Word 2016 For Professionals For Dummies®
Published by: John Wiley & Sons, Inc., 111 River Street, Hoboken, NJ 07030-5774, www.wiley.com
Copyright © 2016 by John Wiley & Sons, Inc., Hoboken, New Jersey
Published simultaneously in Canada
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Library of Congress Control Number: 2016945537
ISBN: 978-1-119-28604-2; 978-1-119-28605-9 (ebk); 978-1-119-28606-6 (ebk)
Welcome to Word 2016 For Professionals For Dummies, a book that uncovers the truth about parapsychology and the people in Asia who hand-place sesame seeds on the hamburger buns used by Burger King. I’m not serious, of course. I’m just checking to see whether you’re actually reading this introduction.
This book goes way beyond the beginner’s user level when it comes to word processing with Microsoft Word. This isn’t a technical book, but rather a book geared toward the professional or anyone else who is serious about the words they write. Word is a powerful program, and few people venture into its more sophisticated levels. That’s sad because many of Word’s features can save you time and help you create a better document
Are you still reading the introduction? That’s really weird. Most people don’t even bother. In fact, they simply take the copy of this book that they illegally downloaded, get the information they want, and then go on Facebook and lament how the economy is crumbling. I love that story.
Still, I’m proud of you for continuing to read the introduction. Truly, it’s the best part of the book. That’s because this is where I explain how this book covers a lot of material not found anywhere else. Google? Forget it. I’ve looked. Those people who put “help” up on Google don’t know what they’re talking about. If you really want to understand Word, and create outstanding documents, you have the best resource in your hands right now.
This book is a reference. It’s designed to cover a topic quickly and let you get back to work. Each chapter covers a topic, and major sections within the chapter go into detail. Within each section are specific activities, complete with steps or further instructions that help you accomplish a task. Sample sections in this book include
The topics covered are vast, but you don’t have anything to memorize. Information is cross-referenced. Technical tidbits are carefully shoved to the end of a section or enclosed in a box. Though it would be great to master all that Word offers, my sense is that you prefer to find out only what you need to know and then get back to your work.
This is an active book. When you explore a topic, you see steps you follow to accomplish a given task or create an example. These steps involve using Word and the computer — specifically, the keyboard and mouse. If you have a touchscreen, that works as well, but it’s far more effective to use a mouse or another pointing device.
The mouse can point, click, double-click, and right-click. These are the basic mouse activities used through the text. The click always means a left-click. Point means to position the mouse at a certain location on the screen but not to click.
The mouse pointer is referred to as “the mouse pointer,” and its common icon is shown in the margin. This pointer is often called the cursor.
In a document’s text, the mouse pointer changes to the I-beam pointer, shown in the margin. When you click the mouse in the text, you move the insertion pointer, which shows where new characters appear as you type. I may also refer to the insertion pointer as the toothpick cursor.
Keyboard shortcuts are shown like this:
Ctrl+D
Press and hold the Ctrl (Control) key and then tap the D key.
Multiple key combinations are also presented:
Ctrl+Shift+S
Here you press Ctrl and Shift together and then tap the S key. Release all the keys.
Word presents its commands on a Ribbon. The commands are organized into tabs and then groups. Each command is a button, and the button’s artwork appears in this book’s margins.
Some buttons feature menus. To view the menu, you either click the button itself or click a down-pointing triangle next to the button. The text directs you whether to click the button or its menu.
When a menu features a submenu, this text uses the following format to show how the submenu or command is chosen:
Page Number ⇒ Current Position ⇒ Plain Number
This direction tells you to click the Page Number button and, from its menu, choose the Current Position submenu and then the Plain Number item.
Other, more specific directions for some of the unusual things Word does are explained throughout the text.
This book assumes that you have a basic knowledge of Word. You know how the program works, and you’ve created crude and ugly documents. Perhaps you didn’t believe them to be crude and ugly, but they are. And that’s why you purchased this book, because you want to create more professional, respectable documents.
You are using Word 2016, which is the current version of Word as this book goes to press. Some of this book may apply to Word 2013 and possibly Word 2010, but the material isn’t specific to those releases. You can have the stand-alone version of Word 2016, or you can use the Office 365 subscription version. Any differences between versions are noted in the text.
This book does not cover Word for the Macintosh. If you see an Apple logo on your computer, I can’t promise that anything in this text applies to your software.
Parts of this book reference other Office applications — specifically, Excel and Outlook. Even so, you don’t need to have these programs installed to get the most from the book.
If you need more basic information on Word, I can recommend Microsoft Word 2016 For Dummies (Wiley). That book covers material deemed too basic or common for this book, though it’s still good material. For example, that book covers mail merge, which this book shuns like that steaming pan of gray goo at the back of an all-you-can-eat five-dollar buffet.
Festooning this book’s pages are icons and micons. The icons consist of the traditional four For Dummies margin icons. They are:
Along with the icons, you’ll find margin art. These marginal masterpieces represent various items you see on the screen while using Word. They might be command buttons, doodads, controls, gizmos, or flecks of paint that look interesting. These micons (margin icons) help you navigate through steps in the text.
The publisher maintains a support page with updates or changes that occur since this book has gone to press. You’ll also find bonus content in the form of an online cheat sheet, which isn’t really cheating and definitely isn’t a sheet.
To peruse the online content, visit www.dummies.com
, but that’s not the right page. You’ll need to search for Word 2016 For Professionals For Dummies, and open the Download tab on this book’s dedicated page. I’d offer more specific information, but I don’t have any further details. Even I don’t know where the online material is really hidden. When I asked, the publisher muttered something about “elves” and she then proceeded to consume dry coffee grounds.
The first thing you need to do is stop reading the introduction. I’m serious: It’s over. The book’s vast pages await a bright reading light and your eager gaze.
Check out the table of contents and see what interests you. Peruse the index and look up a special topic. Or just flip to a page and become enlightened. Word does so much and offers so many tools to help you make better documents that you can truly start anywhere.
My email address is dgookin@wambooli.com
. Yes, that’s my real address. I reply to all email I receive, and you’ll get a quick reply if you keep your question short and specific to this book or to Word itself. Although I enjoy saying Hi, I cannot answer technical support questions or help you troubleshoot your computer. Thanks for understanding.
You can also visit my web page for more information or as a diversion:
www.wambooli.com
This book’s specific support page can be found at
www.wambooli.com/help/word
I provide frequent updates and posts on that page, offering bonus information on Word, supplements to this book, tips, tricks, trivia, and fun. And, there’s only one little advertisement on the page and no pop-ups.
Enjoy this book. And enjoy Word as much as you can stand it.
Part 1
IN THIS PART …
Discover how to best use fonts.
Find out how to lay out a paragraph.
Learn how to organize text with tabs and lists.
Work with tables and information in a grid.
Customize columns of text in a document.
Get to know about page formatting.
Apply informative headers and footers to a document.
Use styles to quickly format text.
Get familiar with templates, and start creating documents quickly.
Chapter 1
IN THIS CHAPTER
Understanding fonts
Using typefaces appropriately
Accessing text formatting commands
Setting text scale and spacing
Raising or lowering text
Exploring oddball text effects
Working with hidden text
Replacing text formatting
When graphical computer operating systems appeared in the 1980s, users found themselves infectiously attracted to fonts. People played with text formatting, spicing up documents in frivolous and crude ways. It was fun, but odious: Documents looked like someone had hired a color-blind man to paint a house.
The adoration for fonts hasn’t diminished over time, but people today have a bit more respect for a document’s text. In a professional environment, you want to choose a font that’s appropriate, tasteful, and consistent with a good layout and design. You can hire a graphic artist, but while you remain cheap, you can rely upon Word’s various typeface tools to assist you.
I blame the Macintosh. A menu on the first MacPaint and MacWrite programs was called Font. It listed a variety of what are more properly termed typefaces. That’s what the typesetters call them. A font is a combination of typeface, size, style, and other attributes. But never mind; the term font has stuck.
You might remember when you learned to write and your teacher handed out ruled paper. You copied letters and words and used the rules (lines) as a guide. Those rules weren’t arbitrarily drawn on the page. They come from the history of printed text, where everything has a name and a purpose, as illustrated in Figure 1-1.
Here are descriptions of the text measurements shown in Figure 1-1:
The purpose of these lines is consistency. Though letters have different shapes and sizes, these rules help the reader absorb the text. When letters disobey the rules, the text becomes more difficult to read.
Text is also measured from side to side. The yardstick that’s used is the width of the big M. That measurement is called an em. In digital typefaces, the em square is a box used for designing typefaces.
Half of an em is an en, which is also the width of the letter N. That measurement isn’t as precise as the em, because, in many typefaces, the en isn’t exactly half the width of an em.
Two ems make an M&M, which is delicious and often eaten in great numbers.
The typeface used in Figure 1-1 is Calibri, which is Word’s default body text or Normal style font.
A font has many attributes, which define the way the font looks and how it can be best put to use. Many of the font attributes are related to Word’s text formatting commands. Here’s the Big Picture:
Typeface: The font name is called the typeface. Yeah: Technically, a font is a typeface. Apple, you really screwed up everyone.
Serif / sans serif: The two styles of typeface are serif and sans serif. A serif is a decoration added to each character, a small line or embellishment. Serifs make text easier to read, so serif typefaces are preferred for body text. Sans serif typefaces lack the decorations and are preferred for document titles and headings. Figure 1-2 illustrates serif and sans serif typefaces.
Proportional / monospaced: A proportionally spaced typeface uses different widths for each letter, so a little I and a big M are different widths. A monospaced typeface features letters all the same width, as you’d find on a typewriter. Figure 1-2 illustrates both proportional and monospace typefaces.
Size: Typeface size is measured in points, or units equal to of an inch. So, a typeface 72 points tall is 1 inch tall. The measurement is made from the typeface’s descender to its cap height. On a computer, the size is measured by an em square, which is the width and height of the letter M.
Weight: The weight value is either part of the typeface itself or added as an effect, such as the bold text attribute. But for many fonts, the weight is selected with the typeface, as shown in Figure 1-3.
Slant or slope: A typeface’s slope refers to how the text is angled. The most common slope is italic. Oblique text is similar to italic, but subtler. The slant can also tilt to the right, which is more of a text effect than anything you’ll commonly see associated with a typeface.
Width: Many typefaces feature condensed or narrow variations. These fonts include the same basic design, but the text looks thin or skinny.
Effects: Finally come the effects, which have little to do with the typeface. These affects are applied by Word to add emphasis or just look cool. See the later section “Text Effects Strange and Wonderful.”
Text on a line can be manipulated to change the way it looks. For example, tracking can be adjusted to scrunch up characters on a line of text. Kerning can be applied to bring letters closer together. Later sections in this chapter describe the details.
Fonts are installed on your PC in the Windows\Fonts folder.
Select a heavy typeface over applying the bold text format. Word may select the heavy typeface automatically when you set the bold attribute. The result is that the heavy typeface looks better than when Word attempts to make text look bold.
The general rule for text design is to use sans serif fonts for titles and headings and use serif fonts for document text. Like all rules, this one is broken frequently and deliberately. Even in Word, the default document theme uses sans serif Calibri as both the body text and headings typeface.
If you have trouble choosing fonts, take advantage of the Design tab’s document themes in Word. Follow these steps:
In the Document Formatting group, select a theme.
Each theme combines typeface elements with colors and other tidbits to help your document maintain its overall appearance.
As you point the mouse at various themes, the document’s text updates to reflect the theme’s attributes.
Avoid using decorative or ornamental typefaces in your document. They look nifty but make reading difficult.
Until Word 2007, the normal body text typeface was Times New Roman. The heading typeface was Helvetica or Arial.
In Word, the term font is used over typeface, which is inaccurate but acceptable. Don’t let the nomenclature get in the way. The purpose of the Font command is to select the type of text used in your documents.
The first place you most likely go to control text in your document is the Font group on the Ribbon’s Home tab. It hosts commands for basic typeface selection and manipulation, as illustrated in Figure 1-4.
The two key items in the Font group set the typeface and text size. Other common attribute commands are available, such as Bold and Italic, as well as commands for text effects, text color, capitalization, and highlighting.
For detailed control over the text format, use the Font dialog box. It offers far more controls than are found on the Ribbon. Follow these steps to summon the Font dialog box:
The Font dialog box is shown in Figure 1-5.
And now, the shortcut key: Press Ctrl+D to quickly summon the Font dialog box.
The Font tab in the Font dialog box (on the left in Figure 1-5) is the traditional, go-to place for standard text-attribute application and formatting fun. More interesting and unusual text-manipulation commands are found on the Advanced tab (on the right in Figure 1-5). Even more text effects are available when you click on the Text Effects button, illustrated in the figure. These options are discussed in the later section “Text Effects Strange and Wonderful.”
To spare you the expense of hiring a graphics designer, Word comes with multiple sets of document themes. These are organized by elements such as heading and body fonts, colors, and effects. The purpose isn’t to replace styles, but rather to offer preset combinations that work well together. In fact, you don’t need to mess with document themes, if you don’t want to.
To view available documents, click the Design tab. Themes are available from the Themes button, which includes all theme elements: fonts, colors, and effects. The Style Set gallery is used to select specific fonts. Individual theme attributes can be set as well, as illustrated in Figure 1-6.
The Fonts button in the Document Formatting group shows a list of fonts you can choose from to replace the current document theme. These fonts become the +Body and +Heading fonts, shown in the Fonts dialog box. (Refer to Figure 1-5.)
Selecting a new font, or any document theme element, immediately affects all aspects of the document — if you’re using Word’s standard styles from the Normal template. If you’ve set your own styles, theme changes may not have any effect.
The default font is set in the Normal template, which Word uses for any new document without a specific template assigned. The Normal style in the Normal template is preset to match the document theme, but you can change that setting. Follow these steps:
Press Ctrl+D.
The Font dialog box appears.
Choose the typeface you want to use for all new documents opened in Word.
Say you want to use Times New Roman. If so, choose that typeface in the Font dialog box.
Set any additional text attributes.
You probably don’t want to set any additional attributes, but if so, do it now.
Click the button Set As Default.
Word prompts you to indicate whether you want to make the change only for the current document or for all new documents based on the Normal template.
From this point onward, all new documents that you create use the typeface and size and any other attributes you selected.
Word offers some typeface options that go beyond standard text formatting. These controls let you manipulate the typeface in degrees beyond standard attributes. The modifications let you reset text size, spacing, and position. They also let you hide text, which is a curious attribute, yet it remains a valid option in Word.
The Scale command changes the text size in a horizontal direction, so it’s different from point size, which sets the typeface’s overall size. Use the Scale command to fatten or thin your text, making it wider or narrower.
To adjust the width of a chunk of text, obey these directions:
Choose a percentage value from the Scale menu, or type a specific scale.
The larger the percentage, the wider each character becomes.
Use the Preview box in the Font dialog box to get an idea of how the command affects the selected text (from Step 1).
Click OK.
The new width is applied to your text.
Figure 1-7 illustrates the effect of changing the text scale. For each scale percentage, note that the text height (size in points) remains the same. Only the text’s width changes.
If the typeface offers a Narrow or Wide variation, use that rather than the Scale command.
You probably don’t think about the spacing between characters, which is exactly what a typeface designer wants. Despite all that talent and effort, Word lets you override the decisions of a typeface designer and reset the amount of space between characters in a line of text.
To condense or expand spaces between each letter, obey these steps:
Manipulate the By gizmo to set how wide or narrow to set the spaces between letters.
Use the Preview box to see how the settings affect the selected text. Figure 1-8 illustrates some of the settings.
As with changing the text scale (refer to the preceding section), I recommend manipulating character spacing only for document titles and headings.
To adjust the spaces between specific letters in a typeface, you can apply kerning to the text or use special character combinations known as ligatures.
Kerning is a character-spacing command that involves only specific letters. It scrunches together those characters, such as the A and V, to make the text more readable. To kern text in your document, heed these directions:
Press Ctrl+D.
The Font dialog box appears.
Unlike other items in the Font dialog box, kerning is applied to all text throughout the document, as long as the text’s point size is larger than what’s set in Step 4.
Another way to make text more readable and decrease the space between certain letters is to apply ligatures. A ligature connects two or more letters, such as the F and I in the word file. Converting text in this manner is a feature of the OpenType font, so it’s not available to all typefaces. If you want to try it, follow these steps:
From the Ligatures menu, choose Standard Only.
If this choice has no effect on the text, choose All.
The All setting (refer to Step 4) adds just about every ligature possible, which may produce some funky results in the text. If so, consider scaling back your choice to Standard and Contextual.
Technically, kerning intrudes upon the integrity of the virtual em square around each character in a digital font. Because kerning is applied only to specific letters, the effect improves readability.
Not every font (typeface) sports ligatures.
The two basic text-positioning commands are Superscript and Subscript, found in the Home tab’s Font group. These commands allow you to reduce the text size and shift the baseline up or down to create subscripts such as H20 and superscripts such as E=mc2. You can apply a similar effect to your text by shifting the baseline up or down, as illustrated in Figure 1-9.
To adjust text position above or below the baseline, heed these directions:
Select the text you want raised or lowered.
Ensure that it’s a small chunk of text. Raising an entire line of text would be impractical.
Select a point value from the By gizmo.
For example, to raise a word 3 points from the baseline, choose Raised and then 3 pt from the box.
To remove raised or lowered text, repeat these steps and choose Normal in Step 4, and then click OK.