IntroductionWelcome| 00:00 | (music playing)
| | 00:03 | Hi! I'm Nigel French and this
is Designing a Newsletter.
| | 00:06 | With 15 years experience as a
professional graphic designer, I've gotten to know
| | 00:11 | the tools and skills needed to put
together in newsletter that's friendly and
| | 00:15 | approachable, but also stylish.
| | 00:18 | In this course, I'll show you how to
use design and production techniques in
| | 00:22 | Adobe InDesign, Illustrator, Photoshop,
and Bridge CS4 to create a great looking
| | 00:29 | newsletter, one that people
will actually want to read.
| | 00:32 | First, we'll break down a
newsletter and identify its common parts.
| | 00:38 | Then we'll explore working
with multiple stories and images.
| | 00:41 | We'll cover how to use typefaces and
format text as well as placing, scaling,
| | 00:46 | and cropping pictures.
| | 00:48 | Throughout the process, we'll be
establishing an efficient workflow with
| | 00:52 | styles, master pages and layers to
maximize your design time and minimize the
| | 00:59 | repetitive tasks.
| | 01:01 | Let's start to get our message on
the page with Designing a Newsletter.
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| 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're 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,
| | 00:18 |
it's recommended that you place the photo
on your desktop for easy access.
| | 00:22 |
The exercise files are conveniently
organized by chapter number and name.
| | 00:28 |
Simply select an exercise file from the
correct chapter folder as indicated in the
| | 00:33 |
file path provided in the video.
| | 00:36 |
If you're working in the CS3 version of
the application, the exercise files may
| | 00:40 |
not exactly match those in the video.
However, you will still be able to follow
| | 00:45 |
along and learn to demonstrate the techniques.
| | 00:48 |
It's possible that the exercise files
may use fonts that are not installed on
| | 00:52 |
your system. So if you get this
Missing Fonts warning dialog then you can do
| | 00:57 |
one of two things. Just click OK and
InDesign will do its best guessing an
| | 01:02 |
appropriate substitution for the font
or if you click Find Font then you get to
| | 01:07 |
control which font is
substituted for the missing font.
| | 01:11 |
Here is the missing font right here
as indicated by this yellow warning
| | 01:15 |
triangle. I'm going to click on that
and now I can choose to replace it with
| | 01:20 |
an appropriate substitution,
then click Change All and Done.
| | 01:28 |
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| Overview| 00:00 | To begin with, let's take a tour of the
finished version of our newsletter and
| | 00:04 | I have this annotated diagram
indicating all the different parts of the layout.
| | 00:08 | So up top, we have our Table of
Contents with teaser images and very brief
| | 00:13 | descriptions of the article and then
we have the nameplate, the title of the
| | 00:17 | newsletter itself. Here's an
interesting picture treatment, a partial cutout of
| | 00:22 | the picture so that the head pokes
over the top of the picture frame.
| | 00:26 | A caption, which in this instance is set
against the black background so that it
| | 00:31 | reverses out of the picture. A
continued slug because the first story is
| | 00:36 | continued on the back page. A sidebar
article. A common theme in newsletter is
| | 00:41 | combining various different articles
on the same page and here we have a
| | 00:45 | four-column article juxtaposed with
a three-column article. A drop cap
| | 00:52 | indicating to the reader where to start,
a deckhead giving a brief description
| | 00:56 | of the article and a nice bold headline.
| | 00:59 | Let's now move to the first spread,
pages 2 and 3, where we see a lot of the
| | 01:05 | same themes continued throughout.
I'm just going to point out some of the
| | 01:10 | additional stuff that we see on this
spread. Familiar theme in a newsletter:
| | 01:15 | a mugshot of the columnist, in this case
the editor, department icons going with
| | 01:21 | the department heads. Got a nice
picture of our subject here, fully engaged
| | 01:26 | with the camera and as much as
possible, we want to go for imagery that
| | 01:30 | involves people doing
things, looking at the camera.
| | 01:33 | Here we have a pull quote used as a
graphic element and also an enticement to
| | 01:38 | read the article, kind of summing up
really the essence of the article.
| | 01:42 | A byline, which is distinguished from
the text by the use of a rule above and
| | 01:47 | below, a footer both on the left and
the right-hand pages, mirroring each other
| | 01:54 | so that it's on the outside part of the
page. The masthead with the credits for
| | 01:59 | the newsletter and some
white space for visual relief.
| | 02:04 | Let's now move to the third spread.
Now because we have an eight-page newsletter,
| | 02:09 | pages 4 and 5 are our center spread
where we have the luxury of being
| | 02:14 | able to take a picture, cross it over
from the left page to the right page and
| | 02:18 | that's what I'm doing here. Again,
we see the repetition of this white space
| | 02:23 | column, either side of this repeating
column which begins on the left-hand page,
| | 02:28 | Page 4, continues on to Page 5,
and is set in a contrasting font to the
| | 02:35 | body text, both in terms of its weight,
this is in a bold weight, and in terms of
| | 02:41 | its alignment. This is left aligned
whereas the body text is justified.
| | 02:46 | We also have a nice cutout of the dog here
creating an interesting visual shape around
| | 02:52 | which can wrap some text.
| | 02:55 | Another common feature of newsletters
is the Review section and in this month's
| | 03:00 | newsletter, we are reviewing
restaurants. So here we have six different
| | 03:04 | restaurant items, all following the
same fairly rigid format: the restaurant,
| | 03:10 | the dish, the address and then a
description and a nice picture to accompany
| | 03:15 | each one. Nice use of white space so
we're not overwhelmed by heavy blocks of text.
| | 03:20 | We see the repeating department
heads with this common theme of the gray
| | 03:27 | italicized serif type
put next to the bold sans serif green type.
| | 03:33 | A calendar distinguished from the
rest of the text by being set against a
| | 03:37 | tinted background and then in this
article down here, our community profile.
| | 03:43 | Again, we're combining a four-column
grid with a three-column grid. Elsewhere
| | 03:48 | we're using three columns. Here
we're using four with one of those three
| | 03:52 | columns being devoted to the
picture and the picture caption.
| | 03:56 | Finally, on our last page, we have
the self-mailing area occupying about one
| | 04:03 | quarter of the vertical space of the
newsletter and the continuation of the
| | 04:08 | article from Page 1 with the two
columns of text separated by a column of
| | 04:14 | pictures and their associated captions.
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|
|
1. Document EssentialsSaving a custom workspace| 00:00 | So you're itching to get started and
I am too, but it's really going to help us
| | 00:04 | if we take a moment just to set up a
workspace that has all of the palettes, or
| | 00:09 | panels as they're now called, that we need for
the kind of work that we're going to be doing.
| | 00:13 | So I'm going to start out with the
Typography workspace, which is a good
| | 00:19 | starting point, but there are some
panels there that I'm frankly not going to
| | 00:23 | be using and there are other panels
that I need that I'm going to need to add
| | 00:27 | to this workspace, then save the workspace
and we've always got that to return to anytime.
| | 00:33 | So let's see, Gradient. We're not
going to be using Gradient too much.
| | 00:36 | So I'm just going to pull that one out and
close it. If we need it, I can always go
| | 00:40 | get it again from under the Window menu.
Hyperlinks, don't need it. Paragraph, don't need it,
| | 00:48 | and I don't need it because
all the options on the Paragraph panel
| | 00:51 | are available on the control panel
up here. So I might as well save space
| | 00:55 | by not having that one. And Character,
don't need that one either for the same reason.
| | 01:00 | All of the options that are on the
Character panel are available on the control panel.
| | 01:05 | But in addition to these, there are
some that we don't have that would be worth
| | 01:10 | us getting. Info, nice to have that
around, handy for word counts and also to
| | 01:17 | check the resolution of images. So
how about we drag Info onto the Stroke group.
| | 01:23 | Let's see, what else? Object and
Layout, nice to have the Align panel.
| | 01:30 | I think we'll put that in that group
right there. Don't need the Pathfinder and
| | 01:37 | then Object Styles, which I'll group
with Paragraph Styles and then I'll also
| | 01:44 | put Character Styles in the
same group. That looks good.
| | 01:48 | I'm now going to come up to the
Window menu > Workspace > New Workspace.
| | 01:53 | I'm going to give it my name. Click OK.
So now at any time throughout the course
| | 01:58 | of our working session. Things are
going to get messed up as they inevitably do,
| | 02:02 | but I can reset to that
working space at any time.
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| Deconstructing the document| 00:00 |
We'll take a look at the finished
InDesign document and I'm going to point out
| | 00:04 |
to you the various different tools that
I have used to construct our eight-page newsletter.
| | 00:08 |
So in no particular order, I'm
using layers and I'm using them fairly
| | 00:15 |
obviously. I have my text on the Text
layer so if I hide the Text layer,
| | 00:20 |
that's going to go away. I have my pictures,
not surprisingly, on the Pictures layer.
| | 00:26 |
I have this layer called Page Furniture.
I'm using this to store any kind of
| | 00:32 |
repeating page element, like for example
the footers, the masthead, the rules
| | 00:38 |
that separate the different articles,
the department heads which are going to
| | 00:42 |
stay in the same place from issue to issue.
| | 00:46 |
And then I have this layer called 4
column guides. Now if I were to turn on my
| | 00:52 |
guides here and I'm going to do that
by changing to my Normal view mode or
| | 00:57 |
I could press W and I'll turn off the 4
column guides. We can see that this is
| | 01:02 |
for the most part a 3-column grid. But
there are times when I want to use four
| | 01:07 |
columns and at such times, if we go
back to the first page, it's going to be
| | 01:12 |
useful for me to have guides visible.
Now because having those visible at all times
| | 01:17 |
may be a bit visually confusing,
I can turn these on and off just as I need to.
| | 01:24 |
So that's how I'm using the layers.
I'll switch now to my preview by just
| | 01:29 |
pressing W and now let's look at the
master pages. In my Pages panel, I'm going
| | 01:36 |
to double-click on A-Master, and very
simple, straightforward use of the master pages.
| | 01:42 |
Let's zoom on one of these.
| | 01:43 |
All I have is the page number, because
we are on A-Master, is represented by
| | 01:50 |
that token A. But when we actually
get on to the document pages, of course,
| | 01:54 |
it does change to their actual page number.
We have our logo or nameplate and
| | 02:01 |
we have the publication date. So because
those are on the master pages, they are
| | 02:05 |
appearing in exactly the same
position on every document page.
| | 02:09 |
With a notable exception, that being
the first page. We don't need master page
| | 02:15 |
items on the first page. It's
redundant to tell people this is Page 1.
| | 02:19 |
Of course, I'm using a lot of paragraph styles
to apply the paragraph formats consistently.
| | 02:28 |
A lesser number of character styles to
apply local formatting like whenever
| | 02:34 |
I want a word or a phrase bold, for
example, consistently. And I'm also using
| | 02:39 |
object styles to consistently and much
more efficiently format my images, and
| | 02:45 |
also just to make sure that repeating
elements like lines are all the same
| | 02:50 |
color and the same weight.
| | 02:52 |
We are going to be seeing how to
create these styles and how to apply them to
| | 02:57 |
different pieces of text and
to different items on our page.
| | 03:03 |
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| Using a template| 00:00 | Before we start creating this
newsletter from scratch, I feel that I should
| | 00:04 | mention to you that you do have the
option of creating your newsletter from a
| | 00:09 | template and InDesign comes with a
number of templates. So let's just take a
| | 00:14 | quick look at this option.
| | 00:16 | In order to access the folder with the
templates, if we open the Welcome screen,
| | 00:22 | and if you had closed that at any point,
you can open it again from under the
| | 00:26 | Help menu. And then what we are after
is Create New From Template. Click on
| | 00:32 | that and then it will open you in
Bridge to the folder that contains all of the
| | 00:36 | templates. One of those folders is
called Newsletters. So we can open that and
| | 00:41 | here we have several different
newsletter templates. I'm just going to open one
| | 00:45 | of these randomly and we'll take a look at it.
| | 00:47 | Four-page newsletter here, using dummy text.
Obviously, you can just substitute
| | 00:51 | your own text. And a number of styles,
no character style in this case. No object styles.
| | 00:59 | You can see it's not as thorough
as the approach that we are going to take.
| | 01:02 | So this is all well and good.
Personally, I think if you want
| | 01:07 | ownership over your document, then you
have to create it from scratch yourself.
| | 01:13 | That way when anything goes wrong,
you are going to be in a much better
| | 01:16 | position to fix it and you also get to
determine the design, exactly the design
| | 01:21 | that you want, rather than being stuck with
one of these. Admittedly, the design is fine.
| | 01:26 | But I think you'd very quickly find
this approach a bit limiting. So we are not
| | 01:32 | going to go down this route. Instead we
are going to do it the hard way- but the better way.
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| Setting up the workspace| 00:00 |
The thing about working on documents
like these is that you invest so much time
| | 00:05 |
in the setup and it seems for awhile
like nothing is happening, nothing is
| | 00:08 |
happening, and you are just setting
things up. And then if you've done that
| | 00:12 |
methodically, things all kind of pull
together very quickly and very easily.
| | 00:18 |
So we are going to do some more setup
with that end in mind. Here, I just want
| | 00:23 |
to mention setting up a workspace.
Your workspace is just a record of which
| | 00:29 |
panels you have open, where they are
kept, how they are grouped. It can be a
| | 00:35 |
big time-saver. So it's worth taking a
moment or two to set up your workspace
| | 00:40 |
the way that you like it. There is no
right way or wrong way; it is entirely a
| | 00:44 |
matter of your own personal preference. This
is my preference and I'll just explain why.
| | 00:49 |
Firstly, any panels that you don't see,
you'll find them under the Window menu.
| | 00:54 |
There were some that may be hidden, so
you might need to come and choose this one.
| | 00:58 |
If you are looking something
and you can't find it, some of them are
| | 01:02 |
buried away, like for example Type &
Tables is a collection of everything type
| | 01:07 |
related. For the most part, they are
in alphabetical order with the exception
| | 01:11 |
of those that are grouped
together on a fly-out menu.
| | 01:15 |
But I have chosen to have these panels
open. Pages, because we are going to be
| | 01:20 |
using this to move through our pages
out to access our master page. Layers,
| | 01:25 |
because we want to work efficiently and
be able to show and hide certain layers
| | 01:31 |
and at certain times to lock and
unlock layers. Locking the layers with the
| | 01:36 |
purpose of leaving the content unaffected,
so that we can't disturb it by mistake.
| | 01:42 |
Align, to make sure that the edges of
different elements line up with each other.
| | 01:48 |
We are going to ensure that
everything is in its place by design rather
| | 01:55 |
than just randomly and the Align panel
is one of the tools that we can use to
| | 02:01 |
make sure that that happens.
| | 02:03 |
Swatches, our collection of colors and
only the colors that we are using, all
| | 02:08 |
other extraneous colors are removed.
Links is where we manage all of the
| | 02:15 |
different pictures that have been
placed in the InDesign layer. I'm now going
| | 02:19 |
to just move through some of the pages
and, for example, if I were to click on
| | 02:25 |
this image, we see that image
highlighted here on the Links panel.
| | 02:29 |
Info, well, since I have an image
selected when I click on the Info panel, it
| | 02:34 |
gives me some useful information
about my image. Most importantly, the
| | 02:39 |
effective PPI. PPI being pixels per
inch. The Resolution, making sure that we
| | 02:45 |
are going to get the images printed
nice and crisp. We want that resolution to
| | 02:50 |
be in the region of 300 pixels per inch.
| | 02:54 |
Story and the overall scheme of things,
not especially important but that's
| | 02:58 |
going to determine the optical margin
alignment and I'll speak about that one
| | 03:03 |
when we actually come to
work with our body text.
| | 03:06 |
Scripts, I recorded sequence of steps
that will playback that sequence with a
| | 03:11 |
single click. And there were going to
be a couple of scripts that we'll use as
| | 03:15 |
a big time-saver. Text Wrap, we are
applying a couple of text wraps in this
| | 03:19 |
newsletter, there being a case in point.
| | 03:23 |
Effects, in this newsletter, we are
using the Effects panel. In this instance
| | 03:28 |
over here, you see how the title block
is in a box that is set to white with a
| | 03:36 |
reduced opacity, so that we see the
texture of the image coming through.
| | 03:41 |
Then as I mentioned in a previous movie,
lots of applications of Paragraph Styles,
| | 03:46 |
Character Styles, and Object Styles to
make sure that our text and the items on
| | 03:52 |
our page get formatted quickly,
efficiently, and consistently.
| | 03:57 |
So if you were to make your own
workspace, you might start out with any of
| | 04:04 |
these predefined workspaces. You can see,
there is the one that I've saved.
| | 04:09 |
And a good starting point would be
Essentials and then to the Essentials, you can
| | 04:16 |
just open up any panel, not already
there, and drag that panel over, so that it
| | 04:23 |
docks on the right-hand side of your
screen. If you want to include it in a
| | 04:27 |
group, for example, Text Wrap, how
about I put Text Wrap with Pages and Links.
| | 04:32 |
I'll just drag it into that group.
| | 04:35 |
Do that for as any panels as you need
open and then to save your workspace,
| | 04:40 |
Window > Workspace, and choose New
Workspace. Give it a name. Thereafter,
| | 04:47 |
you will always be able to choose it from
this menu and I'm going to choose my
| | 04:51 |
workspace now, so that I'll return to it.
We can also access our workspace from up here as well.
| | 04:59 |
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| Setting up the document | 00:00 | So let's begin a new document. File >
New > Document. We want eight pages.
| | 00:05 | Now, of course, newsletters come in many
different shapes and sizes. Ours is going
| | 00:10 | to be US letter size.
| | 00:11 | We do want Facing Pages checked. We
don't want a Master Text Frame because
| | 00:16 | we are going to be drawing our own text
frame that's going to give us much more
| | 00:19 | control over those text frames.
| | 00:22 | Currently, my default unit of
measurement is Picas. That may be the case with you.
| | 00:26 | If not, bear in mind that you can
input your measurements using any of
| | 00:31 | InDesign's supported measurement
systems, just so long as you are specific.
| | 00:36 | So, for example, what I mean by that is
when we come to the Margins, I actually
| | 00:41 | want a 36 point, which is the same as
3 pica as it turns out, a 36 pt margin.
| | 00:50 | If I type in 36 pt and then I'll press
the Tab key, that will convert to its
| | 00:55 | pica equivalent. And because I have my
unbroken chain here, all settings remain the same.
| | 01:03 | In actual fact, I want the bottom
margin to be bigger because the bottom margin
| | 01:07 | is going to accommodate our footer.
So at this point, I'm going to click on
| | 01:11 | that chain to break it so that I can set the
bottom margin independently and typing 48 pt.
| | 01:18 | Now in the case of this newsletter,
we are not using any Bleeds. We have no
| | 01:23 | elements that go up to the edge of the
page. So the Bleed and the Slug can both
| | 01:28 | remain at 0. The Slug is an area
outside of the page in which you can put any
| | 01:34 | kind of internal reference
information but I don't think we need that.
| | 01:38 | Oh! One more thing, we need three
columns. Three columns with a 1 pica Gutter.
| | 01:45 | The Gutter being the
space between those columns.
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| Creating layers| 00:00 | As I mentioned before and as
I doubtless will mention again, the success of
| | 00:04 | this project is all about how much time
we invest in the setup and that time is
| | 00:09 | really going to pay off and one of the
things that we need to do in terms of
| | 00:13 | setup is create some layers.
| | 00:15 | So before we even have any content,
I'm going to come to the Layers panel,
| | 00:20 | double-click on Layer 1 and then rename
that to text. And then I'll create a layer
| | 00:26 | for pictures, another one for page
furniture and that's going to hold the
| | 00:36 | footers, the rules, any repeating
elements that basically get kept from one
| | 00:41 | month to the next and stay in the same position.
| | 00:46 | As I have mentioned in an earlier movie,
although this is a 3-column layout,
| | 00:51 | we are going to have some pages where
we want to use four columns. So I'm going
| | 00:55 | to put the guides for a 4-column grid
on that separate layer and now I want to
| | 01:01 | change the order of these layers:
text, pictures, page furniture, 4 column.
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| Creating the baseline grid| 00:00 |
Some more setup. This time, the
baseline grid. The baseline grid is an
| | 00:05 |
incremented ruling so that we can make
sure that the baselines of our type sit on
| | 00:10 |
that increment and that
they align in cross columns.
| | 00:14 |
It's going to create a very ordered,
very structured look to our document.
| | 00:19 |
Now if I come to the finished version
and turn on my guides, there we see the
| | 00:23 |
baseline grid, it's that gray rule at a
12 point increment and I'm now going to
| | 00:28 |
just hide the 4 column guides layer and
zoom in and you can see what I mean there.
| | 00:34 |
That's the baseline and our columns of
type are all sitting on that baseline.
| | 00:39 |
It's not going to be possible for all
of our text because we are going to be
| | 00:42 |
using text at different sizes with
different leading or line spacing amounts,
| | 00:48 |
but wherever possible, we want
to stick to the baseline grid.
| | 00:51 |
So to come to the work in progress now,
to turn the grid on, we go to the View
| | 00:56 |
menu > Grids & Guides > Show Baseline
Grid, and what you get is going to be
| | 01:00 |
determined by how the preferences are set
up, so that's what we need to change next.
| | 01:06 |
Preferences > Grids, and we can change
the color of the baseline grid here.
| | 01:12 |
I'm going to go with Light Gray for no
other reason than I just happen to like
| | 01:18 |
light gray. I'm going to start at 0,
Relative To the Top Margin and we want the
| | 01:25 |
Increment to be 12 pt.
| | 01:27 |
The View Threshold is the view size
at which the grid becomes visible.
| | 01:33 |
If you are working on a laptop and your Fit
in Window view is less than 75%, you won't
| | 01:41 |
see the baseline grid. When you are at
your Fit in Window view, even though you
| | 01:45 |
may have your grid turned on.
| | 01:47 |
So you may need to make this number
smaller. In my case, my Fit in Window view
| | 01:51 |
on this monitor is 76%, so that's just fine.
| | 01:55 |
Grid in Back, I'll un-check that so
that my grids will be on top of any
| | 02:01 |
elements that are on my page.
Click OK and there is my grid.
| | 02:06 |
Now I'm also going to do one other
thing because there are going to be times
| | 02:09 |
when we want to use a 4-column
as opposed to a 3-column grid.
| | 02:14 |
Now I'm going to kind of superimpose
the 4-column grid on top of the 3-column.
| | 02:20 |
To do this, I'm going to come to the
Master Pages. So I'll click on the Pages
| | 02:26 |
panel and then double-click on A-Master
so that we see our Master Pages spread.
| | 02:31 |
Left-hand master page, right-hand master page.
| | 02:35 |
Then making sure that I'm on the 4
column layer, I'll come to the Layout menu >
| | 02:41 |
Create Guides. And Rows, I'm going to
ignore. Columns, we want 4 columns and we
| | 02:49 |
want them fitted to the margins.
| | 02:51 |
Now, if I turn on my Preview, that's
how they are going to look. Click OK and
| | 02:57 |
we are now ready for the next step.
I'm going to turn that off for now though
| | 03:01 |
and we'll just come and turn
that on as and when we need it.
| | 03:04 |
| | Collapse this transcript |
| Creating text and picture frames| 00:00 | Our task in this movie is to make a
wire frame of text frames and picture
| | 00:04 | frames that will accommodate our content.
Now, of course, you can't really just
| | 00:09 | go ahead and start drawing frames when
you don't know where they need to go.
| | 00:12 | So as a way of determining your layout,
I suggest that you do the following:
| | 00:17 | look at other well-designed newsletters,
evaluate your content carefully.
| | 00:22 | So check out the images that you have,
read the articles that you have and then
| | 00:27 | make thumbnail sketches with pencil
and paper. Just roughly sketch out some
| | 00:32 | ideas for how all of these different
elements are going to fit together.
| | 00:36 | So here are my early thumbnail
sketches for the forerunner of this newsletter
| | 00:40 | because before it was called community
news, I was calling it travel news.
| | 00:44 | And I've just sketched out very roughly
where the text is going to go, where the
| | 00:48 | pictures are going to go and I just
have an x marking where the pictures are
| | 00:52 | going to go. Thinking about how many
columns I'm going to have, how the whole
| | 00:56 | thing is going to fit together which
is not to say that this cannot change as
| | 01:01 | the job takes on a life of its own as
it becomes a working progress because
| | 01:05 | it's definitely going to change.
| | 01:07 | But we need to have some sense of where
we're going before we start drawing the
| | 01:12 | text frames and the picture frames. We
can always modify them as we go but we
| | 01:17 | need a direction before we start
sitting down at the computer because unless we
| | 01:22 | have a sense of direction, the
likelihood is that it would start tinkering and
| | 01:26 | before we know, it's two o'clock in the morning
and we've wasted a lot of time and got nowhere
| | 01:31 | With my thumbnail sketches by my side,
I'm then going to wire frame this
| | 01:36 | document and I want to make sure that
I'm on the appropriate layer and I'm on
| | 01:41 | the appropriate page. It tells me what
number page I'm on right down there.
| | 01:45 | I'm on the Text layer. So I'm just
going to start drawing some text frames.
| | 01:49 | Another one I want there for the main article
and I know that I want another one down
| | 01:56 | here for my secondary article.
| | 01:59 | Now how we distinguish between the
text and the picture frames is by color
| | 02:03 | because that's why layers are so
useful to us. At this stage, our frames are
| | 02:08 | just generic frames. They're just
going to have an x in them. I'm using the
| | 02:12 | Frame tool rather than the Rectangle
tool. The only distinguishing feature
| | 02:16 | about them is going to be their color.
If I switch to the pictures layer, I
| | 02:21 | know that I want a picture frame.
| | 02:23 | You can see how I'm using the
baseline grid as well to determine how I draw
| | 02:29 | that frame. I'm snapping the frame
edges to a grid increment. Its okay that
| | 02:32 | they overlap, we are going to put text
wrap on that picture frame so that it
| | 02:36 | repels the text so the text doesn't
run over it. And I'm drawing these to the
| | 02:41 | widths of the column grid that we have
there. That's why that's so useful for us.
| | 02:46 | Now if I move to the next spread,
shortcut for doing that, Option+Page Down or
| | 02:51 | Alt+Page Down. So on my pictures layer,
we know that we want one up here and we
| | 02:57 | want big picture for our article here.
Now I'll switch it to the Text layer and
| | 03:04 | if I pop back to the finished version,
you can see here we're using a wide
| | 03:10 | space column. So it's just kind of
combining the three and the four columns in one.
| | 03:14 | This is how I would do that.
| | 03:16 | If I turn on my 4 column grid, I can
use that as my guide for how wide I make
| | 03:24 | that text frame. Now I just went ahead
and drew that frame and I see it's red.
| | 03:28 | Red is my picture's color. It's on
the wrong layer. If you want to move
| | 03:32 | something from one layer to another,
just come and grab this square. You don't
| | 03:36 | move the item itself, just come and
grab the square on the Layers panel, drag
| | 03:40 | that out to the layer that you want it
to go to. And we want another text frame
| | 03:46 | right there for our editor's letter
and another one down here for letters to
| | 03:53 | the newsletter and an article down here.
| | 03:58 | Rather than have you watch me draw all
of these frames on all eight pages, I'm
| | 04:03 | going to go ahead and do this off
camera and you can rejoin this with
| | 04:07 | Newsletter 4 and we'll all of the
text or at least most of the text and the
| | 04:12 | picture frames in place.
| | Collapse this transcript |
|
|
2. Working with ImagesChoosing images| 00:00 |
Here I'm in Bridge and I'm going to
use Bridge to show you how we can choose
| | 00:04 |
our images and manage our images.
| | 00:06 |
So we're looking at the Links folder,
which is inside the newsletter_final
| | 00:11 |
folder, which is inside the exercise_
files folder. Bridge is a fantastic tool
| | 00:17 |
for evaluating your images and we
have this slider down here where we can
| | 00:22 |
increase or decrease the size of our
thumbnails and then we're going to see a
| | 00:27 |
larger preview over here in the Preview pane.
| | 00:29 |
We can also add metadata to our images,
add keywords to our images and we can
| | 00:35 |
evaluate the metadata that is applied
to the images at the time of capture and
| | 00:39 |
that is going to tell us some very
useful pieces of information like the image
| | 00:44 |
dimensions, the file type.
| | 00:47 |
We can also, if we want a larger
preview of the image, we can select an image
| | 00:52 |
and then come and just click on that
portion of the image and then drag, this
| | 00:57 |
is what's called the Loop tool, over
that portion of the image to see that
| | 01:01 |
portion at 100% view. I can also
choose from these different workspaces.
| | 01:07 |
Filmstrip view is the most useful for
evaluating the quality of an image in this way.
| | 01:12 |
But I'm going to switch back to
Essentials now because there are a couple of
| | 01:17 |
images here from potential images
that we want to reject. So this one here
| | 01:23 |
where our subject is not smiling,
clearly not as interesting as this one where
| | 01:28 |
he's got a nice big grin. So here,
we're going to reject this one. So I'm going
| | 01:32 |
to do that by coming to the Label menu
and choosing Reject or I could use the
| | 01:38 |
keyboard shortcut, which is
Alt+Delete or Option+Delete.
| | 01:43 |
Down here we have two choices, this
one or this one and I'm going to reject
| | 01:47 |
this second one because one of our
subjects has this tool in front of her face.
| | 01:52 |
Option+Delete or Alt+delete and we can
see these clearly stamped with Reject.
| | 01:58 |
If I wanted to filter out these from
my view, I could then come to the Filter
| | 02:03 |
pane over here and just put a checkmark
next to No Rating. That's just going to
| | 02:09 |
leave me with all of those that
I haven't yet rated, effectively not showing me
| | 02:14 |
those that I have rejected.
| | 02:17 |
| | Collapse this transcript |
| Placing images| 00:00 | Here's where we left off with the
InDesign file. This is wireframe of our
| | 00:04 | newsletter. The blue frames will
contain text content, the red frames, picture
| | 00:09 | content, and the green frames will
contain any elements that will repeat from
| | 00:13 | one month to the next. These colors
are determined by the colors that we have
| | 00:18 | chosen for our layers. These are
just our selection colors so that we can
| | 00:22 | clearly tell what content is what.
| | 00:25 | Now if I just zoom out on the whole of
our eight-page document here by pressing
| | 00:29 | Command+Minus or Ctrl+Minus, then we
can see that we have all of these frames drawn.
| | 00:35 | There will still be some frames
that we need to draw on the fly as it were,
| | 00:39 | things that pop up that we
couldn't have anticipated but we essentially
| | 00:43 | have our whole publication mapped out.
| | 00:47 | What I'd like to do next is place
pictures into the picture frames. Now to make
| | 00:53 | sure that I don't, by mistake, drag
pictures into a text frame or a page
| | 01:00 | furniture frame and I'm going to lock
both of those layers and I need to make
| | 01:05 | sure that I have my pictures layer
targeted. I'll now go back to Fit in Window
| | 01:10 | view for my first page, Command+Option
+0 or Ctrl+Alt+0 and I'm now going to
| | 01:18 | switch to Bridge which I can do by
choosing File > Browse in Bridge and what we
| | 01:24 | see is the contents of the Desktop.
| | 01:26 | The exercise_files folder, I'm going
to double click on that to open it and
| | 01:30 | then the newsletter_final folder and in
there, the Links folder. We see the two
| | 01:37 | images that I had rejected earlier on,
I can choose to not show those by just
| | 01:43 | putting a checkmark next to the No
Rating status and I want to switch my Bridge
| | 01:49 | from Full Mode to Compact Mode. So from
the View menu, I'll choose Compact Mode
| | 01:56 | and that will leave me with just my
Content pane and hide all the other panes.
| | 02:00 | I am now going to drag that over to the
right there, perhaps so I'll make it a
| | 02:06 | big taller and skinnier. Click back on
my InDesign window. So it's now just a
| | 02:12 | matter of dragging the relevant
content into the relevant frame. Here is the
| | 02:16 | picture for our lead story. Drag that
into the red frame. Why did you do this?
| | 02:21 | You will find the picture is not going
to fit the frame. Nothing to worry about
| | 02:24 | that, it's something that
we'll address in the next step.
| | 02:28 | This one goes up there, and that one
goes there, and then we have that one goes
| | 02:36 | there, and I'm now ready to click
back on InDesign and advance to the next
| | 02:41 | spread. I could have set up the fitting
beforehand but rather than do that, I'm
| | 02:47 | going to do that in a separate step
after this, just so you see how useful it
| | 02:51 | can be. And here is that editor.
Here is the subject of the main article.
| | 03:00 | So it's just a question now of
moving through all of the eight pages and
| | 03:04 | dragging in the relevant picture into
the relevant frame. You can refer to the
| | 03:09 | finished version of the document
before this. We also have a separate folder
| | 03:14 | for the review section, for the
restaurant reviews. So I'm going to go ahead
| | 03:19 | and do this. We'll pick it up in
the next movie with newsletter05.
| | Collapse this transcript |
| Fitting images with object styles| 00:00 | So here we are in newsletter05. Our
work in progress, we have all of the
| | 00:05 | pictures placed in the relevant
picture frames. None of the pictures yet fit
| | 00:09 | and that's what we are here to do in
this movie. By the way, I'm using my
| | 00:14 | custom workspace, which I saved
earlier, and you can choose your workspaces
| | 00:18 | from this drop-down menu or you can also
choose them from the Window menu > Workspace.
| | 00:24 | But if you see different panels than
the ones that I have opened, that's the
| | 00:28 | reason why, because I have saved the
custom workspace. So what I want to do is
| | 00:32 | select one of these pictures and I'm
going to make this look the way I want it
| | 00:36 | to look. Define an object style based
upon it and then apply that same object
| | 00:42 | style to all of the other
pictures and they will all fit.
| | 00:45 | Fitting the pictures will not be a one-
stop solution by any means. We'll still
| | 00:50 | need to scale some of the images and
crop some of the images individually, but
| | 00:54 | fitting the pictures will take us very
close to how we want our pictures to be.
| | 01:00 | So with picture selected, Object >
Fitting > Frame Fitting Options, I want the
| | 01:05 | Reference Point to be the center
point so that any cropping will take place
| | 01:10 | equally left and right or top and bottom. You
can see how that's changed the picture already.
| | 01:16 | Fitting on Empty Frame will be Fill
Frame proportionally. Click OK, now come to
| | 01:21 | my Object Styles and create a new
object style. I'm going to call it fitted
| | 01:29 | picture. I want to make sure that
Apply Style to Selection is checked so that
| | 01:35 | style gets applied to the picture.
| | 01:38 | And very importantly, I need to make
sure that I have my Frame Fitting Options
| | 01:42 | checked because, by default, they
are not. So if I click on that, it will
| | 01:47 | record the Frame Fitting Options of
that picture, center reference point, Fill
| | 01:52 | Frame Proportionally. I can now click
OK and Select All and click on my fitted
| | 01:58 | picture, Object Style. Now move to the
next spread, Option+Page Down or Alt+
| | 02:04 | Page Down, Select All and because
I have the other layers locked, I'm only
| | 02:10 | selecting the picture frames. And I'll
just continue to do that throughout the
| | 02:14 | document. Select All, Command+A or
Ctrl+A, Fit to Picture and those are our
| | 02:22 | pictures now fitted to our picture frames.
| | Collapse this transcript |
| Cropping images| 00:00 | Now that we fitted our pictures, we
need to apply some cropping and scaling to
| | 00:04 | our pictures on an as-needed basis.
So I'm going to do the pictures on the
| | 00:09 | first page and then I'll go and do
the rest of the document off camera, but
| | 00:14 | here we'll see the techniques used.
| | 00:17 | Beginning with this one, I'm going
to zoom in on the image first off all.
| | 00:19 | Command+Spacebar and then click and
drag over that image to enlarge your view of it.
| | 00:26 | And obviously, in the case of
this one, we need to move the image to the left.
| | 00:31 | When I choose my Direct Selection
tool, that's the white arrow, and then
| | 00:36 | click on the image, we see the image bounce in
the inverse color to whatever is your layer color.
| | 00:41 | So here, layer color, red. The inverse
color is cyan and I now can move that
| | 00:47 | image to the left. I can drag it but
to make sure that I don't move the image
| | 00:51 | top and bottom, because top and bottom,
it fits exactly, I'm going to use my
| | 00:55 | left nudge arrow. If I want to move in bigger
increments, then I'll also hold down my Shift key.
| | 01:02 | Now, hold down spacebar, clicking and
dragging to move my document within my
| | 01:07 | document window, the dog can stay as
it is for now and this one, we need to
| | 01:12 | move down, so that we are not cropping
off of the top of the subject's head.
| | 01:16 | I'll now zoom out, Command+Option+0 or Ctrl+
Alt+0 and zoom back in again on our main image.
| | 01:27 | Now with this image, I don't think
I need to crop it so much as I need to scale it.
| | 01:31 | When I click on it, we can see
there is not much wiggle room top and
| | 01:36 | bottom. We have a little bit, but not
too much. So the aspect ratio of the
| | 01:41 | frame is very similar to the aspect
ratio of the picture itself. I can scale
| | 01:46 | this picture in a couple of different ways.
| | 01:49 | What I'm after is seeing a bit less of
this tree on the right-hand side here,
| | 01:54 | the right-hand side as we look at it
and seeing a bit more of our subjects.
| | 01:59 | One way to scale it would be to choose
the bottom left-hand reference point.
| | 02:03 | The bottom left-hand, because that's
the point that we want to remain fixed.
| | 02:09 | Now if I just pop back to the finished
version for a moment and remind you of
| | 02:14 | the treatment that we are going to give
this image, we are going to cut out the
| | 02:18 | taller of our two subjects so that her head
pops up over the top of the picture frame.
| | 02:24 | With that in mind, with this version,
before we get to do the partial cut out
| | 02:30 | on that, it's going to look like we are
quite severely cropping the top of her
| | 02:34 | head, but we'll address that in a
later movie. But for now, she is going to
| | 02:39 | need to be cropped like that and I'm
also going to scale it some more and this
| | 02:45 | time, I'll use a different technique.
| | 02:47 | I will hold down the Shift key, so
I'm scaling proportionally and grab the
| | 02:50 | top-right hand anchor point and then
just drag that up and a little bit more to
| | 02:58 | about there I think. So I'll go ahead
and do the rest of the scaling of the
| | 03:03 | images off camera and see you in
the next movie with newsletter07.
| | Collapse this transcript |
| Creating cutouts| 00:00 | I am here in the finished version of
the newsletter just to show you this image
| | 00:04 | treatment here, the cutout of the dog,
and that's what we want to do next.
| | 00:09 | And once cutout, we can use the clipping path of
the shape to create an interesting text wrap.
| | 00:17 | So in newsletter07, our work in
progress, we now have the images fitted and
| | 00:24 | cropped and scaled where appropriate, but
for this image, we now need to make the cutout.
| | 00:29 | So here's how I'm going to do it. I'm
going to select the image, hold down the
| | 00:32 | Option or the Alt key and double
click on the image and then the image will
| | 00:36 | open up in Photoshop.
| | 00:38 | We could do this in InDesign but
frankly, it's just easier to do it in Photoshop.
| | 00:42 | We may see an Embedded Profile
Mismatch, in which case we'll choose
| | 00:47 | to use the embedded profile. There's
our lovely dog portrait and I'm going to
| | 00:54 | press my F key now in Photoshop. That's
going to hide anything that may be in
| | 00:59 | the background so that we can
just focus on what were have here.
| | 01:02 | Hold down on my spacebar and drag
that over if necessary so that we have a
| | 01:06 | clear and unobstructed view of it.
What it is that's making the cutout happen
| | 01:12 | is this path that has been drawn using
the Pen tool. Now you can use the one
| | 01:18 | that's already in the image but it only
got in the image because I put it there.
| | 01:22 | So you may want to create the path
yourself. Now to do this, we need the Pen tool
| | 01:28 | and good idea to zoom in, Command
+Spacebar or Ctrl+Spacebar, click and
| | 01:34 | drag over the edge that we are drawing
and then click to make an anchor point.
| | 01:40 | Because we want the shape to be curved,
click and drag and as we drag, we drag
| | 01:45 | out these Bezier control points which
will allow us to create curved shapes.
| | 01:51 | Fur is a rather difficult subject to
cut out completely accurately. So err on
| | 01:59 | the side of going slightly inside
the shape when in doubt. Hold down my
| | 02:05 | spacebar, clicking and dragging to
move my document within the window.
| | 02:10 | Now I want to do this and I want to get all the
way around back to the point where I started.
| | 02:16 | At this point, the video can now
advance to me having finished. Now as I'm
| | 02:25 | about to close that path, I see a
little circle up here next to the Pen tool.
| | 02:31 | If this happens to you as it just
happened to me, you get a wobbly bit right there,
| | 02:36 | hold down your Alt key as you
close the path and that will allow you to
| | 02:40 | close it without that happening.
| | 02:42 | I managed to zoom in there really
big so now zoom back out, I'm going
| | 02:47 | to double click on my Hand tool to go
to Fit in Window view. There we see the
| | 02:51 | path around the dog and its current
status is Work Path. I'm going to double
| | 02:57 | click on that to save the
path and I call this one Path 2.
| | 03:03 | Now we can save the document, Command+S
or Ctrl+S. Return to InDesign because
| | 03:11 | we took advantage of the fact that
this image is linked and we have seen the
| | 03:16 | Links panel earlier on, there it is
right there. When we make that change to
| | 03:21 | the image in Photoshop that change
should automatically be updated in InDesign.
| | 03:26 | Of course, it's not actually looking
any different at the moment but now to activate that
| | 03:31 | clipping path, we need to do this.
Come to the Object menu > Clipping Path >
| | 03:36 | Options and change the Type
from None to Photoshop Path.
| | 03:42 | And we should see that we got two
options there: the one that was already in
| | 03:46 | the document that I have drawn earlier,
and the one that I just drew, Path 2.
| | 03:51 | Let's use that one and we can see that
with the Preview on, the background is
| | 03:56 | now going to be knocked out.
Not deleted, just hidden.
| | 04:00 | One more change that we need to make to
this because earlier on when we fitted
| | 04:04 | this image, it meant a little bit of
cropping happens down here. So I'm now
| | 04:09 | going to need to slightly increase the
size of that picture frame so that
| | 04:14 | we are not cropping any of the dog shape.
Okay, that's looking good and when we do get
| | 04:21 | to put text in, we can now wrap
the text around that clipping path.
| | Collapse this transcript |
| Creating partial cutouts| 00:00 | To make a partial cutout where just a
portion of the image is cutout from its
| | 00:04 | background is a little bit more tricky.
I'll just switch back to the finished
| | 00:07 | version and show you our objective here.
| | 00:09 | We want a cutout just the top of this
subject's head and have that stick up
| | 00:14 | above the image frame. So as we did
in the previous example, I want to take
| | 00:21 | advantage of the fact that this image
is linked and hold down my Option key or
| | 00:25 | my Alt key and then double click on it
and then it will open up in Photoshop
| | 00:31 | and again, we see one of
those embedded profile mismatches.
| | 00:34 | Whenever you see these, use this option,
Embedded Profile. Now what I want to do
| | 00:39 | and I have it already set up,
I just drew a very small path around the top
| | 00:47 | of the head like so. So the path is
already created. You don't need to see me
| | 00:52 | create that again, since that was what
I did in the previous movie, but now
| | 00:56 | we're going to take advantage of that.
| | 00:57 | So I'm going to switch back to InDesign
and there are numerous ways we can do this
| | 01:02 | but I think this is the best way,
because it gets you a certain amount of
| | 01:05 | flexibility. What I'm going to do now
is I'm going to copy this image and then
| | 01:13 | I'm going to paste it in place.
| | 01:16 | So, I actually have two versions of
this image, one on top of the other, and
| | 01:21 | with the one that is on top, the one
that is currently selected, I'm going to
| | 01:26 | come to the Object menu and choose
Clipping Path > Options. Photoshop Path,
| | 01:32 | Path 1. We see there the Clipping Path.
Click OK. We're not seeing that portion
| | 01:39 | of the image because we need to now
adjust the size of the picture frame of the
| | 01:43 | picture that is in front.
| | 01:46 | So I'll select that and then just draw
that up enough so that we can see the
| | 01:52 | top of the head. So we've got two
versions of the image. One is just the top of
| | 01:56 | the head. One is the complete and
un-clipped image. We need to make sure
| | 02:01 | that one gets pasted exactly on top
of the other and there is our result.
| | 02:06 | There were two more images in the
newsletter that need the same partial cutout
| | 02:10 | treatment. One is the dog in the
Table of Contents and the second is in our
| | 02:15 | center spread right here where we want
the top of the head peeking up over the
| | 02:18 | top of the picture frame. I'm going to
go ahead and do these. I'll see you in
| | 02:22 | the next movie, newsletter09.
| | Collapse this transcript |
| Fixing a problem image| 00:00 |
I just like to show some other things
that we can do to fix any problems that
| | 00:04 |
there may be with our images and I'm
using this one as a case in point.
| | 00:08 |
Two minor problems with this image and
I have here my Layers panel where I have one
| | 00:15 |
fix on each of the two layers that
I have added. One of them being an
| | 00:19 |
adjustment layer with the layer mask,
the other one being an image layer. Now,
| | 00:23 |
if I turn those layers off, we can
see the image in its original state and
| | 00:27 |
there are two problems here.
| | 00:29 |
One is that the dog's face is just too
dark and the second is that we have this
| | 00:33 |
waste bin popping up over the top of
the park bench. So to fix the dog's face
| | 00:39 |
first of all, I'm going to do this again.
I'll leave the original layers there
| | 00:43 |
but turned off and I'll add new layers.
This is how I did it. Numerous ways we
| | 00:48 |
could do this, this is how I did it
and I think this is a good approach.
| | 00:52 |
Add a Levels adjustment layer. So
Levels are what we used to adjust the tonal
| | 00:59 |
quality of an image and I'm going to
get the white point slider, which is going
| | 01:04 |
to adjust the highlights and I'm going
to bring them over to the left, but more
| | 01:09 |
importantly and to have a bigger impact,
I'm going to get the mid-point slider
| | 01:12 |
and I'm going to bring that over to the left.
| | 01:16 |
Now while I do that, that is lightening
up the midtone areas of the whole of my
| | 01:21 |
image, which is not what I want. I only
want to affect just that portion of the
| | 01:26 |
dog's face. So having done that, I'm
then going to work on this area down here,
| | 01:34 |
the layer mask. Now the layer mask is
currently white; there is nothing on it.
| | 01:39 |
I'm going to fill it with black,
meaning that I'll mask the change that I have
| | 01:44 |
just made. To fill it with black, I'll
make sure that black is my foreground color.
| | 01:49 |
If necessary, press the D key to
restore your foreground and background
| | 01:53 |
colors to black and white and if all,
white and black, and if white is your
| | 01:57 |
foreground color then pressing
the x key will toggle those two.
| | 02:02 |
So black is my foreground color. Hold
down the Option key or the Alt key and
| | 02:06 |
then press Delete. Now what that has
done is invalidate the change that I have
| | 02:12 |
just made. We see there a black mask on
that adjustment layer. I'll now choose
| | 02:17 |
my Brush tool and an appropriate
Brush size. So I'm going to need a bigger
| | 02:23 |
Brush size than that, I could come up
to here and change it, but instead, I'm
| | 02:29 |
going to use the keyboard shortcut,
right bracket. And I want to make sure that
| | 02:33 |
my brush is completely soft as well,
has a Hardness of 0, which is right there,
| | 02:39 |
or if I wanted to use the
shortcut for that, Shift+Left bracket.
| | 02:43 |
And then I want to make sure that I'm
painting in white. So I'm going to switch
| | 02:47 |
my foreground color to white, X will do
that and now I can just paint over the
| | 02:54 |
dog's face and you can see that it's
getting lighter. Okay, that's done.
| | 02:59 |
The next thing I want to do is remove
the waste bin. For that purpose, I'm
| | 03:05 |
going to use the Clone Stamp tool,
this one here, to clone an area of grass
| | 03:10 |
over the waste bin. But in case I go
wrong, very easy to go wrong when you are
| | 03:14 |
retouching, I'm going to add the
retouching to a separate layer. That way any
| | 03:19 |
mistake is going to be very easy to
recover from. So I'll add a new empty
| | 03:25 |
layer, create new layer, I can name it
if I wish, I'll call it retouch and then
| | 03:33 |
choose my Clone Stamp tool.
| | 03:34 |
Now in order for this to work, in order
for us to clone from one layer because
| | 03:39 |
we are going to be cloning from the
background layer and paint to another to
| | 03:44 |
the retouch layer, then we have to
make sure that we have this option chosen
| | 03:49 |
for the Sample option. It can be
Current & Below or it could be this at this
| | 03:55 |
instance but I'm going to leave it at
All Layers. And I'm going to zoom in on
| | 03:59 |
that area. Command+Spacebar-click and
drag and just position my document in the
| | 04:06 |
center of my window.
| | 04:07 |
Now the other thing I would like to do
is just section that area off a bit by
| | 04:14 |
using the Polygon Lasso tool so that
I can't apply any cloning outside of that area.
| | 04:23 |
I can clone from outside the area,
but I can't clone anywhere but into
| | 04:29 |
that area. So using my Clone tool,
choosing appropriate size Brush and Brush
| | 04:35 |
Hardness and then Alt-click or Option+
click to set a sample point and paint
| | 04:42 |
over that. All right, that looks good.
Now zoom out, Command+0, Ctrl+0 to
| | 04:50 |
de-select my selected area. Command+D or
Ctrl+D and there is my new and improved image.
| | 04:57 |
There is the before, there is the after.
Now this image, I have saved as a TIFF
| | 05:03 |
and I have saved it as a TIFF so that
I can retain these layers. If I were to
| | 05:08 |
save as a JPEG, I would be compelled to
flatten the layers into one background
| | 05:15 |
layer and I would lose the option of
anytime afterwards coming back to the
| | 05:19 |
image and making further adjustments
on the layers. So I want to maintain
| | 05:23 |
maximum flexibility and that's why I'm
saving as a TIFF. It was already placed
| | 05:29 |
in the InDesign document as a TIFF. So
when I'll now press Command+S or Ctrl+S
| | 05:33 |
to save, it will update in
place in my InDesign document.
| | 05:40 |
| | Collapse this transcript |
|
|
3. Working with TextPlacing text| 00:00 | Okay, here is the story so far.
We are in newsletter09 and we have
| | 00:06 | mapped out the different parts of
our page for content and we have drawn our
| | 00:11 | frames on the relevant layers and if we move
through the document, we can see those frames.
| | 00:19 | The blue frames are to contain text,
the red frames are already filled with
| | 00:23 | pictures which have been fitted,
cropped, scaled where appropriate and there
| | 00:28 | are also some green frames which will
contain repeating content that's going to
| | 00:33 | stay pretty much in the
same place from month to month.
| | 00:37 | Before we place our text files, we
want to make sure that we are on the text
| | 00:42 | layer and that the text layer is
unlocked. Just to make sure I don't interfere
| | 00:47 | with the pictures layer, I'm going to
lock that layer. There is a text file
| | 00:51 | that is also going to go on this layer,
the page furniture layer so I'll leave
| | 00:54 | that unlocked for now.
| | 00:56 | To access my text files, I'm going to
use Bridge. So I could either come here
| | 01:02 | or just click on the Bridge icon up
here on the control panel. Here in Bridge,
| | 01:09 | I see the content of my text folder.
If you don't automatically come to this
| | 01:14 | folder and frankly, it's unlikely that
you would, here's how you navigate to it.
| | 01:19 | From the Desktop if your exercise_
files folder is on the Desktop, open that,
| | 01:24 | newsletter_final > text. We see the
text files have been named alphanumerically
| | 01:29 | just to make it easier for us to
figure out what file goes on what page.
| | 01:34 | I'm now going to switch my Bridge mode
from Full Mode to Compact Mode. That will
| | 01:39 | collapse all of the other panels with
the exception of the Content panel, which
| | 01:44 | I'm now going to resize and
reposition off to the right.
| | 01:50 | Then I'll get the first of my text files,
the main article on Page 01 and drag
| | 01:55 | that into the frame waiting for it. Now
when I do this, the text just comes in,
| | 02:02 | in the basic paragraph style i.e. the
default style. We haven't controlled the
| | 02:07 | appearance of the text at all at this point.
| | 02:10 | So the text is coming in. We are just
dumping the text on our page. We are not
| | 02:15 | particularly concerned with how it
looks at the moment. That's something that
| | 02:19 | we are going to address in a later step.
For now, I might just want to do this though.
| | 02:24 | If I select this text frame, obviously,
this one needs to go to three columns.
| | 02:29 | I can change the number of columns
up here using the column divider on my
| | 02:32 | control panel. If you don't see this,
because maybe you have a smaller monitor,
| | 02:37 | you will get the same option on to the Object
menu > Text Frame Options. Number of columns, 3.
| | 02:44 | In addition to that, there are
going to be some stories that need to be
| | 02:47 | threaded from one page, or from one
path of one page to another text frame.
| | 02:53 | This being a case in point, this
opening article begins on Page 01, it ends on
| | 02:59 | Page 08. So I need to
click on that red plus symbol.
| | 03:03 | Now move to Page 08 and I can come
and click down here to move to the last
| | 03:07 | page, where I have two empty text
frames waiting for it. I could now click in
| | 03:12 | this first one on the left, reload my
cursor and then click in the one on the right.
| | 03:17 | To save myself one step, I'm going to
hold down the Option key that will reload
| | 03:23 | my cursor for me. Then move over to
this one and I'll hold my Option or Alt key
| | 03:28 | again, it reloads my cursor for me
and the remainder of the text, the
| | 03:34 | over-matter for now, I'm going to put
on to the pasteboard, just so we have an
| | 03:39 | idea of how much we are running over.
| | 03:42 | But we are not overly concerned about
this yet because the text has come in 12
| | 03:47 | points. We are going to make it 10
points. So we are going to do other things to it.
| | 03:50 | So we know that it's going to occupy
less space than it currently is occupying.
| | 03:56 | So having done that, I'll now return
to my first page and repeat that process
| | 04:01 | until I place all of these text files.
You don't need to see me do all of that,
| | 04:06 | but let me show you how when you
have multiple files that go on the same
| | 04:11 | spread, you can do a
multiple drag-and-drop from Bridge.
| | 04:16 | I will just quickly finish off page 01_
news in brief. I'll drag down to there.
| | 04:22 | The TOC is going to go up here. Now the
TOC needs to be threaded from this one
| | 04:29 | into this one and then into this one
and any over-matter, I can just click on
| | 04:35 | the pasteboard and there is no over-
matter in that case. It's just created an
| | 04:40 | empty frame for us, which I'm going
to delete because we don't need that.
| | 04:44 | The news in brief section down here,
if we just pop back to the finished
| | 04:49 | version for a moment, we can see it
actually runs in four columns as opposed to three.
| | 04:55 | So I'm going to select that and
make that into a 4-column text frame.
| | 05:03 | Now I'll move to the next spread,
Option+Page Down or Alt+Page Down, and here
| | 05:09 | is where we want to do the multiple
drag-and-drop because we have this story,
| | 05:13 | this story, this story, and this story
that all go on this spread. So I'm going
| | 05:19 | to drag over from Bridge into my
InDesign layouts into the first of those
| | 05:23 | frames, the editor's letter and then
when I click on my InDesign layout, that
| | 05:29 | first file is placed.
| | 05:32 | Now if I move my cursor just to the
right, we can see that to the right of the
| | 05:36 | cursor itself, we have a number in
parenthesis and that's how many text files
| | 05:40 | that cursor is loaded with. The second
of them is the letters, just going to go
| | 05:46 | there and the third is the masthead,
which will go there, and the fourth, our
| | 05:51 | second article, which is going to go there.
| | 05:55 | Once again, we need to determine the
number of columns. This one needs to be
| | 06:00 | changed to 3 and these two need to be
changed to 2 and because they both get
| | 06:07 | the same treatment, I'm going to do a
multiple selection by holding down the
| | 06:11 | Shift key and this time I'll do it
using the menu items just for a bit of
| | 06:15 | variety. Object > Text Frame Options,
we'll make that 2. Okay, so I'll continue
| | 06:23 | to do this. Join me in the next movie
where we have all of our text files in place.
| | Collapse this transcript |
| Cleaning up text| 00:00 |
So we're now in newsletter10. We have
the text placed. Don't worry yet about
| | 00:05 |
the fact that the text is running over
the images, that the text is too big,
| | 00:09 |
that we have lots of over-matter. That's
all going to be addressed in upcoming steps.
| | 00:14 |
What we want to do next is format the
text. But before we do that, one minor
| | 00:20 |
digression, and that is just to talk
about how we can clean up our text, should
| | 00:25 |
you import a text file that
has lots of extra spacing in it.
| | 00:28 |
We don't need to do that because I made
sure that our text files were stripped
| | 00:32 |
of any unnecessary spacing. But in a
real world situation, it's likely that you
| | 00:37 |
might encounter this. So I am going to
place a text file that has in it lots of
| | 00:46 |
unnecessary stuff. And that's the
one we want, gardeners_unclean text.
| | 00:53 |
I'm just going to dump that on the
pasteboard. Because I have my hidden
| | 00:59 |
characters shown, we can see when
I zoom in that we've got lots of extra
| | 01:05 |
carriage returns and after every period
we have two spaces where we only want one.
| | 01:10 |
A very quick and efficient way of
addressing this is to use a script that comes
| | 01:16 |
with InDesign. It's a sample script.
We could, of course, use Find/Change.
| | 01:22 |
There are Queries that come with
InDesign that will address our needs here,
| | 01:26 |
Multiple Return to Single Return,
Multiple Space to Single Space, choose those
| | 01:31 |
and then click Change All.
| | 01:33 |
But easier than that is this
script. It's called FindChangeByList.
| | 01:42 |
FindChangeByList is going to access
this text file in the FindChangeSupport
| | 01:45 |
folder, and based upon the information
in that list, it's going to run through
| | 01:51 |
a series of Find/Change routines.
| | 01:54 |
By the way, if you don't see your
Scripts panel, I have incorporated my Scripts
| | 01:59 |
panel as part of my workspace. But if
you don't see yours, it's under your
| | 02:04 |
Window menu. You may need to Show All
Items, Automation > Scripts. And then,
| | 02:11 |
just to back it up a bit further,
you will need to expand Applications,
| | 02:15 |
Samples, and because I'm on a Mac, AppleScript.
| | 02:20 |
FindChangeByList, if you're on
Windows, it would be VBScript.
| | 02:24 |
So FindChangeByList is the one we're
after and it's simplicity itself.
| | 02:30 |
We just double-click on it and we have these
options, the Entire document, Selected
| | 02:34 |
story or a Selection. I'm going to do it on
the Selected story. Click OK. Problem's removed.
| | 02:42 |
So like I said, that was a digression.
We don't actually have to do that.
| | 02:46 |
But if you did, that's the place to go.
| | 02:49 |
| | Collapse this transcript |
| Designing body text| 00:00 | We are now going to begin the process
of creating a paragraph and our character
| | 00:05 | styles. And as is always the case,
I'm going to begin with the body text,
| | 00:10 | the formatting for all of our continuous
reading text. Let's just zoom in on this
| | 00:17 | story right here. Obviously, it's a
dummy text with the exception of the
| | 00:20 | headlines and the deckheads and the bylines.
| | 00:24 | So that we can concentrate on the text,
I think for now, I'm going to hide the
| | 00:28 | pictures layer. Now we want to
choose a font that is readable, that is
| | 00:33 | flexible, and that fits the kind of
tone that we want to adopt. We want it to
| | 00:39 | be contemporary and friendly and
accessible and a font that fits the bill,
| | 00:44 | that ticks all of those boxes, is Adobe Garamond Pro.
| | 00:47 | Now, I'm going to select a sample
paragraph, could be any paragraph, I'm going
| | 00:52 | to choose this one. Four clicks
will get the whole paragraph, and it's
| | 00:55 | important that we include in that
selection, the hidden character at the end.
| | 01:00 | Important because if we didn't, we
could get some spacing problems later on
| | 01:05 | down the line. So this paragraph is
currently in our default font Times and our
| | 01:10 | default size, 12 points at our default
Leading value 14.4 or Auto 120% of 12 points.
| | 01:20 | We want to change all of those things.
Firstly, the font itself. From my Font
| | 01:23 | menu, I'm going to choose Adobe
Garamond Pro. Now I've got a very long list
| | 01:28 | here, so rather than just scroll
through that list, I'm going to do it this way.
| | 01:32 | I'm going to press Command+6 or
Ctrl+6 which would jump me to my Font menu
| | 01:37 | and then just start typing in the
first few characters of the font that I'm
| | 01:42 | after and it will find it for me,
Adobe Garamond Pro, Regular.
| | 01:47 | Now even though the default point
size is 12 points, that is too big in my
| | 01:52 | opinion. I think type between about 9
points and 11 points, depending on the
| | 01:57 | audience, depending on the
characteristics of the font itself, is much better
| | 02:01 | for continuous reading. I'm going to
make this 10 points. You'll see that makes
| | 02:08 | the Leading, the space between the lines, 12
points, which as it turns out is what we want.
| | 02:14 | But the 12 points that we currently
have is an Auto 12 points. We want a fixed
| | 02:20 | amount of Leading. Again, that is to
prevent any spacing problems that we might
| | 02:24 | have, that may crop up by using Auto
Leading, which is not a favorite of mine.
| | 02:29 | So I'm going to change that to an
absolute 12 points. That's about all we need
| | 02:35 | to do for the character formats, but
we now need to apply some paragraph
| | 02:39 | formats, and specifically, we want our
first line indent, just so the reader
| | 02:45 | knows when each paragraph is beginning.
| | 02:48 | I would also like to change the
Justification. I want to have this text, our
| | 02:53 | continuous reading text, to be Justified.
Let me just pop over to the finished
| | 02:59 | version for a moment and you
can see where I'm going with this.
| | 03:03 | So we have Justified Text for the body
text and we are contrasting that with
| | 03:09 | the Left Aligned Text of our
secondary body text, which we're using for the
| | 03:14 | supporting articles. This contrast is
important. We're contrasting not only the
| | 03:19 | Alignment styles, but also the Fonts as well.
| | 03:23 | Here we have Adobe Garamond Pro, here
we have a Sans Serif font, Myriad Pro,
| | 03:28 | Serif for the body text, Sans Serif
for the supporting text, and for the
| | 03:33 | headlines and subheads. So back now
to our work in progress, where I would
| | 03:38 | choose Justified as the Alignment Style.
When I do so, we introduce more work
| | 03:46 | for ourselves, because justified text
can create some problems with too much
| | 03:50 | variation in the word spacing.
| | 03:53 | Now we are going to address this by
coming to the Justification settings where
| | 03:59 | we want to allow some Letter Spacing to
happen and some Glyph Scaling, which is
| | 04:04 | the horizontal scaling of the
characters to happen also. So I'm going to change
| | 04:09 | the Letter Spacing, the Minimum amount
to -2, the Desired will stay at 0 and
| | 04:14 | the Maximum will be 2.
| | 04:16 | So what that means is that, I'm now
allowing the Letter Spacing to vary between
| | 04:22 | the range of -2 and 2. I also want to
change the Glyph Scaling from a range of
| | 04:28 | 97 as the Minimum and 103 as the Maximum.
You'll see that gets us a much better
| | 04:36 | result than we had before.
| | 04:37 | I am now ready to save this as a
paragraph style. So with this paragraph still
| | 04:47 | selected, I'm going to come to my
Paragraph Styles panel and choose New
| | 04:52 | Paragraph Style and I'll call that body
text, actually, I'll just call it body,
| | 04:58 | let's keep it simple.
| | 05:00 | Apply Style to Selection is something
that we typically won't check, more often
| | 05:04 | than not. It's not going to make any
difference in this scenario, because the
| | 05:09 | next thing I'm going to do is apply
this style to all of our main articles.
| | 05:15 | Click OK. Now I'll zoom out, Command+
Option+0, and then select all of the text
| | 05:23 | in that first article, Command+A or Ctrl+A.
| | 05:26 | That's also going to select the text on
the continuation of this story on page
| | 05:31 | 8 and the over-matter that is on the
pasteboard, next to page 8. Then apply the
| | 05:37 | body style to that. I'm going to
repeat that for the letter section, both the
| | 05:45 | Editor's letter and the letters for
our second article, for our center spread
| | 05:51 | article, and for our profile.
| | 05:57 | Now I'll return to page 1, and let's
zoom in, so we can clearly see what we're
| | 06:04 | working with. Having made my body style,
I would now like to make another style
| | 06:09 | that is based upon the body style.
We'll inherit all of its properties and
| | 06:14 | we're just going to make a
few exceptions to the new style.
| | 06:17 | The style that I'm after is this
opening paragraph here with the three-line
| | 06:23 | drop cap. So in the paragraph that
I want that style applied to, I'm going to
| | 06:30 | come and remove the first line indent,
first of all, I'm on my Paragraph
| | 06:34 | Formats. Set the first line indent
back to 0, add some spacing before.
| | 06:41 | All of the spacing between our paragraphs
will be controlled by spacing before the
| | 06:45 | paragraph. I also want to add
a three-line drop cap, like so.
| | 06:51 | Having just seen the finished version,
you saw that it was green and it was in
| | 06:55 | a different font as well. That's
something that we'll apply later on.
| | 06:59 | But for now, I'm going to capture that as my
body first style. So I'm going to come to
| | 07:05 | New Paragraph Style and call this
body first and we see that it is Based On body.
| | 07:12 | Click OK, and I can now go and
apply that body first style right there
| | 07:22 | and right there, back now to the beginning.
| | 07:30 | There is one thing that I forgot to do
with my body text, and that is I forgot
| | 07:35 | to make sure that it is aligned to the
Baseline Grid. You may remember earlier
| | 07:40 | on we set up a Baseline Grid with an
increment of 12 points. I'm currently
| | 07:45 | working with my Baseline Grid turned off.
I'm going to show the Baseline Grid.
| | 07:52 | Now if we zoom in, we can see, even
though we have a 12 point increment
| | 07:57 | Baseline Grid, and even though the
Leading value of our body text is 12 points,
| | 08:04 | our text is not sitting on those grid
lines and we want to make it do so.
| | 08:09 | So I'm going to come and edit the style.
So this is how we edit a style once it
| | 08:13 | has been created. Right-click, or
with a single-button mouse Ctrl-click on body,
| | 08:18 | choose Edit. The property that
we're after is in Indents and Spacing,
| | 08:25 | Align to Grid, I'll choose
All Lines, and then click OK.
| | 08:30 | You'll see that now we've got a very
nice ordered look with our body text
| | 08:34 | Baselines sitting on the Baseline Grid,
and also because body first is Based On body,
| | 08:41 | when we edited body,
body first was also affected.
| | Collapse this transcript |
| Designing headlines: 36, 24, 16, 12| 00:00 |
We've created and we have applied our
body and our body first styles where
| | 00:04 |
appropriate. What we're now going to do
is create a group of headline styles in
| | 00:09 |
descending size. So we're going to have
head 1, head 2, head 3, head 4.
| | 00:13 |
They're all going to be based on head 1,
so that should we decide to change head 1,
| | 00:17 |
then that change will cascade through
to the styles that are based upon it.
| | 00:21 |
Our headline styles, and also our
supporting body text style, which is going
| | 00:26 |
to be applied to our secondary articles,
will be in a contrasting sans serif typeface.
| | 00:34 |
We're using Adobe Garamond Pro, a
serif typeface for our continuous reading text.
| | 00:39 |
Conventional wisdom is that
serif fonts are more readable than sans serif,
| | 00:46 |
and of course there is a lot to
challenge that conventional wisdom, but
| | 00:49 |
that is a broad generalization. That's
the combination that we're going with here.
| | 00:54 |
Serif for our body copy, sans serif for
our headlines and supporting material.
| | 01:00 |
Here's a quick primer on the
difference between the two. A in Adobe Garamond Pro,
| | 01:06 |
and same size A in
Myriad Pro, our sans serif.
| | 01:12 |
So let's zoom in on a piece of the
text. I'm going to hold down Command and
| | 01:17 |
Spacebar and click-and-drag over the
three frames there, so we can see them as
| | 01:23 |
big as they can get within our window.
I'll just dismiss my Paragraph Styles panel
| | 01:27 |
for a moment. I'll need to cut and
paste my headline into a separate text frame,
| | 01:36 |
so that it has room to grow. So
I'm going to select that, three clicks
| | 01:41 |
will select it, Command+X or Ctrl+X
will cut it, and then dragging the text frame
| | 01:48 |
from left margin to right margin.
I'll then paste it into that text frame.
| | 01:55 |
When I do so, and I've got my hidden
characters shown, we see there is a hash
| | 01:59 |
mark that marks the end of the
story. I'm just going to press my
| | 02:02 |
Backspace/Delete key to bring that up
to the end of the type. Then Select All
| | 02:09 |
and now start applying the formats to
that text. Since I have my Character
| | 02:15 |
Formats over on the left here,
I'm going to do those first of all.
| | 02:18 |
Command+6 or Ctrl+6 will take me to my
Font menu and I'll type in the font I'm after,
| | 02:25 |
Myriad Pro. Since we wanted to
be bold and contrasting, I'm going to use
| | 02:31 |
the Bold weight and we want this first
head to be 36 points. Just before I do
| | 02:36 |
that though, I'll come and
remove the first line indent.
| | 02:40 |
If you don't see your Paragraph Formats
over here, you can click on this one to
| | 02:44 |
access them and change that to 0. I'm
now going to switch back to my Character
| | 02:50 |
Formats and change this to 36 points.
| | 02:53 |
But if I didn't know in advance how
big I wanted this to be and I was just
| | 02:57 |
experimenting, I would do it this way.
Command+Shift+> or Ctrl+Shift+>, the key
| | 03:05 |
to the right of the M key. I've done
this before. I know that I want it to be
| | 03:09 |
36 points. Even though we have only one
line at the moment, there may be times
| | 03:15 |
when our headlines run to more than
one line. So we want to set the Leading
| | 03:19 |
value also at 36 points.
| | 03:22 |
Another thing that I would like to do,
and we can see the problem, if I just
| | 03:27 |
come and turn my pictures layout
back on, we can see that our headline is
| | 03:32 |
currently colliding with our image.
Regardless of that, I want to make my headline
| | 03:38 |
a little bit more dense in
its appearance. To do that, I'm going to
| | 03:44 |
reduce the amount of spacing between
the characters and between the words.
| | 03:49 |
Before I do that, I'll choose my
Selection tool and then press W to hide my guides,
| | 03:55 |
so that we can concentrate
just on the appearance of the text.
| | 04:01 |
One way I could do that is to use the
Tracking command here. Tracking will reduce the
| | 04:06 |
amount of space between the
characters. That's obviously way too much.
| | 04:10 |
But rather than do it that way, I'm
going to do it a slightly different way.
| | 04:13 |
The end result is going to be much the same.
I'm going to adjust the Justification
| | 04:19 |
settings for this paragraph, where
I want to make the Desired Word Spacing not
| | 04:27 |
100% but 90%, and the Letter Spacing
I want to make -10. I'm only really
| | 04:35 |
concerned with the Desired column,
because I'm going to make this text
| | 04:38 |
Left Aligned. At the moment it is Justified.
But when I make it Left Aligned,
| | 04:42 |
the Minimum and the Maximum will have no
effect. But I do need to make the Minimum
| | 04:48 |
the same as the Desired, in this
case. Otherwise it will beep at me.
| | 04:52 |
That's all I need to do there. If we
turn on the pictures layer now, we could
| | 04:59 |
see that our headline is dense enough
now that we've taken up any unnecessary
| | 05:04 |
space between the characters.
So it's a little bit more impactful and of
| | 05:09 |
course, as the added benefit of
not colliding with the picture.
| | 05:13 |
As I mentioned, I want to change
this from Justified to Left Aligned.
| | 05:18 |
It's currently Justified because it
originally had the body style applied to it.
| | 05:22 |
I'm going to come and click on that icon to
change the alignment. It's not going to
| | 05:26 |
change the appearance, but that's going
to prevent problems from occurring with
| | 05:30 |
other headlines that might be a
little bit longer than this one.
| | 05:33 |
I think that's pretty much all I need
to do. Maybe one more thing. Since it's a
| | 05:37 |
headline, I don't want it to hyphenate.
So I'm going to turn off Hyphenation
| | 05:41 |
and I'm now ready to create a style
based upon this. You'll see its current
| | 05:45 |
status on the Paragraph Styles panel
is body+. I'm now going to choose
| | 05:52 |
New Paragraph Style and I'll call this head1.
Apply Style to Selection will be checked.
| | 05:58 |
Now knowing in advance that I want
other heads that are going to be the same as head1,
| | 06:03 |
they're are just going to be smaller,
I'm now going to do this. Hold down my
| | 06:07 |
Option or Alt key and click on the
Create New Style icon at the bottom of the
| | 06:12 |
Paragraph Styles panel and call this
one head2. Based on head1, meaning that
| | 06:18 |
it will inherit all of the formats. I'm
going to change this Size to 24 points and
| | 06:23 |
the Leading to 24 points.
| | 06:25 |
In this instance though, I do not want
to apply that to the selection. Click OK.
| | 06:30 |
Now I'm going to repeat that process,
Option or Alt and Create New Style.
| | 06:34 |
head3 based on head1.
Basic Character Formats. This one is going to
| | 06:41 |
be 16 point on 16 point Leading and
then one more. This one will be 12 point
| | 06:52 |
on 12 point Leading.
I need to call this one head4.
| | 06:59 |
Now because the headline style was
originally based on the body text,
| | 07:03 |
it inherited the Align to the Baseline
Grid property, which actually we don't want.
| | 07:09 |
It's not a problem at the moment.
It would be as we come to apply these
| | 07:14 |
styles later on. So anticipating that,
I'm going to now edit the head1 style.
| | 07:21 |
Indents and Spacing and Align to Grid,
I'm going to change that to None.
| | 07:26 |
Because head2, head3, head4 are all
based on head1, I only need to do it in
| | 07:31 |
this one place. Click OK. So I'm now
ready to go and apply these head styles
| | 07:37 |
where appropriate throughout the
document. I'll zoom out, Command+Option+0 or
| | 07:41 |
Ctrl+Alt+0. Let's move to page 2.
| | 07:47 |
Well, we have there a head1. Again,
I'm going to need to cut this and paste it
| | 07:54 |
into a new text frame. So let me do
that. I'll come and turn my Guides on.
| | 08:03 |
Three clicks to select it since it is
a single line. Cut it, click-and-drag to
| | 08:09 |
make the text frame, paste it, Command+
V or Ctrl+V. Backspace to bring the hash mark
| | 08:14 |
up to the end of the
line, head1, and the next.
| | 08:19 |
So for this third story, I'm going to
cut not only the headline, but also the
| | 08:24 |
strapline or deck head that follows it
and paste that into a new text frame.
| | 08:30 |
Backspace to bring the hash
mark up to the end of the line and then
| | 08:35 |
apply head1 right there.
| | 08:38 |
Tech Buzz, our monthly column, will get
the head3 style. I forgot that on page 2,
| | 08:47 |
the letter section. Each letterhead
gets the head4 style. Finally, if we now
| | 08:59 |
move to the last page, I need a
continuation head up top here.
| | 09:05 |
So, I'm going to click-and-drag to make a
text frame and type in the words "Gardeners
| | 09:13 |
continued" and then apply head2
to that, "continued from page 1."
| | 09:20 |
Okay, problem. We want the word Gardeners
to be in head 2 style, but "continued from page 1",
| | 09:26 |
we want in a different style.
Now presumably, this is a style
| | 09:30 |
that is going to repeat throughout the
newsletter, maybe more than one occasion
| | 09:35 |
in this issue, but also on
other occasions in upcoming issue.
| | 09:39 |
So it's going to be worth our while
to invest a bit of time and make a
| | 09:43 |
Character Style for this. It needs to
be a Character Style, because it is an
| | 09:48 |
exception to the paragraph. So I'm
going to select that piece of text and going
| | 09:54 |
to my Character Formats. I'll make
this Adobe Garamond Pro, Italic, and
| | 10:02 |
it's going to be a lot smaller, 10 points. That's
what I want my continued Character Style to be.
| | 10:09 |
So I'll now come to my Character
Styles panel. New Character Style. I'll call
| | 10:16 |
this continued so that if in future,
next time we do something like this,
| | 10:23 |
I'll apply the Basic Paragraph Style to
this and I'll make sure that I remove that
| | 10:30 |
Character Style formatting. So the
next time we do this, I could click in there,
| | 10:35 |
apply head2, select that bit, continued.
| | 10:43 |
If we look at the Paragraph Styles and
Character Styles panels in the finished version,
| | 10:47 |
you can see that there are a
lot more styles than those that we've
| | 10:51 |
created. You can go on ahead and create
these. Checking out this style specs by
| | 10:58 |
coming to the finished version. Simply
by clicking in there and looking at the
| | 11:03 |
values that are on the control panel, both
the Character Formats and the Paragraph Formats.
| | 11:08 |
Or you could fast track this and
load the styles from this, the finished
| | 11:15 |
version, into our work in
progress. And that's what I'll do next.
| | 11:20 |
| | Collapse this transcript |
| Loading styles| 00:00 | So maybe you were brave and designed
all of the styles yourself or maybe you
| | 00:05 | felt that was a bit repetitive and
frankly, it is bit repetitive. So what
| | 00:09 | we are going to do is we are going to
load the styles that I created from the
| | 00:12 | finished version into our working progress
and that way we'll have all of those
| | 00:17 | styles available to us on the Paragraph
Styles and Character Styles panel.
| | 00:21 | And here is how we do that.
| | 00:23 | We come to either of those panels and
from the panel menu we'll choose Load All
| | 00:28 | Text Styles. Then we go to the
newsletter_final document and click Open.
| | 00:35 | Maybe the bigger point here is that once
you've created a document with a robust
| | 00:40 | style sheet, you can repurpose this
style sheet again, and again, and again.
| | 00:45 | And once the styles are in your document
you can always change the style definitions.
| | 00:49 | So we are specifically not reinventing
the wheel here. I'm just going to expand
| | 00:55 | this a little bit, so we can see more.
What we see on the left is a list of all
| | 00:59 | of the styles incoming from the
document that I chose from the final version,
| | 01:04 | and on the right, we are warned of
any conflicts with styles that we may
| | 01:10 | already have, because we created some styles.
| | 01:13 | Now I'm actually going to choose to
keep the styles that we created and just
| | 01:18 | bring in all of the other styles. So
wherever we see Use Incoming Definition,
| | 01:24 | I'm going to come over here and uncheck
those. So we are keeping the work that
| | 01:30 | we have done thus far and we are just
fast-tracking the rest of it by bringing
| | 01:36 | in the styles that we are created already
in the finished version of the document.
| | 01:41 | Having done that, I'll click OK and
there those styles are on the Paragraph
| | 01:47 | Style panel and we are now ready
to start applying those styles to the
| | 01:52 | appropriate pieces of text.
| | Collapse this transcript |
| Applying styles| 00:00 | Having loaded the styles from the finished
version of the newsletter, we are now
| | 00:04 | ready to apply those styles. For now
I'll turn off my baseline grid and my
| | 00:08 | other guides by pressing W and I'm
going to tear off my Paragraph Styles panel
| | 00:15 | and expand it so that we can see as
many of those styles as possible.
| | 00:19 | If you have a very long style sheet list,
you might want to choose Small Panel Rows.
| | 00:27 | I think I'll do that.
| | 00:28 | We could also arrange our styles in
folders on our Paragraph Styles panel into
| | 00:34 | what are called Style Groups. When
these were introduced in InDesign CS3,
| | 00:39 | I thought them a great idea, but I've
since come to change my mind about those,
| | 00:44 | and I prefer not to use them. But you
can see that I have named my styles for
| | 00:49 | the section they apply to. So all
the Calendar styles begin with the word
| | 00:53 | Calendar, or the Review styles
with the word Review, etcetera.
| | 00:57 | So firstly, these styles up here, the
TOC if I zoom in on this section,
| | 01:04 | I'll place my place my cursor anywhere in
that story, Command+A to select all, and
| | 01:09 | I'll start out by pressing TOC to
apply that to them, and then for the head,
| | 01:15 | TOC head and we see that style
incorporates a color with a rule above it and
| | 01:23 | then this one right here
TOC head. Profile, TOC head.
| | 01:29 | Now we've got a problem here and the
problem is that they don't all begin in a
| | 01:34 | new frame. So let's change one of
the style definitions. I'm going to
| | 01:38 | right-click on TOC head, edit that one,
and then come to my Keep Options.
| | 01:46 | And what I want to change here is this
Start Paragraph Anywhere. I'm going to
| | 01:50 | change that to In Next Frame.
Now if I zoom out, problem's sorted.
| | 01:57 | I'll come down here to my sidebar
article, click my cursor in there, select all,
| | 02:04 | and this is going to get the sidebar
style. Now unfortunately, my styles are
| | 02:10 | currently not in alphabetical order. So
I'm going to change that. I'm going to
| | 02:14 | choose Sort by Name to make sure they
are in an alphabetical order because I
| | 02:18 | lost that for a moment. So that's
going to be sidebar and then each of the
| | 02:23 | headlines will be sidebar head.
You don't need to select the whole paragraph.
| | 02:27 | Just being in the paragraph is
sufficient. Sidebar head, sidebar head.
| | 02:33 | Now if we move to page 2, I forgot to
thread that to page 2. So here is how we
| | 02:39 | do that. I'll choose the Selection tool,
click on red plus, move to page where
| | 02:46 | we want it to go, hover over the frame
that we want it to go into. We are not
| | 02:50 | actually seeing the frame because
I have the guides turned off, but that's okay.
| | 02:53 | You can see we have the
parenthesis surrounding the cursor, meaning that
| | 02:57 | I'm over a frame, and then click
right there and the text will go into it.
| | 03:01 | Let's zoom in on that, back to
my Type tool and apply the styles.
| | 03:11 | So the rest of it is just a
repetition of the editor's letter, begins with a
| | 03:16 | body note indent, exactly the same as
body text, but without the indent as to
| | 03:20 | these letters. All of the stuff in
the masthead will get, not surprisingly,
| | 03:28 | the Masthead style. Oh! Something funny
happened there. You'll see that we got two
| | 03:32 | styles for the price of one. We have a Character
Style nested in the Paragraph Style definition.
| | 03:39 | And I'll show you how to do that when
we come to create our drop cap treatment,
| | 03:43 | because it's the same process.
And here we have attribution for the
| | 03:49 | letters. I'm going to click on that
one and the rest is just repetition,
| | 03:54 | going through the document and
applying these styles where appropriate.
| | 03:59 | This one right here is the deckhead, or
stand-first as it's sometimes referred to.
| | 04:04 | This one is the byline and we see
that the byline has incorporated into it a
| | 04:11 | paragraph rule above and below, just to
create a nice visual separation from the
| | 04:17 | deckhead that proceeds it and the body
first drop cap style that follows it.
| | 04:24 | So I'm now going to carry on and apply
the styles and you could meet me back
| | 04:29 | in the next movie with newsletter 14
where we'll have all of the styles applied.
| | Collapse this transcript |
| Working with text wraps | 00:00 | Okay, since we last spoke, I've gone
and apply the styles to the appropriate
| | 00:04 | pieces of text. I also fixed a
couple of things that I noticed that were
| | 00:08 | problems. Let me just point those out to you.
| | 00:11 | Here I had formally made this a three-
column layout menu and it should be a
| | 00:14 | four-column layout. So I fixed that and
where we come to work on these sections,
| | 00:19 | the calendar and the review section,
I'm going to show you how these were done
| | 00:24 | and how we can really speed up the
formatting of sections like this.
| | 00:29 | But what we want to do next is apply
some Text Wraps to the images. If I come
| | 00:35 | to my Layers panel and turn on my
Pictures layer, we have several images,
| | 00:41 | the review images being a case in point, that
need a Text Wrap that correctly don't have them.
| | 00:48 | So here is the approach I'm going to
take to make sure that they do. First of all,
| | 00:52 | turn off my Guides by pressing W
and I'll unlock my pictures layer and
| | 00:57 | lock my text layer. Let's just zoom in
on one of these. Now I can select that
| | 01:03 | picture without any problem because
the text layer, which is actually on top
| | 01:06 | of it, is locked. And I'll then open my
Text Wrap panel, which is over here as
| | 01:12 | part of my workspace. If you don't have
it as part of yours, then you will find
| | 01:18 | it under the Window menu.
| | 01:21 | And the Text Wrap option I want for a
picture like this, a rectangular image,
| | 01:26 | is to wrap around the bounding box.
I don't want to set the offset amount, so I
| | 01:31 | would like to make that equal on all
four sides. So I'm going to make sure that
| | 01:36 | the chain is unbroken. But then I want
the bottom offset to be a bit less.
| | 01:43 | So I'm going to now break it and come and change
just the bottom offset to make those 6 points.
| | 01:50 | Now I have done that for one, I want
that same treatment with the same offset
| | 01:54 | values applied to the other images in
the Review section, and some images else
| | 02:00 | where as well. So I'm going to save
this as an Object Style. New Object Style
| | 02:07 | and I'll call this text wrap. Apply
Style to Selection is checked, and Text
| | 02:14 | Wrap & Other is checked so it's
picking up those formats that we were applied
| | 02:18 | to that one instance. I'll click OK,
and now I can zoom out. I can make a
| | 02:25 | selection of all of those pictures and
apply the Text Wrap Object Style to them.
| | 02:32 | Now let's go and see where else do we
need a Text Wrap? Well, we need one right
| | 02:36 | here, on a canine friend. However, the
Object style that we just made won't be
| | 02:42 | appropriate here, because we need it
to wrap around the object shape.
| | 02:45 | So for this one, since this is the only
instance of such a Text Wrap, I'm going to
| | 02:50 | just do this one as a single instance.
| | 02:53 | So I'll select the image, and we want
wrap around object shape. And again, I'm
| | 02:59 | going to start out with an offset
amount of 12 points. That's going to be all
| | 03:03 | the way around that path. All right,
that looks good. Here is one of our text
| | 03:11 | wrap objects styles, and here page 1 is another.
| | 03:18 | Now sometimes applying a Text Wrap,
this being a case in point, it may create a
| | 03:24 | problem as with this headline,
because the Text Wrap is repelling this
| | 03:29 | headline. So we don't want that to
happen. So I'm going to now choose my Layers
| | 03:35 | panel, so that I can unlock the text
layer and select this text frame, and then
| | 03:41 | go to my Object menu > Text Frame
Options > Ignore Text Wrap. And we are in
| | 03:48 | good shape now for the next step.
| | Collapse this transcript |
|
|
4. Designing Page ElementsDesigning the nameplate| 00:00 | We are going to take a little time out
from our InDesign document to go into
| | 00:03 | Illustrator and design the nameplate,
this item right here, for our newsletter.
| | 00:09 | Now the reason I'm doing this in
Illustrator as a scalable graphic is because
| | 00:14 | this nameplate is used in various
different places throughout the newsletter.
| | 00:18 | Let me just point out where.
| | 00:20 | So obviously here on the first page,
but also it's used in the masthead,
| | 00:28 | it's used in the footer and finally, it's
used in the mailing area. And so that we
| | 00:37 | can scale it and have it to be
exactly consistent from one instance to the next,
| | 00:41 | it's going to be useful to
have this created in Illustrator.
| | 00:45 | We could do it in InDesign, but then
it would just be perhaps a little bit
| | 00:50 | problematic scaling it, making sure
that everything is consistent. So I'm going
| | 00:55 | to come over now to Illustrator and
here we have the black and white version of
| | 01:00 | the nameplate and I'm creating a black
and white version because presumably,
| | 01:05 | the color of the word news is
going to change from month to month.
| | 01:10 | So an approach we might take is to
place the black and white version and until
| | 01:15 | we know what color we are using, we
can use the black and white version and
| | 01:19 | then when we decide upon the color that
we want, we can come to the Illustrator
| | 01:24 | file, make the change to the color in
the Illustrator file and then we can
| | 01:29 | relink the black and white version in
the InDesign document to the color version.
| | 01:34 | And I'll show you exactly how we can
do that. Well, anyway this is how it was
| | 01:39 | created. You can see I have created
some guides just to make sure that the rule
| | 01:43 | goes exactly to the left edge of the C
and exactly there to the right edge of
| | 01:49 | the s and the rule is broken by the
descender on the y and I have made this in
| | 01:58 | a percentage of black, using
the same percentage on the rule.
| | 02:03 | So just very quickly to recreate that,
it would look something like this.
| | 02:07 | Using the Type tool, click, select all and
then come up here. Adobe Garamond Pro,
| | 02:21 | Italic and then we'll select this bit
and we are going to make this Myriad Pro.
| | 02:27 | So just in the space of these two
words, intentionally omitting the space
| | 02:32 | between them, we have the interplay
between our two font families, the Adobe
| | 02:37 | Garamond and the Myriad, and
that needs to change color.
| | 02:44 | I will use my Swatches panel and we'll
use a 40% gray but making sure that we
| | 02:50 | don't apply it to the stroke because
that's not what we want to, but rather we
| | 02:54 | apply it to the Fill.
| | 02:57 | Okay, having done that, I'm going to
scale the whole thing up like so and I
| | 03:07 | would probably then want to adjust the
tracking between the letters, so I have
| | 03:14 | selected all of that word. I'm using
the keyboard shortcut Option+Left Arrow or
| | 03:19 | Alt+Left Arrow just to tighten the space.
| | 03:22 | Now, if when you do that, you find as
I'm finding that it's going in too big an
| | 03:28 | increment, then you might want to come
and change your Preferences. In the Type
| | 03:34 | Preferences, we want to make that
increment 1. So now when I do it, we move in
| | 03:40 | much smaller, more subtle increments.
| | 03:44 | I would like a little bit of space
between the two words, so here I'm going to
| | 03:47 | do Alt+Right Arrow. Now here is the
trick, the only tricky bit really with this
| | 03:55 | is to make sure that the two fonts
have the same X-height and they don't.
| | 04:00 | If you set both fonts at the same size,
then when I pull down a guide to the
| | 04:05 | X-height of the italicized type, you
can see-- now I'll need to turn my Guides
| | 04:10 | back on by pressing Command+Semicolon
or Ctrl+Semicolon-- that the X-height of
| | 04:16 | the Myriad font is much higher and
that's going to look slightly unbalanced.
| | 04:21 | So I'm going to select that and then just to
scale that down till we make the X-height the same.
| | 04:27 | Okay and then I'll dock that into
position with that Guide right there, scale
| | 04:37 | it up some more, hold down the Shift
key so that I keep everything proportional
| | 04:42 | and then use my Line tool to draw one-
half of the line there and move over to
| | 04:49 | the right-hand side holding down the
Shift key drew the other half of the line
| | 04:54 | there, then my first line disappeared.
That's because it has no Fill applied to it.
| | 04:58 | So I need to select it making
sure I do not select the type, but I only
| | 05:02 | have the lines selected.
| | 05:04 | Apply to the Stroke the same gray color
and we'll make it a little bit heavy on
| | 05:10 | that 4 pt I think. Okay, so I have
done it there. Now to place it into my
| | 05:18 | document, having created this I'm
now going to delete that second version
| | 05:22 | because obviously we only need one. But
I'm going to come back to InDesign and
| | 05:29 | to our work in progress, which is
newsletter15. And just to keep you updated on
| | 05:36 | where we are with this, we have the
Styles applied, we have the pictures placed
| | 05:41 | and scaled. We have got the
Text Wraps applied to the pictures.
| | 05:46 | There are still many, many problems
that need to be addressed, but as you can
| | 05:49 | see, the newsletter is starting to take shape.
| | 05:52 | What we want to do now is place our
nameplate and we want that to go on the
| | 05:57 | page furniture layout. I'll turn my
Guides back on. We have right there a frame
| | 06:03 | for it, so I'll select that frame.
I could, as we have done in the past for the
| | 06:08 | pictures and for the text, use the
Bridge drag-and-drop technique but I could
| | 06:13 | also, since it is just a single file,
this is what I'm going to do. I'm going
| | 06:17 | to choose File and Place and what we
are after is in the Links folder and I'll
| | 06:24 | place nameplate and then click Open and
there it's going to go into that rectangle.
| | 06:32 | Now it may need some scaling once we
get it in there and indeed, it does, so
| | 06:37 | I'll zoom in on it and it is totally
scalable without any loss of quality, its
| | 06:43 | resolution independent. So I'm just
going to trim the sides of the frame so
| | 06:51 | that it surrounds the nameplate, but
it's not bigger than it needs to be.
| | 06:55 | And now I can position that over there,
making sure that the edge of the C touches
| | 07:00 | or maybe even goes a fraction beyond
the left-hand edge of our type area here,
| | 07:07 | and then I'll notch it down a bit and
then grabbing my top-right hand's anchor
| | 07:13 | point, hold down Command+Shift and
scale that up to there. Or not quite that
| | 07:20 | far because we need to leave some space
there for our little tag line, which is
| | 07:24 | all the news that fits.
| | 07:27 | So I'm going to position it right
there and now that's the nameplate in
| | 07:33 | position on the first page. We now
want to place other instances of it.
| | 07:39 | I might as well just copy and paste this
one. So I'll Command+C to copy it.
| | 07:45 | Now move to Page 2 and to the masthead.
Now in the masthead, which needs a lot
| | 07:51 | of work in other respects as well, but
we'll approach that later on, I have a
| | 07:56 | blank line right there and I'm going
to use that blank line because I want to
| | 08:01 | paste that picture into the text flow.
| | 08:04 | So I'm going to double-click to insert
my type cursor into that frame and then
| | 08:09 | Command+V or Ctrl+V and things get a
little bit weird for a moment because it
| | 08:14 | is so big, so I'll zoom out and
then making sure that I have that image
| | 08:22 | selected because it is an image, it's
not text or it's not editable text or not
| | 08:28 | editable in InDesign at least, I'm
going to scale that down and keep scaling it
| | 08:33 | down until we get to the size that we want.
| | 08:40 | So the other thing we want to do is we
want to make it Centered, so I'm going
| | 08:42 | to make sure I have my type cursor
inserted at the end of that line and then
| | 08:49 | use my keyboard shortcut, Command+Shift+C, or
come and click up here on the Align Center icon.
| | 08:56 | We will zoom out, we have one more
instance and that is on the back page for
| | 09:02 | the mailing area, but I'm going to do
that in a whole separate section with the
| | 09:06 | mailing area by itself. Now I mentioned
that there's going to come a time when
| | 09:11 | we actually want to swap out this black
and white version of the nameplate with
| | 09:16 | the colored version.
| | 09:17 | I am going to address how you can
choose your colors in a separate movie, but
| | 09:22 | let's say for now that I have chosen as
my or one of my secondary colors, this
| | 09:27 | aqua color right here and I want to
apply this to this portion of the nameplate.
| | 09:33 | Remember this is an Illustrator file,
or we can actually do it a bit here in
| | 09:36 | InDesign, scale it. Here is what I'm
going to do, I'm going to use my Rectangle
| | 09:41 | tool, draw myself a little rectangle
and then make sure there's no Stroke
| | 09:45 | applied to that. So that's None for the
Stroke and then for the Fill property,
| | 09:50 | I'm going to fill it with that color and then
I'll cut it from there, Command+X or Ctrl+X.
| | 09:58 | Switch over to Illustrator where I'll
paste it, Command+V or Ctrl+V and you
| | 10:04 | will notice that when I do that, the
Fill color becomes my Fill color in
| | 10:09 | Illustrator, maybe I'll want to use
that one again, so I'm going to actually
| | 10:13 | add it to my Swatches by
dragging it from there to my Swatches.
| | 10:18 | I can now delete this. Highlight this
piece of my text and apply the color to
| | 10:24 | it right there. Then I can Save As.
It's probably a good idea to retain the
| | 10:29 | black and white version because the
secondary color may change from month to month.
| | 10:34 | I can do a Save As and call it
nameplate color. Now I have already done that so
| | 10:38 | I'm not going to do a Save As on this
one. In fact, I'm going to back this one
| | 10:42 | up to its previous state but
I have already saved a file called
| | 10:46 | CN_nameplate_color and we are now going to see
how we can relink this with that color version.
| | 10:55 | So I'm going to come to my Links panel,
which is just a list all of the images
| | 11:01 | that have been placed into your
InDesign document and the pages on which they
| | 11:06 | occur and we see there it says (2), so
there are two instances of this right here.
| | 11:13 | I am going to right-click on the
twirly to expand this and select both of the
| | 11:18 | instances, holding down the Shift key
and then right-click on either one and
| | 11:23 | choose Relink. Then I need to navigate
to the folder containing the file that I
| | 11:28 | want to link them to. It's in the
Links folder, CN_nameplate_color, and then
| | 11:33 | when I click Open and I'll have to do
that twice since there are two instances.
| | 11:40 | They should now both update. Remember
it's that one there obviously and that one down there.
| | Collapse this transcript |
| Designing footers| 00:00 | I think it's now time to create some
footers that are going to go on our master
| | 00:04 | pages and will contain the
publication name, Community News, along with the
| | 00:10 | page number, along with the
publication date and they are going to go on the
| | 00:13 | left-hand and on the right-hand master
page. And since we want it to be on all
| | 00:17 | pages or at least, all pages but the first page,
we are going to put them on the master pages.
| | 00:23 | Now from the previous movie, we saw
how we can place this Illustrator graphic
| | 00:29 | as the nameplate. We want to use that
nameplate in our footer, so I'm going to
| | 00:34 | select it there and press Command+C or
Ctrl+C to copy that and then I'm going
| | 00:42 | to go to my master pages.
| | 00:43 | Double-click on A-Master, zoom out to
Fit-in-Window view and just as a visual
| | 00:50 | aid, I'll draw myself Guides
corresponding to the inside and outside margins of
| | 01:00 | each of these pages and I'm on my page
furniture layout and that's where I want to be for this.
| | 01:07 | I can now dismiss that Layers panel.
I'll now choose my Type tool and
| | 01:12 | click-and-drag a text frame from one
guide to the next. Zoom in down to there
| | 01:18 | and firstly I want to add a page
number. Keyboard shortcut for that is
| | 01:23 | Command+Option+Shift+N, so a real
handful of modifier keys, and the N key or
| | 01:29 | Ctrl+Alt+Shift+N. But I can also
right-click, Insert Special Character >
| | 01:35 | Markers > Current: Page Number and we
want this to be in Myriad Pro, which is
| | 01:41 | our second family of fonts, remember we
are combining Sans-Serif of Myriad Pro
| | 01:47 | with Serif Adobe Garamond Pro. Command+6,
which brings me to my Font menu, type
| | 01:53 | in Myriad Pro and we'll make it Bold as well.
| | 01:56 | Okay and then we are going to have a
space. Do we want a slightly bigger space?
| | 02:04 | Why not, let's have a slightly bigger
space, Insert White Space > En Space and
| | 02:10 | now I'm going to paste our nameplate
graphic, Command+V or Ctrl+V, it's going
| | 02:15 | to style out being too big, but that's okay.
| | 02:19 | It's both too big and too high. So I'm
going to need to drag it down and reduce
| | 02:26 | its size as well. But before I do
that, I'll just continue with the line,
| | 02:31 | insert my cursor back in there and
then type in the date, we'll have to be
| | 02:38 | August 2009 and this I'm going to put
in the Adobe Garamond Pro and it doesn't
| | 02:46 | need to be Bold and it probably
doesn't need to be 12 points either.
| | 02:51 | We don't need to overwhelm our readers
with the size of this information. Okay,
| | 02:56 | let me get in closer because I want to
make sure that the baseline of this is
| | 03:02 | the same as the baseline of this and
to the end, I'm going to draw myself a
| | 03:06 | guide indicating that baseline.
| | 03:08 | I will start out by scaling this down,
Command+Shift and pull it down and then
| | 03:16 | I'm just going to move the box and it's
going to be a little bit weird because
| | 03:21 | as I do that, the box itself is going
to move. So I'm going to have to do it by
| | 03:26 | eye and just to confirm that I have it
right, I'll bring that Guide into place
| | 03:34 | and that looks pretty good I think.
| | 03:36 | So what I want to do now is maybe
we'll delete this Guide that's no longer
| | 03:42 | serving any purpose. I'm going to
zoom out a bit and bring this text frame
| | 03:49 | down, so that we are at a decent
standoff distance from the bottom margin.
| | 03:55 | Zoom out to Fit-in-Window view,
Command+Option+0 or Ctrl+Alt+0 and I'm now
| | 04:01 | going to duplicate that over to the
right-hand page. Option+Shift or Alt+Shift
| | 04:07 | and drag it over, where everything is just fine
except that we need to make it go to the outside.
| | 04:15 | So Command+Shift+R or Ctrl+Shift+R
will do that and then we just need to cut
| | 04:22 | and paste the order. So I'll go and
grab the date including that space that
| | 04:27 | precedes, and I'll go ahead and grab
that from there and that's going to get
| | 04:31 | pasted right there and then
I'll cut the number from there.
| | 04:35 | Trying to get my cursor at the very end
there might be a little bit tricky.
| | 04:39 | So I'm going to click it just before the
picture frame and then press my right
| | 04:45 | cursor arrow and then Command+V or Ctrl+
V, left arrow to move back and then we
| | 04:52 | need to insert another En Space right
there. Insert > White Space > En Space
| | 05:00 | and now we have our master pages set
up so that when we go to our document
| | 05:05 | pages-- I'm going to turn my
Guides off. W will do that.
| | 05:10 | We will see our footer in position,
which is just great, except we don't want
| | 05:19 | to see our footer on Page 1. It's
completely redundant since there is no
| | 05:23 | ambiguity about it being Page 1.
| | 05:26 | So to remove a master item from a
specific page, we do this, Command+Shift or
| | 05:32 | Ctrl+Shift, click on it to unlock it
and there, I'm having a problem because
| | 05:39 | what is happening is I'm
selecting the text frame that is in front.
| | 05:44 | So I'll come to my Layers and lock
my text frame and I'll try that again.
| | 05:49 | Command+Shift or Ctrl+Shift and click.
That releases it and I can now delete it
| | 05:56 | from that specific document page.
| | Collapse this transcript |
| Choosing and creating colors| 00:00 | Okay, I'd now like to share with you a
very common, very effective technique
| | 00:05 | for choosing colors and that is to
sample colors from one of the key images in
| | 00:13 | your layout and obviously, I'm going
to use this one. Let's hide the baseline grid,
| | 00:18 | which is kind of getting in our way.
So I'm going to come to the View
| | 00:21 | menu and choose Grids and
Guides > Hide Baseline Grid.
| | 00:24 | I have placed a copy of this image over
here on the pasteboard and that's just
| | 00:31 | because in this particular instance,
this is a rather exceptional case because
| | 00:35 | we have it as a partial cutout where
the topmost image is just this small
| | 00:42 | portion of the subject's head and the
fill of that picture frame is None.
| | 00:48 | So it's going to make it difficult and
tricky to sample the color from that which
| | 00:53 | is why we are actually going to
sampling the color from this version over here.
| | 00:59 | So if you've been creating yours from
scratch following along with me,
| | 01:03 | you might find it easier to do the same.
Place this image on the pasteboard and
| | 01:08 | then we'll sample the color from there.
| | 01:10 | Okay, so to do this we want our
Eyedropper tool and then I'm going to click on
| | 01:15 | an area of the green. I have already
created my colors by the way. They are
| | 01:20 | already there in the Swatches panel
and when I imported the Paragraph Styles,
| | 01:26 | the colors came along with them because
those were referenced in the Paragraph Styles.
| | 01:30 | So these colors are the ones that I'm
using but if you were creating this from
| | 01:35 | the ground up, you wouldn't necessarily
have those colors there. This is how they
| | 01:40 | got there. I'm going to get a
different result every time because inevitably
| | 01:44 | I'll end up clicking on a slightly
different area of green and I'm going to
| | 01:49 | come over here to a slightly darker area
of green. Click on that. And then that
| | 01:53 | green becomes my foreground color.
| | 01:56 | I will just expand my Swatches panel,
so that we can see that's currently the
| | 02:00 | last color. Now if I come over to the
fill and right-click or Ctrl-click with a
| | 02:05 | single button mouse, Add to Swatches,
there it is. Since it was sampled from an
| | 02:10 | RGB image, it comes in as an RGB color.
I'll now switch that to a CMYK color by
| | 02:18 | double-clicking on it. CMYK, click OK.
| | 02:20 | All right, now perhaps we want to have
some other colors to go with that and to
| | 02:27 | get them we can used this fantastic
extension called Kuler that comes with
| | 02:32 | InDesign which allows you to build
color palettes, derived from a base color
| | 02:38 | and four supporting colors depending on
whichever color harmony rule that you choose.
| | 02:45 | Now I want to make my base color my
current Fill color, which is this one over here,
| | 02:51 | the one that I sampled and to do
that I'm going to come and click on that
| | 02:55 | icon right there and then I get four
other colors derived from that base color.
| | 03:00 | In this case, based on the Analogous
color harmony rule. I could choose any
| | 03:05 | other but that is actually the one
that I want. And to add these colors to my
| | 03:10 | Swatches panel, I can then click on this.
| | 03:13 | Now as it turned out, it brought back
in my base color in its RGB version,
| | 03:19 | which is slightly annoying, but
I guess we can't have everything. So we want
| | 03:23 | this color and it turned out that
I didn't want all of these, so I'm going to
| | 03:27 | actually delete that one and I'm going
to select all of those and delete those.
| | 03:33 | And then this one and this one are the
two colors that I'm using throughout.
| | 03:37 | I want to convert this from RGB to CMYK,
so I need to make sure that Name with
| | 03:44 | Color Value is checked. Color Mode,
CMYK, and those are our colors.
| | 03:50 | This image has now served its purpose
so I can get rid of that from there.
| | 03:54 | In terms of applying those colors in our
styles, if you had a style that's currently
| | 04:00 | in black and you want to change its
color. For example, the deckhead that
| | 04:05 | we have right here and I have my text
layer locked, so I'm going to unlock that,
| | 04:10 | click in there, Paragraph Styles, deckhead.
| | 04:14 | I could now edit deckhead. Character
Color and we can choose whatever color
| | 04:20 | we're afte, and maybe we want to
set it back to a green and then all the
| | 04:26 | deckheads will change. It turns out
I actually don't want to do that.
| | 04:29 | So I'm going to undo that.
| | 04:32 | And once you have chosen your colors,
just to keep things nice and tidy,
| | 04:38 | you might want to do this, Select All
Unused and then boom, they're gone.
| | 04:45 | So we are just left with the
colors that we are actually using.
| | Collapse this transcript |
| Designing color panels| 00:00 | In this movie, we want to design some
color panels and what I'm referring to is
| | 00:06 | this color panel behind our News in
brief section here which also appears on
| | 00:11 | Page 2, and then on Pages 4 & 5, we
have this panel for the center spread and
| | 00:20 | on Page 6, the Community Calendar.
| | 00:23 | Now just to make sure that we keep
things nice and consistent, what I'm going
| | 00:28 | to do is I'm going to create a tint
swatch derived from each of our two colors,
| | 00:34 | our green and our aqua. These two
colors so that we can apply them
| | 00:39 | consistently. Also this brings up a
couple of other issues. One is an age-old debate.
| | 00:46 | I'm exaggerating of course but
that debate is do I apply the color to
| | 00:53 | this text frame or do I draw a whole
separate element underneath this text frame?
| | 00:58 | I am going to go for the latter approach
and the reason I'm going to do that is
| | 01:03 | if we are thinking about creating a
legacy for this newsletter, something that
| | 01:08 | we can inherit the next time we do it,
and the next, and the next, and the next,
| | 01:14 | then I think it's going to be
good to retain on the page these color
| | 01:20 | fills so that we can just place new
text on top of them. I mean the other
| | 01:24 | approach is equally valid, but I think
when we come to do the next issue,
| | 01:30 | we can just strip out the text, we have
already got the color panel right there
| | 01:33 | and we can place the text on top of it.
So that's my thinking there and it's
| | 01:38 | going to go on the page furniture
layer so that we can keep it separate and
| | 01:42 | distinct from the text layer.
| | 01:46 | Right then, so in newsletter18, at a
comfortable view size, I'm on page 1 that
| | 01:53 | seems like a comfortable view size to
me. I'm now going to select the page
| | 01:58 | furniture layer, let's lock those two
and using my Rectangle tool, let's turn
| | 02:07 | my guides on as well, my Baseline Grid,
Show Baseline Grid. I'm going to draw
| | 02:12 | myself a rectangle like so.
| | 02:14 | Now you will notice that, in this case,
we are actually breaking the bottom
| | 02:18 | margin and that's I think acceptable
because we have no footer on this page.
| | 02:24 | So there is my frame and I want to make
sure that this frame has no stroke, so
| | 02:29 | I'll remove that. I'll just press
the Forward Slash to apply none.
| | 02:33 | Then come to my Fill and to my Swatches
and I'll like to start off by applying
| | 02:41 | the aqua color and then I'm going to
come to the Color Swatches panel menu, New
| | 02:48 | Tint Swatch. I'm going to create a
tint based upon this at 15% and then add that.
| | 02:54 | That will both be added to my
Swatches panel and applies to that selected
| | 03:00 | item, then I can click Done.
| | 03:02 | I could even go as far as to make it
object style for this and why don't I do
| | 03:08 | that? That's don't sound like
such a bad idea. It turns out that I
| | 03:12 | automatically have a text wrap on that
which I don't actually want. There is
| | 03:17 | the text wrap offset right there, so
I'm going to click on that to remove it
| | 03:22 | because that text wrap is knocking
the text out of the way and we certainly
| | 03:25 | don't want that to happen.
| | 03:26 | So now I'll come to my Objects Styles,
New Object Style and I'll call this
| | 03:32 | sidebar, Apply Style to selection. In
this case, what it's picking up is the
| | 03:38 | Fill color. I'll click OK and
then we'll zoom out from there.
| | 03:44 | Before, we go on to the next page, if
we take a look at the final version we
| | 03:49 | can see that we have got this kind
of treatment, a little tab on it right there.
| | 03:52 | So that's what we want to do
next and this requires jumping through a
| | 03:59 | hoop or two because it's very easy to
have a frame with no rounded corners or
| | 04:07 | with all corners rounded but if you
want a frame with just one or two or three
| | 04:13 | of those corners rounded, then that
becomes a bit more difficult and that of
| | 04:17 | course is what we want.
| | 04:19 | So I would draw myself another
rectangle right there and I might as will begin
| | 04:24 | by applying the sidebar style to that,
but now to round just this corner, right
| | 04:31 | here, I'm going to need to go to my
Scripts. Again if you don't have your
| | 04:36 | Scripts open then you'll find them
under Automation, Scripts. Okay, this time
| | 04:43 | before we used the FindChangeByList
to clean up our text, what we want this
| | 04:48 | time is CornerEffects and I'm getting
this from the Samples folder from the
| | 04:55 | AppleScript folder. If you are a
Windows user, it would be Samples and VBScript
| | 05:01 | or JavaScript and that's true that
Apple users can also use JavaScript as well.
| | 05:06 | So I'm going to double-click on
CornerEffects. That's going to bring this up.
| | 05:15 | All right, so we want it to be rounded
and the Offset amount that sounds about
| | 05:19 | right, 12 points. That's how round
it's going to be. But this is the crucial
| | 05:25 | one, Pattern, and I often get confused
with this. It depends how you draw the
| | 05:29 | rectangle. It's a bit difficult to
interpret which point we are referring to
| | 05:33 | but I think this is going to be the
logic. It would tell me it's the second
| | 05:39 | point that being the first. But past
experience I think tells me that it's the third.
| | 05:43 | Anyway, let's see
when I click OK, I got it wrong.
| | 05:48 | So I'm going to need to do that again,
press Command+Z, you might need to do
| | 05:53 | that a couple of times. I'll go with
logic this time, second point, and that's
| | 06:00 | that one, so it's got to be the fourth
point, I'm going to get there eventually.
| | 06:09 | Now as one final step, not strictly
necessary but it does keep things nice and tidy.
| | 06:14 | I could combine these two
shapes together. Why not I go ahead and do that.
| | 06:18 | So I'm going to select both,
although, thinking about it. It might be
| | 06:23 | nice to have the flexibility to make
this a slightly taller or slightly more
| | 06:27 | shallow tab, and we would lose that.
But if we did want to combine the two
| | 06:30 | shapes into one, we could do this.
Select both. Object > Pathfinder > Add.
| | 06:37 | I don't want to do it, so I'm going to
undo that. I'm going to retain them as
| | 06:41 | being two separate shapes. Now doing
that is going to require that I take
| | 06:48 | further action with my News in Brief
text which is currently butting up against
| | 06:53 | the edges of that frame but
we'll address that in another movie.
| | 06:57 | So for now I'm going to move to Page 2,
turn my Guides back on by pressing W
| | 07:04 | and I'm now going to draw myself
another frame on Page 2, like so to which I'll
| | 07:13 | apply the sidebar style, move over to
the facing pages spread where I'll do the
| | 07:21 | same thing. I'll make sure that
overlaps with the picture and when I apply the
| | 07:27 | sidebar style to it, it gets the tint and
then we have one more instance that's on page 6.
| | 07:35 | Okay, so we now have our color panels
in place. We might just for this one,
| | 07:48 | change the Tint Color and in fact,
I do want to change the tint color.
| | 07:53 | So I'm going to come to my Swatches panel
and here I'm going to apply the green and
| | 07:57 | you will see when I do that,
it picks up the same tint.
| | 08:02 | Now I could make another Tint Swatch
of this color. I don't think that's
| | 08:06 | strictly necessary here. I'm just
going to have this be an exception to the
| | 08:10 | normal sidebar tint. Okay, I think we
are ready to move on to the next step.
| | Collapse this transcript |
| Creating drop caps| 00:00 | Our next task is going to be to
finesse our drop caps that are used in all of
| | 00:06 | our major articles there, there, and
there. Now the exact ordering which I'm
| | 00:13 | doing this could vary. So it's not
essential that drop caps should follow
| | 00:18 | the design in your color panels. The order
of many of these things is interchangeable.
| | 00:22 | So we already have a paragraph style
called Body First that is consistently
| | 00:27 | applied to our opening paragraph
treatments, but we just want to make it
| | 00:32 | slightly more finessed and slightly
more unified with the rest of the design.
| | 00:37 | If we take a look at the finished
version, this is how the drop cap looks.
| | 00:41 | You will see it's using a sans serif family,
the Myriad Pro. It's also using our
| | 00:47 | secondary color, the green, and as
an added embellishment, and I'm still
| | 00:52 | undecided about whether or not I like
this or not, it has an underline on it.
| | 00:56 | So we'll see how we can both apply that and
should we change our mind, how we can get rid of it.
| | 01:02 | So I'm going to come over to
newsletter19, our work in progress. I already have
| | 01:09 | the component parts of this setup.
What we are going to be doing here is
| | 01:12 | creating a nested style with the
character style that will make it green and
| | 01:19 | Sans Serif and underlined, nested or
incorporated within the Body First paragraph style.
| | 01:28 | The one that we are talking about
is called drop caps, so the drop cap
| | 01:32 | character style has already been
created. I have created that in the same way
| | 01:36 | as I created other character styles.
I selected a bit of text, I made it green,
| | 01:41 | I made it Myriad Pro, I made it
underlined, and then I came over here and chose
| | 01:46 | New Character Style. So that's where
we pick up the action here because I'm
| | 01:51 | now going to go to the Paragraph
Styles panel and right-click on body first,
| | 01:56 | edit that, and come to Drop Caps and
Nested Styles, and here is where we
| | 02:03 | incorporate that character style
into the body first paragraph style.
| | 02:07 | I will change that to drop cap and
there we see it looks the way we want it to look,
| | 02:13 | mostly the way we want to look.
A couple of refinements. I'm going to
| | 02:17 | choose Align Left Edge and if you
watch very closely when I do that, the drop
| | 02:21 | cap is going to move ever so slightly
to the left so that it's flushed with the
| | 02:26 | left-hand edge of the text frame.
| | 02:28 | Now here is a slight drawback of
using that underline. I cannot align that
| | 02:32 | underline exactly to the left edge
and for that reason, I think I might get
| | 02:37 | rid of it. So if we do want to remove
the underline and just before we do that,
| | 02:42 | let me just hammer home the point that
that's affected all instances of that
| | 02:48 | drop cap, not just that one.
| | 02:51 | But to remove now that underline, we
can do this. We go in edit the character
| | 02:57 | style definition, right-click on
drop cap, come to Underline Options and
| | 03:02 | we'll turn it off. It's gone. So there is
our drop cap treatment and of course the
| | 03:08 | drop cap, the purpose of that, is a
visual cue to the reader that that is where
| | 03:14 | they start the article and we don't
want to over do it. Don't over use them.
| | 03:19 | Don't make them too big so that they
overwhelm the headlines and we do want to
| | 03:23 | unify them with our headline treatment and we
are doing that by choosing the same typeface.
| | 03:28 | Just in terms of visual cues, I'm going
to throw one more thing in here.
| | 03:32 | It's a very minor point, but one worth making,
and that is we have the visual cue to
| | 03:38 | begin the story. We also want a
visual cue that the story has ended.
| | 03:42 | Now if we move to the last page, we see
here we just have a bullet that is set
| | 03:48 | to green and this, the way this was
achieved, I'll need to make sure that my
| | 03:54 | text layer isn't locked in order to be
able to get into that text. I'll just go
| | 03:59 | ahead and delete that one and type
myself another bullet like that,
| | 04:04 | then highlight that, and this is the end
character style. That way we make sure
| | 04:09 | that all of those are consistent and
it's a nice subtle graphic element and a
| | 04:16 | useful visual cue to your reader.
| | Collapse this transcript |
| Creating department heads | 00:00 | So now it's time to design our
department heads and by departments heads I'm
| | 00:04 | referring to these things, which are
going to repeat from month to month in the
| | 00:09 | same or at least a similar location.
So they are going to go on the page
| | 00:13 | furniture layer. Just to remind you
the layers that we have, text, pictures,
| | 00:17 | and page furniture, and these use the
same treatment as we are using for our
| | 00:25 | nameplate here with the Italicized gray type
contrasted with the Myriad Pro, Bold type.
| | 00:33 | We will do one and then we are
essentially going to copy it, and then just to
| | 00:38 | change the text for the others. When
I turn my Guides on by pressing W, we can
| | 00:42 | see that we have a frame there, ready
and waiting for the content, and I'm
| | 00:47 | going to zoom in to that area, choose
my Type tool and click in there, type the
| | 00:55 | text, select it, I'm going to change
the font to Adobe Garamond Pro, Italic,
| | 01:03 | and then I'm going to change
the point size to 36 points.
| | 01:07 | Now I'll just choose the second word
and change this to Myriad Pro, Bold, and
| | 01:14 | change the color of that to green, but
we want to make a further adjustment to
| | 01:22 | this because Myriad Pro at 36 points
is going to overwhelm the Adobe Garamond
| | 01:29 | Pro, Italic of 36 points, the X-height
of the letters is that much higher.
| | 01:35 | We also want to change the Tint of this
to 40%, which is what we used for the
| | 01:40 | nameplate. So while I'm here with this
text selected, I'm going to make a New
| | 01:46 | Tint Swatch, and we are going to have 40%
Tint of Black, which will add that to
| | 01:53 | the Swatches panel and at the
same time applied to that text.
| | 01:56 | I am going to hide my baseline grid,
then pull down a guide. That marks the
| | 02:02 | X-height of the word, Community.
I think I also want to apply a little bit of
| | 02:07 | tracking to this. So I'll select it,
Option+Left-arrow or Alt+Left-arrow just
| | 02:13 | to tighten up the space between the
characters. Then select this word, and size
| | 02:20 | it down a bit until we make the X-height
equivalent to the X-height of the Italicized text.
| | 02:28 | Now I'm deliberately omitting the
space between, but I do want a little bit
| | 02:33 | more space then I currently have. So
I'm going to come and kern in a bit of
| | 02:37 | space there. I place my cursor
between the two. Option+Right-arrow or
| | 02:40 | Alt+Right-arrow in this instance, just
to move all of the text to the right of
| | 02:47 | the cursor over a bit.
| | 02:48 | All right, and that looks good. I do
want to position it optically so that the
| | 02:56 | left-hand edge of the C is up against
the left-hand edge of our text frame.
| | 03:03 | Now that I have that, I'm going to select
all and copy, zoom out, come in to here,
| | 03:13 | and paste, highlight that, change
that to Calendar. Same thing over here,
| | 03:20 | insert my cursor and paste.
| | 03:24 | Now I'm going to move to Page 2 and
paste, where this time, we need to replace
| | 03:32 | both words. Because the R is slightly
colliding with the L there, I may need to
| | 03:41 | adjust the kerning on this
particular instance. Option+Right-arrow or
| | 03:44 | Alt+Right-arrow just to move that
slightly over to the right, zoom out, come
| | 03:48 | down here, paste. I got it the wrong
way around, didn't I? That one is your
| | 03:56 | letters, so I'll copy that, paste
that down there, and this one is Editor's
| | 04:02 | Letter, singular, a bit more kerning in
there, and a bit less between the R and the 's.
| | 04:17 | All right, now just to spice things up
a little bit, we are also going to add
| | 04:25 | some icons to those, these things here.
I don't have one for Profile, but for
| | 04:29 | Reviews, Calendar, and the Editor's
Message, Letters, and then we have another
| | 04:36 | icon down here, which is going to go
in the masthead to indicate that it's
| | 04:40 | printed on recycled paper.
| | 04:43 | Now these icons actually come from an
Illustrator symbol set. So let's pop over
| | 04:49 | to Illustrator. I have a document here
of all the icons that I'm using.
| | 04:54 | This is how I got them. In Illustrator,
I opened my Symbols panel and then we have a
| | 05:00 | number of very useful symbols libraries
in Illustrator. And the one that I used
| | 05:07 | was this one, Web Icons, and to add
these to the Symbols panel, simply click on them.
| | 05:15 | They are already there, but if
I were to for example click on this one,
| | 05:18 | that will add it to the Symbols panel.
| | 05:20 | Once they've been added to the Symbols
panel, to put a single instance of each
| | 05:25 | one on the page, click on it and add
it to the page, and then we are going to
| | 05:31 | copy and paste it into the InDesign
layout. The recycled symbol came from the
| | 05:37 | Maps symbols set and the thumbs up,
that's something different. That is a
| | 05:42 | Wingding font, but before we get to
that, this one here, we actually want to
| | 05:47 | flip this one so that it's facing the other way.
| | 05:50 | So I'm going to select this and then
using the Reflect tool-- that's on the
| | 05:54 | same tool space as Rotate. Reflect, if
I just double-click on that and we are
| | 05:59 | going to reflect it across the vertical
axis so that it actually looks like so.
| | 06:05 | Now for our thumbs up, take the Type
tool, click to make an insertion point,
| | 06:11 | and then we can go to the Glyphs panel,
change the font that we are viewing to
| | 06:17 | Wingdings, and somewhere in there, in
fact right there is what we are after,
| | 06:23 | it's very small at the moment, but it
is on the page now. So I can close the
| | 06:27 | Glyphs panel, highlight
this, and bump up its size.
| | 06:34 | Now this is actually a font and
it's going to make it a little bit more
| | 06:38 | practical to work with, if we convert
this from an editable font into outlines,
| | 06:44 | which is what I'll do next. Type >
Create Outlines, and just so that we can
| | 06:49 | kind of compare its style to the style
of the other icons, I'm going to size it
| | 06:54 | up more or less to the same size. The
quality of the line on this is not as
| | 07:01 | thick as is on the other. So to
compensate for that, I'm going to select that,
| | 07:06 | and as well as having a black fill,
I'm also going to give it a black stroke.
| | 07:13 | Just to slightly thickened that
line, black stroke of 1 point.
| | 07:17 | So one by one I'm going to copy the
icon, switch over to InDesign and to our
| | 07:26 | work in progress, which is newsletter20,
go to the relevant page, and this one
| | 07:32 | is the Calendar I believe. I have
already forgotten what it is. But if I paste
| | 07:36 | it now making sure that I'm pasting it
on the page furniture layer and we can
| | 07:43 | tell that it's on that layer,
because the selection color is green.
| | 07:45 | I will move it down here into position
and we don't want it to overwhelm this,
| | 07:53 | so I might draw myself a guide, maybe
a couple of guides, and I might find it
| | 08:02 | easier to get it a little bit bigger
when I do that. Now position, oops, I'm
| | 08:09 | moving the wrong thing there, I need to
make sure that I have my text layer locked.
| | 08:12 | I am now going to scale this down so
it has approximately the same height as
| | 08:20 | the X-height of the type, Command+
Shift or Ctrl+Shift and scale it down, or
| | 08:25 | maybe it will go for the cap height.
I think the cap height. Pick one and stick
| | 08:31 | with it and this case it's
going to be the cap height.
| | 08:34 | Okay, but we also want to change the
color of it, and again we don't want it to
| | 08:38 | be too overwhelming. So I'll now come
to my Swatches and we'll change the
| | 08:43 | color to the green and maybe now it's
the time to build a tint swatch of that green.
| | 08:49 | We'll have 15% Tint, which I'll
add, and at the same time apply it to
| | 08:55 | that selected item.
| | 08:58 | So I don't think you need to see me do
the rest of those. I'll go and finish
| | 09:00 | those in my own time and see you in
the next movie with newsletter21 without icons in place.
| | Collapse this transcript |
| Designing a review section| 00:00 | In this movie, we are going to design
the Review section of the restaurants and
| | 00:06 | by review section I'm referring to
these six columns that's traverse both pages
| | 00:11 | and it's really a matter of
finessing what we already have. If you look
| | 00:15 | at our work in progress, newsletter21,
you can see that we have got the text in,
| | 00:22 | we have the pictures in, the text
columns here are wider than in the finished version.
| | 00:27 | We also need to add some text
here, some explanatory text and little
| | 00:31 | bit of general finessing. I'll
also show you how I make the styles.
| | 00:35 | But first of all, let's just pop back
to the finished version for a moment and
| | 00:39 | you can see that I'm using a
generous amount of white space here.
| | 00:43 | I have narrowed each of these text columns
making them three quarters of their current
| | 00:48 | width and I did it in this way.
| | 00:51 | We are working with a three column grid.
But what if I were to superimpose on
| | 00:57 | this 12-column grid. So I think what
I'm going to do is I'm now going to come
| | 01:02 | to my Layout menu and choose Margins
and Columns and change my Number of
| | 01:08 | Columns from 3 to 12.
| | 01:11 | Now of course, 12 is divisible by 3 so
each of our text columns now occupies
| | 01:17 | four column units. When I did that and
very importantly, I did not have Layout
| | 01:24 | Adjustment checked and because
I didn't have it checked, nothing on the page
| | 01:29 | actually changed and we
didn't want it to either.
| | 01:32 | But now that I have this 12-column
grid superimposed on my 3-column, I can
| | 01:39 | click each of these text columns and
narrow them like so. And as I do that,
| | 01:48 | some things might fall slightly out of
place, I might need to just pull that
| | 01:52 | down a fraction and there too and
I think that's now looking much better.
| | 02:05 | But how were these Styles made? Let's
just take a look at what we have going on here.
| | 02:11 | So we have the restaurant, we
have the sample dish, we have the address
| | 02:14 | and then we have the description.
I'll turn off my guides by pressing W and
| | 02:20 | choose my Type tool and if we click
in each of these styles we can see that
| | 02:24 | they are Review Head, Review Subject,
Review Address, and Review Text.
| | 02:32 | Things that are worth pointing out
about these are that they have paragraph
| | 02:36 | rules incorporated into them. When
I was building the style in the first
| | 02:41 | instance, I applied the Paragraph Rule
using this dialog box right here.
| | 02:46 | And we have a Rule Above. It's a half point
rule. The Offset determines the distance
| | 02:52 | from the baseline of the type and if
I increase that you will see what I mean.
| | 02:57 | So it's going to offset the rule more
as I increase down. That left at 12.
| | 03:03 | So I have a Rule Above. Each of these,
which effectively creates a rule between
| | 03:09 | each item, and then in this instance
Review Address as well as a Rule Above.
| | 03:14 | I'm now looking at the Paragraph Style
options, I also have a Rule Below and
| | 03:20 | it's so much more preferable to
do it this way than to draw lines.
| | 03:24 | Because if we do it this way the rules
will move with the text as the text is
| | 03:28 | edited. Also here, in this review
section our paragraphs follow a very rigid
| | 03:34 | format. As we have seen we have got the
head, we have got the subject, we have
| | 03:38 | got the address, we have got the
description. It's a single paragraph of
| | 03:42 | description and then that sequence
is repeated for the five other items.
| | 03:48 | If I were to go and apply the Basic
Paragraph Style to all of those, so that we
| | 03:55 | are at the starting point, the styles
are made. I can now apply the styles as a
| | 04:00 | sequence. Just so long as my text does
follow that sequence which it does and
| | 04:05 | to do that I would come to the first
style in the sequence, Review Head,
| | 04:10 | right-click on it and then come to
this option Apply Review Head then Next Style.
| | 04:16 | And when I do that
everything falls beautifully into place.
| | 04:23 | In order to make that sequence happen
you need to have your styles set up like this.
| | 04:27 | Beginning with the first style in
sequence, Review Head, if I right-click
| | 04:32 | on that, we can see that I have the next style
specification set to Review Subject, this one.
| | 04:40 | Now if I go to Review Subject its next
style is the Address and if I go to the
| | 04:48 | Address, its next style is the Text. So
that's one loop to make it a continuous loop.
| | 04:55 | If I go to Review Text, its next
style is back to the beginning Review Head.
| | 05:01 | One other specification that's
necessary here to make sure that each of the
| | 05:05 | heads begins in a new frame is one of
the Keep Options. So if we look at Review
| | 05:11 | Head and Keep Options, we can see
that the Paragraph is set to Start in the
| | 05:17 | Next Frame and without that these
heads might start at the bottom of the
| | 05:22 | previous column. So that's ensuring
that every time it comes to the Review Head
| | 05:26 | style that style begins at
the top of the next frame.
| | 05:30 | Now just to finish this off, we also
need some text, so I'm going to zoom in
| | 05:35 | and this is going to be repeating text
so for that reason, I want to make sure
| | 05:40 | I'm on the page furniture layer and
I'll turn my guides back on for this.
| | 05:46 | I would also turn my Baseline Grid back
on for this and then I'll click-and-drag
| | 05:54 | out a text frame and just type in my
text and apply the relevant style to that.
| | 06:02 | You don't need to see me do the rest of
that but I think the style that we are
| | 06:05 | after is head4 and if you look at the
finished version, there we can see the
| | 06:14 | actual text that we are after. I'm
going to cheat here and select both of those
| | 06:20 | and copy them. Come over to our work
in progress, I'll delete that one that I
| | 06:25 | started on and I'm going to Paste in
Place. By pasting in place that's going to
| | 06:32 | ensure that they end up in exactly the
same page coordinates that they came from.
| | 06:36 | However, interestingly we noticed that
they did not end up on the same layer
| | 06:40 | that they were originally copied from.
This one was originally on the page
| | 06:44 | furniture layer. So I'm now going to
need to move them but in order to make
| | 06:48 | sure if you wanted that to happen in
future then that's an option on your
| | 06:52 | Layers panel, this one Paste Remembers
Layers. I'll change it now, in case I do
| | 06:56 | that again. But to move these two
items from the text layer to the page
| | 07:01 | furniture layer, I'll just drag that
square down. Now we can see that that
| | 07:06 | outline selection color is now green.
So there is our review section now completed.
| | Collapse this transcript |
| Designing a calendar| 00:00 | Next step, we are going to do the
calendar. Let's take a look at the finished
| | 00:03 | version of the calendar. It looks like
this. We are using several styles here,
| | 00:08 | again in a sequence. However, the
trick that we used before to apply that
| | 00:13 | sequence and have all of our text be
formatted in one go is not going to work
| | 00:17 | here because the sequence isn't
entirely consistent. You will see we have date,
| | 00:21 | event, description, info and then
we go back to the event in this case.
| | 00:28 | But for some dates there is only one event.
So that approach isn't going to work.
| | 00:32 | It is going to be slightly more manual.
| | 00:34 | The styles have already been applied
but there are a couple of things that this
| | 00:38 | brings up. One is that the application
of automatic bullets at the beginning of
| | 00:43 | the date paragraphs. We want to look
at that and we also want to look at how
| | 00:49 | this text frame uses its own custom
Baseline Grid. If we now move to our work
| | 00:55 | in progress, which is currently
newsletter22, and zoom in on that.
| | 01:00 | Command+Spacebar, click-and-drag. We
can see that we also need here to add some
| | 01:06 | text inset because the text is butting
up against this side of our panel, which
| | 01:12 | we don't want that to happen.
| | 01:14 | I am going to just go to my Layers and
make sure that I have my page furniture
| | 01:18 | layer locked and my text layer unlocked.
I'll now select that text frame and
| | 01:25 | we'll go to the Object menu and choose
Text Frame Options and we want this kind
| | 01:31 | of offset. Now I happened to know
these numbers not through guessing but
| | 01:36 | through having done it before and we
want a bigger offset on the Left and the
| | 01:40 | Right and slightly less than half
that amount on the Top and the Bottom.
| | 01:45 | By applying that we can see that, we
can see that now it gives us an inner
| | 01:48 | margin on this text frame. Before we
go ahead and look at the custom Baseline
| | 01:52 | Grid, let's look at the issue of the
bullets. So I have several paragraph
| | 01:58 | styles here I have named them all
calendar, so they all sit together on the
| | 02:01 | Paragraph Styles when we Sort our
styles by Name and the Calendar Date.
| | 02:07 | If we look at its Paragraph Style Options
we see that in Bullets and Numbering,
| | 02:13 | it has this solid square bullet and a Left
Indent and a negative First Line Indent.
| | 02:21 | So firstly to add this particular
character to available Bullet Characters,
| | 02:27 | if you don't see the one that you want,
click on Add. It will bring you to a
| | 02:32 | character map that looks very much
like the Glyphs panel and you can choose a
| | 02:35 | different font here if you want.
I chose Zapf Dingbats right there and that was
| | 02:42 | the one that I added. For now let's
just go ahead and add another one, I'll add
| | 02:46 | that one and click OK and you will
see that that appears as one of your
| | 02:51 | available bullet characters.
| | 02:52 | You can then click on that and you
can see that that's automatically been
| | 02:56 | applied to these paragraph styles,
because I have my Preview checked. I'm going
| | 03:00 | to switch it now back to the solid
square. We have a tab after that and it's
| | 03:06 | here the Left Indent and the First Line
Indent that determines how far the text
| | 03:12 | is moved over from the bullet and
typically you want the First Line Indent to
| | 03:18 | be the same number as the Left Indent
but a negative amount and 14 points in
| | 03:23 | this instance is enough to move
this text over from the bullet.
| | 03:29 | Now the other issue here, the thing
that's noteworthy about this particular
| | 03:34 | text frame is that it has a custom
Baseline Grid. We can see right there all of
| | 03:40 | this text is aligned to the Baseline
Grid. But without the custom Baseline
| | 03:44 | Grid, I'm going to go back to my Text
Frame Options, Baseline Options and I'll
| | 03:49 | turn that off for a moment and you will
see that all hell breaks loose with our
| | 03:53 | text there and that's because we are
using smaller text. We are using 9 point type.
| | 04:00 | So therefore and I think some
8 point type as well with a 10 point
| | 04:05 | leading. So having that text to be on a
12 point Baseline Grid is not going to work.
| | 04:11 | So we wanted to go on a
10 point Baseline Grid instead.
| | 04:17 | First and foremost, it's going to
ensure that our text fits but it's also going
| | 04:21 | to ensure if I turn my guides back on
by pressing W that all of our text aligns
| | 04:27 | neatly on the same baseline across
columns. Even though we are using a leading
| | 04:32 | value less than the Baseline Grid that
is applied to the rest of the document.
| | Collapse this transcript |
| Finessing text| 00:00 | While you were gone, I took the
liberty of fixing a few problems with this
| | 00:04 | document that I discovered. Let me
share them with you, and there are a few
| | 00:07 | things that just needed to be added
that hadn't yet been added. And they were
| | 00:11 | small bitty things. So I have done some of
those. I'm just going to point them out to you.
| | 00:15 | We needed down here a News in Brief
head that is a separate text frame that
| | 00:20 | floats on top of that blue panel. And
then down here we needed the Continued slug.
| | 00:27 | I could have done that as an
automatic continued number if I overlapped
| | 00:32 | it with the text frame that is above it,
but I do not want the number.
| | 00:35 | I just want to be Back Page and frankly we
have only one of these in the publication,
| | 00:39 | so it's just easier to write it in like so.
| | 00:42 | The News in Brief, also just like the
Calendar, needed a text inset to get a
| | 00:49 | slight in a margin so that the text
doesn't butt up against the edge of the frame.
| | 00:54 | That was achieved by going to
Text Frame Options and adjusting these
| | 00:59 | values here, 6 points on all
dimensions except the top, which is set to 0.
| | 01:04 | I also discovered there was a problem
with the Elements on the Master pages
| | 01:08 | that somehow they had got a text-wrap
automatically applied to them, and I
| | 01:12 | remove those by coming to the Master
Pages and selecting these elements and you
| | 01:20 | might need to make sure that your Page
Furniture layer in unlocked before you
| | 01:25 | can do this. Select those, and if
necessary, if you find they have this option
| | 01:30 | turned on, then make sure that it
changes to this and that solves some problems
| | 01:35 | with the spacing on the bottom margin.
| | 01:38 | So now to return to the Document pages,
to pages 2and 3, I added in here the
| | 01:46 | News in Brief continued. I added here
the End character so that it's just a
| | 01:54 | bullet with the End Character Style
applied to it. What else did I do?
| | 02:03 | Now, here is what I'm going to
actually do with you and that is with the Tech
| | 02:07 | Buzz column, if I click on the second
of those two columns, we see that it has
| | 02:12 | a red plus symbol meaning overset text.
It is only overset by a very, very
| | 02:18 | small amount, and we can check by how much.
| | 02:21 | If I just place my cursor in that story
and then press Command or Ctrl+Y, that
| | 02:26 | is going to jump me to my Story Editor,
where I can see just the text.
| | 02:31 | Don't have to worry about any columns or
graphics or anything else. We see here we
| | 02:36 | have these three words that are overset.
I'm now going to close that, and I'm
| | 02:43 | going to fix that problem by adjusting the
Amount of Text Wrap offset that we have on the dog.
| | 02:49 | So I'll select the dog like so and
then come to my Text Wrap panel. Scroll up
| | 02:56 | so we can the very end of that article
right there. I'm going to reduce that
| | 03:01 | from 12 points to 5 points, and that
small change is enough to bring the text
| | 03:08 | in tighter to the contours of the
dog and bring the three words that were
| | 03:12 | overset back onto the page.
| | 03:14 | The feature spread article, we are
going to deal with separately, and those
| | 03:19 | were my Clean ups. But there is just
one more thing I would like to do, and
| | 03:23 | that's to add some horizontal rows just to
clearly demarcate one article from another.
| | 03:29 | So to do this, and I'll do this first
of all on pages 6 and 7. I'll use my Line tool.
| | 03:34 | I'll turn my Guides on by
pressing W. Let's zoom in right there.
| | 03:41 | I'm now going to draw myself a line goes
from outside margin to inside margin,
| | 03:49 | equidistance between the
bottom of this and the top of this.
| | 03:55 | I want to make sure this ends up on
the Page Furniture layer, and I also want
| | 04:01 | to make sure that it has a 1 point
stroke and Green. Now, having done that,
| | 04:10 | I'm then going to make it Object Style
based upon that because I want all of my
| | 04:14 | lines to be in the same style. So with
still selected Object Styles, New Object
| | 04:20 | Style, Line. I'll collapse that.
| | 04:25 | Now I could, I suppose it would be
just as easy to copy this one over, and
| | 04:29 | that's what I'll do here. I hold down
the Option key and the Shift key and then
| | 04:34 | just drag that over, docking it into
the equivalent position on the right-hand
| | 04:39 | page, and I'll turn my Guides off.
| | 04:42 | We can see those rules, but we also
want rules or a rule at least right here
| | 04:48 | separating the Editor's letter from
Your letters. So rather than copy the other
| | 04:54 | one from before, let's say I'll draw
this one independently. Just draw myself a
| | 05:00 | line, two column widths wide, and now
apply the Line Object Style to it just to
| | 05:07 | make sure it gets the same weight and
the same color. I might just want to nudge
| | 05:12 | it down to position it
exactly between those two items.
| | 05:17 | So various bits of clean up and there
will probably more, I warn you as we go
| | 05:23 | along, because the deeper we get
into this, the more we discover little
| | 05:27 | nitpicky things that need to be addressed,
but I think we are well on track now.
| | Collapse this transcript |
| Designing the masthead| 00:00 | Next step, we are going to do the
masthead, the credits of those involved in
| | 00:03 | putting the newsletter together.
Just in case you are wondering, you are not
| | 00:07 | going crazy. I did change this text
here from Letter to Message and that's what
| | 00:12 | it should be. That was my error earlier on.
| | 00:15 | So now zooming in on the masthead.
Let's hide the Guides by pressing W.
| | 00:21 | Select this frame. We need to put a
stroke around it. So I'm going to come to
| | 00:27 | my Swatches panel and click on Black.
We'll have 1 point black stroke.
| | 00:32 | Next, we want an inset on the frame.
So I'm going to go to my Text Frame Options.
| | 00:37 | That's Command or Ctrl+B and
I want this amount of Inset. Let's try 6 points,
| | 00:44 | all the way around so I have
got my Make All Settings The Same icon
| | 00:48 | checked and I also want the content
to be centered vertically within that space.
| | 00:53 | So I'm going to choose to Align Center.
| | 00:58 | This text here needs to change. Now,
I'm going to make this into a repeating element.
| | 01:03 | I don't really need to create
a style for this. I'm just going to
| | 01:07 | format this locally. So I'm going to
select the text. Command+6 to jump me to
| | 01:13 | my Font menu, type in what I'm after,
Adobe Garamond Pro, Italic, and we want
| | 01:19 | to center it. So I'm going to come
and click on my centering icon.
| | 01:22 | Or Command+Shift+C and we don't want
it to be green. We want it to be black.
| | 01:29 | That is okay as far as it goes except that
my lines are unbalanced. I would like
| | 01:35 | them to be balanced.
| | 01:36 | I could do that up here by choosing
Balance Ragged Lines and that also brings up
| | 01:43 | another problem. The text is now
hyphenating. So I'm going to come to my
| | 01:47 | Paragraph Format and choosing to
Unhyphenate. I now want to apply the same
| | 01:54 | formats to this piece of text here.
So I'm going to select it and on this
| | 01:58 | occasion, I'm going to use this quick
and dirty approach, use the Eyedropper,
| | 02:02 | and then just click on that and it will
apply the same format to that piece of text.
| | 02:07 | Now, remember when we added the icons,
there was one icon that we didn't get to add
| | 02:11 | and that was the Recycle icon. Now
its the time for that. So I'm going to
| | 02:16 | switch back to Illustrator where I have
my icons document open and this icon is
| | 02:23 | a symbol. It's a symbol that was
found in the Maps symbol set. It's right there.
| | 02:31 | I clicked on it to add it to
my Symbols panel and then I placed an
| | 02:35 | instance on the page.
| | 02:37 | So I'm going to copy this icon, Command
or Ctrl+C, switch back to InDesign, and
| | 02:43 | I'll paste it, Command or Ctrl+V,
there it is. I'm just going to drag it off there.
| | 02:49 | I'm going to need to cut it
from here and paste it into my text frame.
| | 02:54 | Command+X, insert my cursor and if
I turn my Guides on, we can see I have
| | 03:01 | an empty line right there just waiting to
receive that Recycle Icon. I'm going to
| | 03:06 | paste it, Command or Ctrl+V. There it is.
I want to center it, Command+Shift+C or Ctrl+Shift+C.
| | 03:14 | Then it needs some space before it.
I can do that with this option here on
| | 03:19 | my Paragraph Format. Just nudge that
up a bit like so. So I may also want to
| | 03:26 | change its color because the black
may be a little bit overwhelming.
| | 03:29 | Now, if I apply a color to this
specific icon, it's going to fill the whole of
| | 03:34 | that frame. So I need to choose my
Direct Selection tool here. So I just have
| | 03:38 | the vector shapes of that selected,
and I even need to un-select it and come
| | 03:43 | back and reselect it so that when
I select it, I see that I have black as
| | 03:47 | my fill color on my Swatches, and then I can
apply one of these colors. So I'll apply the blue.
| | 03:54 | Another thing to point out here is
our Styles that have been applied--
| | 03:59 | If we look at the Paragraph Styles, it's the
Masthead style. This is a Nested Style,
| | 04:04 | i.e. it has a Character Style
incorporated into the Paragraph Style.
| | 04:09 | The Character Style being this green
portion here which is a Character Style that
| | 04:14 | I've called emphasis.
Let's just see how this is set up.
| | 04:17 | If I right-click on Masthead and edit
that, and then go to Drop Caps and Nested Styles,
| | 04:24 | we see that the Paragraph Style
options for this style are to have the
| | 04:30 | emphasis Character Style be applied.
The options are through or up to.
| | 04:36 | Through 1. 1 what? In this case, 1 colon.
You'll see that each of these ends with a colon.
| | 04:42 | The colon is the delimiter
that will turn off this Character Style.
| | 04:47 | So by creating a Nested Style like so,
we can save ourselves time because we
| | 04:54 | can apply, I'll just set that back to
Basic Paragraph, and then when we apply it,
| | 04:58 | we get all of those formats in one
go. Let's just turn the Guides off and
| | 05:03 | evaluate that. That is our masthead.
| | Collapse this transcript |
| Designing the feature spread| 00:00 | We have some work that we need to do
our feature spread, which crosses over
| | 00:04 | between Page 4 and Page 5, both
the picture crossing over and the text
| | 00:09 | itself. Let's just take a look at the
finished version and this is what we are
| | 00:13 | aiming for, something like this, and
obviously we have got a big problem here
| | 00:18 | with the text being rather unreadable and
the text not currently fitting the space.
| | 00:22 | First of all, I'm going to select both
of these two column text frames and we
| | 00:27 | need to apply an Inset Spacing, so that
we move the text away from the very
| | 00:32 | edge of that frame. Object > Text
Frame Options and I'm going to have a 12
| | 00:37 | point Inset Spacing on all four
dimensions and that alone is enough to make the
| | 00:42 | text fit the space.
| | 00:44 | Now, I'm going to select the headline
and deckhead and I want to change the
| | 00:48 | color of this text frame. So, I'm going
to come to my Swatches panel and making
| | 00:52 | sure my Fill property is selected,
apply Paper to that and I want to make this
| | 00:57 | as a semitransparent color, so I'm
going to come to my Effects menu.
| | 01:02 | We're making sure that I have the Fill
property chosen, because we don't to affect
| | 01:06 | the Opacity of the text itself.
I'm going to change the Opacity to 50%.
| | 01:11 | Now I'm zooming in on this. I'm also
going to adjust the position of this text frame.
| | 01:17 | I'm going to get the left hand
edge and even though I don't have my guides on,
| | 01:20 | when I pull in, you will see
that when I hit the same left hand edge
| | 01:26 | as my text frame down here, my smart
guide will activate and I'm going to
| | 01:31 | narrow it on the right here, so that
we force that line to break like so.
| | 01:37 | And I'm just going to make it only as
wide as it needs to be fit the text.
| | 01:42 | And one other thing I would like to do
is add a small amount of text inset to
| | 01:46 | this text frame to move the text away
from the edge of the frame. Object menu >
| | 01:51 | Text Frame Options and here I'm just
going to use a 3 point Text Frame Inset
| | 01:57 | and to make sure that we are
vertically centered I'm also going to choose
| | 02:01 | Center as the option.
| | 02:03 | Okay next, I want to change the color
of the text and I'm going to sample the
| | 02:07 | color from the t-shirt. This is
going to be a little bit tricky because
| | 02:11 | actually we have the same issue in
sampling the color from the cover image.
| | 02:16 | What we have here with this partial
cutout is two images. The top image is just
| | 02:23 | that top of the head right there,
which as you can see with the exception of
| | 02:27 | this very small piece of image, the rest
of the frame is filled with the color None.
| | 02:32 | So if we try and sample the color from
that then we are obviously not going to
| | 02:36 | be able to sample any color. So,
I need to undo that to put it back in
| | 02:40 | position and then shrink the size
of this particular picture frame.
| | 02:46 | In so doing, revealing the picture frame
that is beneath. That's not going to look
| | 02:50 | any different, but it's going to mean
that when we may do this, select this
| | 02:54 | text frame, comes to the Swatches panel,
click on Formatting Effects Text and
| | 02:59 | then use the Eyedropper tool and
click on the t-shirt, that we are able to
| | 03:03 | sample the color from that image.
And there is our feature spread.
| | Collapse this transcript |
| Creating pull quotes, captions, and photo credits| 00:00 | Time to add some captions, some photo
credits, and a pull quote to our layout.
| | 00:06 | So the caption, there is an example
right there. That's a pull quote and that is
| | 00:11 | a photo credit. These are the
elements that we're going to be creating.
| | 00:15 | Let's go to our work in progress
newsletter26. Perhaps you're creating your
| | 00:20 | captions on the fly just by typing
them into an empty text frame like so.
| | 00:25 | But in this instance, I'm going to assume
that the captions have been created for
| | 00:31 | us in a separate text file and
we're going to place that text file.
| | 00:35 | So I'm going to move my document over
and then turn my guides on so that I
| | 00:40 | have an area of empty pasteboard and
then I'll choose File and Place and on
| | 00:46 | that pasteboard I'm going to place my
captions text file. This contains all of
| | 00:54 | the captions that we need and the
articles are identified with the uppercase text.
| | 00:59 | I am going to start out by selecting
all and then applying the Caption style to them.
| | 01:06 | Now it's a question of cutting
or copying the relevant text and pasting
| | 01:12 | it into the relevant position. So I'll
choose this text first of all and I'll
| | 01:16 | cut that and this goes on page 1.
I'll zoom out, navigate to Page 1,
| | 01:22 | Option+Page Up or Alt+Page Up and we want
that caption to go to accompany this picture.
| | 01:29 | But deliberately we haven't left room
for it because we actually want to put
| | 01:31 | the caption on top of the picture,
which is going to require that we use an
| | 01:36 | alternative Caption style, Caption
Reverse. Now a couple of things will come up here.
| | 01:41 | Firstly, I want to make sure that
the pictures layer is locked so that I
| | 01:46 | can't interfere with the picture.
| | 01:48 | Secondly, because the text in columns
2 and 3 is being offset by a text wrap,
| | 01:55 | if I try and click and drag a text
frame right there I'm not going to be able
| | 01:59 | to do that, because InDesign is
assuming that I actually want to work in this
| | 02:03 | text frame which I don't.
| | 02:05 | So I'm going to click and drag on to
the pasteboard and paste that text in
| | 02:10 | there and then I can click and drag
and move it over into position. At which
| | 02:16 | point, as soon as we come into contact
with the image, the caption disappears
| | 02:20 | because as I mentioned, there is a
text wrap going on and that text wrap that
| | 02:24 | is moving columns 2 and 3 down
is also repelling this caption.
| | 02:30 | So to address that I need to come to
the Object menu > Text Frame Options and
| | 02:34 | choose Ignore Text Wrap. Then I can
position my text and change the style of
| | 02:41 | this to an alternative Caption style,
Caption Reverse. And I'm just going to
| | 02:47 | adjust the size so that it fits on two
lines. Caption Reverse is exactly the
| | 02:53 | same as Caption but the type is paper
or white and it is reversing out of a
| | 03:00 | very heavy underline.
| | 03:01 | So this is actually underlined text.
Let me just show you the spec for that.
| | 03:06 | If I edit the Caption Reverse style and
look at the Underline Options, Underline
| | 03:12 | turned on at a Weight of 11 point,
which is sufficiently big to cover the 8
| | 03:19 | point text, and the Offset adjusted
to -2 and the Offset will adjust the
| | 03:25 | position of the rule relative to the type.
| | 03:27 | So now it's just a question of
repeating that process and applying where
| | 03:33 | appropriate either the Caption or the
Caption Reverse style. But let's look now
| | 03:38 | at the Pull Quotes. So I'm going to
navigate back to my pasteboard that is at
| | 03:43 | the side of the Page 3 and in this
instance, I'm just going to hold down Option
| | 03:48 | or Alt and drag to get to that position.
| | 03:53 | Now here's my Pull Quotes, presumably
this would have been exerted from the text.
| | 03:57 | So I'm going to cut that from
there and then move into position.
| | 04:05 | Click and drag a text frame and paste it.
Again, I'll bring that end of story marker
| | 04:12 | up to the end of the line by pressing the Delete
key and I then will apply the Pull Quote style.
| | 04:20 | The Pull Quote style just like the
Caption style reverses out of an underline
| | 04:26 | except in this case I have made sure
that the underlines aren't heavy enough to
| | 04:32 | overlap. So that we actually see some
whitespace between the lines and if we
| | 04:36 | just want to see the spec on that we
have a 21 point underline, -7 point
| | 04:43 | Offset. And the size of the type
is actually 22 in this instance.
| | 04:49 | Couple of finessing things I would
like to do with this Pull Quote.
| | 04:52 | One is first of all we are just going to zoom
out so we can see this more in context.
| | 04:55 | I would like to create more of a visual
relationship between the pull quote and
| | 05:01 | the image itself, and there is some
blank background on this image. So we have
| | 05:04 | plenty of scope for that. By just
dragging that over so that we create an
| | 05:09 | overlap there and also I want to overlap
it, slightly offset it on the top like so.
| | 05:16 | But in addition to that I would like
the second and third lines to align
| | 05:22 | underneath the I as suppose to
aligning underneath the opening quote mark and
| | 05:26 | to do that I need to insert the Indent
to Here character, which is Command+/ or
| | 05:32 | Ctrl+/ or from the Type menu you can choose
Insert Special Character > Other > Indent To Here.
| | 05:43 | Okay there is our pull quote and
finally we need a picture credit. I'm just
| | 05:52 | going to click and drag on any empty
available space of page and type in
| | 05:58 | photographer's name and apply the
photo credit style to that. Now you cannot
| | 06:07 | incorporate into a style, paragraph
style or an object style, an angle of
| | 06:11 | rotation. So that something we are
going to need to do manually making sure I
| | 06:15 | have the center point of this frame selected.
| | 06:18 | I will then come and click on that
icon to rotate it through 90 degrees
| | 06:24 | counterclockwise and then move it into
position like so and you can see how my
| | 06:29 | smart guides are kicking in there.
Just to make sure that the bottom edge of
| | 06:33 | that is perfectly aligned with the
bottom edge of the picture and to bring it
| | 06:38 | in closer to the picture, sort of it was
perfect aligned but it's not quite. So it is now.
| | 06:44 | And for the other photo credits,
I would literally just copy and paste that.
| | 06:51 | So I'll select the first one, having done
one, it's just a matter of selecting it
| | 06:56 | as a frame, copying it Command+C or Ctrl
+C and moving to the next page and then
| | 07:03 | Command+V. It's going to go exactly in
the center and then just drag that out
| | 07:08 | and position it as necessary.
| | 07:12 | So there we are, captions, credits and
pull quotes. I'm going to go ahead and
| | 07:17 | finish off the other captions and
I'll see you in newsletter27 for the continuation.
| | Collapse this transcript |
| Designing a mailing area| 00:00 | If you plan to have your newsletter be
a self-mailer then we need to design a
| | 00:04 | mailing area and in the finished
version, we've allotted about one quarter
| | 00:10 | of the vertical space of the back page
to the mailing area. So let's very quickly
| | 00:14 | recreate that. It's going to be very simple.
| | 00:17 | So in newsletter27, I'm going to zoom
in down on this area and let's turn the
| | 00:22 | guides on. From an earlier version we
have the frame there ready to accommodate
| | 00:28 | our mailing information and we're
going to use our nameplate again.
| | 00:30 | So that we make sure that it's
entirely consistent and it's probably going to
| | 00:36 | be easiest if I just go and pick one up
and copy and paste it. I can't get this
| | 00:41 | one here because this is a master
page item but if I move back to Page 2
| | 00:49 | we have that one right there in the
masthead. I'm going to select that one and
| | 00:53 | copy it and I'll move back to Page 8.
| | 00:56 | Command+J, type in 8 and then I'm going
to paste that and bring that down into
| | 01:03 | position and position that like so
and then I'm just going to type in the
| | 01:08 | address. Obviously I want to make sure
that this type is not using my default
| | 01:14 | Times but is using the Adobe
Garamond Pro, Regular and 10 point.
| | 01:23 | Okay and now we just need to put a
little square to represent the stamp.
| | 01:28 | So for this simply use the Rectangle tool.
And we want a square of about 60 points or
| | 01:36 | about 7/8th of an inch. So to keep that
perfect square let's hold down the Shift
| | 01:42 | key as we draw this, 60 points and
let's give it a 1 point black stroke.
| | 01:49 | Make sure that the top of that is aligned
with the top of this. So I'm just going to
| | 01:55 | nudge that up a bit,
nudge these up a little bit.
| | 02:00 | And just to simulate how this is going
to look I'm going to turn on the mailing layer.
| | 02:08 | And after two folds this is
the area that we'll see and you can just
| | 02:14 | hold the whole thing together with a
circular sticker presumably in a color
| | 02:19 | that is a representative of the colors
used within the newsletter itself.
| | 02:23 | So obviously once I'm done with that
simulation, I want to make sure that we get
| | 02:27 | rid of that mailing layer
because we don't actually need it.
| | Collapse this transcript |
| Designing a table of contents| 00:00 |
The Table of Contents. A quick, easy,
and attractive way of doing your Table of
| | 00:05 |
Contents is to combine a very brief
description of the article with an image of
| | 00:11 |
the article and that image can be a
copy of the same image that is used in the
| | 00:15 |
interior with just a very different
crop, as is the case here and here.
| | 00:20 |
I had also added a rule above each of
these just to make them distinct.
| | 00:25 |
So these are paragraph rules and we have
two Paragraphs Styles here, TOC head and TOC.
| | 00:33 |
TOC head, if we take a look at
this Paragraph Rules, we have a Rule Above
| | 00:38 |
turned on, 4 point rule in our Aqua
color and Offset from the text 12 points.
| | 00:46 |
Notice also that I have this one on
Keep In Frame. If I were to uncheck this,
| | 00:51 |
you see how that rule is going to go
outside of the frame. We would see that
| | 00:55 |
better if I had my guides turned on.
But we want to get in the frame.
| | 00:59 |
This is going to make it easier to align the top
of those rules with the top of the pictures.
| | 01:04 |
There is one more thing that we need
to do in our work in progress.
| | 01:08 |
So I'm going to come over to newsletter28
and that is we need to apply a character
| | 01:14 |
style to the page number. So I'm just
going to highlight this and then come to
| | 01:19 |
Character Style and this one is emphasis. I'm
going to apply that there, and there, and there.
| | 01:27 |
Now we could set up a nested style
to accomplish this in a slightly more
| | 01:31 |
automated way, but frankly there are
only going to be three examples from issue
| | 01:35 |
to issue. It's just as easy to do it
as a character style locally like so.
| | 01:41 |
Also, in terms of automation, we could
automate the whole thing with if I come
| | 01:47 |
to the Layout menu > Show Menu Items,
I could be a live Table of Contents where
| | 01:53 |
these numbers will be generated from
the actual page that the article occurs on.
| | 01:58 |
It's unnecessary overkill. It's
using a sledgehammer to crack a walnut in
| | 02:03 |
this case. So we are just going to type in the
actual page number that the content occurs on.
| | 02:07 |
There we have it. Our Table of Contents,
simple, straightforward and I think visually compelling.
| | 02:15 |
| | Collapse this transcript |
|
|
5. Preflight, Printing, and Planning for the Next IssueUsing live preflight| 00:00 | In this chapter, I'm going to go
over proofing our document, printing our
| | 00:04 | document, preparing a print ready PDF
to send to a commercial printer. Also,
| | 00:10 | preparing a screen PDF that you can put
on a website and that can be downloaded
| | 00:15 | quickly and also archiving the job
and thinking about the next issue.
| | 00:21 | What parts of this newsletter can we
repurpose for next months issue and the month
| | 00:27 | after that, and the month after that so
that every time we repeat this job,
| | 00:31 | it gets that bit easier, that bit quicker?
| | 00:34 | To begin we are going to look at
Preflighting. Preflighting is the process of
| | 00:39 | looking at the document and checking
for any errors based upon a list of rules
| | 00:45 | that you can determine. You may have
noticed that throughout the course of
| | 00:48 | putting this document together, down
here it might have a certain times said, 3
| | 00:54 | errors, 2 errors or however many errors
and that's because certain things that
| | 00:59 | we have done in putting this document together
triggered an error based on a preflight profile.
| | 01:05 | The preflight profile that we have
been using thus far has been the default
| | 01:10 | basic preflight profile. But we are
going to determine our own preflight
| | 01:14 | profile that is going to be a little
bit more rigorous than that and here is
| | 01:18 | how we can do it. I'm going to come to
Define Profiles. We see that we have the
| | 01:24 | default Basic and we also have this
one here Newsletter that I have created.
| | 01:29 | And to create a profile you simply
click on the +symbol and check the relevant
| | 01:33 | boxes for all of things you want
the Preflight profile to check.
| | 01:37 | I am going to just delete that one
and we'll take a look at the one that I
| | 01:41 | created earlier, the Newsletter profile,
we can expand all of these different areas.
| | 01:46 | General is nothing more than a
description of the profile. Simple text
| | 01:50 | description of it. Links we want to
be notified if any links are missing or
| | 01:54 | modified. In the Color group I have
chosen to check this one Color Spaces and
| | 01:59 | Modes Not Allowed to just sort of we
are notified if any spot colors are used.
| | 02:04 | Since this is a newsletter, this is
going to be printed in cyan, magenta,
| | 02:07 | yellow, and black, presumably.
| | 02:09 | I have also chosen to be notified if
any Overprinting or any Registration that
| | 02:13 | may have been applied. Frankly, it's
unlikely, but it will be good to know
| | 02:16 | about if that has happen by mistake.
| | 02:19 | Images and Objects. This one is
important, Image Resolution, Color Image
| | 02:24 | Minimal Resolution. Now the minimum
that you choose is going to depend upon
| | 02:27 | your printing circumstance, but
I have set this to be 300 pixels per inch.
| | 02:32 | That's the optimum resolution for
high quality print. And I'll so chosen
| | 02:37 | differing resolutions for the Grayscale,
although I think I want to make that
| | 02:41 | the same as the color 300 and the 1-
bit Image Resolution. This necessarily
| | 02:47 | should be as close as possible to
throughout the resolution of your painting device.
| | 02:53 | Frankly, it's no consequence to us
because we don't have any 1-bit images.
| | 02:58 | Non-Proportional Scaling of Placed
Object, so this will notify as if any image
| | 03:03 | has been scaled non-proportionally.
It's been stretched or squeezed.
| | 03:08 | Minimum Stroke Weights, we can set that away
if we want the stroke weight to be. 0.125
| | 03:12 | of the point and the Text, this one
is important. Overset Text, we want to
| | 03:18 | definitely be notified about that, if
all of that text isn't fitting onto the page.
| | 03:22 | We want to be notified of Missing
Fonts or any Non-Proportional Type Scaling.
| | 03:29 | So having chosen all of those criteria,
now to use them, I'm going to go ahead
| | 03:33 | and click Save, because I did make one
change to that. Then click OK to check
| | 03:39 | the document against that profile. I'm
going to come to the Preflight panel.
| | 03:43 | Preflight is on, I'm going to change
it from Basic to Newsletter. Now as I do
| | 03:49 | so, you will see down here
change from No errors to 2 errors.
| | 03:55 | So it gives us a list here of what the
errors are. I'm going to expand that.
| | 03:59 | First error is an Image resolution
problem. I'm going to expand that, and it
| | 04:04 | tells us that's the name of the image,
this is the page on which it occurs and
| | 04:09 | I happen to know it's that one right
there, but if I didn't know that, I could
| | 04:13 | click on this and it would jump
me to that place in the document.
| | 04:18 | More information about the problem. So
we set Minimum Image Resolution at been
| | 04:24 | 300 pixels per inch. The Problem is
that the Effective Resolution of this is
| | 04:30 | only 256. We are going to let it go.
It's close enough. It's good that it
| | 04:36 | warned us, but 256 is still going to
work okay. Now if that was 72 or 96 or
| | 04:44 | something, a lot lower than it
currently is, then we would have to have act
| | 04:47 | upon it. We would have to find an
alternative image, maybe go back to the
| | 04:51 | source image that perhaps at some point
had been scaled down and we are working
| | 04:56 | with the low-resolution version of the
source image. But we would have to take
| | 05:00 | some appropriate action. In this
case since it is in the ballpark of our
| | 05:04 | required resolution, we can let that one go.
| | 05:07 | Our second problem, Non-Proportional
Scaling. I'm going to click on that link
| | 05:13 | and we see right there, aha, so a
picture here, looks like it's been stretched a bit.
| | 05:18 | Now if I take my Direct
Selection tool and click on that, we can see
| | 05:23 | that indeed we have some Non-
Proportional scaling going on. 18% and 19.6%.
| | 05:32 | So I need to set that back to being
proportionally scaled and to do this we'll split
| | 05:38 | the difference I think. Here we'll go
to 18.5 and making sure that this is an
| | 05:44 | unbroken chain. If I now just click
down in the vertical scale, that will also
| | 05:50 | become 18.5 and we are now reduced to
1 error, the one that we already know
| | 05:55 | about, the resolution on the dog image.
| | 05:58 | So that is process of defining a
Preflight Profile and then checking your
| | 06:04 | document against that Preflight Profile.
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| Proofing and imposing pages| 00:00 | I am going to point out some useful
settings for proofing your document.
| | 00:03 | So I'm going to go to File and Print, and
if we just want to output two pages to one sheet,
| | 00:11 | two-letter size pages to an
11x17 sheet, then we need to choose Spreads.
| | 00:17 | We have a little preview down here,
showing us what we are going to get.
| | 00:19 | I'll then need to change my Paper Size
from Letter to 11x17 assuming that our
| | 00:26 | printer is capable of this page size.
Since we aren't using any bleeds,
| | 00:31 | we can't print at 100% size.
| | 00:34 | I now need to change the Orientation
of my page by clicking on this icon, and
| | 00:39 | we can see things are looking a lot
better down there. Since we are not using
| | 00:43 | any bleeds, since we have no elements
that go to the edge of the page, we don't
| | 00:48 | need any Marks and Bleeds turned on
here. We are able to print at 100% size.
| | 00:54 | I'll click now on Graphics, Output can
stay just as it is, Graphics. Send Data,
| | 01:00 | in your early proofing stages, you
might consider sending Proxy images, low
| | 01:06 | resolution versions of your images
just so that the whole process will be
| | 01:09 | quicker. But when you do come to send
the final print, Optimized Subsampling is
| | 01:13 | the one that we want.
| | 01:14 | So those are some things that you might
want to consider, but let's also think
| | 01:18 | about how we can impose the pages and
make a really realistic mockup of the
| | 01:25 | newsletter, printed back to back and
presented as an 8 page publication.
| | 01:31 | This is going to require that we change
our document from reader spreads which
| | 01:36 | is what we have right now with the
numbers running sequentially from 1 to 8 to
| | 01:40 | printer spreads where we have the
first page next to page 8, and well we have
| | 01:46 | page 2 will be next to page 7, page 6
next to page 3, and pages 4 and 5 as sent
| | 01:53 | to spread, would remain as they are.
| | 01:55 | Rather than having to shuffle our
pages around here on the Pages panel,
| | 02:00 | InDesign has a very useful plug-in
called Print Booklet that will do this for
| | 02:04 | us, or at least, it will output a PDF,
a Portable Document Format file where
| | 02:12 | our pages are imposed as reader spreads.
| | 02:15 | So let's just take a look at the Setup
options here. We want to make sure that
| | 02:18 | we are outputting to a PDF printer. We
want the whole range 2-up Saddle Stitch.
| | 02:24 | This doesn't matter since we don't have
any Marks and Bleeds, and we don't have
| | 02:28 | any blank printer spreads either. So
those two options are practically irrelevant.
| | 02:32 | Let's go to the Print Settings where
we'll need to go to Setup and say that we
| | 02:38 | want to output this on 11x17 sheet,
Landscape Orientation, and then we can
| | 02:46 | click OK to that. We might even want
to save this as a preset, so that next
| | 02:50 | time that we do this, we can just
choose that preset rather than having to
| | 02:57 | change the actual options.
| | 03:00 | Now, we'll now click OK, there is
the preset, and now if we look at the
| | 03:04 | Preview, we get an idea of how our
pages are going to be imposed. We have a
| | 03:09 | little kind of watermark there on this
preview indicating what page is what,
| | 03:14 | page 2 next to page 7, page 6 next to
page 3, odd numbered page is always on
| | 03:19 | the right, and the total should always
equal one more than the number of pages
| | 03:23 | in your publication. So they should
always add up to 9, which they do.
| | 03:28 | So now when I click Print, that is
going to make a PDF file. So here we are in
| | 03:35 | Acrobat with the imposed pages. We now
have 4 tabloid size pages derived from
| | 03:43 | our 8 Letter size pages, and to make
our mockup, we are going to output first
| | 03:49 | the odd pages, then assuming your
printer supports this, turn the page over,
| | 03:55 | and output the even pages.
| | 03:57 | Now before we can do that, we need to
setup the Page Setup properties here in
| | 04:03 | Acrobat. We want to say the Paper Size
that we are after is Tabloid, and we can
| | 04:10 | now go to the Print dialog box,
where we want to make sure there is a
| | 04:15 | correspondence between the
Document Size and the Paper Size, good.
| | 04:18 | They are both the same and then we can
choose to output first of all, the Odd Pages,
| | 04:25 | 2 odd pages, turn them over, and then output
the Even Pages and you've got yourself a mockup.
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| Making a print-ready PDF| 00:00 | If you do intend to have your
newsletter commercially printed, then you'll most
| | 00:04 | likely want to make a print ready
PDF to send to your commercial printer.
| | 00:09 | Some printers may prefer to receive
the InDesign file along with all of the
| | 00:13 | linked images, and all of the fonts
used in the document. But typically these
| | 00:17 | days, they are more likely to want a
print ready PDF. This is easier for them
| | 00:23 | and it's easier for you, and it's less
prone to error. So here is how we can do this.
| | 00:29 | The size and quality and content of the
PDF may vary according to whether it is
| | 00:34 | intended as a print PDF or a screen
PDF. Now, we are going to create both.
| | 00:40 | Beginning first with the print PDF.
| | 00:42 | The actual settings that you should
choose may vary according to your printer's
| | 00:46 | preferences. So I strongly suggest that
you contact your printer, and ask them
| | 00:52 | what kind of PDF they would like to
receive, and if they have any advise for
| | 00:56 | the specific settings that you should
use. They may even be able to direct you
| | 01:01 | to a PDF Preset. If they were to do
so, you could load that preset into
| | 01:08 | InDesign by doing the following.
| | 01:10 | Coming to the File menu, Adobe PDF
Presets. Define, and then click on Load.
| | 01:16 | The Preset is just a very small file of
instructions that is going to make sure
| | 01:20 | that all of the right boxes are
ticked in the Export PDF dialog box.
| | 01:26 | This will ensure that you printer
receives from you the file exactly how they
| | 01:31 | want it. But we are going to use for
now a press ready PDF Preset. All of these
| | 01:38 | presets in square brackets are presets
that come with InDesign. These two down
| | 01:43 | here are user defined presets.
| | 01:46 | We are going to use Press Quality, and
I'm going to choose to call it exactly
| | 01:51 | that, and we'll save it. Let's see
there shouldn't be too much here if anything
| | 01:59 | that we want to change. But I'm just going
to walk you through some of different options.
| | 02:03 | View PDF after Exporting, Yes, so
that we don't have to actually go and
| | 02:09 | double-click on the file to open it
in Acrobat. Check your Page Range, the
| | 02:13 | Compression Settings. What's
happening here is this is a specification that
| | 02:18 | says anything at a higher resolution
than this number will be downsampled to
| | 02:24 | this number. We can leave these as
they are. Meaning that anything at a
| | 02:28 | resolution of 450 pixels per inch
and above will get downsampled to 300.
| | 02:35 | In the Marks and Bleeds, we can leave
all of these turned off in this instance
| | 02:39 | because we are not using Bleeds in this
newsletter. In the Output section, the
| | 02:44 | Color Conversion Convert to Destination,
this being a destination CMYK profile.
| | 02:51 | This is going to ensure that any RGB
images in the document will be converted
| | 02:56 | to CMYK: Cyan, Magenta,
Yellow, and Black colors.
| | 03:01 | Now, the exact Destination profile
may vary according to your printing
| | 03:06 | circumstance, and where in the world
you are. But so long as it's a CMYK
| | 03:11 | profile, you are going to get
CMYK colors in your resulting PDF.
| | 03:16 | And the Advanced Setting, the
Transparency Flattener is dimmed because we are
| | 03:21 | using an Acrobat 5. Meaning that the
document does not have to be flattened.
| | 03:27 | So that can all just stay as is.
| | 03:29 | Subset fonts, when number of
characters used is less than 100%. Again, we can
| | 03:35 | leave that exactly as it is. That's
going to mean that only the specific
| | 03:39 | characters that are used in a font will
be sent along with the document rather
| | 03:44 | than embedded in the PDF, rather than
the whole font set. That's just so that
| | 03:49 | we can keep the file size down.
| | 03:51 | Security, we don't need any, Summary is
just a summary of all of those options.
| | 03:57 | So I'm now ready to export this. Here
we are in Acrobat with the resulting PDF.
| | 04:04 | I'm just going to set that to Fit
Page View, and we've now got that 8 page
| | 04:10 | print ready PDF, ready
to be sent to our printer.
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| Making a screen PDF| 00:00 |
Perhaps in addition to our print-ready
PDF, we also want to make a PDF that we
| | 00:04 |
can email to people or the one we
can put on a website and that can be
| | 00:09 |
downloaded quickly. The print-ready
PDF is not going to be suitable for that
| | 00:13 |
task because the file
size is going to be too big.
| | 00:14 |
So let's make another PDF and this
time we'll use the screen presets. File >
| | 00:21 |
Adobe PDF Presets > Smallest File Size
is the one that we want. And I'm going
| | 00:27 |
to save this one with an
_screen at the end of the name.
| | 00:32 |
And the major difference between this
and the print-ready PDF is that in the
| | 00:37 |
Compression settings, these numbers are
a lot lower. Before they were 450 to be
| | 00:42 |
downsampled to 300. Here they are
150 downsampled to 100. And the Image
| | 00:49 |
Quality, what was formerly Maximum in
the print-ready PDF, here in the screen
| | 00:54 |
PDF is Low. So I don't need to
change any of the other options.
| | 01:00 |
Also, another difference is the
Output settings. The Color Conversion is
| | 01:04 |
converting to an RGB destination profile
since it is intended to be viewed on screen.
| | 01:10 |
Now when I export that one, it's
going to warn me about the transparency
| | 01:14 |
blend space, which is set up for CMYK.
In this case we don't need to worry
| | 01:18 |
about this. So I'm actually going
to just click OK to bypass that.
| | 01:23 |
And here is our screen PDF. Now on
screen they are not going to look any
| | 01:27 |
different. The major difference is
going to be in the file sizes. And if we
| | 01:31 |
look in the folder, in the 05_proofing,
printing, planning folder, here we have
| | 01:37 |
community_newsletter. That is our
print-ready PDF. And look at the file size,
| | 01:41 |
9.2 MB. And the screen version, a
much smaller, much more compact 1.2 MB.
| | 01:49 |
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| Packaging| 00:00 | Once your newsletter has been printed,
the final step is to archive that
| | 00:05 | project so that you gather up all the
assets used in the project, all of the
| | 00:10 | placed images, which may have come
from a variety of different folders.
| | 00:15 | In this case, they all came from the same folder,
but realistically they may have come
| | 00:20 | from a variety of different folders.
| | 00:22 | You have to gather up all of those
assets and save them as one tidy package and
| | 00:27 | then you can just archive that on your
external hard drive or burn it to a DVD.
| | 00:31 | Or however it is that you
handle the back up of finished jobs.
| | 00:36 | Packaging may also be useful if your
printer requests that you send them the
| | 00:41 | InDesign file. It's also useful if at
any point, you decide that you need to
| | 00:46 | move this InDesign document from one
machine to another. Maybe you started the
| | 00:51 | project to work and you
want to take it home with you.
| | 00:54 | You need to move not just the
InDesign document but also all of the linked
| | 00:59 | images that have been placed in the
InDesign document and all of the fonts that
| | 01:04 | have been used in the document.
So in order to do this, we come to the File
| | 01:09 | menu and choose Package.
| | 01:12 | Here it gives us a summary of the
content of our document. We see a warning
| | 01:17 | triangle here, telling us about the
fact that 22 of our links use the RGB color space.
| | 01:23 | We are not concerned about that.
We are not concerned because our PDF preset
| | 01:30 | that we used takes care of the Color
Conversion from RGB images to CMYK colors.
| | 01:37 | But we want to make sure that in Fonts
that we don't see any missing fonts and
| | 01:41 | also in Links and Images that none of
these have the Status of being Missing or
| | 01:47 | Modified. And they are all in good shape.
So I can now go ahead and click Package.
| | 01:53 | Printing Instructions are only
relevant if you are planning on using the
| | 01:57 | package to send to your printer.
I'm not. I'm using the Package feature
| | 02:03 | exclusively for archiving. So I can
just click Continue to move through that.
| | 02:09 | And now we specify where on our hard
drive we want this package to be saved.
| | 02:13 | And I'm just going to save it on my
Desktop for now. It will suggest a name for me,
| | 02:18 | which is going to be my document name with
the word Folder appended to it. And that's fine.
| | 02:24 | Do we want to copy the fonts?
In this case, for archival purposes, no.
| | 02:29 | Copy Linked Graphics, absolutely. Update
Graphic Links, not necessary because we
| | 02:33 | checked they were all updated any
way, but I'll leave that checked.
| | 02:37 | We don't need any of these other
options. I can now go ahead and click Save.
| | 02:43 | And then if we take a look on the
Desktop, there is the folder that it made.
| | 02:47 | And in that folder we have the InDesign
document and we also have all of the linked graphics.
| | 02:54 | The Instructions text file is that
Printing Instructions that I just passed
| | 02:58 | right through. I could now move this
folder to wherever it is I'm archiving my
| | 03:03 | projects. I can go and delete any
intermediate versions, any works in progress.
| | 03:09 | And I can also optionally delete any
graphics that were candidates for usage
| | 03:14 | but I never ended up using.
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| Saving snippets| 00:00 | In creating our newsletter, we have
done it completely from scratch. So,
| | 00:03 | it's taken a long time but next month,
it's going to take half as long and the
| | 00:08 | month after that half as long again.
With every repeat newsletter, it's going
| | 00:13 | to take as less time because every time
we are going to be repurposing as much
| | 00:17 | content as we possibly can.
| | 00:19 | Now, we have been ensuring that we can
automate things as much as possible by
| | 00:24 | our consistent use of Paragraph Styles,
Character Styles, and Object Styles.
| | 00:29 | And those are going to remain in our
template document. But we can also use
| | 00:34 | Snippets, which are snatched pieces of
our layout that we want to reuse perhaps
| | 00:41 | in a slightly different location in a
slightly different way. But that we don't
| | 00:44 | want to have to recreate from scratch.
| | 00:47 | To what extent you use Snippets, and
you could also use an alternative approach
| | 00:52 | of library items. I'll just show you
Snippets because they have a slight
| | 00:56 | benefit over library items allowing us
a bit more flexibility, which I won't go into.
| | 01:01 | But they are essentially the same.
| | 01:03 | The extent to which you use them is a
matter of preference. I'm going to choose
| | 01:08 | to use Snippets in a fairly limited but
nonetheless effective way, just so that
| | 01:12 | we can store elements like photo
credits, pull quotes, and captions perhaps.
| | 01:20 | And so that next time we need a photo
credit, we don't need to type it out,
| | 01:23 | we don't need to rotate and apply the style to it.
We just drag it from the folder into the layout.
| | 01:29 | We saw how when we were placing the
images and when we were placing text,
| | 01:33 | we dragged and dropped content from
Bridge into the InDesign layout. We are now
| | 01:38 | going to go in the opposite direction.
| | 01:40 | First of all, let me just show you a
couple of Snippets that I have already made.
| | 01:44 | If we go to Bridge, here I am in
the snippets folder, which is in the
| | 01:49 | newsletter_final folder. And I'm now
going to, as I have done before, collapse
| | 01:54 | this to Compact Mode. And if
necessary, resize that window.
| | 02:00 | So I have two Snippets here. One is
continued and one is photocredit. The next time
| | 02:05 | I need a photo credit in my newsletter,
I just grab that and drag it into
| | 02:10 | my layout and there is. And if I zoom in on
that, you can see there is the photocredit.
| | 02:17 | But how did that photo credit become a
Snippet in the first place? And that's
| | 02:20 | what I'm going to show you now.
What I'm going to show you making a Snippet of
| | 02:24 | is the pull quote because the next
time we need a pull quote, it might be
| | 02:28 | easier if we can just drag the Snippet
over and it will have this text and you
| | 02:32 | just replace this text and it's automatically
going to be in the style that we wanted to be in.
| | 02:37 | So, I'm just going to expand the
Snippets window a bit and then from the
| | 02:42 | InDesign layout, I'll drag this into
the snippets window. And you can see,
| | 02:48 | it's going to be titled Snippet with a code
number after it. I'm going to rename it.
| | 02:53 | Call it pullquote. And now the next
time I need a pull quote, let's say that
| | 02:59 | we wanted the pullquote somewhere else
in our layout, I come to that somewhere
| | 03:04 | else and drag onto my layout.
pullquote is already there. I can now just go
| | 03:08 | ahead and replace that text
with whatever is the relevant text.
| | 03:12 | One more thing about Snippets.
If I wanted the Snippet to go in exactly the
| | 03:16 | same location as it came from, then as
I'm dragging it I hold down the Option
| | 03:22 | key or the Alt key. And you see it goes
to the exact same page coordinates that
| | 03:27 | the original was created from.
| | 03:30 | So, your Snippets folder is a work
in progress that you can constantly be
| | 03:34 | adding to. Anything that you feel like
you might need to reuse go ahead and
| | 03:40 | drag it into the Snippets folder and
that way next time you need it, just drag
| | 03:44 | it from the Snippets folder into your layout.
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| Saving as a template| 00:00 | So here is our finished version. When
you come to do next month's version,
| | 00:03 | you're going to be using this
as the template for that version.
| | 00:06 | Now templates means different things
to different people and how you approach
| | 00:11 | the template is largely a matter of
preference. You could just do a Save As on
| | 00:16 | the last month's version and then
that is effectively your working template.
| | 00:20 | Or you can save it officially as an
InDesign template, strip out any content
| | 00:26 | specific to this issue, just retaining
those elements that are repeating.
| | 00:31 | And that's actually what I'm going to do.
| | 00:33 | So I'm going to choose File and Save
As and then I'm going to save it as a
| | 00:40 | template. And I'll just call it
newsletter and it's going to have the extension INDT.
| | 00:47 | When I click Save, see it's got a slightly
different icon there. Now when I close that,
| | 00:53 | Command or Ctrl+W, and what
we see here is my original final version.
| | 00:59 | I'm going to open the template again.
| | 01:05 | When you open a document, you can
either open it normally, an original, or a copy.
| | 01:09 | The normal behavior for a
template is to open as an untitled document.
| | 01:15 | So there is no danger of me being able to
overwrite the original because this is a
| | 01:20 | copy effectively. And once opened,
I could now do a Save As on this and
| | 01:26 | continue as Normal. There were no
restrictions. This is now an InDesign
| | 01:30 | document, currently Untitled-10,
but based upon that template.
| | 01:35 | But I think what I want to do is
strip out some of the content before I
| | 01:41 | actually save the templates. So I'm
going to close that one without saving and
| | 01:46 | then open up the template again,
and this time I'm going to choose Open
| | 01:50 | Original. And that's going to
actually open the template itself.
| | 01:54 | So here what I'm going to do is using
my Direct Selection tool, I'm going to
| | 02:00 | select the images. I'll turn my Guides
on so we can see the frames are being
| | 02:04 | retained. And I'm going to go ahead
and delete the specific content. I think
| | 02:11 | I'll leave the TOC pieces of text there.
They can just be typed over to replace them.
| | 02:18 | The headline, I think I'll leave that.
Since it's a placeholder for next
| | 02:23 | month's headline. But all of this text
right here, I'm going to select it with
| | 02:27 | my Type tool, Command or Ctrl+A to
Select All, and Delete. And that's going to
| | 02:33 | retain the frames. The frames are still there
and if we go to the end, we can see the
| | 02:39 | frames are still there. They are still
threaded, including this frame here on
| | 02:43 | the pasteboard to contain any
over matter that there might be.
| | 02:47 | But the content has gone and I'll just
carry on through my document deleting
| | 02:52 | all of the specific content leaving me
only with repeating elements like this,
| | 02:59 | and this, and this. They are going to run
in the same position from month to month.
| | 03:05 | So as well as those pieces of content
that I choose to leave on my page,
| | 03:09 | our template of course also inherits
all of the hard work that we put into the
| | 03:15 | newsletter. All of the Paragraph
Styles, all the Character Styles,
| | 03:19 | all the Object Styles, the elements that
we put on our mater page and the layers.
| | 03:26 | So next month, it will take you a lot
less time to create the newsletter.
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|
ConclusionGoodbye| 00:00 | I would like to thank you for joining
me in this title, Designing a Newsletter.
| | 00:04 | I hope you found it informative and I hope you
enjoyed putting together your own newsletter.
| | 00:09 | If you find titles like this useful, I
invite you to check out my other titles
| | 00:14 | in these series, Designing a Logo,
Designing a Business Card, Designing a
| | 00:19 | Brochure, Designing an Event Poster, and
Designing a Magazine Layout. I'm Nigel French.
| | 00:25 | See you next time!
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