Quick Tip: Speed Up Your Adobe InDesign Workflow With the Content Collector Tool


Final product image
What You'll Be Creating

A problem many Adobe InDesign users encounter is the time-consuming and mind-numbingly repetitive task of copying and pasting content, e.g. images, shapes, etc., from one page to another page in your InDesign document, or even pasting content onto completely separate documents.
In Adobe InDesign CS6 and CC you’ll find a fantastic little tool that can help you manage repeated content more easily: the Content Collector Tool, and its partner-in-crime, the Content Placer Tool. 
Read on to find out how you can use the Content Collector function to speed up your workflow, and help you better manage long, image-filled documents like magazines, brochures and books.
You can treat the Content Collector function as a sort of ‘basket’—you can drop content into it, and this basket will remain filled as you move through a document, and even when you move across into other InDesign documents.
I like to think of the tool as a basket, particularly because the keyboard shortcut for the Content Collector Tool is B

content collector tool

You can hit B again to switch further along to the Content Placer Tool. This tool effectively empties the basket.

content placer tool

Find the Content Collector and Content Placer Tools in the Tools panel, towards the end of the first section of the panel.

the tools panel

Selecting the Content Collector Tool (B) opens up a greyed-out panel at the bottom of the workspace. InDesign refers to this as a ‘conveyor’.

open conveyer

In this tutorial I’ll demonstrate how I can use the Content Collector and Placer Tools to move content between the pages of an example magazine layout, and also how I can move content easily between the magazine document and another InDesign document, which is an image-based moodboard.
If you want to learn more about creating the magazine layout andmoodboard pictured here, click on the links to go to the full tutorials.
Here we have the first spread of a magazine layout. Let’s say we want to pick up some of the images used on this spread and the pasteboard beside it, and copy them over to another spread of the same magazine document.
First up we need to select the Content Collector Tool by hitting the keyboard shortcut (B) or selecting it from the Tools panel.

magazine spread

Note: Whenever you have the Content Collector or Content Placer Toolsselected, the grey conveyer belt will appear at the bottom of the workspace. If you deselect the tools, say to use a different tool like the Selection Tool (V, Escape), the conveyer belt disappears. 
The Content Collector will store any group of content you have picked up, and remember it the next time you activate the Content Collector Tool.
While you have the Content Collector Tool (B) selected, you can simply click on any element on the page to pick it up and drop it into the conveyer. 
You’ll notice that when you hover over a single element on the page, such as an image frame, a text frame, or a shape, the cursor highlights that element with a prominent colored frame, which corresponds to the color of the layer that the element is placed on.

picked up content

We can now navigate to another spread in the magazine document, finding a page where we want to drop our stored content.
Switch to the Content Placer Tool by hitting B again on the keyboard.
You’ll notice that the cursor adjusts, and now has a ‘loaded’ symbol next to it, implying it’s ready to drop the content onto the page.
On this spread we want to drop the image of the woman, not the first image loaded onto the cursor, which is of a pile of jeans. To switch between the content loaded onto the cursor, just use the left and right arrow keys on the keyboard.

cursor loaded with content
ready to place content

Click onto the page to drop the item of content onto the page. The item will be at the same dimensions and proportions as the original item of content, when it was picked up on the first spread.

placed image

You can then go ahead and resize the content if needed, to adapt it to the spread. If you return to the Content Placer Tool you can see that the cursor is still loaded with the other item(s) of content not yet placed on the document.

resized image

Again, we can move to another spread and click onto the page to release the cursor’s loaded content onto the page. This time, an image of folded jeans provides a central focus for this otherwise text-based spread.
When the content in the conveyer is exhausted, InDesign automatically closes the conveyer and deselects the Content Placer Tool.

second placed image

Note: Empty the conveyer by pressing the Esc key, which will clear your content one by one.
You can also place content onto a completely separate InDesign document, using exactly the same process. First, pick up the content from the first document using the Content Collector Tool (B).

moodboard with content conveyer

Navigate to the second document, hit B again to activate the Content Placer Tool, and load up your cursor with content.

loaded cursor

Click onto the document to place the content. Even better, if you have pre-prepared image frames on the page, you can place the content directly into these.

placed content into image frames

A great tip for preserving the arrangement of a number of items on a page or spread is to create a Set in the Content Collector conveyer. 
This is different to a Group of items, which we actually created in the steps above. AGroup is a collection of separate elements that you can place into the layout one by one. 
Set remembers how elements are arranged on the page, and replicates that arrangement for you when you use the Content Collector and Placer Tools. Let’s take a quick look at how to create a Set
Here we have returned to one of the spreads of the magazine layout. Now, let’s say I want to make a copy of some of the elements on the page, and transfer them to another document, preserving their arrangement on this, the original layout.
First, I select the Content Collector Tool (B) and bring up the conveyer on screen.

picked up a set of content

I then drag across the page to select a number of elements, and when I release the mouse, the Content Collector Tool has arranged these into a single Set in the conveyer below. 
Here, I can see that I’ve picked up an arrangement of 12 items.

twelve items in set

I go to a different document, and then switch to the Content Placer Tool. When I click onto the page, the tool remembers how the items related to one another on the original spread, and places the items just as they appeared on the original spread (though the Set will position itself from the place where you just clicked, not at the original X and Y positions of the original spread).

new blank document
placed set of content

You can also scale the Set of items, by clicking and dragging downwards onto the page, rather than just clicking once. You can choose to scale the content up or down, and InDesign will adapt the size of the frames as you drag.

scaled set of content
enlarged content set

In this Quick Tip tutorial I’ve given you a brief introduction to using InDesign’s Content Collector function. 
It may sound a little gimmicky, but in the right context, when dealing with long or numerous content-heavy documents, it could quickly become your new best friend. Every design professional wants to be able to speed up their workflow and become more time efficient, and the Content Collector allows you to do just that!

Make the Most of the New Features in Messages

With the release of Yosemite, the OS X Messages app got some great feature upgrades, including easy screen sharing and the ability to receive SMS messages. 
While most of us rely on our phones for quick communication, shifting your attention from your computer to a mobile device can break up your workflow, making it difficult to regain your focus once you’re ready to return to your previous task. TheMessages app in OS X mirrors all of the functionality of the iOS version while keeping you in the OS X environment.
I’ve previously demonstrated some of the best ways to use Messages; in this tutorial I’ll demonstrate the new features. If you’ve never  before used Messages, or just want to find out what’s different in Yosemite, this tutorial will give you the tools to make the most of the new features.
To begin using Messages, you need to connect your Apple ID in Messages Preferences by clicking Messages > Preferences... If you want to syncronize conversations between a Mac and an iPhone, you must use the same Apple ID that you use for iOS Messages.

Log in with your Apple ID
Log in with your Apple ID.

In Messages Preferences, enter the Apple ID username and password and clickSign In. Note: If you’ve enabled Apple’s 2-step verification, you’ll need to enter an application-specific password. Generate and manage application-specific passwords, edit 2-step verification settings, and more in the Apple ID Security Settings

Decide how you want to be reached
Decide how you want to be reached.

Once signed in, you can select how you want to be reached for Messagesconversations and add or turn off additional email addresses. Choose whether new messages are sent from the Apple ID or a phone number associated with an iPhone.

Verify your account with your iPhone
Verify your account with your iPhone.

If this is your first time connecting an iPhone with Messages in OS X, you’ll be prompted to verify the account by entering the code—displayed on the Mac—on the iPhone. You’ll receive a notification once the verification process is complete.
To view all images in a conversation, select a conversation in the list to the left. ClickDetails, found in the upper right of the Conversation pane.

Browse all images sent and received in a conversation
Browse all images sent and received in a conversation.

Scroll down to view thumbnails of all the images you’ve both sent and received. Double-click an image to open it in Preview. Save the image by selecting the caret next to the filename at the top of the Preview window and selecting a save location.

Edit and save an image from a conversation with Preview
Edit and save an image from a conversation with Preview.

Whether it’s to quiet a chatty friend or to stop all the beeping from an SMS spammer, you may want to mute a single conversation. While you can silence all notifications from the Messages app in the Notifications pane of System Preferences, found by clicking Apple menu > System Preferences, you may wish to continue receiving notifications for less annoying conversations.

Turn off notifications
Turn off notifications.

To mute notifications for a single conversation, select the conversation in the list to the left. Click Details in the upper right, and toggle on Do Not Disturb. A moon icon will appear next to the conversation in the list to let you know it has been muted.
You will continue to receive all updates to the conversation, but you will no longer be notified of new messages. To restore notifications for a conversation, clickDetails and toggle off Do Not Disturb.
If you’ve ever been on the receiving end of a group SMS message, you’ve likely found your patience wears thin as the conversation veers off-topic with only a few of the original recipients continuing to respond. 
Without a way to leave the thread, you’ve got the option of asking to be removed from replies and potentially offending your friends or choosing to ignore the distracting notifications.

Politely exit a conversation
Politely exit a conversation.

Fortunately, Messages has a useful feature that allows you quietly to back out of those group conversations and stop the notifications without calling attention to your departure. 
Under Details in a group conversation, select Leave this Conversation. You’ll no longer receive either notifications or messages from the chat. If you do decide you'd like to start receiving messages from the group conversation again, one of the other participants will have to add you.
This only works for conversations with four or more users. If you’re included in a conversation with only two other people, Leave this Conversation isn’t available. In that case, you may want to try the Do Not Disturb feature in Messages.
There are a lot of reasons you may want to use screen sharing on a Mac, particularly if you or a friend needs help with a technical issue or if you just want to demonstrate something in OS X to another user. Screen sharing isn’t new to OS X, but it’s never been as easy as in the newest version of Messages. For this screen sharing method, both participants must be using Messages in OS X 10.10 or later.

Use Messages for quick OS X screen sharing
Use Messages for quick OS X screen sharing.

Click Details to the right of the conversation window. Select the Screen Sharing icon, and choose whether to share your own screen with another user or to ask the user to share theirs. The other user has to agree to screen share, so you don’t have to worry that anyone will be able to see your desktop without your permission.
While you only need to open Facetime to start a video chat, Messages makes it easy to initiate a video chat with other iOS and OS X users from an existing conversation. Click Details in the upper right of a conversation. Select the camera icon to begin a video chat.

Initiate a Facetime call in Messages
Initiate a Facetime call in Messages.

The Facetime app will open and begin calling the contact. Enter full screen or mute the conversation using the icons at the bottom, or click the red phone icon to end the video chat.
It’s a similar process to initiate an audio chat with Messages and Facetime. Select the phone icon in the Details panel. The Facetime app will open and begin calling the chosen contact. 

Use your Mac like a telephone
Use your Mac like a telephone.

Use the internal microphone or a headset to talk to your friend as though you were calling on the phone. Facetime audio calls received in iOS do feel very much like a standard cell phone call and are a good alternative to traditional phone calls for Mac users.
You may want to send a quick audio message in a text conversation without actually initiating a Facetime call. Audio messages are pretty handy alternative to keyboard input if your hands are otherwise busy.

Record and preview your audio message
Record and preview your audio message.

To send an audio message, click the microphone icon in the bottom right of a conversation. Messages will almost immediately begin recording; click the stop icon to end the recording. 

You can listen to your message after you send it too
You can listen to your message after you send it, too.

You can then review your audio message, send the message, or cancel it and record it again. You can also listen to your message again after it’s been sent.
Messages has always been a powerful communication app, but with the new features added in Yosemite, it really can do just about anything the iOS Messagesapp can. 
New features for managing notifications and interacting with conversations combined with the easy ability to initiate screen sharing, video chats, and even mimic voice calls, Messages makes it easy to keep in touch without reaching for the iPhone.

How to Create and Use Luminosity Masks in Adobe Photoshop


Final product image
What You'll Be Creating

Creating good, dependable, seamless selections in Adobe Photoshop can be excruciatingly slow and difficult. However, the program has entire tool sets devoted to making this task better, faster, and easier. 
In this Quick Tip, I'll explore one of the easiest and most useful ways to create selections based on the brightness values of the pixels in the image. This allows very easy editing of the highlights, shadows, and midtones with unprecedented control. 
These selections then allow for some high-end photo retouching techniques that would be extremely difficult otherwise. This technique also creates selection edges that are completely seamless. All without even touching a single selection tool!   
The selection techniques here will work on any image, but to follow along with the retouching steps, you will need to download this image.
The first selection is of the luminous values of the image. Creating this selection is fundamental to this technique as the other selections are all based off this one. 
As important as this is, there's no menu or tool to be found to create it. It's almost like Photoshop's secret handshake. The keyboard shortcut is the hand cramping combination of Alt-Control-2. Prior to CS5 it was Alt-Control- ~ (yes, that's a tilde!) But the easier method to create the selection is to go to the Channels panel andControl-click on the composite RGB channel. This creates a selection around all the luminous or highlight areas of the image.

Create a luminous selection

Click on the Save Selection as Channel icon in the foot of the Channels panel. This creates a new channel automatically called Alpha 1. Rename the channel toHighlights.

Create the Highlights Channel

Next, intersect this selection with itself. Do that by holding down Control-Alt-Shiftwhile clicking on the Highlights thumbnail. This selects a brighter subset of the highlights selection. Save this as a new channel called Bright Highlights.

Create the Bright Highlights channel

Intersect the Bright Highlights selection with itself (again, that's by holding downControl-Alt-Shift while clicking on the thumbnail) and save this selection as theBrightest Highlights.

Selecting the Brightest Highlights

That now provides selections for three different levels of highlights to work with. You could keep going by continually intersecting the selection with itself, but I've never found the need to go further than these three. It's time to turn our attention to the shadow areas.
Reselect the Highlights selection by Control-clicking on that channel. Then go toSelect > Inverse (Shift-Control-I)—this changes the selection to be the opposite of what it was. That means instead of it being a highlights selection, it's a shadow selection. Save this as a new channel and name it Shadows.

Shadow Selection

Use the same self-intersection technique to create two more channels of increasingly darker selections named Darker Shadows and Darkest Shadows, respectively.

Two more shadow selection channels

So with three highlight channels and three shadow channels, what's left? The midtones of course! Start by selecting the entire canvas with Select > All (Control-A) then subtract the Highlights from it by holding Control-Alt while clicking on theHighlights channel. Then subtract the Shadows from the resulting selection in the same manner.
At this point Photoshop might give a warning about the selection edge not being visible because no pixels are more than 50% selected. This just means that a selection will be active that will not have the "marching ants" around it.

Selection Edge warning

Save this new selection as Midtones. There's no need to intersect this channel with itself as that produces an empty selection.

Midtones Selection

Always finish up by returning to the composite RGB channel before resuming work in the Layers panel. This series of steps works on every image, regardless of what it is. Consider recording an Action to generate these channels at the press of a button, especially if you tend to do a lot of photo editing and retouching. 
The luminosity selections are now safely stored away in the Channels panel. So how are they any benefit? Why did we even bother to create them? Because they allow targeted adjustments that would be difficult, if not nearly impossible, by any other selection means.
Control-click the Highlights channel to create a selection. Then back in the Layerspanel, add a Curves adjustment layer (Layer > New Adjustment Layer > Curves). Photoshop automatically uses the selection as a mask on the adjustment layer. So pulling the midpoint of the curve upwards will only brighten the highlights in the image and leave the midtones and shadows alone.

Adjust the brightness of the highlights

Load the Shadows selection by Control-clicking on that channel and add anotherCurves adjustment layer. This time pull the midpoint of the curve slightly downwards to deepen the shadows.

Deepen the shadows

The midtones selection can be used to create beautiful and subtle lighting effects without worrying about affecting the highlights and shadows. Load the Midtonesselection and add a Hue/Saturation adjustment layer. Click the Colorize option and set the sliders to a color cast of your choice. The values I used are below.
  • Hue: 33
  • Saturation: 46
  • Lightness: +8

Add subtle colored light effects to the mid-tones

Just for the purpose of illustration, try Shift-clicking on the mask thumbnail to temporarily turn off the mask. See how strong that colorize effect is without the mask? Yuck! Imagine trying to paint out all those highlights and shadow areas by hand! That alone shows just how useful this technique is. Just be sure to Shift-clickthe mask again to reveal it.

Hide the mask to see how the image looks without it

Add a New Layer (Control-Shift-N) to the top of the layer stack and name itHighlights Dodge. Then go to Edit > Fill and select 50% Gray for the Contentsand hit OK. Set this layer's Blending Mode to Overlay to render all the gray invisible. Use the Dodge Tool with the Range set to Midtones and Exposure at9%. Softly begin brushing over the highlight areas to further expand them.

Dodging the Highlights

Load the Highlights selection and use it as a Layer Mask to restrict the dodging to only the highlight areas. Then look in the Properties panel and reduce the mask'sDensity to 60% to fade that restriction.

Fade the mask

Use the same technique to create a Shadows Burn layer. Only this time, use theBurn tool to deepen the shadow areas and use the Shadow selection for the layer mask.

Burn the Shadow areas

Create a merged layer at the top of the layer stack by holding down the Alt key while going to Layer > Merge Visible. Then go to Filter > Sharpen > Smart Sharpen and adjust the settings to be slightly too sharp. Here are the settings I used for this image:
  • Amount: 207%
  • Radius: 0.9 px
  • Reduce Noise: 7%

Sharpen the image

Load the Brighter Highlights selection and use it as a Layer Mask on the merged/sharpened layer. This restricts the sharpening effect to only the brighter highlight pixels. Reduce this restriction slightly by adjusting the mask Density to81%.

Restrict the sharpening effect

Take a look at our final result. We've created some very controlled contrast in the highlights and shadows, adjusted the color of the light without making it obnoxious, added some stylistic dodge and burn effects, and applied a sharpening effect to only the areas we wanted. All without using a single selection tool! Behold the amazing power of Luminosity Masks!

Final edited image

Can't get enough creative photo editing and manipulating tricks in Photoshop? Hungry to learn more about photo manipulation projects, or Photoshop techniques in general? Check out my profile of courses and tutorials here at Tuts+ and find all that, and much more!

 

Copyright @ 2013 Krobknea.

Designed by Next Learn | My partner