1. IntroductionWelcome| 00:04 | Hi! I am Nigel French and
welcome to Designing Book Covers.
| | 00:08 | Designing book covers is an exciting
assignment for any graphic designer.
| | 00:12 | Walk into a bookstore and you can't
help but be struck by the range of styles
| | 00:16 | used in contemporary book cover design.
| | 00:18 | In this course, we'll start with
examples of good book cover design, brainstorm
| | 00:22 | ideas, and we will create designs
with Adobe InDesign, Photoshop, and
| | 00:26 | Illustrator, using a variety
of different design approaches.
| | 00:32 | As an extra challenge, we will be
designing not just one book cover, but three
| | 00:36 | as part of a series.
| | 00:37 | We will see how to develop our ideas,
including the design of the sometimes
| | 00:42 | neglected back cover and spine.
| | 00:45 | And make sure that our three covers work
as a set, with consistent design elements.
| | 00:49 | And of course, we'll be looking at
preparing our book covers for print.
| | 00:54 | So if you're ready, let's get
started with Designing Book Covers.
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| Using the exercise files| 00:00 | Exercise Files for this course are
available to premium subscribers of lynda.com
| | 00:05 | or those who purchase the DVD.
| | 00:07 | Simply download the Exercise Files
to your computer and place them on the
| | 00:11 | desktop for ease of access.
| | 00:13 | The Exercise Files are
organized by chapter number.
| | 00:20 | Whenever an Exercise File is available
for a video, you'll see a yellow overlay
| | 00:24 | at the bottom of the screen that indicates
the location and name of the Exercise File.
| | 00:30 | If you don't have the fonts that
I've been using, you can substitute
| | 00:33 | appropriate alternatives.
| | 00:35 | When you see this warning dialog box,
you can click on the Find Font button.
| | 00:41 | And here you will see a list of missing
fonts indicated with a yellow warning triangle.
| | 00:48 | Click on the missing font and then
choose an appropriate alternative.
| | 00:51 | I recommend that for Gotham you
substitute Myriad Pro, Regular, Change All.
| | 00:59 | If you see this warning dialog box, you
can click don't show again and click OK.
| | 01:04 | If there is a next missing font,
choose an appropriate substitute. For Gotham
| | 01:08 | Bold, choose Myriad Pro, Bold.
| | 01:13 | And then click Done when you
have no more missing fonts.
| | 01:17 | Let me also mention that I'm using the
Advanced workspace, which is a predefined
| | 01:22 | workspace in InDesign CS5.
| | 01:23 | If you want your workspace to look the
same as mine, then also choose Advanced.
| | 01:29 | If you choose Advanced and it looks
slightly different, then choose Reset Advanced.
| | 01:34 | Working with the Exercise Files
can add great value to the training.
| | 01:38 | However, if you don't have access to
the Exercise Files, you can still follow
| | 01:42 | along using files of your own.
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2. Getting StartedThe project brief| 00:00 | Designing Book Covers. In this course we
are going to be creating paperback book
| | 00:05 | cover designs for the following George
Orwell titles: Homage to Catalonia,
| | 00:11 | Animal Farm and Nineteen Eighty-Four.
| | 00:15 | Now I've chosen these as our book cover
exercise because they are books I know and love.
| | 00:22 | Maybe you've read these books, maybe
you read them in school, maybe you are
| | 00:27 | currently reading them in school.
| | 00:29 | But a point I am going to be making
throughout this course is that you'll have a
| | 00:32 | much better book cover design if you
are familiar with the content of the book
| | 00:37 | and if the book means something to you.
| | 00:39 | So feel free to use any book cover
design that you like, choose any book that
| | 00:44 | you like, any author that you
appreciate and you can follow through this course
| | 00:50 | using the sense of methodology
and approach that I am using.
| | 00:55 | An added dimension to this is that
these three books are thematically similar.
| | 01:01 | And they must work as a set.
| | 01:03 | And in addition to this, these are
books that the covers of which have been
| | 01:08 | designed numerous times over several decades
| | 01:12 | and we want to offer a
fresh design interpretation.
| | 01:16 | We don't just want to repeat what
other people have done in the past.
| | 01:20 | So we have some technical
specifications to talk about and they are these.
| | 01:24 | Here is the size of the book.
| | 01:26 | It's 5 x 71/2", 5 inches wide, 7 1/2 inches tall.
| | 01:30 | We're going to be doing the
front cover and the back cover.
| | 01:34 | We need to incorporate the ICS Press logo.
| | 01:38 | ICS Press is our fictitious publisher.
| | 01:42 | This logo was supplied with the Exercise Files.
| | 01:45 | And we also need to include space
for the ISBN number and the barcode.
| | 01:50 | On the back cover we need to
include some text, which is supplied with
| | 01:54 | the Exercise Files.
| | 01:57 | In addition to the front cover and the
back cover, we need to think about the spine.
| | 02:02 | If you look at books on a bookshelf,
the spine is often the first thing that you see.
| | 02:07 | So these obviously need to be very
clearly readable from a distance.
| | 02:11 | And they need to be of the appropriate
width and these are the widths that we
| | 02:15 | are working with: Homage to Catalonia
half an inch, Animal Farm a quarter inch
| | 02:20 | and Nineteen Eighty-Four, 5/8th of an inch.
| | 02:24 | So that's our brief and that's our spec.
| | 02:28 | Let's get started.
| | 02:30 |
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| Doing research| 00:00 | For us job number one is to do some
research, specifically into the titles that
| | 00:06 | we are designing the covers for, but
more generally into book cover design and
| | 00:11 | the history of the book cover design.
| | 00:13 | Here are three very useful books
that I used in preparing this course.
| | 00:18 | I found them very useful when
you might find them useful too.
| | 00:21 | And here is a link to a very useful blog
called The Book Design Review by Joseph Sullivan.
| | 00:29 | I think Joseph Sullivan is taking a
break from this blog, because it hasn't been
| | 00:33 | updated recently, but it's got some
really, really good stuff on here where he's
| | 00:38 | talking about his favorite book covers,
so I encourage you to check this out.
| | 00:44 | If we look at designers in the past
and we are going back several decades,
| | 00:49 | Homage to Catalonia was written in I
think 1939, so it's been designed numerous
| | 00:55 | times and here are just some of the
previous designs for this book, and it's
| | 01:01 | good for us to familiarize ourselves
with the sort of imagery that gets used.
| | 01:07 | We have rifles and bayonets.
| | 01:08 | we have red bandannas, and clenched
fists, historical photos and here the work
| | 01:17 | of the Spanish artist Joan Miro.
| | 01:22 | For Animal Farm, many of the cover
designs prominently feature the book's
| | 01:27 | main character, Napoleon the pig. An
obvious choice, but nonetheless powerful for that.
| | 01:34 | And some of the covers also feature
some less unknown aspects of the story.
| | 01:40 | Things like this one here which has
the flag of animalism, which was the
| | 01:46 | movement that the animals had signed up to,
featuring the horn and hoof, the green flag.
| | 01:52 | And also here in this design by Shepard
Fairey that features the windmill, which
| | 01:58 | is also a very important part of the plot.
| | 02:01 | So incorporating elements like this are
a clear way of signifying that you, the
| | 02:06 | cover designer, are familiar with the
content of the book and I think make it a
| | 02:11 | better design for that.
| | 02:14 | If we look at the covers for 1984,
we find that many of them feature the prying
| | 02:19 | eye of the totalitarian state or of
Big Brother specifically, and in some of
| | 02:25 | them Big Brother is drawn here.
Sort of implied here and here.
| | 02:31 | Some covers feature the text, the title,
written out as words, some feature the
| | 02:36 | title as numerals, which that's an interesting
choice that we have. We can do it either way.
| | 02:42 | So that's how these problems have
been solved in the past. Let's see how we
| | 02:47 | can improve upon them.
| | 02:49 | Before we sit down with computers and
software, it's going to be a good idea
| | 02:53 | to sketch out some rough ideas.
| | 02:55 | My ability to do thumbnail sketches is
extremely limited, but nonetheless very useful to me.
| | 03:02 | I feel almost embarrassed showing you
these because they are so childlike and
| | 03:06 | rudimentary, but they help clarify my
own thoughts, and I can easily discard
| | 03:12 | ideas that I know just from having made
a few pencil scratches in my sketchbook
| | 03:17 | are just not going to work.
| | 03:18 | So this will save you an enormous
amount of time, and it will also help focus
| | 03:23 | you on what are the design concepts that you
really want to bring out with the book cover.
| | 03:29 | In addition to the thumbnails you may
also want to do some mind maps where you
| | 03:33 | start at a central point, in this case
with the titles that we are designing for,
| | 03:37 | and radiate outwards from that
point writing down really anything that
| | 03:42 | comes into your mind.
| | 03:44 | Some people's mind maps are
works of art in their own right.
| | 03:48 | Mine is not, but they're
very useful nonetheless.
| | 03:51 | So having done our research into good
book cover design, both historically and
| | 03:58 | contemporary book cover design,
having looked at how past designers have
| | 04:03 | approached this design problem, and
having done some thumbnail sketches and some
| | 04:09 | brainstorming with mind maps, we are not
ready to sit down with our software and
| | 04:14 | design our book covers.
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| Setting up a document in InDesign CS5| 00:00 | So here I am in InDesign CS5 and we are
going to create the template for our book cover.
| | 00:06 | Just before I create the new document,
I'd like to point out that I am going to
| | 00:10 | switch to the advanced workspace.
| | 00:14 | Currently I am in Essentials.
| | 00:15 | I am going to come to my
workspace picker right here.
| | 00:18 | You can also do the same thing from
under the Window menu, but I am going to
| | 00:22 | come to the workspace
picker and choose Advanced.
| | 00:26 | And I will be using the Advanced
workspace throughout as my starting point and
| | 00:31 | there might be a few panels that are
not included in that workspace, and when I
| | 00:37 | need them I will get them from the Window menu.
| | 00:41 | So I am now going to go to the File menu >
New > Document and set up the following things.
| | 00:49 | For my intent, this is obviously going
to be a Print document. The number of pages
| | 00:53 | will be three, and the reason I am
choosing three pages is that we are going to
| | 00:57 | have the front cover as one page, the
back cover as the second page and the
| | 01:00 | spine between the two as our third page.
| | 01:04 | Facing Pages, I am going to turn off.
| | 01:07 | The Orientation will be tall, and the
size, I am now going to put in a custom size.
| | 01:13 | You will notice that my default
unit of measurement is points.
| | 01:17 | Doesn't matter what your unit of
measurement is, you can still type in in inches.
| | 01:22 | Which is how a book cover size is
specced, so I am going to type in 5 in, and
| | 01:31 | press my tab key, and will convert
five inches to its point equivalent, 360
| | 01:37 | points, and for the height 7.5 in.
| | 01:43 | In a next step I will be creating a grid,
but I am not going to do that here and
| | 01:50 | because I am going to be creating a
grid, I am just going to stick with just
| | 01:53 | one column in the document setup and
that makes my gutter width, the space
| | 01:59 | between the columns, irrelevant.
| | 02:01 | In terms of the margins,
I would like them to be these.
| | 02:04 | Because I want to set the margins
independently, I am going to break that chain
| | 02:09 | and I am going to have the top margin be
18 points, which is a quarter inch, and
| | 02:16 | the same for the bottom margin.
| | 02:19 | For my left and my right,
I would like those to be zero.
| | 02:24 | Because I am going to have design
elements that go to the edge of the page and
| | 02:28 | I would like to continue them beyond the edge
of the page, I need to set up a bleed guide.
| | 02:32 | And my bleed guide is going to be nine points.
| | 02:36 | Nine points top, bottom, left and right.
| | 02:40 | My slug, I don't need. Slug is an area
outside of your page area, it doesn't end up
| | 02:45 | printed, in which you can put any sort
of internal reference information, but
| | 02:50 | because I am working
independently, I don't need to do that.
| | 02:54 | So there is everything good to go.
I may find it useful, just in case I need to
| | 03:01 | come back here, to save
these settings as a preset.
| | 03:06 | So I am going to call it Book Color 5
x 7.5 and click OK, and there we are in
| | 03:17 | InDesign, the black rectangle being
the page, the magenta representing our
| | 03:23 | top and bottom margins, and the red guide
representing the bleed offset from the page.
| | 03:29 | I am going to come to my Pages panel
where we see we have the three pages.
| | 03:34 | We want these pages side-by-side.
| | 03:37 | If I grab Page 2 or Page 3 and try and
drag it up next to Page 1, that won't work.
| | 03:45 | So I need to first come to the Pages
panel menu and choose Allow Document
| | 03:51 | Pages to Shuffle, so that that is not
checked and then I can drag pages side-by-side.
| | 03:57 | Lastly, I need to change the widths
of page number 2 which will serve as
| | 04:03 | our spine, and this is a new feature in
InDesign CS5 for which we can use the Page tool.
| | 04:11 | If I choose the Page tool and click
on the page, my Control panel tells me
| | 04:17 | the width of the page.
| | 04:19 | I am now going to change that width.
| | 04:22 | Now for the template I am going
to use a width of a half inch.
| | 04:27 | When we come to finalize our designs,
we must remember to change the width to
| | 04:32 | the specific widths of
the three different books.
| | 04:36 | But for the template I am going to
use a half-inch width and it's going to
| | 04:44 | cause that to happen.
| | 04:46 | So I want to put these pages back
together so that they are above one another.
| | 04:49 | I am just going to drag them like so
using the Pages tool, and there we have our
| | 04:59 | front cover, spine, and back cover.
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| Setting up a document in InDesign CS4| 00:00 | If you are creating your book cover
in InDesign CS4, then we need to use
| | 00:04 | a different approach.
| | 00:05 | InDesign CS4 requires that all
of your page sizes are the same.
| | 00:10 | So, we can't use a
different page size for the spine.
| | 00:14 | So, what we're going to do is create the
front cover spine and back cover all on one sheet.
| | 00:20 | Let's come to the File menu
and choose New > Document.
| | 00:26 | I've changed my unit of measurement
here to inches. Since we're going to be
| | 00:29 | working in inches for these calculations,
| | 00:32 | it's probably easier to start off that way.
| | 00:36 | We want in this case one page. Facing
Pages doesn't matter, and the width is
| | 00:43 | going to be the front cover,
| | 00:45 | which is five inches, plus the back cover,
also five inches, that's 10, plus the spine.
| | 00:51 | Now, we're going to need to
make three of these documents.
| | 00:53 | So I'm just going to go through making
into one of them, but we're going to need
| | 00:56 | to make three separate ones for the
different spine widths of our books, and the
| | 01:02 | spine widths are one-quarter inch for
Animal Farm, one-half inch for Homage to Catalonia
| | 01:08 | and five-eighth of an
inch for Nineteen Eighty-Four.
| | 01:12 | I'm going to make a spine
width of half-an-inch in this case.
| | 01:16 | So, my total width is 10.5, and
the height of the book is 7.5.
| | 01:24 | The number of columns, I will leave
at 1, but I will be creating a grid using
| | 01:31 | guides in a later step, but I'm
going to start out with one column and just
| | 01:36 | as with the CS5 setup, I'm going to
break the chain on my margins and set the
| | 01:43 | top margin to a quarter inch.
| | 01:46 | The bottom margin also to a quarter inch, the
inside and outside or the left and right at zero.
| | 01:55 | I do need a bleed and the bleed will
be one-eighth of an inch all the way
| | 01:59 | around, and the slug, which I didn't
use for the CS5 setup but I will be using
| | 02:05 | here because it is in the slug area
that we're going to put the fold marks
| | 02:09 | indicating the spine, and I'm going to
have a slug of a half inch, all the way
| | 02:15 | around the document.
| | 02:19 | So, there's our page. I'm now going
to draw some guides which indicate the
| | 02:23 | front, back cover and spine.
| | 02:26 | Moving into my vertical ruler, I'm
going to drag a guide out to 5 inches and I
| | 02:33 | want to make sure that's exactly 5
inches. So with it selected I'm going to
| | 02:37 | come to my X value and type in 5, and
another one at five-and-a-half inches.
| | 02:45 | I got that one dead-on.
| | 02:49 | So that should leave five inches wide
for the front cover, five inches wide for
| | 02:55 | the back cover, and a half-inch for the spine.
| | 02:58 | Next thing I want to do is
indicate the fold marks for the spine.
| | 03:02 | I'm going to use my Line tool for this
and I'm going to click-and-drag with my
| | 03:09 | Line tool, holding down the Shift key
to create a line, let's just zoom in on that,
| | 03:14 | and I want that to be a quarter
point in weight and I'd like it to be
| | 03:21 | dashed, and I want it to be
dead-on 5 inches for its X value.
| | 03:30 | If I were to deselect that, we'd find
that the dashes are too far apart.
| | 03:35 | So, I'm going to select it and
then come to my Stroke panel.
| | 03:39 | And by the way, let me point out that
I'm using the Advanced workspace, one of
| | 03:43 | the predefined workspaces in InDesign CS4.
| | 03:46 | You can choose it from here.
| | 03:47 | If your Advanced looks any different from
mine, you can come and choose Reset Advanced.
| | 03:52 | On my Stroke panel, I need to
adjust the width of the dash.
| | 03:59 | If you don't see the dash options,
you may need to come to the panel menu and
| | 04:04 | choose Show Options.
| | 04:05 | I'm going to make that 3 points.
| | 04:09 | Now, when I click away from it
we can see we have smaller dashes.
| | 04:13 | I'm now going to duplicate that line
half-an-inch over, and I may need to
| | 04:21 | adjust its X value and I'm now going to
zoom out, Command+Option+0 or Ctrl+Alt+0,
| | 04:31 | and hold down my Shift key
and select both of those lines.
| | 04:35 | I might want to zoom out just a little
bit more, Command+Minus or Ctrl+Minus,
| | 04:41 | and then dragging away from one of
these two selected lines, holding down the
| | 04:46 | Option or Alt key and the Shift key, I'm
going to drag down copies also into the slug area.
| | 04:54 | Now, I'm going to select all of these
fold marks, Command+A, and then I'm going
| | 04:59 | to come to the Swatches panel and make
sure that I'm on the Stroke property and
| | 05:05 | apply the registration color to those.
| | 05:07 | So, I'd like now to show you the
equivalent settings when making a PDF.
| | 05:12 | I'm going to make a Press Quality
PDF and we'll just call this one Test.
| | 05:21 | Now without going into all of these,
which we will go into later, but at the
| | 05:25 | moment I just want to show
you the marks and bleeds.
| | 05:28 | All Printers Marks, Use Document Bleed
Settings and Include Slug Area. I'll just
| | 05:34 | make sure that I'm viewing PDF after
export, and now when I export this, here we
| | 05:42 | see it in Acrobat with the printers
marks shown and fold marks which will
| | 05:49 | indicate the spine, also
shown printed in the slug area.
| | 05:55 | So, we need to do one more thing to our
InDesign document before we can save it
| | 06:01 | as a template, and that
is we need to make a grid.
| | 06:04 |
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| Putting your InDesign CS5 document on a grid| 00:00 | When creating any kind of design,
| | 00:02 | be it a magazine layout, a brochure,
poster, whatever, I like to work with a grid,
| | 00:06 | so that I have some sort of
framework on my page that gives me the
| | 00:10 | confidence about where to
place the elements on my page.
| | 00:13 | So, that's what I'm going to do next.
I'm going to create a grid, and because
| | 00:17 | I want the grid to be on all of my pages,
I'm going to create it on my master page.
| | 00:22 | So, I'm going to double-click on A-
Master, and I'm going to use this option,
| | 00:31 | Create Guides from under the Layout menu.
| | 00:35 | In the previous movie, I made my
top and bottom margins a quarter inch.
| | 00:39 | So, not including the top and bottom
margins, I now have a type area of seven
| | 00:46 | inches and a width of five inches,
giving me a 5 x 7 aspect ratio.
| | 00:52 | So, I'm going to fit guides within
those margins, and I'm going to have 7 rows
| | 01:00 | and 5 columns, and because the number
of rows and columns is equal to my aspect ratio,
| | 01:07 | I'm going to get grid squares
that are almost-- they won't be exactly,
| | 01:12 | but they'll be almost square
and I prefer them to be square.
| | 01:17 | So each of my grid fields
here is going to be a square.
| | 01:21 | Looking at that, I'm thinking well,
having a 5 x 7 grid or a 7 x 5 grid is
| | 01:27 | perhaps not going to get me as
many options as I might like.
| | 01:29 | So, I'm going to double these numbers.
I will go to 14 and 10, and I think
| | 01:37 | perhaps the space between each of
these grid fields is a little bit too much.
| | 01:41 | So, now I'm going to make
that 6 points for both. Click OK.
| | 01:49 | Now I can return to my document pages,
and there we see we have the grid on
| | 01:55 | all three of the pages.
| | 02:01 | Now, since I don't need the grids to
appear on the spine, I'm going to delete
| | 02:06 | these two vertical rules that occur on the spine.
| | 02:09 | If I try and select these guides, I won't be
able to, because they are master page items.
| | 02:13 | So I need to unlock them.
| | 02:14 | So, I'm holding down Command and Shift
or Control and Shift for Windows and just
| | 02:20 | clicking on each of those
guides and then deleting them.
| | 02:25 | Now I'm going to have to live with
the horizontal rules, but that's fine.
| | 02:32 | So, I'm now ready to save this as my template.
| | 02:36 | So, I'm going to come to
the File menu and choose Save.
| | 02:44 | So, I'm going to call this book cover and then
the format I'm going to save in is a template.
| | 02:51 | So it's going to have the extension INDT,
which means that every time I open it,
| | 02:56 | it will open up an untitled copy,
preventing me from overwriting the original.
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| Putting your InDesign CS4 document on a grid| 00:00 | Let's see how we can make a
grid in our InDesign CS4 template.
| | 00:05 | Now we can't in this case just use the
standard margins and columns or create
| | 00:10 | guides, because what we have on our
template is our front cover and our back
| | 00:15 | cover and a spine between the two.
| | 00:19 | We want one grid for the front cover
and another grid for the back cover.
| | 00:25 | So we're going to need to use a slightly
different approach and that approach is
| | 00:29 | we will be drawing a rectangle over the
back page, excluding the top and bottom
| | 00:37 | margins, so that is a 5 x 7 rectangle.
| | 00:42 | Then we are going to be dividing this
up into 14 rows and 10 columns, 14 being
| | 00:50 | twice seven, 10 being twice five, so that
we have grid squares that are exactly that.
| | 00:57 | They're exactly square, because we
are maintaining the aspect ratio.
| | 01:01 | To do this, I'm going to use the script,
Window > Automation > Scripts and if your
| | 01:09 | Script panel opens like this, we need
to expand Application and expand Samples,
| | 01:14 | then expand JavaScript.
| | 01:17 | Scroll down until you get to MakeGrid.
| | 01:21 | Double-click on this one.
| | 01:24 | We type in the number of rows and
columns that we want, 14 x 10, 6 points for
| | 01:30 | the Row Gutter and the
Column Gutter and then click OK.
| | 01:36 | I'm now going to come and park
the Script panel down below here.
| | 01:42 | We can close the Script Label and Data Merge.
| | 01:44 | We don't need those.
| | 01:46 | I'm going to select all of these squares just
by dragging over them with my Selection tool.
| | 01:52 | Then I'm going to duplicate them,
holding down the Option or Alt key and the
| | 01:57 | Shift key and dragging away from them
and positioning those on the front cover.
| | 02:05 | Then I am going to select all of my
rectangles, holding down the Shift key and
| | 02:12 | with my Selection tool, dragging over
those on the back cover, so that I now
| | 02:17 | have all of those rectangles selected.
| | 02:19 | I'm going to come back to my Scripts panel
and scroll up to the first of my scripts.
| | 02:26 | This one's called AddGuides.
| | 02:28 | Double-click on that.
| | 02:30 | This is going to add guides
to all of my selected objects.
| | 02:33 | I don't need a guide for the Horizontal
and the Vertical Center, but I will have
| | 02:38 | Top, Left, Bottom and Right.
| | 02:42 | Everything else can stay
the same here. Click OK.
| | 02:44 | After a pause, we should end up with
guides drawn according to every one of
| | 02:52 | our selected objects.
| | 02:54 | Now if we look on the Layers panel, it should
have put those guides all on the Guides layer.
| | 03:01 | So we can turn that layer on and off, but
all of these rectangles are left on Layer 1.
| | 03:08 | They are still selected.
| | 03:10 | We can delete them.
We don't need them anymore.
| | 03:11 | We're left with just our framework of guides.
| | 03:15 | If that framework gets a little bit
confusing, which at sometimes can tend to do,
| | 03:22 | we can just turn it off.
| | 03:23 | Then we can turn it back on when we
need it to help us to position our
| | 03:28 | elements on our pages.
| | 03:31 | Just one more thing I'd like to do, and I
have the Guides layer currently turned off.
| | 03:37 | I'm now going to Select All and that's
only going to select those fold guides
| | 03:43 | that are on Layer 1.
| | 03:45 | I am going to lock those.
| | 03:47 | I'm going to come to the Object menu
and choose Lock Position, so that they
| | 03:52 | can't get moved inadvertently.
| | 03:55 | Then I'm going to save this as the template.
| | 04:01 | So I'm going to come to the
File menu and choose Save As.
| | 04:05 | I'm going to save this as bookcover_
halfinchspine and the format would be an
| | 04:15 | InDesign CS4 template, so it's
going to have the indt extension.
| | 04:20 | As I mentioned in an earlier movie,
I will be saving versions of this file with
| | 04:26 | a quarter inch spine and a
three quarter inch spine as well.
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| Setting up the document in Illustrator and placing it on a grid| 00:01 | As well as setting up an InDesign
template either in InDesign CS4 or CS5, let's
| | 00:06 | have a look at setting up a
template for use in Illustrator.
| | 00:11 | Now while I am using InDesign as my
hub program, any content I create in
| | 00:16 | Illustrator or Photoshop will be
placed or dragged and dropped into InDesign.
| | 00:22 | It may be useful to have an Illustrator
template that equates in size and in grid
| | 00:30 | to the InDesign page that I am
ultimately going to end up in.
| | 00:35 | So I'm going to come to File and choose New,
and since we are working with Illustrator,
| | 00:40 | we are talking about artboards rather than pages.
| | 00:44 | I'm going to create a 5 x 7.5
document with a 1/8th of an inch bleed.
| | 00:52 | Bear in mind, this is just my way of working.
| | 00:55 | This is not essential by any means, but
I find it useful to have a framework of
| | 01:02 | guidelines to work with.
| | 01:04 | I'm going to make that framework the
same as the framework that I'm using in
| | 01:08 | the InDesign document.
| | 01:11 | I'm going to set up in a slightly
different way, because we're in Illustrator.
| | 01:15 | I'm going to start out by drawing a rectangle.
| | 01:18 | I'm just going to click on my artboard
with the Rectangle tool and let's say
| | 01:25 | that we want a 5 x 7 inch rectangle.
| | 01:29 | Then I'm going to position
that rectangle on my artboard.
| | 01:34 | Rather than just drag it around,
I am going to use my Transform panel to
| | 01:40 | make sure that my X value, my
distance from the left-hand side of the
| | 01:44 | artboard is zero, and my Y value, my distance
from the top of the artboard is .25 of an inch.
| | 01:52 | That's going to give me a quarter
inch margin at the top and the bottom.
| | 01:58 | I'm now going to split
this rectangle into a grid.
| | 02:03 | From the Object menu, I'm going to
come to Path and choose Split Into Grid.
| | 02:09 | I'm going to use 14 rows with a gutter
space of 6 points and 10 columns, also
| | 02:20 | with a gutter space of 6 points.
| | 02:25 | That keeps the aspect ratio the same, 7 x 5.
| | 02:29 | Each of my grid squares will be a square.
| | 02:33 | I'm also going to choose to Add Guides.
| | 02:36 | Let's just see what we're going to
get there when I turn on my preview.
| | 02:41 | Let's click OK to that.
| | 02:43 | Now these, the guides that it has
added are not actually guides, which is a
| | 02:48 | little bit confusing. They are lines and
I need to covert these lines to guides.
| | 02:54 | First of all, I'm going to ungroup everything.
| | 02:59 | Click away from it to deselect.
| | 03:02 | Then I'm going to swipe
through the selection of the guides.
| | 03:05 | Hold down my Shift key and swipe through
the selection of the vertical guides or rules.
| | 03:13 | Then from the View menu, I'm going to
choose Guides > Make Guides. Having made
| | 03:20 | the guides and then going to press
Command+A or Ctrl+A to select all of those
| | 03:24 | frames and delete them.
| | 03:30 | There is our Illustrator template.
| | 03:32 | I'm now going to just
come over to my Layers panel.
| | 03:37 | I will rename this layer guides and
I will lock it and I'll create a new
| | 03:45 | layer called artwork.
| | 03:47 | I'll put the guides layer
above the artwork layer.
| | 03:52 | Let's select the artwork
layer as my targeted layer.
| | 03:57 | Then from the File menu, I'm
going to choose Save as Template.
| | 04:04 | Then in the 02_Getting Started folder,
I'm going to save this as AItemplate and
| | 04:13 | it's going to have the
extension Illustrator template.
| | 04:17 | So just to clarify, while most of
the exercises in this title use an
| | 04:23 | Illustrator document already in
progress, if you did want to start from
| | 04:27 | scratch, you could use this template.
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|
|
3. The "Big Book" SolutionCreating hand-drawn type with the Blob Brush tool| 00:00 | In coming out with the concepts for
these book covers, I've used four approaches.
| | 00:05 | So, I've tried to distill my
different approaches to each design into one
| | 00:11 | of four approaches and these four
approaches admittedly have quite a lot of overlap.
| | 00:17 | They are the Big Book Look,
Typographic Solutions, Abstract Solutions and
| | 00:23 | Illustration Solutions, and I'll be
explaining what I mean by each of those.
| | 00:27 | We are going to begin with the Big Book Look.
| | 00:31 | Now, this is a term that I am
borrowing from Steven Heller and Louise Fili,
| | 00:36 | and they mentioned it in their excellent
book, Stylepedia, which I highly recommend.
| | 00:42 | Essentially, the Big Book Look is all
about having a very big title and a very
| | 00:46 | big author name and that
is basically your design.
| | 00:50 | Sometimes the title and author will
be combined with a symbolic piece of
| | 00:55 | imagery, such as this one here from Catch-22.
| | 01:00 | In my attempt at the Big Book Look for each
of our three books that we are working with.
| | 01:06 | I won't say novels, because Homage
to Catalonia, Orwell's account of his
| | 01:11 | volunteering to fight for the
Republican cause in Spain during the Spanish
| | 01:15 | Civil War is nonfiction.
| | 01:18 | But my first attempt is derived
from or inspired by the work of the
| | 01:23 | Catalan artist Joan Miro.
| | 01:26 | He was responsible for this poster
in support of the Spanish Republic and
| | 01:31 | also this poster here many years later for
the 1982 World Cup, which was hosted in Spain.
| | 01:38 | Here is the first of my book covers
using the Big Book Look, big title, big
| | 01:44 | author name, using hand-drawn type,
drawn with the Blob Brush in Illustrator.
| | 01:51 | The Blob Brush could have been designed
for drawing Miro-like handwriting, so
| | 01:58 | that's what we're going to do.
| | 01:59 | We are going to go through the steps of
creating this handwriting. First of all,
| | 02:02 | just getting the letter shapes
something approximating this and then filling in
| | 02:07 | the counters in the letter shapes
with these bright primary colors:
| | 02:11 | the red, the blue and the yellow.
| | 02:14 | So, I am going to start out in
Illustrator using the template that I created in
| | 02:19 | the previous movie, book cover.ait.
| | 02:24 | Here, I have two layers. I am going
to turn off the guide layer for now and
| | 02:30 | make sure that I am only artwork layer
and the tool I am going to be using for
| | 02:31 | this is the Blob Brush.
| | 02:32 | I am going to zoom in, Command+
Spacebar or Ctrl+Spacebar, click-and-drag.
| | 02:39 | Now, what so useful about the Blob
Brush is that as you draw and you can just
| | 02:44 | draw as if you are working
with a pencil or a crayon.
| | 02:48 | What it will do is it
will make one vector shape.
| | 02:53 | Well, rather than creating a whole
series of overlapping vector paths, it's going
| | 02:58 | to make one vector shape.
| | 03:00 | You can then come back.
| | 03:02 | You can change the size of your Blob
Brush by pressing the right bracket to go
| | 03:06 | bigger or the left bracket to go smaller.
| | 03:10 | Then you can paint over that some
more and you will add to that shape.
| | 03:15 | So, you can build up shapes by just painting
over them and there we have one vector path.
| | 03:25 | Let's see what I can do in the way
of creating some hand-drawn type here.
| | 03:34 | Thankfully, for me what's working in
my favor is that this style of type is
| | 03:40 | extremely child-like and very forgiving.
| | 03:44 | So, all of my mistakes, I could pretend
though I wanted them that way, anyway.
| | 03:52 | You don't need to see me
carry on with my hand-drawn type.
| | 03:57 | You can finish that in your own time
or if you wish you can use my already
| | 04:01 | prepared version, which is
in the Exercise Files folder.
| | 04:05 | So, here is the result of my Joan Miro
inspired hand-drawn type using the Blob Brush.
| | 04:13 |
| | Collapse this transcript |
| Using Live Paint to color type| 00:00 | What I want to next is I want to fill
in the interior shapes of the letters
| | 00:05 | with bright colors:
| | 00:07 | red, yellow and blue.
| | 00:10 | Firstly, it's going to be helpful if I make
myself a color group of those three colors.
| | 00:15 | So, I am going to come over to my
Swatches panel, and my panels, because of the
| | 00:19 | monitor resolution that I am having
to use here for recording, they are a
| | 00:24 | little bit cramped.
| | 00:25 | I am going to pull off my Swatches
panel and just extend that a bit.
| | 00:32 | Now, I am going to choose my red, hold
down my Command or my Ctrl key, my yellow
| | 00:38 | and my blue and then come and click
on this one here, New Color Group.
| | 00:47 | We can give that a name.
| | 00:48 | We'll call the Miro.
| | 00:50 | Now, I am going to select all of my
letters and then come and find my Live Paint tool,
| | 00:55 | which in Illustrator
CS5 has been hidden a bit.
| | 01:01 | It's now under this tool
space, the Shape Builder tool.
| | 01:04 | It now lives under here.
| | 01:06 | So, if you can't find it, that's
where it is, Live Paint Bucket.
| | 01:10 | Then I just come and click on my selected items.
| | 01:13 | I should see this message,
Click to make Live Paint group.
| | 01:17 | When I do so, I'll then want to come
and select this color group, because I
| | 01:22 | can now, as you can see when I--
I'm just going to zoom in Command+Spacebar, click-and-drag.
| | 01:27 | When I mouse over these interior shapes,
I get the option of filling them with a color.
| | 01:36 | The red highlight indicates
what shape you are about to affect.
| | 01:40 | So, I am going to put my cursor right
there and you'll see I have three color
| | 01:45 | swatches, they are color swatches of my
color group and I can move through those
| | 01:49 | by pressing my left arrow, right arrow.
| | 01:53 | So, it's really simple. We just mouse
over these and apply whichever color we
| | 01:57 | want, and there is our result.
| | 02:02 | Now, we need to save this and then we need
to incorporate it into the design in InDesign.
| | 02:09 | So, I am going to save this. I am not
going to overwrite this one because then
| | 02:14 | you wouldn't have the starting step,
but I have one already prepared that is
| | 02:17 | exactly the same as this.
| | 02:21 | In the InDesign layout is the
finished version, handdrawn type, but we can
| | 02:27 | start with this one, handdrawn type_begin.
| | 02:30 | Let me just explain the
other elements that we have here.
| | 02:34 | Using the grid I've made these solid
fields of a not quiet 100% yellow at
| | 02:42 | the top and at the bottom, and then over the
top of that we have the author name really big.
| | 02:48 | We are doing the Big Book Look, so
we want the author name really big.
| | 02:52 | Then continuing through with this
color palette of red, yellow and blue.
| | 02:59 | So, all I am going to do now is come
to File and Place, Exercise Files folder,
| | 03:07 | and in the Link folder, the Links
folder is where all the graphic assets are.
| | 03:13 | There is this Illustrator file,
homage to catalonia miro type.
| | 03:19 | I am going to open that and then I am
just going to click and drag to place that
| | 03:28 | and then position it over this
field of the reduced tint yellow.
| | 03:34 | There we have our first book cover concept.
| | Collapse this transcript |
| Choosing typefaces| 00:00 | In creating this, the second design for
Homage to Catalonia, using what I have
| | 00:06 | referred to as the Big Book Look.
| | 00:08 | The Big Book Look is a term I
borrowed from Steven Heller and Louise Fili
| | 00:12 | from their book Stylepedia, meaning big
type for the title and big type for the author.
| | 00:19 | Combined in this case with a symbolic
piece of imagery, this representing a
| | 00:26 | trench in which they fought and the
red flag atop that trench and behind
| | 00:29 | the trench a sunrise.
| | 00:31 | There is a passage in the book where
Orwell talks about watching the sunrise
| | 00:36 | behind the trenches.
| | 00:37 | While I don't want to give you an English lit class,
| | 00:39 | because that's not why you are here for,
| | 00:41 | the point I want to make here is that if
you can incorporate some salient detail
| | 00:47 | like this in your book cover design,
then it's going to be the stronger for it.
| | 00:52 | In this discussion, I want to bring out
three points and the first of these is
| | 00:57 | an approach to choosing type.
| | 00:59 | The second is how I created this simple
illustration, and the third is working
| | 01:05 | with the type and applying type effects.
| | 01:07 | So, in this movie we are going to be
looking at the first of those things,
| | 01:11 | how to choose the type, just one
amongst an infinite number of approaches to
| | 01:17 | choosing your type.
| | 01:19 | Since we are working with a historical
subject matter here, it make sense to go
| | 01:23 | back and look at posters of the periods,
specifically posters produced during
| | 01:29 | the Spanish Civil War, of which
there are some amazing posters.
| | 01:33 | So, here are some of them and we can
see that the type that they are using is
| | 01:37 | very solid, blocky, very bold, sans-
serif predominantly type, usually in
| | 01:44 | uppercase and often rotated.
| | 01:47 | I wanted to get a match for one of
these species of types, specifically
| | 01:51 | this middle poster here.
| | 01:55 | While I can match it closely by eye,
I thought well, for extra authenticity it would be
| | 02:01 | good to see if I could get an exact match.
| | 02:05 | In such cases there is a very useful
web site that will help us with that.
| | 02:08 | It's called WhatTheFont, which is
part of the myfonts.com website.
| | 02:13 | So, let's go there.
| | 02:16 | Here you can upload a screen capture of
the letters that you are trying to match.
| | 02:27 | Then it will give you its best
interpretation of that small picture where
| | 02:34 | you have to help it out a bit to match the
picture to the actual letters that you want.
| | 02:44 | Let's see what it gives us.
| | 02:49 | Now the returns it gives me are not
exactly what I am after, but neither are
| | 02:53 | they a million miles away from what I am after.
| | 02:56 | So, perhaps in a different
situation this may be a good way to go.
| | 03:01 | As it turned out, I didn't opt for
buying one of these fonts and using it.
| | 03:06 | Instead, I decided to go with Futura,
which is a font that I already I have.
| | 03:12 | But secondly, because Futura
is very evocative of the age.
| | 03:17 | We are talking about the late 1930s here.
| | 03:20 | Futura was designed in the late 1920s.
| | 03:22 | It was very predominant at the time.
| | 03:25 | So, it's seems fitting for the subject matter.
| | 03:28 | But before we get to working with the
type, in the next movie let's see how we
| | 03:32 | can create this simple imagery just
working in Illustrator with the Pen tool,
| | 03:38 | gradients and a bit more of
the Blob Brush and a few effects.
| | 03:42 |
| | Collapse this transcript |
| Creating a simple illustration using the Pen and Gradient tools| 00:00 | In the second part to creating this,
the second of my book cover designs for
| | 00:05 | George Orwell's Homage to Catalonia,
we are going to use Illustrator to create
| | 00:11 | this simple, symbolic
illustration that is behind our type.
| | 00:15 | So currently we're looking at the
finished version in InDesign and I'm now going
| | 00:18 | to switch over to Illustrator.
| | 00:22 | Frankly, we could do it in InDesign, but
there is one reason why I want to do in
| | 00:26 | Illustrator, and that's because having
created these shapes, we can apply some
| | 00:30 | simple effects to them just
to give them a bit of texture.
| | 00:34 | I'm thinking film grain specifically,
which you cannot do in InDesign.
| | 00:38 | So Illustrator has the edge in
that respect. Otherwise the tools are
| | 00:43 | essentially the same.
| | 00:45 | So I'm going to start out by
opening up the template that we created in
| | 00:48 | the previous movie.
| | 00:49 | Making sure that I'm on the artwork
layer, with my Pen tool, and I'm coming
| | 00:59 | outside of the page area to the bleed.
| | 01:02 | And I'm just going to create a craggy
ridge simply by clicking with the Pen tool.
| | 01:20 | And getting back to the point where
I started, so I create a closed path.
| | 01:25 | Now, at the moment that closed path
has a white fill on a black stroke, so
| | 01:30 | let's remove the stroke.
| | 01:32 | And we're going to go to the fill and now
we're going to apply a gradient fill to this.
| | 01:36 | I'm going to tear off my Gradient panel.
| | 01:41 | And start out by applying just the
standard black-and-white gradient to this.
| | 01:46 | I'm going to change the color of the
gradient by just dragging colors from the
| | 01:50 | Swatches panel to the color stops
at the bottom of the gradient bar.
| | 01:55 | And I'm going to use this color.
| | 01:58 | I'm going to have that be the start and the end.
| | 02:05 | And then I'm going to
drag white between the two.
| | 02:10 | Now, I want to change the direction of
the gradient. I could do it numerically
| | 02:13 | here, but easier than that
is to use the Gradient tool.
| | 02:16 | I'll just drag where you want the gradient to
go, and I think I want to grab something...
| | 02:24 | I'm not sure.
| | 02:27 | You know you can just swipe over it
multiple times. I think like that with a
| | 02:33 | bit less of the whites.
| | 02:35 | I'll adjust the diamonds on the top of
the gradient bar too, all to have one
| | 02:40 | color transition into another.
| | 02:48 | Now, I'm going to draw a simple rectangle
behind that and this is going to my sky.
| | 02:54 | Into my sky I want another kind of
gradient that's going to start out with a
| | 03:01 | sort of golden yellow, and then
transition to some sort of pink.
| | 03:11 | And finally, end up with the blue.
| | 03:14 | Now, that's the wrong way around, so
I'm going to change the angle. I'll do it
| | 03:20 | numerically this time.
| | 03:23 | And then I need to
substantially, reduce the opacity of that.
| | 03:29 | So I am going to come to my
Transparency panel and bring that way down.
| | 03:39 | And that pink really is a little bit too pink.
| | 03:46 | So I think I need to replace that color.
| | 03:49 | So I'm going to come to my Color
panel and makes a not quite so intense pink,
| | 04:01 | which I'll then drag to my Swatches panel.
| | 04:03 | So that I can reuse it. I managed to
apply to the end of the gradient, which
| | 04:08 | is not I wanted to do.
| | 04:09 | So I'll just fix that.
| | 04:12 | And that's not looking more like what I'm after.
| | 04:17 | And we'll turn off the guides.
| | 04:20 | I see here that I have a solid line,
which I definitely don't want, so what I
| | 04:26 | need to do is I need to send this
rectangle behind my ridge, and I can do that
| | 04:32 | using object and Arrange > Send to Back
or I can use the Layers panel for this.
| | 04:38 | Just make sure that's behind
there and that solves that problem.
| | 04:42 | Now, I want to select the ridge and I'm
going to apply just a few changes to it.
| | 04:48 | Firstly, I'd like to give it a little
bit of texture, and to do that I'm going
| | 04:53 | to come to the Effect panel
and choose Artistic > Film Grain.
| | 04:58 | Now, I'm not sure how well you'll see
this on the monitor, but when this is
| | 05:07 | printed it's going to give it a bit of oomph!
| | 05:10 | So that everything is not quite so
flat, but it's going to be very subtle.
| | 05:14 | And I just want to grain of about 1, an
intensity of 1, so you may need to dial
| | 05:19 | these numbers down a bit
from what you're starting with.
| | 05:24 | In addition to that, I'd also
like to apply an inner glow.
| | 05:29 | So I'm going to go back to the Effect menu
and choose Inner Glow and then turn on Preview.
| | 05:38 | And we can see now that just helps to bring
out the definition at the top of the ridge.
| | 05:45 | And we want it to be a little bit more on that.
Maybe we do, but not quite as much as that.
| | 05:56 | So let me dial it down to about 14.
| | 06:03 | The next element that we
want to include is the flag.
| | 06:05 | And for this, rather than use simple
shapes, which I think that will end up
| | 06:11 | looking too clean, I wanted to use the Blob
Brush for a more freeform sort of look to it.
| | 06:19 | So I'm going to switch to using the
Wacom tablet and zooming in on the area
| | 06:24 | where I want to draw the flag,
I'll choose the Blob Brush.
| | 06:28 | So I'm going to choose the color,
and I'm going to make sure that I have
| | 06:31 | nothing selected, so that I don't add to an
already drawn shape, but rather create a new one.
| | 06:38 | And then draw myself in a very
simplistic, almost childlike flag like so.
| | 06:58 | Now that needs to get sent behind the
shape of the ridge, so I'm just going to
| | 07:04 | drag that down in my layers.
| | 07:08 | And there I think we have that background shape.
| | 07:14 | In doing that I inadvertently applied
the Film Grain and the Inner Glow,
| | 07:19 | the effects that I'd applied to the
previous shape to, the shape I just drew.
| | 07:23 | So I'm going to select the flag and
I'm going to take those two effects off,
| | 07:27 | although I quite like the effect of the
inner glow, but it's a little bit too much.
| | 07:32 | So I'm going to edit the amount that is
applied just to the flag, and I'm doing
| | 07:38 | this through the Appearance panel.
| | 07:46 | And we're good to go.
| | 07:47 | So I'm going to save this and call it trench.
| | 07:55 | Then come back to InDesign, and in
the beginning version of this particular design,
| | 08:03 | typeeffects_begin, making sure
I have the background Layer selected,
| | 08:11 | I'll choose File and Place.
| | 08:28 | And I'm going to place that image right there.
| | 08:33 | And then I will lock the background layer,
so that we are now ready to go on and
| | 08:40 | create the type in the next movie.
| | 08:43 |
| | Collapse this transcript |
| Applying type effects| 00:00 | Designing a book cover for Homage to
Catalonia, George Orwell, using big type for
| | 00:05 | the title and big type for the author
name and simple imagery, in this case the
| | 00:09 | trench, red flag, and sunset.
| | 00:13 | So in this the third and final movie
related to this particular book cover
| | 00:18 | design, we're going to work with the type.
| | 00:21 | And currently, the type in the
starting state of this document is in Myriad Pro,
| | 00:26 | but we're going to be changing
it to Futura, and we're going to be
| | 00:30 | applying some type effects to it.
| | 00:33 | In doing this, I was inspired by
posters of the Spanish Civil War, but I was
| | 00:38 | also inspired by the work of Swiss
graphic designer Herbert Matter,
| | 00:44 | especially his use of Type.
| | 00:46 | I've kind of got that in my
mind while I'm doing this.
| | 00:50 | And let's select these three text frames,
and if I want to change more then one
| | 00:57 | text frame at a time, I can
open up my Character panel.
| | 01:00 | I can go to my Window menu for that
or I can press Command+T or Ctrl+T.
| | 01:07 | And then we'll type in what we're after, Futura.
| | 01:11 | If you don't have Futura, then I
suggest that you stick with Myriad pro, which
| | 01:15 | you will have because it comes with InDesign.
| | 01:19 | And I actually want to use a
condensed version of Futura, which is that one
| | 01:22 | right there, Condensed ExtraBold.
| | 01:28 | And then I also want to rotate this text.
| | 01:32 | Before I do that, I'm going to select
just this single text frame right here,
| | 01:38 | and I want to fit my frame to my
content, and I can do that with this icon
| | 01:43 | here or I can use the keyboard shortcut,
Command+Option+C. I think it's useful
| | 01:48 | when working with type like this where
the type is at a large size and you may
| | 01:54 | want to just float one text frame
around on top of or close to the other to
| | 02:01 | adjust the spacing.
| | 02:02 | Then it's a good idea to have them as separate
text frames rather then all in one text frame.
| | 02:06 | So I'm going to select these
two pieces of type, not that one.
| | 02:10 | But I'm now going to group these together,
Command+G or Ctrl+G, and then rotate them.
| | 02:17 | And I think I'm going to do a free
form rotation here. So I'm going to press
| | 02:21 | the R key to choose my Rotate tool,
establish the point from which I'm
| | 02:27 | performing the rotation, and I'll have
that remain as the center point and then
| | 02:32 | just spin those around like so.
| | 02:34 | And then I'm going to get this one.
| | 02:40 | And I want to spin that
in the opposite direction.
| | 02:43 | I'm going to need to zoom in for this.
| | 02:46 | I could of course maybe rotate my spread,
but frankly, it's just easier to crook
| | 02:53 | your head for a little while.
| | 03:00 | Spin that around like so
and move it into position.
| | 03:06 | And now I want to scale up, both the
type and the frame at the same time.
| | 03:09 | Command+Shift or Ctrl+Shift and scale that up.
| | 03:16 | So quite conveniently,
it's sitting atop the N.
| | 03:24 | And now, I'm going to select my group
of type, the words Homage and Catalonia,
| | 03:29 | and apply some effects to that.
| | 03:33 | So from the Effects panel, I'm going to
use Inner Shadow first of all, and I'm
| | 03:39 | hoping this is going to give us a sort of
silk screen look to my type, and that is
| | 03:46 | pretty much just want I want
right off the peg like that.
| | 03:50 | But I might feel compelled just to
mess around with these options, because it
| | 03:53 | just seems too easy, if we take what
we're given without experimenting with
| | 03:59 | the different options.
| | 04:00 | But that's looking pretty good.
| | 04:04 | So I'm going to accept that.
| | 04:07 | And then, just to lift the type off the
page a little bit, and I could have done
| | 04:10 | this really in one go really, I don't
know why I didn't, but I'm going to go
| | 04:13 | back now to my Effects and
apply a Drop Shadow to this as well.
| | 04:17 | Now, that is not why I want off the peg.
| | 04:20 | I think that shadow is far too much
and I'm having problems with my dialog
| | 04:25 | box being too big here.
| | 04:26 | So I'm just going to cancel out of that
and reposition my page, something like that,
| | 04:36 | and then come back, so that
we can see both at the same time.
| | 04:41 | And now to adjust the shadow, in this
case, I think I'll just want to reduce the
| | 04:46 | amount of offset, both for the X and
the Y, and possibly the size of the shadow
| | 04:54 | as well, and the distance.
| | 04:57 | So it's not quite as
pronounced as it was before.
| | 05:00 | I think that looks good.
| | 05:07 | Lastly, just to make sure that we don't
disrupt the relationship between these
| | 05:10 | three elements, I have
these two grouped together.
| | 05:13 | I'm going to hold down the Shift key
and select that one, and press Command+G
| | 05:17 | again to include that in the group.
| | 05:19 | Now we can now size them as one, and
to do that so you don't pull them apart,
| | 05:30 | hold down Command and Shift as you do so.
| | 05:37 | And there we have our self another book cover.
| | 05:41 |
| | Collapse this transcript |
| Manual tracing| 00:00 | In this next book cover mock-up, I am using
some similar tools that we have already used.
| | 00:05 | Remember we are coming out with a
series of books here, and they need to work
| | 00:08 | together as a series.
| | 00:10 | But I am using the same approach of
big type for the title, big type for the
| | 00:16 | author, and we also have a
little bit of symbolic imagery here.
| | 00:20 | This is the flag that was adopted by
the animals once they took over Mana Farm
| | 00:26 | and threw out the humans.
| | 00:28 | So this is the horn and
hoof flag and in getting this,
| | 00:33 | I simply found a picture of a horn and
a hoof and I traced over them with the
| | 00:39 | Pen tool and then fiddled with them a
bit, filled them with solid colors and
| | 00:44 | incorporated them into the flag.
| | 00:47 | The type that we see for the title was
created using the Blob Brush which I used
| | 00:52 | in an earlier movie when I was drawing
the Joan Miro inspired hand-drawn type.
| | 00:58 | We see on the pasteboard some
experiments with the Blob Brush, and here I have
| | 01:04 | experimented with just a regular
brush applying a choke brushstroke to it.
| | 01:10 | Didn't really feel that worked.
I think this with the implied drips of
| | 01:14 | paint works a lot better.
| | 01:16 | But this one here, I was trying to
combine certain letterforms together, the A
| | 01:22 | and the N and the A and the L, and this
might seem like a bit of a leap really,
| | 01:27 | but I was inspired to do this by the
work of stonemason and typographer Richard
| | 01:34 | Kindersley and here is an example of his work.
| | 01:38 | Obviously, a lot more graceful than
mine, but I felt like I could get away with
| | 01:44 | the rough look here, because this sign would
have been painted by animals who, let's face it,
| | 01:49 | they are not too good painting.
| | 01:50 | So if it looks a bit rough and childlike
that's the reason why. I can use that as my excuse.
| | 01:56 | I decide not to go with that, to go
with this slightly more typical approach,
| | 02:01 | but let's get to the meat and potatoes
of this and trace over these elements.
| | 02:09 | These are just found images and
I am going to manipulate them.
| | 02:12 | I am not going to use them.
| | 02:13 | You will have to find your own, but
a simple Google Search will yield a picture of
| | 02:20 | a horn and a hoof, not necessarily
these ones, but ones at least as good.
| | 02:25 | So I have put these on their own
layer, called it tracing elements.
| | 02:31 | You can if you wish make
this into a template layout.
| | 02:34 | I am not sure it's necessary for this,
but if you wanted to do so, you would
| | 02:38 | just double-click on it, choose
Template, and that's going to do two things.
| | 02:43 | It's going to lock the layer and it's
going to dim the images to 50% like so.
| | 02:49 | So you can't interfere with them and
so the color isn't too distracting.
| | 02:53 | So I'll now need to create a new layer
above that and then it's a question of
| | 02:58 | just drawing over it with the Pen tool.
One could use several tools here, but I
| | 03:02 | am going to use the Pen tool.
| | 03:04 | In this case, I am clicking-and-
dragging because I want to create some curves
| | 03:07 | and we don't need to worry about any
shading. We are just going to use a simple
| | 03:13 | shape like so and then I will repeat the
process over here. And then if I need to
| | 03:27 | make any adjustments to that, I can
choose my Direct Selection tool and pull on
| | 03:32 | these anchor points.
| | 03:35 | Now that I have those in place, I am
just going to come and delete the original
| | 03:42 | so that we can replace it with our new
versions, which I will drag into shape,
| | 03:51 | resize them, and holding down the Shift
key so that resize that proportionally.
| | 03:58 | I want to spin this around, reduce
its size, reduce its size some more, and
| | 04:10 | find a good point of overlap, so that
the two are still distinct and then put
| | 04:18 | that into position, group the two
objects together, and if necessary reduce the
| | 04:26 | scale of the group, and now we have
our horn and hoof flag, an important part
| | 04:35 | of the story. So a telling detail
shows that you read it, incorporate it into
| | 04:41 | the book cover.
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| Using the gradient and transparency effects| 00:00 | In this the third of our series of
book covers, book covers by George Orwell,
| | 00:05 | using the first of our approaches,
which is what we are referring to as the big
| | 00:10 | book look with a big title and big
author name, we are going to see some simple
| | 00:15 | affects to create this rather sinister
looking typographic solution that befits
| | 00:21 | the content of the book, Nineteen
Eighty-Four, which is all about a
| | 00:26 | totalitarian state and if are not
familiar with it, I suggest maybe going and
| | 00:31 | having a quick look on
Wikipedia for a quick plot synopsis.
| | 00:36 | We are going to start out with just
plain type in a plain box on a plain
| | 00:42 | background and then try
and get something like this.
| | 00:47 | I am just going to turn on my
pasteboard for a moment and you will see that I
| | 00:51 | was experimenting with different
typefaces for the title, which I have chosen
| | 00:57 | to put numerically, as opposed writing
it out in words, which is another option.
| | 01:02 | Both titles are viable.
| | 01:05 | So it took a while before I hit upon
this solution, which is a Helvetica Ultra
| | 01:11 | Compressed type, which I think
looks rather sinister and austere.
| | 01:18 | So beginning in the beginning version
of the file, I am going to select the
| | 01:23 | text and then come up here and change
it. Now you may not have the font that
| | 01:29 | I am going to use, in which case I would
suggest using Myriad Pro in a bold condensed version.
| | 01:36 | It's not going to be as condensed or
rather as compressed as the type that I am
| | 01:43 | going to use, which is part of the
effect here. Using really compressed type I
| | 01:48 | think is quite essential for the look
that we are trying to achieve, and there
| | 01:53 | we are, Ultra Compressed.
| | 01:56 | That's the one we want.
| | 01:57 | So I am then going to pump up its size,
Command and Shift, and the more than
| | 02:04 | key or Ctrl+Shift+>.
| | 02:09 | The more than key being the
period key two to the right of the M.
| | 02:14 | Get that as big as I can get it
without it falling out of that box.
| | 02:18 | Possibly, I might want to bring the
numbers closer together. So that would be
| | 02:24 | involved applying a bit of tracking to it.
| | 02:26 | Alt+Left Arrow, to bring them tighter.
| | 02:31 | Now the 1 and the 8 look a little
bit too far away from each other.
| | 02:36 | Now the whole aesthetic of the
authoritarian state that's portrayed in the book
| | 02:40 | is very lo-fi and I doubt that they
spent too much time worrying about kerning
| | 02:46 | of their type, but nonetheless, I am
going to add some because it just doesn't
| | 02:51 | look right if the spaces
between the numerals are too big.
| | 03:02 | I also would like the type centered
within this box, so for that I am going to
| | 03:07 | go to my Text Frame Options and it is
centered within, but it doesn't look
| | 03:13 | centered within. So I am going to add
some baseline shift to it, and I realize
| | 03:18 | there's some baseline shift already applied.
| | 03:20 | That must be a legacy of something I
did earlier, so let me take that off,
| | 03:25 | this one here being baseline shift.
| | 03:28 | And then if I want to add a little bit
more, which I do, Command+Shift+Up Arrow,
| | 03:34 | I am just doing this by making sure
it's centered within that frame, and I
| | 03:40 | think that frame wanted to
get a little bit smaller.
| | 03:44 | Now on top of this I want to put a
pyramid, but I realize that actually my box
| | 03:51 | needs to be more of a square, because
when I draw a triangle on top, I need it
| | 03:56 | to be an equilateral triangle and it's not
going to be with the current shape of my text frame.
| | 04:01 | So what can we do about that?
| | 04:04 | Let's see if we can just
reduce that a little bit more.
| | 04:13 | I am holding down the Command
key as I am bringing this in.
| | 04:16 | By doing that I am doing something that
you should never do, and don't tell any
| | 04:22 | one that I told you to do this, but
what I am doing is I am changing the
| | 04:27 | horizontal width of the type, making it
less than 100%, and if you have watched
| | 04:33 | any of my other movies on lynda.com,
you might have heard me say never do this.
| | 04:39 | Or never do this except when you need to do it.
| | 04:41 | So I am now going to make sure whether
that is centered like so, and then on top
| | 04:51 | of it I am going to draw myself a
rectangle that is the same size, and then I am
| | 04:56 | going to go to the Object menu, and
choose convert shape and convert that.
| | 05:02 | Now I want to use some sort of
transparency effect to blend this with the
| | 05:07 | type behind, I will just press W
there to hide my guides, and I am going to
| | 05:13 | apply a red color to this and then come to my
Effects panel and look at these blending modes.
| | 05:27 | Ultimately what I am going to go for
is this one here, Exclusion, but have a
| | 05:34 | reduced opacity, something like that.
| | 05:41 | Now Exclusion is a blend mode that I
seldom use, but it just happens that it
| | 05:48 | gives me what I want in this instance,
and I didn't necessarily know that was
| | 05:53 | what I wanted, until I saw it, and
that's often the case when working with
| | 05:56 | these blend modes. You just kind of
try them and the one that looks the best,
| | 06:00 | that's the right one.
| | 06:03 | In addition to that I also would like
to apply a few effects to the type as I
| | 06:07 | did in a previous movie.
| | 06:09 | I'd like to add an inner shadow to the type.
| | 06:13 | So with background rectangle selected,
now it may not look like it, but I've
| | 06:18 | actually got two rectangles there.
One of them has been converted to a triangle,
| | 06:23 | but it was originally a rectangle.
| | 06:25 | And it's that triangle that I have
selected, so I am going to hold down my
| | 06:28 | Command key and click. I now have the
rectangle behind it selected, and then I
| | 06:35 | am going to come to my Effects panel
and making sure that I am affecting the text,
| | 06:40 | because I don't want to apply the
effect to object itself, but just to the text.
| | 06:46 | Come to the Effects drop-down menu and
choose Inner Shadow and that's not far
| | 06:55 | away from what I want.
| | 06:56 | Maybe we will just increase
the Opacity on that a little bit.
| | 07:01 | Lastly, I would like to add a
gradient to the background frame, and I want
| | 07:13 | to use a really cold steely gradient,
a black to blue, back to black again gradient.
| | 07:20 | So I am going to drag my Gradient panel
off and when I expand that you will see
| | 07:30 | that it has that gradient that I used
before very conveniently right there for us,
| | 07:36 | so when I click on that it gives me
the gradient, but let's imagine that it
| | 07:41 | didn't and we have to create it from scratch.
| | 07:44 | So what we have to need to make sure is
that the starting color and the ending
| | 07:50 | color are both black, and you can
change the colors just by dragging the color
| | 07:55 | onto the color stop like so.
| | 07:57 | So we want to make sure that we've got
black at both the start and the end.
| | 08:02 | In fact, we want to make sure that it's
not just black, but it is a custom rich
| | 08:08 | black, which I have here
made on my Swatches panel.
| | 08:14 | It's a black that has in it,
cyan, magenta, and yellow.
| | 08:18 | In this case, each of those
at 40% as well as 100% black.
| | 08:23 | So it's going to be a lot deeper and
richer, and in this case a lot more
| | 08:28 | sinister than just your regular old
black, which is zero cyan, zero magenta and
| | 08:33 | zero yellow, but just 100% black.
| | 08:36 | So if we needed to make one of these,
we could do it like this. New Color Swatch
| | 08:40 | and then you just punch in the
numbers like so. That's just so
| | 08:44 | it's different from the one I already
have. We have got 50% on each of those,
| | 08:48 | add that, and then that is the color
that I am going to apply to my staring
| | 08:56 | gradient, to my ending gradient color.
| | 09:00 | Now on screen, it's not going to look
different from this black, but in print it will,
| | 09:04 | and then I am going to use my 100%
cyan right there in the middle between
| | 09:09 | the two and now I am going to adjust
the mid-points, so that it's a very steep
| | 09:18 | transition between the black and the cyan.
| | 09:20 | It gives it this almost metallic look to it.
| | 09:24 | Then just one other thing. I want to
make sure that this vertical line in the
| | 09:27 | gradient goes right through the
middle of the lattice, so in that case to
| | 09:32 | compensate for the three millimeters
of this that goes outside of the page,
| | 09:38 | because that's part of the bleed, I am
just going to make my gradient slightly
| | 09:43 | off center like that, there we go.
| | 09:51 | And there we have the
scary looking metallic 1984.
| | 09:57 |
| | Collapse this transcript |
|
|
4. The Typographic SolutionDistressed type| 00:00 | In this chapter we are going to look
at typographic solutions to designing book covers
| | 00:05 | and we are going to begin by
looking at some examples of successful book
| | 00:08 | covers that use mainly type.
| | 00:11 | As an example of the classic Penguin up here,
just bands of orange and type works beautifully.
| | 00:18 | Graham Greene, just the author name,
title of the book, simple illustration in
| | 00:23 | some cases, some cases
not even the illustration.
| | 00:27 | Same with the J.D. Salinger,
The Catcher in the Rye.
| | 00:30 | Moving down here to the more contemporary
book covers, things get a little bit more
| | 00:35 | involved they are a
little bit fancier if you will.
| | 00:38 | Essentially it's just about letterforms
and playing with those letterforms, in
| | 00:43 | this case we have this sort of
Dada-inspired typographic solution.
| | 00:48 | Massive changes in the scale of the
letters here for Darkness at Noon.
| | 00:53 | This treatment of Ulysses inspired by a
Bauhaus type solution, and this one here
| | 00:59 | which I am actually in, a book of
six-word memoirs and well, that's it.
| | 01:05 | It's all about type.
| | 01:07 | Let's see how we can create our own
typographic book designs working with
| | 01:11 | our hypothetical series of George
Orwell books and beginning with an example
| | 01:16 | that uses distressed type.
| | 01:19 | In this the first of our typographic
solutions working with the first of our
| | 01:23 | three books in the series,
| | 01:25 | Homage to Catalonia, we are going
to see how we can use two different techniques
| | 01:30 | to distress our type. And also this is a
partially photographic solution as well
| | 01:36 | because the type is set against the
backdrop of a red piece of material which
| | 01:40 | can signify either a red
bandana or perhaps a red flag.
| | 01:45 | Both significant to the story of the
Spanish Civil War, which is the book's subject.
| | 01:53 | We are going to begin with a Photoshop
document and I am going to turn Off the
| | 01:57 | type layers for a moment and we will
take a look at this piece of red material.
| | 02:02 | I went to a fabric shop, bought a piece
of red material, put it on the floor of
| | 02:06 | my apartment took a photograph of it,
imported it, tweaked the levels of it, and
| | 02:12 | sized it so that it's at the
appropriate size, 5 and 1/8th inch.
| | 02:18 | That one 1/8th allowing for a bleed on
the right-hand side and seven and three
| | 02:23 | quarter inches high, allowing for an
eighth of an inch bleed off the top and an
| | 02:27 | eighth of an inch bleed off the bottom
and the bleed guide indicated by these
| | 02:32 | turquoise guides that I drew just
by pulling them out from the ruler.
| | 02:37 | So this is our starting point
and then we have this our type.
| | 02:41 | Obviously the title of the book and
the slogan, the rallying cry "No Pasaran"
| | 02:48 | meaning "they shall not pass", an important
rallying cry during the Spanish Civil War.
| | 02:54 | So what we are going to do is look at
two different techniques for distressing
| | 02:59 | the type and we will split this into two
separate movies. So for the yellow type
| | 03:04 | we are going to use technique number one.
| | 03:08 | Just to make things a little bit
easier I am going to select these two layers
| | 03:12 | and make them into a layer group,
come to the Layers panel menu.
| | 03:16 | New Group from Layers and the only
that's saving me is it means I only have to
| | 03:22 | do this once rather than twice, because
I can apply the layer mask to the group
| | 03:28 | rather than to the individual layers.
| | 03:31 | So both of these techniques involve
using a layer mask and that is this thing
| | 03:36 | down here. When I click on that
I add a layer mask to the group.
| | 03:41 | That layer mask is white at the moment,
meaning that it's currently having no effect.
| | 03:46 | If I fill that layer mask with black
it's going to mask the type entirely.
| | 03:52 | So I am going to do that, switch my
foreground color to black, and then use this
| | 03:58 | very useful keyboard shortcut in
Photoshop to fill my layer mask with my
| | 04:02 | foreground color and that is
Alt and the Backspace/Delete key.
| | 04:07 | My type disappears.
| | 04:08 | You will see that my layer mask is black.
| | 04:10 | And what I am now going to do is I am
going to switch to my Brush tool and
| | 04:15 | choose an appropriate brush.
| | 04:16 | Here I have chosen a Spatter Brush
and I have then adjusted its spacing,
| | 04:25 | made the spacing bigger than it began, so
we will have it around 30%. That will be fine.
| | 04:33 | You may also want to increase or
decrease the size of this. I have gone up
| | 04:37 | to about 250 pixels and to increase
the size of your brush the right square
| | 04:43 | bracket, two to the right of the P key.
To decrease the size the left square bracket.
| | 04:49 | Now I am going to switch my
foreground color to white by pressing the X key.
| | 04:53 | That will toggle your foreground background
colors, and then just start painting over the mask.
| | 04:58 | I have the mask selected.
| | 04:59 | You will see there is a frame
around that thumbnail right there.
| | 05:03 | That's my visual cue that the mask is
selected and as I do so, it's revealing
| | 05:08 | the type with the texture of the brush and if
we take a look at the mask. now it looks like that.
| | 05:14 | Wherever the mask is white then the
content of that layer group is revealed.
| | 05:19 | Alt+Click on the mask will show you the image.
| | 05:23 | Alt+Click on the mask will show you the mask.
| | 05:25 | So you are in toggle back and forth
between those two different views.
| | 05:30 | So there is our first technique for
creating distressed type, which is very,
| | 05:34 | very simple, and I think very effective.
| | 05:38 | In the next movie we will look at
another technique for achieving much the same end.
| | 05:43 |
| | Collapse this transcript |
| More distressed type| 00:00 | In this second technique for creating
distressed type we are going to see how we
| | 00:04 | can apply a layer mask to this
type running down the side "No Pasaran".
| | 00:09 | And use a different technique from
what we used here on the yellow type.
| | 00:16 | So this is going to
involve using a texture file.
| | 00:20 | In the Exercise Files is
this photograph of a paving slab.
| | 00:24 | What we are going to do is drag this
with the Move tool up to the top bar.
| | 00:30 | Keep your mouse button pressed as you
do this and then drag it back down on to
| | 00:33 | the image, and you've now loaded
that as a layer in this composition.
| | 00:39 | Next thing we want to do is rotate it
so I am going to press Command or Ctrl+T.
| | 00:45 | That's going to take me to my Free Transform.
| | 00:47 | And then spin it around.
| | 00:48 | I am holding down the Shift key to spin
it in increments until we get it like so.
| | 00:54 | And then I am going to distort it, just
pull it around until it covers the type
| | 00:58 | that we wanted to affect.
| | 01:00 | Then press Return to accept that transformation.
| | 01:04 | And now I am going to come to the
Adjustments and do a Threshold adjustment to
| | 01:12 | this particular layer so that we get
all of the pixels on this layer either
| | 01:18 | black or white, determined by this
Threshold slider how much black and how
| | 01:23 | much white we have.
| | 01:24 | At this way you have more black or
you'll be masking more; move this way and
| | 01:31 | you have white and you'll be
making less or revealing more.
| | 01:35 | So I think I am going to leave it
pretty much in the middle. Click OK to that.
| | 01:41 | Having done that we then need to use
this layer as the basis for our layer mask,
| | 01:47 | and to do that I need to
turn off all the other layers.
| | 01:50 | I am going to hold down the Alt key and
click on the eyeball of Layer 1 and it
| | 01:54 | will hide all the other layers.
| | 01:57 | Then go to my Channels panel where I
will hold down the Command key or the Ctrl
| | 02:01 | key and click on the RGB composite channel.
| | 02:04 | And that will load the luminosity for
that channel, which means that I have a
| | 02:08 | selection there of
everything that is 50% or lighter.
| | 02:12 | I am not entirely sure
how it works but it works.
| | 02:17 | So now I will turn on my layers again
and I need to target the text layer and
| | 02:25 | then with my selection active you can
see the marching ants and I'll come to my
| | 02:30 | Add Layer Mask icon, click on that,
and press down I have my distressed type.
| | 02:36 | What we would then need to do is save
this as a PSD file so that we can retain
| | 02:42 | the layers and then in our
InDesign document we can just place it.
| | 02:47 | I am going to delete that
one and place this one again.
| | 02:51 | File > Place and I am going to go to my
folder where the original version is,
| | 02:57 | open it, and place it.
| | 03:01 | And then of course send it behind the type.
| | 03:05 | And the only thing that remains to be
done in InDesign is to apply the author name,
| | 03:09 | which in this case I
have put in an orange rectangle.
| | 03:16 | And I have changed the opacity of that
rectangle so that we can see a little bit
| | 03:19 | of the texture through it.
| | 03:21 | I have done this through the Effects
panel applying the opacity reduction just
| | 03:26 | to the fill, making sure I am not
affecting the text, so that's Effects and then
| | 03:31 | just reduce the Opacity, wherever you like it.
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| Using mirrored type| 00:00 | This next example is all about
concept and less about technique because the
| | 00:04 | technique is extremely simple.
| | 00:07 | But the concept I think is the strong
one and that is taking a slogan that
| | 00:10 | everyone associates with Animal Farm,
"All Animals are Equal, But Some Animals
| | 00:15 | Are More Equal Than Others," and then
showing this as a reflection one the
| | 00:19 | reflection of the other.
| | 00:22 | I have two versions of this where we
see the reflected version here receding
| | 00:28 | into the background field of green, or
alternatively here where the design wraps
| | 00:34 | around the spine and the
back cover and is mirrored.
| | 00:38 | In addition I am using a quiet color
palette that is intentionally belying the
| | 00:44 | violence of the actual content of the book.
| | 00:49 | So let me deal with the
color palette first of all.
| | 00:51 | I definitely wanted to use green as
the base color and then find a color that
| | 00:56 | went with that. Rather than just
stabbing around in the dark to try and find a
| | 01:00 | color that goes with it,
| | 01:02 | I use the Kuler extension as an aid.
| | 01:06 | So with this background field of green
selected I can come to the Window menu
| | 01:11 | and to Extensions > Kuler.
| | 01:14 | And the first time you open this
you'll probably see in the About mode
| | 01:18 | where you'll see color themes
designed by users and saved on the
| | 01:23 | kuler.adobe.com website.
| | 01:26 | And you can click on this button
here to add any of these themes to your
| | 01:31 | own Swatches panel.
| | 01:32 | But we actually want to use it to
create and we are using it in a very limited,
| | 01:36 | but nonetheless effective way here.
| | 01:40 | Taking my current fill color as the
base color and if for whatever reason it
| | 01:45 | doesn't do that, you can come and
click on this icon to make it do that.
| | 01:48 | It is suggesting four other colors
based on a color harmony rule and the color
| | 01:54 | harmony rule I am using is Analogous.
| | 01:57 | And then when I have the color theme
that I like and I like these very much.
| | 02:01 | I am going to click on this button
right here to add that to my Swatches panel.
| | 02:07 | Let me just move that out of the way
for a moment, come to my Swatches panel,
| | 02:11 | and there they are.
| | 02:13 | The five colors beneath it are the
colors that were added from the Kuler
| | 02:17 | extension, so I can click on that one and
then I actually applied it as a 50% tint.
| | 02:23 | So that's how I arrived upon those colors.
| | 02:26 | Now in terms of flipping the type,
well it's very, very simple and straightforward.
| | 02:31 | I'll just delete that text frame.
| | 02:34 | We'll select this one, hold down the
Alt key and the Shift key and pull away
| | 02:39 | from it to make a duplicate.
| | 02:40 | Then we want to flip it on itself
so I am going to just drag one of the
| | 02:44 | corners over onto itself.
| | 02:47 | That's now I mirrored it and then
we'll select the text and maybe I should
| | 02:52 | have typed this before I mirrored, but I think
I am okay with typing it in its mirrored state.
| | 02:58 | Let me make sure I have my Caps Lock on.
| | 03:11 | And if necessary just extend the width
| | 03:14 | of that text frame because
it has more text in it now.
| | 03:18 | Just to make this recede a bit more,
so it's not competing with this,
| | 03:21 | let me come to my Swatches panel,
choose my Formatting Effects Text button, and
| | 03:27 | increase the Tint on this to make it
more similar to the color of the background
| | 03:32 | so that it looks like that.
| | 03:34 |
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| Using giant wraparound text| 00:00 | In this next book cover mockup, I am
taking a key concept from the book
| | 00:04 | Nineteen Eighty-Four and
illustrating it with giant letters.
| | 00:07 | The concept being 2+2=4, and I have a
mask on my Layers panel which will turn on
| | 00:14 | a black field so I can see what it
would look like with just the front cover
| | 00:18 | showing or if we see the front and back cover.
| | 00:21 | And I've got a few alternative versions of this.
| | 00:42 | So if we switch now to the beginning
version of this it's very simple as we
| | 00:46 | just play around with big letters,
put each of the letters, in this case
| | 00:51 | numerals, in a separate text frame,
scale it up, and then just move it around
| | 00:56 | until you position it, often cropping
it by the boundary of the page in a way
| | 01:02 | that you find satisfying.
| | 01:06 | So I am just going to check the
Layers panel. I am making sure that I am on
| | 01:09 | Layer 1. I am going to lock the
background layer and I am going to turn off the
| | 01:13 | mask layer, and then choose my Type tool.
| | 01:16 | We'll click and drag to make a text frame, and
in that I'll type the numeral 2. Highlight that.
| | 01:23 | It's currently black so we can't see it.
| | 01:25 | Come to my Swatches panel
and I'll make that Paper.
| | 01:29 | And I'll choose a font.
| | 01:32 | Command+6 will jump me to my Font menu.
| | 01:36 | Now I am going to use something really
lo-fi like Courier, which sort of goes with
| | 01:42 | the aesthetic of the book.
| | 01:45 | Then I am going to, let's make that a little
bit bigger, we'll make that about 72 points.
| | 01:50 | I am going to fit my frame to my
content, right there, or Command+Option+C,
| | 01:57 | Ctrl+Alt+C, and grabbing one of the
corners of my frame, hold down my Command ke
| | 02:04 | and my Shift key or Ctrl+
Shift to size that up like so.
| | 02:09 | I'll make a duplicate of that,
pulling it away with the Alt key.
| | 02:15 | And another one, and then in this one
I am just going to replace that with a
| | 02:21 | Plus symbol like so.
| | 02:24 | Because we are working with such
giant type here and because the size of
| | 02:28 | the type doesn't fill the full height of
the text frame, it can be a little bit awkward.
| | 02:34 | We are going to get this rather
sort of unwieldy space in these
| | 02:39 | text frames, which is not
necessarily a big deal. No one is going to see
| | 02:43 | the edges but we could--
| | 02:45 | Once we are sure that we like the
typeface that we are using we could
| | 02:49 | convert this to outlines.
| | 02:52 | And then we put just a little bit more
flexibilities, a little bit easier moving
| | 02:57 | these things around.
| | 03:00 | We can still scale them, holding down
the Shift key, pulling from the corners.
| | 03:04 | And then you can just position
these however you like to make a
| | 03:08 | pleasing composition.
| | 03:10 | Perhaps we can change the
color of certain elements of them.
| | 03:16 | We can rotate them.
| | 03:18 | It might be good to crop them
so that their shape is implied.
| | 03:27 | And in this case we want to make sure
that they go behind that band of gray.
| | 03:30 | So I am going to select that band
of gray at the top and the bottom and
| | 03:34 | bring that in front.
| | 03:39 | And then make sure we have got the
author name in front of that right there.
| | 03:43 | I know you are there!
| | 03:48 | So it really is just a question of
experimenting with the position of these
| | 03:53 | until you find something that you like.
| | 03:56 |
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| Starting text on the cover| 00:00 | This next example is not so much a
technique as is just something to think about.
| | 00:05 | Typically a book always begins several pages in.
| | 00:09 | You have the front matter consisting
of the table of contents, the copyright,
| | 00:14 | acknowledgements, etcetera,
and then Chapter 1 begins.
| | 00:17 | And by the time Chapter 1 begins
you are probably about at least seven
| | 00:21 | pages into the book.
| | 00:22 | Who's to say that you can't begin the
content of the book on the cover of the book?
| | 00:27 | And this is not without precedent.
| | 00:28 | A few years ago Dave Eggers came out
with You Shall Know Our Velocity where the
| | 00:33 | text of the book actually
begins on the cover of the book.
| | 00:36 | So just something for us to think about.
| | 00:40 |
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|
|
5. The Abstract SolutionIllustrating concepts with abstract shapes and transparency| 00:00 | Let's recap where we are so far.
| | 00:02 | I'm using four different approaches to
creating hypothetical book cover designs
| | 00:06 | for George Orwell's Homage to
Catalonia, Animal Farm and 1984.
| | 00:11 | These three should work as a set, so they need
to be stylistically similar in their approach.
| | 00:17 | We've looked at creating covers using what
I've been referring to as the big book look.
| | 00:22 | We've looked at some typographic
solutions, and now we're going to look at the
| | 00:26 | third approach, abstract solutions.
| | 00:30 | Let's begin by looking at some book
covers that have been designed using
| | 00:33 | simple abstract shapes.
| | 00:36 | We can see that technically, this
is going to be very straightforward,
| | 00:40 | conceptually it's a lot more difficult.
| | 00:43 | Historically, there is a strong
precedence for designing with abstract, simple
| | 00:47 | abstract shapes in this way.
| | 00:49 | If we look at the work of El Lissitzky,
he is famous for designing a children's
| | 00:54 | book called About 2 Squares,
which uses just that just two squares to
| | 00:59 | illustrate a morality tale.
| | 01:01 | He is also very famous for this work
on the right, which is called Beat the
| | 01:05 | Whites with the Red Wedge,
again using simple abstracted shapes.
| | 01:11 | So before we start with our own
abstract book cover designs, a quick history lesson.
| | 01:16 | Homage to Catalonia is George
Orwell's account of his going to fight for
| | 01:21 | the democratically elected Spanish
government in the Spanish Civil War against
| | 01:25 | the nationalist forces led by
General Franco. End history lesson.
| | 01:29 | You might want to go to Wikipedia or
other online sources or in detail, local
| | 01:34 | public library and maybe
read a bit more about this.
| | 01:38 | Without that grounding, this becomes
just a black polygon and three red circles.
| | 01:44 | But when we have that as our reference
point, we can say well, the red circles
| | 01:50 | represent the Spanish militias
trying to defend the Spanish Government.
| | 01:54 | The encroaching black shape are the
advancing fascist forces, the red, a politically
| | 02:00 | significant color, the yellow, the
other color of the Catalan flag.
| | 02:05 | We can back this up.
| | 02:07 | In terms of how we do this,
it's simplicity itself.
| | 02:12 | It's just drawing rectangles, circles,
applying colors, applying rotation, and
| | 02:19 | in some cases applying transparency as
in this second example, where I have a
| | 02:25 | rotated gray rectangle set to a
transparency mode of multiply and then
| | 02:32 | duplicated on top of itself.
| | 02:35 | And if I were trying to sell this
idea, I'd say well, this represents the
| | 02:40 | advancing tide of fascism.
| | 02:43 | Now remember, this is pre-second World
War so historically very, very significant.
| | 02:48 | Look at that technique here.
| | 02:49 | I'm going to turn off my mask layer, and
we can see that this now goes over both
| | 02:54 | front and back cover and spine.
| | 02:57 | I'm going to zoom out, Command+Minus.
| | 03:00 | When working with these shapes,
we can use a bit more pasteboard perhaps.
| | 03:05 | So I'm going to come to Preferences and
to Guides & Pasteboard and I'm going to
| | 03:10 | increase the size of my vertical margins.
| | 03:15 | So that's going to give me a
lot more space to move into.
| | 03:19 | And if I turn on my guides by pressing W,
you can see that these shapes actually
| | 03:25 | extend way over into the pasteboard.
| | 03:28 | So I'm going to delete all of
those and we will start this one again.
| | 03:33 | Just draw yourself a rectangle, apply
a color to it, apply a blending mode,
| | 03:42 | using the Rotate tool let's spin it
around, position it like so, make sure that
| | 03:53 | it's big enough to extend off the
bounds of the front and back cover if indeed
| | 03:59 | that's what we want, and then I'm going
to hold down my Alt key and my Shift key
| | 04:04 | to constrain the movement of
that and position it like so.
| | 04:08 | Now that I've got one duplicate,
I'll come to the Object menu and choose
| | 04:13 | Transform Again, Transform Again, to get additional
duplicates and I can keep doing that until we
| | 04:20 | reach the edge of the page.
| | 04:22 | With each successive duplicate, we're
increasing the depth of that black color
| | 04:28 | as each rectangle multiplies upon itself.
| | 04:35 | Let's now look at another example.
| | 04:37 | Conceptually much the same. This time
using three triangles overlapping and their
| | 04:43 | blend mode set to Multiply.
| | 04:45 | To create a triangle, just draw
yourself a shape and this is one way to create
| | 04:51 | a triangle, Object > Convert Shape >
Triangle, and then you can rotate them,
| | 04:57 | you can spin them around using the Rotate tool,
and you can apply effects using the Effects panel.
| | 05:04 | So taking these techniques and beginning
I recommend with pencil and paper,
| | 05:10 | you can come up with some rough
sketches and an infinite number of abstract
| | 05:15 | solutions that are technically very
easy to execute but conceptually strong.
| | 05:22 | Here we have a very abstracted red flag,
red and black, significant colors to
| | 05:29 | the book and on a nice diagonal,
the white representing the flagpole.
| | 05:35 | Now the second of our series of books
representing an integral concept to Animal
| | 05:40 | Farm, "four legs good, two legs bad".
| | 05:45 | And here, we have 1984.
| | 05:46 | I'm just going to turn my masking layer back on.
| | 05:49 | The hero of the book, Winston Smith,
surrounded by the authoritarian
| | 05:54 | state, unable to escape.
| | 05:55 | He is orange. He several times
in the book evokes the nursery rhyme
| | 06:00 | "Oranges and Lemons".
| | 06:01 | So when you have to choose a color,
try and reference it to something in the
| | 06:05 | book so that there is some sort
of conceptual grounding for it.
| | 06:09 | Here being oppressed, beaten down by the
black rectangle, he's surrounded by a
| | 06:15 | series of black rectangles.
| | 06:17 | And you can go on and on and on and
quickly generate lots of ideas like this
| | 06:21 | that are graphically very
impactful and conceptually very strong.
| | 06:27 |
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| Representing the book content with icons| 00:00 | In these next attempts to try and come
up with book cover solutions for a series
| | 00:05 | of George Orwell books, Homage to
Catalonia, Animal Farm and 1984, I'm trying to
| | 00:10 | create a consistent look across the
series of books by using this very
| | 00:14 | simplistic approach of using three
very graphical icons to represent the
| | 00:19 | concepts in the books.
| | 00:21 | And for each cover, I want to use a
distinctive color, but otherwise the
| | 00:26 | typography and the approach to
the graphics is very much the same.
| | 00:32 | So there's not really much to
illustrate in the way of technique here, except
| | 00:36 | how we might build our own icon if we
can't find pre-made vector artwork that
| | 00:42 | we can download from a stock photo
library as I did here for Animal Farm, but
| | 00:47 | rather we need to make our own icons and I'm
going to make this, the clenched fist icon here.
| | 00:52 | Now in terms of the iconography I
am using, obviously we need it to be
| | 00:56 | relevant to the book itself.
| | 01:00 | If we just remind ourselves of where
we began this title, looking at previous
| | 01:05 | examples of how these book covers
have been illustrated, we find recurring
| | 01:11 | themes, clenched fists, guns, red
scarves, or bandanns, and in the case of
| | 01:19 | Animal Farm obviously pigs feature
very prominently as well as other animals,
| | 01:24 | and for 1984 we have the very
prominent or watching eye of Big Brother.
| | 01:32 | So I'm going to run through creating
one of these icons and for this, I'll
| | 01:38 | be using Illustrator.
| | 01:40 | So I am going to start out with this
picture of my own clenched fist, taken
| | 01:46 | against my kitchen cabinet and I'm
going to use Live Trace to trace this and
| | 01:51 | then I'm also going to use the Blob
Brush and the Eraser tool to simplify
| | 01:56 | the tracing result.
| | 01:58 | Firstly, let's look at this in Photoshop.
| | 02:01 | Now in order to give myself a
fighting chance with the Live Trace,
| | 02:05 | I've increased the Contrast to
make the edges more well defined.
| | 02:10 | But as we'll find when I come to Live
Trace this, there is not really enough
| | 02:14 | contrast on this side of the hand, so
that it loses itself against the background
| | 02:19 | and the Live Trace doesn't pick up
the contour lines like we needed to.
| | 02:25 | So having place this in Illustrator using
File and Place, I'm now going to zoom in on it.
| | 02:30 | Command+Spacebar, click and drag, or
Ctrl+Spacebar, click and drag, and then
| | 02:35 | I'm going to duplicate this layer by
dragging it onto the New Layer icon and
| | 02:40 | then select the top-most layer,
perform the Live Trace, make sure we are
| | 02:45 | ignoring white, and then I'm going to expand
my tracing result so that I get vector shapes.
| | 02:53 | And now I'm going to zoom in and I'm
going to use the Blob Brush to add in the
| | 03:00 | lines that it didn't create for me.
| | 03:02 | So I'm going to make sure that I have
locked the background layer or Layer 1
| | 03:07 | and then come and choose my Blob Brush and
I'm using a Wacom tablet and stylus for this.
| | 03:12 | It is possible to do with a mouse.
| | 03:14 | It's just a lot easier with a pen tablet.
| | 03:17 | And I'm just going to put in
a few connecting lines here.
| | 03:25 | Okay, that's the first step.
| | 03:29 | Now I want to simplify
some of the tracing results.
| | 03:33 | So for this, I'm going to switch to my
Eraser tool, zoom in, and rather than have
| | 03:41 | this crinkly effect here, a result of
all the wrinkles on my hand, I'm going to
| | 03:46 | be erasing over that and smoothing it all out.
| | 03:59 | I'm also going to be getting rid of the
tracing attempts to trace the hair on my arm.
| | 04:05 | Let's make my arm a little bit thinner.
I'll just come and put that back in
| | 04:14 | with the Blob Brush.
| | 04:27 | So when we have a simplified result
that we're happy with, let's now turn off
| | 04:32 | that bottom layer and we may realize
there is a few problems that need fixing
| | 04:37 | when we see the tracing result by itself.
| | 04:46 | So now what I'm going to do is I want to
select all of these vector outlines and
| | 04:52 | I'm going to merge them all into one, one shape.
| | 04:55 | So from the Window menu I'll choose the
Pathfinder panel and then click on the Unite option.
| | 05:04 | So they are all now one continuous vector shape.
| | 05:07 | Now I could save this as an Adobe
Illustrator document and in fact, it would be
| | 05:12 | a good idea to do that so that we
always have it to go back to, but I actually
| | 05:16 | what I want to do now is copy
this and then paste it into InDesign.
| | 05:22 | And the reason I'm doing it that way is
because I'll be able to edit the vector
| | 05:26 | shapes directly within InDesign and I'm
not sure yet exactly what color I want
| | 05:32 | this to be filled with, and that's just
going to make a little bit more flexible
| | 05:36 | for me, being able to change the color
in InDesign itself rather than having to
| | 05:40 | come back to the Illustrator version.
| | 05:42 | So I'm going to copy this, switch back
to InDesign and in InDesign I will paste
| | 05:48 | it into position, let's just come
and delete the one that's already there.
| | 05:53 | And the sizing of the icons relative
to each other is a little bit tricky.
| | 05:58 | We don't want anyone to overwhelm the others,
so I'm going to turn my guides back on.
| | 06:03 | Using my guides, I want them roughly to
be two grid squares in height or width,
| | 06:09 | depending on whether they
are vertical or horizontal.
| | 06:13 | In this case, I've gone for making each
of the central icons a little bit more
| | 06:17 | prominent and bigger than the other two.
| | 06:20 | But with this selected, I can scale it,
holding down the Shift key to make sure
| | 06:25 | I'm scaling it proportionally, and then,
I can come to my Swatches panel and
| | 06:29 | since I've pasted it into InDesign,
I can now just apply the color directly
| | 06:34 | within InDesign to the vector shapes.
| | 06:36 | So there we have an example
of making your own custom icon.
| | 06:40 |
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|
|
6. The Illustration SolutionUsing historic photography| 00:00 | And so we move to the fourth of our
different approaches to designing book
| | 00:05 | covers, using an illustration.
| | 00:07 | Now I have to say here that
I'm trying to play to my strengths.
| | 00:11 | I am not much of an illustrator.
| | 00:13 | I am the first to admit it.
| | 00:15 | But I am pretty good with a camera so
my illustrations are going to be using--
| | 00:20 | for the most part, they're
going to be using photographs.
| | 00:23 | I'm also going to attempt a simple
illustration using Illustrator, which
| | 00:28 | thankfully given the subject
matter of the book is quite appropriate.
| | 00:34 | Let's have a look at the kind of style
that I might be capable of emulating.
| | 00:40 | Here we have some very successful book
covers where we have photography of very
| | 00:47 | commonplace elements, and these are given
a twist when placed in context of the title.
| | 00:53 | We also have very minimalist
approaches down here, the red paperclip and the
| | 00:59 | hearts, clubs, diamonds and spades.
Alsovery high concept but very simple to
| | 01:05 | execute. Just a crumpled piece of paper here.
| | 01:09 | We also see the use of flat color
illustration, which is the sort of style that
| | 01:14 | I am going to be using in Illustrator.
| | 01:16 | We also see the use of historic photographs.
| | 01:20 | And I am going to talk about some of
the issues of using a historic photograph
| | 01:24 | if that is appropriate.
| | 01:26 | And that is where we are going to begin, with
using a historic photograph for our illustration.
| | 01:34 | So I have here a public domain
image from the Spanish Civil War.
| | 01:39 | If the budget allows, you of course
can source an image from a stock photo
| | 01:44 | library and pay for the rights to use that.
| | 01:48 | But in this case I am
working with a public domain image.
| | 01:51 | It's extremely low quality.
| | 01:53 | It's not going to be anywhere near the
sort of resolution that we need for print.
| | 01:59 | So therefore we have to use a workaround.
| | 02:02 | And this is one of several potential
workarounds that's going to make this into
| | 02:08 | a striking graphic image.
| | 02:11 | If we look at the resolution of this
image, I am going to hold down my Alt
| | 02:14 | key and come and click on the document sizes,
we can see it is extremely low, 350 pixels wide.
| | 02:21 | First thing I am going top
do is upsample the image.
| | 02:25 | It's not going to look very
good but we can't expect miracles.
| | 02:30 | Image Size, and I need the
width to be 5 and 1/8th inches.
| | 02:39 | That 1/8th inch being the bleed on
the right-hand side and I want the
| | 02:44 | resolution to be 300 pixels per inch.
| | 02:49 | You can see it's massively
going to increase the file size.
| | 02:52 | And to give a fighting chance I am
going to choose best for enlargement Bicubic
| | 02:58 | Smoother as my interpolation method.
| | 03:02 | So the image gets massively bigger.
I am now going to go to Fit in Window view
| | 03:07 | but of course it's very blurry.
| | 03:09 | So what I would like to do now is
apply a half-toning effect to it to make it
| | 03:13 | look like it was taken from an old
newspaper or something like that.
| | 03:18 | So to do this, I first of all need to
make sure that the mode is in Bitmap, and
| | 03:24 | to get to Bitmap we have
to pass through Grayscale.
| | 03:27 | So I'll convert it to Grayscale,
first of all, and then I am going to then
| | 03:34 | convert it to Bitmap.
| | 03:35 | And as I convert it to Bitmap I am
going to use a Halftone Screen as the method
| | 03:40 | for converting it to either
black pixels or white pixels.
| | 03:44 | With Halftone Screen chosen, when I
click OK I'll come up with the option for
| | 03:51 | the Screen Frequency.
| | 03:52 | And I am going to dial this down to 25.
| | 03:54 | It's going to give me big dots,
and my image is going to look almost
| | 03:59 | impressionistic like that.
| | 04:02 | So I am now going to save this and
then it's this image that I would place in
| | 04:07 | the context of the book layout.
| | 04:09 | So I am now going to come back to the
finished version, which looks like this.
| | 04:16 | And I'll now switch to the photo_
begin version and choose File and Place or
| | 04:26 | Command or Ctrl+D. Choose the file halftone.psd.
| | 04:32 | And then with my Grid On, I am going to
click and drag across my front cover and
| | 04:43 | we'll see that we get the image like so.
| | 04:46 | And the next thing I want to do is
just come and put a red color behind it to
| | 04:52 | make it stand out a bit more
and make it a bit more graphical.
| | 04:56 | So with it selected we'll come
to my Swatches and choose red.
| | 05:01 | There I am making just the Halftone red
by applying that to my selected graphic
| | 05:08 | within the picture frame.
| | 05:10 | If I double-click on that so that I
have to frame it self-selected, I can
| | 05:15 | perhaps make the background of the
frame black or what I originally intended
| | 05:21 | to do which is this.
| | 05:23 | I am going to undo those two steps.
| | 05:26 | That's a happy accident.
| | 05:27 | I think that looks quite good, perhaps
better than what I was going to go for.
| | 05:33 | But I am going to back up until I have
the image back as the black halftone.
| | 05:38 | I have my picture frame selected and
then with the frame selected I am going to
| | 05:43 | apply the red color to the background
of the frame and there is our result.
| | 05:47 | We may also wish to crop the image.
There is a lot of stuff at the top and the
| | 05:53 | sky where there is actually no information.
| | 05:55 | This figure here is walking out of
the frame so I might want to avoid that.
| | 05:59 | I have actually got the content of the
frame selected I know because my outline
| | 06:04 | is brown. Holding down the Shift key and
then we can maybe increase the scale of
| | 06:12 | that like so, and there we have our
result using a historical photograph.
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| Using Illustrator to create a simple illustration| 00:00 | In this next mock-up of the book
cover, of George Orwell's NineteenEighty-Four,
| | 00:04 | we're going to create a simple
flat color illustration using Adobe Illustrator.
| | 00:09 | Here we see the finished version in
Adobe InDesign, the Illustrator file placed
| | 00:13 | in the context of the book cover layout.
| | 00:16 | We are going to switch over to
Illustrator, and this is the starting state where
| | 00:23 | we have the different elements of the
artwork broken out on to separate layers,
| | 00:26 | sky, sun, pig and rooster.
| | 00:29 | And the first task is to create the sun flares.
| | 00:32 | So I am going to show just the
sun layer, hide all of the others.
| | 00:37 | Option+Click or Alt+Click on the eyeball.
| | 00:39 | Then select the sun and mark
its center point with some guides.
| | 00:48 | Now I am going to draw the sun flares,
and because I need to extend beyond the
| | 00:52 | top of the book, I am going to press
Command+Minus or Ctrl+Minus to zoom out, so
| | 00:58 | that I can clearly see the
pasteboard around the artboard.
| | 01:03 | Then use my Rectangle tool, hold down
the Alt key, and draw myself a rectangle
| | 01:08 | outwards from the center
point at about that size.
| | 01:13 | I can then move that up a little bit.
| | 01:18 | And it currently has a radial gradient
applied to it, which I need to remove and
| | 01:23 | replace with a linear gradient.
| | 01:25 | So I am going to come to the Window menu
and to my Gradient panel and change the
| | 01:30 | Gradient Type to Linear.
| | 01:32 | And then to change the gradient
direction, I'll use my Gradient tool and drag
| | 01:38 | from the top-down to the bottom.
| | 01:43 | Now to change the shape of this item,
I am going to zoom into the top, choose
| | 01:48 | my Direct Selection tool, click outside
of it to deselect, swipe back over the top
| | 01:53 | so that I have just that top left
anchor point selected, and move that to the left.
| | 01:58 | I am going to move it to left by pressing
my Shift key and my left arrow seven times.
| | 02:05 | I am going to do the
equivalent with the right anchor point.
| | 02:13 | And I think that maybe not quite
enough of a flare, so I am going to come
| | 02:19 | down to the bottom anchor point and
move that in a little bit and then the
| | 02:25 | same on the other side.
| | 02:26 | That looks more like it.
| | 02:31 | I am now going to rotate copies
of this flare around the circle.
| | 02:36 | So choosing my Rotate tool, holding
down the Alt or Option key, and clicking on
| | 02:41 | the center point, I am going to rotate
through 12 degrees, making a copy as we do so.
| | 02:49 | And then to repeat that transformation,
press Command+D. And keep pressing
| | 02:55 | Command+D, until we get all the
way around back to the beginning.
| | 03:01 | Now I'll select the circle itself
and I am going to bring that in front,
| | 03:05 | Command+Shift+Right Bracket
or Ctrl+Shift+Right Bracket.
| | 03:09 | And now with everything on this layer
selected, I would like to add some effects to it.
| | 03:14 | I am going to come to the
Effect menu and choose Film Grain.
| | 03:19 | And apply a Grain of just 1, Highlight
Area 1 and Intensity 1, just to give it a
| | 03:26 | little bit of texture so that
the artwork is not quite so flat.
| | 03:30 | And then I am also going to
add a bit of blurring to it.
| | 03:33 | From the Effect menu > Blur >
Gaussian blur, very small amount.
| | 03:40 | That's probably enough. 1 to 2
pixels is going to be adequate.
| | 03:44 | And I am also lastly going
to change the transparency.
| | 03:48 | Reduce the opacity to probably about 80%.
| | 03:51 | Now when we see this on top of the sky,
we'll be able to appreciate the difference.
| | 03:59 | Now there is our sun. We don't need
some of these rays down at bottom, so I am
| | 04:02 | just going to swipe over those and delete them.
| | 04:06 | I think we can now lock that layer
so that we can't interfere with it.
| | 04:13 | The next thing that we want to do is
create the hills, and we'll do that in the next movie.
| | 04:19 |
| | Collapse this transcript |
| Using gradient mesh in Illustrator to create a simple illustration| 00:00 | Continuing with our simple illustration
what we need to do next is add the hillside.
| | 00:05 | And let's create this on a new layer.
| | 00:07 | So I'm going to create new
layer and we'll call it hills.
| | 00:12 | I'll change the color of the layer
just so that we can see the selection
| | 00:15 | outlines more easily, and I'm
going to lock all other layers.
| | 00:20 | Hold down the Option or Alt key
and click in the locking column.
| | 00:25 | To create the hillside shapes, I'm
going to use the Pen tool and just
| | 00:33 | click-and-drag to make some graceful curves.
| | 00:40 | One like that and then we'll have
another one that overlaps it, like so.
| | 00:52 | They both got filled with the last fill
color I've used, which was the yellow gradient.
| | 00:57 | So I'm going to select both of those
and would apply the green color to them.
| | 01:02 | I want to make sure that this one on
the left is at the front, and it's not
| | 01:07 | currently, because I drew it first.
| | 01:10 | So I'm going to come to the Object
menu and choose Arrange > Bring to Front.
| | 01:15 | Now, what I wanted to do with
both is apply gradient mesh to them.
| | 01:20 | So I'll select both of these and
then from the Object menu choose
| | 01:24 | Create Gradient Mesh.
| | 01:26 | I could use the Gradient Mesh tool and
just add mesh points, but this is going
| | 01:30 | to be adequate for the
simple needs that we need.
| | 01:33 | I could use the Gradient Mesh tool
over here on the Tool panel to create the
| | 01:37 | mesh points, but creating a simple grid
of 4 x 4 is going to be adequate for our
| | 01:43 | simple requirements.
| | 01:46 | Having done that, I'm then
going to deselect the two hills.
| | 01:50 | Select just this one here, and so that I
don't interfere with, I'm going to lock the item.
| | 01:57 | Object > Lock > Selection
or Command+2 or Ctrl+2.
| | 02:02 | Then using my Lasso tool I'm going to
drag over the top anchor points, surround
| | 02:11 | them with my lasso, so that those top
anchor points become selected and then I
| | 02:16 | can come and apply a lighter color
green to those anchor points to just give me
| | 02:21 | some light on the hill.
| | 02:24 | And I wanted to a little bit more, I
could use a lighter green still, but I
| | 02:28 | think I'll play it relatively subtle here.
| | 02:31 | So having done that one, I'm going to lock
that one or first of all I'll need to Unlock All.
| | 02:39 | Choose this one, Command+2 or
Ctrl+2 to lock that one, and then repeat
| | 02:44 | the process with my Lasso tool. Swipe
around the anchor points that I know are there.
| | 02:53 | So I'll select just those and then
apply green color to those, maybe a little
| | 02:58 | bit of lighter green on this one.
| | 03:03 | And then we see the green highlights, the
light green highlight on our green hillsides.
| | 03:09 | So we can now turn on the other layers and
there is our illustration pretty much finished.
| | 03:17 | We do need to crop it, although I'm not
particularly worried about that, because
| | 03:22 | what I'm going to do is when I put it
into InDesign, the picture frames that I
| | 03:27 | put it into will crop it anyway. But
if we did want to crop it here, if it's
| | 03:31 | looking a little bit
untidy, then we could do this.
| | 03:35 | I'm just particularly worried about
the sun flare, not really about the hill,
| | 03:39 | so I'm just going to come and click
on that layer and I'll add a bounding
| | 03:44 | rectangle to that layer like so, and
then I can come and click on Make or
| | 03:52 | Release Clipping Mask.
| | 03:53 | And then I could repeat that on the
hillside, but it's not really necessary,
| | 04:00 | because what we're about
to do next is save this.
| | 04:05 | And I don't want to override
the original, so we'll call this
| | 04:09 | simple illustration_done.
| | 04:14 | And then I will switch back
to InDesign, where I can
| | 04:22 | delete that one, choose File and Place,
turn on my guide so I can see my bleed
| | 04:32 | guide, and click-and-drag, and then
you can see that the picture frame is
| | 04:42 | cropping the image anyway.
| | 04:45 | And there we have it. And of course I'd
need to send that behind so that I can
| | 04:50 | see the title of the book and
the author name in front of it.
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| Using Live Trace on a photograph| 00:00 | In an earlier movie we were looking
at how past designers have designed the
| | 00:05 | cover for Animal Farm.
| | 00:07 | We see that over the decades it's very
hard to avoid the image of a scary pig on
| | 00:12 | the front cover, and we are going to
do our own version of the scary pig.
| | 00:16 | We are going to do this in Illustrator.
Just before we go to Illustrator, let's
| | 00:21 | look at the finished version here in
InDesign, combined with the type of the
| | 00:27 | author name and the book title.
| | 00:30 | So, it's tracing over a picture of a
pig and then modifying the tracing result,
| | 00:35 | and then placing that
Illustrator document into InDesign.
| | 00:40 | So, let's switch to Illustrator where
we have this picture of a cute and cuddly
| | 00:46 | pig, which we are going to make look
really scary and ominous and sinister.
| | 00:51 | Let's begin by selecting the pig
and come to the Live Trace button.
| | 00:59 | Now, we are going to change the
Live Tracing options by clicking on the
| | 01:03 | Tracing Options dialog.
| | 01:06 | There are a few things
here that we want to change.
| | 01:08 | The Mode is what we want.
| | 01:09 | we want a Black and White trace.
| | 01:12 | We might experiment with the
Threshold value, we move this to the right,
| | 01:17 | a higher number and you'll get more
black areas. Move it to the left and you
| | 01:20 | get more white areas.
| | 01:22 | I can tell you, because I just
did it earlier, the 128 Threshold is
| | 01:26 | pretty much what we want.
| | 01:27 | I am going to choose to blur the image
slightly, which is hopefully is going
| | 01:33 | to round off some of the sharp edges that
we are going to get in the tracing result.
| | 01:37 | So, I am just going to nudge that up to
about 0.4, and I am also going to make
| | 01:44 | sure that we don't trace the white
areas, that we ignore the white areas.
| | 01:49 | As I am making these changes take a
look at what's going on here, the number of
| | 01:53 | paths and anchor points
that you are going to get.
| | 01:55 | So, if you get a massive number here,
if you got a million anchor points, then
| | 02:00 | you might want to think again about that.
| | 02:01 | So, I am going to check Ignore White
and I am also going to make the Minimum
| | 02:08 | Area a little bit bigger.
| | 02:10 | Hopefully, it won't then trace over
lots of detail that we don't want.
| | 02:15 | Let's just preview that.
| | 02:17 | So, you can see that we've simplified things
a little bit from the way they were before.
| | 02:23 | That's looking good.
| | 02:23 | I am now going to click Trace.
| | 02:26 | Next step is we want to work with the
tracing result, but before we can do that
| | 02:32 | we need to expand it.
| | 02:33 | Then I am going to come and ungroup it.
| | 02:38 | With Ungrouped, I am now
going to come to my Blob Brush.
| | 02:41 | Let's just check the Blob Brush options
by double-clicking on the Blob Brush tool.
| | 02:46 | We need to make sure that this Merge
Only With Selection is not checked. So I am
| | 02:51 | now going to click OK.
| | 02:52 | Because what we want to have happen is
when we paint over these white bits that
| | 02:57 | we don't want, they're
added to the solid black areas.
| | 03:00 | So, I am just going to go over those
areas and if there are any detail,s like
| | 03:09 | we can still see that up in the ear
here there is sort of identifying tag that
| | 03:13 | was in the pig's ear, we want to go over that.
| | 03:20 | You can increase and decrease your
brush size with the left bracket and right
| | 03:25 | bracket, the brackets to the right of the P key.
| | 03:28 | So, I am now just going to quickly fill in
these areas in the foreground that we don't want.
| | 03:35 | We can now save this and then
place it in the InDesign document.
| | 03:39 | You don't need to see me do that.
| | 03:40 | You've seen me do that many times before.
| | 03:42 | But there is an approach that might be a
valid one depending on where is it trying to go.
| | 03:48 | Take an image, trace it, and
then work with the tracing result.
| | 03:52 |
| | Collapse this transcript |
| Using black-and-white images creatively| 00:00 | A point I've tried to make consistently
throughout this course is that the more
| | 00:03 | familiar you are with your material,
the better your book design will be, or any
| | 00:08 | design that your are working on will be.
| | 00:10 | So, if you are designing a book cover,
whatever the book is, be familiar
| | 00:13 | with the book itself.
| | 00:15 | When I was walking around my hometown
of Brighton, I saw this very miserable
| | 00:19 | looking building and it struck me as
being the sort of place where the hero of
| | 00:24 | the book might live, as described in the book.
| | 00:28 | So, I took a picture of it and
manipulated that picture, made it look even more
| | 00:32 | miserable and austere than it already is.
| | 00:35 | That's what we have as this mock-up for
combining a picture with the author name and title.
| | 00:45 | So, we are going to start at in
Photoshop where we have the original of the
| | 00:48 | image and we don't need to do that much to it.
| | 00:50 | We are going to make it black and
white and we are going to put a vignetting
| | 00:54 | effect on it just to make it a little
more dark and austere than it already is.
| | 00:58 | So, first of all starting with
an adjustment layer, I can use the
| | 01:04 | Adjustments panel, but I am used to
doing it this way, so I am going to
| | 01:06 | choose Black & White. Let's see.
| | 01:10 | Let's just experiment with these
different black and white conversion options.
| | 01:14 | What would maximum black give us? Yeah.
| | 01:16 | I think that's sort of where we want to go.
| | 01:20 | We want it to be dark and miserable looking.
| | 01:22 | In addition to that I am also going to
create a new layer and on that layer I am
| | 01:26 | going to draw myself an elliptical selection.
| | 01:31 | I am holding down the Alt key and I
am drawing myself an ellipse, like so.
| | 01:40 | If I need to adjust the shape of that I
can come to Transform Selection, and I
| | 01:47 | think that's about what I want.
| | 01:50 | Now, I am going to inverse that
selection, and then I am going to fill the
| | 01:56 | resulting selection with black.
| | 01:58 | I'll use the shortcut, Alt+Backspace+
Delete key or Option+Backspace+Delete key.
| | 02:04 | Now, I am going to deselect, Command+D or
Ctrl+D, and I am going to blur what we have.
| | 02:13 | Come to Gaussian Blur and I really
want to completely blur the edges of this.
| | 02:22 | Pretty much maximum blur I think.
| | 02:24 | Then we'll reduce the opacity, so that
what we have, there is the before without
| | 02:32 | the vignette and there is with the vignette.
| | 02:36 | We can just increase or
decrease the opacity as necessary.
| | 02:41 | So, then I would save this as a PSD file.
| | 02:45 | It could work as a TIF.
| | 02:47 | But we want to retain the layer, so it's
going to either need to be a TIF or PSD.
| | 02:52 | May as well use the psd, because in that
way we can if we need to, and we won't to
| | 02:57 | need to in this instance, but you never
know when you might need to, you would
| | 03:01 | then be able to turn on and off
the individual layers in InDesign.
| | 03:05 | Let me show you what I mean by that.
| | 03:07 | So, I'll come to File and Save As, and
we'll call this building and I am going
| | 03:16 | to save it in the Photoshop format.
| | 03:22 | You'll see we have three layers here.
I'll switch over to InDesign, where I will
| | 03:29 | delete the one that we currently have,
choose File and Place, then come and
| | 03:37 | choose the building that we just saved.
| | 03:40 | Turn on the guides by pressing W, and
starting out at the top bleed guide,
| | 03:45 | click-and-drag to place that image.
| | 03:52 | And then we can send the image to the
back. Turn off the guides by pressing W.
| | 03:58 | Now, here is what I mean by being able to
take advantage of the fact that it's a PSD file.
| | 04:03 | If we get it into InDesign and then
we decide, well, that vignette that we
| | 04:08 | added, maybe we don't need that
after all. Rather than going back to
| | 04:11 | Photoshop, we can come to the Object
menu and to Object Layer Options, and
| | 04:17 | then just turn it off right there.
| | 04:20 | If I turn on the preview, we see the
image now without Layer 1, which is
| | 04:27 | the vignetting layer.
| | 04:29 | So, even though I don't think we do
want to do that here, it's always a good
| | 04:32 | idea to give yourself the option and you
give yourself the option by saving your
| | 04:36 | images as PSD or native Photoshop files.
| | Collapse this transcript |
|
|
7. Beyond the Front CoverDeveloping a book set| 00:00 | Let's recap where we are in this title.
| | 00:03 | In the past few chapters we have
been designing a hypothetical series of
| | 00:07 | book covers for George Orwell's
Homage to Catalonia, Animal Farm and
| | 00:12 | Nineteen Eighty-Four, and part of the
design brief is it that they work together as a set.
| | 00:17 | What we have on the screen is all of
the covers or most of the covers that
| | 00:23 | you've seen me designed over the
course of the last few chapters.
| | 00:27 | Our next task is to take these further
to the next step, tie them together as a set,
| | 00:35 | and refine them as necessary.
| | 00:39 | Because I feel they work best
together as a set, I've chosen the abstract
| | 00:43 | designs or versions of them
and made a few tweaks to them.
| | 00:47 | But I'm using consistently, flat color
and primary colors and bold, simple shapes.
| | 00:54 | I did decide to make one small
deviation away from this rather austere
| | 01:00 | approach, a minimalist approach to
the design, and that is on the cover for
| | 01:06 | Nineteen Eighty-Four I have used
some transparency where the black
| | 01:11 | rectangles overlap.
| | 01:13 | For Animal Farm, rather than just a
simple line crossing out these two
| | 01:18 | rectangles, I've used a brushstroke,
this is just an Illustrator brushstroke
| | 01:22 | which I copied and pasted into InDesign.
| | 01:26 | And for Homage to Catalonia, what makes
it work is the angling of these shapes at
| | 01:31 | an almost 45 degree angle.
| | 01:34 | In terms of the typography, I'm using one size.
| | 01:39 | The font that I'm using is Gotham Bold
and I'm choosing this because it looks in
| | 01:45 | someway nostalgic, but at the
same time, it's contemporary.
| | 01:49 | In font terms, a relatively new font,
and I'm just differentiating between title
| | 01:56 | and author with the casing.
| | 01:59 | One size, author name in all caps, title
in upper and lowercase, and separating
| | 02:05 | the two a 1 point
paragraph rule above the title.
| | 02:13 | Now if you're following along and you
want to do your own version and you don't
| | 02:17 | have Gotham, then you could use
something in a similar veiw, like Helvetica or
| | 02:22 | Myriad Pro, both of which are sans
serif fonts that if you use them in their
| | 02:27 | bold or semibold weights
would give a similar feel.
| | 02:32 | So now that we have nailed down the
versions that we're going to go with, and
| | 02:36 | perhaps you may have choosed other versions
and feel free to evolve those under your
| | 02:42 | own instinct, but now that we have
done that, let's move on to designing the
| | 02:47 | spine and the back cover.
| | 02:50 |
| | Collapse this transcript |
| Designing the back cover| 00:00 | Let's move on to designing the back
cover and this is going to involve
| | 00:05 | adjusting some of the artwork on the
front cover and of course putting the type
| | 00:08 | and a space for the barcode
and the price on the back cover.
| | 00:12 | So, what we have here is a masking
layer that is hiding everything that is
| | 00:19 | currently on the back cover and the
spine, and I've been using that throughout
| | 00:23 | so that while designing the front cover,
I'm just able to focus on that without
| | 00:29 | the distraction of what may be happening
on the back and the spine, although of
| | 00:32 | course ultimately I want to
tie all of the elements together.
| | 00:35 | So, I'm going to come to my Layers
panel and turn off that mask and we can see
| | 00:41 | that the artwork now extends
beyond the bounds of the front cover.
| | 00:46 | It's not strictly necessary to do this
and there are other ways to approach it,
| | 00:50 | but, I'm going to take these three
black or gray partially transparent
| | 00:56 | rectangles, group them together, they
are currently grouped, which is why they
| | 01:00 | have the dotted line around them, and
then I'm going to paste them inside the
| | 01:05 | red rectangle at the back.
| | 01:07 | So that that red rectangle will crop
them and then from that point onwards we'll
| | 01:13 | be able to approach this as one single
unit and we can extend it beyond the
| | 01:18 | whole canvas of front, spine, and back covers.
| | 01:22 | So, here's where I'm going with this.
Having grouped these three shapes together,
| | 01:26 | I'm going to cut them, select
the red rectangle that is behind them or
| | 01:33 | was behind them, and then come to the
Edit menu and choose Paste Into, and
| | 01:38 | we can see that these shapes are now
cropped by that red rectangle and I'm now
| | 01:43 | going to extend the red rectangle, let
me turn my guides on by pressing W, and
| | 01:49 | I'll extend that across to the bleed
guide on the left-hand side, and there we
| | 01:54 | have our back cover design or
our back cover field of color.
| | 01:58 | I'm also going to extend this bar of
gray that goes along the top, add the
| | 02:04 | continuity all the way
across the spine and back cover.
| | 02:11 | Next thing I want to do is place the
text, and while not strictly necessary,
| | 02:17 | it may be an idea to create a layer for this.
| | 02:20 | I've already created a layer.
| | 02:22 | If you need to create a layer, come to
this one right here, Create New Layer,
| | 02:25 | name it and I'm selecting this layer
so that when I come to the File menu and
| | 02:31 | choose Place in the Beyond the Front
Cover folder there is a folder called Back
| | 02:35 | Cover Text. Choose the appropriate text file.
| | 02:38 | I've got my Show Import Options checked,
which is why I am seeing this dialog box here.
| | 02:44 | I can move right through that.
| | 02:47 | There I have my loaded type cursor.
| | 02:49 | I'm now going to press W to see my guides,
because I want to use these guides as
| | 02:54 | an indication of placement.
| | 02:56 | A lot of guides we have on the page
here back in a much earlier movie, it seems
| | 03:00 | like a very long time ago now, we
divided our page into 10 columns and I want to
| | 03:05 | use six of these 10 columns. I'm going
to have two grid squares empty on either
| | 03:12 | side, and I want to start my text one
grid square from the top of the red area.
| | 03:20 | So, I'm going to click and drag across
six of those grid squares, let me see that's --
| | 03:27 | That's right.
| | 03:28 | Now that I have the text in there, I
think we can hide those guides by pressing W,
| | 03:33 | and maybe let's get in a little bit
bigger in magnification, so we can work
| | 03:39 | more easily with the text. Command+
Spacebar and click-and-drag over that area.
| | 03:48 | I'm now going to select the text and I
notice that I've got some weird character here.
| | 03:53 | An apostrophe did not translate.
| | 03:56 | So, if you see any of these,
let's sort those out right away.
| | 04:04 | Everything else is in good shape.
| | 04:05 | I'm now going to Select All, and for
continuity I'm using the same typeface as
| | 04:10 | is used for the author and title, Gotham,
and if you don't have it, you can use
| | 04:15 | a similar sans serif typeface
like Helvetica or Myriad Pro.
| | 04:19 | So, I'm going to press Command+6 or
Ctrl+6 to jump to my Font menu, type in
| | 04:25 | Gotham and I'm going to use
the medium weight to this.
| | 04:29 | The size that I'm going to use is 11
points, with 14 point leading, and I would
| | 04:36 | also like a lot of this space
between these two paragraphs.
| | 04:41 | We have two paragraphs here and we can
verify that if we work with our Hidden
| | 04:44 | Characters on, but of course, to do
that we'll also need to see our guides.
| | 04:49 | The only problem there is that my
layer is red, meaning that my paragraphs
| | 04:55 | symbols are also red.
| | 04:56 | So, I'm going to change
the color of that to green.
| | 04:59 | Now we can see the guides much more easily.
| | 05:02 | Anyway, in this second paragraph, I'm
going to come to my Paragraph Formats and
| | 05:08 | we'll have a half line of space.
| | 05:09 | So, if we're using 14 point leading,
that will be a 7-point space before.
| | 05:19 | And there is our back cover text.
| | 05:21 | In addition to this, we also need the
price and I'm going to include just a
| | 05:27 | solid white rectangle to
indicate where the barcode will go.
| | 05:33 | So again, using my grid,
there's a rectangle for the barcode.
| | 05:41 | That's plenty big enough, solid white,
no stroke, and then I'm going to use my
| | 05:46 | Type tool and just click-and-drag to
make another small text frame, adhering to
| | 05:52 | the grid, as well, but this time I'll
come one more grid square to the left and
| | 05:57 | we'll just type in the price, and let's see.
How much are we going to charge for this?
| | 06:02 | Of course, we're not
really charging anything for it.
| | 06:05 | It's completely fictitious, but if
it were real, that sounds about right,
| | 06:12 | and rough conversion.
| | 06:15 | Things are always cheaper
in the States, aren't they?
| | 06:19 | Again, we're going to use Gotham.
| | 06:21 | So, switch to the Character Formats,
Command+6 to jump to the Font menu,
| | 06:29 | we'll use the same weight, and because we're
working with prices here it would be nice
| | 06:34 | to have this text to be flush.
| | 06:36 | So, I've inserted a tab there. I'm going
to come to the Type menu, choose my Tab
| | 06:43 | ruler and we'll click on that to add a
tab and then while that tab is selected,
| | 06:51 | click on the Right to Justify Tab icon.
| | 06:56 | So, there are just a few more
things that I'd like to do to the text.
| | 06:59 | Firstly, I would like to change the color.
| | 07:02 | the black on the red is not
as readable as it could be.
| | 07:06 | So, with those two text frames selected,
I'm going to come to my Swatches panel,
| | 07:12 | choose Formatting Affects Text and apply Paper.
| | 07:19 | Next, I would like to remove
the hyphenation from the text.
| | 07:26 | So, I'm going to insert my type cursor
in that text frame, Select All, let's
| | 07:32 | just zoom in on this, Command and
Spacebar or Ctrl+Spacebar, click-and-drag, and
| | 07:39 | I'm going to uncheck Hyphenate.
| | 07:42 | The next thing is I would just like to
change the way the text is ragging.
| | 07:48 | I don't want this term, East
Asia, to break across two lines.
| | 07:54 | So, I could use a no break or
considering we are working with such a small
| | 07:59 | amount of text, I would probably just
insert a line break. Shift+Return right there.
| | 08:05 | I also want to bring down the word "of"
and then unfortunately that's meaning
| | 08:12 | quite a large gap at the end of the third line.
| | 08:15 | I'm going to see if we can improve
upon that slightly by selecting the whole
| | 08:21 | paragraph and applying a little
bit of tracking across the paragraph.
| | 08:25 | Alt+Left Arrow and I think that's the
lesser of the evils there, to have the
| | 08:35 | word "propaganda" on that third line.
| | 08:39 | So, there we have the
back cover design and text.
| | Collapse this transcript |
| Designing the flaps| 00:00 | Our designs for the book covers
of George Orwell's 1984, Homage to
| | 00:04 | Catalonia and Animal Farm
are for paperbacks. They don't require flaps the way
| | 00:10 | a dust jacket would.
| | 00:11 | But hypothetically what if they did?
How could we add flaps to our existing design?
| | 00:17 | And if you are working in InDesign
CS5 this is really very easy to do.
| | 00:21 | So I am going to come to my Pages
panel and on my first page I am going to
| | 00:26 | click away from the three pages that I
have selected there, click away from them and
| | 00:29 | select just the first one.
| | 00:32 | Right-click and then choose Insert
Pages and I am going to insert one
| | 00:35 | page Before Page 1.
| | 00:40 | And then with my Page tool, I will
select that, and come and change the size,
| | 00:46 | the width, to the width of my flap and
I may wish to check my reference square
| | 00:52 | so that I keep the flap butting up
against the left-hand edge of the back cover.
| | 00:58 | I am going to make my flaps two-and-
a-half inches wide, so I will type in
| | 01:01 | 2.5 in, and there is my flap.
| | 01:09 | Now I can do the same on the right side,
so I'll choose what's currently now on
| | 01:15 | Page 4, my front cover, right-click,
Insert Pages and I am going to insert one
| | 01:21 | page After Page 4, repeat the process,
select that page with my Page tool and
| | 01:30 | set my reference square to the
left-hand edge and once again 2.5 in.
| | 01:39 | And now it's just a
question of extending our artwork.
| | 01:41 | I am just going to reduce my view size
so that I can see the whole of my artwork
| | 01:48 | and let's turn the guides on, and I
can just extend these fields of color out
| | 01:58 | into the flap space.
| | 02:10 | And then what we put on the flaps,
that's entirely up to us, but presumably
| | 02:15 | there will be some more information either
about the author or elaborating on the book itself.
| | 02:22 | We don't want any plot spoilers in there though.
| | 02:24 | Maybe a picture of the
author, etcetera, etcetera.
| | 02:27 | And we will just put it there in
exactly the same way as we put the text on
| | 02:31 | pictures any other place.
| | 02:33 | So there is our design with a two-and-a-
half inch flap on the left and right side.
| | 02:41 |
| | Collapse this transcript |
| Designing the spine| 00:00 | When creating the spine, if you're in
the UK or in the US, your spine should
| | 00:05 | read from top to bottom.
| | 00:06 | If you're in Europe or elsewhere,
check what is the local norm.
| | 00:11 | First thing I want to do is I
want to check the width of the spine.
| | 00:14 | In our hypothetical example, the width of the
spine is five-eighths of an inch, or 45 points.
| | 00:21 | Of course, ask your printer what is
your spine width, based upon the page count
| | 00:27 | of the book and the paper
stock that you are using.
| | 00:30 | But we are supposing that we've been
given this information by the printer and
| | 00:35 | we are going to change
our spine width accordingly.
| | 00:38 | Now the way I'm doing this in InDesign
CS5 is different to how we would do it in
| | 00:42 | CS4 because in CS5, we can have pages
of different sizes. in CS4, we cannot.
| | 00:49 | In CS5, we have a page that is the
spine, that is this one right here, and we
| | 00:54 | have a Page tool, which doesn't exist in CS4.
| | 00:58 | So, I'm going to select the spine, I'm
going to come to the width and type in
| | 01:04 | 0.625 in for inches, or 45 pt, and that
increases the width of that page, so I
| | 01:15 | now need to come and select the back
cover and move that to the left so that it
| | 01:20 | buts up against it and the front
cover and move that to the right.
| | 01:25 | There we have now the correct spine width.
| | 01:28 | So I'm now going to choose my Type tool,
and I'm going to come to my Layers panel
| | 01:33 | and make a layer for the spine.
| | 01:38 | Not absolutely necessary but, it
certainly won't hurt, and it's nice to have the
| | 01:43 | different elements of the
design on separate layers.
| | 01:46 | So with that layer created and selected,
I am then going to use my Type tool and
| | 01:52 | click and drag, and I'm going to create
two separate text frames here, one for
| | 01:57 | the author and one for the title.
| | 01:59 | I'm going to first of all type in the
author name, and since George Orwell is
| | 02:05 | such a well-known and established
author, he's just going to have a last name,
| | 02:09 | and that way we can make the last
name that much bigger and more impactful.
| | 02:14 | Now, when working with spine text,
black is a hard color to beat because it has
| | 02:20 | the most impacting contrast and all
uppercase is also very hard to beat, and
| | 02:26 | that's what I'm going to be
using, black text all in uppercase.
| | 02:30 | Descenders and ascenders in the type
don't really work well typically with a spine.
| | 02:36 | So, I'm going to select that text,
Command"6 or Ctrl+6 to go to my Font menu, and
| | 02:43 | the font I am using throughout here is Gotham.
| | 02:46 | I'm going to use Gotham Bold.
| | 02:49 | If you don't have Gotham, it is not a
font that comes with InDesign so you would
| | 02:54 | have to have it separately from that,
but if you do not have it, you can use
| | 02:58 | Myriad Pro or Helvetica, and I'm
going to increase the size of this a bit,
| | 03:04 | something like that, just to get it in
the ballpark area of size that I'm after.
| | 03:09 | And now I'll switch to my Selection
tool and I'm going to rotate it and I want
| | 03:13 | to rotate it through 90 degrees clockwise.
| | 03:17 | And then sort of dock it into position,
turn on my guides by pressing W, and I
| | 03:26 | would like my text frame to be the
height of my text frame, what appears to be
| | 03:33 | the width because it's rotated, but it's
actually the height of my text frame to
| | 03:37 | be the width of the spine, and I'm
going to have it start at that guide right
| | 03:41 | there, which is 18 points
from the very top of the page.
| | 03:47 | So that I can concentrate just on the
spine, and this is a technique I've been
| | 03:51 | using throughout and you've seen me
using it but not in the context of just the
| | 03:55 | spine, I have set up three different
layers: spine mask, back cover mask, front
| | 04:01 | cover mask, but when I turn them on,
will hide the other elements of the design
| | 04:06 | and show me just the one that I
want to view at that particular time.
| | 04:11 | They're nothing more than big
white rectangles on these layers.
| | 04:14 | So if I look at the front cover mask,
it puts a big white rectangle over the
| | 04:18 | back cover and the spine and the back
cover mask does the equivalent but for the
| | 04:23 | front cover, and then the spine mask
includes two solid rectangles, one on the
| | 04:30 | front cover, one on the back cover,
revealing just the spine, so I can look at
| | 04:34 | that in isolation, and this is what
people are going to see when they look at
| | 04:37 | your book on a bookshelf, just the spine.
| | 04:39 | It's often the first thing
that people will see about a book.
| | 04:43 | So it needs to be given a
fair amount of consideration.
| | 04:45 | Of course an obvious point, but make sure
that you turn these off before you print it.
| | 04:50 | We don't really want the solid white rectangle.
| | 04:52 | It's just for our viewing purposes.
| | 04:56 | Having done that, I am
now going to rotate my view.
| | 04:59 | I am going to come to the View menu >
Rotate Spread, I can either rotate my head
| | 05:04 | or I can rotate the page and I'm
going to go for rotating the page.
| | 05:09 | And I'm now going to zoom in so that I
can see my type and I think at this point
| | 05:16 | we can probably do without the guides,
so I'll press W. I would like the type to
| | 05:22 | be centered vertically.
| | 05:24 | It's a little bit too big, so I'm going
to take it down in size and then I want
| | 05:29 | it to be centered vertically so I'm
going to come to the Object menu > Text
| | 05:33 | Frame Options and make the alignment Center.
| | 05:40 | Now, that is perfectly vertically
centered but it might not look it.
| | 05:46 | It's not optically centered, and this
is to do with the fact that it doesn't
| | 05:50 | have any descenders or ascenders.
| | 05:53 | So if we were to actually measure this,
if I draw myself a rectangle right
| | 05:58 | there, I see that that is 16.5 points
and then if I move that down there, aha,
| | 06:05 | that's only 13.5 points.
| | 06:10 | So we need to nudge it up and I could
do it numerically but with something like
| | 06:15 | this I think it tends to
work best if you do it by eye.
| | 06:19 | We can either apply a baseline shift
to the type or we can add some bottom
| | 06:24 | offset to the text frame.
| | 06:26 | Both will get you to exactly the same place.
| | 06:29 | I think I will do it with a baseline shift.
| | 06:31 | So I'm going to select the text,
baseline shift is this option right here or
| | 06:37 | it's the keyboard shortcut Shift+Option
+Up Arrow or Shift+Alt+Up Arrow, and I
| | 06:45 | think just one nudge is probably good enough.
| | 06:49 | So let's now zoom out a little bit,
and I'm going to select that text frame,
| | 07:00 | turn my guides back on.
| | 07:02 | I have this my bottom margin, and
it's to that point that I want to drag a
| | 07:09 | duplicate of that text frame to.
| | 07:15 | And I want to then make this text right
-aligned, Command+Shift+R or Ctrl+Shift+R. I'm
| | 07:23 | then going to zoom in on
that portion of the screen.
| | 07:26 | I might need to make this text frame a
little bit larger, because now I'm going
| | 07:30 | to highlight that text and
replace it with the book title.
| | 07:36 | Let's move that Layers panel out of
the way and we want it all caps, so I'm
| | 07:41 | going to put my Caps Lock on.
| | 07:52 | And I need to make that text frame a
bit bigger still and I'm using words as
| | 07:57 | opposed to numerals for the title
because it's just a little bit easier to spot.
| | 08:03 | Now I don't want that overlapping that band of
gray that looks brown but it is actually gray.
| | 08:12 | So I think what I want to do here is I
want to make the text as big as it will
| | 08:17 | get within the confines of the spine.
| | 08:19 | So I'm going to select it and then use
the keyboard shortcut Command+Shift or
| | 08:24 | Ctrl+Shift and the Up Arrow.
| | 08:27 | I just need to be careful how that
overlaps and then if the black is not
| | 08:35 | reading, we can change the color to Paper.
| | 08:39 | Lastly, we need the logo and I
need to move this up one grid square.
| | 08:49 | I need to leave one grid square for the logo.
| | 08:53 | So I'm just going to move that one grid
square back and I'm now going to undo my Rotation.
| | 09:11 | Readjust my view size.
| | 09:13 | Turn off my guides by pressing W.
So I'm going to come to the File menu
| | 09:18 | and choose Place, and in the Beyond the
Front Cover folder I want this file, CIS_logo.
| | 09:28 | CIS Press is the fictitious publishing house.
| | 09:33 | I have my Show Import Options
turned on which is why I see this
| | 09:38 | intermediate dialog box.
| | 09:39 | I can just move right through that and
I inadvertently had a frame selected and
| | 09:48 | it has gone into that frame,
which I didn't wanted to do.
| | 09:50 | So I'm going to press Command+Z, and
then that will give me my graphic on
| | 09:55 | the picture cursor.
| | 09:57 | I am now just going to click and drag
down the bottom there to place my logo and
| | 10:05 | let's zoom in a little bit.
| | 10:08 | We need to give it just a tiny amount
of space left and right and beneath it.
| | 10:15 | So I'm holding down Command and Shift
and adjusting the size of the frame and
| | 10:23 | then I'm just nudging it a little bit up
and then horizontally positioning it by
| | 10:35 | eye, so that our spine will now look like that.
| | 10:41 | And let's see this in the context of
the front and back covers, so I'm going to
| | 10:46 | come to the Layers panel
and turn off the spine mask.
| | 10:52 | That was a silly thing that I did.
| | 10:53 | I managed to put this on the spine mask layer.
| | 10:58 | So I realize my error and I can then
drag that down to the spine layer and not
| | 11:04 | the spine mask, hide that and there we
have our front cover, back cover, and
| | 11:13 | hopefully very readable spine.
| | Collapse this transcript |
|
|
8. PrintingUsing spot varnish| 00:00 | When it comes time to print our
book cover you'll want to speak to your
| | 00:04 | printer about paper stock.
| | 00:06 | Have them send you samples so you
know the kind of paper stock that you are
| | 00:10 | working with and then there are printing extras.
| | 00:12 | Do you want to use special inks so that
you can achieve colors that can only be
| | 00:16 | achieved with such special
inks, neons or metallics?
| | 00:20 | Obviously, these things cost more money.
| | 00:23 | And then there are printing extras like
embossing, foil stamping, lamination and
| | 00:29 | I am going to talk about varnishing
specifically, applying a spot varnish to a
| | 00:35 | particular part of the artwork so that
artwork will really pop from the page.
| | 00:40 | In this case, I am going to use the
Animal Farm cover and apply the spot varnish
| | 00:45 | to our simple graphic here.
| | 00:48 | So in order to create a spot
varnish we need to do this.
| | 00:52 | Let's come to the Layers panel
and make ourselves a varnish layer.
| | 00:57 | So I am going to hold down the Alt key
or Option key click on Create New Layer
| | 01:02 | and call that varnish, and I am
going to drag that up to the top.
| | 01:08 | Then I am going to come and make a
varnish color so I'll come to the Swatches
| | 01:13 | panel, New Color Swatch, I am going to
uncheck Name with Color Value and I am
| | 01:20 | going to call this Varnish. Change the
Color Type to Spot, very important that.
| | 01:27 | And then use whatever color you like,
but something that's going to clearly
| | 01:30 | stand out as being different from your layout.
| | 01:33 | I am going to use 100% magenta and then
select the artwork that you want varnished.
| | 01:45 | Come to the Layers panel and copy
that selection to your varnish layer.
| | 01:50 | To do that hold down your Option or
your Alt key and drag the square that
| | 01:54 | represents this selection.
| | 01:55 | So I have now got that artwork in
exactly the same location on two layers.
| | 02:01 | With the artwork on the varnish layer
selected, come and apply the varnish color.
| | 02:06 | Make sure that's being applied at 100%
Tint, so it looks like that, and then we
| | 02:12 | need to change the attributes of this artwork.
| | 02:15 | Come to the Window menu and to Output,
to Attributes, and in this case these
| | 02:23 | objects have only a fill so I only need
to check Overprint Fill. If they have a stroke,
| | 02:29 | check that where appropriate.
| | 02:33 | We can check what's going to happen
here if we turn On the overprint preview.
| | 02:38 | It's not going to knock out those
elements behind it but overprint.
| | 02:42 | Communication here is key with your printer.
| | 02:45 | you have to mention to your printer
that you are intending to use a spot
| | 02:48 | varnish and explain to them how
you've set up the spot varnish.
| | 02:53 | If you are sending your printer the
InDesign package, you can point out to them
| | 02:58 | that you have the spot
varnish elements on a varnish layer.
| | 03:02 | If you are sending them a PDF, we need
to make sure that the colors, we need
| | 03:06 | to check the PDF to make sure that the
varnish colors are separated as a spot color.
| | 03:13 | So I am going to make a Press
Quality PDF, and I will call this varnish.
| | 03:24 | In this case, I want to print the
spreads because I am working with three pages.
| | 03:27 | I want to view the PDF after exporting and I
am going to come and turn on my printer marks.
| | 03:35 | I also want to use the document
bleed settings and I want the crop marks
| | 03:40 | offset by 12 points.
| | 03:45 | Then I will click Export.
| | 03:47 | There is my result.
| | 03:50 | Now, if we come and look at the Print
Production under the Advanced menu in
| | 03:56 | Acrobat and to the Output Preview,
we should see that we have our Cyan, Magenta,
| | 04:01 | Yellow, and Black and we have
a Spot Plate for the Varnish.
| | 04:06 | If we turn that off, the artwork is as
it was and with that on it's currently
| | 04:12 | being represented by the Magenta, but
that's going to print as a transparent
| | 04:17 | varnish which will really call
attention to that particular part of the design.
| | 04:23 | As I mentioned before, make sure you
communicate very clearly to your printer
| | 04:27 | your intention to use a varnish.
| | 04:30 |
| | Collapse this transcript |
| Preflighting your document| 00:00 | Before we package out InDesign
document along with the fonts and any placed
| | 00:04 | graphics or before we make a PDF to
send to the printer, we should preflight our
| | 00:09 | document just to make sure
there are not any problems with it.
| | 00:12 | The most common problems that printers
see are image resolution that's too low.
| | 00:17 | Typically that's going to be
anything below 300 pixels per inch.
| | 00:21 | Although you can sometimes
get away with less than that.
| | 00:24 | Missing fonts and bleed and trim hazards.
| | 00:28 | In this particular design we don't
have any placed images so there is one
| | 00:32 | problem that we don't even have to
worry about, but we want to make sure that
| | 00:35 | everything else is good to go. So I'm
going to turn on my guides and let's just
| | 00:41 | check out the bleed issue.
| | 00:43 | Now, we can't turn on the preflight to
do this for us, but it's also a good idea
| | 00:48 | to check it manually as well.
| | 00:50 | The bleed guide, the red guide,
at 9 points outside the page.
| | 00:54 | That's there so that we can continue
all the artwork that we want to print to
| | 00:58 | the edge of the page to that guide.
| | 01:00 | So make sure if that's what you want then the
edges of your frames go up to the bleed guide.
| | 01:06 | Now, I'm going to do a live preflight
and down here where it says no errors,
| | 01:12 | this is my preflight result, but currently
it's preflighting using a basic preflight
| | 01:19 | profile and we need to be
a bit more strict with it.
| | 01:22 | So I'm going to double-click on this to
open up the Preflight panel and we see
| | 01:26 | that it's using the
default Basic(working) profile.
| | 01:30 | And I want to use a profile that I've
already made, the offset litho profile,
| | 01:36 | which is appropriate for the printing
circumstances, and when I choose that,
| | 01:41 | it preflights according to these
conditions and it finds that there is an error.
| | 01:45 | I can expand the information it
returns by clicking on the triangle and the
| | 01:50 | error is Non-proportional type scaling.
| | 01:52 | So I'm going to expand that further,
and then I can click on this hyperlink and
| | 01:56 | it will take me to where the error exists.
| | 01:59 | And I see that if I look in the Info, Problem:
| | 02:02 | The vertical and horizontal scaling
values do not match and I see by looking at
| | 02:08 | my Control panel that the type here
somehow got set to a 90% width and we want
| | 02:15 | to keep our type at 100% width.
| | 02:16 | And of course this is just an aesthetic
problem rather than a printing problem,
| | 02:21 | the document would still print, but
this is a problem that we want to solve.
| | 02:25 | So I'm going to set that back to 100%
and the preflight problem goes away.
| | 02:32 | Let's have a look at creating your own
preflight profile and the things that you
| | 02:36 | might want to check when doing so.
| | 02:39 | If I come up here to the panel menu of the
Preflight panel and choose Define Profiles,
| | 02:45 | here we see all of the different
things that I checked for the offset litho
| | 02:50 | profile, and I'll just run you
through them and explain what they are.
| | 02:55 | Links, we definitely want to know
about any missing or modified links,
| | 02:59 | any placed graphics that may have gone
missing or have been modified and not updated.
| | 03:05 | We want to make sure that the
transparency blending space is CMYK if indeed we
| | 03:10 | are printing the document,
which in this case we are.
| | 03:14 | It's unlikely that this would happen,
but we want to be notified if the
| | 03:18 | registration color has been applied to
anything other than manually drawn trim marks.
| | 03:23 | A very important one, we want to make
sure that the image resolution is at a
| | 03:27 | minimum of whatever is your minimum
number and that's typically going to be
| | 03:32 | somewhere between 200 and 300 pixels per inch.
| | 03:35 | I'd like to know if any of the
placed graphics have been distorted.
| | 03:41 | So a Non-Proportional Scaling of Placed Object.
| | 03:43 | I'd also like to know if there are any
stroke weights lighter than a half point.
| | 03:52 | Definitely want to know about any
overset text, any text that doesn't fit in the
| | 03:57 | text frame, any missing fonts, and
the one that it pulled us up on, any
| | 04:02 | non-proportional type scaling.
| | 04:04 | Now, which of these options you check
depends upon how rigid you want to be with
| | 04:10 | certain elements of your
design. It's entirely up to you.
| | 04:13 | It's also up to you what you do when
preflight checks according to your profile.
| | 04:18 | It's just notifying you
of these possible errors.
| | 04:22 | It's up to you whether you choose to
fix them or not. Sometimes you may just
| | 04:25 | choose to acknowledge the information
and move on. For example, you can check a
| | 04:30 | box to tell you that transparency is being used.
| | 04:33 | That's not necessarily a problem. It's to
something that you might want to know about.
| | 04:38 | So if you were to create your own
preflight profile you simply come and click on
| | 04:42 | this plus button right here, give it a
name, and then check whichever of these
| | 04:47 | boxes are appropriate to
your printing circumstance.
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| Preparing the PDF| 00:00 | So your book cover is ready to be sent to
the printers, and how you are going to send it?
| | 00:05 | You could send a package. If you went
to the File menu and chose Package,
| | 00:10 | you could then run through the options
and it would create a folder for you that
| | 00:14 | contained a folder of links, if there
were any linked graphics as well as any
| | 00:18 | fonts that were used in the document.
| | 00:21 | A more efficient approach is to
send a print-ready PDF to the printers.
| | 00:25 | This is easier for them, it's easier
for you, and it's far less prone to error.
| | 00:33 | Now I am going to run through the
steps to create a PDF, but in terms of the
| | 00:37 | specifics you should speak to the
printer about exactly how to prepare the PDF.
| | 00:42 | Some of the things that I specifically
tell you here may not be applicable for
| | 00:46 | the printing circumstances that you are using.
| | 00:49 | Speak to the printer, you can possibly
download a PDF preset from the printer's
| | 00:53 | web site, but they can certainly
tell you exactly what settings to use.
| | 00:58 | I am going to go to the File menu, and
choose PDF Presets, and I am going to
| | 01:03 | start out with Press Quality.
| | 01:05 | I'll save this on my Desktop, and
let's just run through these options.
| | 01:12 | Most of them are what we want.
| | 01:14 | We won't need to change them.
| | 01:16 | But in this case, I do want Spreads
chosen, because we have three pages that
| | 01:21 | make up as single document, the back
cover, the spine and the front cover, so
| | 01:27 | it's important that we check spreads.
Typically when making a Print-Ready PDF,
| | 01:31 | you do not check this but in
this case we definitely do need to.
| | 01:35 | Everything else remains as is.
Compression can stay as is. These numbers mean
| | 01:41 | that anything above a resolution of 450
pixels per inch will be downsampled to
| | 01:49 | 300. The same for the Grayscale Images,
a much higher number, much closer to the
| | 01:55 | maximum output resolution for Monochrome Images.
| | 01:59 | In this case we don't have any images
in this document, but the Monochrome
| | 02:03 | Images, it's seldom that you would
have those, I would say, but Color and the
| | 02:07 | Grayscale Images both very important.
| | 02:11 | In the Marks and Bleeds, now
let's turn on the Printer's Marks.
| | 02:15 | We may not need all of these.
| | 02:17 | It's not going to hurt to have them.
| | 02:19 | Let's make the offset of those marks
12 points, and I am going to turn on my
| | 02:26 | bleed settings. I created this
document with a bleed. Let's use it.
| | 02:32 | In the Output, everything there can stay as is.
| | 02:35 | It means that the color will be
converted to my destination color profile.
| | 02:40 | Any RGB images placed in this document will
end up being CMYK in the resulting PDF,
| | 02:47 | and that's what we want.
| | 02:49 | In the advanced section, nothing
really to check here but it's worth pointing
| | 02:54 | out that we are sub-setting fonts that
are less than 100 percent used, meaning
| | 03:00 | that only the particular font
characters that are used will be embedded in the
| | 03:05 | PDF, making its file size a lot more
portable, which is important if you are
| | 03:10 | sending the PDF by e-mail to your printer.
| | 03:15 | We don't want to have any security
settings, and we are not requiring a password
| | 03:19 | to open or do anything to this document.
| | 03:22 | So now we are ready to go, and I am
going to click Export, and then after a
| | 03:28 | brief pause there is our print-ready
PDF, and it's this document that we send to the printer.
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ConclusionGoodbye| 00:00 | Thanks for watching this title
and I hope you found it useful.
| | 00:04 | It's been really fun to make, and
I hope you have some good-looking book covers
| | 00:07 | as a result of watching this.
| | 00:09 | If you have enjoyed it, do check
out my other titles on lynda.com.
| | 00:12 | Bye for now!
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