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What makes a good magazine cover? Author Nigel French examines the design of magazine covers, dissecting the cover and explaining the purpose of the different components that make up the whole design. He then covers the design process from start to finish in Adobe InDesign, going on to show alternative workflows that exclusively use Photoshop and Illustrator. Each workflow shows you how to place and scale your image, position the masthead, add cover text, and package the end result as a print-ready PDF.
The cover lines are for an enticement to what's inside the magazine, and in an increasingly competitive marketplace, it's become common to surround the cover model with as many cover lines as will fit, giving the impression of a magazine brimming over with exciting content. So I'm in the cover_inprogress4 document, and on the Pasteboard we have a text file. That is the cover lines. Now, your cover lines should be short and they should be to the point. The wording of your cover lines is essential, finding the right tone for the magazine and the right length to fit the available space. It needs to be very carefully considered.
I'm going to concentrate here on the typographic choices, the typeface, its size, its color, its type style, and other attributes, like its letter spacing and its leading. So I'm going to zoom in here and select the text for what will be my main cover line. I'm then going to cut that from this text frame and click and drag to make a frame on my page. I'll turn on my hidden characters. I'm going to press Delete so that I bring the end of story marker back to that last line.
I would like these textframes to be on a separate layer, so before I go any further, I'm going to select them both. I'm going to create a new layer, move those elements to that new layer, rename the new layer cover lines, and then drag that up so that it is just below the guides layer. Now first and foremost, I am going to choose my typeface, so I'm going to use Myriad Pro for several reasons. One is that we have Myriad Pro in a variety of whites.
It comes installed with InDesign, so I know that if you are a premium subscriber and following along you also have this font, and it's also a very nice contemporary font that walks a line between being impactful and being contemporary and being modern all at the same time. I do want to use it in all uppercase so that we can make the type look as dense as possible and so that the space between the lines looks as consistent as possible without any descenders or ascenders.
I'm then going to adjust the relative sizes of these two bits of type, and that's all I'm concerned with really at the moment, their relative sizes. So I'll increase that first line, get that to about there, and then I'm going to select both lines. I would now like to apply some negative tracking to make the type a bit denser still so that it's now occupying less horizontal space, and I can now increase the size a little bit more.
And then I'm going to add in a line break right there. I'm going to adjust the leading, bringing those two lines close together. I want the leading to look consistent across these three lines, which I think it does. I am now going to fit my frame to my content. That didn't have quite the effect I wanted. I'm going to come and select all of that type. Definitely, I want to make sure that no hyphenation is happening. I'll add in a line break right there. I will fit the frame to the content again by double-clicking on the right-center handle, and I'm now going to stretch this out, or rather scale it up, holding down Command+Shift or Ctrl+Shift to make it occupy as much of that space as it can.
I need to adjust that so that we don't get the words overlapping too much of the image. Let's make that a little bit bigger, select that first paragraph, make that a little bigger, pull that down a fraction. So there is my first cover line. I've deliberately left it just in black for the time being. I now need to roll out that style, if you like, for the other cover lines, and that I will do in the next movie.
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