How To Place Registered Trademark In Top Right Corner Indesign

This chapter is from the book 

Character Formatting

Character formatting controls the appearance of the individual letters in your publication. Font, type size, color, and leading are all aspects of graphic symbol formatting. (Longtime QuarkXPress users won't call back of leading as a character format, only nosotros'll cover that next.)

Nosotros refer to all formatting that can exist applied to a selected range of text as "grapheme" formatting, and refer to formatting that InDesign applies at the paragraph level as "paragraph" formatting. Tab settings, indents, paragraph rules, space higher up, and infinite afterward are examples of paragraph formatting. There are areas of overlap in these definitions. Leading, for example, is really a belongings that applies to an unabridged line of text (InDesign uses merely the largest leading value in a line), but we'll phone call it "character" formatting, however, because you can apply information technology to individual characters.

In add-on to these distinctions, InDesign's paragraph styles can include character formatting, but apply to entire paragraphs. See "Styles," later on in this chapter.

Character Formatting Controls

InDesign'south grapheme formatting controls are constitute in both the Grapheme console and the Control console (come across Figure four-2). The controls in the panels are essentially the same, so we'll talk over them in one case.

To display the Character console and shift the focus to the panel's Font field, press Command-T/Ctrl-T. If the panel is already visible, InDesign hides it; y'all may need to press it twice.

To display the Control console, press Command-Selection-6/Ctrl-Alt-6. If the panel is already open, but is displaying the paragraph controls, press Command-Option-7/Ctrl-Alt-vii.

Font Family and Font

Selecting a font in InDesign is a little bit different than selecting a font in most other folio layout programs. To InDesign, fonts are categorized as font "families," and each family is made upwardly of 1 or more blazon styles. A font family is a set of typefaces designed to take a common "look." A "font," then, is specified by its font family and type mode. In this book, we've used the font family Minion Pro, and the type style Regular for the trunk text—so the font of the body text is "Minion Pro Regular."

InDesign'due south user interface for selecting fonts mirrors this arroyo. When you choose a font from the Font submenu of the Type carte du jour, you must select both the font family and a specific blazon manner.

Notation that InDesign does non take "blazon styles" in the aforementioned style that other programs do—it makes no assumption that the selected font family has a "bold" or "italic" fellow member, and will never generate a fake bold or italic version. If you don't take a font for a particular type style, you won't see it on the Type Styles menu (see Figure 4-3).

To select a font family unit or blazon manner, you can blazon into the appropriate field—y'all don't have to use the menu. Equally you lot type the name of a font family or blazon manner, InDesign volition brandish the bachelor font or fonts that match the characters you typed. For instance yous can type "T" and it volition judge "Tekton" (if yous take that font installed); if y'all meant "Times" then you may accept to type "Ti" or even "Tim". Annotation that you lot can too press the up and down arrow keys, which is especially helpful in the Style field to move from Regular to Bold to Italic, and and so on.

Font Style Keyboard Shortcuts. Although InDesign won't generate a bold or italic weight, you lot tin type Command-Shift-B/Ctrl-Shift-B to make your text bold and Command-Shift-I/Ctrl-Shift-I to brand information technology italic. If a font doesn't have a bold or italic version, InDesign will not change the text.

Symbols and Dingbats. Sometimes, when you modify to a symbol font (such as Zapf Dingbats), y'all may encounter font substitution (the dreaded pink highlight). This can happen because InDesign is attempting to map the graphic symbol from one font to another. To avert this problem, hold downwardly Shift equally you apply the font.

Indistinguishable Font Names. Some folks have more one font with the same name on their systems—such equally a TrueType and a PostScript version of Times Roman. While most programs just pick one (and you never know which you're getting), InDesign displays both fonts, including either T1 or TT in parentheses after the font name.

Size

Y'all tin change the size of text by entering the point size you want in the Size field of the Character or Control panel, or choose a point size from the attached pop-up bill of fare (see Effigy iv-iv). If yous type the size, you can specify it in .001-point increments. Afterwards you've entered the size you want, apply the change by pressing Return/Enter or by pressing Tab to move to another field.

Size Adjustment Keyboard Shortcuts. You tin can increase the size of selected type by pressing Control-Shift->/Ctrl-Shift->, or decrease the size by pressing Command-Shift-</Ctrl-Shift-<. The amount that InDesign increases or decreases the bespeak size when you use these shortcuts depends on the value in the Size/Leading field in the Units & Increments Preferences dialog box.

To increase or decrease the size of the selected text past v times the value entered in the Size/Leading field, you can add the Option or Alt cardinal: Command-Option-Shift->/Ctrl-Alt-Shift->, or Control-Choice-Shift-</Ctrl-Alt-Shift-<.

Scaling Text by Scaling the Frame. You tin scale text by scaling the frame itself. To practice this, select the text frame with the Pick tool, then agree down the Command/Ctrl fundamental and drag a corner or side handle. Concord down Command-Shift/Ctrl-Shift as y'all elevate to scale proportionally (a expert thing, as far as text is concerned).

Leading

Text characters—usually—sit on an imaginary line, the baseline. Leading (pronounced "ledding") is the vertical distance from the baseline of one line of text to the adjacent text baseline. When you hear "x on 12" or see "10/12", it ways "10-betoken text on 12-point leading." In InDesign, leading is measured from the baseline of a line of text to the baseline of the line of text above (see Figure four-5). When you increase the leading in a line, you button that line farther from the line above it, and farther downward from the acme of the text frame.

In InDesign—equally in PageMaker—leading is an attribute of individual characters, but the largest leading value in a line predominates (see Figure 4-6). This differs from QuarkXPress, where leading is a paragraph aspect (although if you employ QuarkXPress's relative leading fashion, the largest leading in a line predominates).

For those of usa who came to desktop publishing from typesetting, the idea of leading existence a graphic symbol aspect seems more natural than QuarkXPress' method of setting it at the paragraph level. Fortunately, InDesign lets you have it both means: When you turn on the Apply Leading to Entire Paragraphs selection in the Type pane of the Preferences dialog box, the program automatically sets the leading of every grapheme in a paragraph to the aforementioned value. QuarkXPress users volition probably want to turn this pick on.

Notwithstanding, this preference simply affects paragraphs that you modify afterward you set it. For instance, you could have it on virtually of the fourth dimension, and so turn it off in social club to vary the leading of lines within a paragraph—something you sometimes accept to practise to optically balance brandish copy—and so turn the preference dorsum on once more.

How to Avoid Wacky Leading. The main disadvantage of making leading a character attribute (when the Apply Leading to Entire Paragraphs option is turned off) is that it requires a bit more vigilance on your part than the "leading-as-a-paragraph-aspect" arroyo taken by QuarkXPress and almost discussion processors. Most of the time, leading values should be the same for all of the characters in the paragraph. If, equally yous utilise leading amounts, you lot neglect to select all of the characters in a paragraph, you'll get leading that varies from line to line—which, most of the time, is a typesetting mistake.

You lot can also get this effect if you leave your paragraph's leading set to the default Auto leading, which always sets the leading to some percentage (usually 120%) of the text size—or, more specifically, some percentage of the largest character on a line. This is true even when Apply to Entire Paragraph is turned on. Nosotros strongly urge you not to use Car leading (except for inline frames and graphics, equally discussed in Chapter 6, "Where Text Meets Graphics").

If you lot've seen paragraphs where the leading of the concluding line of the paragraph is clearly different from that of the lines above it, you know exactly what we're talking most (see Effigy 4-7).

It'due south uncomplicated—the carriage return, that sneaky invisible character, tin can have a different leading value than the other lines in the paragraph. When the person formatting the text selected the paragraph, they failed to select the carriage return. To avoid this, make sure you select the entire paragraph before applying formatting. Better yet, employ a paragraph style. When you apply a paragraph style, InDesign applies the character formatting specified in the style—including leading—to every graphic symbol in the paragraph.

Leading Shortcuts. You lot tin decrease the leading of selected blazon by pressing Option-Up arrow/Alt-Upwardly pointer, or increase the size past pressing Option-Downward arrow/Alt-Downward arrow. (Yes, this does seem counterintuitive; remember of it as pushing the line upwards or down.) The amount that InDesign increases or decreases the leading depends on the value you entered in the Size/Leading field in the Units & Increments Preferences dialog box (for more on units and increments, see Chapter one, "Workspace").

To decrease the leading of the selected text by five times the value in the Size/Leading field, printing Command-Option-Up arrow/Ctrl-Alt-Upwards arrow. To increase the leading by the same amount, press Command-Pick-Downwards arrow/Ctrl-Alt-Down arrow.

Leading Techniques. Here are a few tips for adjusting leading.

Increment leading equally y'all increase line length (the cavalcade width). Solid leading (such as 12 betoken text on 12 points leading) produces almost unreadable text for all just the narrowest of lines.
Use extra leading for sans serif or bold blazon.
Fonts with a small ten-meridian (the height of the lowercase "10" in relation to the elevation of the capital letters) can ofttimes use a smaller leading value than those with a large 10-top.
Decrease leading as point size increases. Large display or headline blazon needs less leading than trunk copy. You tin often get by with solid leading or less—just make sure that the descenders of one line don't bump into the ascenders of the line below.

Kerning

The goal of kerning—the adjustment of the infinite between characters—is to achieve even spacing. InDesign offers both pair kerning (the adjustment of the infinite betwixt adjacent characters) and tracking (or "range kerning")—the adjustment of all of the inter-grapheme spaces in a series of characters.

For each space between whatsoever pair of characters in a publication, InDesign applies the total of the pair kerning and tracking values (then if you set kerning to 50 and tracking to –50, y'all will non see any change in the limerick of the text).

InDesign adjusts kerning using units equal to one-thousandth of an em. An em is equal in width to the size of the type—for instance, in eighteen indicate text, an em is xviii points broad, so each unit in the kerning or tracking fields equals point (about .00025 inch). Y'all can enter values from –k (minus one em) to 10000 (plus 10 ems) in the Kerning and Tracking fields.

Manual Kerning

To adjust spacing between a pair of characters, move the text insertion point between the characters and apply manual kerning (see Figure 4-viii). Employ any of the following techniques.

Enter a value in the Kerning field of the Character panel or Control panel. If the kerning field already contains a value entered by one of the automatic kerning methods (see beneath), yous can supplant the value past typing over it, or add to or subtract from information technology (by typing a "+" or "-" between the value and the amount you want to add or subtract).
Click the arrow buttons attached to the Kerning field. Click the upwardly button to increase the kerning amount by the value you entered in the Kerning field in the Units & Increments Preferences dialog box, or click the downwards button to decrease kerning past the aforementioned amount.
Press a keyboard shortcut (see Table 4-1).

Table 4-1. Kerning Keyboard Shortcuts

To change kerning by:	Press:
em^*	Pick-Right pointer/Alt-Right arrow
em^*	Selection-Left arrow/Alt-Left arrow
em^**	Control-Option-Right arrow/Ctrl-Alt-Right arrow
em^**	Command-Option-Left arrow/Ctrl-Alt-Left pointer
Reset Kerning	Command-Option-Q/Ctrl-Alt-Q

To remove all kerning and tracking from the selected text, press Control-Option-Q/Ctrl-Alt-Q (this sets tracking to zero and sets the kerning method to Metrics).

Y'all tin can't apply pair kerning when you have a range of text selected—if y'all attempt, InDesign displays an error message. When y'all desire to apply a kerning value to a range of text, apply Tracking.

Automatic Kerning

InDesign offers two automatic kerning methods: pair kerning based on kerning pairs establish in the font itself (choose Metrics from the Kerning pop-up bill of fare), and kerning based on the outlines of the characters (choose Optical). To see the difference between the two methods accept a look at Figure 4-9.

Metrics. When you turn on the Metrics automatic kerning method, InDesign reads the kerning pairs built into the font by the font's designer (or publisher). These kerning pairs cover—or endeavour to cover—the near common letter combinations (in English, anyway), and there are ordinarily about 128 pairs defined in a typical font.
You'd think that using the kerning pairs divers in the font would be the perfect manner to employ automated kerning to your text. Who, subsequently all, knows the spacing peculiarities of a given font improve than its designer? Would that this were true! In reality, very few fonts incorporate well-thought-out kerning pairs (frequently, pair kerning tables are simply copied from ane font to some other), and the number of kerning pairs defined per font is inadequate (a actually well-kerned font might comprise several thousand pairs, tweaked specifically for the characters in that typeface).

We actually demand a ameliorate method—a method that can adjust the spacing betwixt every character pair, while taking into account the peculiarities of the grapheme shapes for a item font. We also demand a kerning method that tin automatically adapt the spacing between characters of different fonts. With InDesign'due south Optical kerning method, we get both.
Optical. The Optical kerning method considers the equanimous shapes of the characters and applies kerning to even out spacing differences betwixt characters.

In general, the kerning applied by InDesign when yous use the Optical kerning method looks looser than that applied by the Metrics kerning method. That's okay—once yous've accomplished fifty-fifty spacing, yous can always rails the text to tighten or loosen its overall appearance. Because tracking applies the same kerning value to all of the text in the selection, in add-on to any pair kerning, the fifty-fifty spacing applied by the Optical kerning method is maintained.

Viewing Automatic Kerning Amounts. As you move your cursor through the text, you'll be able to meet the kerning values applied to the text in the Kerning field of the Character panel or Control console. Kerning values specified by Optical kerning or Metrics kerning are displayed surrounded by parentheses; transmission kerning values y'all've entered are not (run into Figure 4-10).

Changing Word Spacing. It's not entirely true that y'all tin can't employ kerning when more than than one character is selected. Yous tin can select a range of text and select Metrics, Optical, or 0 (zero) from the pop-up carte du jour attached to the Kerning field.

If y'all want to increase the spacing between words only don't want to change the letterspacing of a range of text, printing Control-Option-\ or Ctrl-Alt-\ (backslash) to add the base kerning increment (as divers by the value in the Kerning field in the Units & Increments Preferences dialog box) after each infinite character in the range. Agree down Shift as yous press this shortcut, and InDesign adds kerning past five times the base kerning amount. To decrease word spacing, press Control-Option-Delete/Ctrl-Alt-Backspace (add the Shift cardinal to the shortcuts to multiply the issue by 5).

This keystroke works simply by changing the kerning after each space character. Y'all tin can always go dorsum and change the kerning, or use Find/Alter to remove it.

Tracking

Tracking, in InDesign, applies the same kerning value to every character in a selected range of text (see Effigy four-xi). When you change the tracking of some text, InDesign applies the tracking in improver to any kerning values applied to the text (regardless of the method—transmission or automatic—used to enter the pair kerning). Note that this is the same as the definition of tracking used past QuarkXPress, and is dissimilar from the definition used by PageMaker. In PageMaker, tracking also applies kerning, but the amount varies depending on the point size of the selected text and the tracking table in employ. In PageMaker, InDesign's tracking would be called "range kerning."

Merely as you cannot utilise kerning using the Kerning field when you have multiple characters selected, you tin can't change the Tracking field when the text insertion betoken is betwixt two characters—you have to take one or more characters selected. (Actually, you can change information technology, only it doesn't do annihilation.)

Annotation that the default keyboard shortcuts for tracking are exactly the same as those for kerning; which one you get depends on whether or non y'all have a range of text selected.

Tracking Tips. The following are a few of our favorite tracking tips.

If yous're setting text in all capitals or the minor caps style, add twenty or 50 units of tracking to the text. Do not add tracking to the final character of the last discussion in the text, equally that volition affect the corporeality of space after the word, too.
Press white text on a blackness background often requires a little actress tracking, too. That's because the negative (blackness) space makes the white characters seem closer together.
Larger type needs to exist tracked more tightly (with negative tracking values). Often, the larger the tighter, though there are aesthetic limits to this rule. Advertising headline copy will oftentimes be tracked until the characters just "kiss."
A condensed typeface (such equally Futura Condensed) can usually do with a little tighter tracking. Sometimes nosotros'll apply a setting as small as -ten to a text block to make information technology hold together better.
When you're setting justified text and you become bad line breaks, or if yous have an extra word past itself at the cease of a paragraph, you can track the whole paragraph plus or minus i or 2 units without it being besides credible. Sometimes that'southward just enough to set these problems.

Horizontal and Vertical Scaling

Enter a value in the Horizontal Scaling field or the Vertical Scaling field (or both) to change the size of the selected text (encounter Figure 4-12). When the values you lot enter in these fields are not equal, yous're creating false "expanded" or "condensed" blazon. Nosotros say "fake" because true expanded or condensed characters must be drawn by a blazon designer—when you simply calibration the type, the thick and thin strokes of the characters become distorted. Entering values in these fields does not affect the signal size of the type.

Baseline Shift

Sometimes, you need to raise the baseline of a character or characters above the baseline of the surrounding text (or lower it below the baseline). In pre-DTP typesetting, we would accomplish this past decreasing or increasing the leading applied to the character. However, that won't piece of work in modern programs—recollect, in InDesign the largest leading in the line predominates. Instead, employ the Baseline Shift field in the Character panel or Control panel (encounter Figure 4-thirteen).

Enter an amount in the Baseline Shift field to shift the baseline of the selected text by that corporeality. As you'd wait, positive values movement the selected text upward from the baseline; negative values motility the selected text down from the baseline.

While it'southward tempting to utilize Baseline Shift to accommodate numbers in formulae, registered trademark symbols, so on, it'southward better to apply the Superscript or Subscript features.

Baseline Shift Keyboard Shortcuts. To apply baseline shift using your keyboard, select some text and press Choice-Shift-Up arrow/ Alt-Shift-Up arrow to move the baseline of the text up ii points—or whatever value y'all've entered in the Baseline Shift field of the Units & Increments Preferences dialog box, or Option-Shift-Down arrow/ Alt-Shift-Downwardly arrow to shift it down by the same distance.

To shift the baseline of the selected text up by a distance equal to v times the value you entered in the Units & Increments Preferences dialog box, press Command-Option-Shift-Upwardly arrow/Ctrl-Alt-Shift-Up arrow. To shift the baseline downwards by the same amount, press Command-Pick-Shift-Downwardly arrow/Ctrl-Alt-Shift-Down arrow.

Skewing

When y'all apply skewing to a range of characters, InDesign slants the vertical axis of the type past the bending yous enter hither (meet Figure 4-14). You tin can enter from –85 degrees to 85 degrees. Positive skew values slant the blazon to the right; negative values camber information technology to the left.

This might be useful equally a special text effect, but you shouldn't count on it to provide an "italic" version of a font family that lacks a true italic type style. Why? Because there's more than to an italic font than simple slanting of the characters (come across Figure 4-fifteen).

Linguistic communication

The linguistic communication you cull for a range of text determines the lexicon InDesign uses to hyphenate and check the spelling of the text (see Figure 4-16). Considering language is a grapheme-level attribute, yous tin can apply a specific language to individual words—which means you can tell InDesign to finish flagging "frisson" or "gemütlichkeit" every bit misspelled words, if y'all want. The simply languages that show upwardly in the Language pop-up menu in the Character panel or Control panel are those for which you take a dictionary installed. If the language you're looking for isn't in this list, and so y'all tin can use the InDesign installer to install that lexicon for you.

Example Options

You can change the case of selected characters to All Caps or Modest Caps by choosing All Caps or Minor Caps from the Character panel carte du jour (run across Figure 4-17). InDesign does not supplant the characters themselves; it just changes they fashion they wait and print. To InDesign's spelling checker or Notice and Modify features, the text is exactly as it was entered—not the manner it appears on your screen.

When you lot choose Small Caps from the Character panel menu (or press Command-Shift-H/Ctrl-Shift-H), InDesign examines the font used to format the selected text. If the font is an OpenType font, and if the font contains a set of true small-scale caps characters, InDesign uses true small caps. InDesign is also smart enough to do this if you take a non-OpenType font that has an "Skilful" version. If the font is non an OpenType font, doesn't have an Adept font bachelor, or doesn't contain minor caps characters, InDesign scales regular capital characters down to 70 percent (or whatever value you entered in the Small Cap field of the Type pane of the Preferences dialog box, every bit described in Affiliate 1, "Workspace").

Changing Case

In addition to beingness able to temporarily change the example of characters using the case options, you tin can take InDesign change the instance of the characters by typing new characters for yous using the Change Case submenu (which you lot'll discover on the Type card and on the context menu when text is selected).

To change the example of selected characters, choose an pick: Capital letter, Lowercase, Title Case, or Sentence Case. Uppercase and Lowercase are cocky-explanatory. Judgement Example capitalizes the first letter of each sentence. Championship Case is very simpleminded: it capitalizes the commencement character of each word in the selection, even if the word is "the," "and," or some other preposition or article (see Figure four-xviii).

Underline

When you cull Underline from the Character panel menu, click the Underline button in the Command panel, or press Command-Shift-U/Ctrl-Shift-U, InDesign applies an underline to the selected text (run into Effigy 4-19).

To customize the underline, select Underline Options from the Grapheme panel menu or the Command panel menu to brandish the Underline Options dialog box, where you'll find controls for setting the thickness, first, colour, and stroke way of the underscore. You can't salve these settings as a style or preset, but you can build them into the definition of a character style.

Breaking at Spaces. InDesign'south underline also includes whatever spaces in the selection. Some designs require that underlines break at spaces in the text. You could laboriously select each space and plow off the underline attribute, by why not utilize Find/Change to do the piece of work for you? Find a infinite in the selection with the Underline attribute, then replace it with a space with Underline turned off.

Breaking Underlines at Descenders. We said that there was no way to break underlines at descenders—only there is an inelegant work-around: use a white stroke to the characters. The stroke will overlap the underline. You tin use Discover/Change to search for characters with descenders (such as the "j" or the "y") and apply the Format button in the Change To expanse to requite them a stroke.

Highlighting Text. Desire to make some text look as if it's been highlighted with a felt "highlight" marker? You lot tin simulate the effect using a custom underline (see Figure 4-20). Make your underline larger than the text it's supposed to encompass and utilize a negative offset so that it moves up to cover the text. Be certain to change the color of the underscore to yellow or pink or something that will contrast with the text its highlighting. Note that the color actually falls behind the text, but the consequence will be as though the highlight was drawn over it.

You can also create interesting highlight furnishings by mixing a custom underline with a custom strikethrough. For example, you could make a line appear above and below some text, sort of like putting the text in a stripe.

Strikethrough

When you choose Strikethrough from the Graphic symbol panel menu (or click the Strikethrough button in the Control panel or printing Command-Shift-?/Ctrl-Shift-?), InDesign applies the strikethrough text effect to the selected text (see Figure 4-21). To remove the Strike-through text event, select the feature or press the keystroke again.

The strikethrough style isn't particularly consistent; it changes its thickness and distance from the baseline depending on the font. However, you can command the strikethrough style by selecting Strike-through Options from the Graphic symbol or Command panel menu. The options here are very like to those in the Underline Options dialog box: You can conform the thickness, color, offset (from the baseline), and style of the line. If yous're applying a colored strikethrough on summit of black text, y'all may desire to set information technology to overprint and then that it won't knock out a fine white line—which would be difficult to register on press. If and then, make sure you similar the effect by turning on Overprint Preview (from the View menu).

Ligatures

Some character combinations are only problem—from a typesetting standpoint, at to the lowest degree. In particular, when you combine the lowercase "f" grapheme with "f," "i," or "l," the tops of the characters come across each other. To compensate for this, type designers usually provide ligatures—special characters in the font that are "tied" ("ligature" ways "necktie") together.

When you choose Ligatures from the Graphic symbol panel's card, InDesign replaces some of the grapheme combinations in the selected range of text with the corresponding ligatures (encounter Figure 4-22).

If the font you've selected is not an OpenType font, InDesign replaces simply the "fl" and "fi" graphic symbol combinations. In Windows, InDesign uses these ligature characters if they're available in the font (and they are, for about PostScript Type 1 fonts), fifty-fifty though they are not function of the Windows character set—that is, there is ordinarily no way to type them. If the font you lot've selected is an OpenType font, InDesign makes the ligature substitutions are suggested by the font.

OpenType fonts can also feature other sorts of ligatures—for more on this topic, see "OpenType Fonts," subsequently in this chapter.

Superscript and Subscript

While you can always create superscript or subscript characters (for use in fractions or exponential notation) by changing the point size and baseline shift of selected characters, InDesign provides a shortcut: the Superscript and Subscript text furnishings (see Figure 4-23).

When you select Superscript or Subscript from the Graphic symbol console menu, InDesign scales the selected text and shifts its baseline. (Y'all tin can also press Control-Shift-=/Ctrl-Shift-= for superscript or Command-Pick-Shift-=/Ctrl-Alt-Shift-= for subscript.) InDesign calculates the scaling and baseline shift past multiplying the current text size and leading past the values you've prepare in the Size fields in the Advanced Type pane of the Preferences dialog box (see "Text Preferences" in Chapter one, "Workspace").

If you are using an OpenType font that has true Superscript and Subscript characters, utilise Superscript/Superior and Subscript/Junior options in the OpenType submenu (meet beneath).

No Break

This one is really easy to explain: To foreclose a range of text from breaking across lines, select the text and turn on the No Suspension option in the Graphic symbol or Control console menu.

Source: https://www.peachpit.com/articles/article.aspx?p=1327719&seqNum=2

Posted by: furlonghatiankin.blogspot.com