IntroductionWelcome| 00:03 | Hi! I'm Nigel French and this is
Designing a Magazine Layout.
| | 00:06 | As a graphic designer as well as an
Adobe Certified Trainer and Instructor, I'm
| | 00:10 | looking forward to showing you to how
to use design and production techniques
| | 00:14 | in Adobe InDesign, Illustrator,
Photoshop and Bridge CS4 to create successful
| | 00:20 | magazine layouts.
| | 00:21 | We'll start by identifying the common
parts of a magazine feature article.
| | 00:27 | From there we'll establish efficient
workflow practices using paragraph,
| | 00:31 | character and object styles.
| | 00:34 | We'll look at the aesthetics of
choosing and combining typefaces and the
| | 00:38 | integration of text with images.
| | 00:40 | When we are happy with our layout, we'll
preflight our document and create a print-ready PDF.
| | 00:45 | The techniques I'll be demonstrating
will save you a lot of time, give you
| | 00:50 | greater flexibility and
make your designs more stylish.
| | 00:55 | Let's take the first step toward
that with Designing Magazine Layout.
| | Collapse this transcript |
| Using the exercise files| 00:00 | Exercise Files are available to Lynda.com
premium subscribers and for those who
| | 00:05 | purchase the DVD. For the Hands-On
Workshop series, you are strongly encouraged
| | 00:10 | to follow along with your own
files to create your own designs.
| | 00:14 | When downloading the exercise files
folder from the Lynda.com website, it's
| | 00:19 | recommended that you place the folder
on your Desktop for easy access.
| | 00:24 | The exercise files are conveniently
organized by chapter number and name.
| | 00:32 | Simply select an exercise file from the
correct chapter folder as indicated in
| | 00:37 | the file path provided in the video.
If you are working in the CS3 version of
| | 00:42 | the application, the exercise files
may not exactly match those in the video.
| | 00:47 | However, you will still be able to
follow along and learn the demonstrated
| | 00:51 | techniques. It's possible that the
exercise files may use fonts that are not
| | 00:55 | installed on your system. So if you get
this Missing Fonts warning dialog, then
| | 01:00 | you can do one of two things, just
Click OK and InDesign will do its best
| | 01:05 | guessing an appropriate substitution
for the font. Or if you Click Find Font,
| | 01:10 | then you get a control, which font
is substituted for the missing font.
| | 01:15 | Here is the missing font right here
as indicated by this yellow warning
| | 01:19 | triangle. I'm going to Click on that
and now I can chose to replace it with an
| | 01:25 | appropriate substitution,
then Click Change All, and Done.
| | Collapse this transcript |
| Saving a custom workspace| 00:00 | Female speaker: In this course, the author uses a
custom workspace called Nigel for many of the videos.
| | 00:05 | To create this custom workspace,
start with the Typography workspace.
| | 00:10 | Then remove Stroke, Gradient, Hyperlinks,
Paragraph and finally the Character panel.
| | 00:22 | Then go up to Window > Object &
Layout, select Align and we are now going
| | 00:29 | to add the Align panel by dragging and
dropping it above the Swatches panel.
| | 00:34 | Close out the Pathfinder.
| | 00:36 | Go back up to Window, select Links and
drag and drop the Links panel below the
| | 00:43 | Swatches panel. Return to the Window
menu, select Info and drag and drop the
| | 00:50 | Info panel. We turn again to the
Window menu to add the Scripts panel which
| | 00:55 | appears under the Automation menu item.
| | 00:58 | If the Automation menu item is not
visible, Click Show All Menu Items, then
| | 01:03 | Click on Automation until the Scripts
panel opens up. Drag and drop the Scripts
| | 01:08 | panel above Text Wrap. Close out the
other panels. For Script Label and Data
| | 01:14 | Merge, they are not needed. Finally add
the Objects Style panel to the bottom.
| | 01:21 | Then do a little reorganization to
give yourself more defined panel groups by
| | 01:25 | moving Object Styles up and Paragraph
Styles down for one. Then move Story up
| | 01:31 | above Scripts and move Text Wrap down
and Scripts down until you have another
| | 01:38 | defined group, there.
| | 01:40 | Now you have a custom workspace
that's conducive to the types of activities
| | 01:44 | that will be completed in this course.
As a last step, go back up to the Window
| | 01:49 | and Workspace and save the new
workspace. Type in a name and select OK.
| | 01:56 | At any time throughout the course, as
panels get moved, shuffled around or even
| | 02:04 | closed, you can simply reset the custom workspace
to get back your ideal working environment.
| | Collapse this transcript |
| Deconstructing the document pt. 1| 00:00 | We could have begin this project at
the end, what we have here is a 10 page
| | 00:03 | magazine article made up of five
consecutive spreads. It is for a magazine
| | 00:08 | called Connections which is an in-
flight magazine for a fictitious airline and
| | 00:14 | every month they have a regular feature
called Destination and the Destination
| | 00:19 | for this month is San Francisco.
| | 00:22 | So we are just going to look at the
familiar parts of a magazine layout and I
| | 00:25 | am going to identify them here in
Illustrator with this annotated diagram.
| | 00:30 | We are getting on our first spread; we
have the title which is in the color of the
| | 00:36 | Golden Gate Bridge. We have an image
which bleeds off of three sides. We have
| | 00:41 | the Footer/Folio/Page Furniture
which consists of the page number.
| | 00:46 | The magazine name and the publication
date. A Photo Credit, a Byline which
| | 00:52 | comes out of and exists in the wider
context of the Deck Head/Strapline which
| | 00:57 | gives a brief description of the article
and we have the running Department Head.
| | 01:03 | Let's now move to the second spread,
where we see some of those themes
| | 01:08 | continued in the form of the Drop Cap
which is in the same font as the title
| | 01:14 | and the same color, the Subhead in
the same font and the same color as the title.
| | 01:19 | The body text is in a different
font in a Serif font. We have a Pull
| | 01:24 | Quote which is set against the flat
blue of the sky. The Pull Quote, quote
| | 01:30 | marks are in a different front
there and a tint of the orange.
| | 01:34 | A happy accident there is that tint,
nicely plays off the pastel shades in
| | 01:39 | some of the houses in the foreground
of the image. This image bleeds off of
| | 01:44 | four sides and crosses over from the
right-hand page to the left-hand page
| | 01:48 | unifying the two pages of the spread.
We have captions which are set in eye
| | 01:53 | contrasting fonts. We have map with a
cored out area of detail and for visual
| | 02:00 | interest this map has a text wrap.
This map is positioned lower left and is
| | 02:06 | balancing nicely with the tower which
is positioned upper right and that's
| | 02:11 | about it, for this spread.
| | 02:12 | So let's now move on to the third of
our five spreads, many of the same themes
| | 02:18 | continuing through. We have these
navigation arrows that are going to guide the
| | 02:23 | reader through the spread. We have a
repetition of the big drop cap that opens
| | 02:29 | the article, but much smaller because
we don't want to over do it. But this
| | 02:33 | provides some visual relief, breaks up
a large body of text. We have a picture
| | 02:38 | that is bleeding off the bottom. This
here is a secondary article set in a
| | 02:43 | contrasting font and distinguished by
being set against a tinted backgrounded
| | 02:50 | and with numerous images, anchored
to specific points in the text.
| | 02:56 | Then we go on to the fourth spread.
There is not much new here, same things
| | 03:00 | being continued throughout and we have
this common technique of an image place,
| | 03:05 | lower left, counter posed with an
image at top right carrying the eye through
| | 03:11 | the whole spread and on the fifth and
final spread rather than bleeding the
| | 03:15 | images off the edge, here I'm using
uniform borders around the image and
| | 03:21 | because the spacing between the images
is the same, it kind of ties them all
| | 03:25 | together, makes a connection between them.
| | 03:28 | Again we see the captions which are
set aligned towards the spine, meaning on
| | 03:33 | the left-hand page, they are right
aligned and on the right-hand page they are
| | 03:38 | left aligned, contrasting fonts to the
body text. And to finish the whole thing
| | 03:42 | off, we have a little dingbat down
there, a solid square to indicate to the
| | 03:47 | reader that that's the end of the article.
| | Collapse this transcript |
| Deconstructing the document pt. 2| 00:00 | Here in the InDesign document, I
would like to take a look at the document
| | 00:03 | infrastructure. How it was put together
and I want to look specifically at the
| | 00:08 | grid, at the layers, at the master
pages, at the color palette and at the
| | 00:13 | paragraph character and object styles.
| | 00:16 | Beginning with the grid, to turn the
grid on, I'm going to press W. I'm using a
| | 00:21 | 12 column grid meaning that I've 12
column units and each of my text frames
| | 00:28 | occupies five of those column units.
I'm dividing my type area between the top
| | 00:34 | margin and the bottom margin into eight
sections which is what these turquoise guides are for.
| | 00:39 | Here we see the bleed guide and I also
have a baseline grid turned on which if
| | 00:46 | I zoom in, becomes visible, that's
the baseline grid. I have my body text
| | 00:52 | aligning to the grid or at least to
every other increment of that grid because
| | 00:57 | I have made the baseline grid half of
the letting amount of my body text.
| | 01:02 | I'm going to zoom out now, Command+Option+0.
| | 01:06 | Let's now look at the layers, I'm
going to Click on my Layers panel and these
| | 01:10 | are fairly self-explanatory. I have the
text on the text layer and pictures on
| | 01:14 | the pictures layer, meaning that I can
hide these layers or more importantly,
| | 01:19 | more relevantly, I can lock certain
layers. What I want to make sure, I don't
| | 01:24 | select the content of those layers by
mistake. So the layer is very easy to
| | 01:28 | implement and a very important workflow tool.
| | 01:32 | The master pages, let's take a look
at those, if I Click on Pages panel and
| | 01:37 | Double-Click on my A-Master, there we
see the grid, we see the footer down here
| | 01:43 | and the department head up here and if
I zoom in on the footer, we can see that
| | 01:47 | we have the auto page number. It's
there as an A because we are on the
| | 01:52 | A-Master. But of course when we get on
the document pages, it's actually going
| | 01:56 | to show up as being the actual page number.
| | 01:59 | The colors, if I Click on my Swatches
panel, we can wee that I have deleted the
| | 02:06 | default colors; the cyan, magenta,
yellow, the red, green, blue, not because
| | 02:11 | they were doing any harm but just
because they were kind getting in the way.
| | 02:14 | I wanted to tidy things up, keep things
as clean as possible. We have the orange
| | 02:19 | that is sampled from the Golden Gate
Bridge then we have the blue that is
| | 02:23 | sampled from the sky.
| | 02:25 | In terms of the styles, we have
Paragraph, Character and Object Styles.
| | 02:29 | In the Paragraph Styles, perhaps, the most
important of the three, if I zoom in on
| | 02:34 | some of the text and I'll hide my
guides for now and just insert my cursor in
| | 02:39 | there, body, body no indent, subhead,
body first. We are going to see how we
| | 02:47 | can make all these styles and then
apply them to the text to make sure that our
| | 02:51 | text is formatted quickly,
efficiently and consistently.
| | 02:55 | Character Styles are used for more
local formatting, if I move to secondary
| | 03:01 | article, we can see some examples of
Character Styles where the running head is
| | 03:06 | in the orange color, but the main
paragraph is actually specified as being
| | 03:10 | black and these are actually examples
of nested styles where we have taken the
| | 03:15 | specific Character Style and nested it
within the Paragraph Style definition.
| | 03:20 | We also have Object Styles which are
applied to the picture frames. So that the
| | 03:26 | pictures actually fit inside the
picture frame and there's a minimal amount of
| | 03:30 | cropping and scaling that we will
need to do. We'll still need to do manual
| | 03:35 | scaling and cropping, but having these
Object Styles applied to the picture is
| | 03:40 | going to take us the majority of the way there.
| | 03:43 | So that's how the document was constructed.
Let's now put it together starting from scratch.
| | Collapse this transcript |
|
|
1. Document EssentialsChoosing the magazine size| 00:00 | Our first consideration is, what size
is our magazine going to be? In reality,
| | 00:05 | this is probably going to be
predetermined and not something that you have
| | 00:07 | control over. But in the case of our
fictitious magazine, we can make it any size we want.
| | 00:13 | Now because I live in Europe, this
magazine is going to be an A4 size.
| | 00:17 | If I would have created this magazine in
the States, I would probably make it 8 3/8"
| | 00:21 | x 10 7/8", the common magazine size.
| | 00:25 | Magazines have become more
standardized in their sizes of late and a case in
| | 00:30 | point is Rolling Stone, which recently
redesigned from its large format 10x12
| | 00:35 | inches to a more standard 8x11 inches.
| | 00:39 | There is no specific size that it has
to be, but generally speaking of standard
| | 00:44 | magazine size in the US is somewhere
between 8 inches wide and 11 inches tall
| | 00:50 | and this is so that the magazine can
occupy a specified amount of space on a
| | 00:55 | magazine rack and also for selling
advertising which is not to say that every
| | 01:00 | magazine has to be that size and famously,
Interview magazine is a large format magazine.
| | 01:06 | Although, even Interview has recently
redesigned to a smaller, 10x13 inches,
| | 01:13 | smaller than it was before, but still oversized.
So let's now get into creating a document.
| | Collapse this transcript |
| Setting up the document| 00:00 | So here we are in InDesign with no
InDesign document open. Let's go to the File
| | 00:05 | menu and choose New, Document. Okay
now what we are after here a ten page
| | 00:11 | document, Facing Pages as I mentioned
in the previous movie. A4 is going to be
| | 00:16 | the size, total Orientation, 12
Columns with a 1 pica or 12 point Gutter.
| | 00:24 | The Margins will be 15mm, I just don't
happened to know what that is in picas or points.
| | 00:29 | So I am going to specify 15mm,
press my Tab key and then those numbers
| | 00:35 | will change to their pica equivalent,
because at the moment pica is on my
| | 00:39 | default unit of measurement.
| | 00:40 | I am actually going to change that one
to get going with this but I will stay
| | 00:44 | with what I have at the moment,
that's fine and I want a 9 point Bleed.
| | 00:49 | The Slug, a non-printing area outside of
the page on the Top, Bottom, Inside or Outside edge
| | 00:56 | or any combination thereof, not
really necessary for this document.
| | 01:00 | So I am going to leave that set to zero.
| | 01:03 | Let's Click OK, there is our blank page,
I am going to save that and I am going
| | 01:07 | to save it as layout in the Document_
essentials folder. And the next thing
| | 01:14 | I want to do is make sure that we begin
on a left hand page so that we can see
| | 01:19 | five spreads because our article
actually begins on page 46. We are doing a
| | 01:25 | part of a bigger whole, other people
are working on the other parts of the
| | 01:29 | magazine independently from us.
| | 01:32 | So we need to change the start number
on page 1. I am going to Right-Click on
| | 01:36 | that, come down to Numbering &
Section Options, Start Page Numbering at and
| | 01:40 | make that any even number but in this
case specifically number 46. So we now
| | 01:47 | have five double page spreads.
| | Collapse this transcript |
| Determining the number of columns| 00:00 | We have chosen 12 Columns but why have
we chosen 12 Columns? In this movie,
| | 00:05 | I would like to explore some different
possibilities and justify it why we have
| | 00:10 | come up with a 12-Column grid. So I
have here several spreads with 3 columns,
| | 00:16 | 4 columns, 5 columns, 7 columns, 9
columns, 10 and 12-column grids. We are just
| | 00:21 | going to see how that affects the
width of our body text frames and the width
| | 00:28 | of our caption frames and the degree of
flexibility that it allows us in laying
| | 00:33 | out the different elements on that page.
| | 00:36 | The blue boxes that we have on the
page are just picture placeholders.
| | 00:40 | So firstly, beginning with a 3-column grid,
we have three body text frames and
| | 00:46 | I am talking about number of columns per
page not per spread. We have three body
| | 00:50 | text frames, each of equal width and
we can use one of those columns for our
| | 00:56 | captions and for white space
as we are doing here and here.
| | 01:01 | With 4 columns the text frames become
significantly narrower and I don't think
| | 01:07 | this is going to work because they are
so narrow that we are just not getting
| | 01:12 | enough words to the line. Things
become perhaps more interesting when we work
| | 01:17 | with an irregular number of columns. So
here we have a 5-column grid, now if I
| | 01:21 | turn on my guides you will see what I
mean, here we have 1 column, 2, 3, 4, 5.
| | 01:25 | So each of that body text
frames is occupying 2-column units.
| | 01:33 | And this allows us a good column
measure for our body text and it also allows
| | 01:39 | us a sufficiently wide column for our
captions for white space. And an area to
| | 01:45 | occasionally move images into, to
create a more dynamic looking layer.
| | 01:51 | In a similar way we could have a 7-
column grid where each of our body text
| | 01:56 | columns is occupying 3-column units
and the caption or supporting material
| | 02:02 | column is occupying a single-column
unit. Taking this concept a little bit
| | 02:07 | further, we could have a 10-column
grid. This would allow us to have 3 body
| | 02:12 | text columns per page, rather than 2
and have them be of sufficient width.
| | 02:18 | However, it is going to mean that the
remaining single column that is being
| | 02:22 | used for the captions will be quite
narrow, so you would have to work with very
| | 02:27 | small caption text and presumably and
not have too much information in that
| | 02:32 | remaining single column. A 10-column
grid might be more appropriate if you are
| | 02:36 | working with a wider page
than an A4 or an 8x11 type page.
| | 02:42 | And then finally, the arrangement that
I have got for the 12-column grid where
| | 02:49 | each of that body text frames is 5-
column units wide and each of that caption
| | 02:53 | frames 2-column units wide and I
think this provides us a good amount of
| | 02:57 | flexibility. We can move the position
of the caption frame around. Maybe I
| | 03:03 | could have it in the outside over here,
and it's also sufficiently wide that we
| | 03:08 | get enough words to the line
even with the caption text frames.
| | 03:12 | Let's take a look at how different
numbers of columns are used in practice.
| | 03:16 | So I have here some examples from
magazines. Beginning with a very straight
| | 03:20 | forward 2-column layout from National
Geographic but interestingly the opening
| | 03:25 | paragraph spans those first two
columns. And bear in the mind that National
| | 03:29 | Geographic is a smaller format. So the
problem with using a 2-column layout for
| | 03:35 | a standard size magazine would be that
your column widths would likely be too
| | 03:39 | wide but that's not the case here.
| | 03:42 | Here we have 3-column grid which can
also double, as a 6-column grid down here
| | 03:48 | for this supporting information.
Here a 5-column grid with each of the 5
| | 03:53 | columns of equal measure but this
only works because this is a large format
| | 03:59 | magazine, otherwise the columns
wouldn't be wide enough. And here is a 5-column
| | 04:03 | grid, similar to the one that I was
showing you where we have the narrower
| | 04:08 | outside column and then the text
columns occupying 2-column units, similar sort
| | 04:14 | of arrangement here.
| | 04:17 | And here we have a 7-column grid and
here a 10-column, and you will notice that
| | 04:22 | the position of that smaller column
can vary from one page to the next.
| | Collapse this transcript |
| Creating the document grid| 00:00 | So the Baseline grid. Now the purpose
of the baseline grid is to establish a
| | 00:04 | rhythm in that document and to ensure
that the spacing between the different
| | 00:07 | elements is consistent and also to
help you with the placement of elements so
| | 00:11 | that everything is in a specific place for a
reason, it's just not left to chance or random.
| | 00:17 | And the increment of the Baseline
grid is determined by the leading of your
| | 00:23 | body text. Now the space between the
lines of the body text in this document is
| | 00:27 | going to be 12 points. Now we are
going to do something a little bit more
| | 00:30 | complex here. We are going to use a
Baseline grid of half that amount, 6
| | 00:34 | points, which is going to allow us a
little bit more flexibility in the spacing
| | 00:38 | between our different paragraphs of text.
Working with a Baseline grid is both
| | 00:44 | liberating and constraining and
sometimes it's a bit constraining in the amount
| | 00:48 | of space that you have between your paragraphs.
| | 00:52 | But working with this half grid, if you
like, of 6 points even though our body
| | 00:56 | text leading will be 12 will allow us
a bit more flexibility. So here is what
| | 01:03 | we need to do. First of all, we want
to turn it on, Grids and Guides, Show
| | 01:08 | Baseline Grid. If you do that and it
doesn't show up that's because your View
| | 01:14 | Percentage is lower than your View
Threshold number and the View Threshold is
| | 01:20 | 75%, my View Percentage is 73%.
| | 01:23 | This might not be a problem for you,
it's an issue here on this machine because
| | 01:28 | of the Screen Resolution that I have
set. So I am going to address that by
| | 01:32 | coming to the Preferences and to Grids.
Now if you are a Windows user then your
| | 01:38 | Preferences are under your Edit menu.
Grids and that is the one I am talking
| | 01:44 | about, View Threshold, we might as well
do that one first of all. I am going to
| | 01:47 | change that to 73%, since 73% is my
fitting window size on this machine.
| | 01:55 | Increment Every, let's make that 6
points, Relative To the Top Margin starting
| | 02:01 | from zero at the Top margin and of not
much consequence to the color, I just
| | 02:09 | prefer it to be something less
intrusive like Light Gray and one other thing is
| | 02:15 | that I would like my grids to not be
in the back but to be on top of any
| | 02:20 | element that's on my page. So I am going to
uncheck that one, Click OK and there is my grid.
| | 02:26 | Now let's make a minor modification
here. Zoom in down to the very bottom
| | 02:32 | margin and you will see that we have a
fractional grid increment right here and
| | 02:38 | this is not going to create terrible
problems for us by any means but it will
| | 02:41 | be nice if that type area from top to
bottom were an exact multiple of 6 points
| | 02:48 | Baseline Grid increment. To make that
happen, we need to do this. Choose your
| | 02:53 | Rectangle tool. Make sure that you
have a Fill Color specified and no Stroke
| | 02:59 | Color and then if necessary get an even
larger, draw yourself a rectangle that
| | 03:06 | goes from the bottom baseline grid
increment to the bottom margin and then up
| | 03:11 | on your Control panel highlight the
height of that element and copy it. Apple+C
| | 03:16 | or Ctrl+C or you can just memorize it, either/
or. Now let's come and delete the rectangle.
| | 03:23 | Now making sure that we are on the
master page because the change we are about
| | 03:27 | to make, we want to affect all of our
pages. So I am going to Double-Click on
| | 03:32 | A-Master and I will show where I am on
my page right now. So I am going to zoom
| | 03:38 | out to Fit in Window view. Apple+Alt+0
or Ctrl+Alt+0 and then zoom back in to
| | 03:43 | that point where I was. Then to the
Layout menu > Margins and Columns.
| | 03:47 | Now the height of that box, we are
going to add to the Bottom margin.
| | 03:52 | A word of caution here. Make sure
that this chain is broken, otherwise you
| | 03:57 | would change all of the margins, we
just want to change the Bottom margin.
| | 04:01 | So I am going to type in Plus and then
Ctrl+V or Command+V and Click OK and you
| | 04:06 | will see that we have now tidied that
up by adding the Amount to the Bottom
| | 04:11 | margin, making sure that our type area
is now an exact multiple of 6 points.
| | 04:16 | The next thing I am going to do is
divide my page specifically my type area
| | 04:21 | into eight horizontals sections. And
I will do this by coming to the Layout
| | 04:26 | menu and choosing Create Guides and
specifying, 8 as the number of rows, the
| | 04:32 | Gutter width will be 1 pica which is
12 points. Fit Guides to Margins and
| | 04:40 | that's looking good.
| | 04:41 | All right, so we are now ready to add
our master page items and that's what
| | 04:46 | we will do in the next movie.
| | Collapse this transcript |
| Creating master pages| 00:00 | Our objective for this movie is to
create our master page elements and I am
| | 00:05 | doing this in the layout2 document and
I also have opened the finished version
| | 00:11 | of the document and here we're looking at the
master pages of the finished version,
| | 00:15 | and we are going to be referring to
this as we go along just so that we can
| | 00:18 | match the specs of that document.
| | 00:21 | So, before we go any further let's make
sure that we are doing what we are about
| | 00:25 | to do on the master pages. I am going
to Double-Click on A-Master, if you have
| | 00:30 | your Pages panel open or you can also
access your master page spread down here.
| | 00:35 | Okay, now I am going to draw myself
some guides that corresponds to the outside
| | 00:41 | and inside margins of both the
left and the right hand master page.
| | 00:49 | Next, I am going to switch to my Type
tool and draw myself a text frame that
| | 00:54 | goes from the outside guide to the
inside guide and that's why I drew them, so
| | 00:59 | I know exactly how wide to make that.
Now I want to zoom in at that position of
| | 01:05 | my cursor and I want to see that nice
and large, so I am going to press Command
| | 01:08 | or Ctrl+4 which will jump to that
position at 400% and then Right-Click or with
| | 01:17 | a single button mouse, Ctrl+Click,
come to Insert Special Character, Markers,
| | 01:23 | Current Page Number. That's going to show
up as an A because we are on the A-Master.
| | 01:28 | I would like a slightly larger space
than a regular wordspace separating the
| | 01:33 | page number from the publication
title. So I want to an EN Space and the
| | 01:38 | keyboard shortcut for that is Command+
Shift+N or Ctrl+Shift+N. And then I am
| | 01:43 | going to type in publication title,
Connections, space and then the publication date, 2009.
| | 01:53 | Now I will select all of that text and
I am going to change the font and the
| | 01:57 | point size. I happen to know in
advance that the font that we are going to be
| | 02:01 | using for our headlines, for our side
bars, and for our page furniture, for the
| | 02:07 | footers is going to be Myriad Pro. So I
will press Command or Ctrl+6 which will
| | 02:13 | jump me to my Font menu and then just
start typing in the first few letters of
| | 02:17 | that, Myr, it will jump me to it, Myriad Pro
Regular and I want the point size to be 10 points.
| | 02:27 | Now I am going to come and select the
number by itself and make that Bold and
| | 02:33 | the publication name and make that
Semibold. In order to position this footer
| | 02:40 | on exact distance from the bottom
margin and to keep our spacing consistent,
| | 02:48 | I am going to do this, so I am going to
drag that text frame up so that the top
| | 02:52 | of the text frame sits on the bottom
margin and then come to my Y value, insert
| | 02:59 | my cursor after the present Y value and
type in +1p. 1p being 12 points, so we
| | 03:09 | are now exactly offset 12
points from the bottom margin.
| | 03:13 | I will now zoom out, Command+Option+0
or Ctrl+Alt+0 and if we take a look at
| | 03:21 | the finished version, we will see that
we have a rule above this. So my next
| | 03:27 | step is to put a rule above the text.
Now I could create a rule just with my
| | 03:34 | Line tool and that would work okay.
But I would prefer to do it with my
| | 03:39 | Paragraph Rules option. So with my
cursor in that text I will come to the panel
| | 03:47 | menu of the Control panel, that's all
the way at the top right hidden away up there.
| | 03:52 | I will then come down to
Paragraph Rules or Command+Option+J,
| | 03:57 | Ctrl+Alt+J. Now I want a Rule Above, I
am going to turn that on and the Weight
| | 04:04 | of the rules that I will be
using in this document is 0.5 point.
| | 04:08 | I want to make sure that I use that
Weight consistently. Let's turn on my
| | 04:11 | Preview and you can just about see it
down there, we have a rule that's exactly
| | 04:16 | on the baseline of the type. So we
need to adjust the Offset, I am going to
| | 04:19 | change the Offset which is the
offset of the rule itself relative to the
| | 04:23 | baseline of the type to 1p and that
will move it up and then Click OK.
| | 04:31 | Now let's zoom in down there, I am
going to press this time Command+2 to go to
| | 04:35 | 200% and what I had done before in
positioning this on exact 12 points from the
| | 04:40 | bottom margin is now rendered obsolete
by the addition of this rule because I
| | 04:46 | actually want the distance from the
rule to the bottom margin to be 12 points.
| | 04:50 | So I am going to have to do this again,
just drag that up so that the rule
| | 04:55 | actually sits on the bottom margin and then make
the Y value +1. Okay, that is just what we want.
| | 05:03 | I am now going to zoom out, Command+
Option+0, Ctrl+Alt+0. Now we are ready to
| | 05:10 | duplicate that. So to duplicate it,
hold down the Alt key and to constrain that
| | 05:16 | duplicate hold down the Shift key. Drag
that over, dock that text frame between
| | 05:22 | those two guides and then make this
text right aligned so the text mirrors that
| | 05:29 | on the left hand master page. I will
use the keyboard shortcut for that,
| | 05:33 | Command+Shift+R, Ctrl+Shift+R. Then
zoom in down there and I now want to cut
| | 05:42 | and paste the text into a different
order, so that we have the page number on
| | 05:48 | the outside, the date on the inside and
then an EN Space. Now before I use the
| | 05:54 | keyboard shortcut, Command+Shift+N or
Ctrl+Shift+N. This time I will right
| | 06:00 | Click right there Insert White Space, En Space.
| | 06:03 | All right, that's all looking good, zoom
out to the Fit in Window view. One last
| | 06:09 | thing we need to do is add the
department head up top. So let's switch over to
| | 06:15 | the finished version and you can see
what I mean by the department head.
| | 06:19 | I am going to zoom out there, and I am
talking about this thing up here which has a
| | 06:24 | rule beneath it and the name of
the Article and the department head
| | 06:28 | differentiated by color. A color that
we haven't yet created but we will just
| | 06:32 | make any old orange for now. And then
we can update that in a later movie.
| | 06:37 | So back to our layout and my Type tool,
Click and drag to create a text frame.
| | 06:43 | I don't need to go with the whole width
of the type area in this case. Command
| | 06:46 | or Ctrl+2 to zoom in. Let's type in
department head and a destination.
| | 06:55 | Select All, Command or Ctrl+6 to jump to
the Font menu. Again it's going to be Myriad Pro.
| | 07:01 | This time its 11 points and I want
that to be in Bold and I also want it
| | 07:10 | to be in a color. I am just going to
Click on my Color panel, change to my CMYK
| | 07:15 | sliders and mix myself a rough
approximation that the kind of orange that we
| | 07:21 | are after. I will also, so that we can
update that later on if I Right-Click on
| | 07:27 | that color, I can add that color to my
Swatches. Let's now add the rule beneath this.
| | 07:34 | So once again we need to return to our
Paragraph Rules, this time it is a Rule Below.
| | 07:39 | Let's turn that on, we want the
Weight to correspond to the Weight of
| | 07:43 | the rule above the footers. It's going
to be a 0.5 point, and I am just going
| | 07:48 | to nudge the Offset up to move it away
from the baseline. I am just doing that
| | 07:54 | by I and that looks fine. Click OK and
at this point I realize that indeed I do
| | 07:59 | want my text frame to go the full
width of my type area so that, that line
| | 08:05 | continues across the
whole width of the type area.
| | 08:08 | Okay, and to set the spacing of this
element relative to the top margin, I am
| | 08:14 | going to nudge it down so that the line
sits on the top margin and then come to
| | 08:20 | it's Y value, and make it -1 to bring
it closer to the top. I want to make sure
| | 08:25 | that the bottom of that text frame
doesn't overlap with anything so I am just
| | 08:28 | going to bring that up, and I think we
can call it a wrap on our master page elements.
| | Collapse this transcript |
| Sketching thumbnails| 00:00 | I know you are rearing to get going
with this but before you do, we need to
| | 00:03 | sketch some thumbnails and this will
save us a tremendous amount of time and it
| | 00:06 | will help clarify our thoughts
and result in a much better layout.
| | 00:10 | Now, these are my thumbnails. They may
not mean anything to you but they have
| | 00:15 | been tremendously useful to me and you
will notice that I have actually drawn
| | 00:19 | them on a grid work of the document
itself. So I've got to show you how we can
| | 00:24 | do this, how we can print out
thumbnails that have a column grid on them and
| | 00:29 | this might be of use to you.
| | 00:31 | Of course, your thumbnails don't need
to do this and really your thumbnails may
| | 00:36 | just be the airsickness bag that you
took out of the sick bag in front of you
| | 00:41 | and started scribbling on your flight over
here and that's actually how these did originate.
| | 00:46 | But if you want a more structured
approach to it, here is a possible solution.
| | 00:52 | So we are still in Layout 3 and here
we are on our master page. We need to
| | 00:59 | actually switch to a Document page here. So I
have gone to the first spread in our document.
| | 01:06 | Now what we want to do is we want to
output this to a PDF and when we do so, we
| | 01:11 | want to print the non-printing guides
and then we will place that PDF in a
| | 01:18 | tabloid size if your printer can print
on tabloid sized pages, into a tabloid
| | 01:23 | size document, and we can then have
multiple versions of that spread as many as
| | 01:28 | you want to really gang up on the same
page, output that, and then you can do
| | 01:33 | your sketches on to that. Here is what I mean.
| | 01:35 | If we go to File and to Adobe PDF
presets. Now, I have a preset already made
| | 01:40 | just so that I make sure I get all
the right settings. I am going to choose
| | 01:44 | that here and we will call
it layout3.pdf, that's fine.
| | 01:48 | The important settings for this are
that we have Spreads checked, that we have
| | 01:53 | Visible Guides and Grids checked, and
that we view the PDF after exporting and
| | 02:00 | I only want to print one spread. So I am
going to change my Page Range and then Export.
| | 02:06 | Okay, so there is the page in Acrobat.
Now, what I am going to do is go to
| | 02:13 | InDesign where I will create a New
Document and I want this to be a tabloid
| | 02:21 | size document. Let's have it be a horizontal
orientation and we will have it be three columns.
| | 02:30 | Now, I am going to go to my File menu
and choose Place. There is the one that
| | 02:35 | we made. I will place that document in
there. Of course, it is way too big.
| | 02:39 | So I need to reduce my Page Size, pressed
Command+Minus or Ctrl+Minus to do that
| | 02:45 | and then grabbing the bottom right
-hand corner of that, Command+Shift or
| | 02:49 | Ctrl+Shift and resize that, so that it
is one column width wide, and at that
| | 02:56 | view size, it may look a little
bit odd, maybe if I change my Display
| | 03:00 | Performance to High Quality Display,
but it actually prints out fine.
| | 03:03 | So I then want to duplicate that over
to there, and another one over to there,
| | 03:08 | and I will select all three of them,
duplicate those down to there, and then
| | 03:13 | you can also add yourself little slugs
here to indicate the page. So this is
| | 03:19 | going to be page 46-47. I am going to
duplicate that there, and duplicate it
| | 03:23 | again, select all three of those,
duplicate those down to there. Obviously,
| | 03:31 | change the page numbers to reflect the
actual spread that we are talking about.
| | 03:35 | Now, if I zoom in on that, we will see
that it does actually look the way that
| | 03:39 | we want it to look. We would then
output that and it's on that, that you do
| | 03:44 | your thumbnail sketches with pen or
pencil. So taking those sketches, the next
| | 03:49 | step is to block out our pages
with text frames and picture frames.
| | Collapse this transcript |
| Blocking out areas of content | 00:00 | Right, we want to block out our pages
with some frames for our content. Now,
| | 00:06 | when I do this, I have my thumbnail
sketches by my side. Now, of course, you
| | 00:11 | can't see that. So what I have done is
I have put these little graphics on the
| | 00:16 | pasteboard. We have the finished
version and we have the thumbnail that was
| | 00:21 | used to arrive at that finished version.
| | 00:23 | So you can use these as your
visual reference when doing this.
| | 00:27 | Now, because watching me draw text
frames and picture frames is about as
| | 00:32 | exciting as watching paint dry, I am
going to do this for just a couple of the
| | 00:36 | pages and then you can complete the
rest on your own or if you don't want to
| | 00:41 | complete the rest on your own, you can
just pick up in the next chapter with
| | 00:46 | the Layout 4 document which is the
one I have here. So this is the finished
| | 00:50 | version. This is what we are going to
end up with, with these different areas
| | 00:54 | of the page blocked out with
the relevant type of frame.
| | 01:00 | The red frames representing the pictures
and the blue frames representing the text.
| | 01:05 | Now, before we can do that efficiently,
because what we are going to be doing
| | 01:08 | is just drawing frames and not
specifically graphic or text frames and how we
| | 01:13 | are going to distinguish between them
is by the layer that they are on.
| | 01:16 | So I need to come to my Layers
panel and create some layers.
| | 01:20 | Layer1, I will rename text. I will
create the second layer for the pictures,
| | 01:28 | and a third layer for master items,
and then I am going to just change the
| | 01:35 | order so the text goes at the top. Now,
master items, we have already created
| | 01:39 | but they are not yet on the Master Items layer.
So I am going to address that first of all.
| | 01:44 | By coming down to my Master Pages,
selecting all, Command+A or Ctrl+A and then
| | 01:51 | just dragging that Square down to the
Master Items layer. Let's target the
| | 01:56 | Pictures layer because we will
do the pictures first of all.
| | 01:59 | Returning to the document page, I will
press Command or Ctrl+Page up and let's
| | 02:07 | hide the Layers panel. So the first
thing that we want is a picture frame for
| | 02:12 | this big opening spread. Now, I did
try various different versions of this
| | 02:17 | which, when we come to do this
specific part of the layer, I will share with
| | 02:21 | you, some that bleed off the top as
well. I was finding that wasn't really
| | 02:26 | working for me. There wasn't enough
contrast with the text against the blue
| | 02:30 | sky, and I ultimately resolved to not
bleed off the top, but just to bleed off
| | 02:36 | the bottom, left and the right.
| | 02:38 | So we want to picture frame, and I
need to just make my document little bit
| | 02:43 | small here, so we can see everything.
I am going to start down here with the
| | 02:46 | bleed guide, and then come all the way up
to one grid unit short of the top margin.
| | 02:53 | I could now switch to my Text
layer and draw the text frame, so I am
| | 02:56 | going to stay with just the picture
frames and move to the second spread.
| | 03:01 | So my thinking here was that I wanted
to have a connection between the two
| | 03:04 | pages which is why I drew a picture
frame that bleeds off the edges of the page
| | 03:09 | but does more than that. It actually
crosses over into the left-hand page.
| | 03:14 | So I am going to continue it all the way
over into that last column of the left-hand
| | 03:19 | page and then we need another picture
frame for the map which since we don't
| | 03:23 | know yet exactly what size that's
going to be. I am just going to draw that
| | 03:26 | down there like so.
| | 03:27 | Now, I will leave it there with the
picture frames. And I will now switch to my
| | 03:32 | text layer and draw some text frames.
I am just going to pop to the finished
| | 03:37 | version and show you this spread. We
are using a 12-column grid with each one
| | 03:44 | of our text columns occupying five
grid units, and on this page, we have a
| | 03:52 | white space column to the left and to
the right of this text column, and you
| | 03:57 | will see that it doesn't come all the
way down to the bottom margin and it
| | 03:59 | starts one grid unit from the top of the page.
| | 04:04 | As I mentioned earlier, it kind of
gives the illusion of making the page seem
| | 04:07 | taller and also making the text seem
a lot less cramped, and given the word
| | 04:12 | count that we have to work with here,
we can be fairly luxurious with the
| | 04:16 | amount of white space we afford to our text.
| | 04:20 | So switching back now to work in
progress, and making sure that I am on my Text
| | 04:25 | layer, I am going to start drawing my
text frame, one grid unit from the left,
| | 04:33 | and then stop one grid unit short of this
picture frame here, that crosses over the two pages.
| | 04:41 | Now, in a later step, that frame is
going to be defined specifically as a text
| | 04:45 | frame and divided into two columns.
But for now, I am just going to leave it
| | 04:48 | like that. I can see that it's a text frame,
because it's blue and blue is my text color.
| | 04:54 | So I will just come to the first spread
and we need a text frame right there to
| | 04:59 | accommodate the title, and another one
right here because having evaluated the
| | 05:05 | image, now because I am not just doing
this randomly but having looked at the
| | 05:09 | image, and the thing that we need
to bear in mind is that this doesn't
| | 05:13 | necessarily happen in quite the
linear fashion that I may be giving you the
| | 05:17 | impression here, but rather all these
processes are going on at the same time.
| | 05:22 | Having experimented with this image, I
know that I want my deck head or strap
| | 05:27 | line to go over an area of fairly flat
color in the image in the sky. I need it
| | 05:32 | to go there. So that's why I am placing
that text frame where I am placing it,
| | 05:37 | and that's going to
accommodate the strap line or deck head.
| | 05:40 | So I will leave it to you now to draw
in the remainder of the text and picture
| | 05:46 | frames based upon either the
thumbnail sketch or maybe a combination of the
| | 05:51 | thumbnail sketch, and the Preview
Thumbnail of the finished version of the
| | 05:56 | document, and as I mentioned, if you
just want to jump ahead to the next step
| | 06:01 | without having to do that, you can
pick it up in the next chapter with this,
| | 06:06 | the Layout 4 document that has all of
those text and picture frames drawn in.
| | Collapse this transcript |
|
|
2. Working with ImagesDesigning with bleeds, crossovers, and borders | 00:00 | We are going to take a look at
designing with bleeds, with white space borders
| | 00:05 | around your images and working with
images that cross over from one side of the
| | 00:10 | spread to the other. So
firstly, working with a bleed.
| | 00:14 | In this case, we have an opening spread
where the image bleeds off all four sides.
| | 00:19 | Another example of the same
technique and another, but the bleed could
| | 00:25 | just be a single page facing a page
of text and other images and doesn't
| | 00:32 | necessarily need to bleed off all four sides.
| | 00:34 | Here it's just bleeding off of three
and the same here, or in this example, it
| | 00:39 | is bleeding off of three sides and
allowing enough space on the right-hand side
| | 00:45 | on the right-hand page to begin the
article with a column of text or in this
| | 00:52 | example, it is just bleeding off of
the left and right-hand sides but not of
| | 00:57 | the top, and a bleed can also kind of
facilitate a transition between one page and another.
| | 01:03 | Here we have a one-page bleed, also a
cross over to the previous page which is
| | 01:08 | followed by another single page bleed
which kind of gives a sense of continuity
| | 01:13 | through the article. But even
working with full page images, we don't
| | 01:19 | necessarily need to bleed.
| | 01:20 | Here, the white space border around the
image is an integral part of the design
| | 01:26 | and it gives a frame to the image.
Likewise in this example, a single page
| | 01:32 | image occupying the full page
but not bleeding to the edge.
| | 01:36 | You can arrange your images in a kind
of grid and if you make sure that the
| | 01:40 | spacing between the images is uniform,
then that spacing will kind of hold them
| | 01:44 | together as a solid unit, creating a
nice ordered look like we have here, and
| | 01:50 | again here, made more interesting
by the fact that we are working with
| | 01:54 | different sizes of images, and in this
one, and again in this example on the
| | 01:58 | right-hand page, and another.
| | 02:01 | You will see that in this example,
we are both combining the white space
| | 02:05 | borders with a bleed of the top edge as
is happening here on the left-hand page.
| | 02:13 | If you are working with a series of
images as a grid, it doesn't necessarily
| | 02:17 | need to be ordered. Images can overlap
as they do here for a more interesting
| | 02:22 | kind of montage look, and now we are
moving on to some examples of images that
| | 02:28 | cross over from one page to another,
connecting the two pages of the spread.
| | 02:33 | A very small cross over in this case,
but a connection nonetheless, similar
| | 02:38 | treatment in this one, and in this one,
and it doesn't need to be from left to
| | 02:43 | right, but in this case, from right to left
and again, more examples of the same technique.
| | 02:50 | The crossing over element can be
something as small as in this case, the Rugby
| | 02:55 | players hand that sticks out and reach
his back to the facing page, creating a connection.
| | Collapse this transcript |
| Sourcing and evaluating images| 00:00 | Now, before we get into placing our
images in our InDesign layout, I would just
| | 00:05 | like to go over how I evaluated
images using Bridge and what a useful tool
| | 00:10 | Bridge is for this purpose.
| | 00:12 | Here I am in Bridge and I am in the
Essentials workspace where we have a large
| | 00:17 | content window surrounded by various other
panes, giving us different pieces of information.
| | 00:23 | When I Click on any one of these
images, I can see the image metadata. Now,
| | 00:28 | this is useful because it tells me how
many pixels there are in the image, so I
| | 00:32 | can evaluate the image according to its
technical spec. I can determine whether
| | 00:37 | or not its resolution is going to be
big enough for how I intend to use it.
| | 00:41 | I can also use the film strip workspace
and if I come up here, I can change the
| | 00:47 | film strip workspace to see in the
larger preview of the image and then move my
| | 00:53 | cursor over the image itself, and Click,
and that's going to allow me to see a
| | 00:59 | window or a loop onto the image, and
I can drag that around and see that
| | 01:04 | portion at 100%, and if I want to
dismiss that, I will then Click inside the
| | 01:09 | loop, and it goes away.
| | 01:10 | I can also, in any of the different
workspaces press my Spacebar, and that will
| | 01:16 | jump me to the Full Screen mode, and in
this Full Screen mode, if I Click, then
| | 01:22 | it will zoom into 100%, Click again,
we are back to Fit in Window, and if I
| | 01:26 | press Escape or Spacebar, then
I return to my Bridge workspace.
| | 01:31 | Now, if I come to my drop-down here
and go back to essentials, you will see
| | 01:36 | that some of these images have a one
-star rating. Now, based upon those
| | 01:41 | criteria as I just mentioned, the
technical spec, the detail, and subjectivity
| | 01:47 | as well, and try to come up with a
good blend of images that are middle
| | 01:52 | distance and far distance, so that we
have a more dynamic layout. I can apply
| | 01:58 | writing to the images using the Label menu.
| | 02:01 | So you just Click on the thumbnail,
and then come up to Label, and give it a
| | 02:07 | two-star rating say, and then that
image is going to have two stars, and you
| | 02:12 | can then use your Filter pane to
filter what it is you are viewing. If I only
| | 02:17 | want to see the images with two stars,
I Click on that. If I want to see those
| | 02:20 | with one and two, Click on the check-
mark next to both of the stars, or if I
| | 02:25 | just as I do, want to see the one-star rated
images, I will Click check-mark next to that.
| | 02:31 | These are the images that we are going
to use. I am now going to switch Bridge
| | 02:35 | to Compact mode, and when I put it
into Compact mode, I will have just the
| | 02:42 | content window which, if necessary, I
can resize and position that off to the
| | 02:48 | right there, and it is going to stay
open in front of my InDesign document, so
| | 02:53 | that I can now drag content from the
Bridge window into the InDesign layout.
| | Collapse this transcript |
| Placing images| 00:00 | To get our content from Bridge into our
InDesign layout, we can either drag the
| | 00:04 | images one by one or we can select multiples.
| | 00:08 | I am going to start off on my opening
spread, and I want this image with the
| | 00:14 | Golden Gate Bridge. You will notice
that the image doesn't fit the frame or
| | 00:19 | doesn't fill the frame. That's because
we haven't yet created our object style
| | 00:22 | and applied it to the picture frames,
and that's something that we will be
| | 00:26 | doing in the next step. We could have
done it beforehand the order in which we
| | 00:29 | do these things is not
that important at this stage.
| | 00:33 | So I am now going to move to the next
spread which is getting them into their
| | 00:37 | relevant boxes. Now, we are going to
potentially run into a problem of having
| | 00:43 | the image find the right box or fit
into the right picture frame, if we have
| | 00:48 | text frames to overlap.
| | 00:50 | So as a precautionary measure, I am
going to come to my InDesign layout, and I
| | 00:54 | am going to need to minimize Bridge
for a moment, come to my layers, and make
| | 00:58 | sure that my Text layer and my Master
Items layer are both locked. That way, no
| | 01:04 | content is going to go to
those layers by mistake.
| | 01:07 | So let's come and open Bridge again,
and we should now find that the images,
| | 01:15 | although they don't fit, are at least
going into the relevant boxes. Now, here
| | 01:22 | I have a series of ten images. This is
to go with the secondary article, the
| | 01:27 | supporting article, and I am going
to drag these images over as a batch.
| | 01:31 | So I am going to come to Bridge and
holding down the Command key or the Ctrl
| | 01:35 | key, I am going to make a multiple non
contiguous selection of the 10 images
| | 01:39 | that we need. And then I can drag over,
and I will need to Click on my InDesign
| | 01:46 | window to activate it, and I should
see an image preview with the number of
| | 01:50 | images in brackets after my picture
cursor, and I now can just go ahead and
| | 01:56 | place those in those boxes.
| | 01:58 | I am not really concerned for now what
goes into what box. That doesn't matter,
| | 02:03 | we are going to change the order of
these around. Okay, there we go. Now, we
| | 02:07 | can move to the next spread. Well, we
have that one lower-left, and that one
| | 02:15 | upper-right, and to our final spread
where we have that one and then in the
| | 02:24 | center, we have this picture of the
conservatory, and the museum and what not,
| | 02:31 | and then over here, what one goes over
there? Oh, yeah, it's this one, with the
| | 02:36 | street car. Okay, so the images are in.
We now need to make them fill their frames.
| | Collapse this transcript |
| Fitting images with object styles| 00:00 | Our next step is to make an Object
Style, and apply that Object Style to our
| | 00:04 | pictures to make our pictures fit the
frames. I am going to come and dismiss
| | 00:08 | Bridge; we don't need that for a while.
We have the text and the master items
| | 00:12 | layer locked. So we can't interfere
with those. I am going to select any
| | 00:16 | picture, it doesn't really matter
which one and then come to the Object menu,
| | 00:20 | choose Fitting > Frame Fitting Options.
I want my Reference Point to be the
| | 00:25 | center point and I want Fitting on
Empty Frame to be Fill Frame Proportionally.
| | 00:29 | Click OK and I am now going to
come to my Objects Styles panel.
| | 00:34 | Now I am working with a workspace
that I saved earlier that includes the
| | 00:38 | Objects Styles panel to make your
own workspace, if you go and visit the
| | 00:43 | InDesign Essential Training title.
There is information on how to do that, but
| | 00:47 | if you don't see your Objects Styles panel, you
can come to the Window menu and it's right there.
| | 00:52 | So I will Click on the Objects Styles
panel and then from the panel menu,
| | 00:57 | I will choose New Object Style and very
important we see in the list of Basic
| | 01:03 | Attributes, Frame Fitting Options down
here, but it is not checked. So I need
| | 01:07 | to make sure that that is checked and
there we are capturing the settings that
| | 01:13 | I applied to that specific image,
Reference Point center, Fill Frame
| | 01:16 | Proportionally and I am going to call
this fitted picture. I am just going to
| | 01:23 | switch back to General and make sure that
Apply Style to Selection is checked. Click OK,
| | 01:29 | I am now going to Select All. Command+
A or Ctrl+A and because I have only the
| | 01:35 | pictures layer unlocked then I am
only able to select the content of the
| | 01:40 | pictures layer and I will now apply
the fitted picture Objects Style to the
| | 01:45 | pictures. Go back to the previous
spread Option+Page Up or Alt+Page Up, do the
| | 01:51 | same thing, Select All, fitted picture
and to the previous spread, Option+Page
| | 01:56 | Up or Alt+Page Up, Select All, apply the
fitted picture to that, you get the idea.
| | 02:05 | Now here is an exception. All of the
other images are rectangular. This is an
| | 02:10 | irregular shape, so this one doesn't
want to Fill Frame Proportionally but
| | 02:15 | rather Fit Frame Proportionally. So I
am going to select that one Fitting, Fit
| | 02:20 | Content Proportionally. Back to the
opening spread, select that one and change
| | 02:27 | that one to fitted picture.
| | 02:28 | So those are our pictures, now more of
less fitting their frames. But they are
| | 02:35 | going to require or at least some of
them are going to require some custom cropping.
| | Collapse this transcript |
| Cropping images| 00:00 | Now for the cropping and the scaling
of the images, let's start with the
| | 00:03 | beginning and work our way through our
five spreads and beginning with our Golden
| | 00:09 | Gate Bridge, double-page spread.
I've chosen my Position tool which is
| | 00:14 | underneath the Direct Selection tool.
When I Click on this image and we've got
| | 00:19 | a bit too much going on here in terms
of our visual aid, so I'm going to press
| | 00:23 | my W key to hide the guides.
| | 00:25 | When I Click on the image, we see the
image bounce in a cyan box, cyan being
| | 00:31 | the inverse color of red, which is our
layer color. We can see that I have no
| | 00:35 | leeway either side. I'm going to need
to scale this image up because our bridge
| | 00:41 | is getting trapped in the spine here
and we can't have that happening.
| | 00:46 | So, I want a bit more room for growth so I'm going
to make my view smaller, Command+Minus or Ctrl+Minus.
| | 00:52 | Then grabbing the top-right hand handle,
holding down my Shift key, I'm going
| | 00:56 | to scale that up, maybe a little bit
more, and I may now want to nudge it down.
| | 01:01 | I can use my cursor arrows, my
Down key, just to nudge it down or if I
| | 01:05 | want to move in bigger increments,
which I do, I'll hold my Shift key at the
| | 01:08 | same time. So that looks about right.
I'll now press Option+Page Down or
| | 01:12 | Alt+Page Down to go to the next layout.
| | 01:15 | In the case of Coit Tower, I want to
position that over to the right, creating
| | 01:20 | for myself this area of space here
over which we're going to place a
| | 01:24 | pull-quote. But a problem with this
image is that we have almost no leeway top
| | 01:31 | and bottom, and I want a little bit
more headroom, a little bit more sky above
| | 01:35 | the top of the tower. So this image
is going to require some extra work in
| | 01:39 | Photoshop and that's something we'll
see in a later movie, how we can extend
| | 01:43 | the top of that image.
| | 01:44 | Our images are looking rather jagged
and that's just a function of our display
| | 01:48 | performance. So in order to see them
looking better, although this won't effect
| | 01:53 | how they print, I'm going to come to
my View menu > Display Performance >
| | 01:57 | High Quality Display. Now, that looks better.
| | 02:00 | Now to the next spread, our cable car;
I think we can have a little bit less of
| | 02:05 | the area above the cable car. Let's
move that off a bit. Now all of these small
| | 02:09 | images that go with the secondary
article, I'm going to wait until I see those
| | 02:13 | in the context of the article before I start
cropping those. So those will address later on.
| | 02:18 | Moving to the next spread, Option+Page
Down or Alt+Page Down. This one looks
| | 02:22 | pretty much okay; I need to see a
little bit of sky but not too much and this
| | 02:27 | one of Dolores Park. I don't have
enough sky so I'm going to move that one
| | 02:32 | down a bit so that we can bring
back some of that blue of the sky.
| | 02:35 | And finally, on to the last spread,
let's zoom in on these, that one's all right.
| | 02:42 | This one, however, we need to adjust
so that we're seeing over the street car
| | 02:47 | and then this one of the conservatory
of flowers. We want to make sure that
| | 02:52 | this spine intersects the center of
the building. So I'm going to nudge that
| | 02:57 | over right there and almost perfectly
symmetrical image. Then for this one of
| | 03:04 | the Museum of Modern Art, maybe
we'll just nudge that down a bit, so that
| | 03:08 | we're seeing a little bit of the
building behind the museum itself. Let's zoom out.
| | 03:13 | Okay, so those are our images now cropped.
| | Collapse this transcript |
| Creating a map| 00:00 | Let's take a look at how the map was
created so that if you are inclined to
| | 00:03 | recreate it yourself, you can do so.
And this is the finished version.
| | 00:07 | I am looking to the Layers panel. I am
going to turn off the SF layer so that we
| | 00:11 | hide that detail of the bay area. We're
left with just an outline of the state
| | 00:15 | of California with this semi-transparent
triangle pointing to that circle that marks the spot.
| | 00:21 | On the outline of the state, there
are a couple of effects applied and if I
| | 00:25 | open my Appearances panel, I can
throw both of those away so that we can
| | 00:33 | recreate them, they are an Inner Glow
and a 3D Bevel and Extrusion. So I will
| | 00:39 | select the outline of the states and
then come to the Effect menu. We'll do the
| | 00:44 | 3D first of all, Extrude & Bevel,
let's turn on the Preview and this is just
| | 00:49 | going to give the whole thing a bit more visual
interest. It's is looking a bit flat without this.
| | 00:54 | So I can spin this little Preview
around here and watch how that affects my map
| | 00:59 | on the outboard and I can also -- I
just punch in the numbers that I want.
| | 01:06 | Just a slightly offset and I would like to
Extrude the coastline a bit more, so it
| | 01:11 | has more of a 3D effect. So I am going to
increase that value to 120 points. Click OK.
| | 01:17 | The second thing I want to do is the
Inner Glow, just going to give it a bit
| | 01:20 | more presence on the page. So under the
Effect menu again, Stylize, Inner Glow
| | 01:27 | and it is the golden state after all,
so I would like to have a nice gold color
| | 01:32 | to use there, a lower bright and then
that may be something along those lines,
| | 01:38 | Click OK and because I want it to be
darker, I am going to choose Multiply
| | 01:41 | rather than Screen. Let's see how
that's working, turn on my Preview.
| | 01:46 | Not a whole lot going on, I need to
increase the amount of Blur and yes,
| | 01:51 | that's looking more like it. Very good.
| | 01:54 | So now I come back to my Layers and we
can turn on the tracing map and let's
| | 01:59 | lock the outline layer and I would
then create a new layer, let's zoom in on this.
| | 02:07 | If I am finding that my outline
is a bit distracting and I think I am,
| | 02:12 | maybe I will just go and hide it for
the time being. I now need to with my Pen
| | 02:16 | tool just trace around the different
elements of the map. So it's going to be
| | 02:20 | creating a series of shapes, closed
paths and a series of stroked paths which
| | 02:29 | will represent the roads.
| | 02:31 | Pen tool, I want to make sure that I
have no fill because I don't want these
| | 02:36 | yet to be filled and I want to make
sure that they have a stroke. So I will
| | 02:41 | just give them that dark gray color
for now. It doesn't really matter what
| | 02:45 | color they have, it's going to change
once the areas are blocked out. You might
| | 02:51 | attempt to try and live trace this
but I can tell you that it's not really
| | 02:56 | going to work that well. And you'll get
a far better result by actually tracing
| | 03:01 | it manually by hand, even though that
may be a bit painstaking to have to do but
| | 03:07 | it is going to get you a far better result.
| | 03:09 | So we need to make sure that we end
up with a closed path, like so and then
| | 03:15 | it's a question of filling each of
these closed paths with whatever reason,
| | 03:20 | appropriate color, maybe we can sample
the color from this map or I ended up
| | 03:24 | using slightly more subdued colors that
are in this map. And then I am going to
| | 03:28 | turn that layer off for a moment, turn
back on the finished version, you will
| | 03:34 | see that the whole thing is clipped to
this circular shape. And I will just run
| | 03:40 | through how that happens.
| | 03:42 | If I select this and then come to the
Object menu > Clipping Mask and release it.
| | 03:46 | That's originally how it begins.
So once the map is drawn, we draw the
| | 03:52 | clipping shape, in this case, the
circle over the top of the map. We select all
| | 03:57 | and if I do Command+A or Ctrl+A, I
will select only that layer because the
| | 04:02 | other layers are locked and then come
to the Object menu > Clipping Mask > Make.
| | 04:08 | Now when I do that, my circle is going
to lose the black outline that it had
| | 04:14 | because that's what happens to a
clipping shape. If I want to restore the black
| | 04:17 | outline, then I will use my Direct
Selection tool, Click on the outline and
| | 04:22 | then I can come over to my Swatches
panel and Click on the color that I want
| | 04:28 | for the outline and I will use that dark gray.
| | 04:30 | One other aspect to this that I will
explain and that is this little compass
| | 04:35 | thing here which was just taken from
one of the Symbols Library. So if I come
| | 04:40 | to my Symbols panel and then my Symbols
Library, Maps and it's right there.
| | 04:47 | We can just drag an instance of that
symbol out into the layout and then
| | 04:51 | re-purpose it as we need to.
| | 04:53 | So I will go back and turn on the
relevant layers, presumably we are now at a
| | 05:00 | point where we can toss the tracing map
layer because we don't need that any longer.
| | 05:04 | We can save this as an Adobe
Illustrator file, an AI file and then
| | 05:09 | place that into InDesign Layout.
| | Collapse this transcript |
| Extending an image| 00:00 | You may remember from a couple of
movies back, I pointed out this image which
| | 00:04 | is too close or the top of the tower
is too close to the top of the page.
| | 00:09 | We are bleeding this image off the edge
to give a sense of limitlessness to this image.
| | 00:14 | But we are undermining that by the fact
that it's just looking too cramped out there.
| | 00:19 | We would like there to be more sky;
unfortunately in the image itself there isn't.
| | 00:23 | However, we can add some. We are g
oing to take advantage of the way
| | 00:28 | Links work in InDesign by Clicking on
the image and holding down the Option+K
| | 00:32 | or the Alt+K, Double-Clicking on it to
open up the image in Photoshop and I am
| | 00:37 | now going to press my F key
so that I see just that image.
| | 00:42 | Here in Photoshop, we are going to
add some sky. To do this we need to add
| | 00:46 | more canvas to the image and so that
the canvas that we add is going to added
| | 00:50 | as transparency rather than the
background color. We need to unlock our
| | 00:54 | Background layer. So I will double-
Click on the Background layer thumbnail and
| | 00:59 | then I am going to come to my Image
menu and to Canvas size, and make sure I
| | 01:05 | Click the bottom center square because
we want to grow upwards and I want to
| | 01:10 | grow the Heights to say -- we don't
need that much more. Maybe 8 inches.
| | 01:15 | Click OK and we can see that we have got
some extra space now to grow into, and
| | 01:20 | we probably won't use all of that.
| | 01:23 | But I am now going to get my
Marquee Selection tool, and kind of make a
| | 01:27 | selection of the sky above the tower
and I want to make absolutely certain that
| | 01:31 | I am not interfering with the tower
itself, because that is going to look very
| | 01:35 | odd, if we include that as part
of what I am about to do next.
| | 01:40 | So having done that, I am now going to
copy that selection to a new layer.
| | 01:44 | I can either do that by coming up to
here or I can press Command+J and on that
| | 01:50 | new layer, I am going to press Command+
T or Ctrl+T. I will go to my Edit menu
| | 01:56 | and choose Free Transform. I am just
going to pull that sky up a bit and
| | 02:00 | because it's just sky, with a few bits
of cloud, we can get away with it.
| | 02:04 | We are stretching this tree over here,
but that tree if you remember is actually
| | 02:09 | cropped out of the final layouts.
So that's not going to matter.
| | 02:12 | Well I think that's about as far as we
can go before these clouds, no it's not
| | 02:16 | looking a little bit odd. I will press
Return to okay that and then if there is
| | 02:23 | any unused transparency, we can
come to the Image menu and choose Trim,
| | 02:27 | Transparent Pixels, that's going to get
rid of those. We can then flatten that
| | 02:33 | down to a single layer, because the
image itself was originally a JPEG and we
| | 02:37 | want to replace the one that's already
there. If we keep it layered, then we
| | 02:42 | can't say that's a JPEG. So I Flattened
it. I can now save it and then if we go
| | 02:48 | back to InDesign layout, we can see
that it's going to update in place.
| | 02:52 | So we have now got a nice bit of
sky above the top of Coit Tower.
| | Collapse this transcript |
|
|
3. Working with TextChoosing fonts| 00:00 | As a prelude to importing our text
into InDesign, we need to experiment with
| | 00:06 | some different typeface options and
choose the fonts that we are going to use
| | 00:11 | throughout this feature article. I am
in Layout8 and before I can work on my
| | 00:17 | text layer, I am going to need to
unlock it because in a previous step I locked
| | 00:22 | those layers. So I am going to need
to unlock text and I think we'll keep
| | 00:26 | master items and pictures locked just so
that we can't interfere with them by mistake.
| | 00:31 | Let's turn on the Guides and now I
am going to choose my Type tool.
| | 00:37 | Click inside this frame and fill it with
Placeholder Text. Now I happen to know that
| | 00:43 | I want to divide that into two columns.
So I might as well do that right now by
| | 00:47 | coming up to this column divider right
here. And if you don't see that on your
| | 00:51 | Control panel, you'll also find it in
your Text Frame Options, Number of Columns.
| | 00:56 | And let's zoom in on this. That needs
to get one column wider. Okay and I am
| | 01:07 | going to now hide my guides so that
we can concentrate just on the text and
| | 01:12 | what we have to begin with is Times
Regular, that's just the default font at 12
| | 01:17 | points and I am going to select all of
this. Now we are choosing a body-text
| | 01:21 | font and we are using the following
criteria. We want it to be readable, we
| | 01:25 | want it to look fresh and contemporary,
we would prefer that it comes in a wide
| | 01:30 | variety of weights, bold, semi-bold,
light, italic, bold-italic etcetera.
| | 01:36 | It would be preferable if it's an
OpenType font and one with an extended
| | 01:41 | character set. So the cue there that we
are looking forward is that it has the
| | 01:45 | word Pro after its name. Based upon
those criteria, the one that I am going to
| | 01:51 | choose is Chaparral Pro which is the
Slab Serif font designed by Carol Twombly
| | 01:59 | and I am going to change the Point size
from 12 which is going to be too big to
| | 02:05 | 10 points and the Letting, the space
between the lines is currently at 12 and
| | 02:10 | that's what we want.
| | 02:11 | But this is 12 auto-letting, we
can tell because it has the number in
| | 02:15 | parenthesis and that's going to mean
that the letting value is relative to the
| | 02:21 | largest piece of type in the paragraph.
So it could cause us problems if we
| | 02:24 | have a single character bigger than any others.
| | 02:27 | So for that reason, I am just going
to change that to an absolute 12.
| | 02:32 | Let's Click into that text and zoom in
and get a look at it at an enlarged view.
| | 02:37 | Okay, also now in order to assess it's
readability we need to add a first line
| | 02:43 | indent to the beginning of every
paragraph and that's this option right here.
| | 02:48 | And we want it to be 0p10, 0 picas and
10 points and actually before I do that,
| | 02:55 | just as a personal preference, I am going
to change my unit of measurement to points.
| | 02:58 | So I'll do that by moving to
where these two rulers intersect and
| | 03:03 | Right-Clicking or Ctrl+Clicking with a
single-button mouse, changing that to
| | 03:07 | points and I am choosing 10 points
because that is my em space, the em space
| | 03:12 | being the size of your type.
| | 03:15 | Now I need to combine this font with
a contrasting font for my heads, my
| | 03:20 | subheads, my captions, my pull-quotes
and also for the secondary supporting
| | 03:27 | article. We have the same kind of
criteria that we need to factor in, we wanted
| | 03:32 | it to be readable and contemporary, be
a an OpenType font preferably, come in a
| | 03:36 | wide variety of weights and for that
reason, I am going to go with another font
| | 03:43 | also designed by the same type designer,
Carol Twombly, which is an added kind of
| | 03:49 | reason for choosing it. There is a certain kind
of rationale there, if they are from the same hand.
| | 03:55 | I'll come to my Character Formats and
change this to Myriad Pro and we'll make it
| | 04:01 | Semibold Condensed. I think I am going
to go up in point size by a couple of points.
| | 04:07 | We don't need the first line
indent but we do require some space before
| | 04:14 | it, to separate it from the paragraph
that precedes it, which is that option
| | 04:18 | there on my Paragraph Formats. I am
sticking to units at 12 because we are
| | 04:21 | going to be using a 12 point leading
increment. Okay, and I now want to remove
| | 04:28 | the first line indent from the paragraph
which follows that because it's unnecessary.
| | 04:32 | And that gives us a rough idea of how
our subheads and our heads are going to look.
| | 04:38 | Now here I have used a very
familiar approach of combining a Serif font.
| | 04:44 | In this case, a Slab Serif, in the
Chaparral Pro for my continuous reading body
| | 04:49 | text, with a Sans Serif font for my
heads and subheads. And I would just like
| | 04:55 | to show you a few examples of how that
age-old formula is used again and again
| | 05:02 | by different magazines and is no way
limiting because there are millions and
| | 05:06 | millions of Sans Serif fonts and
there are millions of Serif fonts.
| | 05:12 | So here we see Sans Serif font used for
the headline, used for the deckhead or
| | 05:17 | strapline used for the byline and then
that may get to the body text itself.
| | 05:22 | It is a Serif font. Same magazine, same
approach. Different magazines, subheads
| | 05:30 | and a solid Sans Serif and the heads
too continuous reading text in Serif.
| | 05:38 | And again, same approach. And again Sans
Serif, also used for the department head,
| | 05:46 | also used for the drop cap, also
used for the byline, all the continuous
| | 05:51 | reading text Serif and again Sans Serif, Serif.
| | 05:59 | But that's not only way to go. Of course,
you can combine a Serif with a Serif
| | 06:04 | or have everything in the same typeface,
maybe just explore the different range
| | 06:08 | of weights within that font. Here we
have the title. And the text, same font, Serif.
| | 06:15 | Here too, Serif, also Serif,
different font but same broad category.
| | 06:25 | Sans Serif, Sans Serif, and the body
text also Sans Serif. So here a Slab Serif
| | 06:40 | is being used for the subheads and a
Sans Serif is being used for the body text
| | 06:46 | and here in this last example everything heads,
deck head or strapline and body text, all in Sans Serif.
| | Collapse this transcript |
| Aligning text| 00:00 | Our next big decision is the
alignment of the text and of course we have
| | 00:04 | practically two choices. Is it going
to be left aligned or sometimes referred
| | 00:08 | to as ragged-right or is it going to be
left justified, sometimes just referred
| | 00:14 | to as justified? And those are
our options, Left, Left Justified.
| | 00:20 | Do we want the extra space at the end
of the line or do we want the extra space
| | 00:25 | distributed throughout the line,
between the words? When we can see that when
| | 00:28 | we go to Left Alignment here, it does
create a quite problem of extra varying
| | 00:35 | spaces between the words.
| | 00:37 | Now there are certain settings that
we can choose if we do want to go with
| | 00:41 | justified alignment that will minimize
that, but that is the issue with-working
| | 00:45 | with justified text, the issue when
working with left aligned text is we want
| | 00:52 | to make sure that our rack on the
right hand side is as even as possible.
| | 00:56 | So just before we look at the settings,
let's take a look at some examples and
| | 01:01 | I have come to the conclusion based
upon nothing more than my own observations
| | 01:05 | and anecdotal evidence that left
aligned text is favored more in Europe and
| | 01:11 | justified text favored more in the US
and there are so many exceptions to that
| | 01:17 | broad generalization that it is
just that, a very broad generalization.
| | 01:21 | So here we have some fairly randomly
chosen examples. Here we see justified
| | 01:25 | text and justified text is going to
make things look more ordered, more
| | 01:30 | symmetrical. Note that the justified
text is combined with ragged alignment on
| | 01:36 | the captions, again, justified
text, justified again and again.
| | 01:45 | But now we see some text that is left
aligned, more asymmetrical, perhaps less formal.
| | 01:53 | There's no right or wrong here.
It is largely a matter of preference.
| | 02:00 | But as I eluded to, there are certain
implications of both different types of alignment.
| | 02:07 | So I'm just going to choose this
single paragraph here, four Clicks to select
| | 02:12 | the whole paragraph and let's say
that we do want to make this justified,
| | 02:17 | Command+Sshift+J or Ctrl+Shift+J or I
can use the icon on the control panel
| | 02:22 | then to do this -- well, I'm going to need
to go and look at the Justification Settings.
| | 02:30 | So, when we are working with any kind
of ragged alignment only the desired
| | 02:34 | column has any effect, but we
justify text, the minimum and the maximum
| | 02:39 | determine the range between which the
spacing can vary and right now only the
| | 02:45 | word spaces being called upon the
Letter Spacing and the Glyph Scaling which is
| | 02:48 | the horizontal scaling of the
characters are having no effect whatsoever.
| | 02:52 | So if we bring those into play we can
make things a little less stressful for
| | 02:59 | the word spacing. And then if I turn
on my preview, we can see that has made
| | 03:05 | some difference and on those scaling now,
a very modest amount of Glyph Scaling
| | 03:09 | between 97 least, the desired
at 100 and the maximum at 103.
| | 03:18 | Okay still, that's not looking too
good, I mean I am going to go with left
| | 03:22 | aligned text. I just want to point
out that if you are going to be using
| | 03:25 | justification, you definitely want to
call upon these options to get your text
| | 03:30 | better justified, so that the word
spacing is as consistent as possible as what you are aiming for.
| | 03:36 | Now there is another option that we
need to consider here and it's the Composer
| | 03:40 | and this is relevant for left aligned
or for justified text and we have these
| | 03:46 | two choices, Adobe Paragraph Composer
which is currently on means that when
| | 03:51 | InDesign is composing the paragraph,
figuring out, how to adjust the spacing
| | 03:56 | between the words in order
to achieve consistent spacing.
| | 04:00 | Is it looking in the whole paragraph or
is it just looking on the single line?
| | 04:05 | Theoretically with the Adobe Paragraph
Composer because it has a wider area of
| | 04:10 | which to vary the spacing, that
variance is going to be lessened out. So that's
| | 04:15 | generally the preferable option that
you want to go with. However, sub editors
| | 04:20 | tend to dislike this option alot
because and I'll see if I can replicate the
| | 04:24 | problem if I Click into this paragraph.
And I will now start typing, I don't
| | 04:31 | know if you could see that but as I was
typing, the text, both in front of and
| | 04:37 | behind the cursor is changing.
| | 04:41 | And the implications of this are
where text is already been proofread and
| | 04:46 | approved, making an edit will cause the
line endings to change and require that
| | 04:53 | it be re-approved. So for that reason
some publications favor the single line
| | 04:59 | composer. I'm not going to use it, I'm
going to keep with the Adobe Paragraph
| | 05:04 | Composer and so that we don't have to
worry about the headache of varying word space.
| | 05:11 | Since, we are working with a relatively
narrow column measure; I'm going to go
| | 05:15 | with left alignment. Anyway so nothing
has actually changed, but I did have to
| | 05:21 | consider a number of factors, so I could
at least discount the other alignment options.
| | Collapse this transcript |
| Hyphenating text| 00:00 | Something else we need to consider
before we start saving out our text as
| | 00:04 | Paragraph Styles is the
hyphenation of the text. We may want to use
| | 00:08 | hyphenation, maybe we don't want to
use hyphenation. If we want to use
| | 00:11 | hyphenation, how we are going to
set up the hyphenation settings and we
| | 00:16 | probably want some paragraphs
to hyphenate and others not.
| | 00:18 | I'm going to chose to hyphenate the
body text, but we don't want the subheads,
| | 00:23 | captions or headings to hyphenate. At
its most basic for the hyphenation, I'm
| | 00:28 | just going to select everything from
the subhead on down. We can just use this
| | 00:32 | checkbox right here on the Control
panel to turn it on or turn it off.
| | 00:37 | If we decide to have hyphenation on, then
to determine how things hyphenate we need
| | 00:42 | to come to the Control panel panel
menu and these are the things we need to
| | 00:49 | factor in, words with at least --
I'm going to change that from 5 to 7.
| | 00:52 | So I'll have less words being
candidates for hyphenation. After the first
| | 00:57 | hyphen, because a word can technically
have more than one hyphen, but after the
| | 01:01 | first hyphen how many characters are
left on the previous line? And I'm going
| | 01:05 | to change that from 2 to 3. How many
characters at least are taken down to the
| | 01:10 | next line? I am going to
change that form 2 to 3.
| | 01:13 | So again I'll have less words
hyphenating. Now the hyphenation settings that
| | 01:18 | you chose are largely going to be a
product of your internal style, your
| | 01:23 | magazine style. So this may already be
determined and you should just follow
| | 01:28 | along with that style manual. The
hyphen limit is going to determine how many
| | 01:33 | hyphens you can have in a row and I'm
going to set that to 0 to make sure that
| | 01:37 | we never have hyphens in a row and we
avoid any kind of laddering effect along
| | 01:41 | the right hand side of our column which
is going to be more relevant if you are
| | 01:46 | using justified text which actually I am not.
| | 01:50 | Hyphenation zone has no effect when
working with justified texts or we can
| | 01:54 | ignore that. I'm going to leave the
hyphenation slider where is, hyphenation is
| | 01:59 | a compromise and I'm going right down
the middle of that compromise.
| | 02:04 | We can either have better spacing and more
hyphens or we can have fewer hyphens and
| | 02:08 | worse spacing. I'm going
to leave it where it is.
| | 02:11 | Hyphening capitalized words, depends
how many you have really, on how much you
| | 02:15 | are going to affect that's going to
make, I'm going to leave that checked but
| | 02:20 | I'm going to uncheck these two. I
don't want the last word of a paragraph
| | 02:22 | hyphenated and I did not want the last
word of a column hyphenated. And I'll
| | 02:28 | turn on my preview, bear in mind, I'm
working with dummy text here, so it's not
| | 02:32 | really going to know how to hyphenate
these words because they are not in its
| | 02:35 | dictionary. But this will
probably have a minor effect on the text.
| | 02:40 | One other thing and it relates to
hyphens, it's more significant when working
| | 02:45 | with justified text but it's still a
useful thing to implement regardless of
| | 02:49 | whether you are working with left
aligned or justified text and that is the
| | 02:53 | Optical Margin Alignment. And I'm
going to turn that on by coming to the Type
| | 02:59 | menu and to Story and when I do that,
the Story panel pops up, in fact it was
| | 03:04 | already there as part of my workspace. I can
now check this checkbox, Optical Margin Alignment.
| | 03:10 | As I do so, then this going to
affect the whole story, not the specific
| | 03:14 | paragraph or text. You may notice
things slightly shift and what Optical Margin
| | 03:21 | Alignment does, it's better
demonstrated if I just temporarily make this text
| | 03:25 | justified and I'll also temporarily
turn on my guides and zoom in right there
| | 03:34 | where we have commas, punctuations,
hyphens. I'm going to go outside of the
| | 03:40 | right hand edge of the text frame
with Optical Marginal Alignment checked.
| | 03:44 | If I uncheck it you can see that they
move inside. And the rational for this
| | 03:49 | is, so that you can optically align
the characters ignoring the punctuation
| | 03:55 | because the punctuation is going to
create something of a visual hole on the
| | 03:58 | right hand edge of your column.
| | 04:00 | I'm going to turn that on, but I'm now
going to just zoom out, Command+Option+0
| | 04:08 | and I'm going to set my text back to
left aligned, Command+Shift+L and we can
| | 04:16 | now use these few paragraphs as the
starting point for our paragraph styles.
| | Collapse this transcript |
| Creating paragraph and character styles| 00:00 | We are now in a position to start
saving some Paragraph Styles and what I
| | 00:04 | intend to do here is give you an
example of saving a few paragraph styles, but
| | 00:08 | at that point, I'm going to stop and
I'm actually going to load into the next
| | 00:13 | incremented version of this file, the
saved styles from the finished version.
| | 00:18 | You'll also have the option, if you
want to create all the styles for yourself
| | 00:23 | from scratch, I'll show you in an
upcoming movie how you can work from a style
| | 00:28 | specification sheet and create them all
from scratch. But I've here, some text
| | 00:34 | has been formatted locally and I now
want to use this as the starting point for
| | 00:39 | my styles. So, I'm going to Click in
this paragraph here, the one that has the
| | 00:42 | indent, this is going to be my body
text style. So I'll come and Click on the
| | 00:46 | Paragraph Styles, the panel menu,
New Paragraph Style, I'll call it body.
| | 00:53 | Not that, it's that much consequence
in this particular instance I will apply
| | 00:58 | this styles to the selection; there
you can see it's capturing all of the
| | 01:02 | settings that we hads applied in the
previous movie. The purpose of using
| | 01:06 | styles is, so that we get consistent
formatting, so that we can format our text
| | 01:11 | quickly and so that we can easily
update the appearance of our text, should we
| | 01:16 | decide to change our mind about what
font we are using, what alignment we are
| | 01:20 | using, and in doing that we would go
and edit the Paragraph Style Definitions
| | 01:24 | rather than the text itself.
| | 01:26 | Okay now, I also want to create a
variant of body text, one that has no indent.
| | 01:31 | I have an example of how that's going
to look right there, but I'm going to
| | 01:34 | stay exactly where I'm in the body
style and hold down my Option key or the Alt
| | 01:39 | key and come and Click on the Create
New Style icon and I'll call this one body
| | 01:46 | no indent. Now, the reason I did it
that way is so that it's automatically
| | 01:50 | going to be based on body. Body is
going to be the parent of this. Should we
| | 01:55 | change anything about body, body
no indent will also be affected.
| | 02:00 | With the exception of the one thing
that I'm going to make unique about body no
| | 02:05 | indent and that is the fact that as its
name suggests, it's not going to have a
| | 02:09 | first line indent. And then I can apply
that one right there, but I don't want
| | 02:15 | to apply there, that should be body.
Now, I'll make one more style subhead,
| | 02:19 | Click inside that paragraph, New
Paragraph Style. Now all of this text that
| | 02:24 | I'm currently working with, this is all
going to go, this is just for planning
| | 02:28 | purposes but I'm going to call this
one subhead, Apply Style to Selection, OK,
| | 02:34 | now we have three styles in our
Paragraph Styles panel. I'm going to switch to
| | 02:40 | my Selection tool, turn on my Guides
and zoom in a bit closer, I'm holding down
| | 02:45 | Command+Spacebar, Clicking and dragging.
| | 02:49 | You can see that our text, even though
it has a 12 point leading increment and
| | 02:54 | we are working with a 6 point grid,
our text is not aligning to every other
| | 03:00 | grid line and we want it to. The way
we can make this happen, I neglected to
| | 03:05 | incorporate this specification into
this style and I now need to go and edit
| | 03:10 | the style in order to add it.
| | 03:12 | So I'm going to come in, Right-Click
on body over the single button mouse,
| | 03:16 | Ctrl+Click on it and then to Indents
and Spacing where I'll chose to Align to
| | 03:23 | Grid, All Lines and if I were to apply
the body style to that paragraph right
| | 03:30 | there, you can see that it's going to
affect that one as well. I'll also want
| | 03:34 | to do so the same with the Subhead
style, Right-Click on it, Edit > Indents and
| | 03:38 | Spacing > Align to Grid > All Lines.
| | 03:41 | So that's how our paragraph styles in
Progress. In the next movie, I'm going to
| | 03:48 | load the styles from the finished
version as a way of fast tracking us to being
| | 03:53 | able to apply those styles to the text
that we will very soon import into the layout.
| | Collapse this transcript |
| Loading paragraph and character styles| 00:00 | Time to fast track this process; we
are going to load the styles from the
| | 00:03 | finished version of the document. And
in a real world situation, if you were
| | 00:08 | working on a feature article for a
magazine, the styles are likely to already
| | 00:11 | be created and you wouldn't be
reinventing the wheel every time you created a
| | 00:16 | new feature article for that publication.
| | 00:19 | So this dummy text over here has now
served its purpose. I am going to keep the
| | 00:24 | text frame, and I am going to select
all of that text and delete it. The next
| | 00:29 | thing I am going to do is come to my
Paragraph Styles panel and from the panel
| | 00:34 | menu I am going to choose Load All
Text Styles. That's going to bring in the
| | 00:37 | character styles, as well
as, the paragraph styles.
| | 00:41 | And then I need to navigate to the
folder containing the finished version and
| | 00:46 | it's in the exercise files in the SF_
layout_finished folder and that's the name of it.
| | 00:51 | Now when I Click Open, we have
on the left a list of all of the styles
| | 00:56 | in the Incoming document and on the
right a list of any Conflicts with styles
| | 01:04 | that are already in the document.
| | 01:05 | Now it's turned out that I have used
exactly the same file naming conventions.
| | 01:10 | So do I take the incoming style
definition or do I work with the style
| | 01:14 | definition of the styles that are
already there? And I am going to use in all
| | 01:18 | three instances the Incoming Style definition.
| | 01:21 | Well, I could if I wanted to, just take
specific styles, but I want them all.
| | 01:26 | I am going to Click OK and we now have
all of those styles on the Paragraph
| | 01:30 | Styles panel and we have all of those
styles on the Character Styles panel.
| | Collapse this transcript |
| Creating a style spec sheet| 00:00 | For those purest among you who may
feel that loading the finished style sheet
| | 00:04 | from the completed version of the
layout is a little bit too easy, then here's
| | 00:09 | an option you might want to consider to
create the styles yourself from the scratch.
| | 00:13 | This scene involves going to the
finished version and printing out style
| | 00:17 | specifications from it and to do
this, we need to use a script called
| | 00:22 | TextStylesReporter which is by a guy
called Dave Saunders. It's Shareware so
| | 00:27 | be sure to pay for it, if you do end
up using it and it's available from the
| | 00:32 | website indesignsecrets.com.
| | 00:36 | I am going to show you the finished
result. The finished result is this
| | 00:39 | document here, which is, I think 11
pages long and just contains all of the
| | 00:46 | specifications for every style that I
have used in this document. So you could
| | 00:52 | just go through that and make sure that
you setup every style just the way it's
| | 00:56 | here, but in order to extract that
information from the finished version we
| | 01:01 | needed to use the script.
| | 01:02 | I am just going to point you to the
first page of this where on the paceboard I
| | 01:08 | have information about the script
itself TextStylesReporter by Dave Saunders.
| | 01:14 | This is where we can download it from
and this is where you need to put it.
| | 01:19 | A slightly funky thing about this whole
thing is that this style was designed to
| | 01:23 | be used in InDesign CS2, but we are
using InDesign CS4, so we need to jump
| | 01:28 | through an extra hoop in order
to make the script work in CS4.
| | 01:33 | And that is we need to create a whole
special folder called this and we need to put
| | 01:38 | it in the appropriate location
depending on your operating system and when you
| | 01:44 | have done that, it will appear on
your Scripts panel, so it's at that point
| | 01:49 | that we rejoin the action where I am
going to go down to the finished version,
| | 01:54 | and then come to my Scripts panel
over here. If you don't see your Scripts
| | 01:59 | panel, I have saved mine as part of my
workspace but if you don't see it, you
| | 02:03 | will find it under the Window menu.
You will need to Show All Menu Items in
| | 02:08 | order to see it, Automation, Scripts.
| | 02:13 | On your Scripts panel and we will be
using another script as Sample script that
| | 02:17 | comes with InDesign but this is one
that we have had to add in that folder that
| | 02:21 | we have created and this is what it's
called and when I Double-Click on this,
| | 02:26 | it asked me which attributes do I want
to capture and I want all of them.
| | 02:31 | I am going to sort them alphabetically.
| | 02:34 | I will Click OK and then it's going
to perform its magic and in a new blank
| | 02:40 | document, it will give you all the
specifications of everyone of the paragraph
| | 02:47 | and character styles in that document.
And you can see this looks a little bit
| | 02:51 | different. I just change the formatting
slightly but the information is exactly
| | 02:56 | the same and I just changed it to a
two column layout to be a bit more
| | 03:00 | economical with the space.
| | 03:02 | So you can used this if you wish or if
that all seems like far too much trouble
| | 03:08 | than join us with layout13
where we have the styles already in.
| | Collapse this transcript |
| Flowing text| 00:00 | And next step is to flow our text so I
am going to select this first text frame
| | 00:05 | and then press Command+D or Ctrl+D,
I will go to the File menu and choose Place.
| | 00:10 | We could drag and drop our text in
the same way as we did to get our pictures
| | 00:15 | into the frames but in this instance, with the
text I am going to use the Place command instead.
| | 00:20 | Our text is in a folder called Text
in the SF_layout folder which is in the
| | 00:25 | exercise files folder. We have two
versions of each of our two articles, and I
| | 00:32 | am going to begin by using the raw
version which is just plain text along with
| | 00:38 | some extra spaces and some unwanted
character returns, for just added veracity,
| | 00:44 | and we are going to strip those out in
a later step. Click Open and it's going
| | 00:49 | to flow into that first frame. I now
want to thread this frame with the other
| | 00:54 | text frames. So I will come and Click
on the red plus which indicates Overset
| | 00:59 | text and holding down my Spacebar,
scroll down to the next frame.
| | 01:04 | Now if I want to automatically pick up
my text flow for the next instance, I
| | 01:10 | will hold down the Alt key as I Click
inside this second frame and then add in
| | 01:16 | my Spacebar so that I can scroll to
the next one in the thread. Alt key still
| | 01:20 | held down, Spacebar so that I can
scroll and that's where our article ends.
| | 01:30 | So everything that remains going to be
Overset text, which for now, I will just
| | 01:35 | Click and drag to put that onto the
paceboard. Several things that we need to
| | 01:40 | do we see that's the text columns they
are currently flowing as a single column
| | 01:45 | and we need to change them
to two column text frames.
| | 01:49 | So I will select both on this page,
holding down the Shift key and then coming
| | 01:54 | up to the column divider up here or if
you don't see that and you perhaps one,
| | 01:59 | if your monitor isn't big enough then
you can also achieve the same thing by
| | 02:03 | coming to Text Frame options and make
that to Option+Page Up or Alt+Page Up to
| | 02:11 | the same thing here, and again,
and our text is now in the document.
| | Collapse this transcript |
| Using Word's import options| 00:00 | Here is a slightly different approach
to placing the text. In this example, we
| | 00:04 | are going to suppose the text has
been created in Word or any similar Word
| | 00:08 | processor and that the creator of the
text has applied styles, the same style
| | 00:14 | names that we are using in our layout,
and if that's the case, we can leverage
| | 00:17 | their work and have their styles mapped
to our paragraphs and character styles.
| | 00:23 | If we take a look at the text in Word,
here is the styled version, you can see
| | 00:28 | that it doesn't look the way that we
ultimately want it to look in InDesign,
| | 00:32 | but the important thing is and we
can see this when I Click in any of the
| | 00:36 | paragraphs, that style names have been
used and they have been used consistently.
| | 00:43 | If that's the case, then back in
InDesign, I will select the Text Frame and go
| | 00:49 | to the File menu and choose Place, and
this time placing the styled version.
| | 00:55 | When I place that text, it's going to
look the way we ultimately want it to
| | 00:59 | look in the layout. Now the problem
here is that, that first paragraph is the
| | 01:04 | headline paragraph so that it's so big,
we can't see the rest of the text but
| | 01:09 | if I were to continue my text flow
into the second text frame, we notice that
| | 01:16 | the text is pretty much in the style
that we wanted to end up and we may need
| | 01:20 | to make a few changes here and there,
but much of our work has been for us.
| | 01:25 | We can take this a step further even
because if I were to flow another column
| | 01:31 | of text, when we get down to this
example here, we see that there is a slight
| | 01:37 | problem in that the naming
convention used in the Word file was slightly
| | 01:43 | different. It's logical but slightly
different from the one that we were using
| | 01:46 | because here the style was called
Subheading but actually we are after a style
| | 01:52 | called Subhead. That's how we want
it to look and this subheading is a
| | 01:58 | non-native style that's been imported
from the Word document. What we want to
| | 02:02 | do is we want to map any styles with
different names to their equivalence in
| | 02:08 | the InDesign document.
| | 02:09 | So I am going to press Command+Z or Ctrl
+Z as many times as necessary to get me
| | 02:16 | back to the point before I imported
that text. So that the subheading, the
| | 02:24 | non-native style disappears from the
Paragraph Styles panel and this time, we'll
| | 02:29 | do things slightly differently,
Place, use the same document but this
| | 02:35 | time Show Import Options, and this is
the option that I want, Customize Style
| | 02:41 | Import and Click on Style Mapping.
| | 02:44 | Now we can see wherever the style
names are identical, they are mapped to the
| | 02:48 | equivalent style but in the case of
this one here subheading, it has no
| | 02:53 | equivalence. So I need to Click on
that and that should map to subhead.
| | 02:58 | Now when I Click OK and OK again, I will
flow as much text as necessary so that we
| | 03:05 | can see the point I am trying to
make and we see that it ends up in the
| | 03:10 | appropriate style and we don't have
any unwanted styles appearing on our
| | 03:15 | Paragraph Styles panel.
| | 03:17 | Now that approach is great and can be
a big time saver. The one big drawback
| | 03:22 | with it is that it requires
a lot of communication with the person
| | 03:27 | who is creating the document in Word
and in a real world, that may not be
| | 03:32 | possible, in fact, it may be easier for
you, if the designer just to work with
| | 03:36 | raw text as you receive it rather
than trying to explain how this should be
| | 03:41 | done to the person who is
creating the text in Word.
| | 03:45 | So for that reason, I am going to
working with the raw text that we did in the
| | 03:49 | previous movie and that will also
allows us the opportunity to see how given a
| | 03:54 | raw state for our text, how
we can easily clean it up.
| | Collapse this transcript |
| Cleaning up text| 00:00 | So now I will back in layout14 with a
rule on style text, and we are going to
| | 00:05 | see how we can clean this up. Now
before I go ahead and stop cleaning this
| | 00:10 | article up, I am also going to place
these secondary articles, so that the
| | 00:14 | Clean Up that we apply will affect that too.
| | 00:17 | And before I do that, I am going to turn
-off my Baseline Grid, since we are not
| | 00:22 | using it at the moment, and it is kind
of getting in the way. So, I am going to
| | 00:26 | hide the Baseline Grid and go to the
next spread, Option+Page Down or Alt+Page
| | 00:32 | Down, and then Click in this text frame,
Command+D or Ctrl+D, or File and Place
| | 00:40 | and the one that we are after is
topten, the raw version of that. So we are
| | 00:45 | going to go into that one right there.
I will Click on the right plus move
| | 00:49 | to the second frame in that thread
and to flow in there, and we have some
| | 00:53 | overset text right there but we are
going to make all of that fit into those
| | 00:57 | two columns by the time we finished with it.
| | 01:00 | Now it doesn't really matter where we
off of this next step. But let's zoom in
| | 01:04 | on this area over here, and I want to
see what extra formatting is in this text
| | 01:11 | file that we want to rid our cells off.
So I am going to come to the Type menu
| | 01:16 | and choose Show Hidden Characters, and
we have the extra character tones.
| | 01:22 | We want to get rid of those, and we also
have two spaces after a period and we
| | 01:26 | want to get rid of those.
| | 01:27 | Practically speaking, we have got two
different approaches that we can take here.
| | 01:31 | We can either run some Find/Change
routines, Find/Change, and there are
| | 01:37 | queries that come with InDesign that
we can use, Multiple Return to Single
| | 01:41 | Return, or Multiple Space to Single
Space, and we want to apply that to the
| | 01:47 | whole document but we are not going to do that.
| | 01:49 | Even easier than that is we are going
to use a script called FindChangeByList.
| | 01:56 | So we need to go to the Script
panel which I have incorporated into my
| | 02:00 | workspace. If you don't have it open,
you will find it under the Window menu,
| | 02:04 | you will need to first of all Show All
Menu Items, Automation, Script, and with
| | 02:11 | the Scripts panel opened, we can twirl
open Applications and then Samples and I
| | 02:15 | am going to use the AppleScript version of this.
| | 02:20 | They come in two flavors, AppleScript
or JavaScript. They both do the same thing.
| | 02:23 | If you are on Windows, it will
be VBScript, you can use that one.
| | 02:28 | Expand that, and the one I am after is
FindChangeByList, and then I can Double-Click
| | 02:33 | on that and this is the scope of my
change. Is it going to work on the entire
| | 02:39 | document, this selected story, or the selection?
| | 02:42 | I am actually going to be bold and
say the entire document, since there is
| | 02:46 | nowhere in this document that I want
any character tones or any double spaces,
| | 02:51 | Click OK, and there, all of that
extra formatting is removed. Now how that
| | 02:56 | works is it accesses a simple text file,
this one right here, which is nothing
| | 03:02 | more than a list of different Find/
Change routines to run on your text.
| | 03:08 | And if you wanted to see that text file,
you can do this. You can Right-Click
| | 03:13 | on it, or Ctrl+Click on it with a single
button mouse, and choose Reveal in Finder.
| | 03:18 | And then Double-Click on that,
where we see there's just a simple text
| | 03:23 | file with all these instructions to the
form, a series of Find/Change routines
| | 03:29 | on your text. And if you are brave,
you can even add your own,
| | 03:32 | but we don't need to do that.
| | Collapse this transcript |
| Applying styles| 00:00 | Now that we have stripped our text of
any unwanted formats, we can apply the
| | 00:03 | styles to our text, the styles
that we loaded in a previous movie.
| | 00:07 | So let's have our Paragraph Styles
panel open, and I am going to begin by
| | 00:13 | inserting my cursor into the main
article, selecting all, and applying the body
| | 00:18 | style to everything, since the vast
majority of the text is going to be in the
| | 00:22 | body style. And then I am going to zoom
in, Command+Spacebar or Ctrl+Spacebar,
| | 00:27 | Click and drag, and this opening text
here, I am going to cut from the story
| | 00:32 | itself, Command+X or Ctrl+X, zoom out,
scroll to the previous page, and for
| | 00:40 | now, I am just going to put it in there.
| | 00:42 | So to apply the styles to the body of
the article, first paragraph is going to
| | 00:48 | need to get the body first style, and
you see how my styles are in a bit of a
| | 00:55 | random order here. I am going to begin
by just choosing Sort by Name, so that
| | 00:59 | they are in alphabetical order. This
one is going to be body first. I am going
| | 01:03 | to make it look like that. And then
I am going to come to the subhead.
| | 01:06 | Now perhaps the subhead might be a
slight time saver if we applied a shortcut
| | 01:12 | to that. So if I Edit "subhead",
Shortcut key, it needs to be one of your
| | 01:19 | modifier keys in conjunction with one
of your number-pad keys. So I am going to
| | 01:22 | make this Command+Number-pad 1 or Ctrl+
Number-pad 1, and then I can apply it in
| | 01:27 | that way. Then this is going
to followed by a body no indent.
| | 01:32 | So we are going to move to the next
spread, Option+Page Down or Alt+Page Down.
| | 01:37 | An alternative way of doing that since
the subheads are always followed by a
| | 01:42 | body no indent, I could, if I have
this instruction in the style definition.
| | 01:48 | We will come and look at what I am
talking about. If I Right-Click on subhead,
| | 01:51 | or Ctrl+Click on it with a single
button mouse and edit it, we can see that the
| | 01:56 | next style is body no indent. So all
we have here is the style sequence.
| | 02:01 | So to apply two styles in one go, I will
swipe through those two paragraphs, just
| | 02:06 | connecting with a power of both and
then come and Right-Click or Ctrl+Click
| | 02:11 | with a single button mouse on the
first style in that sequence, and choose
| | 02:15 | Apply "subhead" then Next Style.
I am going to get both in one.
| | 02:19 | So I am scrolling around, seeing where
the styles need to be applied, all of
| | 02:28 | this stuff over here is going to be in
a different style. This is going to be
| | 02:31 | in the sidebar style. I will select
all of that and it's actually going to be
| | 02:36 | in sidebar numbered and that's going
to create a slight problem which we will
| | 02:41 | come and address later on, the fact
being that it's going to apply a drop cap
| | 02:46 | to the beginning of those paragraphs
but we actually need to go and insert a
| | 02:50 | special number at the beginning which
is the character that will be dropped
| | 02:54 | rather than the first letter,
but we will address that later on.
| | 02:58 | So again here we have another instance
of subhead followed by body no indent,
| | 03:03 | and another one down there and
that is where we are at currently.
| | 03:12 | So the styles have been applied. Let me
just point out a couple of useful tools that
| | 03:17 | we might want to use at some point and
they are the Story Editor should we need
| | 03:21 | to look at our text without the
distraction of any graphics or different font
| | 03:27 | sizes, we can use the Story Editor and we can
also is the Story Editor to apply our styles.
| | 03:33 | In the Story Editor, we have just a
continuous galley of text, all of our text
| | 03:38 | in a single point size and a single
style, but you see in this left column
| | 03:43 | here, the style names appear and you
can apply styles here just the way you can
| | 03:48 | in the layout, and it's often quicker
when working with a large body of text.
| | 03:53 | In addition to the Story Editor, there
is also the Info panel, which might be
| | 03:58 | useful if you need to get a word count
on your text. There I have a selection
| | 04:03 | made, so it's going to give me a word
count of that selection. It tells me I
| | 04:07 | have 81 words there. If I just Click
inside the story, it will tell me how many
| | 04:11 | words I have for the story and it's
also useful if you have overset text and I
| | 04:17 | am going to create some overset text
by just deleting that last text frame
| | 04:21 | temporarily, and also deleting that one.
| | 04:25 | Then when I insert my cursor in that
text frame, we can see that it tells us
| | 04:31 | that we have 2319 words plus 221 words
of overset text. So that's one way of
| | 04:39 | viewing any over-matter you may have,
or getting an idea of the extent of the
| | 04:44 | over-matter. To see the same kind of
information in the Story Editor, any
| | 04:49 | overset text there will appear red lined,
but I am now going to press Command+Z
| | 04:54 | or Ctrl+Z a couple of times to restore it
to the way it was without the text being overset.
| | Collapse this transcript |
|
|
4. Designing Page ElementsCreating a color palette| 00:00 | I am now going to talk about how I
came up with the Color Palette for this
| | 00:03 | document, and that was to sample a
couple of colors from this image as starting
| | 00:09 | image, and I did that by
using the Eyedropper tool.
| | 00:12 | But before I do that, I want to make
sure that the pictures layout is not
| | 00:17 | locked, so that we can sample content
from the picture layer. So I am going to
| | 00:20 | come and unlock that and dismiss the
Layers panel, and then if we use the
| | 00:25 | Eyedropper tool, I want to get a nice
bright bit of orange from the bridge,
| | 00:29 | maybe I will need to zoom in on that a
little bit, and when I choose that, that
| | 00:34 | color appears as my fill color at the
bottom of my Tool panel and I want to add
| | 00:39 | that to my Swatches panel, so that I
can used it repeatedly. To do that, I
| | 00:43 | Right-Click or Ctrl+Click with the
single button mouse and then Add to Swatches.
| | 00:49 | Now in fact, when I did that, I found
that that color looks a bit more brick
| | 00:54 | like than international orange like,
which is the color that I am after, which
| | 00:59 | is the color of the Golden Gate bridge.
So while the theory was good there, the
| | 01:04 | practice was a bit lacking. So
instead, I went to Wikipedia and looked up
| | 01:10 | International Orange, and it gives me
the RGB values for international orange,
| | 01:16 | the color of the Golden Gate Bridge,
(255, 79, 0). So then returning to
| | 01:22 | InDesign on my Swatches panel, New
Color Swatch, 255, 79, and 0 but of course,
| | 01:31 | I want it to be a CMYK color. So
having done that, I switch to CMYK, and it
| | 01:37 | gives me the CMYK equivalence.
And that was the color that I used.
| | 01:41 | Now in actual fact, even though
numerically that looked right, I couldn't
| | 01:46 | resist tweaking with it a bit and the
color that I finally ended up with just
| | 01:52 | by tweaking the sliders was this one
here, Cyan 11, Magenta 84, Yellow 100, and
| | 01:58 | Black 2%, and that's the color that I
am using for the headlines, and I also
| | 02:03 | want to used it for the department
ahead up here. You may remember that earlier
| | 02:07 | on, I just put that in a fairly
generic orange. Now that we have this color
| | 02:11 | created to replace that orange with
the international orange or the pseudo
| | 02:18 | international orange that
we are actually going to use.
| | 02:21 | So I am going to delete that color
and then replace it with the one that we
| | 02:26 | have, and Click OK. The blue was
achieved just by sampling an area of the sky.
| | 02:33 | An alternative approach to this would
be to use the Kuler extension, where if I
| | 02:41 | choose this, I will just put that in
the middle of my screen for a moment, and
| | 02:46 | having determined a base color, I can
then come and Click on this icon here, at
| | 02:52 | current fill color is base color,
and then, it's going to give me a Color
| | 02:57 | Palette based upon a color harmony
rule, and I can choose any of these
| | 03:01 | available ones, and I think I would
like maybe an analogous one or yet various
| | 03:08 | different variants on that original
base color of orange, and then well --
| | 03:14 | maybe that's a little bit too similar.
| | 03:15 | So perhaps, we will choose
complimentary instead, I mean the reason I ended not
| | 03:19 | using this was because I couldn't
quite get what I was after, but if this did
| | 03:24 | give you what you wanted, you can then
come and Click on this icon to add the
| | 03:28 | colors to your Swatches panel. I
can now dismiss Kuler and somewhat
| | 03:35 | unfortunately, not a big deal but the
colors all come in as RGB colors, we want
| | 03:39 | to convert them to CMYK.
| | 03:41 | And to do that, I would select all of
them like so and Right-Click on any one,
| | 03:47 | go to Swatch Options where I change
the Color Mode to CMYK and Click OK.
| | 03:54 | I've neglected to do one thing there.
I have changed the CMYK colors but they are
| | 03:58 | still named for that RGB values. So I
am going to do that once again, and this
| | 04:02 | time make sure I have that checked
Name with Color Value and they are now all
| | 04:07 | CMYK colors and reference to such.
| | 04:10 | However, since that is a path down
which we are not going to go to clean up my
| | 04:15 | Swatches panel, now to get rid of any
colors that we are not planning on using,
| | 04:20 | I am going to choose Select All Unused
and then delete them, leaving us just
| | 04:26 | with the None, Paper, Black,
Registration, the ones that we can't delete,
| | 04:30 | the Orange and the Blue that
was sampled from the sky.
| | Collapse this transcript |
| Examining open treatments| 00:00 | So we are now going to create a title
treatment for the article, but before we
| | 00:03 | do this, let's take a look at some
examples of title treatments. A big factor
| | 00:08 | in determining your title treatment is
going to be how much room do you have,
| | 00:11 | how many pages are allotted to the
article, and what's the quality of your
| | 00:14 | photography. If you have excellent
and arresting imagery like this, and you
| | 00:18 | have the space, then you can have a
fantastic opening spread with minimal
| | 00:24 | typography, beautifully set type,
and just a small docket describing the
| | 00:29 | article, and a caption describing the image.
| | 00:32 | Then we have a similar kind of
approach here, a fantastic image. So let's
| | 00:36 | devote as much space to it as we
possibly can. Perhaps, you don't have quite as
| | 00:40 | much space and you want to want to
actually begin the text of the article on
| | 00:44 | the opening page spread, you've still
given the image lots of space, and then
| | 00:48 | using the more contrasting areas of the
image, where the detail isn't critical
| | 00:53 | to reverse out the type, and similar
approach here with the text of the article
| | 00:58 | proper, actually begins on the right
hand page of the spread, or perhaps you
| | 01:03 | want to devote a whole column of your
opening spread to the beginning of your article.
| | 01:08 | Or perhaps you want to divide your
opening page spread between a very prominent
| | 01:13 | arresting picture, and a single page
of typographic explanation, similar kind
| | 01:20 | of approach there, or in this example,
we begin on the first page, on the left
| | 01:26 | hand page of the opening spread, with the
article proper and that is facing a full-page bleed.
| | 01:32 | Similar here, except in this example
that bleed image crosses over into the
| | 01:37 | left hand page and here I guess this
one makes the point that we don't have to
| | 01:42 | necessarily put the title treatment at
the top of the page. Here it's actually
| | 01:47 | placed within the columns of text and
is breaking up the columns of text then
| | 01:51 | we have and nice interplay herewith this
robotic character that's looking at the title.
| | 01:56 | Where space may be a little bit more
limited, the text begins on both pages of
| | 02:02 | the opening spread but we have a top
bottom divide between imagery and text
| | 02:08 | with this image crossing over from the
left hand page to the right hand page to
| | 02:12 | create a connection between them, and
we see a similar kind of arrangement here.
| | 02:16 | We dive directly into the text
content, but at the same time we have a
| | 02:22 | nice amount of space allotted to
beautiful image crosses over from the right to
| | 02:27 | the left making a connection.
| | 02:29 | So in coming up with my title treatment,
I went down a number of blind allies.
| | 02:34 | I will just share some of those with you.
I started off thinking that I wanted
| | 02:40 | a full-page bleed and make the image as
prominent as possible and increase the
| | 02:45 | scale of the image, so we see a fair
amount of the bridge. Obviously, we don't
| | 02:49 | want the bridge ending up in the spine.
So I have cropped it, moved the bridge
| | 02:53 | over to the right hand page. For this
I am using the font family that I used
| | 02:57 | for my body text. I am using the Chaparral Pro.
| | 03:01 | I don't think this is working so well
because the title just isn't popping out
| | 03:04 | off the background for me. I am
having a hard time finding a good color
| | 03:08 | combination of the type on that blue
background, and for that reason I didn't
| | 03:13 | go with that one, or that kind of led
me to this, where in order to play off
| | 03:18 | the structure of the bridge, I put
the type in uppercase and in a condensed
| | 03:23 | version of the Myriad font, and I
also put it on a semitransparent white
| | 03:28 | background. I think that works better
but I don't like the way that all of my
| | 03:32 | type is grouped together. It doesn't
really seem like it's connecting the two
| | 03:37 | pages of the spread as well as it might.
| | 03:40 | I thought with this font I would try
the image without a bleed, and I have a
| | 03:43 | very different crop on the image as
well which I think is working quite well.
| | 03:47 | We don't need to see quite as much of
this foreground as we did in the previous two.
| | 03:51 | But again, it seems like there
is too much separation between the type
| | 03:55 | over here and the main part of the
image over here. And having experimented
| | 04:00 | without having a bleed at all, just
with having a white border, that led me to
| | 04:04 | this thought where we can bleed off
three sides but not bleed off the top.
| | 04:08 | Let's have a nice big top margin and
that is where we will put the type because
| | 04:12 | that's where the type will be most
readable not having to compete with the
| | 04:16 | background and I am still trying to make
a better connection between the two pages.
| | 04:21 | So I thought, well maybe I will try
and cross over the words, San Fransisco.
| | 04:24 | It's doesn't really work because
obviously one of those two words is much
| | 04:29 | longer than the other and the only
place we can place that type so that it
| | 04:33 | crosses over without any of the
letters getting caught in the spine is in the
| | 04:37 | word space. So that's not really
working either. I also for this tried a
| | 04:42 | different font, I was trying Gill Sans
here, the idea being that it has a kind
| | 04:46 | of art deco feel that in some way is
suggested by the Golden Gate Bridge itself.
| | 04:52 | So those explorations led me to this
here where I have reverted back to the
| | 04:58 | Myriad Pro. I have the S aligned with
the vertical of this part of the bridge
| | 05:04 | and I have separated the docket and
photo credit from that title and placed it
| | 05:09 | here in this otherwise fairly unused
area of space. I think it's playing off
| | 05:16 | the title quite nicely, that's
reversing out of this orange bars. So there is
| | 05:20 | ample contrast, and I think we have a
better connection. We have got some kind
| | 05:25 | of triangle going on here between this,
and the title and the bridge, and I
| | 05:30 | think that's working quite well.
| | 05:32 | So if we go to layouts17, we can see
how I did this, and I am going to cut
| | 05:39 | title San Fransisco out of that text
frame and then we have an empty text frame
| | 05:44 | right there into which I am going to
paste it. Now I could just go ahead and
| | 05:48 | apply the title style to this or the
head style as I am calling it, but in
| | 05:54 | reality, that's not how I did it.
Since this title is going to be unique,
| | 06:00 | that's only going to be one of them
rather than have it be a paragraph style.
| | 06:05 | I am just going to format this one locally.
| | 06:07 | I am going to select that piece of type,
remove the first line indent from it,
| | 06:12 | change this to Myriad Pro, and I want
it to be Semibold Condensed and then I
| | 06:21 | want to change the color of it, and now
I want to dramatically change the size of it.
| | 06:26 | I am going to size it up and I
may at that point, now that I can see it
| | 06:31 | sufficiently well, and now that my
text frame is going to be sufficiently big
| | 06:36 | when I fit the frame to the content,
which I am going to do by either coming
| | 06:41 | and Clicking on that one right
there or the keyboard shortcut,
| | 06:44 | Command+Option+C, or Ctrl+Alt+C.
| | 06:49 | Now I will turn my Guide back on and
then grabbing the bottom right hand handle
| | 06:53 | of that piece of type, I will just
scale that up as much as I possibly can to
| | 06:58 | make it span that space, and I think,
it was at this point that I realize
| | 07:03 | that the Semibold Condensed at
this size is just a bit a too heavy.
| | 07:07 | So I am going to change it rather to
the Condensed version of that form and now
| | 07:14 | begins the process of nudging it around,
a little bit here, a little bit there,
| | 07:20 | and I also want to adjust the kerning
between some of the characters. I think I
| | 07:26 | would like everything tracked, a little
but tighter to begin with. Tracking is
| | 07:31 | adjusting the space between the
characters. It's this option here on the
| | 07:36 | Control panel, but it's perhaps more
effectively achieved using a keyboard shortcut.
| | 07:42 | Now before I do this, I would want to
check my preferences, and I am going to
| | 07:47 | come to my Units and Increments. I want
to make sure that my Kerning Preference
| | 07:51 | is much smaller than that. It's down
to the lowest possible increment that we
| | 07:55 | can use, 1/1000 of an em. And having
done that, I am now going to use the
| | 08:00 | keyboard shortcut, Option+Left Arrow or
Alt+Left Arrow to tighten up the space
| | 08:07 | between the characters, and once I
have done that, I may now want to adjust
| | 08:12 | some of the letter pairs individually.
| | 08:15 | I think I will want to bring the N
slightly closer to the A. So I am placing my
| | 08:20 | cursor between those two, and I am
just doing these by me. I am placing
| | 08:23 | pressing Option+Left Arrow or Alt+Left
Arrow, and do the same there, maybe a
| | 08:28 | little bit between the N and the C,
and of course one could spend quite a lot
| | 08:33 | of time on this, but I am
going to leave it there I think.
| | 08:37 | Now let's make sure that I am aligning
the S with the vertical of the bridge.
| | 08:43 | So one of these two elements needs to
move and I think it's going to be the type.
| | 08:48 | So I will come and draw myself a
guide. I'll turn my Guides on by the way
| | 08:53 | by pressing W, and then I am going to
drag that over and then nudge it back a
| | 08:59 | little bit so that the S actually
connects with that guide. Let's turn the
| | 09:04 | Guides off, and I think that looks
just about right, maybe nudge it down a
| | 09:09 | fraction, and we'll call that one done.
| | 09:12 | Now for the docket, I am going to
apply the style that I have created and I
| | 09:17 | will just point out how I achieve this
underlining with the style because that
| | 09:24 | is actually an Underline rather than a
Paragraph Rule, and if we go and look at
| | 09:29 | the Underline Options right here, we
can see that the Underline is just set to
| | 09:34 | be a very heavy weight, heavy enough
that it covers the type, and the type is
| | 09:38 | set to 16.5 point so I made the Underline
a little bit bigger than that, 18 points.
| | 09:44 | The Offset is the position of the
Underline relative to the type and frankly
| | 09:48 | there is a fair amount of trial and
error with this, but I just nudge that up
| | 09:52 | or down to you get it exactly how you
want it, and the underline color is set to
| | 09:58 | be our international orange, and then
for the byline, rather the photo credit,
| | 10:04 | that's just another
paragraph style Myriad Pro Semi Bold.
| | 10:09 | Then I might want to just shrink that
text frame by fitting the frame to the
| | 10:15 | content and repositioning that by I so
that it looks like it's good as about as
| | 10:21 | much space between here and here, as
it does between here and here, and there
| | 10:27 | we have our title treatment. But there
is one more thing and that is that our
| | 10:32 | footers are not working, our footers
are black but clearly they are rendered
| | 10:38 | unreadable against such a dark background.
| | 10:41 | So we need to release those from the
master page and change their colors.
| | 10:46 | Because these are master page items,
there is no way we can select them.
| | 10:50 | I do need to make sure that my master
items layout is unlocked but even with that
| | 10:55 | unlocked, I would not be able to select
those unless I hold down Command+Shift,
| | 11:01 | Ctrl+Shift, Click on them, they are
now released. I will come to my Swatches panel,
| | 11:06 | Click on the Formatting Effects
text icon, and then Click on the Paper.
| | 11:11 | I will need to do the same thing over
there as well, so that we know I have
| | 11:15 | those as white reversing out of the image.
| | Collapse this transcript |
| Using drop cap treatments| 00:00 | We are going to see now some different
approaches to a drop cap treatment to
| | 00:03 | indicate to the reader the start of the article.
| | 00:06 | Now a drop cap is by no means the only
way that you do this, but it is a very
| | 00:09 | commonly used technique. I am just
going to zoom in on my finished version,
| | 00:14 | Command+Spacebar+Click-and-Drag. So
that's how I have done it. You can see that
| | 00:20 | I have put the drop cap in the Myriad
Pro font. That's so that it unifies with
| | 00:26 | the subheads and the title which also
used that font. I am also using the same
| | 00:31 | color, the International Orange as
another unifying technique and to make a
| | 00:36 | transition between the big drop cap
and the upper and lowercase text, I have
| | 00:41 | the first three words in small caps.
| | 00:44 | Let's go and take a look at some
other drop cap examples before we look at
| | 00:48 | specifically how to do this. So your
drop cap can be a rather modest affair as
| | 00:52 | it is here, just a five line drop cap
and in this case, interestingly, it has a
| | 00:57 | little underline under it as well. Also,
another fairly modest affair and here
| | 01:03 | too, where its set dropping three
lines into the text. So that it's not
| | 01:06 | overwhelming the title itself. And in
this case because the title appears on
| | 01:11 | the same page, if it were to overwhelm
the title then that might undermine the
| | 01:15 | impact of the title.
| | 01:17 | Getting slightly bigger here, and
picking up from the color in the image,
| | 01:24 | similar approach there, a repetition
of the color used in title and also used
| | 01:29 | in some of the numbered paragraphs.
And getting much bigger and brasher here,
| | 01:34 | this example from Rolling Stone,
massive drop cap also Italicized which is a
| | 01:40 | fairly unusual approach, because it
does create some difficulties with how you
| | 01:44 | handle the type that comes after it,
but here we can see that the type that
| | 01:49 | follows it is also at a diagonal in the
amount of space that its offset from the cap.
| | 01:54 | And interestingly here we see how the
drop cap is repeated as a graphic element
| | 01:59 | for the different sections of the
article. Here not a drop cap at all, but a
| | 02:06 | stick up cap but it's not dropping
into the paragraph, but rather sticking up
| | 02:11 | above the paragraph.
| | 02:13 | Then the biggest of all applied to
this opening paragraph, the paragraph that
| | 02:18 | spans the two columns and used as very
much a graphic element in its own right.
| | 02:25 | So returning to our layout in progress,
layout18. We have the drop cap already
| | 02:30 | in there, and that's because it was
applied using Paragraph Styles. And the
| | 02:35 | Paragraph Style is the body first style
which incorporates the drop cap specifications.
| | 02:41 | Let's just go and take a look at how
that was set up. If I Right-Click on that
| | 02:45 | and go and edit the body first style
which is Based On body no indent, which in
| | 02:50 | itself is based on Body. Drop Caps and
Nested Styles, it's sinking six lines
| | 02:56 | into the text, one character made big
and we have a Character Style that is set
| | 03:01 | up, that is automatically applying to
that one character and the Character
| | 03:06 | Style called drop cap is determining
the font and color of that drop cap.
| | 03:12 | Now there is also this option here,
Align Edge. If I turn on my Preview and
| | 03:17 | then turn Align Edge off, you could see
what it's doing. You see how the A just
| | 03:22 | slightly moves, Align Edge is going to
make it completely nice and flush with
| | 03:26 | the left-hand edge.
| | 03:28 | Scale for Descenders, I don't need it
in this instance. But if I had say a J as
| | 03:33 | my first character with a descender
that would otherwise collide with the type
| | 03:39 | of the paragraph, then I could choose
Scale for Descenders, and that would
| | 03:43 | avoid that problem.
| | 03:44 | Now I mentioned that I have the first
three words in small caps and that is a
| | 03:49 | function of the Nested Style applied
here. So I chose New Nested Style or from
| | 03:54 | my list of Character Styles that I
had already created, I chose one called
| | 04:00 | small caps which have that sole
specification, that the casing is in small caps
| | 04:05 | through a specified number
of Words, in this case three.
| | 04:09 | So now every time I were to apply that
Paragraph style, and I'll just set this
| | 04:15 | back to body and then body first, we
get all of that in one go. So the other
| | 04:20 | elements that were incorporated into
that, the drop cap, we are just going to
| | 04:26 | look at that drop cap character style.
We can see that it's set to Myriad Pro,
| | 04:29 | Condensed and its Size is increased
and it's increasing the size is what's
| | 04:37 | making the cap partially a drop cap,
partially a stick up cap and the other
| | 04:45 | Character Style incorporated into that
Nested Paragraph Style was small caps
| | 04:50 | where the only specification chosen for
that is the Case and that's set to Small Caps.
| | 04:57 | Now one other thing that we need to
consider with this drop cap and that is
| | 05:01 | that as we saw in one of those examples,
we want to have a repetition of this,
| | 05:07 | we don't want to have one as big
as that, because that would be a bit
| | 05:09 | overwhelming. But we want a repetition
of it where there is a section break.
| | 05:13 | Now if I go to the next spread, Option+
Page Down or Alt+Page Down and zoom into
| | 05:19 | this second paragraph right here. This
is where the new section begins. So I am
| | 05:24 | going to insert my cursor right there,
come to my Paragraph Styles and apply
| | 05:29 | the style body section. And then if
we look at the specification for body
| | 05:33 | section, we can see that this is based
on body first with the exception that
| | 05:38 | it's a 2 Line rather than 6 Line drop cap.
| | Collapse this transcript |
| Adding supporting articles pt. 1| 00:00 | It's now time to time to tackle the
second supporting article. I am going to
| | 00:04 | zoom in on this over here so that we
can see what's going on. So we have a lot
| | 00:09 | happening here. We have each paragraph
is numbered and then we have a running
| | 00:16 | head in the theme orange which ends at the
point of this colon. Now this is a Nested
| | 00:22 | Style so we need to set up a Nested
Style and then for most of the paragraphs
| | 00:28 | there is a URL at the end which is in
blue, and that is also a part of the
| | 00:33 | Nested Style. In fact, that is a GREP style.
So we are going to get to see those as well.
| | 00:38 | We need to create this whole title
treatment here. We need to create the
| | 00:41 | background color and then in a separate
movie in its own right we are going to
| | 00:47 | anchor the pictures to the
relevant pieces of the text.
| | 00:51 | Let's go now to layout19 which is our
work in progress, where we left it like this.
| | 00:57 | We had applied the Paragraph
Style to this secondary article which takes
| | 01:03 | us close to being finished with it. Now
there is still something that needs to
| | 01:06 | be done to it. Obviously, we don't
want these drop caps right there, but I
| | 01:10 | think it's going to be useful for us to
see how this is put together from scratch.
| | 01:15 | So I am proposing that we do this.
Let's insert our cursor in there, select all
| | 01:20 | of that text, then come to Paragraph
Styles and we will set this back to Basic
| | 01:26 | Paragraph and we will create the whole
thing from the ground up. But before we
| | 01:30 | do that I am going to go to the Layers
panel and turn off the pictures layer
| | 01:34 | just so that we don't have any visual
interference from the pictures. Before we
| | 01:38 | get going with creating this style,
let's just take a quick look at some
| | 01:42 | examples of different
approaches to such articles.
| | 01:46 | So here we have a page devoted like
mine to a 10 item list. But you can see a
| | 01:52 | very different approach here rather
than the ordered approach that I am taking,
| | 01:56 | this is a seemingly random approach
where we have different sizes of picture,
| | 02:02 | different sizes of numbers, very
effective. I am not sure it's appropriate for
| | 02:06 | what we are trying to do, but
it's very effective and interesting.
| | 02:09 | Similar, but more subdued in this case.
Different sizes of pictures, different
| | 02:14 | sizes of numbers, obviously a lot more
room to play with there than we have.
| | 02:19 | Something a little more along the lines
of what we are going to be doing, just
| | 02:22 | a numbered list down here. This one
makes the point that just because you have
| | 02:28 | 10 items in the list of equal length
doesn't necessarily mean that they need to
| | 02:32 | get equal billing as is the case with
this list here where certain items in the
| | 02:37 | list are called out for special
attention. And I think this one is interesting,
| | 02:42 | because it shows how the pictures
are arranged around a central image and
| | 02:47 | rotated for some extra interest.
| | 02:50 | These next examples are just more on
sidebar box out type articles. Not exactly
| | 02:56 | the kind of thing that we are doing
here, but interesting nonetheless.
| | 02:59 | If you had a supporting article, it's going
to go in a box on the same page as the
| | 03:04 | rest of the text. You need to
distinguish it from the text and they are doing
| | 03:08 | that here by the use of this secondary
color which plays off the color that's
| | 03:12 | used in the subhead. And for a bit of
extra visual interest here, the box is
| | 03:18 | not a regular rectangular shape. It has
that little bit sliced off the top there.
| | 03:22 | Another sidebar that runs into the
spine in this case. The color suggested by
| | 03:28 | some of the colors in the image.
Perhaps your sidebar article with some kind of
| | 03:33 | comparison in which case you might want to
put it into a table as it's been done here.
| | 03:38 | Sidebar in a very contrasting color.
The white reversing out of that and an
| | 03:42 | image placed on top of the sidebar
just to give it some more visual interest.
| | 03:47 | And in this case here quite effective
just the box head is a box in its own
| | 03:53 | right that overlaps the sidebar box.
Here as well as having the slice taken out
| | 03:58 | of the top black band in this bar, we
have some cut out images which extend out
| | 04:04 | of the box, which makes it more
interesting. And in this case the box is
| | 04:09 | integrated with the image by being set
to less than 100% Opacity and the top
| | 04:16 | portion of it placed on top of the image.
| | 04:18 | Now sidebar articles by their
definition kind of suggest that they are going to
| | 04:23 | go to the side, either into the
spine or in the outside margin. But not
| | 04:28 | necessarily in this case, this supporting
article divides these two columns of text.
| | 04:33 | So here we are in the InDesign layout
with our raw sidebar text. I am going to
| | 04:39 | select the first paragraph of this and
then I am going to change the font from
| | 04:44 | Chaparral Pro to Myriad Pro, Regular.
I am going to change the Size from 9
| | 04:50 | points to 12 points. And I am going to make
sure that it is aligning to the baseline grid.
| | 04:57 | Let's zoom in on that and see what we
have so far. It is the story so far.
| | 05:02 | Remember, I want this to be a running
head; now rather than have to come and
| | 05:08 | choose every item individually and
then apply the Character Style to it.
| | 05:13 | And the Character Style that we are going
to be using is this one here, Orange.
| | 05:16 | Rather than have to do that on a case
by case basis, I want to make this make
| | 05:19 | this into a Nested Style. So the
Character Style is already set up.
| | 05:24 | The Character Style's specification is Bold.
So it's going to be the Bold White of
| | 05:28 | whatever this is, Myriad Pro. And it
has a Character Color of our Orange.
| | 05:34 | So to incorporate that into the new
sidebar style, I am going to Click inside
| | 05:40 | that paragraph, New Paragraph Style,
I will call it sidebar1. Then come to Drop
| | 05:47 | Caps and Nested Styles, New Nested
Style. This is going to be the Orange,
| | 05:53 | through 1. 1 what? In this case it's
going to be one colon. So I am just going
| | 06:00 | to type in the colon character into the
field and then just to make sure we go
| | 06:05 | back to General and Apply Style to Selection is
checked. Click OK. And that's how it is so far.
| | 06:11 | Now of course the location of that
colon is essential. If I take that out, then
| | 06:16 | the whole paragraph is going to look
that way. If I put the colon right there,
| | 06:20 | the Character Style is going to stay
on until that point. So we want to make
| | 06:23 | sure the colon is in exactly the right position.
| | 06:27 | Now in addition to this, we want
the URLs that occur at the end of the
| | 06:32 | paragraph to be in blue. So I believe
I have a Character Style set up, it's
| | 06:37 | actually called URL and it is Blue.
And that is the only difference. This is
| | 06:44 | the only attribute that is set for
that Character Style. To incorporate that
| | 06:49 | Character Style into the Paragraph
Style, I need to come to sidebar1 and edit
| | 06:53 | that and this is a GREP Style.
| | 06:56 | This is new in CS4. New GREP Style. So
we want to apply the style, URL To Text.
| | 07:05 | Now I am no GREP expert by any means,
but I think I can just about handle this.
| | 07:11 | What is consistent about all of these
is that they all begin www. Okay, so
| | 07:18 | that's the beginning of the web address
and then they are all followed by -- we
| | 07:23 | need to use one of our Wildcards, Any
Character. And then the Repeat is One or
| | 07:32 | More Times, because they are
obviously of varying length.
| | 07:35 | Now there the dot is actually
referencing the dot in the web address and the
| | 07:41 | second dot is the way GREP recognizes
any character. So I will Click OK to that
| | 07:47 | and we see that, that looks just
perfectly there. So now I am going to select
| | 07:53 | all of the text in this article and
apply that style to it. And that takes us a
| | 07:59 | fair amount of the way.
| | 08:01 | Let's now turn on our Grid. I am going
to press W and in an earlier version I
| | 08:08 | turned off the Baseline Grid. It's now
time to see the Baseline Grid. We would
| | 08:15 | like not a singe line space between
each of these, but a line space and a half.
| | 08:22 | You may remember way, way back when I
set up the Baseline Grid, I set up the
| | 08:27 | Baseline Grid as being 6 points rather
than 12 points. Even though I have body
| | 08:31 | text leading and the leading of this
text too is 12 points. I have made the
| | 08:36 | grid increment half of that amount. And
that is so that we have the flexibility
| | 08:41 | of having the rather than just 12
points or 24 points of space before our text
| | 08:47 | and keeping it on the grid, we have
the option of having 18 points as well or
| | 08:52 | indeed 6 point. But I am going to go
with 18 points, a space and a half.
| | 08:57 | I could have taken a different
approach, I have could have used a different
| | 09:01 | Baseline Grid for this particular text
frame, but I prefer not to do that.
| | 09:05 | So I am going to come up to my Paragraph
Formats, Space Before, I am going to make
| | 09:10 | that 18 points. And you see that
that's still on the grid. And since I have
| | 09:15 | made a local change to that one
paragraph, I have the plus symbol up here
| | 09:19 | next to that Paragraph Style. I am
going to right Click on that and choose
| | 09:22 | Redefine Style. So that same
change now gets applied to all of those.
| | 09:28 | Now we also want these paragraphs to be
numbered and the number is going to be
| | 09:33 | a Drop Cap. So as it turns out, we need
to come back to edit this in Drop Caps
| | 09:41 | and Nested Styles. We want a 2 Line
Drop Cap of 1 Character. And we want it to
| | 09:47 | be blue, don't we? And we can use that
one, that will work fine, even though
| | 09:51 | it's called URL. It's actually blue,
that's the only specification that applies
| | 09:55 | to the URL Character Style.
| | 09:57 | All right, but of course we actually
want the number and not that opening
| | 10:03 | character of the item. The numbers
you may recall, will just quickly pop up here.
| | 10:09 | They are single characters
that reverse out of a circle.
| | 10:14 | They are actually Zapf Dingbats.
| | 10:16 | So I am going to insert these one by
one using my Glyphs panel. Now my Glyphs
| | 10:22 | panel is there under the Type menu. I
have actually got it saved as part of my
| | 10:25 | workspace. So I am going to choose it
right there and I think I will tear off
| | 10:29 | for the moment. And I am just going to
change my Font that I am viewing to Zapf
| | 10:35 | Dingbats right there. And let's make
it a little bit bigger so we can see all
| | 10:41 | of the characters in there. They are
the ones that we are after. We want these.
| | 10:44 | Now let's imagine that I am likely to
want these on more than one occasion.
| | 10:50 | It's going to benefit me to create a
new Glyph Set. So I am going to create a
| | 10:55 | New Glyph Set, I am just going to give
that my name and then I will add each of
| | 11:00 | these to that Glyph Set. So I will
Click on each one, right Click Add to Glyph
| | 11:05 | Set and then just repeat that process
for all ten numbers. Then once we have
| | 11:13 | the Glyph Set up, I can come to Show
just my Glyph Set. And there we see only
| | 11:19 | those characters. Now I am just going
to insert my cursor at the beginning of
| | 11:23 | every one of these items and
double Click to insert the number.
| | Collapse this transcript |
| Adding supporting articles pt. 2| 00:00 | So we are in layout20. We have most
of the formatting applied to a second
| | 00:05 | article. Let's just zoom in on that and
see how it's looking. Command+Spacebar
| | 00:10 | and Click-and-drag or Ctrl+Spacebar
and Click-and-drag. And we have the
| | 00:14 | pictures layer turned off. So if you
want to see the pictures, we are going to
| | 00:17 | need to turn that back on.
| | 00:20 | And just to refresh our memories on
how we are trying to make this look, we
| | 00:26 | need to do several things. The text
frames should span 6-column units rather
| | 00:30 | than 4 as they currently do. And then
we want this title treatment up here.
| | 00:35 | We also need to put a background behind it and
then we need to anchor the images to the text.
| | 00:40 | Now here is a slight work around to a
shortcoming of text anchoring. You will
| | 00:47 | see that I have the text wrapping
around the images. I will turn of the grid
| | 00:53 | for a moment. And we need to do that
for space considerations. However, if you
| | 00:58 | put a text wrap on an image and then
you anchor that image to the text, the
| | 01:02 | first line of the text will not be
affected by the text wrap. The solution is
| | 01:07 | you don't anchor the picture to the
paragraph itself, but you anchor it to
| | 01:12 | the previous paragraph.
| | 01:13 | So for example, this image right here
is not anchored to this paragraph, but
| | 01:18 | rather it's anchored to the end of this
one. Sounds a little odd, I know, but I
| | 01:22 | can't think of a better way of doing it.
I mean, and perhaps we don't even need
| | 01:25 | to anchor the images, but I think it
is preferable just in case there is any
| | 01:29 | likelihood of this text being edited or
moved. If they are anchored, they will
| | 01:34 | move with the text.
| | 01:36 | So while it may not be critical in
this instance, you may come across an
| | 01:39 | instance when it is critical, so it's
good practice to learn how to do and we
| | 01:44 | are going to be using a bit of a work
around. And that work around is going to
| | 01:47 | mean that for this one and this one,
the ones that occur at the top of a
| | 01:51 | column, they are actually not anchored. We
have eight anchored images and two unanchored.
| | 01:57 | So back to our work in progress. The
first thing we will do is we will stretch
| | 02:02 | the column width so that they go across
6 columns each. And now, I am going to
| | 02:10 | tear off my text frame for a moment,
zoom out, select all of these images and
| | 02:16 | move them over on to the pasteboard so
that we can access them easily. Turn the
| | 02:20 | text back on. We want the text to start
at the sideline of our body text which
| | 02:26 | is right there. So I am going to drag
those text frames down and I am going to
| | 02:31 | set up one of these and then just
base the object style upon that.
| | 02:37 | So our second item is Museum of Modern Art
and the picture for that is this one.
| | 02:45 | So I am going to select that image and cut it,
come over here, Double-Click, insert
| | 02:51 | my cursor at the end of the
previous paragraph and paste it.
| | 02:56 | Then I am going to need to select the
image. When I do that, incidentally it's
| | 03:00 | going to end up moving that image to
the text layer and that's just the way it is
| | 03:04 | and nothing we can do about that.
But I am now going to come to the Object menu >
| | 03:08 | Anchored Object > Options and we are
going to change the image status from
| | 03:12 | being an in-line or above line
graphic to a custom or anchored object and
| | 03:17 | I will go only so far, messing around
with these options and then I will refine it
| | 03:21 | by manually positioning the anchored object.
| | 03:24 | So the Reference Point, I think we want
it to be where it is, the top left.
| | 03:29 | The Anchored Reference Position I think
we want to make that the right hand side.
| | 03:33 | I am going to turn to my Preview, so I
can see whets happening. Yeah, that's
| | 03:37 | getting closer but we want the X
offset to be reduced so that this comes into
| | 03:44 | the text frame. I am not even going
to bother with the trial and error of
| | 03:48 | getting this right here.
I am just going to Click OK.
| | 03:50 | Now it is an anchored object. I can
just come and adjust the positioning by
| | 03:55 | moving the object itself around. I am
using my guides there as an indication of
| | 04:01 | how far down I want to move it and I
want to move it in. Okay, that is just
| | 04:08 | about right and of course it needs a
text wrap on it. So I am going to go to my
| | 04:12 | Text Wrap panel, part of my workspace,
if you don't see it then you will find
| | 04:15 | in under the Window menu and I am
going to choose this Text Wrap option here
| | 04:20 | and we want it to wrap 6
point all the way around.
| | 04:27 | So now that I have one set up here is
what I am going to do. I am going to
| | 04:30 | come to my Object Styles and I am
going to choose New Object Style, and I am
| | 04:35 | going to call it Anchored, Apply Style
to Selection, OK. And now we will come
| | 04:42 | and select all of these, and we will
apply that same Object style to them and
| | 04:48 | now it's a question of just cutting
and pasting the relevant picture into the
| | 04:53 | relevant piece of text or more specifically
to the end of the preceding piece of text.
| | 05:00 | So Castro Theater, I will select this
one, cut it, Double-Click at the end of
| | 05:06 | the preceding paragraph, paste it and
it's going to go to exactly the right
| | 05:10 | location. Golden Gate Bridge, come over
and find the image, select it, cut it,
| | 05:19 | place my cursor at the end of the
preceding paragraph to paste it.
| | 05:23 | I am also going to position this one,
since this one occurs at the top of the
| | 05:32 | article where there is no preceding
paragraph. That one, I am just going to
| | 05:36 | place it manually, and you see as I do
so, because these images are anchored,
| | 05:39 | they move down with the text as the text moves.
| | 05:42 | So I am just going to finish the
rest of this off in my own time and
| | 05:46 | I will see you in the next movie.
| | Collapse this transcript |
| Adding supporting articles pt. 3| 00:00 | So we have a few other issues to
address with our supporting article. It needs
| | 00:04 | a background, it needs a title, and
we need to adjust the cropping and the
| | 00:08 | sizing on most of the images.
| | 00:10 | First of all, let's add the background
color and for this I am going to create
| | 00:16 | a new layer. Perhaps, we have other
backgrounds and the whole of the magazine
| | 00:22 | so that's going to be worthwhile
creating a separate layer and also having it
| | 00:26 | on a separate layer is going to mean
that we can just lock that layer. Be sure
| | 00:28 | that we are not going to select
or move the background by mistake.
| | 00:32 | So I am using my Rectangle tool to do
this. I am starting down at the bottom
| | 00:35 | right bleed guide, dragging up all the
way to the top bleed guide and to the spine.
| | 00:40 | I want to make sure that it
has no Stroke, and that the Fill is the
| | 00:45 | Orange color set to 20%. And then I
will switch to my Layers panel and lock
| | 00:52 | that now. Let's return to the text layer.
| | 00:57 | For the title, I am going to copy my
title treatment here. I am going to copy
| | 01:02 | it, but not because I want it to be the
same size, but earlier on I added some
| | 01:06 | custom kerning to this and rather than
have to do that again, I would like to
| | 01:11 | keep the custom kerning that's in there.
So I am going to copy that and then
| | 01:15 | Option+Page Down or Alt+Page Down a
couple of times to move to this spread or
| | 01:20 | dismiss the last panel. I might as
well paste it in place, even though I am
| | 01:24 | going to change its position. Command
+Option+Shift+V or Ctrl+Alt+Shift+V.
| | 01:30 | And then I am going to select that
type and size it down, I am holding down
| | 01:35 | Command+Shift+Lesser than to something
about that size and then after that type
| | 01:42 | in top 10 and the top 10 is going to
get the blue color applied to it. And now
| | 01:53 | I will select it with my Selection
tool and just adjust its position.
| | 01:59 | So the third item on our agenda is fixing
the sizing and the cropping of the images.
| | 02:05 | I would like the frames to be sized
to an exact grid increment, as is the
| | 02:13 | case with this one. I am just going go
select it and because it is actually in
| | 02:19 | a text frame, when I Click, I am
going to get at the text frame.
| | 02:23 | So I am going to hold down my Command
key and Click to get the image and then I
| | 02:28 | am going to drag that down. Now in this
case, the image fitted perfectly in its
| | 02:34 | vertical dimension, so having to change
the size of the picture frame, I am now
| | 02:39 | going to need to refit the picture.
I am going to come to the Object menu >
| | 02:43 | Fitting > Fill Frame Proportionately.
Actually, I am going to use this
| | 02:47 | keyboard shortcut in
future. Command+Shift+Alt+C.
| | 02:53 | Then we can come to this one and now
when I do the same thing here and pull it
| | 02:58 | down, we are not going to need to
refit the picture, because it was cropped
| | 03:02 | already in its vertical dimension,
but we do need to re-crop picture.
| | 03:08 | So I am going to switch to my
Direct Selection tool by pressing A, then
| | 03:12 | Clicking on the image and we see the
bounds of the image now and I am going to
| | 03:16 | press my Up Arrow key to move the
image within the picture frame. Coming to
| | 03:22 | this one, problem with this image is
that we have almost no space above the
| | 03:28 | Cinema Marquee, and obviously we want
to include all of that in the image, it's
| | 03:32 | a vertical image in rather squarish
picture frame. So I am going to need to
| | 03:39 | change the size of the picture frame,
pull that down to about there and then
| | 03:45 | switch to my Direct Selection tool,
nudge that down. If we have room, and I
| | 03:51 | think we do, I would like to go down
one more, back to the Direct Selection
| | 03:56 | tool, nudge it down a little bit more.
That's about as good as we are going to
| | 04:01 | get that. But I would like this to
wrap underneath there. In fact, I am going
| | 04:07 | to change my mind and put that back to the
previous grid increment, but I still want it to wrap.
| | 04:12 | So I am going to need to adjust the
Text Wrap offset for this image. I need to
| | 04:16 | call up my Text Wrap panel, it's part of
my workspace over there or I go to the
| | 04:21 | Window menu and choose it from there,
if it's not already on your workspace.
| | 04:26 | So we have 6 point offset around on all
four dimensions. And just need to reduce
| | 04:32 | the bottom dimension and the bottom
dimension only. So I need to make sure that
| | 04:36 | I break this link so that I am
affecting only that one. I am going to set that
| | 04:41 | to 0 and then that allows that
URL to come under the image like so.
| | 04:46 | So I want to subject you to watching
me do this for all of the images, but we
| | 04:50 | need to take that approach to make
sure that wherever possible the images are
| | 04:55 | cropped to optimum effect and they are
a specified number of grid increments.
| | 05:02 | There is one more thing I would like to
go over though, and that is the issues
| | 05:06 | of the URLs that are breaking and which
we would probably prefer not to break.
| | 05:12 | Here is a case in point. I just turned
off my guides there by pressing W and
| | 05:18 | this URL has the URL Character Style
applied to it. Now I can change the
| | 05:23 | specification of that Character Style
to make it so that they never break and
| | 05:29 | if I come to my Character Styles,
there it is. I will right-click on that,
| | 05:34 | Edit URL, Basic Character Formats, No Break.
Now be careful with this one, because if
| | 05:39 | the column width were not wide enough,
this could cause all of your text to be
| | 05:44 | over set. So tread wearily with this.
But when I turn it on there, you will see
| | 05:48 | it, it automatically turns that over
to the next line and presumably does the
| | 05:53 | same things with any others that
may have been breaking prior to that.
| | 05:58 | Now by the time we finish up with this,
and though there is some more cropping
| | 06:02 | of images that needs to be done, we want to make
sure that both columns end on the same baseline.
| | Collapse this transcript |
| Working with text wrap| 00:00 | All right, let's apply the Text Wrap to
the map that occurs on the bottom of page
| | 00:04 | 48 and we will also need to apply a
little bit of scaling and nudging to the
| | 00:08 | map so that it makes the Text Wrap but
it doesn't interfere with the text too
| | 00:14 | much in a way that it's going to make
the text unreadable. This is the finished
| | 00:18 | version, we are working in layout22.
| | 00:22 | So I am going to zoom in on this area,
Command+Spacebar or Ctrl+Spacebar, Click
| | 00:28 | and drag, select the map. And we will
apply the Text Wrap to it. So if you have
| | 00:33 | the Text Wrap open choose it from there,
if not, it's there under your Window menu.
| | 00:39 | The type of Text Wrap we want is
the Wrap around object shape. And then
| | 00:45 | we are going to need to change the
Contour Options to Detect Edges and it will
| | 00:49 | ignore the white areas and
find the edges of the graphic.
| | 00:54 | We also need to set the Offset to 12
points. And that's going to be the same
| | 00:59 | all the way around that irregular
Text Wrap. I would now like to slightly
| | 01:03 | increase the size of the map. So I have
it selected with my Selection tool and
| | 01:09 | I am going to hold down Command+
Spacebar or Ctrl+Spacebar and pull up from the
| | 01:15 | top right and I am now going to move
the map more into the text. And we could
| | 01:22 | see these are the kind of problems
that we definitely want to avoid, so I am
| | 01:26 | going to set the Wrap Options to wrap
only on the Right Side. And I am also
| | 01:31 | going to nudge the map over a bit, so
that it runs well into and perhaps even
| | 01:37 | beyond the white space column that we
have to the left of our text column.
| | 01:43 | Let's turn on the Guides for a moment,
W, will do that. Okay, now if I wanted
| | 01:49 | to adjust the Text Wrap manually which
I think I do, I would like to bring some
| | 01:54 | text into that space there to create a
more even looking Text Wrap. Then for
| | 01:59 | that I am going to need to go to my
Direct Selection tool. Click on the map
| | 02:03 | itself and then we will see the path
around which the text is wrapping and we
| | 02:09 | can just pull those anchor points around.
I need to get in the larger in order
| | 02:15 | to do that more effectively.
| | 02:17 | Pull those anchor points around so that
we allow enough space for that text to
| | 02:22 | move back to the beginning of the
line. Let's now zoom out on that.
| | 02:26 | Command+Minus or Ctrl+Minus,
turn off the Guides, W. And I think that
| | 02:35 | looks pretty good. I am now going to
zoom out. There is one other thing that I
| | 02:38 | would like to do, not related to a
Text Wrap but since it's on this spread,
| | 02:41 | it's something I would be needing to
fix for a while and that is the -- I think
| | 02:46 | this image crosses over a little bit
too much. So I am going to turn on my
| | 02:50 | Guides, I actually want to
bring it back to about that point.
| | Collapse this transcript |
| Designing pull quotes| 00:00 | Let's make some pull-quotes. Pull-
quotes are excerpts from the text that pulled
| | 00:05 | out and use this graphical elements
and to entice the reader and they can be
| | 00:10 | placed over portions of the picture,
as is the case here, and you can take a
| | 00:15 | quite a few liberties with the pull-
quote as you can see in this case. I have a
| | 00:19 | nice big fat opening quote mark and
a much smaller closing quote mark,
| | 00:25 | and we have a second pull-quote right here.
| | 00:28 | The pull-quote ideally should occur on
the same page as it's positioned in the text
| | 00:32 | and the position in the text to
this one is right here and if we come
| | 00:38 | back to the first one, the
position in the text is right there.
| | 00:44 | Now I have a Paragraph Style already
setup for both the pull-quote, and for the
| | 00:50 | attribution, and a character style
setup for the quote mark, the big quote and
| | 00:56 | the small quote. So there are a total
of four styles being used there.
| | 01:02 | I am going to recreate the whole thing from
scratch though, just so you see how that
| | 01:06 | whole thing is done.
| | 01:07 | But before we do that, let's just take
a look at some examples of pull-quotes.
| | 01:12 | Here we have a pull-quote that is
placed between two columns of text on a
| | 01:17 | highlighted background, the color of
which references the color of this tag in
| | 01:22 | the top left-hand corner. Here the pull
-quote kind of expands upon the story
| | 01:27 | and is really developing themes
within the story, as is the case here.
| | 01:33 | The pull-quote placed over an image, and
you can even as is used here, you can have
| | 01:39 | parts of the pull-quotes be in a
different color. Somewhat subdued pull-quote,
| | 01:45 | but one that references the style
used for the Drop-cap, a pull-quote that
| | 01:50 | unifies with the headline through
the same use of color, and typography.
| | 01:55 | Another example of the pull-quote
against a highlighted background, spanning
| | 02:01 | the two text columns. A pull-quote is
used to break up a large expense of great
| | 02:07 | text that might otherwise appear
overwhelming to the reader, and half of that
| | 02:12 | pull-quote is pulled out, and
references the color in the image down here.
| | 02:18 | So let's add the pull-quotes to our
work in progress, layout23. I am actually
| | 02:23 | going to add the second pull-quote
first, because that is going to be larger
| | 02:28 | than the first one and will service
a better template because of that.
| | 02:32 | So I am going to come into its location
in the text, which is right there,
| | 02:36 | Command+Spacebar Click-and-drag, and
then I am going to select that quote and
| | 02:44 | copy that, zoom out, Command+Option+0,
Ctrl+Alt+0, and then making sure that I
| | 02:50 | am on my Text Layer, I have the other
layers locked. I am going to first of
| | 02:56 | all, I'll turn on my guides, and then
Click-and-drag a textframe, and paste
| | 03:03 | that text into the textframe. Let's
zoom in on it, and I think we can now turn
| | 03:09 | the guides off, switch to my
Selection tool and press W.
| | 03:14 | Now the fast track to the pull-quote
is to apply the styles that I've already
| | 03:19 | created. And to do that, all we need to
do is this, placing your cursor in the
| | 03:24 | paragraph, come to the Paragraph Styles,
apply pull quote, select the opening
| | 03:29 | quotes, that's a Character Style, pull
-quote big; it is the wrong character
| | 03:33 | that we'll have to change manually,
and then the closing quote, and apply to
| | 03:37 | that quote small. Again, it's the
wrong character, but we get the appropriate
| | 03:42 | characters from the Glyphs panel,
where I have saved in my glyph set these
| | 03:47 | opening and closing quote marks that
come from the Zapf Dingbats font, and if I
| | 03:52 | show the entire font, and I'll just
make that a little bit bigger. In fact, I
| | 03:56 | am going to tear off the Glyphs panel
so that we can make it bigger still.
| | 04:00 | We can see where those characters are, and
we just Double-Click to insert them at
| | 04:06 | the point in the text.
| | 04:08 | My Glyphs panel is part of my workspace,
if you don't have this part of your
| | 04:12 | workspace, you'll find it under your
Type menu and I would need to do the same here.
| | 04:18 | I come to my Glyphs panel, and
you can use it there as a recently used
| | 04:23 | Glyph it appears out there.
| | 04:28 | But of course, you may not have your
Paragraph Styles already setup. So if you
| | 04:33 | were doing this from scratch, then I
am just going to press Command+Z a few
| | 04:37 | times to get back to where we were.
If we are doing this from scratch, then
| | 04:42 | this is how we can do it.
| | 04:43 | I have the text selected. Now the text,
since it was copied and pasted from the
| | 04:49 | body text, is aligned to the grid.
That's on my Paragraph Formats. I need to
| | 04:54 | unalign it. I'll make sure that it's
no aligned to the grid, because that's
| | 04:56 | going to restrict the leading value
that we can apply to it. And I wanted it to
| | 05:01 | be in the Font Family that we are
using for our heads, and subheads, and
| | 05:06 | captions, and other supporting
paragraphs, and that is going to be Myriad Pro.
| | 05:13 | And for our headlines, we are using
these Semibold Condensed White, so I am
| | 05:17 | going to use that here. I want it to be
in the orange color, and I do not want
| | 05:23 | it to have a first line indent. And now
I am going to just increase the size of
| | 05:31 | those 2 points at a time, I want a bit
more control on that, so I am going to
| | 05:34 | come to My Preferences, Units &
Increments, and I am going to make the Size and
| | 05:39 | Leading value to half points. So I
can now go and up down a half-point at a
| | 05:44 | time, that same value applies to
leading, when you are applying leading
| | 05:48 | through the shortcut, Option+Down Arrow,
or Alt+Down Arrow, I am now changing
| | 05:52 | my leading value by half-a-
point. Okay, that looks good.
| | 05:56 | I want to insert a line break at this
point, so that I can carry this word down
| | 06:01 | to the next line, Shift+Return will
do that, and I now want to replace my
| | 06:07 | opening quote mark and my closing
quote mark with the Zapf Dingbats
| | 06:12 | characters. So I am going to select
that one, come to my Glyphs panel, change
| | 06:18 | to my Glyphs Set, and Double-Click on
the appropriate character. Select the
| | 06:25 | closing quote mark, Double-Click on
the appropriate character, you can now
| | 06:28 | dismiss the Glyphs panel. I want both
of these at a reduced Tint, and it's
| | 06:35 | going to be 30%, and so is that one.
| | 06:38 | But I would like to have the opening
quote marks substantially bigger and
| | 06:42 | overlapping the first character of the
quote. So at this point, it's now time
| | 06:47 | to select that and cut it from
that textframe, and put it in its own
| | 06:52 | independent textframe. So I am just
going to scroll over a bit. Hold down
| | 06:56 | Alt+Spacebar or Option+Spacebar to
drag my document within the window,
| | 07:01 | Click-and-drag, paste, Ctrl+V or Command
+V, select that. In fact, I am going to
| | 07:09 | select it with my Selection tool, and
then choose Fit Frame to Content. And now
| | 07:14 | I am going to scale up that to
textframe, and the text in it by holding
| | 07:18 | Command+Shift+> or Ctrl+Shift+>,
increase that like so. Move that so that it
| | 07:25 | overlaps my first character, and
then I want to send it to the back.
| | 07:30 | Object > Arrange > Send to Back, and
just position that to my liking, all right,
| | 07:37 | there is the template for our quote,
or I still need the attribution. So I am
| | 07:43 | going to press Return, and we want
the M dash, Shift+Option+Hypen,
| | 07:48 | Shift+Alt+Hypen, and problem there
is I am in Zapf Dingbats, so I need to
| | 07:54 | change that to Myriad Pro, Shift+Option+
Hypen, and we want this to be black
| | 08:04 | 100% and substantially smaller than that.
I am going to take it down to 10 points,
| | 08:11 | make it Right Aligned, Command
+Shift+O, and reduce its Leading, and
| | 08:20 | then finally, I want to make sure that
it is aligned to the right-most point of
| | 08:27 | the Y and to do that I am going just do it
by eye on a case-by-case basis, just by
| | 08:32 | increasing the amount of Right Indent
until we get it as far over as we need to.
| | 08:37 | Perhaps I will turn on my guides
and draw myself a guide for that. Zoom in.
| | 08:45 | All right, that looks good.
Turn the guides off, zoom out.
| | 08:51 | There is a template for our pull-quotes.
I have saved Paragraph Styles for them.
| | 08:59 | And if you were doing this from
scratch, just Click in the paragraph,
| | 09:03 | Paragraph Styles, New Paragraph Style,
name each part of the pull-quote, and
| | 09:09 | this one would be the attribution, and
then we would have a character style for
| | 09:12 | the closing quote, and another
character style for the opening quote.
| | 09:16 | But in addition to that, and perhaps
trumping that, what we can do is we can
| | 09:19 | make this into a Snippet and then the
next time we need a pull-quote and we
| | 09:23 | need another one. We can just drag
that Snippet from Bridge into our Layouts.
| | 09:28 | So let's take a look at how we can do that.
| | 09:30 | I have got both of these element
selected. We've done a fair amount of
| | 09:34 | dragging-and-dropping from Bridge.
We are now going to go in the opposite
| | 09:37 | direction where we drag and drop to
Bridge. So if I come to Bridge, and I'll
| | 09:41 | switch Bridge back to my Full View, and
here we are looking at the contents of
| | 09:48 | the Snippets folder, the folder that I
made, which is in the SF_layout_finished
| | 09:53 | folder, in the exercises folder.
| | 09:55 | And here are various pieces of my
layout in progress, that for whatever reason
| | 10:00 | I've wanted to keep a record of, maybe
they were experiments that didn't quite
| | 10:04 | work out, or maybe they are pull-
quotes that I want to use as repeating
| | 10:09 | elements. So I am going to set my
Bridge now to Compact Mode, and with my
| | 10:16 | pull-quote selected along with the
opening quote mark, I am going to drag
| | 10:19 | that over into Bridge, where it will
be referenced, Snippet, where there are
| | 10:24 | reference number, I am going to
change that, actually give it a name.
| | 10:28 | I am going to call it new pull quote. And
now to put that on my page, elsewhere I'll
| | 10:37 | move to this spread where we
want, I pull-quote right there.
| | 10:42 | Now if I wanted to in exactly the same
locations, same page quote as it came
| | 10:47 | from, I would hold down the Option or
Alt key when I drag it. Since I don't.
| | 10:51 | I am not holding down any modifier key.
I am just dragging it, and that is where
| | 10:56 | it's going to end up. I need to make sure
that I have got both of those bit selected.
| | 11:02 | Now obviously I need to change the
content of that. So I am going to come in
| | 11:06 | down here, where the text for the
first pull-quote appears in the text.
| | 11:11 | Let's dismiss my Paragraph Styles and
I am going to highlight just the text.
| | 11:18 | We'll leave behind the opening and closing
quote marks, copy that, zoom out, zoom
| | 11:25 | back in up here, select this text.
And we want to paste without formatting.
| | 11:32 | So I'll keep the same formats.
Unfortunately it picks up the format of the Tint,
| | 11:37 | but we can easily reset that to be 100%
and in actual fact for this pull-quote
| | 11:43 | we wanted to be white, because the
orange is just not really working against
| | 11:47 | the blue background. So I am going to
set that to Paper, and then we can just
| | 11:53 | make whatever adjustments we need to,
based upon the specificity of the quote itself.
| | 12:00 | So I am going to add a line break right
there, I'll Shift+Return, obviously the
| | 12:04 | attribution name needs to change,
and the textframe can be substantially
| | 12:15 | narrower, and then I'll need to just
fiddle with the Right Indent of this so
| | 12:22 | that it's now aligned with the
vertical stress on that D, like that. Okay, so
| | 12:33 | there are our two pull-quotes, and I
think I also want to make the attribution
| | 12:38 | on that, white as well. And perhaps
just fiddle around with its placement to
| | 12:45 | get it just so that the tops of the
caps are aligning with the top of the tower
| | 12:51 | in the image, that looks about right.
| | Collapse this transcript |
| Creating captions| 00:00 | Our next step is to add captions to our
article and let's just zoom in on this
| | 00:04 | caption down here. We have one there
and other one right there, there, there
| | 00:11 | and on the final spread in the outside
columns and just to reference back to
| | 00:18 | the grid that we are using. Remember
we have 5-column units for each of our
| | 00:23 | text frames and the outside columns are
2-column units wide, wide enough to add
| | 00:30 | the caption which is smaller in
point size than the body text.
| | 00:37 | We are in layout24. This is our work
in progress. You can place the captions
| | 00:43 | from a text file. I will just show you
where that is. It's right there in the
| | 00:48 | text folder which is in the SF_layout_
finished folder in the Exercises File folder.
| | 00:53 | However, we are not going to do
it that way. We are going to do it in a
| | 00:56 | more exciting way than that. In the
Links folder, all of the images that we are
| | 01:01 | using have XMP metadata and as part of
the metadata, there is this IPTC core
| | 01:10 | which stands for International Press
Telecommunications Council. We don't
| | 01:15 | necessarily need to know that but what
we need to use and what we can really
| | 01:20 | benefit from is this
information here in the description.
| | 01:24 | Now, in the case of these images, I
have gone into that area of the metadata
| | 01:29 | and I have typed in this information
but if you are acquiring your images from
| | 01:34 | picture agencies, quite likely, there
will be a caption in the Description
| | 01:39 | field and you can use that caption but
you can also, as I have done, just come
| | 01:45 | to Bridge and type in the caption
right there. Then we can leverage that
| | 01:49 | information in InDesign.
| | 01:51 | So if I now come back to InDesign and
I am going to select this image which I
| | 01:57 | can't do because I currently have my
Pictures layer locked. So, I need to make
| | 02:00 | sure that my Pictures layer is
unlocked and I am also going to add a fifth
| | 02:05 | layer at this point to accommodate the
captions. Create New Layer and I will
| | 02:12 | call it captions and I will move it
beneath the Text layer and not very
| | 02:20 | important, I am also going to change the Color
of it to Orange. That's just the selection color.
| | 02:26 | Now, when I select this image, I am
going to be using a script called Label
| | 02:31 | Graphic and here is how it works. I
will Right-Click on the image and then I
| | 02:35 | come down to this Context menu right
here and choose Label Graphic.
| | 02:41 | What information am I going to be using to
label the graphic? I am going to be using
| | 02:44 | the XMP Description. The Label Height,
how high is the text frame going to be,
| | 02:50 | leave that to 24 points. All of these
text frames that is generated by the script.
| | 02:54 | We are going to have to adjust
it anyway. So, this is just a way of
| | 02:57 | really getting content on to the page.
| | 03:00 | Label Offset, now it's going to put the
caption beneath my image which in this
| | 03:05 | case is not going to work. So, I am
going to make the Label Offset -24 points,
| | 03:09 | otherwise it's going to end up off the
page. Label Style, what paragraph style
| | 03:13 | do I want applied to the text and I
want the Caption Style and what Layer do I
| | 03:19 | want the captions to end up on, on the
Captions layer. Click OK and it's popped
| | 03:25 | in right down there. So I now need to
zoom in to that and I am going to move
| | 03:31 | that over there because in this case,
we don't actually want the caption on top
| | 03:36 | of the image but I can move it over
there, resize it and then to position it, I
| | 03:46 | am going to start off by batting it up
against the image and I want to now back
| | 03:51 | it off by 12 points because we are
using 12 points as I got the space.
| | 03:55 | So I would choose the top right
reference point and for the X value, I will
| | 03:59 | make that, -12 and I also want it to
position on the bottom margin. So let's
| | 04:04 | turn the Guides on. Press W and I am
going to drag that down and now for my
| | 04:12 | caption frames, for some of them at
least and this is not going to be the case
| | 04:15 | for all of them, I am going to find
it beneficial to have the vertical
| | 04:20 | alignment set to bottom. That way I
can just position the bottom of the text
| | 04:25 | frame and then come to my Object menu >
Text Frame Options > Align Bottom and
| | 04:31 | it's going to make sure that the last
baseline of my caption is exactly at the
| | 04:36 | bottom of the text frame.
| | 04:38 | I could also go and save that as an
Object style if I wanted to. Why don't I do
| | 04:43 | that? Let's come in to Object Styles
and New Object Style and we will call
| | 04:49 | that, caption bottom aligned. All right,
let's do that for one at least one other
| | 04:57 | so we get the hang of that. I am
going to now advance to the next spread.
| | 05:01 | Option+Page Down or Alt+Page Down and
then select this image. When using this
| | 05:07 | Label Graphic script. There is one
piece of setup that you need to do.
| | 05:11 | I have already done it but let me point it out.
| | 05:13 | If we go to the Scripts panel and if
you don't see a Scripts panel, you will
| | 05:16 | find it under your Automation menu >
Scripts and the one we are after,
| | 05:23 | I am using the Apple Script. If you are
working on a Windows machine, you will be
| | 05:27 | using VB Script or JavaScript. You
will see that there are two scripts here,
| | 05:31 | LabelGraphics and
LabelGraphicsMenu. Before you can use this one,
| | 05:35 | LabelGraphics, which is actually the
one that we are using, you have to first
| | 05:40 | of all, use this one and you just
need to do this the once but when you
| | 05:43 | Double-Click on this, it gives you
this message, This script installs a Label
| | 05:48 | Graphic menu item on the Layout
Context menu. So, you would say, Yes and
| | 05:54 | thereafter, every time you right-
Click on the image, you will see this.
| | 05:58 | So I am going to choose that again.
Unfortunately, it's not sticky. It is not
| | 06:03 | remembered the settings that we chose
last time, so I do need to choose them again.
| | 06:07 | XMP Description is what we are
using, Label Height, I will leave that at
| | 06:11 | 24. I will make the Label Offset, in
this case, -12, Caption will be the style
| | 06:18 | and we want it to end up on the
Captions layer. Click OK and again, it's gone
| | 06:24 | to the bottom of the image. It's not
perfect but it's just a starting point.
| | 06:27 | So, I can then drag that over, resize
it to 2-column units wide and pull that
| | 06:35 | up so that we don't see any of the set
text and then come to my Object Style
| | 06:41 | and apply that object style to it.
| | 06:43 | You will notice that the paragraph
style of the captions is set so they align
| | 06:48 | to this line, i.e, on the left hand page,
they are right aligned. If I were to
| | 06:53 | drag that over to the right hand page,
you will see that it becomes left
| | 06:57 | aligned. Where this really comes
into its own is where you have several
| | 07:03 | graphics and I will just
quickly do this on the last spread.
| | 07:08 | So if I now select all of those, we can
label them all at once. Caption and we
| | 07:18 | want to end up on the Captions layer,
Click OK. There are the captions and of
| | 07:23 | course, they are all kind of in the
wrong position but what I can do now is
| | 07:26 | come to my Layers panel, lock
everything but the Captions layer. So if I hold
| | 07:31 | down my Option or Alt key and Click in
that locking column and I can now select
| | 07:36 | these pull them down into positions.
No danger of me selecting anything else
| | 07:41 | because the other layers are locked and
in this case, I would probably cut that
| | 07:47 | text and paste it into that text frame,
so we only have the one text frame.
| | 07:55 | And for the second caption, I have
another Paragraph Style setup, Caption
| | 08:00 | space, which is much the same except
that it adds a space before and it's the
| | 08:05 | run alignments. I am going to need to
just change the alignment on that and
| | 08:10 | once again, I would resize the
caption frame so that it fits into 2-column
| | 08:16 | units widthwise and apply the caption
bottom aligned object style to it.
| | 08:22 | And then the other problem there is that
I actually have a line break at the end
| | 08:27 | and I want to delete that and when I do,
that very last baseline is going to go
| | 08:32 | on to my bottom margin.
| | 08:36 | Okay, I will finish up the other few captions
and see you in the next movie for our next step.
| | Collapse this transcript |
| Fine-tuning the layout| 00:00 | There are a number of fine tuning
adjustments that we need to make to the
| | 00:03 | layouts. Some of them, I have already
made. I will just point out what they are
| | 00:07 | and others I am going to do with you.
| | 00:09 | So, on the opening spread I realize
that my deck head here, it wasn't
| | 00:15 | breaking quite right and I also had
neglected to apply to the awful name,
| | 00:22 | the bold character style, so that that
gets distinguished from the rest of the text.
| | 00:27 | In several places, where the image
bleeds of the bottom, I have removed
| | 00:34 | the footer. This is going to leave
us with just one footer per spread but
| | 00:38 | that's fine. If the left page is page
48, the reader can figure out that the
| | 00:42 | right page is page 49.
| | 00:43 | So, long as we have one footer per
spread, I think that is sufficient and it is
| | 00:48 | preferable to having the footer go over
the image and be unreadable. So, I have
| | 00:52 | removed those and I have also replaced
this picture. I realized that I had the
| | 00:59 | wrong picture in there. So, that one
replaces what was formally there but what
| | 01:03 | we want to do together is we want to
make the text fit. We have quite a lot of
| | 01:08 | empty space here at the end of the
article and we want columns of text to
| | 01:14 | bottom out nicely and
all ends at the same point.
| | 01:18 | So, we need to make a few adjustments.
I would like to come to the start of the
| | 01:24 | article and pull the text frame down
just a little bit lower, so that we have a
| | 01:28 | few more lines of text on this page.
Part of the reason I am doing this is so
| | 01:34 | that we pull this subhead back. This
subhead beginning at the top of the column
| | 01:39 | is creating problems with our grid,
because these subheads only work when the
| | 01:44 | space before the subhead is factored
into them and if they occur at the column
| | 01:49 | top, then that space before is forgotten.
| | 01:52 | So, back here. I am going to select
this text frame. Let's make sure that we
| | 01:56 | have the appropriate layers unlocked.
I am going to unlock my text and my
| | 02:02 | pictures, but we will keep all the
others locked for now. I am going to pull
| | 02:05 | this down a few lines to about there.
Let's see how that has affected this
| | 02:10 | text, that's fine. I have at least
three lines after it, in that column, that's
| | 02:14 | good and now on the final spread, we have more
room available for the pictures. So, let's use it.
| | 02:21 | Let's make the pictures higher than
they currently are. I am going to adjust
| | 02:28 | these text frames, so that they end
at the same point, let me turn on the Guides.
| | 02:34 | Even though I am working with the
Smart Guides on and Smart Guides will
| | 02:38 | show me where I am aligning. I
just prefer to see my Baseline Grid.
| | 02:46 | So, if I zoom in a bit larger, I can
pull that down. I am going to pull this
| | 02:52 | down to the same point. Let's keep going.
All right, that's looking good.
| | 03:00 | We are on the same base line there. So, I now
want to select the images and pull that down.
| | 03:06 | I am going to leave the ones in
the left hand column for now because we
| | 03:10 | are going to treat those slightly
differently. You will see there my Smart
| | 03:13 | Guide kicking it. You will see how it
changes to green when I pull it down, so
| | 03:17 | that it aligns to the same point as the
picture frame to its left. That caption
| | 03:22 | needs to move as well. So, I need to
unlock the Captions layer. That needs to
| | 03:25 | get pulled down. I want to make sure
that its first baseline is the same as the
| | 03:30 | first baseline of that type
which it is and we will zoom out.
| | 03:36 | I can now select both of these
and refit these images to the frame.
| | 03:41 | Command+Option+Shift+C or Ctrl+Alt+
Shift+C and for these two images, I want
| | 03:48 | them both to be exactly the same height.
So, what I am going to do is I am just
| | 03:53 | going to move that one off to the pace
board for now and then increase the size
| | 03:58 | of this one, so that it is the same
height as the picture to its right. Now,
| | 04:05 | from its height, I have got the top
reference point selected. I am going to
| | 04:08 | delete 12 points, 12 points being in
the gut space between the two images.
| | 04:13 | So, -12 points and then I will divide
its height by two and then I am going to
| | 04:20 | duplicate that, Alt+Shift and again
my Smart Guide will show me when I am
| | 04:25 | aligning the bottom edge with the
bottom edge of the other image. I can now
| | 04:29 | switch to my Direct Selection tool.
Select the image in there and cut it from
| | 04:34 | there and select that one there and we
will cut that from there, Click inside
| | 04:40 | of this frame and then choose Paste Into.
I can get rid of that empty image frame.
| | 04:46 | Select those two image frames,
Command+Option+Shift+C, Ctrl+Alt+Shift+C
| | 04:52 | to fit them and then just adjust the
cropping as necessary and our content is
| | 05:04 | now fitting much better.
| | Collapse this transcript |
| Adding continued and end characters| 00:00 | We now have the relatively minor matter
of adding in some Continued Arrows and
| | 00:05 | an End Character. The purpose of the
continued arrow is both to indicate the
| | 00:10 | point of entry on the page, and in the
case of this one down here, to indicate
| | 00:14 | a jump where the story doesn't continue on the
next page but continues on the following page.
| | 00:20 | We don't need to write in,
continued on page, because the story is
| | 00:24 | self-contained. It's not jumping a
section and continuing in the interior of
| | 00:29 | the magazine, so we don't need to worry
about that and the end character, just
| | 00:34 | a solid square with the
Orange color applied to it.
| | 00:36 | So if we go to layout26, I am going
to add the first one down here and I am
| | 00:42 | going to add them to the
captions layer, I am going to zoom in,
| | 00:45 | Command+Spacebar+Clicking-and-Drag,
choose my Type tool, Click-and-Drag and I
| | 00:51 | now need to find that character and to
do that, I will go to my Glyphs panel
| | 00:57 | and I want to be viewing the Myriad Pro
font and I will scroll down. That's the
| | 01:04 | one that we are after right there,
Double-Click to insert it at the point of my
| | 01:08 | cursor and now I am going to scale up
that greater than, greater than.
| | 01:16 | Let's make it 18 points to say, and I will
make it Bold and I apply the Orange color to it.
| | 01:25 | I will fit the frame to the content
and then drag it into position, turn my
| | 01:31 | Guides on by pressing W, so I can make
sure that it's on the baseline of the type.
| | 01:35 | Now that I have got one right there,
I could just copy that, Command+C,
| | 01:42 | and zoom out, advance to my next page, zoom
in and paste it, and drag it into position.
| | 01:52 | Now, for the end character, just a
question of inserting your cursor at the end,
| | 01:57 | adding a space. The solid square
in Zapf Dingbats is a lower case n.
| | 02:03 | If you didn't know that, you could access
it from the Glyphs panel in just the way
| | 02:06 | I did for the Arrow, but if I type in
an n and then highlight that, I have a
| | 02:11 | Character Style already prepared
called end character which has a couple of
| | 02:17 | attributes applied to it. One is that,
it's going to be in Zapf Dingbats and
| | 02:21 | the second is that it's going to be in Orange.
| | 02:25 | So there we have got the
Arrows and the End Character.
| | Collapse this transcript |
| Fixing spacing problems (widows and orphans)| 00:00 | There will inevitably be some
spacing problems with your text, widows and
| | 00:04 | orphans, last lines or first lines
of paragraphs that get stranded at the
| | 00:09 | bottom or at the top of the pages or
columns and also show exit lines where the
| | 00:14 | last line of the paragraph is a bit short.
So let's see if we can fix some of those.
| | 00:20 | Now, here in the finished version, I am
going to turn my Guides on by pressing
| | 00:24 | W and then I am going to go and turn a
very useful Composition Preference on
| | 00:28 | code Custom Tracking/Kerning and when I
turn that on, we can see certain areas
| | 00:34 | of my type highlighted in green
indicating that Custom Tracking has been
| | 00:38 | applied and other areas in orange where
Custom Kerning has been applied to try
| | 00:44 | and fix these spacing problems.
| | 00:47 | So now returning to our work in
progress, layout27 and on page 48, we see the
| | 00:54 | first of our problems and that is
that we have a paragraph beginning at the
| | 00:59 | bottom of the page. It's not terrible
by any means, but what we are going to do
| | 01:03 | here is we are going to assume that we
have editing as one of the tricks up our sleeve.
| | 01:09 | I am just going to edit that so
that we don't have a paragraph break there.
| | 01:14 | So if you can pass this back to your
sub-editors to edit the text, so that
| | 01:19 | those problems don't happen, then
that's probably your first line of defense.
| | 01:24 | But now moving to the next spread, we
can see that in fixing one problem, we
| | 01:30 | have created another and the other is
this line here and we are going to fix
| | 01:35 | this one in a different way.
| | 01:37 | I am now going to return to that
first spread where I will select that text
| | 01:43 | frame and I am going to make it one
line shorter for both columns. Of course,
| | 01:48 | I am going to need then to go and select
my navigational arrow right there and
| | 01:52 | just reposition that. And incidentally,
I should point out that I have changed
| | 01:58 | another Preference, Units & Increments.
I have made my Cursor Key Distance
| | 02:03 | 0.25 of a point, so that I can nudge
these elements in very small increments.
| | 02:09 | But back to the widows and orphans.
Having now lost two lines one from the
| | 02:15 | bottom of each of these columns,
that's how the knock-on effect to solve the
| | 02:19 | problem of that stray line at the top
of that second column. So I am now going
| | 02:26 | to turn my Guides off. Let's advance through
this and see what other problems we come up with.
| | 02:31 | Now, if we move to the very last
spread, we can see that we are now running
| | 02:36 | over again and there is a lot of back
and forth with this and you will find
| | 02:40 | likely that fixing one problem may create
another and that's what's happened here.
| | 02:45 | If I turn my Guides on,
we are now running over by two words.
| | 02:50 | So I am now going to come up stream
of that problem. Go back to my previous
| | 02:57 | spread, where I see I have this
paragraph that has a relatively short exit line
| | 03:02 | and I think that's going to be
a good candidate for tracking.
| | 03:06 | So I will select that whole paragraph
with four Clicks and I have my Kerning
| | 03:11 | and Tracking Preference set to 1/
1000th of an em, so that it's going to track
| | 03:17 | in the smallest increments possible. So
Option+Left Arrow or Alt+Left Arrow and
| | 03:23 | just two nudges of that, and if I
look on my Character Formats, -2, that's
| | 03:28 | going to be an imperceptible amount,
but that's enough to bring that word out
| | 03:32 | to the previous line
which has a knock-on effect.
| | 03:36 | So that when we go to the last page of
the article, we are now bottoming out.
| | 03:41 | Again, we have got all of our text and
none of it is overset. And just so that
| | 03:48 | we can see, should we need to, where
any of that Custom Kerning and Tracking
| | 03:52 | has been applied, turn the Guides
back on, Preferences, Composition, Custom
| | 03:58 | Tracking/Kerning and then if I Option+
Page Up or Alt+Page Up, we can see that
| | 04:04 | paragraph there in green to indicate
that it has Custom Tracking applied to it.
| | Collapse this transcript |
|
|
5. Proofing and OutputManaging image links| 00:00 | As I am sure you are probably aware,
when you Drag-and-Drop an image from
| | 00:03 | Bridge into InDesign, you create a link
to that file and InDesign needs to know
| | 00:09 | where those images are, so you can't
go and delete them. Those images need to
| | 00:13 | move with your InDesign document, should
you move it anywhere to a different location.
| | 00:18 | The links need to be up-to-date and we
use the Links panel to manage our image links.
| | 00:25 | If I open the Links panel, here
is a list of all of the images that have
| | 00:29 | been placed into the layout and here we
have a link to their specific location,
| | 00:34 | so if I were to Click on that, then
I would jump to that particular link.
| | 00:39 | But we can use the links to our
advantage, should we need to edit any of these
| | 00:44 | images that are in the layout in place.
And that's what I am going to do here.
| | 00:49 | So I am going to go back to Fit in
Window view for that spread and I would like
| | 00:54 | to edit this image of Downtown, San
Francisco and to do that, I need to hold
| | 01:00 | down my Alt key and then Double-Click on
the image and it will open up in Photoshop.
| | 01:05 | Now if you do this and it opens
not in Photoshop but in Preview or in
| | 01:09 | Microsoft Picture Editor or some other
program, then you need to set your file
| | 01:14 | type associations. So I will just
quickly run through how you can do that if
| | 01:19 | that's necessary. You come to an
example with the file type that you are
| | 01:24 | working with and I am going to go to
the SF_layout_finished folder to the Links
| | 01:28 | folder and Click once on any of these
JPEGs, it doesn't matter which one and
| | 01:33 | then go to the File menu and choose Get Info.
| | 01:37 | If this is Windows, you choose Properties
and here is what you would need to change.
| | 01:42 | Opens with: you need to make
sure that this is set to Photoshop and if
| | 01:47 | you have changed it then Click on
Change All and that will change it for all
| | 01:51 | JPEGs and you may need to do it
for TIFFs and for PSDs as well.
| | 01:56 | But once that's done, it will stay
like that until someone should come along
| | 02:00 | and change it. So you should only need
to do that there once and it's already
| | 02:05 | set up on this machine, so if I
hold down my Option key or Alt key and
| | 02:10 | Double-Click on that image, it opens
the image up in Photoshop. I am going to
| | 02:15 | change to Full Screen by pressing F.
| | 02:18 | I would just like to make a couple of
changes to this image to improve its
| | 02:21 | contrast and just to warm it up a
little bit. So I am going to add a Levels
| | 02:26 | Adjustment layer, to do that, and on
that Levels Adjustment layer, I am going
| | 02:30 | to get the White Point slider and bring
that closer to the center. That's going
| | 02:34 | to make the highlights brighter and
then I am going to get this the Gray
| | 02:38 | Balance eyedropper and in conjunction
with my Info panel, I am going to reset
| | 02:44 | the Gray Balance on this and I am
going to target an area of what should be
| | 02:48 | neutral gray like this building down
here, and you can see where my Gray
| | 02:53 | Balance eyedropper is the numbers on
my Info panel reflect a higher amount of
| | 02:59 | blue than of red and green, but when
I Click, right there, it's going to
| | 03:04 | neutralize that area and that will
have an overall effect on the image of
| | 03:08 | making it a bit more yellow and a bit warmer.
| | 03:11 | So now that I have added a layer to this
I can't save this as a JPEG and write
| | 03:16 | over the original unless I first
flattened it and that's what I am going to do.
| | 03:22 | If you are being cautious here, then
you should save a version of this as a PSD
| | 03:28 | or a TIFF and then flatten your file
and save that flattened version as the JPEG.
| | 03:33 | I am just going to go right
ahead and flatten it and then save it,
| | 03:37 | Command+S or Ctrl+S and now if we are
back in InDesign, we can see maybe it
| | 03:43 | will update in place, maybe it won't
and if it doesn't, you will see this up
| | 03:49 | here on your Links panel and this
is telling me that the file has been
| | 03:54 | modified, Double-Click to Update and
we now see the updated version in place.
| | Collapse this transcript |
| Preflighting| 00:00 | To make sure that we're going to have
no printing problems, we need to take
| | 00:02 | advantage of our Live Preflight in
InDesign CS4 and that's what is here down here.
| | 00:09 | Currently it says, No errors.
It's always nice to see, but in fact,
| | 00:14 | we have not been very rigorously preflighting this.
We are going to come to the Preflight panel.
| | 00:19 | In fact, before we do that, we're going
to choose Define Profiles and the basic
| | 00:24 | profile is currently being used and the
basic profile is a bit more forgiving,
| | 00:29 | a bit less rigorous than we would like.
I have made myself a second profile,
| | 00:35 | Magazine, and I'm just going to run you
through the settings that I'm using for this.
| | 00:39 | So in order to make a profile,
you simply Click on the plus symbol
| | 00:43 | and then define whatever parameters you
want. These are the ones that I've chosen.
| | 00:48 | So Links, we want to be notified of any
links that are missing. Color, we want
| | 00:53 | to be notified if there is a problem
with the Transparency Blending Space.
| | 00:56 | It's highly unlikely but it is possible
that someone could have chosen RGB as the
| | 01:00 | Transparency Blending Space. We only
want to allow CMYK colors. So Spot color
| | 01:07 | is not allowed. RGB colors, they
are going to get converted to CMYK using
| | 01:14 | the Color profiles in our PDF export.
So we don't particularly need to worry
| | 01:18 | about those, but we do want to be
notified of any spot colors that may be in here.
| | 01:23 | Any overprinting, or any registration
that may have been inadvertently applied
| | 01:28 | because that wouldn't have been
applied purposefully; that would have been a
| | 01:31 | mistake and again, it's highly unlikely
that that's going to have happened.
| | 01:34 | But you never know; someone could
be playing a nasty trick on you.
| | 01:38 | Images and Objects, Image Resolution;
now we're working with images that to some
| | 01:43 | extent are compact images. These aren't
really of magazine quality but they're
| | 01:48 | just for kind of training purposes.
So I've set this threshold number lower
| | 01:53 | than it would be in the real world. In
the real world, this would be 300 pixels
| | 01:57 | per inch, maybe slightly less, maybe as
low as 240, maybe slightly more, maybe
| | 02:03 | as high as 350. But typically both the
color image and the gray scale image,
| | 02:09 | minimum resolution would be 300. For
the 1-bit image, that would probably be
| | 02:14 | about 1200, but that's not really
relevant for us since we don't have any and
| | 02:19 | it's unlikely that we would have.
| | 02:21 | We want to be notified of any Non-
Proportional Scaling of images and we also
| | 02:26 | want to be notified of anything that is
below minimum Stroke Weight and we can
| | 02:31 | say what we want that to be. I've got
that at 0.125 of a point. I know for a
| | 02:37 | fact that I'm not using anything less than 0.5.
| | 02:39 | Bleed/Trim Hazard; anything that gets
too close to the edge and you can say how
| | 02:45 | close is too close in this case, so I'm
saying 9 points. Check for Objects Near
| | 02:51 | Spine; no, because we are intentionally
putting objects near the spine and over
| | 02:56 | the spine as is the case with this
image here which crosses over the spine.
| | 03:00 | So that's not going to be of any use to us.
| | 03:02 | Overset Text, definitely, we want to
know if there is any over matter so that
| | 03:06 | we don't bite error print out the
document with missing text. We want to know
| | 03:10 | if there are any fonts missing.
Paragraph Style and Character Style Overrides,
| | 03:15 | that's just a bit too uptight because
we have to make some overrides and that's
| | 03:19 | not always a bad thing. So no, we
don't want that one checked. Glyph Missing, no;
| | 03:24 | Font Types Not Allowed, no; Non-
Proportional Type Scaling, well, yes,
| | 03:29 | we'll have that on. I'm making point that
always scaling my type proportionally.
| | 03:34 | By the way, I mean, if any of these
things do get flagged, we can check what
| | 03:39 | the nature of the problem is and we
can always choose to ignore it. Its' not
| | 03:42 | like if there is a bit of non-
proportional type scaling in there, then it's not
| | 03:45 | going to necessarily set any alarms
off; it's just going to warn us of that fact.
| | 03:50 | Bleed and Slug, yes, we want to
have a bleed. We want to make sure that
| | 03:54 | we're using that bleed, that it goes
to a minimum of 9 points, and that's it.
| | 04:00 | So that's my Magazine preflight profile.
I'm now going to Click OK or if I'd
| | 04:05 | made any changes Click Save; I'm not
going to make a change, so I'll just Click
| | 04:08 | Save and Click OK. Then I want to
actually turn that one on. So I'm going to
| | 04:13 | come to Preflight panel and from the
Profile drop-down menu, I'll choose
| | 04:19 | Magazine and then turn that off.
| | 04:21 | When I do so, I've got four errors.
So let's see what those errors are.
| | 04:27 | Images and Objects. Okay, let me know.
I've got Bleed/Trim hazards. I'm not worried
| | 04:34 | abut this. Let's just go take a look
what they are. Page 46. I guess I've just
| | 04:40 | got things closer than 9 points to
the edge. I'm not worried about it.
| | 04:46 | Thanks for telling me, but that's okay.
Now I'm there again on the master page.
| | 04:50 | So that is the Live Preflight. Just
keep a watchful eye on any errors that
| | 04:54 | may be flagged and take appropriate action.
| | Collapse this transcript |
| Creating PDFs| 00:00 | We're about ready to print this and
to do so, we're going to make it into a PDF.
| | 00:03 | As opposed to making into a PDF,
we could package the whole thing from
| | 00:08 | under the File menu, choose Package.
That's going to gather up the InDesign
| | 00:13 | document and the fonts and the links,
and then we'd send that whole package to
| | 00:19 | our printer. They would open it
and print it from the InDesign file.
| | 00:22 | These days most printers prefer to
receive a PDF and it's far easier for them
| | 00:28 | and it's far less error-prone for you.
So that's what we're going to do.
| | 00:31 | Although Package still has a useful
function and that is what we will do after
| | 00:35 | we've done this; we'll package to
archive the whole project. But for printing
| | 00:40 | purposes, we're going to make it into a PDF.
| | 00:43 | First and foremost, speak to your
printer. What I'm going to show you now the
| | 00:47 | settings that I'm going to
recommend describe a very generic printing
| | 00:51 | circumstance. Your printing
circumstance is going to be specific. So speak to
| | 00:56 | your pinter so that you can give them
exactly what they want; perhaps they can
| | 01:00 | direct you to a part of their website
from which you can download a PDF preset.
| | 01:06 | And if you were to download a PDF
preset, you would come to File > Adobe PDF
| | 01:11 | Presets > Define and then Click on Load,
where you could load into this list and
| | 01:17 | thereafter you would be able
to choose it from this list.
| | 01:20 | What we're going to do is we're going
to make a press-ready PDF. So I'm going
| | 01:24 | to choose that and I'm going to call
this layout_final.pdf and this is being
| | 01:31 | saved in the 05 folder.
| | 01:34 | So these are the settings for a press
quality. We have a description of what is
| | 01:38 | right there. We want to make sure the
page range is, in this case, All Pages.
| | 01:42 | We want to view the PDF after exporting.
We don't want any of these elements
| | 01:46 | checked here because we don't want
any interactivity in this document.
| | 01:51 | Compression, we have Bicubic Downsampling
to 300 for anything that is more than 450.
| | 01:57 | So anything up to 449 pixels per inch,
no change; 450 above, downsampled to 300
| | 02:06 | using a JPEG compression but of
maximum image quality. So we're keeping the
| | 02:11 | file size as small as possible, but at
the same time, maintaining high image
| | 02:16 | quality. The same with the Grayscale
Images, although we don't have any, and
| | 02:21 | for the Monochrome Images, those
numbers aren't necessarily high, although we
| | 02:24 | don't have any of those either.
| | 02:26 | Crop Image Data to Frames; this is
going to save us quite a lot of space
| | 02:31 | because it's going to mean that
anything that was outside of the picture frame
| | 02:35 | is not going to be sent along with the
PDF. Marks and Bleeds, I want these ON;
| | 02:40 | Crop marks, Registration Marks, Page
Information and Document Bleed Settings.
| | 02:45 | But don't take anything that I say
here absolutely literally, confer with your
| | 02:50 | printer; give them what they want.
| | 02:52 | Output, very important. Color
Conversion, Convert to Destination; the
| | 02:57 | destination being your destination
profile as referenced here. It's a CMYK
| | 03:03 | profile. Now which specific CMYK
profile? It's likely going to vary depending
| | 03:08 | on what part of the world you're in.
If you're in Europe, it's more likely to
| | 03:12 | be one of these. In the US, it's more
likely to be one of these. These are
| | 03:16 | generic printing circumstances, but
whichever one of these you choose, it's
| | 03:21 | going to ensure that your RGB colors
get converted to CMYK colors, meaning that
| | 03:28 | we don't have to pre-separate these images in
Photoshop, saving us an enormous amount of time.
| | 03:34 | In the Advanced section, nothing that
we need to change but we see that our
| | 03:38 | fonts are being embedded. All fonts
with appropriate embedding bits will be
| | 03:42 | embedded, and there's sub-setting going on,
meaning that in the case of the Zapf
| | 03:48 | dingbats that we've used, only
those specific characters will be sent
| | 03:52 | rather than the whole font be sent
again to cut down on the file size.
| | 03:57 | Security, we don't need any of that, and the
Summary is just a summary of the different options.
| | 04:04 | So I'm now ready to Click Export and
it's going to generate the PDF. Here we
| | 04:12 | are in Acrobat, now I'm now going to
switch to my Fit Page view so that I can
| | 04:18 | see my pages side by side. Page display,
I'm going to change that to Two-up and
| | 04:23 | then just move through these pages and
it's looking splendid. Okay, there is our PDF to be sent to the printer.
| | Collapse this transcript |
| Packaging| 00:00 | Okay, the project is finished. It's
been sent to the printer. We eagerly await
| | 00:04 | its return. In the meantime what we
can do is package the project and archive it.
| | 00:10 | There have been numerous images
that we have come into contact with that
| | 00:14 | we have not actually used. And we have
got various different iterations of this
| | 00:19 | file as we have been incrementing it
with every series of changes along the way.
| | 00:24 | We want to just archive the final version
along with only the images that we have used.
| | 00:30 | So to do this, we are going to go to
File and Package, and then here's a
| | 00:37 | Summary of the Fonts, the Links, the
Colors, etcetera. But this is all stuff
| | 00:42 | that's really now addressed through
the live preflight as much but it's not
| | 00:46 | going to hurt, so just make sure that
all of our images are linked. We have a
| | 00:50 | warning triangle there. It's warning
us that the images are RGB but we know
| | 00:54 | that since we are using the
appropriate PDF preset then that's not a problem.
| | 00:59 | And the fonts, they are all there,
everything is good. So we are going to go
| | 01:03 | and Click on the Package
button, save it before we do so.
| | 01:07 | Printing Instructions, we don't need
this. We can just completely bypass this
| | 01:11 | because we are not actually sending
this out for print. We are sending the PDF,
| | 01:14 | not the InDesign document so I am
going to Click Continue. I am going to make
| | 01:19 | myself a folder on the Desktop and I
am going to call it SF layout final folder.
| | 01:28 | And do you want to copy the fonts in
that? No, not really. Not in this case
| | 01:33 | because I have got the fonts on
my system. I don't want to end up with
| | 01:36 | numerous versions of the fonts on my
hard drive just taking up extra space.
| | 01:41 | So no, I don't want those but
I do want the Linked Graphics.
| | 01:45 | Update Graphic Links in Package, well
that's not necessary. We saw that all of
| | 01:49 | the links are up to date anyway. Use
Document Hyphenation Exceptions Only;
| | 01:53 | this is only relevant if we are sending it
somewhere for printing and we have made
| | 01:58 | exceptions to the hyphenations of
words which nether of those things is true.
| | 02:03 | So that's not relevant to us.
Include Fonts and Links From Hidden and
| | 02:07 | Non-Printing Content, well there isn't
any hidden or non-printing content.
| | 02:12 | We haven't been working with any hidden
layers. So that's irrelevant. View Report,
| | 02:16 | no, we don't need to see a report.
| | 02:17 | So I am now going to just Click Save.
It's going to gather up all of these
| | 02:22 | pieces and in one nice tidy package.
I will just close all these of windows.
| | 02:28 | We are going to have the InDesign file
and all of the links. And there is the
| | 02:34 | Instructions Text file. We don't need
that. We can toss that. So I am going to
| | 02:37 | press Command+Delete to
put that into the Trash Can.
| | 02:41 | There it is, the fruits of our labor.
And we can now just archive that on our
| | 02:47 | external hard drive or wherever it is
you keep the backups of your projects.
| | Collapse this transcript |
|
|
ConclusionGoodbye| 00:00 | Thank you for joining me for this
course, Designing a Magazine Layout.
| | 00:04 | I hope you found the techniques demonstrated
very useful and I wish you very good luck
| | 00:08 | in designing your own magazine layouts.
| | 00:11 | If you like this kind of tutorial
then I invite you to join me in the other
| | 00:16 | Hands-On Workshop series titles,
Designing a Logo, Designing a Business Card,
| | 00:21 | Designing an Event Poster, Designing a
Brochure, and Designing a Newsletter.
| | 00:26 | For now, thanks and goodbye.
| | Collapse this transcript |
|
|
