This introduction encourages you to use the
documentation of Adobe FrameMaker 5.5, both in paper and online.
(Note: These screen shots are clear in FrameMaker, but become blurry when FrameMaker saves
the document as HTML. You can avoid the problem by saving as PDF, but this requires that
your reader have a PDF Viewer or a browser add-on. Quadralay WebWorks Publisher is a more
powerful tool for HTML conversion of FrameMaker documents.)
Like HTML and SGML, FrameMaker uses tags. Each element in a document is a paragraph with a tag or a frame containing text and/or graphics. Form (paragraph tags and frames) and content (the words) together make up the document. FrameMaker's tagging provides flexibility for design. You can
The list of Heading 1s below functions as this chapter's internal table of contents
I can also create cross-references to another chapter, as long as it is in the same directory. If the other chapters are in the same book, I can have consecutive pagination.
Everybody is familiar with body pages, the main part, or foreground, of the page.
If I insert an anchored frame into the body page, I can show you a graphic:
My IBM-compatible PC does not have all the fonts Adobe wants to me to purchase, so I do let Windows substitute other fonts.
I want a paragraph tag I call bodyNO-HYPH that suppresses hyphenation:
Beware: the Hyphenate check box has three states: Hyphenate, No Change, Don't Hyphenate.
Back in Chapter 1, I wanted the left or even-numbered pages to have a different look than the right or odd-numbered pages, so I created a new master page that I named "left".
This chapter is long, so I want a running header on each page that tells the reader what the main idea is by showing the text of the Heading 1.
For a journalistic touch, I want my text to wrap itself about certain frames. Here comes some filler text: this fine piece of art inspired by Picasso, Kandinsky, and Miro, evokes a geometrical balance whose equilibrium predicates itself upon the chronotonomatical restraint of a rigorous minimalist contextualization of morphological entities, vulgarly known as "shapes", to emblematize, allegory aside, a proto-mimetic encapsulation, embodied boldly by the rectiliarity of a restrained plethora of quadratic attributes densely angulated within an azur setting that totalizingly encompasses both the disciplined non-circularity of the quasi-circular self-connectedness in a hemoglobular-like tint, and the evocatively ethereal arching aspirations of a less substantial yet superior curvulatory accomodation depicted in a sobre cyanic tone.