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Join author Nigel French in Designing a Book Cover as he walks through several approaches to creating professional, engaging book covers using Adobe Creative Suite applications. This course covers document setup, composition and layout, illustration, typography essentials, and printing. Exercise files accompany the course.
Designing a book cover for Homage to Catalonia, George Orwell, using big type for the title and big type for the author name and simple imagery, in this case the trench, red flag, and sunset. So in this the third and final movie related to this particular book cover design, we're going to work with the type. And currently, the type in the starting state of this document is in Myriad Pro, but we're going to be changing it to Futura, and we're going to be applying some type effects to it.
In doing this, I was inspired by posters of the Spanish Civil War, but I was also inspired by the work of Swiss graphic designer Herbert Matter, especially his use of Type. I've kind of got that in my mind while I'm doing this. And let's select these three text frames, and if I want to change more then one text frame at a time, I can open up my Character panel. I can go to my Window menu for that or I can press Command+T or Ctrl+T.
And then we'll type in what we're after, Futura. If you don't have Futura, then I suggest that you stick with Myriad pro, which you will have because it comes with InDesign. And I actually want to use a condensed version of Futura, which is that one right there, Condensed ExtraBold. And then I also want to rotate this text. Before I do that, I'm going to select just this single text frame right here, and I want to fit my frame to my content, and I can do that with this icon here or I can use the keyboard shortcut, Command+Option+C. I think it's useful when working with type like this where the type is at a large size and you may want to just float one text frame around on top of or close to the other to adjust the spacing.
Then it's a good idea to have them as separate text frames rather then all in one text frame. So I'm going to select these two pieces of type, not that one. But I'm now going to group these together, Command+G or Ctrl+G, and then rotate them. And I think I'm going to do a free form rotation here. So I'm going to press the R key to choose my Rotate tool, establish the point from which I'm performing the rotation, and I'll have that remain as the center point and then just spin those around like so.
And then I'm going to get this one. And I want to spin that in the opposite direction. I'm going to need to zoom in for this. I could of course maybe rotate my spread, but frankly, it's just easier to crook your head for a little while. Spin that around like so and move it into position.
And now I want to scale up, both the type and the frame at the same time. Command+Shift or Ctrl+Shift and scale that up. So quite conveniently, it's sitting atop the N. And now, I'm going to select my group of type, the words Homage and Catalonia, and apply some effects to that. So from the Effects panel, I'm going to use Inner Shadow first of all, and I'm hoping this is going to give us a sort of silk screen look to my type, and that is pretty much just want I want right off the peg like that.
But I might feel compelled just to mess around with these options, because it just seems too easy, if we take what we're given without experimenting with the different options. But that's looking pretty good. So I'm going to accept that. And then, just to lift the type off the page a little bit, and I could have done this really in one go really, I don't know why I didn't, but I'm going to go back now to my Effects and apply a Drop Shadow to this as well. Now, that is not why I want off the peg.
I think that shadow is far too much and I'm having problems with my dialog box being too big here. So I'm just going to cancel out of that and reposition my page, something like that, and then come back, so that we can see both at the same time. And now to adjust the shadow, in this case, I think I'll just want to reduce the amount of offset, both for the X and the Y, and possibly the size of the shadow as well, and the distance.
So it's not quite as pronounced as it was before. I think that looks good. Lastly, just to make sure that we don't disrupt the relationship between these three elements, I have these two grouped together. I'm going to hold down the Shift key and select that one, and press Command+G again to include that in the group. Now we can now size them as one, and to do that so you don't pull them apart, hold down Command and Shift as you do so.
And there we have our self another book cover.
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