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Adobe InDesign CS5.5: Beyond the Galley of Print


indesign cs5.5 box shot





by Eden Maxwell


with video tutorial recommendations from, a plug-ins update, and helpful links


Early Fall, 2011


NOTE: Please bookmark this page for future reference.



indesign cs5.5 logo



If your marketing strategy and audience involve eBooks and digital magazines, then Adobe InDesign CS5.5 is a vital upgrade, as most of the enhancements and new tools center on digital publishing.

However, if traditional print publishing is your sole bread and butter, then there is no compelling need to upgrade.

Given this InDesign CS5.5 assessment, Adobe has once again stepped up to the plate with a solid homerun across the ever-changing and expansive digital publishing playing field. InDesign CS5.5 focuses on two distinct digital toolsets: 1) a significantly improved ePub conversion workflow for documents originally designed for print or PDF; and 2) the new Adobe Digital Publishing Suite (DPS) specifically developed for creating interactive content that produces a more valuable reading experience for tablet device consumers.


While these two formats share a digital heritage, there are significant differences worth noting.

1) ePub, which is largely based on html, has a large device base, limited interactivity and video support, and the layout (everything becomes one run on column) depends on the fixed parameters set down by the delivery device.

2) DPS, however, has a broader range of interactivity (making this engaging and analytic friendly format especially attractive to advertisers who can better track their costs), mp4 video support, a limited device base (IOS, Android, and BlackBerry Playbook), and its original design remains faithful (multiple columns, graphics, and so on) to the initial InDesign layout.


Having recently gone through the arduous task of converting my 500-page book, An Artist Empowered, into an ePub file (the accepted standard format for eBooks), I was eager to see how well InDesign CS5.5 had streamlined the process. After all, saving time and frustration while improving productivity is why we pay for upgrades—including yearly subscription costs. I can say upfront that this InDesign upgrade delivered the goods.

The ePub tools in the previous version of InDesign were woefully inadequate; after you exported your ePub file from InDesign, you had to unzip it (numerous changes had to be made to the exported files) to reveal the constituent folders before you could begin tweaking the html and CSS code into an acceptable state for the target devices and for the reader's pleasure.

InDesign CS5.5 now sports new ePub-related panels, tool enhancements, plus significant ePub and html export option improvements that produce eBooks more efficiently. There are also new productivity features that simplify creating Adobe PDF documents that are tagged or accessible for people with vision disabilities. Improvements in tagging PDFs are especially useful for those developing federal or state-related documents where accessibility is mandated by law.


If you have ever worked on exporting a print specific InDesign layout to html or ePub, you quickly discovered that certain aspects of the layout came out in the wrong order. For example, captions might be fare flung from their respective images, a headline might appear after an article, and even paragraphs were not immune, as they could end up being in the wrong order.

To help solve this sequence export shortcoming, the new Articles panel provides you with a powerful tool for establishing an ordered relationship among the items on your pages that were originally setup for print. Having this control smooths out the flow of exporting eBooks, html files, or accessible PDF documents. You can select which page items to include and in what order those items should appear upon export with no need to change your original InDesign print layout, or have to fuss with coding later on.

An article can include a single page item, or it can include a combination of existing page items in a layout, including images, text stories, captions, and graphics. The Articles panel is versatile, as you can also add more content to existing articles, edit them, or change their order.

The Articles panel pulls triple-duty. The sequential flow of article items that you set up in the Articles panel for ePub is also available when exporting html documents as well as controlling the proper reading order in accessible PDF documents.


Mapping styles to export tags is yet another new productivity feature when exporting to ePub, html, and PDF.

If you’ve worked with InDesign documents (especially large documents), you have already learned that defining paragraph and character styles greatly simplifies making global changes to text later on. Because ePub, html, and PDF don’t always handle styles the same way, having the tools to reliably synchronize them is important for consistency upon export—and you're ahead of the game should changes need to be made later on.

In previous versions, when you exported a document to ePub, html, or PDF, InDesign exported all block-level text to a <p> (paragraph) tag and used CSS (cascading style sheets) to create the visual presentation. But, this scheme caused problems: since third-party applications couldn't decipher the intended organization from such tags, accessibility readers couldn't, for example, distinguish (and read) heading text as different from body text.

Also, ePub readers that didn’t support CSS presented all the information as generic paragraphs, relying only on the <p> tags. There were, of course, tedious workarounds. If you wanted to make your exported document more reader friendly, you had to use post-processing scripts, edit the code by hand, or use InDesign’s Structure Pane, which could be more cryptic than clear.

InDesign CS5.5 now lets you export appropriately tagged text. You can map styles to tags for ePub, html, and PDF within the Paragraph Style and Character Style dialog boxes. Styles remain mapped to the tags you specify as you continue to edit and refine your document; in turn, InDesign applies your styles and tags accurately when you export your file.

In Paragraph Style Options, for example, you have two export tagging areas: ePub and html, plus a separate PDF tagging area. At this point, you can add a class for CSS tweaking later on. To expedite the entire tagging process, you can also work through Edit All Export Tags, which gives you an overview of all styles and their accompanying tags at-a-glance.


Experienced coders may want to map CSS class names to styles. In html, class names commonly differentiate slight variations in styling, such as spacing and indentation parameters. In past releases, class names were automatically generated based on style names in the InDesign document, but those class names made little sense on a digital device.

Adding unique and meaningful class names simplifies the transition of your InDesign document into the digital realm. If you want to generate the CSS directly from InDesign (Paragraph or Character Styles Options), and you’ve mapped the InDesign style to a basic tag, you must include a class name at this time for the style definitions to be generated. Class names are used only in html or ePub exports; they have no purpose in a tagged PDF.

Note: Although InDesign CS5.5 is mostly about eBooks and digital magazines, there are other productivity features worth noting.


When you create a tagged or accessible PDF, as previously described, you accommodate a wider audience. Adding tags to your document creates an underlying organizational structure that can be referred to later while aiding those with vision disabilities who are most likely relying on screen readers to read out loud the contents of the page.

In the Article panel, there's an option called Use for Reading Order inside Tagged PDF. Upon export with this option selected, the screen reader will know the correct reading order.


Alternate text or alt text is a brief text-based description of the subject matter encoded in html for a specific photograph, art, or illustration. As a matter of routine, web developers worth their digital salt have been paying attention to the details by adding alt text to images and other graphics. I've been adding alt text to my online art images for years.

Alt text considerations:

  1. Screen readers can read back a description of what’s in the image for people who have vision problems.
  2. If alt text isn't filled in, screen readers will only "see" and read back some generic message like "missing text" or "missing image file." Without alt text, Google and other search engines cannot index the meaning or content of the images.
  3. Providing alt text improves Search Engine Optimization or SEO; your documents move up the ranks in search results, which is what you want.

Creating accessible PDF documents that conform to federal standards is now so much easier and efficient, especially for users unfamiliar with structured documents. You can now simply tag content and add alt text for screen readers directly in InDesign CS5.5 without having to make post-related changes in Acrobat. The PDF tags and alt text that you apply within InDesign remain with your document even as you revise it.


In a normal InDesign print layout, when you edit or move your text, graphics or object frames remain static and do not move with the copy. To rectify this static problem, Anchored Objects let you anchor or connect your image into the copy flow—as the page reflows due to edits or screen size changes, the anchored object dutifully moves along with the appropriate text.

Grappling with anchored objects in previous versions—which involved cutting and pasting—was an ungainly process, especially if you had to change the image from an inline or above line graphic to one with a custom position using Object > Anchored Object > Options. Although Anchored Objects are not new in InDesign CS5.5, they are now much easier to create, position, and reposition within the flow of text, which is a big plus for correct placement when exporting html and ePub files.

Instead of having to fiddle with various cumbersome custom options, each object frame has a little blue square in the upper-right corner. Although you can globally switch the square off so it doesn’t appear in frames, doing so would negate its drag and drop purpose.

To anchor your object, simply drag the blue square to the anchor point within the text, and you’re done. As a visual cue that it’s anchored, the blue box changes to an anchor icon. Also, having show threads active let you see the anchor placement. Now, if you change your mind, you can drag and drop the object to a new position within the text—no need to engage the story editor window to make such anchor changes. The new enhanced anchor object feature is great time saver.


Unless you’ve been a devout Luddite, you’re aware that over the past few years the demand for electronic books has increased dramatically, mostly due to the availability and popularity of devices like the Kindle, Nook, and the iPad. Most of these devices use ePub as the standard format for reading electronic books. The Kindle uses the mobi file format, which is easily converted from an ePub file.

Although InDesign has had the capability to export to ePub for the last few versions, the result was less than perfect, and the file needed lots of CSS and html code hacking to whip it into shape.

With the release of InDesign CS5.5, ePub and html export features have been added and completely rewritten. Designers can now create higher-quality ePub or html files without having to know code or rely on a developer. For example, in the ePub Export Options dialog box, you can now choose whether to order content based on the page layout, the XML structure, or the new Articles panel, which makes the task of sequencing items correctly so much easier.


Note: Although the new ePub export options handle much of the heavy lifting when it comes to html and CSS, you will most likely have to work with an html and text editor such as BBEdit from Bare Bones Software (BBEdit 10 now adds significant capabilities for working direclty within Zip files, an essential feature when editing exported ePub files.) to polish your code. In addition to various desktop e-readers (see sidebar), I used BBEdit and Adobe Dreamweaver to perform various formatting tests on files inside the unzipped ePub folder and to finalize my ePub book.


These days, preparing images within electronic documents for viewing among various devices takes a bit of digital alchemy. Adobe InDesign CS5.5 helps simplify this process via new image export options.

Previous versions of InDesign offered a limited choice of image export options. To get better control over the images in an ePub you’d have to unzip the exported ePub file and then hand tweak the resulting code into righteous submission, which was time consuming, burdensome, and inelegant.

Now with improved image export options, you can export eBook publications with images that resize with the rest of the page. The Relative To Page setting recognizes the width of the image in relation to the width of the page in InDesign. When readers view the exported eBooks with this setting, the images appear at the proper size, whether they're viewing the eBook on a tablet, a smartphone, or a desktop e-reader such as Adobe Digital Editions, which could use an update. If need be, you can specify that images remain at a fixed size.

There's much more than you can do beyond image resizing. InDesign CS5.5 gives you control over a number of other options. You can specify the image format, its resolution, and the image quality. You can also set a global default for all images in the document when you export the ePub file.


You can control individual images in your layout by selecting that image and going to Object > Object Export Options where you can, for example, apply a custom rasterization, image alignment, spacing settings, and page breaks. You can now reliably put a space before and a space after individual images, or you can set spacing globally from ePub Export Options.


When you export your file to ePub, the enhanced ePub Export Options offers more choices on a global level. Preserve appearance from layout, known as "formatted" in the previous version, applies any effects that you've used on an image in the layout. For example, you can choose to have images with a drop shadow preserved in the exported ePub file. You can also choose to ignore your localized image export options.


Formerly, InDesign limited resolution to 72 ppi. You now have the option of choosing 96 ppi, good for Windows screen resolution, or 150 ppi, which is standard for a digital reader, or 300 ppi which is print or retina display quality on the iPhone 4 or Ipod Touch 4. If you choose the JPEG format, you can now also select the quality of the image. The medium setting is a good compromise and balance between file size and image quality.

Note: Preflighting your ePub on the desktop is merely the first step in testing your work. As a matter of course, with all these new, improved, and updated ePub export options, it's crucial that you ultimately screen your documents on your targeted devices.

Despite having many new export functions, you are not immune from running into ePub or tablet related snags. If you do, it's smart to have a resource who can help you sort things out. I recommend Stunjelly, a web design and development firm. They do a lot and they do it well. They've successfully helped me iron out a number of digital kinks that had me stumped.


Adobe has responded to yet another user request. In previous versions of InDesign, assigning a cover to your ePub document meant tweaking the html code after the export. Now, the enhanced ePub export options make adding a cover a simple matter.

In Object Export Options, you can, in one step, rasterize (convert into pixels) your title page; you can also choose settings from other image-related options. You can specify a cover image for your eBook in the ePub Export Options dialog box. The cover is used to represent the book in some e-reader applications. For example, in Apple iBooks, the cover appears on the bookshelf readers use to select the books they want to read.

A good cover sells books. If you feel the first page (title page) makes a good cover, you can have InDesign automatically Rasterize First Page for you. But, keep in mind that the title page need not be the same as the cover of your publication—which presents another option. If you’ve designed a cover that you’ve previously rasterized as a JPEG or TIFF, you can browse and select that file for your cover.

indesign to dps



With tablets becoming mainstream devices (business, government, education, entertainment, and look around your local coffee hangout), the demand for quality interactive content is voracious. And to this end, Adobe has answered the escalating technology call with both style and substance.

The Adobe Digital Publishing Suite (DPS) enables publishers to create, monetize (making moolah), distribute, and analyze digital publications across tablet devices. But, it should be understood upfront that the DPS system is not for the casual user, or for those creating free content—unless they have non-profit deep pockets with no need to charge for their publications.

While DPS isn't the only means for producing interactive content for tablet devices, it does offer an economy of scale when it comes to overhead. Instead of having to hire developers, publishers can tap into their InDesign proficient staff who can easily adapt to DPS using already familiar InDesign layout tool sets. Although the DPS system is very good, having a realiable developer on-hand is always a good idea, as you may run into issues that only experts in the field can resolve.

The DPS is an integrated digital turnkey system that begins with the folio authoring tools within InDesign 5.5; the folio is then further developed for publishing and Distribution services (for a fee) in Adobe Folio Producer; eventually, the completed folio is distributed to various e-commerce venues (i.e. App Store); additionally, further analytic services involving readership and advertising are available.

Note: Folio is the proprietary Adobe document format used for distribution to your various target devices.

Depending upon the publishing options selected, there are substantial fees involved for publishing your tablet project—from activating a distribution channel (i.e. IOS) to setting up your Adobe DPS Service subscription paid account that allows you to publish, create a branded Content Viewer app, and to distribute your content—which is what it’s all about.

Note: If your primary (no concern for ePub) target audience involves developing content for tablet devices, you might forego the paid InDesign CS5.5 upgrade since you can use the Folio Builder panel to download the free DPS plug-ins that will work with InDesign CS5.


Before you can transform your InDesign layout projects into published folios for tablets, you’re going to need the following: a DPS service subscription service, either at the Professional (off the shelf) or Enterprise account level, the latter being more costly as it has custom features tailored for larger organizations. When you subscribe to one of these accounts through Adobe, you are categorized as having a "provisioned" account. For example, to get on board with the DPS at the Professional level, you pay a monthly fee, then a per-issue download fee, which can be cost effective for publishers who distribute on a regular bases and charge for their content.

DPS pricing information is available from Adobe.

Through the DPS system of tools, you can design immersive digital publications, such as consumer and corporate magazines, newspapers, retail catalogs, and advertisements for tablet devices such as the Apple iPad, BlackBerry Playbook, and a wide variety of Android tablets, including the Motorola Xoom.

With your provisioned account in place, you have the go ahead to sign in with your Adobe ID and password through the Folio Builder panel in InDesign. Your DPS publications are constructed from the articles that you create within InDesign. In turn, these articles are grouped into a folio, which, as previously noted, is the format used for distribution to your various target devices.

Once signed in, you are then connected to your provisioned account on the cloud, or Adobe servers where you can create multiple folios. If you don’t have a paid provisioned account, you can still sign into the Folio Builder panel and create one folio.

Note: If your Adobe ID and password are correct in the Folio Builder panel, and you get a sign in or other error, make sure that you have the most recent version of Folio Builder, which you can download by clicking on help (follow the online thread) from the Folio Builder flyout menu.


If you’re targeting interactive marketing (brochures, etc.) and other freely available materials, you might want to explore alternatives such as Woodwing’s Digital Magazine Tools; they offer reasonable license fees, don’t charge a per-issue download fee, but there might be setup costs. Another option would include classroom digital handouts. For curiosity, check out for easy-to-use Mac tools that create browser-based content for display on computers and the iPad.

In the "feebie" department, Mac OS X Lion includes an Auttomator action, named Text to EPUB File, that is designed to easily convert selected text or text documents into EPUB books, ideal for transferring to iPads and iPhones. Additionally, the created EPUB books can include images, MPEG audio, or MPEG video files. Mac people may want to investigate this feature.


The Overlay Creator panel in InDesign CS5.5 allows you to add interactive content to a layout for viewing on a tablet device. If you have experience using InDesign’s interactive features for adding video and multi-state objects, you’ll find that the Overlay Creator extends those capabilities through new types of interactivity such as panoramas, rotate an object in 360 degrees, image sequences, pan-and-zoom images, and live Web feeds.

Knowing which interactive options are available for an object is simple. With an image frame selected, the Overlay Creator panel automatically indicates which interactive options are available for this object; italicized options in the panel are not available for the selected object.

Note: In most cases you will need both a vertical and horizontal version of each layout, including the cover and any advertisements. This convention allows readers to view your work in either portrait or landscape mode on their tablet.


After adding interactivity to your layouts with the Overlay Creator, it’s time to preview your DPS publication locally to assess how the content will look and behave on a tablet device. You can preview individual open interactive documents on the fly through the Overlay Creator panel; if you’re satisfied with the results, you are then ready to build your folio file.

After creating and naming your folio in the Folio Builder panel, which is initially empty, it’s time to add the articles that constitute your publication. Before you begin adding those articles, it’s important that you consider the order of your articles—which is the structure of your folio.

Once you place articles into the Folio Builder panel, you can’t reorder them. If you’ve added the cover last, which doesn’t make sense, then you can’t simply drag it back to first position where it belongs. But, if you have a paid provisioned account, you can reorder the articles later via the online Folio Producer Organizer in the Dashboard—where your folio project resides. We can look forward to the next version of the Folio Builder Panel that may include a simple means for changing the order of articles.

You can view a selected folio by clicking Preview in the lower left-hand corner of the Folio Builder panel. This will open your document in the Content Viewer (your first line of defense in testing layout and interactivity, and a free download from Adobe) on your Desktop. You can then engage in a preflight of sorts by scrolling through the content and interacting with the overlays you’ve created. Since Folio Builder automatically stores all the articles in the folio, you don’t have to have any InDesign documents open to use this Preview method.


The folio format supports your interactive overlays, which lets viewers engage more deeply with the content. For example, as previously mentioned, interactive overlays provide the ability to rotate an object in 360 degrees, pan and zoom images, play a slide show, or display html content (a live Twitter feed for exampe) within the document. You create interactive overlays using the Overlay Creator panel in InDesign.

A folio consists of one or more articles (your documents with interactivity), and is created in the Folio Builder panel. Most publications contain multiple articles. When you create a folio, the articles contained within the folio itself are automatically stored in the cloud, which could take some time to upload depending on the size and complexity of the publication; the folio is then accessible through the paid hosted services of the Adobe Digital Publishing Suite.

Remember: To display the content in both vertical and horizontal orientations on tablet devices, you must create vertical and horizontal layouts for each article. Each element (cover, stories, as well as advertisements) in a folio is considered an article.

Another handy feature lets you share a folio with a client or collaborator. This is helpful if, for example, you are creating an ad to be used in a digital magazine built with the DPS. Or a publisher may wish to share a folio with different contributors so they can upload articles that will be part of a publication. As a safeguard, recipients of shared folios can add articles, but they can’t edit or delete existing articles. Collaborators can contribute new content, but can’t alter existing folio content.




You’ve tested your project locally with the desktop version of the Adobe Content Viewer. The next step is previewing your project on your target tablet devices, which most likely include the iPad.

As soon as you begin to create a folio and add articles, the folio file, as previously noted, is automatically stored in the cloud, and is accessible through the hosted services of the Digital Publishing Suite. As the owner of the folio, you can log into Adobe Content Viewer (a free download from the Apple App Store) on your iPad with your Adobe ID to download and view the folio. However, to perform further organizational (change the order of articles, for example) and other management tasks, you need a paid provisioned Adobe DPS account. You've got to pay to play.


To complete the magazine and publish it to the Distribution Service, you log into the Digital Publishing Suite Dashboard using a web browser. Go to the DPS web page, and sign in using your Adobe ID and password.

Once logged into the DPS Dashboard, click on Folio Producer. The Folio Producer Organizer opens in a new window in your browser. Using the Folio Producer Service, you can then edit folio content—reorder articles, update information, add articles, and input metadata, etc.

Selecting your folio in the Folio Producer Organizer, and then clicking the Open button above the folio list takes you to the Folio Producer Editor. Click the Thumbnail View icon to view the articles as thumbnails. This gives you a visual overview of the articles and their order, which you can reorder here by dragging and dropping. You can also see articles here in a list view option, which resembles a spreadsheet, and is very handy for organizing larger projects containing many articles.

Once you have all your digital folio ducks in a row, you click on the publish button, making your project available to the retail public, or as a private project.


The workflow might seem abstract at first, but after working with the various steps, it becomes clear that the DPS turnkey system is well thought out. To summarize the DPS system, here are the general steps:

1. Use InDesign CS5.5 to create digital articles.

2. Overlay Creator Panel adds interactivity to articles.

3. Folio Builder Panel builds one or more articles into a folio.

4. Content Viewer is used to preview and test folios.

5. Folio Producer Service is used to organize, edit, and publish folios for testing and distribution.

6. Viewer Builder Service is used to create a branded Content Viewer application (iPad or Android) that folios (i.e. magazine issues) are published to.

7. Distribution Service is used to manage fulfillment of folios that have been published and made available for purchase.

8. Analytics Service is used to view aggregate data for published folios.


As we have noted, the InDesign 5.5 release is mostly about transforming print layouts into ePub and digital magazines, including a streamlined workflow for developing accessible PDFs.

With enhanced ePub production tools and the New Digital Publishing Suite system, Adobe InDesign CS5.5 is truly a remarkable upgrade for anyone involved in ePub and digital magazine projects. The Adobe DPS system integrates seamlessly with this InDesign update; in turn, InDesign users are already ahead of the game working with familiar layout software to produce eBooks and interactive digital publications for desktops and tablet devices.

For those still working with InDesign CS4, now would be a good time to upgrade and take advantage of many new productivity features. For CS5 users whose work involves ePub and digital magazines the InDesign CS5.5 upgrade isn’t only worthwhile, it’s essential.

For pricing and more information: Adobe InDesign CS5.5


When many of us upgraded to InDesign CS5.5, we quickly discovered that some of our trusted third-party plug-ins no longer worked. Ouch. As it turns out, the fact that some these plug-ins worked with CS5 was something of an anomoly.

In my case, I found that Teacup Software’s TypeFitter Pro and BarcodeMaker plug-ins would not load when launching InDesign CS5.5. I also had a rude awakening when the Suitcase Fusion 3 Auto-activation plug-in was also kaput. And, I especially relied on TypeFitter Pro and the Suitcase Auto-activation plug-in on a daily basis.

Fortunately, after a couple of months, these must have plug-ins are now updated and working in harmony with InDesign CS5.5. If you’re not familiar with these handy (they work as advertised) InDesign plug-ins, here’s a brief recap of what they can do for you.


teacup software logo


TypeFitter Pro

With TypeFitter Pro for Adobe InDesign, fitting text has never been so quick, simple and effective. TypeFitter Pro’s sophisticated typefit rules automatically find and fix problems in your copy. With a single click, TypeFitter Pro can fix oversets, widows, imbalanced columns and more.

BarcodeMaker 2D

You can now create customized barcodes directly in InDesign.

BarcodeMaker gives you over 27 different types of traditional, “one dimensional” barcodes, including ISBN, UPC, and EAN. BarcodeMaker 2D brings the new world of “two dimensional” barcodes to InDesign, including Data Matrix, Aztec Code, and Maxi Code.

All barcodes can have all of their options edited live in InDesign. A single user-friendly palette offers different options for each barcode, allowing you to fully customize the barcode data, as well as other options like ink spread, checksum digit, whitespace, and barcode color.

Note: You can download demos of Teacup Software plug-ins before you buy.


suitcase fusion 3  boxshot


Auto activation plug-in

To automatically activate precisely the correct fonts used in documents, Suitcase Fusion 3 includes plug-in software modules that use the Extensis Font Sense technology.

The plug-ins save Font Sense metadata—information that uniquely identifies fonts—with documents, and then use that metadata to automatically activate the correct fonts when you open a document.


Grow your brain.


In keeping with their impressive work ethic, the development team at quickly gets up to speed on new releases and updates—with InDesign CS5.5 being no exception. If you’d like an invaluable in-depth experience that explores many new InDesign CS5.5 features in a hands-on fashion, I highly recommend these two video trainings. Each presenter is well-versed in the subject, and presents the material in a lively and engaging manner. You learn and remember because you see and do while working at your own pace. Subcribe to the online training library now and reap the rewards.


In a nearly 3-hour course, author James Lockman shows designers how to create interactive publications for tablet devices using Adobe InDesign CS5.5 and the Adobe Digital Publishing Suite.

Lockman discusses the DPS workflow, comparing it with existing ePub and print workflows, and highlights key layout and design considerations when designing for this emerging publishing platform. The course explains how to incorporate hyperlinks, slideshows, panoramas, audio and video, and pan and zoom capabilities as a means of adding reader involvement and value to a publication.

Lastly, the course sheds light on how to compile interactive folios before testing and publishing finished projects. Exercise files included.


In a concise, fully packed video course, James Fritz provides a worthy exploration of the new InDesign CS5.5 features, including both ePub and DPS. Fritz shows us not only where these features reside and how to use them, but also tips, workarounds, and practical applications.

The course also covers improved PDF accessibility features, new html export options, key enhancements to ePub export, and a detailed highlights of the new Adobe Digital Publishing Suite, used to created folio files for the iPad and Android tablets. Exercise files included.





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