No man is an island, entire of itself; every man is a piece of the continent, a part of the main.

—John Donne Meditation XVII (1572–1631)

 
Few InDesign users operate in a vacuum, creating documents start to finish all on their own. The majority of modern workflows, even among freelancers, entails some form of collaborative content creation. Perhaps it’s a group of designers cooperating on the packaging for a large product line; maybe it’s designers and copywriters crafting the perfect advertising creative.

In the past, much like print and web, West Berlin and East Germany, the personnel, activities, and especially software tools employed by design and production have always been separate from, and often mutually unfriendly toward, copywriting and editorial. All of that is changing. More and more print workflows are embracing digital content delivery; Germany has been unified. Most importantly, the software, which has always been, at best, reluctantly compatible and, at worst, openly hostile toward one another is actually beginning to cooperate, coordinate, and collaborate. Creatives keep on designing while writers keep on writing, but the barriers that separated them from each other and their peers are being torn down as fast as the Berlin Wall.

How ever—and with whomever—you collaborate, InDesign can speed and improve the process.

Whether you need to collaborate with the person over the cube wall from you or across the planet, InDesign CS3 has several powerful ways to coordinate joint efforts among creatives.

Saving to Older Versions of InDesign

Not all of us upgrade as quickly or regularly as others. For some, InDesign CS2 is ideal, with all the features needed for their particular work; they don’t need or want CS3 and will not upgrade to it for a while if ever. (I doubt you are included in this group; after all, you obviously bought a book titled Mastering InDesign CS3 for Print Design and Production.) Others may lust after a new version but simply can’t justify its price tag. Whatever the reason, it becomes necessary on occasion to move documents between the latest and earlier versions of InDesign.

The fact that InDesign CS (CS1, version 3.0) did not save backward for compatibility with 2.0 (the first commercially successful edition of InDesign) brought forth a public outcry so vociferous that it still echoes throughout the halls of Adobe and many press and pre-press shops around the world. Allow me to dispel another common misconception: Despite what you may have heard, InDesign does save backward. It has done so since CS2, which saved documents compatible with CS1.

To save a document such that it can be opened in CS2, choose File > Export. In the Export dialog, change the Save as Type drop-down to InDesign Interchange format. When you save the document, it will be with the .inx file extension. InDesign Interchange documents are XML based, and may be opened in InDesign CS2 or CS3 with the File > Open command. Both versions can also export them, although CS2 users sending documents to CS3 users can simply send documents in the standard INDD format. CS3 will open documents created by any prior version of the program. It will only save INDD files as CS3 version, however.

Maintaining a round-trip editing workflow between InDesign CS2 and CS3 is tedious, but doable. The CS2 user can send his work as either INDD or INX formats, but the CS3 user must send her work back as INX files, which the CS2 user can open and edit.

Note: An update to InDesign CS2 was released shortly prior to the release of CS3. Contained in the update was a new version of the INX filter that enables CS2 to open CS3-authored INX documents. If you or a CS2-based associate experiences any problems opening such documents, ensure that InDesign CS2 has been updated to the latest version. You can do that by opening InDesign and choosing Updates from the Help menu. The Adobe Updater utility will then check for recent updates to InDesign and all installed Adobe applications and present you with a list of available downloads. Install any available InDesign updates. While you’re at it, it’s a good idea to install available updates and patches for all your Adobe applications.

Next: One Document, Many Designers

One Document, Many Designers

Dividing a multipage document into multiple documents of one or more pages each and then collecting the pieces under a book file is a common collaboration workflow. So common is it that I’ve given it a name—the Book File Collaboration Workflow (I hope no one has already coined this). Under this method, members of the design team work on pieces of the whole, and each piece is at least one full page. If the team members work from a single network file repository, each piece of the publication stays in synch with all other pieces with regard to section and page numbering, style consistency, and other shared document attributes. If they don’t work off the network, shared attributes are updated when their pages are delivered to the person in charge of assembling and managing the parts into a whole publication (the paginator).

 
Setting Up the Book File Collaboration Workflow

To set up book file collaboration, begin by analyzing the document to be created or edited. How many creatives will work on it? Does it have inherent break points for apportionment? For instance, if the publication is a magazine, could the “Letter from the Editor” column page be broken out into its own document for one designer to work on while the “New Bites” spread and subsequent department and features pages are given their own documents and handed to other designers? If logical content separators aren’t as obvious, look for more subtle separations where the document could be divided.

Once you’ve identified where the publication can be separated, make the pieces.

1. Begin with the complete publication in a single document. Set on the master page(s) folios, page headers and footers, and any other common elements that will appear on all or at least the majority of the document’s pages. Although you’re unlikely to need the full publication document again, save it for safety anyway.

2. On the Pages panel (Window > Pages), select all the pages that will not be in the first constituent part and delete them. You should then have a document containing only the page(s) that will be assigned to the first designer. The pages must be contiguous; if you want to give pages 2–5 and 10–15 to the same team member, make one document for pages 2–5 and another for 10–15.

If the document contains the Current Page Number special character, the document pages will renumber after the other pages are deleted. Ignore the page numbers. They’ll be fixed automatically in a few steps.

If you manually insert page numbers, stop doing that! InDesign has robust section and page numbering options that can handle nearly any page enumeration scenario with far less work than the unnecessarily masochistic practice of manually inserting and changing page numbers. Read about page numbers, section numbering, and text variables in this book before you say, Oh, InDesign won’t do automatically what I need for page numbering and identification.

3. Because you’re still working in the one and only full publication document and you’ve probably just deleted the majority of the publication, don’t save. Instead, choose File > Save a Copy. When prompted, name the document something both you and the designer who will work on it will understand. If the section you’re creating is the first of 10 parts of the May issue, a name like May-p2-5.indd would be ideal. Click OK when ready. Save a Copy saves a copy of the document without saving or closing the original document.

4. Press Cmd+Z/Ctrl+Z to undo the deletion of pages and return to the full document.

5. Repeat steps 1 through 4 for each subsequent section of the document, saving a copy of each part, until all the pieces are saved out to their own documents.

6. Go to File > New > Book and create a new InDesign book INBK file with the same name as your publication. After you save, a blank Book panel will appear; its name will be that of your publication.

7. On the Book panel’s flyout menu, choose Add Documents. In the Add Documents dialog, choose all the publication part files you just created. Click on the first file in the list to select it, and then, holding the Shift key (on both Mac and Windows), click on the last file in the list. All interceding documents will also be selected. Click the Open button and the documents will populate the Book panel.

8. If the documents are not in their correct order, drag them within the list until they are correct. Automatic page numbers will update across all the files, putting them back into place in the scheme of the overall document.

9. Send the section documents to the designers who will be responsible for them.

Using the Book panel, you, as the publication manager, will be in control of the overall publication cohesion. If your team is working from a network file server, place all the component documents, the INBK book file, and documents’ linked assets in a folder on the server, and have team members open from, and save to, the same documents and folder. Your view of the publication through the Book panel will then always be in synch with the most recently saved changes to any pages of the publication. If your team works remotely from one another or for another reason cannot open and save files in a central repository, ensure that, as each piece comes back to you, you overwrite originals with new versions, which will also keep your Book panel updated.

Rearranging the individual documents in the publication is as easy as dragging them within the Book panel. If section A, for instance, must now come after C instead of before section B, simply drag A down to the correct place in the Book panel. Pages throughout the rest of the publication will instantly renumber to reflect the change. You don’t even need to involve the designer working on section A!

If you later need to make changes to the segments, to move pages between publication sections for instance, that’s easy:

1. Open both the source and destination documents by double-clicking each in the Book panel.

2. In the source document, the one from which pages will be moved, choose Layout > Pages > Move Pages, which will open the Move Pages dialog (see Figure 12.1).

3. In the Move Pages dialog and the Move Pages field, enter the page number(s) of the page(s) to move from the source document to the target document. Use hyphen-separated numbers to specify a range (e.g., 1-3) and comma-separated numbers for nonsequential pages (e.g., 1,3). Change the Move To field from Current Document to the name of the destination document, and then, using the two Destination fields, tell InDesign precisely where to drop the page(s). Check Delete Pages After Moving so they will be removed from the source document.

When you click OK, the pages will immediately move from the source to the target document. Save both, and you’re done; the Book panel will update itself.

If you only want to copy pages between documents, leaving the originals in the source document but also adding them to the target, don’t check Delete Pages After Moving. This is a handy trick for those situations wherein someone comes along and says, “Hey! Wouldn’t it be cool if every chapter suddenly began with a splash page?” Folks who work on magazines, telephone directories, and other such advertising-supported periodicals love that particular trick because it makes it easy to insert newly sold full-page or full-spread ads into the middle of a feature article or other publication section that can’t—or shouldn’t—be broken into still more documents.

Speaking of periodicals…

Next: When Book File Collaboration Won’t Work

 
When Book File Collaboration Won’t Work

The Book File Collaboration Workflow has one hard rule—in order for automatic page numbering and unified output to work, each component document must comprise strictly contiguous pages with no blank or extraneous pages. For magazines, newspapers, newsletters, magalogs, and other documents where stories jump, pausing on a particular page, skipping other content pages, and then picking up again farther into the publication, the one rule of book file collaboration could be a problem. (If your publication doesn’t jump stories, it’s not a problem.) InDesign can’t thread a single, continuous story across multiple documents; threaded frames may only be in the same document. Therefore, if a feature article jumps from page 19 to page 32, you’re left with a dilemma. You have a choice between four possible solutions for that dilemma:

1. Make pages 19–32 one document, inclusive off all content pages between, thus making it impossible for more than one designer to work at any given time on any page between 19 and 32.

2. Make pages 19–32 one document, but leave blank any pages not directly part of the single feature story. Any intervening pages and sections are still their own separate documents, enabling other designers to work independently and concurrently on their respective pieces. This method isn’t new—it’s what magazines and other periodicals typically employ. There are two downsides to this method: automatic page numbering goes haywire because of the extraneous pages, and it forces extra pagination work and a greater potential for mistakes immediately before going to press.

Many component documents using this method include numerous pages that serve no function other than as placeholders for content on which someone else is working. When the pages are locked down, just before the issue is put to bed, someone has to sit down and either combine all the components into a single document via drag and drop or go through each document, printing or exporting content pages manually while ignoring placeholder pages. When pages are exported to PDF, EPS, or another format, the numerous resulting files are then either combined into a single document (for instance, one large PDF), imposed in-house into a single document, or named after their page numbers and sent out for imposition (whereupon someone hopes very, very hard that the imposer doesn’t make a mistake).

3. Continue with the Book File Collaboration Workflow, making page 19 one file, page 32 another, and dividing the intervening pages as needed and independently of the jumped story. In that case, the story is manually broken on page 19, with its last line tweaked and a jumpline inserted, and then the overflow copy is added manually and independently to page 32, again, with a manually inserted and maintained Continued From jumpline. Last-minute edits to the story or to the layout that affect story composition require editing two documents instead of one.

4. Augment or replace the Book File Collaboration Workflow with a different methodology. See if your workflow can employ the InCopy LiveEdit Workflow (Adobe’s term, not mine) or the Placed Page Collaboration Workflow (I am pretty sure I’m the first to coin this one, so please send me a nickel every time you use it) or both. I’ll discuss both of these methodologies below—the latter in the very next section, “One Page, Many Designers,” and the former a few pages hence in the section “Collaborating with Editorial.”

Just to be clear: If your publication doesn’t jump stories outside the pages assigned to each creative, you can use the Book File Collaboration Workflow without the aforementioned problem. Do still read the rest of this chapter, though, as none of these methodologies is necessarily exclusive of the others.

One Page, Many Designers

Yesterday there was a one-to-one, one-designer-to-one-page, relationship so inflexible it may as well have been cast in iron. Today, the paradigm has shifted. Now, with InDesign CS3, a many-to-one relationship is possible. Many designers may work simultaneously on one page—or, more accurately, on portions of the same page. In Figure 12.2 you’ll see a flowchart diagramming an example of what I’ve dubbed the Placed Page Collaboration Workflow.

In the diagram, a single-page magalog layout is divided into three separate areas. Three separate designers will work concurrently, one on each area, all never leaving InDesign. Rachael (the redhead), is responsible for copyfitting and setting the six product listings in the middle of the page, while Carlos (in the middle) takes care of designing the sidebar and feature box. Kim (at the bottom with the ponytail) is the lead designer on the page, so she’s designing the background imagery and setting the headline, deck, page introductory paragraph, and static elements like the folio. Previously, trying to split the work on one page among three designers meant each would have to take a turn, each one waiting to begin work until the last has finished. All three designers under this scenario are working concurrently, on the same page, in InDesign.

The principle is simple, one with which you’re already intimately familiar. Let’s look at the basics of your current workflow.

If you work on advertising-supported publications, for instance, you almost certainly accept PDF or EPS press-ready ads from agencies, right? Someone far away designs an ad, FTPs it to you, and you drop it as is into the appropriate slot in your layout. If you don’t accept outside creative into your layouts, you do create elements and sections of at least some pages in Photoshop or Illustrator. That artwork (or agency art) is placed into InDesign as a linked asset. Should the asset need to be altered, it’s edited in its native application and the link merely updated in InDesign. Thus, while you’re working on the composed page in InDesign, someone else could be working at the same moment and independently in Illustrator on the pie chart for page 6. Neither of you will hinder the other’s work because, as a linked asset, that AI or PDF pie chart is a wholly separate document from your INDD layout. You do this day in and day out with placed assets, so you know how it works.

Now, substitute another INDD file for the AI or PDF. Instead of a pie chart, page 6 contains a table or other elements better done in InDesign than outside it. InDesign CS3 now accepts other InDesign files as placed and linked assets. That’s what Rachael, Carlos, and Kim are doing. Each is working in InDesign on a separate INDD or INX document. The final, composited page in the Figure 12.2 flowchart is a fourth document (or not; maybe Carlos is working in the master while Rachael’s and Kim’s pieces will be placed into his document). For the sake of argument, let’s assume a fourth document collects the three designers’ separate documents. The compositor uses File > Place or drag and drop from Bridge, Finder, or Explorer to import the designers’ three separate INDD files exactly as he would a trio of TIFFs, PSDs, PDFs, or whatever. The placed assets are then arranged to form the composite page—just like pages you lay out every day with images and artwork created outside InDesign. That’s the Placed Page Collaboration Workflow.

Another cool aspect of compositing a page by placing INDD files is that the compositor’s tasks of manual asset positioning and transforming can be completely eliminated. Glance again at Figure 12.2, paying particular attention to the component pieces. Notice that they’re all the same size and, except for Kim’s background, contain copious white space. Each piece is the exact size of the final page. If your composited INDD document is 8.5×11 inches, make each page asset 8.5×11 inches. The bounding box of each placed page will then also be 8.5×11 inches. Not only does that enable each designer to work with a sense of how his work fits into the page as a whole, it also means the asset can be placed with minimal positioning work. Rachael’s, Carlos’s, and Kim’s art can all be placed at the same time, aligned to each other’s top and left edges with two quick clicks of buttons on the Control panel or Align panel, and then easily positioned to the 0,0 origin. No one has to zoom in and precisely position the pieces to one another because they are all the same size, ready to align perfectly with one another. Cropping is unnecessary, too, because empty space on the InDesign document page is transparent; each asset will show through the negative space in the one above it. They’ll even blend with each other if transparency or blending modes are used. In my flowchart, the black background of Carlos’s sidebar is set to a Multiply blending mode at 85%. When it overlays the fingerprint image in Kim’s section of the page, the sidebar will enable the white fingerprint ridges to show through as 85% black ridges. The red feature box also blends with the other part of the fingerprint via another blending mode.

How do I know what everyone else is doing? You can’t lay out a page in a vacuum. Again, InDesign CS3 can place other InDesign files as assets. So, to keep abreast of what everyone else is doing in his portion of the page, place each page component document on the pasteboard. Assuming everyone is working from files stored on a network server accessible by all, Rachael can place on her pasteboard Carlos’s and Kim’s INDD documents, Carlos can place Rachael’s and Kim’s, and so on. When any one of them saves the document, InDesign will notify the others that the linked asset has been changed and ask if the link should be updated. If you’ve got a good group of people fastidious enough to clean up after themselves, they can even place the other designers’ documents on the page instead of the pasteboard. The effect then is that three people are all working simultaneously on the composite layout. (Fair warning: It can be a little creepy at first to watch parts of your page change as if by supernatural means.)

Next: Solving the Problem with Book File Collaboration

 
Solving the Problem with Book File Collaboration

C’mon. Do you really expect me to assign three designers to one page? No, of course not, at least not in most workflows. Don’t take me too literally. The one-page example and diagram can be interpreted literally or as an allegory for a much larger document. Collaborating via placed pages works just as well with multiple pages. Remember above when I listed the types of documents and circumstances under which a Book File Collaboration Workflow won’t work? Well, the Placed Page Collaboration Workflow does work on those documents and under those circumstances.

Periodicals often follow a common workflow based on division and duplication—Divide and Copy and Conquer, I call it. Initially, a template is created containing all the pages in the book. Department and regular features pages are laid out, ad pages are assigned, and FPOs are inserted for feature article spreads and other content. Then you, the creative director, sit down and plan the page parceling. You may divide it equally among your designers and production artists. You would then save one additional copy of the template for each designer. Alternatively, you might apportion the template by logical structure. In that case, regardless of the number of people working on the next issue, you would divide the document into its spaces. For instance, the three pages blocked out for the first feature article would be a single space and one complete copy of the template, the two pages for the “Letters to the Editor” department another copy, and so on until all sections of the publication have been accounted for in copies of the initial template.

Figure 12.3 diagrams the common Divide and Copy and Conquer method of designing and laying out periodicals. In this case, the publication has been apportioned to the three production artists plus pages for yourself (you’re at the bottom of the flowchart; I wouldn’t be so presumptuous as to make a LEGO person of you). Earlier we talked about jumping a story from page 19 to page 32, which is where the flowchart picks up. Pages 1 through 18 we’ll assume have been assigned to other production artists. Rachael, Carlos, and Kim are your best people, anyway. They’re busy folks, but then they’re LEGO designers; they have no lives and don’t need coffee breaks. The green pages are Rachael’s to design, the blue belong to Carlos, the red to Kim, and the goldenrod are yours. Ad pages are blocked out entirely, awaiting PDF and EPS ads that will be dropped in during pagination.

Examine the flowchart. This type of collaboration is common because it offers the benefit of maintaining automatic page numbering. The feature story jumps from pages 19 to 32, and, by leaving all intervening pages in place, page 32 is numbered as such without the need to manually type 32 into a text frame and change it should pages be added, deleted, or re-ordered. Because all four copies of the template are complete copies, Rachael knows she’s working on pages 21–23 while Carlos has pages 25, 26, and 28, Kim has pages 30–31, and you have the feature story on pages 19 and 32. Everyone knows where her or his work falls within the book, and the publication TOC can then be built by hand with reasonable assurance of its accuracy (automatic TOC generation is impossible at this stage because there are four of every page, so the various versions cannot be tied together via a book file).

Regardless of its benefits, this type of collaboration has significant inherent problems. Can you spot them? I found several.

1. Let’s start with the fact that there are no arrows. Flowcharts are supposed to have arrows, right? I mean, that’s the flow part of flowchart. There are no arrows because nothing moves, nothing and no one interacts. Rachael does her thing, Carlos his, Kim hers, you yours. None of you has the slightest idea what the others are up to. That’s a problem in itself, but it also leads to other problems. Such as…

2. You, the creative director, have no insight into, or oversight of, what your people are doing short of walking up behind them or asking them to stop productive work to print or email proofs. If you don’t get proofs (or peer over shoulders), odds are good you’ll be surprised by the pages at the eleventh hour and find yourself asking for changes. Even if you do get proofs, how often is it practical to check up on and coordinate with your designers? If Kim does something that doesn’t work with Carlos’s design, one of them has to change, but after how many work hours have been invested? How much does each change cost you?

3. Everyone is working from a separate and complete copy of the entire publication template. Magazine structures don’t often change without rebuilding the entire template, but they do change from time to time. Pages in other types of multipage, team-effort publications are often shuffled around with pages added or removed here and there. In a workflow of the sort shown in the diagram, such a change is a nightmare. To add a page in the middle of the publication or shift one section behind another entails coordinating with each of the designers to make the identical change in every copy of the template. Done infrequently by very organized, detail-oriented creatives, such structural alterations can be accomplished smoothly. The difficulty and likelihood of mistakes increases in direct proportion to the frequency and number of such changes and with the level of stress on the creatives. One slipup and you could be spending quite a bit of time trying to puzzle your publication back together.

4. Pagination with this type of publication is a royal pain in the… neck. At the end of the publication cycle, someone must sit down with all the pieces of the publication and pull out only the original pages from each version and then combine all those pieces into a single publication. Typically this is done by saving each page individually to EPS or PDF and then placing those one at a time into yet another template duplicate.

The workflow presented in Figure 12.3 is extremely common. It’s also a huge waste of time and money because, for many such workflows, there’s a better way.

Let’s review the key production problem that forces a Divide and Copy and Conquer workflow. If you have a magazine, newspaper, newsletter, magalog, or other document with jumped stories, you can’t divide the publication into multiple Book panel–managed files without severing the threading between frames of jumped stories. You also can’t break out the pages in between the story jumps and expect automatic page numbering to work across the book. You can, however, use placed pages in addition to a book file to give you everything—automatic page numbering, threaded jumped stories, and concurrent productivity—without risky structural alterations or grueling pagination work at the end.

The chart in Figure 12.4, which continues with the example of a story that jumps from page 19 to page 32, demonstrates placing pages in a multipage document. In this case, the creative director is using both a book file and placed pages. To handle the jumped story, one booked document includes pages 19 through 32 inclusive. Intervening pages are assigned out to Rachael, Carlos, and Kim. The designers work in separate INDD documents that are placed as linked assets in the main document; there are no redundant, unused pages in the documents the designers receive. Each component document is either single pages or multiple pages, whichever is needed. Multipage INDD document assets can be placed just as easily as can multipage PDFs—one page at a time. Therefore, even though Carlos’s three pages are nonconsecutive, broken by the full-page ad on page 27, he can still carry a threaded story through all three pages. When his pages are placed into the main publication document, they’re placed as pages 25–26 and 28; he works on consecutive pages even though they won’t be printed as consecutive pages. He doesn’t have to break the text flow; he can work in a single three-page document, enjoying threading and all the other benefits of working in only one document, without causing problems for the main document. In fact, Carlos’s pages can be moved around in the main document (and renumbered automatically) without the need to even involve Carlos.

There is legitimate use for Placed Page Collaboration in the occasional one-page document. But, it’s with multipage documents that it really shines—particularly if, for one reason or another, you can’t use Book File Collaboration or using it alone doesn’t solve your workflow problems. By freeing creatives from the need to sit on their hands or perform busywork while waiting to get access to documents, your organization saves money and time. You’ll also save time and money by eliminating the need for a paginator to impose in a scramble at the last minute, going through all the full-document templates, selecting and imposing all the needed pages sitting here and there among dozens of empty or FPO pages.

 
Going to Press with Placed Pages

Point made, but there’s no way it will print. Why not? Why is it that, every time someone presents a new way of doing things in InDesign, the first response is always, I bet it won’t print. QuarkXPress doesn’t suffer this kind of cynicism. Placing INDD files inside other INDD files is exactly like placing Illustrator AI files or even EPS images. It’s another linked asset, albeit one that can have its own linked assets, but it prints, packages, and exports to PDF just fine. Again, I can personally attest to it.

So, how do I output? Same as any InDesign document you did yesterday or last week—print it, package it, or export it to PDF. You can also do all of those through a Book panel the same way you did it before you placed pages.

One thing you’ll be glad to know is that InDesign’s Package feature is placed-page aware. When you place INDD pages into another INDD document, you’ve created a layer of nesting. The placed INDD can have its own fonts and linked assets—and even contain other placed INDD files. Potentially you could build from placed pages an infinite Russian matryoshka doll where every placed INDD has inside it another placed INDD, and inside that is another INDD, and so on. How far into that nest of linking will the package command go? As far as I can tell, all the way. Just for kicks I tried six levels deep. Package found and collected unique images and fonts used at each level. So, if you have DocA.indd placed inside DocB.indd , File > Package will find all the fonts and linked assets used by DocB.indd. One of those linked assets is DocA.indd, so InDesign will collect that and put it into the packaged project’s Links folder, too. At the same time, InDesign recognizes that DocA.indd itself has font and asset dependencies, so it grabs all those as well. And, it updates the links in all collected INDD files to point to images and other assets in the Links folder.

Placed Page Collaboration Workflow. It just works. Remember where you heard it first.

[6]

If you liked this excerpt, you’ll love Pariah S. Burke’s Mastering InDesign CS3 for Print Design and Production. It’s the first InDesign book written exclusively for experienced InDesign users. Mastering InDesign CS3 isn’t for beginning InDesign users—InDesign 101 is left to other books. Instead, every page of Mastering InDesign CS3 goes beyond the basics, deep into InDesign, for designers and production people who already have experiencing using InDesign in professional workflows.

[7] Click Here To Order

[8] View the Book Table of Contents (PDF, 179kb)

[9] View the Book Index (PDF, 305kb)