InDesign Type: Professional Typography With Adobe InDesign

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InDesignTypeProfessional Typographywith Adobe InDesignFOURTH EDITIONNigel French

InDesign Type: Professional Typography with Adobe InDesign , Fourth Edition 2018 Nigel French. All rights reserved.Adobe Press is an imprint of Pearson Education, Inc. For the latest on Adobe Press books, go To report errors, please send a note to [email protected] For informationregarding permissions, request forms and the appropriate contacts within the Pearson EducationGlobal Rights & Permissions department, please visit content of this guide is furnished for informational use only, is subject to change without notice,and should not be construed as a commitment by Adobe Systems Incorporated. Adobe SystemsIncorporated assumes no responsibility or liability for any errors or inaccuracies that may appear inthe informational content contained in this guide.Please remember that existing artwork or images that you may want to include in your projectmay be protected under copyright law. The unauthorized incorporation of such material into yournew work could be a violation of the rights of the copyright owner. Please be sure to obtain anypermission required from the copyright owner.Any references to company names in sample files are for demonstration purposes only and are notintended to refer to any actual organization.Adobe, the Adobe logo, Creative Cloud, the Creative Cloud logo, InDesign, and Photoshop are eitherregistered trademarks or trademarks of Adobe Systems Incorporated in the United States and/or othercountries. Adobe product screenshots reprinted with permission from Adobe Systems Incorporated.Apple, Mac OS, macOS, and Macintosh are trademarks of Apple, registered in the U.S. and othercountries. Microsoft and Windows are either registered trademarks or trademarks of MicrosoftCorporation in the U.S. and/or other countries. All other trademarks are the property of theirrespective owners.Unless otherwise indicated herein, any third party trademarks that may appear in this work are theproperty of their respective owners and any references to third party trademarks, logos or other tradedress are for demonstrative or descriptive purposes only. Such references are not intended to implyany sponsorship, endorsement, authorization, or promotion of Pearson Education, Inc. products bythe owners of such marks, or any relationship between the owner and Pearson Education, Inc. or itsaffiliates, authors, licensees or distributors.Executive Editor: Laura NormanDevelopment Editor: Linda LaflammeTechnical Reviewer: Mike RankinSenior Production Editor: David Van NessCopyeditor: Scout FestaComposition: David Van NessProofreader: Kim WimpsettIndexer: J&J Indexing, Jack LewisCover Illustration: Text from The Metamorphosis, by Franz Kafka. This translation has beenprepared by Ian Johnston of Malaspina University-College, Nanaimo, BC, Canada.Cover Designer: Aren Straiger and Nigel FrenchInterior Designer: Nigel French, Charlene Charles-Will, Kim 71-0

AcknowledgmentsI’d like to thank the following people for their help: Nancy Davis,Laura Norman, Tracey Croom, Linda Laflamme, Scout Festa,David Van Ness, Mike Rankin, Kim Wimpsett, Bart Van de Weile,Jack Lewis, everyone at Creative Pro — especially David and AnneMarie — and the good folks at Learning.Also, I’d like to say a big thank you to Melanie for being so lovely.

  TABLE OF CONTENTSForewordIntroductionCHAPTER 1 About TypeType ChoicesType Anatomy and ClassificationView the PageCreate a Typography WorkspaceCHAPTER 2 Type on the PageText FramesText FlowText ThreadsThe Story EditorText CleanupCHAPTER 3 Type ChoicesText Selection MethodsBasic Character FormatsTypekitLegibility and ReadabilityCHAPTER 4 Screen TypographyTypes of Digital PublishingChoosing Type for ScreensPreparing Type for ScreensCHAPTER 5 LeadingLeading SizeAvoid Auto Leading (Most of the Time)Keep It Consistent, Except CHAPTER 6 AlignmentHorizontal AlignmentVertical 838488929596110v

viInDesign Type Professional Typography with Adobe InDesign, Fourth EditionCHAPTER 7 Letterspacing, Tracking, and KerningLetterspacing vs. TrackingTracking vs. KerningKerningCHAPTER 8 Small (but Important) DetailsSpecial CharactersWhite Space CharactersThe Glyphs PanelOpenType FeaturesCHAPTER 9 Paragraph Indents and SpacingFirst-Line IndentsHanging IndentsLeft and Right IndentsSpace Before and Space PTER 10 Breaking (and Not Breaking)Words, Lines, Paragraphs, and PagesHyphenationBreak CharactersKeep OptionsCHAPTER 11 TablesTable AestheticsCreating a TableTable Selection MethodsWorking with Rows and ColumnsWorking with Table CellsOther Table ConsiderationsCHAPTER 12 Bullet and Number ListsWorking with ListsBullet ListsNumbered ListsTabsCHAPTER 13 Drop CapsCreating a Simple Drop CapDrop Cap 96198202207208210

Table of ContentsCHAPTER 14 Combine TypefacesThings to AvoidVive la DifférenceIt’s a Family AffairGo for ContrastFrom the Same StableHistorical AccuracyCombining CharacteristicsCHAPTER 15 StylesDefining Our TermsWhy Use Styles?Creating Paragraph StylesApplying StylesEditing and Adapting StylesCharacter StylesObject StylesTable and Cell StylesFeatures Related to StylesCHAPTER 16 Type and ImageText WrapsSimple Type EffectsCHAPTER 17 Page Geometry, Grids, and White SpaceSetting Up the DocumentMaster PagesSetting Up ColumnsWorking with GridsWhite SpaceAPPENDIX Type 2vii

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ForewordYou’re holding one of the most important InDesign books on theplanet. That might sound audacious, but your ability to set typewell in InDesign is a critical part of whether your work will besuccessful. After all, if you don’t understand the fundamentals ofprofessional typography, and how to apply them using the toolsin InDesign, you’re doomed to creating “blah” design. And no onewants to make blah design.The good news is that design — and especially the design of text,called typography — is something that anyone can learn. It involvestwo steps: developing the feeling, and learning how to make typebetter. Having “the eye” (the feeling for type) leads to misery ifyou don’t know how to handle the tools to change it. And understanding the software is meaningless if you don’t know what you’relooking for.Fortunately, I’m pleased to say that this book can help you do both.I’ve known Nigel French for over a decade, and I can tell you thathe is one of the top typography trainers in the world, specificallybecause he understands — and can communicate — the “feeling”and the “how-to.”In this new edition of Nigel’s book, he delves even deeper andstretches even further into making type beautiful, for both printand interactive design. You’ll enjoy reading it and learning from it.Adobe InDesign is the industry’s best tool for setting type in shortand long documents. The more you know about InDesign, themore fun it is to use it, especially when you have a good teacherlike Nigel.—  David Blatnerco-host, InDesignSecrets.comfounder, InDesign Magazine andthe InDesign Conference

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IntroductionToday we are all typographers. Everyone knows what a font is,and most people have an opinion about the fonts they like andthose they don’t. Typography is no longer an arcane trade plied bycurmudgeonly men with inky fingers, but rather a life skill. Wemake typographic decisions every day: the material we chooseto read in print and onscreen, the fonts we select for our correspondence, and the advertising we respond to, consciously orsubconsciously. The fonts themselves are readily available — fromlong-established foundries with extensive catalogs and fromboutique font houses with niche offerings, from subscriptionservices like Typekit, and the countless number freely availablefrom Google Fonts and many other online sources.This democratization of typography is empowering; anyone canparticipate. But to participate well it helps to know a thing or two;with power comes responsibility. If you’re using InDesign, thenyou have at your disposal the state-of-the-art software for creatingtypographic layouts of any length and complexity. It’s worth bearing in mind that the concepts behind InDesign didn’t just arrivesimultaneously with the program’s launch in 1999. InDesign is partof a continuum of technological advances going back to the 15thcentury with the invention of the printing press. The terminologyand typographic conventions upon which InDesign is built haveevolved over generations. The typefaces on our font menus — eventhe funky postmodern ones — are descendants of the letter shapeschiseled into the Trajan Column in Rome nearly 2000 years ago.Designing with type is a subjective discipline, so it’s useful for youto know where I’m coming from and why I’m advancing the opinions I am. I’d say that my type preferences are more “old school”than experimental, my style more conventional than boundarypushing. I admire graphic designers who break the rules of typeand do it well; I groan when I see graphic designers breaking therules and doing it badly. Unfortunately, too many graphic designers who break the rules fall into the latter camp.

xiiInDesign Type Professional Typography with Adobe InDesign, Fourth EditionComputers let us get away with stuff. It’s all too easy for a halfhearted effort to look — at first glance — polished. But on closerinspection, we see that it lacks sensitivity to the type. There’s scantattention to detail and little-or-no appreciation of the cues andmessages that the type is sending.With every passing month, it seems that more and more peopleare using more type and using it more creatively. But simultaneously, “type crime” are on the rise, and it feels like some of thefoundations of typography are being sidelined, lost, or forgotten.The most frequent complaint of design instructors is that studentslack sophistication in their use of type. Their layouts routinelyfeature flashy graphic explorations in Photoshop and Illustrator,but the typography is too often given short shrift, thrown on thepage as an afterthought.It’s an oft-repeated adage that good typography is “invisible,”meaning that, rather than drawing attention to itself, typographyshould serve the words it represents. This perhaps makes typography sound like a thankless task. Where’s the fame? The glory?There are few celebrity typographers, and those few walk the streetsin relative anonymity. Nonetheless, typography is a noble cause.If typefaces are the bricks and mortar of communication, thenwe, the typographers, are the architects. A simple and understatedbuilding may pass unnoticed by many, but everyone notices an uglyone. Likewise with typography: Good designs serve their purposeand may not elicit comment, but we can all spot bad typography,even though we may not be able to say precisely why it’s bad.InDesign Type exists to demonstrate the rules and conventions ofprofessional typography, specifically as they relate to InDesign, sothat we can avoid ugly and thoughtless type — which, I believe, isa major step in the direction of creating beautiful type.Who Should Read This Book?This book is about working efficiently in InDesign — getting familiar with its conventions and nomenclature, knowing its keyboardshortcuts (the important ones anyway), and taking advantage of itspowerful global formatting and automation features. But it’s notjust a book about working with InDesign; it’s also a book abouttypographic best practices. Although they continue to evolve, thesepractices were around long before InDesign — and will be aroundlong after InDesign is forgotten and we’re all using the new thing,whatever the new thing may be.

IntroductionInDesign Type is not a beginner’s guide to InDesign. Maybe you’vebeen using InDesign since version 1.0 or maybe you’re a noviceuser, but I’m assuming that you know your way around the basicsof the program. Some of the information is elementary and willbe old news to seasoned users, but there’s also a deep explorationof InDesign’s type-related features, a wealth of tips, tricks, andworkarounds, and some good old-fashioned hacks.This book deals with English-language typography — not becauseit’s the most important, but because it’s what I know. It’s primarilyconcerned with the typographic conventions of magazine and bookpublishing, whether those books and magazines are intended to beread in print or onscreen. The techniques in this book will helpyou create layouts to a professional standard by following certaintypographic “rules.” To this end, my approach is utilitarian ratherthan experimental. These rules are not intended to limit creativity,but rather are intended as a starting point. Learn the rules. Then,if you choose, break them — but break them consciously, knowingwhy you do so. Whatever you do, don’t ignore them.Regarding some technical issues, I should mention that althoughthis edition of InDesign Type was written specifically for AdobeInDesign CC, most of the techniques in the book are applicableto earlier versions of InDesign. Where there is a keyboard shortcutfor a command, I indicate the Mac shortcut first, followed by theWindows shortcut in parentheses. For example: Cmd Option W(Ctrl Alt W). My screenshots show a light gray interface (Prefer ences Interface) because screenshots in the light gray reproducebetter in print than those in the default, medium dark gray.I hope you find InDesign Type a useful addition to your designbookshelf. I hope that, in some small way, by reading this bookyou’ll be able to work faster and more decisively in InDesignand — most importantly — that your InDesign documents willlook better because your type looks better.If you enjoy the book, you might also be interested in viewing my “InDesign Typography part 1 and part 2” courses or, which are structured inmuch the same way as the book and use many of the same examples.Please email me with any com ments, corrections, or suggestions.—  Nigel [email protected]

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Chapter 3Type ChoicesThis chapter looks at how and why to choosetype and InDesign’s basic character formattingoptions. Selecting a typeface and its treatment fora particular task is simple. Deceptively so. Yourchoice of typeface, its style and point size, andany casing options all contribute to — or detractfrom — the readability of your text. They shouldbe conscious, informed choices. Discussing theseoptions, we’ll follow the order determined by theInDesign interface, an order that both reflectsthe logic of predigital typesetting and sets theagenda for how we work today. But we’ll alsolook beyond the buttons and menus to discussthe historical precedents and time-honoredconventions that are attached to such options.

44InDesign Type Professional Typography with Adobe InDesign, Fourth EditionText Selection MethodsBefore we can format type, we must first select it. Here’s a list ofshortcuts for selecting text and moving within stories:Formatting Affects TextAs well as selecting a range of text, you can alsoselect text on a frame-by-frame basis. This isuseful if you want to apply the same formattingto all the text in a frame or multiple frames. Witha text frame selected, choose the FormattingAffects Text icon on the Swatches panel or thebottom of the Tools panel. You can also press Jto toggle back and forth between this and thedefault option, Formatting Affects Container. Thisapproach lets you evaluate changes without thevisual distraction of the text selection color. Notethat you will need to apply the formatting throughthe Character panel, because the Control paneldoes not show text formatting options when aframe is selected with the Selection tool. Select one word: Double-click word Select one line: Triple-click line (depending on Textpreferences setting) Select to beginning of paragraph: Cmd Shift Up Arrow(Ctrl Shift Up Arrow) Select to end of paragraph: Cmd Shift Down Arrow(Ctrl Shift Down Arrow) Delete one word to left of cursor: Cmd Delete(Ctrl Backspace) Delete one word to right of cursor: Cmd Fn Delete(Ctrl Delete) Move to start or end of story: Cmd Fn Left Arrow or RightArrow (Ctrl Home or End) Select from the point of the cursor to the start or end ofstory: Cmd Shift Home or End (Ctrl Shift Home or End)FORMATTING AFFECTS TEXT Move to beginning of line: Fn Left Arrow (Ctrl Up Arrow) Move to end of line: Fn Right Arrow (Ctrl Down Arrow) Move one word to the right: Cmd Right Arrow(Ctrl Right Arrow) Move one word to the left: Cmd Left Arrow(Ctrl Left Arrow) Move to beginning of next paragraph: Cmd Down Arrow(Ctrl Down Arrow) Move to beginning of previous paragraph: Cmd Up Arrow(Ctrl Up Arrow)Unfortunately, there’s no way of selecting text one sentenceat a time.

Chapter 3 Type ChoicesBasic Character FormatsThis section looks at the basic character-level options of theControl panel.NOTE: These options are found both onthe character formats of the Control paneland in the Character panel. It’s a matterof preference which you choose to use.I prefer the Control panel, and the figuresin this chapter reflect that choice.FontTo change the font of a selected range of text, use the Font fieldon the Control panel. To jump to the Font field when characterformats are active, press Cmd 6 (Ctrl 6), or just click in the Fontfield. From there, either click the x to clear the search field or selectthe existing font name and type over it the first few letters of thefont you’re after. You can also click the magnifying glass icon inthe Font field to set the search preference to either Search EntireFont Name or Search First Word Only. This changes the resultsyou get when you start typing a font nameTo move through the fonts on your menu, applying them to yourselected text, press the Up or Down arrow.You can change the size of the font previews (or turn them offcompletely) in Type preferences. The preview is nothing morethan the word “Sample” rendered in the particular font. It’s notespecially useful. Type preferences is also where you can choose thenumber of recent fonts to display and whether to sort them alphabetically. Recently used fonts are displayed at the top of your Fontmenu — a list that stays active, even after you quit the program.Filter based on Typekit,Favorites, or SimilaritySync fonts fromTypekit.comTHE FONT MENU ANDRELATED PREFERENCESFilter by classOpenType fontTypekit fontAdd tofavoritesRecently usedfonts appearabove thislineTrueType font45

46InDesign Type Professional Typography with Adobe InDesign, Fourth EditionFont ManagementYou can never be too rich or too thin or have toomany fonts. To use that font collection effectively,however, you’re going to need some organization.So as your font collection grows, you may wantto invest in a font management utility. On theMac, Font Book, which comes with macOS, letsyou test, preview, and organize your fonts. Youcan create customized collections, as well asorganize — and activate — your fonts by style,project, or client.If you need more control, Suitcase Fusion,from Extensis (, automaticallyactivates your fonts in Creative Cloud apps,provides tools to fix common font problems,and offers integration with font serviceslike Typekit and Google Fonts. FontAgentPro, from Insider Software (, and FontExplorer X, from Monotype(, offer a similar range offeatures at the same price, which at the time ofthis writing is around 100.The font menus of designers can be long and a time-suck to use,so it’s useful that InDesign provides a number of time-savingfilters. As well as the ability to filter the font list by style — Serif,Sans Serif, Script, etc. — you can also filter by Typekit fonts, by“favorites” that you have starred, and by similarity to your currentlyselected font.The Font menu is organized by language. After the fonts withwestern character sets, you will see a list of Japanese fonts, traditional Chinese fonts, simplified Chinese fonts, and Korean fonts.Following these are Arabic fonts and Hebrew fonts.The following icons are used to indicate different kinds of fonts:OpenTypeTypekit (these too are OpenType but are “synced” and theactual font files stored in a hidden folder on your computer)TrueTypeType 1Sometimes fonts, usually free fonts of dubious provenance, areprone to errors. This is not to besmirch free fonts — there aremany good ones out there — but rather a commonsense reminderthat you get what you pay for. If you plan on using a free font inyour layout, make sure to road-test it before the project deadline.OpenType is the font file format preferred by most graphics professionals. A single compact file contains both the printer outlinesand the bitmap screen information. The printer outlines in anOpenType font can be in either PostScript format or TrueTypeformat. Those with PostScript outlines have the .OTF extension,while those with TrueType outlines have the .TTF extension.OpenType fonts are cross-platform compatible, and offer thepotential of up to 65,000 glyphs in one font. In reality, manyhave the same 228 glyphs you’d find in a Type 1 PostScript font.OpenType fonts may have either Std or Pro appended to their name.Std means the font contains the standard range of Latin characters.Pro means that the font contains additional characters for workingwith other languages, as well as such typographic niceties as realsmall caps, extra ligatures, and different numbering styles.

Chapter 3 Type Choices47Handling Missing FontsSometimes when you open an InDesign document, especially adocument created by someone else, you see an alert that fontsare missing. If the document contains unsynced Typekit fonts,the Find Font dialog appears, giving you option to sync thosefonts. Assuming you have an internet connection, have a CreativeCloud subscription, and have not reached the maximum numberof fonts you can sync from Typekit, after a short pause the fontswill be synced.Missing fonts are indicated in your layout with pink highlighting;they are listed on your font menu in square brackets. Ideally, youcan install the correct fonts. If this isn’t practical, you can chooseType Find Font to replace the missing fonts with fonts youhave installed.NOTE: The pink highlighting can beturned off in your preferences. ChoosePreferences Composition HighlightSubstituted Fonts.Select Redefine Style When Changing All to ensure that paragraphand character styles will be redefined to use the new font — assuming, that is, that styles have been used. If you don’t use this option,you’ll end up changing the font on your pages, but it will lingerinside the style definition and likely pop up when you least expect it.To avoid missing fonts when you pass your job on to someoneelse — or just move it from one machine to another — make surethe project is packaged. Choose File Package, click the Packagebutton, and then select the Copy Fonts check box (as well as theCopy Linked Graphics box) to have InDesign collect the fonts ina folder inside the project folder. Note that Typekit fonts can’t bepackaged, however. If you’re passing on the document to colleagues,they too must have a Creative Cloud subscription so that the fontscan be synced. Chinese, Japanese, and Korean fonts (CJK) can’tbe packaged either.Font StylesHaving a choice of different type styles — like bold or italic, for instance —within the same typeface family lets you indicate hierarchy and emphasis, whileat the same time maintaining stylistic continuity. InDesign won’t allow you toapply “faux” bold or italic font styles; there’s no B or I button to make the textheavier or slanted. Both styles can be faked in other ways, but you have to bedesperate to want to do so. Instead, choose the italic or bold weights of thattypeface from the Font Style menu. You can also use the shortcuts Cmd Shift I(Ctrl Shift I) or Cmd Shift B (Ctrl Shift B) — if a font doesn’t have a bold oritalic version, the text doesn’t change.TIP: Find Font is not limited to replacingmissing fonts. It’s also the quickest wayto change one font to another throughoutyour document — just make sure to haveRedefine Style selected when you do so.

48InDesign Type Professional Typography with Adobe InDesign, Fourth EditionNormal/Regular/RomanNumerous terms are used to describe the styles within a typeface.Type that doesn’t slant is referred to as roman. This “normal” styleis usually called regular, but in certain typefaces may be calledbook or medium. The terms italic and oblique both refer to slantedtype, the latter employed in some sans serif typefaces. Terms likelight, semibold, bold, or black refer to the font weight and areself-explanatory; other, lesser-used terms to describe font weightare heavy and extra bold. The terms condensed and extended referto character width.A useful adjunct to InDesign, Fonts in Use(, is a compendium of how fontsare used on different projects. The site is an amazingrepository of examples of type in action. To find outhow a certain typeface has been used, click its link tosee examples.The most important type choice you’ll make is your body text,which will be in the “normal” style. Body text makes up mostof any document, so the look of the body text is of paramountimportance. Here are some things to consider: Your body type should be trustworthy and unobtrusive. Theseare qualities best served by typefaces with conventionalletterforms. Novelty slows comprehension; letters withexcessive ornamentation or quirky design elements force thereader to process what they are looking at first — “Wow, lookat that cute g” — before taking in the message.TYPEKIT VISUAL SEARCHAND WHATTHEFONT Body text should be easily readable at small sizes. Typicallythis means choosing a typeface with a tall x-height. A tallx-height makes it easier to distinguish between similarlowercase letters, like “a,” “c,” and “e.” Although it’s not a cast-iron rule, serif fonts are more commonfor body text in print. Pick up any book, newspaper, ormagazine and there’s a more than 50 percent chance it hasIdentifying TypeSee a typeface that you like but don’t know its name? There are several onlineservices that help you play font detective.Visual Search from Typekit uses Adobe Sensei’s machine-learning technologyto identify a font and suggest similar typefaces on Typekit. You upload a photoof lettering or type, and Visual Search will return a list of similar typefaces onTypekit.WhatTheFont (from and the Font Matcherator ( work in a similar way.Identifont ( takes a different approach, drilling down tothe font’s identity by asking a series of questions, such as: Does the font haveserifs? What style is the uppercase Q tail?

Chapter 3 Type Choices49a serif font for the body text. In screen publications, bodytext can be sans serif or serif. Sans serifs were once preferredfor screen type because they look crisper on low-resolutiondisplays. Screens have come a long way in recent years,however, and today serif fonts look equally good. Research the attributes and connotations of prospectivetypefaces. Does the family have italic and bold variations,and are there enough weights and styles for the job inhand? Is the typeface designed for print or screen? Is itshistory congruent with the subject matter of the text? Ifyou’re in doubt, a quick browser search will give you somebackground information about the typeface. As well as identifying the physical characteristics of thetypeface, consider too any baggage that comes with it. Defaultchoices like Times or, sadly these days, Minion can connotelaziness. Which is not to say that you can’t create greatlooking designs with these fonts, but rather that you’restarting on the back foot and you’ll have to work harder tomake them look like conscious and informed choices.ItalicsItalic type styles — so named because they evolved in Italy — aredesigned to complement their roman siblings. Most fonts comewith a matching italic. The company that developed InDesign’spredecessor, PageMaker, took the name Aldus after Aldus Manutius(c. 1449–1515), a Venetian printer who was the first to use italictype in the early 16th century.Italics are separate fonts in their own right, not just slanted versionsof the roman. When they were first used, they were considereddistinct from the roman forms. Over time, printers began pairingitalics with romans of the same weight and x-height, but italicsretain their identity through narrower proportions and uniqueletterforms.Italics have the following uses: Emphasis. Foreign language words or phrases, except those words thatare in such common usage as to not require distinction; forexample, cliché, elite, genre. Such conventions shift overtime, so check the dictionary for clarification.Variable FontsThis exciting new font format allows youto customize styles within a typefacedesign — effectively giving you a whole font superfamily in a single file. You can change weight,width, and slant, as well as optically size. Forveterans who remember multiple master fonts,it’s like that, only better. At the time of thiswriting there’s no support for variable fonts inInDesign or Typekit, but that’s bound to change,as they are now available in Adobe Photoshopand Illustrator. You can view a demo video here: the Weight and Width sliders to adjust the styleof a Variable font in Illustrator

50InDesign Type Professional Typography with Adobe InDesign, Fourth EditionThe titles of films, books, magazines, or works of art. In written dialogue to

Adobe InDesign is the industry's best tool for setting type in short and long documents. The more you know about InDesign, the more fun it is to use it, especially when you have a good teacher like Nigel. — David B latner co-host, founder, InDesign Magazine and the InDesign Conference