractional pts
Add in Above:
Always
B -12
Appendix B
Z_BOXTEXT
Font
Face:
Size:
Helvetica
8 points
Style:
Bold
Alignment
Horz. Alignment:
Right
In/Outdent Width:
00,00 picas & pts.
Spacing
Above:
Add in Above:
03.00 fractional pts
Always
In Fm. Right (L):
In Fm. Right (R):
00,04 picas & pts.
00,04 picas & pts.
StaffBox
Alignment
In/Outdent Width:
00,00 picas & pts.
Spacing
Above:
12.00 fractional pts
TOCEntry
Font
Face:
Helvetica
Style:
Bold
Alignment
Horz. Alignment:
Hyphenation:
Left
Off
In/Outdent Width:
00,00 picas & pts.
Spacing
Above:
In Fm. Left (L):
In Fm. Right (L):
06.00 fractional pts
00,06 picas & pts.
02,00 picas & pts.
In Fm. Left (R):
In Fm. Right (R):
00,06 picas & pts.
02,00 picas & pts.
Tab Settings
Leader Char:
46
BodyFirst
Alignment
In/Outdent Width:
00,00 picas & pts.
Spacing
Above:
12.00 fractional pts
Add in Above:
Always
JumpLeft
Font
Style:
N-Italic
Alignment
Horz. Alignment:
Successive Hyphens:
Left
Off
In/Outdent Width:
00,00 picas & pts.
Tag Tables
B - 13
JumpRight
Font
Style:
N-Italic
Alignment
Horz. Alignment:
Successive Hyphens:
Right
Off
In/Outdent Width:
00,00 picas & pts.
Spacing
Add in Above:
In Fm. Right (L):
Always
01,00 picas & pts.
In Fm. Right (R):
01,00 picas & pts.
CalTitle
Font
Size:
14 points
Style:
Bold
Alignment
Horz. Alignment:
Hyphenation:
Center
Off
In/Outdent Width:
00,00 picas & pts.
Spacing
Add in Above:
Always
CalDays
Font
Face:
Helvetica
Style:
Bold
Alignment
Horz. Alignment:
Hyphenation:
Center
Off
In/Outdent Width:
00,00 picas & pts.
Spacing
Above:
06.00 fractional pts
Add in Above:
Always
Deckhead
Font
Size:
12 points
Style:
Bold
Alignment
Hyphenation:
Overall Width:
Off
Frame-Wide
In/Outdent Width:
00,00 picas & pts.
Spacing
Add in Above:
Always
Breaks
Allow Within:
No
B -14
Appendix B
Ruling Line Above
Width:
Color:
Pattern:
Dashes:
Space Above Rule 1:
Height of Rule 1:
Frame
Black
Solid
Off
00.00 fractional pts
00.25 fractional pts
Space Below Rule 1:
Height of Rule 2:
Space Below Rule 2:
Height of Rule 3:
Space Below Rule 3:
05.75 fractional pts
00.00 fractional pts
00.00 fractional pts
00.00 fractional pts
00.00 fractional pts
Ruling Line Below
Width:
Frame
Space Below Rule 1:
00.00 fractional pts
Color:
Black
Height of Rule 2:
00.00 fractional pts
Pattern:
Solid
Space Below Rule 2:
00.00 fractional pts
Dashes:
Off
Height of Rule 3:
00.00 fractional pts
Space Above Rule 1:
05.75 fractional pts
Space Below Rule 3:
00.00 fractional pts
Height of Rule 1:
00.25 fractional pts
Head4
Font
Size:
12 points
Style:
Bold
Alignment
Horz. Alignment:
Left
In/Outdent Width:
00,00 picas & pts.
Hyphenation:
Off
Spacing
Above:
12.00 fractional pts
Breaks
Keep With Next:
Yes
Head3
Font
Size:
24 points
Style:
Bold
Alignment
Horz. Alignment:
Left
Overall Width:
Frame-Wide
Hyphenation:
Off
In/Outdent Width:
00,00 picas & pts.
Successive Hyphens: Off’
Spacing
Above:
12.00 fractional pts
Add in Above:
Always
Below:
12.00 fractional pts
In Fm. Left (L):
01,00 picas & pts.
Inter-Line:
24.00 fractional pts
In Fm. Left (R):
01,00 picas & pts.
Breaks
Allow Within:
No
Keep With Next:
Yes
Paragraph Typography
Letter Spacing: Off Tracking: 0.030 Ems Tighter
Tag Tables
B -15
Tab Settings
TOCEntry
Tab Number 1:
Left, 12,00, 46
B -16
Appendix B
C:\P0WER\7LIST.STY
Save as C:\TEMP\7DIREC.T..STY
Base Page Settings
Page Size & Layout
Orientation:
Landscape
Sides:
Double
Paper Type:
Letter, 8.5 x 11 in.
Start On:
Right Side
Margins & Columns
# of Columns:
3
Settings For Right Page
Settings For Left Page
Tbp:
06,00 picas & pts.
Top:
06,00 picas & pts.
Bottom:
06,00 picas & pts.
Bottom:
06,00 picas & pts.
Left:
08,00 picas & pts.
Left:
10,00 picas & pts.
Right:
10,00 picas & pts.
Right:
08,00 picas & pts.
Wi dths/Gutters—1:
14,08/02,00 pcs & pts
Wi dths/Gutters—1:
14,08/02,00 pcs & pts
Widths/Gutters—2:
14,08/02,00 pcs & pts
Wi dths/Gutters—2:
14,08/02,00 pcs & pts
Widths/Gutters—3:
14,08 picas & pts.
Wi dths/Gutters—3:
14,08 picas & pts.
Tag Settings
Body Text
Font
Face:
Times
Style:
Normal
Size:
10 points
Color:
Black
Alignment
Horz. Alignment:
Justified
First Line:
Indent
Vert. Alignment:
Tbp
Relative Indent:
Off
Text Rotation:
None
In/Outdent Width:
00,00 picas & pts.
Hyphenation:
USENGLSH
In/Outdent Ht.:
1
Successive Hyphens:
2
In Fm. Rt. to Dec.:
00,00 picas & pts.
Overall Width:
Column-Wide
Spacing
Above:
00.00 fractional pts
Inter-Paragraph:
00.00 fractional pts
Below:
00.00 fractional pts
Add in Above:
When Not at C.T.
Inter-Line:
12.00 fractional pts
Breaks
Page Break:
No
Next Y Position:
Normal
Column Break:
No
Allow Within:
Yes
Line Break:
Before
Keep With Next:
No <
Z_FOOTER
Font
Face: Helvetica Size: 8 points
Tag Tables
B - 17
Alignment
Horz. Alignment:
Left
Hyphenation: Off
Spacing
Inter-Line:
09.60 fractional pts
Add in Above: Always
Ruling Line Above
Width:
Color:
Pattern:
Dashes:
Space Above Rule 1:
Height of Rule 1:
Margin
Black
Solid
Off
00.00 fractional pts
00.50 fractional pts
Space Below Rule 1: 02.00 fractional pts
Height of Rule 2: 00.00 fractional pts
Space Below Rule 2: 00.00 fractional pts
Height of Rule 3: 00.00 fractional pts
Space Below Rule 3: 00.00 fractional pts
Phone
Spacing
Add in Above:
Always
Headl
Alignment
Hyphenation:
Off
Head2
Alignment
Hyphenation:
Off
Breaks
Allow Within:
No
Company
Spacing
Add in Above:
Always
Breaks
Keep With Next:
Yes
Head3
Spacing
Add in Above:
Always
Head4
Font
Size:
11 points
Style: Bold
Alignment
Horz. Alignment:
First Line:
Left
Outdent
In/Outdent Width: 01,00 picas & pts.
B -18 Appendix B
Spacing
Above: 12.00 fractional pts
Breaks
Keep With Next: Yes
Special Effects
Special Effect: Bullet
Bullet Char: 175
Indent After Bullet: 01,00 picas & pts
HeadSection
Alignment
Hyphenation: Off Overall Width: Frame-Wide
Paragraph Typography
Tracking: 0.020 Ems Tighter
ItalSeparate
Spacing
Add in Above: Always
ThumbTab
Font
Face:
Helvetica
Style:
Bold
Size:
14 points
Color:
White
Alignment
Horz. Alignment:
Center
Hyphenation:
Off
Spacing
Add in Above: Always
Breaks
Keep With Next: Yes
Face: Times
Size: 11 points
Color: Black
Tag Tables
B - 19
C:\POWER\8DESIGN.STY
Save as C:\TEMP\8B00K.STY
Base Page Settings
Page Size & Layout
Orientation:
Portrait
Sides:
Double
Paper Type:
Half, 5.5 x 8.5 in.
Start On:
Right Side
Margins & Columns
# of Columns:
1
Settings For Right Page
Settings For Left Page
Top:
06,00 picas & pts.
Top:
06,00 picas & pts.
Bottom:
06,00 picas & pts.
Bottom:
06,00 picas & pts.
Left:
06,00 picas & pts.
Left:
04,06 picas & pts.
Right:
04,06 picas & pts.
Right:
06,00 picas & pts.
Widths/Gutters—1:
22,06 picas & pts.
Wi dths/Gutter s—1:
22,06 picas & pts.
Tag Settings
Body Text
Font
Face:
Times
Style:
Normal
Size:
12 points
Color:
Black
Alignment
Horz. Alignment:
Justified
First Line:
Indent
Vert. Alignment:
Top
Relative Indent:
Off
Text Rotation:
None
In/Outdent Width:
01,00 picas & pts.
Hyphenation:
USENGLSH
In/Outdent Ht.:
1
Successive Hyphens:
3
In Fm. Rt. to Dec.:
00,00 picas & pts.
Overall Width:
Column-Wide
Spacing
Above:
00.00 fractional pts
Inter-Paragraph:
00.00 fractional pts
Below:
00.00 fractional pts
Add in Above:
Always
Inter-Line:
14.00 fractional pts
Breaks
Page Break:
No
Next Y Position:
Normal
Column Break:
No
Allow Within:
Yes
Line Break:
Before
Keep With Next:
No
Headl
Font
Size: 18 points Style: Bold
B -20
Appendix B
Alignment
Horz. Alignment:
Hyphenation:
Center
Off
In/Outdent Width:
00,00 picas & pts.
Spacing
Above:
Below:
42.00 fractional pts
18.00 fractional pts
Inter-Line:
Add in Above:
18.00 fractional pts
When Not at C.T.
Breaks
Allow Within:
No
Keep With Next:
Yes
Head2
Font
Size:
14 points
Style:
B-Italic
Alignment
Horz. Alignment:
Hyphenation:
Left
Off
In/Outdent Width:
00,00 picas & pts.
Spacing
Above:
Below:
21.00 fractional pts
07.00 fractional pts
Add in Above:
When Not at C.T.
Breaks
Allow Within:
No
Keep With Next:
Yes
Bullet
Spacing
Above:
07.00 fractional pts
Below:
07.00 fractional pts
Breaks
Line Break:
Before & After
Special Effects
Special Effect:
Bullet Char:
Indent After Bullet:
Bullet
195
01,06 picas & pts.
Face:
Size:
Color:
Times
12 points
Black
Z_HEADER
Alignment
Horz. Alignment:
Hyphenation:
Left
Off
In/Outdent Width:
00,00 picas & pts.
BodyBreak
Alignment
In/Outdent Width:
00,00 picas & pts.
Breaks
Page Break: After
Tag Tables
B - 21
BodyFirst
Alignment
In/Outdent Width:
00,00 picas & pts.
Spacing
Above:
42.00 fractional pts
Chap#
Font
Size:
14 points
Style:
B-Italic
Alignment
Horz. Alignment:
Hyphenation:
Center
Off
Overall Width:
In/Outdent Width:
Frame-Wide
00,00 picas & pts.
Breaks
Page Break:
Allow Within:
Before/Until Right
No
Keep With Next:
Yes
Ruling Line Below
Width:
Color:
Pattern:
Dashes:
Space Above Rule 1:
Height of Rule 1:
Space Below Rule 1:
Custom
Black
Solid
Off
00.00 fractional pts
01.02 fractional pts
00.00 fractional pts
Height of Rule 2:
Space Below Rule 2:
Height of Rule 3:
Space Below Rule 3:
Custom Indent:
Custom Width:
00.00 fractional pts
00.00 fractional pts
00.00 fractional pts
00.00 fractional pts
05,00 picas & pts.
12,00 picas & pts.
ChapTitle
Font
Size:
30 points
Style:
Bold
Alignment
Horz. Alignment:
Hyphenation:
Center
Off
In/Outdent Width:
00,00 picas & pts.
Spacing
Above:
98.00 fractional pts
Inter-Line:
36.00 fractional pts
Breaks
Allow Within:
No
Keep With Next:
Yes
Paragraph Typography
Tracking: 0.050 Ems Tighter
B -22
Appendix B
C :\P0WER\8PRINT.STY
Save as C:\TEMP\8PRINT.STY
Base Page Settings
Page Size & Layout
Orientation:
Portrait
Sides:
Double
Paper Type:
Half, 5.5 x 8.5 in.
Start On:
Right Side
Auto-Numbering
Margins & Columns
# of Columns:
1
Settings For Right Page
Settings For Left Page
Top:
06,00 picas & pts.
Top:
06,00 picas & pts.
Bottom:
06,00 picas & pts.
Bottom:
06,00 picas & pts.
Left:
06,00 picas & pts.
Left:
04,06 picas & pts.
Right:
04,06 picas & pts.
Right:
06,00 picas & pts.
Wi dths/Gutters—1:
22,06 picas & pts.
Wi dths/Gutters—1:
22,06 picas & pts.
Tag Settings
Body Text
Font
Face:
Times
Style:
Normal
Size:
12 points
Color:
Black
Alignment
Horz. Alignment:
Justified
First Line:
Indent
Vert. Alignment:
Tbp
Relative Indent:
Off
Text Rotation:
None
In/Outdent Width:
01,00 picas & pts.
Hyphenation:
USENGLSH
In/Outdent Ht.:
1
Successive Hyphens:
3
In Fm. Rt. to Dec.:
00,00 picas & pts.
Overall Width:
Column-Wide
Spacing
Above:
00.00 fractional pts
Inter-Paragraph:
00.00 fractional pts
Below:
00.00 fractional pts
Add in Above:
Always
Inter-Line:
14.00 fractional pts
Breaks
Page Break:
No
Next Y Position:
Normal
Column Break:
No
Allow Within:
Yes
Line Break:
Before
Keep With Next:
No
Headl
Font
Size: 18 points Style: Bold
Tag Tables
B -23
Alignment
Horz. Alignment:
Hyphenation:
Center
Off
In/Outdent Width:
00,00 picas & pts.
Spacing
AJbove:
Below:
42.00 fractional pts
18.00 fractional pts
Inter-Line:
Add in Above:
18.00 fractional pts
When Not at C.T.
Breaks
Allow Within: No Keep With Next: Yes
Head2
Font
Size:
14 points
Style:
B-Italic
Alignment
Horz. Alignment:
Left
In/Outdent Width:
00,00 picas & pts.
Hyphenation:
Off
Spacing
Above:
21.00 fractional pts
Add in Above:
When Not at C.T.
Below:
07.00 fractional pts
Breaks
Allow Within:
No
Keep With Next:
Yes
Bullet
Spacing
Above:
07.00 fractional pts
Inter-Line:
14.00 fractional pts
Below:
07.00 fractional pts
Breaks
Line Break:
Before & After
Special Effects
Special Effect:
Bullet
Face:
Times
Bullet Char:
195
Size:
12 points
Indent After Bullet:
01,06 picas & pts.
Color:
Black
ZJHEADER
Alignment
Horz. Alignment:
Left
In/Outdent Width:
00,00 picas & pts.
Hyphenation:
Off
BodyBreak
Font
Size:
10 points
Alignment
In/Outdent Width:
00,00 picas & pts.
B - 24 Appendix B
Spacing
Inter-Line: 12.00 fractional pts
Breaks
Page Break: After
BodyFirst
Alignment
In/Outdent Width: 00,00 picas & pts.
Spacing
Above: 42.00 fractional pts
Special Effects
Special Effect: Big First Char Size: 30 points
Space for Big First: 2 lines Color: Black
Face: Times Shift: Down 01.00 fractional pts
Chap#
Font
Size:
14 points
Style:
B-Italic
Alignment
Horz. Alignment:
Hyphenation:
Center
Off
Overall Width:
In/Outdent Width:
Frame-Wide
00,00 picas & pts.
Breaks
Page Break:
Allow Within:
Before/Until Right
No
Keep With Next:
Yes
Ruling Line Below
Width:
Color:
Pattern:
Dashes:
Space Above Rule 1:
Height of Rule 1:
Space Below Rule 1:
Custom
Black
Solid
Off
00.00 fractional pts
01.02 fractional pts
00.00 fractional pts
Height of Rule 2:
Space Below Rule 2:
Height of Rule 3:
Space Below Rule 3:
Custom Indent:
Custom Width:
00.00 fractional pts
00.00 fractional pts
00.00 fractional pts
00.00 fractional pts
05,00 picas & pts.
12,00 picas & pts.
ChapTitle
Font
Size: 30 points Style: Bold
Alignment
Horz. Alignment: Center In/Outdent Width: 00,00 picas & pts.
Hyphenation: Off
Spacing
Above: 98.00 fractional pts Inter-Line: 36.00 fractional pts
Breaks
Allow Within: No Keep With Next: Yes
Tag Tables
B - 25
C:\POWER\9TECH.STY
Save as C:\TEMP\9TECHD0C.STY
Base Page Settings
Page Size & Layout
Orientation:
Landscape
Sides:
Double
Paper Type:
Letter, 8.5 x 11 in.
Start On:
Right Side
Margins & Columns
# of Columns:
3
Settings For Right Page
Settings For Left Page
Tap:
11,00 picas & pts.
Tap:
11,00 picas & pts.
Bottom:
13,00 picas & pts.
Bottom:
13,00 picas & pts.
Left:
10,06 picas & pts.
Left:
09,06 picas & pts.
Right:
09,06 picas & pts.
Right:
10,06 picas & pts.
Wi dth s/Gutters—1:
14,00/02,00 pcs & pts
Wi dths/Gutters—1:
14,00/02,00 pcs & pts
Widths/Gutters—2:
14,00/02,00 pcs & pts
Wi dths/Gutters—2:
14,00/02,00 pcs & pts
Widths/Gutters—3:
14,00 picas & pts.
Widths/Gutters—3:
14,00 picas & pts.
Tag Settings
Body Text
Font
Face:
Times
Style:
Normal
Size:
10 points
Color:
Black
Alignment
Horz. Alignment:
Left
First Line:
Indent
Vert. Alignment:
Tap
Relative Indent:
Off
Text Rotation:
None
In/Outdent Width:
00,00 picas & pts.
Hyphenation:
USENGLSH
In/Outdent Ht.:
1
Successive Hyphens:
2
In Fm. Rt. to Dec.:
00,00 picas & pts.
Overall Width:
Column-Wide
Spacing
Above:
12.00 fractional pts
Inter-Paragraph:
00.00 fractional pts
Below:
00.00 fractional pts
Add in Above:
When Not at C.T.
Inter-Line:
12.00 fractional pts
Breaks
Page Break:
No
Next Y Position:
Normal
Column Break:
No
Allow Within:
Yes
Line Break:
Before
Keep With Next:
No
Z_LABEL FIG
Font
Size: 12 points Style: B-Italic
B -26
Appendix B
Alignment
Horz. Alignment:
Justified
Spacing
Above:
06.00 fractional pts
Add in Above:
Always
ZJLABEL CAP
Alignment
Horz. Alignment:
Center
Hyphenation:
Off
Spacing
Above:
00.00 fractional pts
Z_FOOTER
Font
Style:
N-Italic
Alignment
Hyphenation:
Off
Spacing
Above:
00.00 fractional pts
Add in Above:
Always
Title
Font
Size:
60 points
Style:
Bold
Alignment
Horz. Alignment:
Hyphenation:
Center
Off
Overall Width:
Frame-Wide
Spacing
Above:
Below:
48.00 fractional pts
48.00 fractional pts
Inter-Line:
Add in Above:
60.00 fractional pts
Always
Headl
Font
Size:
24 points
Style:
Bold
Alignment
Hyphenation:
Off
Spacing
Above:
Below:
24.00 fractional pts
12.00 fractional pts
Inter-Line:
24.00 fractional pts
Head2
Font
Size:
18 points
Style:
B-Italic
Tag Tables
B -27
Alignment
Hyphenation:
Off
Spacing
Above:
24.00 fractional pts
Inter-Line:
18.00 fractional pts
Breaks
Keep With Next:
Yes
Head3
Font
Face:
Size:
Helvetica
12 points
Style:
Bold
Head5
Font
Size:
12 points
Style:
Bold
Spacing
Add in Above:
Always
Breaks
Keep With Next:
Yes
Z.CAPTION
Font
Style:
N-Italic
Alignment
Relative Indent:
On
In/Outdent Width:
00,04 picas & pts.
Spacing
Above:
00.00 fractional pts
Breaks
Line Break:
After
Z_SEC2
Font
Style:
Bold
Spacing
Add in Above:
Always
Breaks
Keep With Next:
Yes
BodyBreak
Alignment
Horz. Alignment:
Justified
B -28
Appendix B
Spacing
Above:
00.00 fractional pts
Inter-Line:
02.00 fractional pts
Breaks
Page Break:
After
BodySmall
Helvetica
Size:
8 points
Spacing
Below:
12.00 fractional pts
Inter-Line:
10.00 fractional pts
ListBullet
Spacing
Above:
00.00 fractional pts
Special Effects
Special Effect:
Bullet Char:
Indent After Bullet:
Bullet
195
01,00 picas & pts.
Face:
Size:
Color:
Times
12 points
Black
TitleSub
Font
Face:
Size:
Helvetica
24 points
Style:
B-Italic
Alignment
Horz. Alignment:
Hyphenation:
Center
Off
Overall Width:
Frame-Wide
Spacing
Above:
24.00 fractional pts
Inter-Line:
24.00 fractional pts
Tag Tables
B - 29
C :\POWER\PROFEXT.STY
Save as C:\TEMP\PROFEXT.STY
Base Page Settings
Page Size & Layout
Orientation:
Paper Type:
Landscape
Letter, 8.5 x 11 in.
Sides:
Start On:
Double
Right Side
Auto-Numbering
Level 1:
[*Body Text]
Level 2:
[*List#,l].
Margins & Columns
# of Columns:
3
Settings For Right Page
Settings For Left Page
Tbp:
11,00 picas & pts.
Top:
11,00 picas & pts.
Bottom:
13,00 picas & pts.
Bottom:
13,00 picas & pts.
Left:
10,06 picas & pts.
Left:
09,06 picas & pts.
Right:
09,06 picas & pts.
Right:
10,06 picas & pts.
Wi dths/Gutters—1:
14,00/02,00 picas & pts
Widths/Gutters—1:
14,00/02,00 picas & pts.
Wi dths/Gutters—2:
14,00/02,00 picas & pts
Widths/Gutters—2:
Widths/Gutters—3:
14,00/02,00 picas & pts.
14,00 picas & pts.
Widths/Gutters—3:
14,00 picas & pts.
Color Settings
w
Screen Display: Shades of Gray
Color Number 0 (White):(000.0, 000.0,
000 . 0 , 000.0)
Tag Settings
Body Text
Color Number 1 (Black):(100.0,100.0,
100 . 0 , 000.0)
Color Number 2 (Red): (000.0,100.0,100.0,
000.0)
Font
Face:
Times
Style:
Normal
Size:
10 points
Color:
Black
Alignment
Horz. Alignment:
Left
First Line:
Indent
Vert. Alignment:
Tbp _
Relative Indent:
Off
Text Rotation:
None
In/Outdent Width:
00,00 picas & pts.
Hyphenation:
USENGLSH
In/Outdent Ht.:
1
Successive Hyphens: 2
In Fm. Rt. to Dec.:
00,00 picas & pts.
Overall Width:
Column-Wide
Spacing
Above:
12.00 fractional pts
Inter-Paragraph:
00.00 fractional pts
Below:
00.00 fractional pts
Add in Above:
When Not at C.T.
Inter-Line:
12.00 fractional pts
B - 30
Appendix B
Breaks
Page Break:
Column Break:
Line Break:
No
No
Before
Next Y Position:
Allow Within:
Keep With Next:
Normal
Yes
No
Z_LABEL FIG
Font
Size:
12 points
Style:
B-Italic
Alignment
Horz. Alignment:
Justified
Spacing
Above:
06.00 fractional pts
Add in Above:
Always
ZJLABEL CAP
Alignment
Horz. Alignment:
Center
Hyphenation:
Off
Spacing
Above:
00.00 fractional pts
Z.FOOTER
Font
Style:
N-Italic
Alignment
Hyphenation:
Off
Spacing
Above:
00.00 fractional pts
Add in Above:
Always
Title
Font
Size:
60 points
Style:
Bold
Alignment
Horz. Alignment:
Hyphenation:
Center
Off
Overall Width:
Frame-Wide
Spacing
Above:
Below:
48.00 fractional pts
48.00 fractional pts
Inter-Line:
Add in Above:
60.00 fractional pts
Always
Headl
Font
Size:
24 points
Style:
Bold
Alignment
Hyphenation:
Off
Tag Tables
B - 31
Spacing
Above:
Below:
24.00 fractional pts
12.00 fractional pts
Inter-Line:
24.00 fractional pts
Breaks
Column Break:
Before & After
Head2
Font
Size:
18 points
Style:
B-Italic
Alignment
Hyphenation:
Off
Spacing
Above:
24.00 fractional pts
Inter-Line:
18.00 fractional pts
Breaks
Keep With Next:
Yes
Head3
Font
Face:
Size:
Helvetica
12 points
Style:
Bold
Head5
Font
Size:
12 points
Style:
Bold
Spacing
Add in Above:
Always
Breaks
Keep With Next:
Yes
Z.CAPTION
Font
Style:
N-Italic
Alignment
Relative Indent:
On
In/Outdent Width:
00,04 picas & pts.
Spacing
Above:
00.00 fractional pts
Breaks
Line Break:
After
Z_SEC2
Font
B -32
Appendix B
Style:
Bold
Spacing
Add in Above:
Always
Breaks
Keep With Next:
Yes
BodyBreak
Alignment
Horz. Alignment:
Justified
Spacing
Above:
00.00 fractional pts
Inter-Line:
02.00 fractional pts
Breaks
Page Break:
After
BodySmall
r~
Font
Face:
Helvetica
Size:
8 points
Spacing
Below:
12.00 fractional pts
Inter-Line:
10.00 fractional pts
ListBullet
Spacing
Above:
00.00 fractional pts
Special Effects
Special Effect:
Bullet Char:
Indent After Bullet:
Bullet
195
01,00 picas & pts.
Face:
Size:
Color:
Times
12 points
Black
UtleSub
Helvetica
24 points
Style:
B-Italic
Alignment
Horz. Alignment:
Hyphenation:
Center
Off
Overall Width:
Frame-Wide
Spacing
Above:
24.00 fractional pts
Inter-Line:
24.00 fractional pts
List#
Spacing
In Fm. Left (L):
01,00 picas & pts.
In Fm. Left (R):
01,00 picas & pts.
B - 33
Tag Tables
Breaks
Line Break:
After
Z_SEC1
Font
Style:
Bold
Breaks
Keep With Next:
Yes
Head4
Font
Size:
Style:
14 points
Bold
Color:
Red
Alignment
Overall Width:
Frame-Wide
Spacing
Above:
00.00 fractional pts
Inter-Line:
18.00 fractional pts
Breaks
Page Break:
Before
Rule
Font
Size:
12 points
Style:
Bold
Alignment
Overall Width:
Relative Indent:
Frame-Wide
On
In/Outdent Width:
00,04 picas & pts.
Spacing
Add in Above:
Always
Breaks
Line Break:
After
Keep With Next:
Yes
Ruling Line Above
Width:
Color:
Pattern:
Dashes:
Space Above Rule 1:
Height of Rule 1:
Tfext
Black
Solid
Off
00.00 fractional pts
02.00 fractional pts
Space Below Rule 1:
Height of Rule 2:
Space Below Rule 2:
Height of Rule 3:
Space Below Rule 3:
02.00 fractional pts
00.50 fractional pts
00.00 fractional pts
00.00 fractional pts
09.00 fractional pts
Note
Spacing
In Fm. Left (L):
In Fm. Right (L):
01,00 picas & pts.
01,00 picas & pts.
In Fm. Left (R):
In Fm. Right (R):
01,00 picas & pts.
01,00 picas & pts.
B -34
Appendix B
Ruling Box Around
Width:
Column
Space Below Rule 1:
03.00 fractional pts
Color:
Red
Height of Rule 2:
00.00 fractional pts
Pattern:
Solid
Space Below Rule 2:
00.00 fractional pts
Dashes:
Off
Height of Rule 3:
00.00 fractional pts
Space Above Rule 1:
00.00 fractional pts
Space Below Rule 3:
00.00 fractional pts
Height of Rule 1:
00.06 fractional pts
Spacer
Spacing
Add in Above:
Always
Z.BOXTEXT
Alignment
Hyphenation: Off
Tab Settings
Rule
Tab Number 1:
Right, 46,00, 32
Appendix C
The Power Disk
The Power disk contains text files, style sheets, and chapter
files for use with the sample projects in Publishing Power
With Ventura. You may obtain as many original copies of the
Power disk as you need by using the order form at the back of
this book, or by phoning the number shown on the form.
The Power disk requires Xerox Ventura Publisher Version 2.0
or 2.0 Professional Extension, and PC-DOS/MS-DOS 2.0 or
higher.
Benefits of the disk
The Power disk saves time. It allows you to get right to the
heart of the sample projects by using prepared text files, style
sheets, and chapter files. It contains many pages of text that
you would otherwise need to type on your own. In addition, it
includes style sheets with predefined tags, margins, columns,
and other basics. Because the style sheets are partially en¬
coded, you can focus on the specific topics at hand, without the
need to recreate basic parameters before you can start.
Disclaimer
The Power disk is subject to change at any time without
notice. It is provided on an as-is basis, as a convenience. New
Riders Publishing is not liable or responsible to any person or
entity with respect to any loss or damage in connection with or
arising from the use of the disk.
C - 2
Installing the disk
Installing the disk
Before starting, make a copy of the disk using the DOS utility
DISKCOPY. (DISKCOPY will duplicate the subdirectories
and the files. If you prefer to use the COPY command, you
must create the subdirectories on your own and copy the
correct files to the correct subdirectories.) Store the original in
a safe place and use the copy as the working disk.
The Power disk is copyrighted. It is intended for your personal
use. It may not be sold or transferred for profit.
After making a copy, you are ready to install the files onto the
hard disk. You should begin by scanning the README. 1ST
file on the disk for possible changes or corrections:
Turn on your system.
When you see the DOS prompt, put the working Power disk
in drive A:
Change to the A: drive by typing:
A: [Enter]
To view the README.1ST file, type:
HELP [Enter]
Alternatively, you can type:
TYPE README.1ST [Enter]
To stop the screen from scrolling, type Ctrl-S. Type Ctrl-S
again to resume scrolling.
To produce a printout of the file, turn on your printer and
type:
COPY README.1ST PRN [Enter]
Installing on hard disk C:
You may install the Power disk with a simple DOS COPY
procedure provided (1) that your hard disk is designated as C:
and (2) that you are able to set up a separate C:\POWER
subdirectory.
If you do not meet both conditions, you must perform the
If your hard disk is designated other than C:
C - 3
additional procedure below titled “If your hard disk is desig¬
nated other than C:.”
WARNING: If you use DOS COPY to move the files from the Power disk to any place
other than C:\POWER without following the additional procedures explained below,
the sample chapters may not work properly.
To install the Power disk, you will perform two steps:
1. create a C:\POWER subdirectory and
2. copy the files from the floppy to the C:\POWER subdirec¬
tory.
Here are the steps to take:
H Move to the C: disk by typing:
C: [Enter]
II At the C: prompt, type:
MD \POWER v
CD\POWER
II Put the working Power disk in drive A: and type:
V COPY A:* . *
The installation is complete. Remove the working Power disk
from the A: drive and store it in a safe place. You may proceed
to Chapter One and begin work.
If your hard disk is designated other than C:
If your hard disk is named other than C:, you must perform an
additional Multi-Chapter function before you can begin work
with the Power disk.
For instance, your hard disk may be designated as D:. Or, you
may already have a C:\POWER subdirectory to which you do
not wish to add any additional files. In either case, you can use
the Power disk, but only if you use the Multi-Chapter proce¬
dures explained below.
Ventura’s chapters contain pointers that tell the program
where to find the files it needs. The sample chapters on the
C — 4
Installing the disk
Power disk point to the C:\POWER subdirectory. If you place
them anywhere else, you must change their pointers before
they will work properly. To do that, you must use Multi-Chap¬
ter from the Options menu while in Ventura.
The first step is to decide where you want to place the Power
files. For illustration, we will assume that you wish to place
them in a subdirectory called D:\SAMPLE. In the instruction
below, substitute your actual disk drive and subdirectory
wherever you see D:\SAMPLE.
WARNING: You must follow the installation instructions in the order shown below.
Otherwise, we cannot guarantee proper operation of the sample chapters.
11 Change to the D: disk by typing:
D: [Enter]
!! At the D: prompt, type:
MD \SAMPLE
CD \SAMPLE
II Put the working Power disk in drive A: and do not remove
it until the end of this procedure. Type:
COPY A:*.*
§1 Load Ventura Publisher. Once it is on the screen, select
Multi-Chapter from the Options menu. You do not need to
open a chapter first.
II If there is a chapter highlighted in the Multi-Chapter
dialog box, deselect it by clicking anywhere else inside the
dialog box.
II Select Open from the list at the side of the dialog box. The
Item Selector will appear.
II Move the cursor to the Directory line. Press Esc to clear the
line and type:
A:\CHAPTERS\*.PUB [Enter]
Ventura looks on the A: drive for publications. An Item Selec¬
tor appears. It shows only one publication, called
POWER. PUB.
If your hard disk is designated other than C:
C - 5
m Click on POWER.PUB to select it. Click OK
The Multi-Chapter dialog box now shows a list of the chapters
that make up the publication.
H Select Copy All from the list at the right side of the dialog
box.
The Copy All dialog box appears. At the top is a Source section.
Confirm that it shows the publication A:\CHAP-
TERSXPOWER.PUB.
H Move the cursor to the line labeled PUB & CHPs. Press Esc
to clear the line. Type in the name of your destination
subdirectory. For example:
D:\SAMPLE
II Click once on the button titled Make All Directories the
Same As the First.
All the lines now read D:\SAMPLE.
M Click OK.
WARNING: As Ventura copies the files, you will see one or more of the following
messages. Respond by choosing the uppermost button, as explained below.
Ventura displays several messages like the one below:
D:\SAMPLE\6NEWSLET.CHP already exists on the tar¬
get drive. Do you wish to overwrite the old ver¬
sion, keep the old file, or cancel the archive
process?
H Choose Overwrite (the uppermost button).
You may also see this message:
This file could not be found: C|VENTURA\OUT-
PUT.WID. Do you wish to skip over it or retry
with a new disk, or cancel the archive process?
H Choose Skip (the uppermost button).
When Ventura has finished copying, it returns you to the
Multi- Chapter dialog box.
C - 6
Installing the disk
Remove the Power disk from the A: drive. You are ready to
begin work.
*+NOTE: See Chapter One for more information about Ventura
files and pointers. See Chapters Three and Seven for hands-
on practice with Multi-Chapter.
/
Appendix D
Colophon
Not only do we produce books about Ventura at New Riders,
we also produce books with Ventura. Consequently, people
often ask us about our favorites: our favorite equipment, our
favorite software, our favorite production tricks and techni¬
ques. We included this brief appendix to answer some of those
questions.
Perhaps the most important advice we have to offer concerns
the management of the production process. Some of the big¬
gest problems with Ventura arise not from the software, but
from lack of organization and standardization. We use a
variety of techniques to make it easier to produce pages with
Ventura in a workgroup environment:
• Standard tag names
• Standard file naming conventions for every file that goes
into the document
• Standard subdirectory naming and organization across dif¬
ferent computers
• A standard chapter template so headers, crop marks, frame
sizes, and other repeating elements are identical from
chapter to chapter
• A style guide for authors and editors that covers tagging,
file naming, spelling, grammar, and other basics
• A tag that shows the latest date of the style sheet, so we
don’t accidentally use an old version
D -2
Software and hardware
• An ID line at the top of text files to identify the file name
and date. This information is placed in a footer that falls
outside the trim margin. That way, we can glance at the
bottom of the page and immediately know which version of
the document we are looking at
These procedures have brought numerous benefits:
• We can recognize files at a glance just by their name and
extension
• Authors can pretag manuscripts so we have less pretagging
to do
• Authors can mark the manuscripts with the position, file
name, and a description of the pictures they want. The
layout editor merely has to load the right file into the right
frame
• We can use DOS to archive and copy chapters between
machines (because the subdirectory organization is
identical)
• Any layout operator can work on any project, because the
procedures are the same
We developed some of these ideas on our own. Many of them,
however, are borrowed from editors and experts around the
country who have been kind enough to share their favorite
tricks and tips. Our production management techniques are
described in detail in our book New Writing, a style guide and
procedures handbook for desktop publishing. See the ordering
section for more information on this book.
Software and hardware
Our job was made easier this time around by several new or
improved tools. At the top of the list is Ventura 2.0 Profes¬
sional Extension. In our experience, this new version is much
less prone to bugs and crashes. We employed many of its new
features. Our favorites include:
• EMS support for faster formatting and fewer crashes
• Table mode for quick, easy preparation of tables
• Enhancements to Graphic mode so callouts and other il¬
lustrations are easier to produce
We are also experimenting with the new cross referencing and
frame anchoring features available in the Professional Exten¬
sion, but we have not yet fully integrated them into our
production system.
We captured the screen shots with Hotshot Graphics from
Symsoft. This combination screen capture/graphics
editor/graphics library program continues to expand and im¬
prove with each new edition.
We also made extensive use of LaserTorq, a print spooling
utility from LaserTools. You can print your chapters to a disk
or (RAM disk) and LaserTorq will then spool them to the
printer in the background. Meanwhile, you get your keyboard
back so you can go on working without waiting for the printer
to stop. Unfortunately, we did not have enough memory to
permit us to use LaserTorq with very large chapters.
In addition, we also made use of our own third-party program,
Desktop Manager. This utility works “inside” Ventura to add
new dialog boxes and new features. We can track the status of
projects, check the contents and size of files, get automatic
timed backup, and much more, all without leaving the Ven¬
tura work session. Best of all, from a production standpoint, is
the ability to copy, move, rename, or delete any file, chapter, or
publication within Ventura. Until we had Desktop Manager,
we had to leave Ventura to rename a graphics file; or to
archive a chapter without also sending the width file to the
hard disk; or to delete a chapter and its associated files. Now
we can do all these tasks (and many more) within Ventura.
The manuscript was created with Microsoft Word. We used
Ventura to convert to WordStar format for in-house editing.
We couldn’t have gotten by without our big screen monitors
from Verticom and Moniterm. Verticom no longer makes
monitors for desktop publishing (although they are still sell¬
ing in the CAD arena), but Moniterm is still active.
Our computers are Premium 286 models from AST equipped
with 1- 2MB of RAM and 40MB hard disks. When you routine¬
ly produce 700-page books with 500 illustrations, you soon
D - 4
Production details
come to wish for the speed of a 386-based computer and the
storage capacity of 100MB+ hard drives. We hope to upgrade
soon. We are also still searching for the ideal backup solution.
At the moment, we still use 1.2 MB floppies.
Production details
The camera-ready pages for this book were produced on a
300-dpi laser printer.
The main text is 11/13 Century Schoolbook. Display type is
Helvetica Bold. Captions and tables are Helvetica Narrow.
Printing: Web offset, R.R. Donnelley & Sons, Indiana.
Index
A
Abandon 1-29
publications 1-65
recovering from mistakesl-53
Abbreviated Format 1-53, 3-37
Above Spacing 1-43, 1-51,1-66
See also Spacing
Add Chapter 3-64
Add New Frame 1-58, 3-23, 3-32
Add New Tag 2-29
Adding a Caption 2-51, 3-59
Adding a Frame 2-41, 3-23
Adding a New Printer 3-63
Adding a New Tag 2-28, 2-49,
2- 56
Adding a Page Break 2-30, 2-56
Adding a Picture 2-41
Addition Button 1-9
Adobe Illustrator 5-1
An Advertising Flyer 5-10
Aligning Text Frame-Wide 2-27
Alignment
decimal 4-46
frame-wide 2-27, 6-41, 7-17
indents 2-26, 2-56
middle 4-43
relative indent: on 7-44, 9-26
rotated 5-32
Allow Within: No 9-30
Alt Key 2-5, 4-51, 5-7, 5-26, 5-30,
5-57,10-11
Anchors & Captions 2-51, 2-57,
3- 59, 3-70, 6-52, 9-43
See also Insert/Edit Anchors
Applying Tags 1-39, 2-25
to an empty paragraph 2-31
Arrow Keys
finding hidden attributes 2-17
ASCII Files
converting to other formats 6-8
creating 7-2
typing in 7-7
Aspect Ratio: Distorted 5-6, 6-51
Aspect Ratio: Maintained 3-59, 5-6,
5-55
Assign a Color 9-36
Assign Function Keys 3-50, 3-53,
3-68, 9-16
Assigning a File Extension 1-24
Assignment List 1-9, 1-39
Attribute Overrides 8-24
Attributes, Text 2-5, 2-15, 2-18
bold 6-27, 10-34
hidden 10-18
in headers 4-17
italics 2-16, 6-27
normal 6-30
paste 2-21
removing 2-18, 2-21
small 6-28, 8-24
Auto-Adjustments 1-52, 2-8
Auto-Leader 4-44
Auto-Numbering 9-17, 9-19, 9-51
creating outlines 9-51
with multiple lists 9-31
AutoCAD 5-1, 9-1
DXFTOGEM conversion 9-2
E - 2
B-B
encapsulated postscript format 9-2
HPGL format 9-2
slide file format 9-2
Automatic Figure Numbering 9-43
Automatic Invoice Numbering 4-13
Automatic Pair Kerning 5-46, 5-47
implementing 5-49, 5-59
B
Backing Up
a chapter 1-5, 1-63
a publication 1-5, 3-64
See* also Copying
See also Multi-Chapter
Backspace Key 1-22
Backup Button 1-23,1-67
moving to subdirectories 1-17
Backup Files 1-27
Balancing Columns 2-25, 2-56, 3-20
Banner Headline 6-41, 6-62
Below Spacing 1-43, 1-51,1-66,
2-28, 3-48
See also Spacing
Big First Character 6-6, 6-44, 6-62,
8-22
Bit-Mapped Images
See Pictures
Body Text
formatting first in a document
1-40, 2-25, 6-32
inter-line spacing 1-66,10-36
removing a tag to 3-58
Boldface Lead-ins 6-6
A Book 8-3
parts of 8-1
Book Tips 8-50
Box Character 6-47
copy 6-48
cut 6-48
paste 6-48
Box Text 1-9, 4-7
adding text to 4-38
changing fill attributes 4-26, 4-47
changing line attributes 4-25, 4-49
copy 4-26, 4-34, 6-55
cut 4-24
deselecting 4-47
drawing 4-24, 5-13, 9-47
effects 4-7
end styles 4-50
modifying the Z_BOXTEXT tag 4-9,
4-42
moving 4-27, 4-54
paste 4-27, 4-35
resizing 4-24, 4-28
tips 5-56
versus frame text 4-8
versus rectangles 4-9
Box Text Tips 4-54, 5-56
Bracket Codes 2-5, 2-17, 8-52, 9-46
Breaks 2-25, 2-30, 2-32
allow within: no 9-30
keep with next 2-35, 2-39, 2-56,
7-20, 7-22 to 7-24
page 2-32
with side-by-side paragraphs 8-28
Bring to Front 5-56
Bullets 2-37, 2-39
See also Special Effects
Business Documents
an advertising flyer 5-10
an invoice 4-12
a book 8-3
a directory 7-6
a single-column report 1-7
a technical manual 9-5
a three-column newsletter 6-6
a two-column newsletter 3-13
a two-column proposal 2-8
By Scale Factors 5-4, 5-6, 5-55
aspect ratio distorted 5-6
aspect ratio maintained 5-6, 5-55
c -c
E-3
C
A Calendar 6-6, 6-52
Callouts 4-7, 4-54, 9-5, 9-47
Canceling a Dialog Box 1-11
Caption File 3-28, 3-30, 4-8, 6-61
Caption Labels 3-59, 3-70
Captions 2-56
adding 2-51, 3-5, 3-59, 6-52, 9-43
automatic figure numbering 3-59,
9-43
definition of 3-5
formatting 2-53
label 3-59
modifying 3-60
overwriting 5-37
sizing and scaling 2-52, 2-54
text in 2-53, 6-52
Carding 10-36
Cells 10-6
adding text to 10-32
contents of 10-8
editing 10-43
joining 10-28
specifying 10-6
Changing Column Formats 2-23
Changing Page Numbers 4-21, 4-52,
8-20, 8-32
Chapter Counter 8-19, 8-32
Chapter Files
backing up 1-5,1-63
definition of 1-1
opening 1-5, 1-49
parts of 1-1
pointers in 1-1, 1-5, 1-63
printing 1-62
renaming 1-27, 3-16
restoring 1-27
saving 1-28, 1-62, 3-22
where Ventura stores 1-2
Chapter Menu 1-31
Chapter Templates 6-59, 7-33 to
7- 35
Chapter Tips 1-67, 3-70, 6-60, 6-63
Chapter Typography 3-19, 6-11
column balance 2-25
move down to 1st baseline by 3-20,
6-35, 8-22
overriding 5-44
pair kerning 5-47
vertical justification allowed 10-37
vertical justification around frame
10-35
widows and orphans 3-20, 8-20
Clipboard 2-19, 2-21, 2-56, 3-3, 3-34,
3-67, 4-26 to 4- 28, 5-39, 6-48
Codes, Typographic 2-5, 2-17, 4-19,
5-11, 5-25, 5-59, 6-27
Color
See Spot Color
Color Printing
process color 9-34
spot color 9-34
Column Balance 2-25, 2-56, 3-20,
5-46
Column Break: Before & After 9-15
Column Breaks 9-5
Column Guides 1-10, 3-23
Column Snap 2-41, 3-23, 4-4, 5-15,
5-45
Columns
balancing 2-25,3-20
calculating side-by-side paragraphs
8- 28
changing number of 2-23, 5-22, 6-14
making equal widths 2-24, 2-56
unequal 5-22
Conversion
DXFTOGEM 9-2
of file formats 6-7, 6-61
to typographic characters 2-8
Copy All 1-64, 3-66
Copy Box Character 6-48
E - 4
D-D
Copy Box Text 6-55
Copy Column 10-8
Copy Fitting 5-46
Copy Frames 3-34
Copy Graphic 4-26, 4-31, 4-34, 5-40
Copy Row 10-8
Copy Text 2-15, 2-19, 2-21, 2-55
Copy To Facing Page 3-17, 3-19
Copying
a chapter 1-5
a publication 1-5
See also Backing Up
See also Multi-Chapter
Copyright Symbol 2-5
Correcting Typing Mistakes 1-22,
3-29
Creating a Publication 1-63, 3-64,
3-70,10-40
Creating a Title Page 9-13
Creating ASCII Files 7-2
Creating Multiple Lists 9-31
Creating Subdirectories in Ventura
1-14
Creating Technical Illustrations 9-1
Crop Marks 7-6, 7-9, 7-43, 8-3, 9-7
built-in vs. hand-drawn 7-11
changing margins to draw 9-8
printing 8-50
Cropping Pictures 5-4
images, bit-mapped 5-7
line-art 5-7
x, y offset 5-7
Cross Referencing 10-1 to 10-3,
10-42
substitute text 10-17
variable text 10-17
Ctrl-[ 5-26
Ctrl-] 5-26
Ctrl-B 9-30
Ctrl-C 6-46
Ctrl-E 1-30
Ctrl-Enter 4-40, 5-26
Ctrl-Hyphen 5-51, 5-57
Ctrl-K 3-51, 3-53, 3-69, 9-16
Ctrl-N 1-30
Ctrl-Q 4-52, 4-55, 7-11
Ctrl-R 1-30
Ctrl-S 1-28, 1-62, 3-23
Ctrl-Shift-[ 6-27
Ctrl-Shift-] 6-27
Ctrl-Shift-F 6-42
Ctrl-Shift-T 6-42
Ctrl-T 2-19
Ctrl-X 1-11, 2-54, 3-24, 3-34, 3-57,
5-12
Ctrl-Z 5-39
Current Selection Box 1-10, 1-55,
2-18
displaying file name 1-20
Custom Rules 7-21
Cut Box Character 6-48
Cut Column 10-8
Cut Frames 1-60, 3-24, 3-34
Cut Graphic 4-24, 4-27
Cut Row 10-8
Cut Text 2-15, 2-19, 2-21, 2-55
D
Dashed Rules 6-20, 6-61
Database Program
generating a directory from 7-1, 7-3
pretagging in 7-1 to 7-3
Decimal Alignment 4-46
Deckhead 3-55
Define Colors 9-35
Del Key 1-22, 3-34, 4-24
Delete Frames 1-60, 3-24, 3-34
Delete Graphic 4-24, 4-27
Delete Tables 10-43
Delete Text 2^15, 2-19, 2-21
Deselecting Graphic 4-29
Dialog Box
E-E
E-5
cancelling choices 1-11
enter key 1-11
help menus 1-11
measurement units 1-11
OK button 1-11
recalling last 2-54
saving choices 1-11
text attr. button 4-18
Diamond 1-23
A Directory 7-6
Directory Line 1-23, 1-67
Disable Colors 9-35
Discretionary Hyphens 5-51, 5-57
Display Generated Tags 2-40
Display Type 3-40
Documents
See Business Documents
DOS 1-16, 1-67
copy command 1-5, 1-15, 1-63,1-67
rename command 1-26, 2-13
starting Ventura from 1-8
using Multi-Chapter instead of 1-5
Double Rule 9-23, 9-27
Double-Clicking 2-10
Double-Sides 3-17, 5-15
Dragging the Mouse 3-1
Drawing Box Text 4-24, 5-18 to
5-21, 9-47
Drawing Multiple Frames 3-32
Drop Cap
See Big First Character
Drop Shadows 5-37
E
Edit Fractions 8-11
Editing Text 1-66, 2-15, 2-19, 2-21,
2-55, 5-32
Effects
arrow 4-50
underscore 4-44
automatic numbering in header 4-13
balanced columns 2-25
banner headline 2-28, 6-41, 6-62
big first character 6-6, 6-44, 8-22
boldface lead-in heads 6-6, 6-28
box text 4-7, 5-11
bullet 2-37, 2-39
callouts 4-7, 4-54, 9-5, 9-47
column breaks 9-5
creating a calendar 6-6, 6-52 to
6-57, 6-59
creating a dateline 3-41
creating a title page 2-26
creating chapter templates 6-59 to
6- 61, 6-63, 7-33 to 7-35
crop marks 7-6, 7-9, 7-43, 9-7
custom rule 3-54, 6-6, 7-21
deckhead 3-55
dotted tear line 4-13, 4-36, 4-44
double rule 6-6,6-43, 9-23, 9-27
drop cap 8-22
drop shadows 5-11, 5-37
end of article symbol 6-46
fold line 6-20
hollow box 6-46
jump text 6-23, 6-27
kerning headlines 5-11, 5-46, 6-33
kicker 3-43
lead-in paragraph 3-46
letter spacing 5-50
logo 3-37, 6-33
nameplate 3-37
note 9-28
number lists 4-46
outlines 9-51
overlapping graphics 4-8
page break 2-30, 2-32
pull quote 6-25, 6-43, 6-61
reverse type 4-13, 7-6, 7-16, 7-18,
7- 43
rotated text 5-32
E - 6
F-F
ruling box around frame 2-45, 5-22
ruling lines in tables 10-44
secondary margins 1-48
section numbers 9-5
small cap lead-in heads 8-24
snap-to grid 4-13
solid box 6-46
spacer tag 9-41
spot color 9-5
table of contents 3-28, 8-36
tables with horizontal tabs 2-45
tags residing on same line 3-42,
3-69, 6-39, 6-48, 7-23, 7-44
teaser 5-25
text aligned across columns 1-47,
3- 22, 5-47, 6-12
text runarounds 5-11, 5-42, 5-43,
5- 56
thumb tabs 7-6, 7-25
tint screens 4-13, 4-47, 6-6, 6-14
tracking headlines 3-38, 3-40, 6-33,
6- 37
two-column format 2-23
typographic fractions 8-10
Ellipsis 5-11, 5-25
Em Dash 2-5, 2-8, 5-11, 5-26
converting from hyphens 2-8
Em Space 3-40
Empty Paragraph 2-31, 9-13, 9-15
En Dash 7-13
Encapsulated PostScript 5-57
creating 5-53
displaying 5-3, 5-37
placing 5-3, 5-36
End Key 1-29
End of Article Symbol 6-46
End of File Marker 2-52, 3-28, 4-7,
4- 24, 6-23
tagging the 4-45
End Styles 4-26
Enlarged View 1-30, 5-16
Enter Key
closing a dialog box 1-11
EPS
See Encapsulated PostScript
Esc Key 1-22
Extensions
assigning 1-2, 1-24, 5-55, 8-37
F
Feathering 10-35
Figure Numbering, Automatic 9-43
Figure Space 6-42
File Management
pictures 5-2
problems encountered in 1-15
renaming and relocating files 1-2,
1-14, 2-11
storing files in subdirectories 1-14
File TyP e /Rename 1-21, 2-11, 3-15,
6-7, 6-9, 6-23
tips for using 1-66
File Types
CAP 1-2
CHP 1-2
CIF 1-2
IMG 1-2
VGR 1-2
Files
backing up 1-3
extensions 1-2,1-24
loading 1-16,1-25, 1-49, 2-10, 3-14
managing 1-1, 1-14, 1-67
removing from frame 2-13
renaming and relocating 1-2, 1-15,
1-21, 1-26, 2-11, 2-55, 6-8, 6-61
restoring 1-27
selecting in Item Selector 1-18, 2-10
spreadsheet 2-41
See also Chapter Files
See also Graphics Files
See also Picture Files
F-F
E- 7
See also Program Files
See also Text Files
Fill Attributes
changing 4-26, 4-47
saving 4-26, 4-56
Fill Patterns 6-14, 7-29
Fit in Frame 3-59, 5-4
aspect ratio distorted 5-5, 6-51
aspect ratio maintained 5-5
Flow Text Around: Off 5-42
Fold Line 6-20
Font Dialog Box
for non-PostScript printer 1-41
for PostScript Printer 1-41
Fonts
shifting up/down 8-23
with non-PostScript printer 1-41
with PostScript printer 1-41
Fontware 3-37
Footers 2-56
building 2-23, 2-40, 7-12, 9-11
changing the frame margin of 7-14,
9-12
changing the position with spacing
7- 15
inserting page numbers in 2-23
live 7-6, 7-12, 7-43
turning off for first page 2-23
Footnote
changing the frame margin of 8-10
changing the position with spacing
8 - 10
deleting 8-10
inserting 8-6
separator line 8-6
setting the format of 8-6
text of 8-8
tips 8-51
See also Ins Special Item
Footnote Settings 8-6
Formatting a Generated Tag 2-53
Formatting Tables
horizontal tabs 2-45, 2-49, 2-57
side-by-side paragraphs 8-27
See also Tables
Formula, The Ventura -xi
See also The Ventura Formula
Fractions
editing 8-11
inserting 8-10
See also Ins Special Item
Frame Background 6-14
See also Fill Patterns
Frame Menu 1-31
Frame Mode 1-9
enabling 1-20, 1-36, 3-1
Frame Text 3-30
versus box text 4-8
Frame Tips 3-67, 4-54, 6-62
Frame Typography 6-35
for copy fitting 5-44
Frame-Wide Alignment 2-27, 6-41,
7-17
Frames
adding 1-58, 2-41, 3-32, 5-16
adding an anchor to 9-44
adding captions to 3-5
adding columns to 3-4
adding margins to 2-44, 3-4, 7-27,
7-43
aligning on page 1-60, 3-9
blank frame 1-10
chaining text files between 3-4, 3-9,
6-21
changing the order of 3-10
copy 3-34, 3-67
creating text runarounds with 5-44,
5-56
cut 1-60, 3-24, 3-34
fill patterns 6-6,6-14, 6-62, 7-29
grid settings in 4-7, 5-37
jump text 3-26, 3-30
moving 1-60, 3-2, 3-34, 3-67
overlapping 3-3
E - 8
G-H
padding 1-60
parent 4-2
paste 3-3, 3-34
placing pictures in 2-41
placing text in 1-19, 2-41, 3-1, 3-7,
3-9, 3-68, 6-20
re-anchoring 9-46
removing text from 2-13
repeating 7-25, 7-31
ruling lines around 6-62
selecting 3-1, 3-67, 5-57
sizing and scaling 1-59, 2-42, 3-1,
3-24, 3-34, 3-59, 3- 67, 5-4, 5-16
typing text in 3-28, 3-30, 3-35, 3-68,
5-13, 6-61
versus the Page 3-1, 3-7
Function Keys 3-50, 3-53, 3-68
tagging with 3-52
tips for naming 3-52
G
GEM Draw 5-2
GEM/HALO DPE 3-15
Generated Tags 1-39, 2-40, 2-53,
2-56, 3-53, 3-60, 4-9, 4-42, 8-9, 8-37,
8-41, 8-43, 9-12, 9-18, 10-12
Generating a Table of Contents 8-3,
8-36, 8-38, 8-40
Generating an Index 8-3, 8-12
Generating Pretagged Files 7-1
Go to Page 6-20
Graphic
box text 4-1, 4-7
bring to front 5-56
circles 4-1
clipboard 4-28, 5-39
copy 4-26, 4-31,4-34, 5-39
cut 4-24, 4-27
deselecting 4-29, 4-47
drawing several shapes 4-30
end styles 4-26
fill attributes 4-26
line attributes 4-25, 4-49
lines 4-1, 4-50
moving shapes 4-27, 6-62
overlapping 4-8
parent frame 4-2
paste 4-26, 4-31, 4-35, 5-39
rectangles 4-1, 5-37, 7-9
resizing 4-24, 4-28
select all 4-52
send to back 5-38, 5-56
show on all pages 4-3, 4-52, 4-55,
7-11, 9-10
Graphic Mode 1-9, 4-1
enabling 4-23
if selected while loading text 1-19
key points of 4-2 to 4-4
Graphic Tips 4-55
The Grid System 6-1
Grid Settings 4-4, 5-18, 5-37, 7-9
horizontal 4-23
vertical 4-23
Grid Snap: On 4-24
Grid, Snap-To 3-9, 4-4 to 4-6, 4-13,
4-55, 5-56
Ground Rules
making your system match vii
Gutters
entering 2-24, 3-17
H
Half-Size Format 8-3
Handles
See Sizing Buttons
Header Rows 10-9
Headers 2-56
automatic numbering in 4-13
building 4-17
I-I
E-9
changing the position with spacing
7-15
copy to facing page 3-19
entering text in 4-17
inserting page numbers in 1-35,
3-19, 4-19
live 7-43
modifying the Z_HEADER tag 3-53
resetting after margins change 1-37
text attributes in 4-17
turning off for first page 1-35, 3-19
Headers & Footers 2-23, 2-40
1st Match 7-13
Help Menus 1-11
Hide All Pictures 5-53
Hide Tabs & Returns 2-30
Hollow Box 6-46
changing size of 6-47
Home Key 1-29
Horizontal Spacing
See Spacing
Horizontal Tabs 2-45
Hyphenation
dictionary 5-57
manual 5-51
preventing 5-57
turning off for display type 1-51
Hyphens
converting to em dash 2-8
discretionary 5-51, 5-57
placing in text files 1-16
I
I-Beam 2-15
Images, Bit-Mapped
See Pictures
In From Left Spacing 1-48, 2-39,
3-43, 3-47, 3-69, 6-49, 8-28, 9-20
See also Spacing
In From Right Spacing 1-48, 3-43,
3-69, 6-49, 8-28
See also Spacing
Indents 2-26, 2-56
Index
generating 8-3, 8-12
levels of 8-12
primary entry 8-13
secondary entry 8-13
see also references 8-13
Ins Column 10-9
Ins Key 2-19, 3-34, 4-27, 4-35
Ins New Table 10-25, 10-43
Ins Row 10-9, 10-33
Ins Special Item 6-46
box character 6-47
cross reference 10-4,10-21
footnote 8-8
fraction 8-11
frame anchor 9-45
index entry 8-13
reference 7-28, 7-37
variable def 10-18
Inserts
1st Match 7-13
Last Match 7-43
Insert Frames 3-3, 3-34
Insert Graphic 4-27, 5-39
Insert Text 2-15, 2-19
Insert/Edit Anchor 9-44, 9-52
Insert/Edit Table 10-8, 10-11, 10-24,
10-43
Insert/Remove Page 3-32
Inserting a Footnote 8-6
Inserting a Fraction 8-10
Inserting a Page 3-32, 4-52, 5-21
Inserting a Reference Marker 7-29
Inserting an Index Entry 8-13
See also Ins Special Item
Inserting Cross References 10-3,
10-18, 10-42
E -10
J-L
Inserting Discretionary Hyphens
5- 51
Inserting Typographic Codes 2-4,
4-19, 5-11
Installing a Second Printer 3-70
Inter-Col. Rules 3-18
Inter-Line Spacing 1-43, 1-47, 1-51,
1-60,1-66
See also Spacing
Inter-Paragraph Spacing 1-66, 2-28
See also Spacing
Interactive Tracking 6-34
An Invoice 4-12
Italics
when to use 2-16
Item Selector 1-17
backup button 1-17,1-67
diamond 1-17
directory line 1-23,1-67
selection line 1-19
J
Join Cells 10-28
Jump Text 3-26, 3-30, 6-12, 6-23,
6- 27
K
Keep With Next 2-35, 2-39, 2-56,
7- 20, 7-22 to 7-24
Kerning 6-33
automatic pair 5-46, 5-57
definition of 5-46
in text mode 5-48
manual 5-46, 5-48
on-screen 5-49, 5-57
tables 5-46
Keyboard Mode
accidentally enabling 1-30
Keyboard Shortcuts 2-19
alt Key 2-5, 5-7, 5-26, 5-30
backspace 1-22
ctrl-[ 5-26
Ctrl-] 5-26
ctrl-b 9-30
ctrl-c 6-46
ctrl-e 1-30
ctrl-enter 4-40, 5-26
ctrl-hyphen 5-51, 5-57
ctrl-k 3-51, 3-53
ctrl-n 1-30
ctrl-q 4-52, 4-55
ctrl-r 1-30
ctrl-s 1-28, 3-23
ctrl-shift-[ 6-27
ctrl-shift-] 6-27
ctrl-shift-f 6-42
ctrl-shift-t 6-42
ctrl-t 2-19
ctrl-x 1-11, 2-54, 3-24, 3-34, 3-57,
5-12
ctrl-z 5-39
del 1-22, 2-19, 2-55, 3-34
end 1-29
esc 1-22
function keys 3-50
home 1-29
ins 2-19, 2-55
pgdn 1-21,1-29
pgup 1-29
shift key 4-30
shift-click 1-55, 1-57, 2-18, 2-34, 2-56
shift-del 2-19, 2-55
Kicker 3-43
L
Landscape Format 7-6, 9-5
Lead-in Heads 6-28, 8-24
Lead-in Paragraph 3-46
M-M
E- 11
Leader Dots 3-48, 3-69
Letter Spacing 5-50
Line Attributes
adding an arrow 4-50
changing 4-25, 4-49
end styles 4-26
saving 4-25, 4-56
Line Break: After 3-42, 7-24
Line Break: Before 3-43, 7-23
Line Break: No 8-31
Line Breaks 1-38, 4-40, 5-26
versus paragraphs 7-3
Line Snap 2-41, 3-23, 4-4, 5-15,
5-43, 6-12
Line-Art
See Pictures
Lines 4-50
Lists 9-5, 9-17 to 9-19, 9-31
creating 9-5
Live Headers and Footers 7-6, 7-12,
7-43
steps for creating 7-13
Load Diff. Style 1-22
Load Different Width Table 3-63
Load Text/Picture 1-25, 2-55
Loading a Picture File 1-25, 3-15
Loading a Style Sheet 1-22
Loading a Text File 1-16, 2-41
Loading Several Files 2-10
Logo 3-37, 6-33
Loose Lines 5-51
reducing 5-51
M
MacDraw 5-2
Make Equal Widths Button 2-24
Make TOC 8-37
Making Columns Equal Widths
2-24, 2-56
Managing Files 1-1, 1-14,1-67
Margins
changing 1-36, 3-17
creating temporary 1-48, 8-31
resetting the header after changing
1-37
rule of thumb for creating 1-37
Margins & Columns 1-36, 2-23, 5-22
copy to facing page 3-17
in frames 2-44, 3-4, 6-14
Markers, On-Screen 2-17, 2-19
displaying 2-30
Maximum and Minimum Space
Values 5-50
Measurement Units 1-11
changing in dialog box 1-36
Measuring Indents 2-26
Measuring System
picas and points 2-2
Menus
drop down 1-8
selecting 1-8
MicroSoft Word Format 6-8
Middle Alignment 4-43
Mode Selector 1-8
frame mode 1-8
graphic mode 1-8
paragraph mode 1-8
text mode 1-8
Modifying Tags 1-30, 2-25
Mouse 1-18, 3-2
using viii
Move Down to 1st Baseline By 3-22,
5-44, 6-35, 8-22
definition of 3-20
Multi-Chapter 1-63
for backing up a chapter 1-5,1-63
for backing up a publication 1-5,
1-63, 3-64, 3-70
make TOC 8-37
printing with 1-62, 3-64, 3-66, 7-39,
10-39
E- 12
N-P
renumbering a publication 7-39,
10-4,10-22
See also Backing Up
See also Copying
MultiMate Format 6-8
N
Nameplate 3-37
New 1-8, 4-13
when to use 2-10
Newsletter-Style Layout 3-1, 3-7,
3-9, 3-11, 3-17, 3-20, 3-22, 3-37,
3-68, 6-1, 6-6, 6-21, 6-52, 6-62
Normal View 1-30, 5-16
Number Lists 4-46
O
Object-Oriented Graphics
See Pictures
OK Button 1-11
On-Screen Kerning 5-49, 5-57
One-Column Report 1-7
Open and Closed Quotes 6-27
converting from standard quotes
2-5, 2-8
Open Chapter 1-49
Options Menu 1-11
starting configuration 1-11
OUTPUT.WID 3-64
P
Padding
setting to body text inter-line 1-60,
6-62
vertical 1-47, 1-60, 6-26
The Page
as parent to graphic 4-2
definition of 1-10, 3-6, 3-68
double-sides 1-32
if selected while loading text 1-19,
2- 11, 5-12
moving around 1-29
placing text on 1-19, 1-21, 3-7
removing files from 2-13
selecting 1-20
single-sides 1-32
sizing and scaling 1-32, 3-6, 3-68
versus frames 3-1, 3-7
viewing 1-29
Page Break 2-32, 2-56
adding a 2-22, 2-30
Page Break: After 2-30, 9-51
Page Break: Before 7-17, 9-24
Page Break: Before/Until Right 7-17
Page Counter 8-20, 8-32
Page Layout Strategy 1-31, 2-22,
3- 1, 3-7, 3-9, 3-17, 3-22, 4-12, 4-17,
5-10, 5-15, 5-57, 6-3, 6-32
Page Numbers 1-10
changing 4-20, 4-52, 8-20, 8-32
in thumb tabs 7-6, 7-28
inserting in footers 1-35
inserting in headers 1-35, 3-19, 4-19
linking across chapters 7-38
on double-sided pages 3-17
See also Page Counter
Page Size & Layout 1-32
defining the page with 1-10
double-Sides 3-17, 5-15
half-size format 7-12, 8-3
landscape format 7-6, 9-5
Pair Kerning: On 5-47
Paper Type & Dimension 7-12
Parafiltr Code 2-4, 2-55, 7-42
Paragraph
definition of 1-38
empty 2-31
lead-in 3-46
P-P
E - 13
tagging the wrong 2-27
using line breaks in 1-38
versus line breaks 7-3
Paragraph Menu 1-31
Paragraph Mode 1-9
enabling 1-40
if selected while loading text 1-19
when to use 2-16, 2-55
Paragraph Typography 3-39, 6-33
at bottom of paragraph 10-38
at top of paragraph 10-38
automatic pair kerning 5-47
Paste Box Character 6-48
Paste Column 10-8
Paste Frames 3-3, 3-34
Paste Graphic 4-26, 4-31, 4-35, 5-39
Paste Row 10-8
Paste Text 2-15, 2-19, 2-55
PC Paintbrush 5-1
PgDn Key 1-21, 1-29
PgUp Key 1-29
Picture Files
how Ventura manages 5-2
loading 1-25, 1-49, 5-2
renaming and relocating 1-26, 2-13
Picture Tips 2-57, 3-70, 5-55, 6-62,
9-52
Pictures
Adobe Illustrator 5-1
AutoCAD 5-1
cropping 5-4, 5-7
encapsulated postscript 5-3, 5-37
GEM Draw 5-2
hiding 5-56
images, bit-mapped 5-2, 5-4
line-art 5-2 to 5-4, 5-36, 9-1
MacDraw 5-2
object-oriented 5-2
PC Paintbrush 5-1
sizing and scaling 5-4 to 5-6, 5-42,
5-55, 6-51
Placing Text in Frames 1-19
Placing Text on the Page 1-19,1-21
Planning
an advertising flyer 5-10
a book 8-3
a directory 7-6
an invoice 4-12
a one-column report 1-7
a technical manual 9-5
a three-column newsletter 6-6
a two-column newsletter 3-13
a two-column proposal 2-8
The Point System 2-2
Pointers
changing 1-5,1-63, 1-67
storing 1-1, 1-16, 5-55
Pop-Up Menus 1-11
PostScript Printer
creating Encapsulated Postscript
files with 5-3
fonts used with 1-41, 3-37
if you do not have 1-41,1-62, 3-37,
6-33
installing as a second printer viii,
1-41
overlapping graphics 4-8
using the book with viii
The Power Disk
if you do not own ix, 1-8
if you own 1-8
installing ix, 1-8
ordering ix
Preformatting Text 2-3 to 2-5, 2-55,
8-1
Pretagging Text 7-1
rules for 7-2
tips 7-42
Print Spooler 10-39
Printer Ports, Changing 3-63
Printer’s Measure 2-2
picas 2-2
points 2-2
Printing 1-62
E - 14
Q-R
1st to last 6-59, 7-41
crop marks 7-11, 8-3, 8-50
current page 2-54, 2-57, 4-53
hidden pictures 5-53
last to 1st 3-61, 3-70, 7-41
number of copies 4-53
publications 8-49,10-41
selected pages 3-61
spot color 9-34, 9-50
to file 5-53,10-39
which pages 6-59
The Professional Extension
if you have installed vi to vii
Publications
abandoning 1-65
backing up 3-64
creating 1-63, 3-64, 3-70, 8-34,10-40
definition of 1-63, 3-64
linking page numbers across
chapters 7-38
new 8-34
printing 8-49,10-41
rearrange chapter list in 8-35
renumbering 7-39, 7-44, 8-36,10-18,
10-22
saving 3-65, 10-22
Pull Quote 6-25, 6-43, 6-61
Q
Quit
without saving 1-16
Quotes
true typographic 2-5
R
Re-Anchoring Frames 9-46
Rearrange Chapter List 8-35
Recalling the Last Dialog Box 2-54,
3-24
Rectangles 4-9, 5-37, 7-9
Reduced View 1-30
Reducing Loose Lines 5-51
Reference 7-28, 7-37
Registered Sign 5-11
Relative Indent: On 7-44, 9-26
Remove Selected Tag 3-58
Remove Text/File 2-12, 3-15, 6-7
Removing Ruling Lines 2-34
Removing Text from Frames 2-12,
3- 15
Rename Tag 3-57
Renaming and Relocating Files 1-2,
1-21, 1-26, 2-11, 2-13, 3-15, 3-30,
6-8, 6-61
Renumber a Publication 7-39, 7-44,
8-36, 10-4,10-18,10-22
Renumber Chapter 9-30
Repeating Frame 7-25, 7-31
editing a 7-31
Resetting the Zero Point 2-42, 4-21,
4- 37
Reverse Type 4-13, 7-6, 7-16, 7-18,
7-43
if you cannot print 7-16, 7-18, 7-22
Rotated Text 5-32
Rows and Columns in Tables 10-6
copy 10-8
cut 10-8
paste 10-8
Rulers
changing units 1-58
displaying 1-58
Rules
changing attributes in tables 10-43
custom 3-54, 6-6, 6-38, 7-21
dashed 6-20, 6-61
double 6-6, 9-23, 9-27,10-43
hidden 10-43
inter-column 3-18
S-S
E- 15
margin-wide 6-50
normal 10-43
single 10-43
space below rule 3 7-18, 7-22, 7-43,
9-27
thick 10-43
vertical 3-18
Rules of Thumb
adding a new tag 2-29
alignment versus spacing 2-39
for building style sheets 1-31, 2-25,
3-17, 5-15
for creating side-by-side paragraphs
8- 27
for entering margins & columns 5-22
for vertical justification 10-13
keep with next 2-36
placing text in pictures 6-21
preformatting text 2-4
pretagging text in a database 7-2
Ruling Box Around 2-45, 3-26, 5-22,
9- 28
tables 10-6
when crossing a page or column 9-30
Ruling Line Above 7-21
creating reverse type with 7-16
custom width 3-54, 6-38
dashed 6-20, 6-61
margin 6-50
text 9-24
Ruling Line Below
margin 6-50
removing 2-34
text 3-44
S
Save 1-28, 3-22
Save As 1-67
Save As New Style 1-24
Save To 4-26, 4-56, 5-56
Saving Chapter Files 1-28
Scanned Images 5-2, 5-56
Screen Fonts 3-63
Scroll Arrows 1-18
moving around the page with 1-29
Scroll Bars
moving around the page with 1-29
Scroll Box 1-18
Section Numbers
See Lists
Select All Graphics 4-52
Selecting Files 1-19, 2-10
Selecting Multiple Paragraphs 2-38
Selecting the Page 1-20
Selection Line 1-19
Send to Back 5-38, 5-56
Separator Line for Footnote 8-6
Set Column Width 10-43
fixed width 10-10
variable width 10-10
Set Font 2-15, 6-34
kerning with 5-48
Set Preferences 1-13, 2-40
auto-adjustments 1-52
hide all pictures 5-53
keep backup files 1-27
on-screen kerning 5-49
starting configuration 1-13
Set Printer Info 3-62,10-39
adding a new printer 3-63
changing printer ports 3-63, 5-54
changing width tables 3-63
output, wid 3-64
screen fonts 3-63
switching printers viii, 1-41, 1-62,
3-37, 3-63, 3-70
Set Ruler 1-58
Set Tint 10-30
Setting Tabs 2-50
Shapes
See Graphic
E- 16
S-S
Shift Key 3-32
for drawing 9-9
Shift-Click 1-55, 1-57, 2-18, 2-34,
2-38,2-56, 3-67
Shift-Del 2-19, 4-34, 5-39
Shortcuts, Keyboard
See Keyboard Shortcuts
Show Column Guides 6-7
Show Loose Lines 5-51
Show On All Pages 4-3, 4-52, 4-55,
7-11, 9-10
Show Tabs & Returns 2-30, 3-43,
5-32
Show This Picture 3-59
Side-By-Side Paragraphs 8-3
calculating column widths 8-28
preparing text for 8-28
Sizing & Scaling 2-42, 2-57, 3-34,
5- 16, 5-42
aspect ratio maintained 3-59
cropping pictures 5-7
fit in frame 3-59, 5-4
flow text around 5-42
frames 3-24
pictures 5-4
tips for using 5-7
upper left y 5-16
Sizing Buttons 1-10, 1-20, 3-1, 4-2,
4-28
Snap-To Grid 3-9, 4-4 to 4-6, 4-13,
4-55, 5-56
Solid Box 6-46
Space Below Rule 1 9-29
Space Below Rule 3 7-18, 7-22, 7-43,
9-27
Space Between Columns 10-27
Space Between Rows 10-27
Space For Big First: Custom 6-44
Space For Big First: Normal 6-45,
6- 62, 8-22
Spacing
at bottom of frame 10-37
at top of frame 10-37
between lines 1-43
between paragraphs 1-43
body text inter-line spacing 1-47,
1-66, 2-25, 3-22
changing the position of footnotes
with 8-10
changing the position of headers
and footers with 7-15
dialog box 1-43
eliminating space at the top of a
page or column 1-43, 1-46
horizontal spacing 1-43, 1-48
how auto-adjustments affect 1-52
in from left 1-48, 2-39, 3-47
in from right 1-48
maintaining standard spacing 1-47,
10-27,10-36
padding 1-47
tips for above spacing 1-43, 1-51,
1-66
tips for below spacing 1-43, 1-51,
1-66, 2-28, 3-48
tips for in from left and in from
right 1-48, 3-43, 3-69, 6-49, 8-28,
9- 20
tips for inter-line spacing 1-43, 1-47,
1-51, 1-66
tips for inter-paragraph spacing
1-43, 1-66, 2-28
versus alignment 2-39
vertical justification 10-13, 10-17,
10- 19,10-27 to 10-31,10-33, 10-35
vertical spacing 1-43, 1-47, 1-51,
3-22
with side-by-side paragraphs 8-28
Special Effects
big first character 6-44, 6-62, 8-22
bullet 2-37, 2-39
T-T
E - 17
Spooler, Print 10-39
Spot Color 9-5
adding 9-34
printing 9-34
printing overlays 9-50
Spot Color Printing 9-35
Spreadsheet File 2-41
preformatting 2-10
Starting a New Chapter 1-8, 4-13
Style Sheets
contents of 1-31
definition of 1-31
modifying 1-40
renaming and relocating 1-24, 1-66
rules of thumb 1-31
Style Tips 1-66, 2-56, 3-69, 6-61
Subdirectories
creating in Ventura 1-14, 1-22
displayed in item selector 1-17
moving to 1-17, 1-23
T
Tab Settings 2-45, 2-47, 2-50, 2-57,
3-48, 3-69, 5-33, 6-39, 9-26
auto-leader 4-44
creating an underscore 4-44
measuring locations from margin
2-47, 6-40
turning off 2-57
Table Editor
See Tables
Table Mode vii, 10-5
Table of Contents 3-28
generating a 8-3, 8-36, 8-38, 8-40
Table Text 10-12, 10-27, 10-30, 10-43
Table Tips 8-51,10-43
Tables
adding rows 10-33
adding tint screen 10-29
cells 10-6,10-43
changing column number 10-10
changing column widths 10-9 to
10-11
changing header rows 10-9
changing lines 10-6
changing rule attributes 10-9
changing settings 10-9
changing spacing values 10-9
creating with table mode 10-5,
10-24, 10-26
creating with horizontal tabs 2-45
creating with side-by-side
paragraphs 8-27
deleting 10-43
editing 10-8
hiding lines 10-6
joining cells 10-28
rows and columns in 10-6
ruling box around 10-6
ruling lines between 10-6
set column width dialog box 10-10
setting the tint of 10-8, 10-30
space above 10-27
space around 10-27
space below 10-27
space between columns 10-27
space between rows 10-27
text in 10-12, 10-30, 10-43
the parts of 10-6
tips 10-43
Tag Tables 4-15
Tagging the Wrong Paragraph 2-27
Tags
adding new 2-28, 2-49, 2-56
applying 1-39, 2-25
applying to empty paragraph 2-31
applying with function keys 3-50,
3-68
definition of 1-31,1-39
generated 1-39,2-40, 2-53, 2-56,
3-60, 4-9, 4-42
in a database program 7-1
E- 18
T-T
modifying 1-30,1-38, 1-40,1-54, 2-25
removing 3-56, 3-58
renaming 3-56
residing on same line 3-42, 3-69,
6-39,6-48, 7-23, 7-44
Teaser 5-25
A Technical Manual 9-5
Technical Illustrations, Creating 9-1
Templates
See Chapter Templates
Temporary Margins
with in from left and in from right
spacing 8-31
Temporary Memory
See Clipboard
Text
adding to box text 4-38
aligning across columns 1-47, 3-22,
5-45, 6-12
at top of column or page 3-20
attributes 2-5, 2-15, 2-18, 2-21
clipboard 2-19, 2-21
copy 2-15, 2-19, 2-21, 2-55
copy fitting 5-43
correcting mistakes 1-22, 3-29
cut 2-15, 2-19, 2-21, 2-55
editing 2-15, 2-19, 2-21, 2-55
hidden attributes in 2-18
in captions 2-53, 6-52, 6-61
in tables 10-12, 10-30, 10-43
inserting typographic characters
2-5
locating hidden attributes 2-18
paste 2-15, 2-19, 2-55
preformatting 1-66, 2-3 to 2-5, 7-1,
8-1
replacing in Ventura 10-17
rotated 5-32
runarounds 5-11, 5-42, 5-56
stored in caption file 3-28, 3-30, 3-35
tips 3-68, 10-42
typing into frames 3-28, 3-30, 3-35,
3-68, 5-13
vertical 7-28
white 7-17, 7-29
See also Editing Text
See also Word Processing
Text Attr. Button 4-18
Text Files
generating TOC 8-40
loading 1-16, 2-11
placing in frames 1-19, 2-41, 3-1,
3-7, 3-27, 3-68, 5-13, 6-20
placing on the Page 1-19, 3-7
pretagging 7-1
renaming and relocating 1-21, 2-11,
3-15, 5-12
selecting in item selector 1-19
Text Mode 1-9
enabling 2-15
if selected while loading text 1-19
kerning in 5-48
tagging in 3-50 to 3-53, 3-68
when to use 2-16, 2-55
Text of Footnote 8-8
Text Tips 1-66, 2-55, 6-43, 6-61,
9- 51, 10-42
Thin Space 6-42
Third-Party Utilities 1-26, 3-37
A Three-Column Newsletter 6-6
Three- Column Format 6-2, 9-5
Thumb Tabs 7-6, 7-25
steps for creating 7-25
Thumbnail Sketch 4-12
Tiff Format 5-4
Tint Screens 4-13, 4-47, 6-14, 10-8,
10- 29
Tips
book 8- 50
box text 4-54, 5-56
chapter 1-67, 3-70, 6-60, 6-63
footnote 8-51
frame 3-67, 4-54, 6-62
u-v
E- 19
graphic 4-55
other 7-43, 10-44
picture 2-57, 3-70, 5-55, 6-62, 9-52
style 1-66, 2-56, 3-69, 6-61
table 8-51,10- 43
text 1-66, 2-55, 6-43, 6-61, 9-51,
10-42
vertical justification 10-44
Title Bar 1-8, 1-24
To Print 2-54, 2- 57, 3-61
Tracking 3-38, 6-33, 6-37, 6-62
definition of 3- 40
interactive 6-34
Trim Marks
See Crop Marks
Turn Column Snap Off 3-23
Turn Footer Off 2-23
Turn Header Off 1-35
Turn Line Snap Off 3-23
Two-Column Newsletter 3- 13
Two-Column Proposal 2-8
Type Sizes
measuring 2-2
Typographic Characters 2-5
bracket codes 2-5, 2-17
copyright symbol 2-5
ellipsis 5-11, 5-25
em dash 2-5, 2-8, 5-11, 5-26
en dash 7-13
fractions 8-10
open and closed quotes 2-5, 2-8, 6-27
registered sign 5-11, 5-30
Typographic Effects 3-19
big first character 6-6, 6-44
kerning 5-11, 5-46, 6-33
letter spacing 5-50
move down to 1st baseline by 6-35
reverse type 4-13
tracking 3-38, 3-40, 6-33, 6-37, 6-62
vertical justification 10-13, 10-17,
10-19 to 10-23, 10-27 to 10-32, 10-35
U
Underlying Page
See The Page
Update Counters 4-20, 4-52, 7-38,
8-19, 8-32, 9-12
Update Method
previous number + 1 8-34
Update Tag List 3-50, 3-69
Upper Left X 5-16
Upper Left Y 5-16
User Interface 1-8
addition button 1-9
assignment list 1-9
column guides 1-10
current selection box 1-10
dialog box 1-10
menus 1-8
mode selector 1-8
mouse button 1-18
the page 1-10
page number 1-10
scroll arrows 1-8, 1-18
scroll bars 1-8
scroll box 1-18
sizing buttons 1-10
title bar 1-8
V
Variable Definition 10-18
The Ventura Formula x, 1-1, 1-16,
1-29, 2-14, 3-16,4-17
getting you out of trouble xi
rules for building a document x
Ventura Prep 1-15
file managment operations ix
for book 8-4
for directory 7-7
for invoice 4-13
for one-column report 1-15
E - 20
W-Z
for professional extension 10-16
for two-column newsletter 3-13
for two-column proposal 2-10
for three-column newsletter 6-7
rules ix, 4-14
Vertical Alignment 4-43
Vertical Justification 10-1,10-13,
10-17, 10-19 to 10-23, 10-27 to
10-31, 10-33
allowed 10-37
applying 10-35
carding 10-36
feathering 10-36
rules for 10-13
spacing at bottom of frame 10-37
spacing at top of frame 10-37
tips 10-44
Vertical Justification Around Frame
10-35
Vertical Justification At Top of
Paragraph 10-38
Vertical Justification Within Frame
10-35
Vertical Padding 6-26, 6-62
Vertical Rules 3-18
Vertical Spacing
See Spacing
Vertical Tabs
See Side-By-Side Paragraphs
Vertical Text 7-28
View Menu 1-30
Viewing the Page 1-30
W
When Not At Column Top 1-43,1-46
Which Counter
chapter 8-19
initial page 4-21, 8-34
this page 4-21
Widows and Orphans 3-20, 5-44,
8-20
Width Tables 3-63, 3-70,10-44
Windows Metafile Format 5-4
Word Processing
converting file formats 6-7
inserting the parafiltr code 2-4, 2-55
inserting typographic characters
2-5,2-17
macros 2-6, 7-2
preformatting text in 2-3 to 2-5, 2-55
search and replace 2-4,10-17
X
X Offset 5-7
Y
Y Offset 5-7
Z
Z_BOXTEXT 4-9
Z_CAPTION 2-53
Z_DOUBLE 10-44
Z_FNOT ENTRY 8-9
Z_FNOT# 8-9
Z.FOOTER 2-40, 9-12
Z_HEADER 2-40, 3-53
Z_INDEX LTR 8-41
Z_INDEX MAIN 8-41
Z_INDEX TITLE 8-41
Z.LABEL CAP 3-60, 3-70
Z_SEC1 9-18
Z_SEC2 9-18
Z_SINGLE 10-44
Z_TOC LVL 1 8-37
Z-Z
E - 21
Z_TOC LVL 2 8-37
Z_TOC LVL 3 8-45
Z_TOC TITLE 8-43
Zapf Dingbats 6-46
Zero Point
resetting 1-58, 2-42, 3-23, 4-21,
4-37, 5-16, 5-18, 5-56
Zooming in on the Page 1-30, 3-29
New Riders Library
Bestselling how-to books, reference guides, learning materials,
and companion disks for corporate and technical publishing
from the desktop. Use the postage-free card at the back of the
book to order today.
gagaa
INSIDE XRRCK VENTURA
PI ’RUSHER
tiiiss
INSIDE XEROX VENTURA PUBLISHER
A Guide to Professional-Quality Desktop Publishing on
the IBM PC
James Cavuoto and Jesse Berst
704 pages, 330 illustrations
ISBN 0-934035-59-8 $24.95
2nd Edition
The best reference guide to Ventura Publisher is now even better! Inside Xerox
Ventura Publisher, 2nd Edition, has been completely rewritten for Ventura
Publisher Version 2 and includes more of what readers have asked for: more
hands-on examples, more easy-to-use charts, and more time-saving tips and
tricks.
'PUBLISHING WHVliR
WITH VENTURA
PUBLISHING POWER WITH VENTURA
The Complete Teaching Guide to Xerox Ventura
Publisher
Martha Lubow and Jesse Berst
624 pages, 230 illustrations
ISBN 0-934035-61-X $27.95
2nd Edition
Unlock the inner secrets of Ventura Publisher Version 2 with this well-written
tutorial. You’ll learn how to create your own great-looking business documents
by producing the “real world” documents presented in this book. These
documents include reports, newsletters, directories, technical manuals, and
books. Companion software is available.
DESKTOP MANAGER
ISBN: 0-934035-34-2 $99.95
Supports Version 1 and 2
Desktop Manager is the desktop accessory software for IBM and compatible
personal computers that helps your manage your Ventura Publisher
documents, running transparently from within the Ventura Publisher
environment. A multifunction software utility, Desktop Manager provides file
management, timed backup, document control, style sheet settings, and report
generation. This essential utility program comes complete with an 180-page
guide.
For fast service, call a New Riders Sales Representative
now at (818) 991-5392
INSIDE Xerox Ventura Publisher
STYLE SHEETS FOR BUSINESS DOCUMENTS
(Book and Disk Set)
Martha Lubow and Jesse Berst
320 pages, 150 illustrations
ISBN 0-934035-22-9 $39.95
Supports Version 1 and 2
Introducing a cure for the common document —Style Sheets for Business
Documents. This book and disk set contains more than 30 predesigned
Ventura Publisher templates for creating top-quality business documents.
Style sheets are presented for proposals, reports, marketing materials, ads,
brochures, and correspondence. More than 100 pages of design tips and tricks
are also included.
STYLE SHEETS FOR TECHNICAL
DOCUMENTS
(Book and Disk Set)
By Byron Canfield and Chad Canty
320 Pages 150 illustrations
ISBN: 0-934035-29-6 $39.95
Supports Version 1 and 2
Get the maximum out of Ventura Publisher with these advanced technical
document formats. This book/disk combination presents more than 25
ready-to-use templates for creating technical documents and books. Also
includes techniques for creating pictures and tables, plus advanced tips for
modifying formats to fit your needs.
STYLE SHEETS FOR NEWSLETTERS
(Book and Disk Set)
By Martha Lubow and Polly Pattison
320 Pages over 150 illustrations
ISBN: 0-934035-31-8 $39.95
Supports Version 1 and 2
This book and disk set presents more than 25 predesigned Ventura Publisher
templates for creating one-, two-, three-, and four-column newsletters. Just
open the chapter template, load in your own text, and print. A complete
description of every style sheet and key tag for all chapter templates is also
included.
For fast service, call a New Riders Sales Representative
now at (818) 991-5392
New Riders Library
NEW WRITING
By Jesse Berst
320 Pages over 160 illustrations
ISBN: 0-934035-27-X $9.95
The essential handbook for the modern writer and editor. New Writing shows
you how to save production time by preformatting documents. Learn to
manage your files, styles and style sheets. Also presented are the elements of
style you need to succeed in today’s desktop publishing arena. Companion
software is available.
New Riders Library also
includes books on AutoCAD
INSIDE AUTOCAD
D. Raker and H. Rice
750 pages, over 400 illustrations
ISBN: 0-934035-49-0 $29.95
INSIDE AutoCAD, the best selling book on AutoCAD, is entirely new and
rewritten for AutoCAD’s 3D Release 10. This easy-to-understand book serves
as both a tutorial and a lasting reference guide.
INSIDE AUTOLISP
J. Smith and R. Gesner
672 pages, over 150 illustrations
ISBN: 0-934035-47-4 $29.95
Introducing the most comprehensive book on AutoLISP for AutoCAD Release
10. Learn AutoLISP commands and functions and write your own custom
AutoLISP programs.
INSIDE AUTOSKETCH
By Frank Lenk
240 pages, over 120 illustrations
ISBN: 0-934035-20-2 $17.95
INSIDE AutoSketch gives you real-life mechanical parts, drawing schematics,
and architectural drawings.
For fast service, call a New Riders Sales Representative
now at (818) 991-5392
CUSTOMIZING AUTOCAD
J. Smith and R. Gesner
480 pages, over 100 illustrations
ISBN: 0-934035-45-8 $27.95
Uncover the hidden secrets of AutoCAD’s 3D Release 10 in this all new edition.
Discover the anatomy of an AutoCAD menu and build a custom menu from
start to finish.
AUTOCAD FOR ARCHITECTS AND ENGINEERS
John Albright and Elizabeth Schaeffer
480 pages, over 160 illustrations
ISBN: 0-934035-53-9 $29.95
Learn by doing a typical AEC project using high-powered design development
with AutoCAD Release 10. Learn to construct working drawings using
techniques from real life AEC projects.
STEPPING INTO AUTOCAD
By Mark Merickel
380 pages, over 140 illustrations
ISBN: 0-934035-51-2 $29.95
This popular tutorial has been completely rewritten with new exercises for
Release 10. The book is organized to lead you step by step from the basics to
practical tips on customizing AutoCAD for technical drafting.
AUTOCAD QUICK REFERENCE GUIDE
By Dorothy Kent
180 pages, over 50 illustrations
ISBN: 0-934035-57-1 $11.95
All essential AutoCAD functions and commands are arranged alphabetically
and described in just a few paragraphs.
THE AUTODESK FILE
Written and Edited by John Walker
608 pages
ISBN 0-934035-63-6 $24.95
The unvarnished history of Autodesk, Inc. the company behind AutoCAD.
Read the original memos, letters and reports that trace the rise of Autodesk,
from start-up to their present position as the number one CAD software
company in the world.
For fast service, call a New Riders Sales Representative
now at (818) 991-5392
Order from New Riders Publishing Today
Yes, please send me the productivity-boosting material I have
checked below. Make check payable to New Riders Publishing.
□ Check enclosed.
□ Charge to my credit card:
□ Visa □ Mastercard
Card #_
Expiration:_
Signature:_
Name_
Company:_
Address:_
City:_
State_Zip:_
Phone:_
The easiest way to order is to pick-up the phone and call (818)
991-5392 between 9:00 AM and 5:00 PM PST. Please have your
credit card readily available and your order can be placed in a
snap!
Quantity
Description of Item
Unit Cost
Total Cost
Inside Xerox Ventura Publisher 2nd Edition
$24.95
Publishing Power with Ventura 2nd Edition
$27.95
Publishing Power Disk
$14.95
Style Sheets for Business Documents-Book/Disk Set
$39.95
Style Sheets for Newsletters-Book/Disk Set
$39.95
Style Sheets for Technical Documents-Book/Disk Set
$39.95
Desktop Manager for Xerox Ventura Publisher
$99.95
New Writing
$ 9.95
New Writing - Desktop Utility Disk
$ 7.95
COOKIES (Put the fun back in your computer)
$ 6.95
Send to:
vO w New Riders Publishing
P.O. Box 4846
Shipping and Handling: see
information below.
Sales Tax: California please
add 6.5% sales tax.
TOTAL:
Thousand Oaks, CA 91360
(818)991-5392
Shipping and Handling: $3.50 for the first book and $1.00 for each additional book. Floppy disk add $1.50 for shipping and
handling. Add $15.00 per book for overseas shipping and handling. If you have to have it NOW, we can ship product to you in
24 to 48 hours. For an additional $5.00 RUSH CHARGE for processing plus the actual cost of air freight, you’ll be able to receive
your item over night or in 2 days.
New Riders Publishing P.O. Box 4846 Thousand Oaks, CA 91360 (818) 991-5392
FAX (818) 991-9263
Order from New Riders Publishing Today!
Yes, please send me the productivity-boosting
material I have checked below. Make check
payable to New Riders Publishing.
□ Check enclosed.
□ Charge to my credit card:
□ VISA □ MasterCard
Card #_
Expiration:_
Signature:_
Name:_
Company:_
Address:_
City:_
State:_ ZIP:_
Phone:_
The easiest way to order is to pick up the phone and call (818)
991-5392 between 9:00 AM and 5:00 PM PST. Please have your
credit card readily available and your order can be placed in a
snap!
Quantity
Description of Item
Unit Cost
Total Cost
Inside Xerox Ventura Publisher, 2nd Edition
$29.95
Publishing Power with Ventura, 2nd Edition
$27.95
Publishing Power Disk
$14.95
Style Sheets for Business Documents—Book/Disk Set
$39.95
|
Style Sheets for Newsletters—Book/Disk Set
$39.95
Style Sheets for Technical Documents—Book/Disk Set
$39.95
Desktop Man 
Live Music Archive
Librivox Free Audio
Metropolitan Museum
Cleveland Museum of Art
Internet Arcade
Console Living Room
Books to Borrow
Open Library
TV News
Understanding 9/11