IntroductionWelcome| 00:05 | Hi, I am Nigel French. Welcome
to Designing a Magazine Cover.
| | 00:09 | In this course, we'll be looking at
contemporary and historical examples of magazine covers.
| | 00:14 | We will identify the common parts
of a magazine cover and their purpose.
| | 00:20 | Using a fictitious example, we will go
through the steps of creating a magazine cover, from
| | 00:25 | choosing and preparing the cover image, to
adding the different cover elements, to preparing
| | 00:31 | the file for print.
| | 00:33 | So let's get started with,
Designing a Magazine Cover.
| | 00:38 |
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| Using the exercise files| 00:00 | If you're a Premium Member of the lynda.com
online training library, you have access to
| | 00:05 | the exercise files used throughout this title.
Exercise files are in the Exercise Files folder.
| | 00:14 | If you're using a version of InDesign earlier than
CS6, then use the files in the CS4 to CS5.5 folder.
| | 00:25 | If you're a monthly or annual subscriber to
lynda.com, you do not have access to the
| | 00:30 | exercise files, but you can still
follow along using files of your own.
| | 00:35 |
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| Looking at the history of magazine covers| 00:00 | Magazines have been part of our
cultural life for more than 150 years.
| | 00:05 | Before television, general interest magazines were
one of people's main sources of news and information.
| | 00:12 | From the 1950s, television has compelled
magazines to become more niche in their appeal.
| | 00:19 | In recent years magazine publishing has
faced a similar challenge from the web.
| | 00:25 | In a world of online publishing, it seemed
almost inevitable that printed magazines would
| | 00:30 | fade away, and yet the web has
not killed magazines, far from it.
| | 00:36 | Today there are more magazines than ever,
each aimed at a carefully-targeted readership.
| | 00:42 | Whatever your interest, there
is a magazine that speaks to it .
| | 00:47 |
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1. An Overview of Magazine Cover DesignUnderstanding what makes a good magazine cover| 00:00 | Throughout history the most memorable
magazine covers have been those that have the human
| | 00:05 | face as their subject, whether film star, musician,
politician, or your typical woman or typical man.
| | 00:15 | As magazine publishing has become more competitive,
the design of magazine covers has become about
| | 00:20 | reflecting the right face to the right people.
| | 00:24 | In recent years magazine covers have
become somewhat formulaic, a headshot surrounded
| | 00:30 | to an often claustrophobic extent
by cover lines, enticing the reader.
| | 00:35 | This is particularly the case with fashion
and lifestyle magazines because the formula works.
| | 00:40 | Publishers don't want to mess with it
| | 00:44 | But there is a world beyond fashion magazines, and not
all magazine covers have to have a glamorous headshot.
| | 00:51 | Technical and consumer magazines might show a
product shot or a picture of what can be achieved
| | 00:57 | with the type of product they're
addressing, a photography magazine, for example.
| | 01:02 | An outdoor or travel magazine might feature a shot
of one of the destinations featured in their articles.
| | 01:09 | A science magazine might have a more
abstract conceptual or text-based approach.
| | 01:15 | A current affairs or satirical magazine might
use a photo montage to recontextualize a photo
| | 01:22 | or to create a juxtaposition that
wouldn't be possible with straight photography.
| | 01:28 | In the UK, the satirical magazine Private
Eye has a long history of combining topical
| | 01:34 | news photos with
carefully crafted speech bubbles.
| | 01:39 | So while the headshot or body shot might
dominate magazine covers, they are not the only solution.
| | 01:46 |
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| Deciding between photography and illustration| 00:00 | From the 1920s and 1930s with technological
advances in printing and cameras, magazine
| | 00:06 | covers have predominantly featured photography.
| | 00:09 | Life, Harper's Bazaar, and Vogue, among others, featured
cover images from some of the world's most famous photographers.
| | 00:18 | There are, of course, notable exceptions, and
there are compelling reasons why certain magazines
| | 00:24 | might favor illustration over photography.
| | 00:29 | Illustration makes it easier to present
an infographic or to illustrate a concept.
| | 00:35 | Cost may also be a factor.
| | 00:37 | Arranging a photo shoot or buying the rights to a
stock image of a major celebrity may be cost prohibitive.
| | 00:44 | For this reason the covers of film and culture
magazine Little White Lies feature illustration,
| | 00:51 | and this has become the
magazine's signature style.
| | 00:54 | Famously, the New Yorker has throughout its
long history always used illustrated covers,
| | 01:02 | giving each issue a timeless quality .
| | 01:07 |
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| Understanding the parts of a magazine cover| 00:00 | Here I'm going to identify the common
parts of our fictitious fashion magazine.
| | 00:05 | Of course, not all magazine covers have all these
elements, and the emphasis given to them will vary.
| | 00:12 | I have created this in InDesign using Layers,
and using my Layers panel I'm now going to
| | 00:20 | reveal these Layers one by one.
| | 00:22 | I'll hold down my Option or Alt key and click on the
bottom layer, revealing just the cover image by itself.
| | 00:30 | Typically--and is the case here--we have a single
image, and it bleeds to all four corners of the page.
| | 00:38 | This doesn't have to be the case, National
Geographic and Time, for example, famously
| | 00:44 | have colored borders
surrounding their cover images.
| | 00:49 | Monocle magazine, rather than using a
single image, uses a grid of images.
| | 00:56 | The model picture may be a
full face or a body shot.
| | 00:59 | I will be talking specifically about the
choice of our cover image in the next movie.
| | 01:04 | Next, we have the Masthead, and in the case
of our magazine, the masthead has been created
| | 01:11 | as a vector file in Illustrator and
then copied and pasted into InDesign.
| | 01:18 | The conventional wisdom for the masthead is that it's best
to use a fixed consistent masthead for easy identification.
| | 01:26 | Some magazines placed their masthead
against the flat field of contrasting color.
| | 01:33 | While most magazines use a consistent
masthead, there are again exceptions.
| | 01:38 | In the early 1990s, Ray Gun magazine designed
by David Carson changed his masthead every issue.
| | 01:48 | While it's rare, it's possible for the masthead to
use transparency to integrate with the cover image below.
| | 01:58 | With an established masthead, it's popular to
have a portion of the model's head overlapped
| | 02:02 | with the masthead type.
| | 02:05 | Even though this partially obscures the masthead, it
remains legible because the brand is already well established.
| | 02:11 | I'll be showing how this
can be done in a later movie.
| | 02:15 | This is a popular technique, but it is not the
only way to integrate the model with the masthead.
| | 02:21 | Here are a couple of other approaches.
| | 02:25 | In the case of our magazine, the overlap has
been created by putting a cut out portion of
| | 02:31 | the image on a separate layer.
| | 02:33 | So we have created a sandwich with the cut out
portion at the top, beneath that the masthead,
| | 02:41 | and at bottom the full frame cover image.
Next we have the Cover Lines.
| | 02:47 | Competition on the newsstand means
that it's common to have many Cover Lines.
| | 02:52 | These are arranged around the cover image,
hopefully without detracting from the image.
| | 02:58 | The colors of the Cover Lines are often suggested by
the colors in the cover image, and that is the case here.
| | 03:06 | Here are some contemporary
examples with many cover lines
| | 03:10 | It's important that the Cover Lines remain
readable, even if they run over the image.
| | 03:16 | It's common, as is the case with our example,
for the Cover Lines to have a Kicker in a
| | 03:22 | large font and an explanatory line in a smaller font.
| | 03:27 | Because covers have become so crowded with
Cover Lines, some magazines produce a separate
| | 03:33 | subscriber's addition with fewer.
| | 03:37 | Some magazines favor a poster style approach
with a single often understated Cover Line,
| | 03:43 | letting the cover image speak for itself.
| | 03:46 | This works well when the cover
model is instantly recognizable
| | 03:52 | Other elements of our cover include the
Barcode, which is used to provide a unique means of
| | 04:00 | electronically identifying the magazine at all
stages of the distribution chain up to the
| | 04:06 | .
final sale by the retailer
| | 04:09 | Most commonly, the barcode is positioned in
the bottom left, but it can be placed anywhere
| | 04:14 | on the page so long as it
doesn't interfere with the artwork.
| | 04:22 | The Date line and Price tend to be understated
but should always be readable, set against
| | 04:28 | a solid contrasting background, or
a quiet portion of the cover image.
| | 04:33 | Note that monthly magazine usually hits
the newsstands a month before the cover date.
| | 04:40 | You may also include a Model Credit, although it's more typical
to include this on the contents page, rather than on the cover itself.
| | 04:53 | And then we have Flashes and Slashes, a flash above the top
left-hand corner of the masthead and a sticker advertising a promotion.
| | 05:03 | Finally--and this is entirely optional--I
have created a layer of guides, and to see
| | 05:11 | these, I am going to press W to turn on my
non-printing guides, and this just gives me
| | 05:16 | a framework within which I can work so that
it takes some of the guesswork of where I
| | 05:22 | place the different elements on the page.
| | 05:25 | So these are the parts of a magazine cover. We'll see
how we can create this cover from scratch in upcoming movies.
| | 05:36 |
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2. Planning the CoverChoosing a cover image| 00:00 | In this movie I am going to use Adobe
Bridge to help choose my cover image.
| | 00:05 | Bridge is especially a
useful tool for evaluating images.
| | 00:09 | Using Bridge, we can evaluate images,
both technically and aesthetically.
| | 00:14 | Here I am in Bridge, and I am in the
Essentials workspace, and here I can change the size
| | 00:20 | of my thumbnails, and if I click on any of
these images, I can evaluate the dimensions
| | 00:29 | of the images using the Metadata panel, most
importantly the image's dimensions in pixels.
| | 00:37 | If I switch to the Filmstrip workspace so
I have a nice big Preview window and moving
| | 00:44 | into the Preview window, I can click with
my magnifier and then move this magnifier
| | 00:51 | or Loop around the image to evaluate its detail.
To dismiss the Loop, I simply click inside it.
| | 00:58 | Switching back now to the Essentials workspace,
a photo shoot will likely yield several images
| | 01:06 | that are very similar, as is the case with this group
before right here, and we can use Bridge to stack these
| | 01:15 | images, and thereafter we can expand
and contract this stack as necessary.
| | 01:24 | To do this with a shortcut, Command+Right arrow
to expand, or Ctrl+Right arrow to expand,
| | 01:29 | Command+Left arrow to contract,
or Ctrl+Left arrow to contract.
| | 01:32 | We can also do that from the menu right there, and if I
wanted to un-stack them, then I would choose this command.
| | 01:43 | Based upon how I feel about these images,
I can give them star ratings, and I can do
| | 01:49 | this either from the Label menu or by using
the keyboard shortcut, Command+1 will be
| | 01:56 | 1 star, Command+2 a 2 star, et cetera.
| | 02:01 | Having done that, I can then
filter my view using the Filter panel.
| | 02:04 | Alternatively--or in addition--I can filter on
various other criteria, such as the Orientation.
| | 02:15 | So if I only want to see the portrait
orientation images, I just put a check mark next to that.
| | 02:22 | The magazine cover is a mirror. Our job as
designers is to make sure it reflects the
| | 02:26 | right face to the right audience.
| | 02:30 | It's hard to overestimate the importance of
the eyes. Here I am going to press the spacebar
| | 02:37 | so that we can see my
selected image in full screen mode.
| | 02:43 | People respond to most images where the model has
wide opened pupils and is engaged with the camera.
| | 02:51 | So there are just a few simple techniques using
Bridge to evaluate a folder full of potential cover images.
| | 02:59 |
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| Understanding the technical requirements| 00:00 | In addition to the aesthetic requirements of the
cover image, we also need to consider its technical spec.
| | 00:06 | When preparing a cover for print, never
underestimate the usefulness of the telephone.
| | 00:12 | Your commercial printer should be happy to give you
advice on the technical requirements of your cover.
| | 00:18 | The Resolution of the cover image
should be at least 300 ppi, or Pixels Per Inch.
| | 00:25 | This is the standard
resolution for commercial printing.
| | 00:28 | Sometimes you can get away with less, but your
cover file may fail the printer's flight-checking program.
| | 00:35 | Some magazines, depending on how they are
printed and on what type of paper stock, may call for
| | 00:39 | a higher resolution, such as 350 ppi.
| | 00:44 | You can check the image's dimensions in pixels
using Bridge. It tells me here its Dimensions.
| | 00:51 | This is the most important piece of
information here, far more important than this.
| | 00:56 | We want the image resolution to be 300
pixels per inch, but it is the absolute dimensions
| | 01:03 | of the image that tell us its potential.
| | 01:06 | If we divide these numbers by 300, that gives
us our potential image size, and that means
| | 01:13 | that this image over here, even though its
Resolution is currently 72 pixels per inch,
| | 01:20 | it has enough pixels in it so that were
we to change the resolution to 300, we would
| | 01:26 | still have a document
size big enough for a cover.
| | 01:30 | Let's see what I mean by that.
| | 01:32 | Here we're using Photoshop, and I'm going
to go to the Image menu and to Image Size,
| | 01:37 | where we see that the Resolution is 72.
| | 01:40 | It's important that when I do this, I have
Resample Image unchecked so that the absolute
| | 01:46 | number of pixels--the Pixel
Dimensions--remain the same.
| | 01:51 | You can see that if I change the image
Resolution to 300, all that changes is the Document Size.
| | 01:59 | Same number of pixels, same file size.
| | 02:02 | When I click OK, file size remains
the same, view size remains the same.
| | 02:08 | With Resample Image turned off ,you can think of
the document size/image resolution relationship
| | 02:15 | as being like a see-saw.
As one goes up, so the other goes down.
| | 02:20 | What you can't do and expect a good result
is to work with Resample Image turned on and
| | 02:26 | then either increase the.
document size or the image resolution
| | 02:32 | Doing that you'll be
upsampling the image, adding pixels.
| | 02:36 | Photoshop will let you do it, but the result
would never be as good as if you had started
| | 02:41 | with an original image that had
the right number of pixels in it.
| | 02:46 | While it's possible to split hairs about the
difference between PPI, Pixels Per Inch, and
| | 02:53 | DPI, Dots Per Inch, they are used
interchangeably, and they are essentially the same thing.
| | 03:01 | If you need to evaluate the image's resolution
in InDesign you can do this using two tools,
| | 03:10 | either the Links panel--with the image
selected in the Link Info it will tell me the image's
| | 03:17 | Actual PPI and its Effective PPI.
| | 03:21 | We see the same information on the Info panel,
and if you don't have the Info panel open,
| | 03:26 | you can get it from under the Window menu.
| | 03:30 | The difference between the two, the Actual PPI is
the resolution at the image's original document size.
| | 03:39 | The Effective PPI--which is by far the more
important of the two numbers--is the image's
| | 03:46 | resolution after any scaling has been performed.
| | 03:50 | If the image has been scaled up, the
Effective PPI will be smaller than the actual, and if
| | 03:56 | the image has been scaled down, the
Effective PPI will be larger then the actual.
| | 04:03 | In this case, because the image is at less than 100%,
the Effective PPI is larger then the Actual PPI.
| | 04:12 | All you really need to know is that this
number needs to be at least 300 pixels per inch.
| | 04:18 | You'll note that the Color Space of this
image is RGB. It is intentionally RGB because I'm
| | 04:24 | using a Color-Managed Workflow, and
I'll say more about that in upcoming movies.
| | 04:31 |
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| Cropping the cover image| 00:00 | When preparing your cover image,
avoid cropping the image too tight.
| | 00:04 | You will probably want to place cover lines
around the model, so it's preferable to have
| | 00:09 | a generous amount of background,
either side and above the figure.
| | 00:14 | For this reason, the image when viewed by
itself may appear too loosely cropped, but
| | 00:19 | in the context of the whole cover, you
need that extra space around the subject
| | 00:24 | So with this in mind, if you have the
chance to direct the cover photo shoot, or if you
| | 00:31 | are the photographer, capture
your subject with a loose crop.
| | 00:36 | When performing the final crop, rather than
do it in Photoshop--even though in Photoshop
| | 00:42 | CS6, you can crop non-destructively--I prefer to do it
in InDesign, simply by positioning and scaling the image
| | 00:51 | within a picture frame that is set to the cover bleed size.
| | 00:54 | If we go to the Layers panel,
turn off all the other layers.
| | 01:04 | The Fitting option for this picture frame
was set to Fit Content Proportionally, and
| | 01:10 | then the image has been
scaled within the picture frame.
| | 01:16 | If I select the Image content, I can scale
it using the following shortcut, Command or Ctrl
| | 01:20 | More Than or Less Than, and when I do
so, I am scaling from whatever is the chosen
| | 01:28 | point on the reference square
I actually want it to be the center point.
| | 01:35 | And then I can also nudge the
image using my cursor arrows.
| | 01:39 | I find that gives me more fine control.
| | 01:44 | If I want to go in larger
increments, I can hold down the Shift key.
| | 01:51 | So in a nutshell, capture the cover image with a loose
crop and then perform the final crop in InDesign.
| | 02:02 |
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| Working with color and tonal adjustments| 00:00 | If you've chosen wisely, your cover image shouldn't
require too much in the way of color or tonal adjustment.
| | 00:06 | That said, you may want to warm up or cool
down the mood of the image by adjusting its
| | 00:11 | color temperature, or white balance. Or perhaps
you want to make minor adjustments to the
| | 00:16 | shadow and highlight detail.
| | 00:18 | If you're the photographer, hopefully
you've captured the image in the Camera RAW file
| | 00:22 | format, or perhaps the image has been
supplied to you in the JPEG or TIFF file format.
| | 00:29 | Either way, you can make changes
non-destructively using the Photoshop Camera RAW plug-in.
| | 00:36 | So here, I'm beginning with a JPEG, but if
I want to do some minor editing to this in
| | 00:41 | Camera RAW, I can come and click on this icon right
here, or from the File menu I can choose Open in Camera RAW.
| | 00:51 | Since this is a JPEG image, there isn't as
much data as there would be had the image
| | 00:56 | been a Camera RAW file format,
but I still have the same tool set.
| | 01:01 | I'm just going to make a few
very minor adjustments here.
| | 01:04 | I have my Highlight clipping turned on and
my Shadow clipping turned on, and I see in
| | 01:10 | the highlights we have some highlight clipping
going on, and that's what those red splotches are.
| | 01:16 | So I'd like to get rid of those.
| | 01:17 | So I'm going to get my Highlights slider,
and I'm going to bring that slightly to the left.
| | 01:22 | It's far to the left but no further
so that those red splotches disappear, and
| | 01:28 | you can see that the Histogram on the right-hand
side has slightly moved in towards the center.
| | 01:35 | On the other side of the Histogram in the
Shadow area, we can see that the Histogram
| | 01:40 | is not going all the way to the left, so I'm
going to get my Black point slider and just
| | 01:46 | move that slightly to the left, and you
can see the histogram moving over to the left,
| | 01:53 | introducing a bit more
shadow detail. Let's zoom out.
| | 01:57 | Some other things that I might consider. Perhaps
I would like to open up some of the shadow detail.
| | 02:03 | Now I'm using a very light touch here, so
the changes are not going to be that noticeable.
| | 02:10 | This is a stock image from the Thinkstock
Online Library, and it doesn't really require
| | 02:17 | much in the way of me interfering with it,
but I am just going to slightly open up the Shadows.
| | 02:24 | I'm also going to add some Midtone
sharpening with the Clarity slider.
| | 02:30 | Something else to consider
is the Color Temperature.
| | 02:33 | If I wanted to cool this down slightly, then
I could move that to the left. Moving towards
| | 02:39 | blue is going to cool it down. Moving it
towards the right and yellow is going to warm it up.
| | 02:44 | I'm going to cool it down ever so slightly,
and then if I wanted to evaluate these changes,
| | 02:50 | I could come up here to the Preview.
That's going to turn them off.
| | 02:54 | That's how it was when we came in. And there we
are with the changes that I've made, very subtle.
| | 03:01 | I now can click Open Image. This is going to
take me into Photoshop where I will have to
| | 03:08 | then save the image, and because it's requiring
me to save the image, I'm leaving my original intact.
| | 03:15 | At that point I could save it as a TIFF file,
a JPEG file with a different name so that
| | 03:20 | I don't overwrite the original or as a PSD file.
| | 03:24 | If any additional masking were required, then I
would opt for the PSD or native Photoshop file format.
| | 03:32 | Since I don't anticipate any of that, I would
probably save it as a JPEG but with a different file name.
| | 03:39 | So those are just some of the things that you
might want to consider using the Camera RAW plug-in.
| | 03:43 | Just do some fine tweaks to the
color and tone of your cover image.
| | 03:49 |
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| Retouching the cover image| 00:00 | We've all seen covers of fashion magazines
where the models look like they've been sculpted
| | 00:05 | and airbrushed to within an inch of their lives.
| | 00:08 | We may also have seen some of the more aggressive retouching
jobs posted on blog sites like Photoshop Disasters.
| | 00:16 | It's possible that the magazine buying
public has become tired or cynical at seeing faces
| | 00:21 | and bodies that look other-worldly,
unbelievable, and unattainable.
| | 00:27 | When it comes to retouching, my
preference is to use a light touch.
| | 00:32 | You have to find your own
comfort zone and work within it.
| | 00:35 | Personally, I think if the blemish wouldn't on
a good day be there, then retouch it.
| | 00:42 | Pimples, stray hairs, unflattering
creases in clothing should be retouched.
| | 00:47 | A subtle smoothing of the skin, if necessary,
that's okay, but I have no interest personally
| | 00:53 | in plumping lips, reconstructing cheekbones,
or removing every last wrinkle and character
| | 01:01 | from the model's face.
| | 01:03 | Make your model look good,
but don't make them look unreal.
| | 01:06 | Here are some suggestions for
retouching with a light touch.
| | 01:10 | On the right-hand side, this one here, as we
look at the screen is the un-retouched version,
| | 01:17 | and on the left is the retouched version.
So, the following has happened:
| | 01:22 | The eyes have become sharper, the skin has
become softer, some very minor blemishes have
| | 01:29 | been removed, and the color temperature
of the image has been warmed up a bit.
| | 01:35 | So I'm now going to come to this, the beginning
version, and just run through those steps again.
| | 01:41 | And I'll come to Arrange and Consolidate All
to Tabs, so we're seeing just this one image.
| | 01:47 | So firstly, I'm going to come to the Channels
panel and Command-click or Ctrl-click on the
| | 01:53 | RGB Composite channel.
| | 01:55 | That's going to load the Luminance selection,
so it's everything that's 50% or brighter.
| | 02:02 | And then I'm going to copy that to a new layer,
Command+J, and come to the Filter menu, Blur > Surface Blur.
| | 02:10 | It's very similar to Gaussian Blur, but
Surface Blur has a Threshold slider, which by moving
| | 02:17 | it up, we can retain some of the edge detail.
| | 02:20 | So the higher the Threshold, the more
pixels are protected from this filter.
| | 02:25 | So, I'm going to use these values,
15 and 15, which I found to work well.
| | 02:29 | If we look at that layer by
itself, that's what it looks like.
| | 02:33 | We can see that we do have some of the teeth
in there, which we probably don't want to blur.
| | 02:39 | So I'm going to add a mask to that layer.
Press B to choose my Brush tool, and making
| | 02:46 | sure I'm working with an appropriately-sized brush,
| | 02:50 | I am then going to just paint over the mouth
area to protect that area from the surface blur.
| | 02:59 | Next, let's do some spot healing.
So, I'm going to zoom in--
| | 03:07 | And actually, when we zoom in, I
realize that this surface blur is too much.
| | 03:13 | I need to turn the Opacity of that layer down.
I'm going to turn it down to about 60%.
| | 03:19 | Now, we might see just a very few minor
blemishes or sun spots, and we're going to remove those.
| | 03:29 | I'm going to do this on a separate layer,
and I'm going to do it with the Spot Healing
| | 03:35 | tool, making sure I have Sample All Layers
checked and Content Aware as the source sampling type.
| | 03:45 | So now, I'm just going to adjust the size
of my brush so it's big enough to cover the
| | 03:49 | blemish and do nothing more than
just click and move around the image.
| | 03:58 | Wherever I see any minor blemish, I'm just
going to click on it to remove it like so,
| | 04:07 | and let's just zoom out.
| | 04:11 | Now, if I turn that off--there is the before--
you see there is a few over there.
| | 04:16 | There is the before, there is the after.
Next, I want to sharpen the eyes.
| | 04:22 | I'm going to come to the background layer
and convert this layer for Smart Filters.
| | 04:28 | That's going to enable me to apply a
filter to this layout non-destructively.
| | 04:34 | Back to the Filter menu, Sharpen > Smart
Sharpen, and I'm going to use a very high Sharpening
| | 04:42 | value here, much higher than you would
if you were sharpening the whole image
| | 04:47 | Ultimately, we're only going to be
sharpening the eyes, and perhaps the mouth.
| | 04:51 | I'll adjust my preview so that I'm looking
at the portion of the image that's relevant--
| | 04:58 | in this case the eye--an
Amount of 20 and a Radius of 40.
| | 05:02 | Now I'm going to come to the mask that comes
with that smart filter and fill it with black,
| | 05:08 | Option or Alt and the Backspace/Delete key, so
it's as if that was not applied in the first place.
| | 05:14 | Now I will zoom in on the eyes, and switching
my foreground color to white, and if necessary,
| | 05:21 | adjusting the size of my brush.
I'll press B to go to my Brush tool.
| | 05:26 | I'll just paint over the eyes
themselves just to make them a little bit sharper.
| | 05:37 | If we turn off that filter,
that's how it was, and that's how it is.
| | 05:43 | Now, in doing that we gain something, but
we've also taken a bit of a step back because
| | 05:48 | that sharpening has made some of the
redness in the eyes a bit too pronounced.
| | 05:54 | So we are going to add one more layer.
| | 05:59 | I'll call this layer healing, and then for this,
I'm going to come and choose my Healing Brush tool
| | 06:06 | I want to make sure that I'm working with an
Aligned Sample, and that I'm sampling All Layers
| | 06:15 | I'm at 100% view.
| | 06:19 | And now I have a 10-pixel brush, and it's
a soft brush, in very small strokes.
| | 06:28 | Don't try and do too much with any one stroke.
| | 06:30 | I'm just going to paint over
some of that redness in the eye.
| | 06:36 | And if necessary, I'll be resetting my
Sample Point as often as I need to.
| | 06:45 | Okay, sp let's just see what's happened there.
We'll turn that layer off.
| | 06:55 | There is the before, and there is the after.
| | 07:03 | And then to finish the whole thing off, I'm
going to add an adjustment layer, Color Balance,
| | 07:09 | and with this, I'm going to move slightly
towards red and away from cyan and slightly
| | 07:18 | towards yellow and away from blue, overall
just warming the whole thing up. And if we
| | 07:26 | turn that off, there is the
before, there is the after.
| | 07:30 | All in all, I think very subtle changes,
but it does result in a slightly better image.
| | 07:37 | Those are some things that you might want
to consider when retouching your cover image
| | 07:41 | but doing so with a light touch.
| | 07:46 |
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|
|
3. Creating the Cover in InDesignSetting up the cover document| 00:00 | Once we've chosen our cover image, it's
time to create the magazine cover document.
| | 00:05 | I'm going to do this in Adobe InDesign.
| | 00:08 | While a case can be made for using Photoshop,
or Illustrator as your creative hub, it's
| | 00:14 | my opinion that InDesign offers the most fully
featured and flexible suite of tools for this purpose.
| | 00:20 | That said, I will be demonstrating in later
movies a Photoshop and an Illustrator-based workflow.
| | 00:27 | I'm going to create a new document,
single page document, Print will be my Intent,
| | 00:33 | do not need Facing Pages.
| | 00:35 | My page size is going to be 8 inches by
11 inches which is a popular magazine size.
| | 00:42 | I am in picas as my default
unit of measurement currently.
| | 00:46 | I don't need to change that.
| | 00:48 | I can just type in the values in
inches, so long as I'm explicit, 8in, 11in.
| | 00:55 | I will have a single column, preferring to set up a
Layout Grid using Create Guides in the next step.
| | 01:03 | I want the margins to be uniform but a lot
smaller than they currently are, just to define
| | 01:09 | a safe area, an area in which I want to keep
all of my content so that it doesn't get too
| | 01:16 | close to the edge of the page.
| | 01:19 | And the value that I'm going to use
here is 5 millimeters, or 0.2 of an inch.
| | 01:27 | I do need a Bleed, and my Bleed is going to be
9 points, or 3 millimeters or 1/8th of an inch.
| | 01:36 | I don't need a Slug, the Slug being an
area outside of your page in which you can put
| | 01:42 | any information that may be relevant to the
project, such as creation date, modification date.
| | 01:49 | But I don't need that, so I'm going to just
click OK to now open that document in InDesign.
| | 01:55 | Here's the safe area guide, here's the bleed
area, and the next thing I want to do in this
| | 02:02 | setup step is create my Layout Grid.
This is entirely optional.
| | 02:07 | It's just how I like to work.
| | 02:09 | And because I want to be able to turn that
grid on and off with a single click, I will
| | 02:15 | be creating it on a separate layer.
| | 02:19 | Create a new layer. I'm going to call it guides, just
for no reason, then I like to use Magenta as the color.
| | 02:27 | I'm going to change the color code of that layer
and then come to the Layout menu, choose Create Guides.
| | 02:35 | I would like to have 5 rows, 3 columns, and I
prefer the guides to be fitted to the margins
| | 02:44 | rather than to the page.
So, that's my initial setup.
| | 02:50 | As I go along, I will be putting the
different content on specifically-named layers.
| | 02:57 | It's not absolutely necessary to do this,
but I do find that it helps to be able to
| | 03:03 | turn on and off the different content and to move
one part of the content above or below something else.
| | 03:11 | So I do find it does make for
an easier workflow to use layers.
| | 03:16 |
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| Placing and positioning the masthead| 00:00 | In this movie we are going to look at two
scenarios for getting a magazine masthead
| | 00:06 | onto a magazine cover.
Firstly, just a quick recap.
| | 00:10 | This is where we are going, this is the
finished version, and this is where we're at.
| | 00:15 | So, in this, the cover_inprogress document,
we want to place the masthead.
| | 00:21 | I'm going to switch over to Illustrator.
This is the masthead.
| | 00:25 | The masthead has been converted into Outlines.
The actual font used is Dido Bold.
| | 00:32 | But so that there is no possibility for
missing font problems to occur, the text has been
| | 00:38 | converted to Outlines to vector shapes.
| | 00:41 | So, the first approach is to place this
vector file which is saved as a native AI file,
| | 00:51 | Adobe Illustrator file, to place this in InDesign,
and I can do this using drag and drop through
| | 00:59 | Bridge, or as I'm going to do it this time,
File > Place, or Command+D or Ctrl+D, and then
| | 01:06 | in my Exercise folder, here
we have the masthead.
| | 01:14 | Okay, having done it this way, if I want to edit
this--as I will want to, because I'll want
| | 01:20 | to change the color of the masthead
according to the color palette that I'm using, from
| | 01:25 | month to month--then I would have to go back
to the original document in Illustrator, make
| | 01:31 | the changes there, and then use
my Links panel to update my link.
| | 01:38 | Another possible drawback of using this
approach is that when you place an Illustrator File
| | 01:44 | or a Vector File, its preview
can look very jaggy in InDesign.
| | 01:48 | Now, this is not going to effect how it prints.
This is just how we are seeing it.
| | 01:53 | And we can change to High Quality Display
if we want see it looking nice and crisp.
| | 01:59 | So, let's say I did want to change it, I
would have to come back to Illustrator, and let's
| | 02:07 | say we want it to be red.
| | 02:09 | I would Save it, return to InDesign, and my
Links panel now tells me that I have a Modified
| | 02:17 | link, and then when I click
Update, it updates in place.
| | 02:22 | So that's one approach
| | 02:24 | The other approach, slightly different, and
it's the approach that I'm going to use is
| | 02:29 | not to place or drag and drop the masthead
into InDesign creating a linked file, but
| | 02:37 | rather to copy and paste it so that
we have Editable Vectors in InDesign.
| | 02:43 | So, I'm going to delete that right now.
| | 02:46 | I'll come to my Layers panel, and I
will create a layer for my masthead.
| | 02:51 | Now, since I know that I want this layer to
go beneath my currently selected layer, I'm
| | 02:56 | going to hold down the Command Key, and
since I want to name it at the same time, I will
| | 03:01 | also hold down my Option key.
| | 03:03 | So, I'm holding down Command+Option or Ctrl+Alt
for Windows, clicking on Create New layer,
| | 03:11 | and I will call this masthead.
| | 03:15 | And then that goes to the
right place in the stacking order.
| | 03:19 | So, now I'll come back to Illustrator
| | 03:23 | I'm not really worried about what color it is at
the moment, because I know that's going to change.
| | 03:29 | So, I'm going to copy it,
switch back to InDesign, and paste it.
| | 03:37 | Now, to change its color, I would need to do
this: if I come and select it with my Direct
| | 03:45 | Selection tool, we then see the various
anchor points around the vector shapes, and I can
| | 03:51 | change its color at will.
| | 03:53 | So, rather than place the masthead, I prefer
to copy and paste the vectors from Illustrator
| | 04:00 | into InDesign for the added
flexibility that that gives me.
| | 04:05 |
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| Positioning, scaling, and cropping the cover image| 00:01 | Our next step is the Positioning, Scaling, and
the Cropping of the cover image and arranging
| | 00:06 | it with the masthead.
| | 00:08 | Here is our work in progress,
and here is the finished version.
| | 00:12 | So, returning to cover_inprogress1, first
thing I'm going to do is come to my Layers panel.
| | 00:19 | I'll come to the bottom layer, currently
layer 1, and I'm going to rename this cover image
| | 00:26 | I will then press the F Key to choose my
Rectangular Frame tool and to draw a frame from the top
| | 00:33 | left Bleed Guide all the way down to the
bottom right Bleed Guide, because I want my
| | 00:39 | image to bleed on four corners.
| | 00:43 | Then from the Object menu, I
will set the Fitting options.
| | 00:48 | I want the Alignment of the image in
this frame to be from its center point.
| | 00:52 | I want the Fitting to be
Fit Content Proportionally.
| | 00:56 | The Crop Amount will be 0, and
Auto-Fitting will be turned off.
| | 01:00 | So, now I'm going to switch to Bridge--or if
you prefer, you could use Mini Bridge, but
| | 01:07 | I'm just going to use Bridge--
| | 01:10 | Bridge is currently open in compact mode.
For me if you get there, and you find it's in
| | 01:16 | the full mode, you can switch between the
two by pressing Command+Return or Ctrl+Return.
| | 01:22 | Here is the cover image that I've chosen.
| | 01:25 | I'm now going to just drag
this into that empty frame.
| | 01:30 | I will dismiss Bridge. Because I chose Fit Content
Proportionally, we are seeing the image full frame.
| | 01:37 | Because the aspect ratio of the image and
the aspect ratio of the frame differ, we have
| | 01:44 | some empty space, top and bottom of the frame,
| | 01:47 | so the image needs to be scaled, and
it needs to be cropped within the frame.
| | 01:54 | I'll switch to my Selection tool, move over
the image and then click on the Content Selector.
| | 02:01 | To start with, I'll move the image down so that
it extends all the way to the bottom Bleed Guide,
| | 02:08 | and now I can scale the image up, and I
can do this in a couple of different ways.
| | 02:14 | If I zoom out so that I have a bit of
growing room, I can hold down my Shift key and then
| | 02:19 | just come and pull on one of the corners,
| | 02:21 | and that's going to make sure that
I scaled the image proportionally.
| | 02:24 | Alternatively, if I use my reference square,
the bottom portion of the image is now in place,
| | 02:30 | so I could lock that by clicking on the
bottom center reference point and then increase the
| | 02:37 | scale by using this shortcut, Command or
Ctrl+More than, that's just going to
| | 02:44 | increase the scale by 1% point every time I touch
those keys, and that's about where I want it to go.
| | 02:52 | I may also wish to adjust
its position left and right.
| | 02:55 | I'm just now nudging it over using my right
arrow, and I'm going to nudge it down a little
| | 03:02 | bit so that when we get to overlap the top
portion of the model's head with the masthead,
| | 03:08 | the overlap isn't too much, just a small amount.
So, I think that's the position that I want.
| | 03:15 | This may change, but for now
I'm going to leave it where it is.
| | 03:20 | One thing to be aware of is that
I've applied scaling to this image.
| | 03:24 | I want to make sure that the image is
still at least 300 pixels per inch so that it's
| | 03:31 | of sufficient resolution to print.
| | 03:33 | So if I select the image, if I come to the
Links panel--if you don't see the Link Info,
| | 03:40 | you can click on the disclosure triangle at
the bottom left of the Links panel to show that--
| | 03:46 | and this is the number that we are
concerned with, the Effective PPI.
| | 03:50 | We want to make sure that this is 300 or more.
As it's 369, so we are in good shape.
| | 03:57 |
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| Combining the cover image and the masthead| 00:00 | There are several approaches for combining
the masthead with the model's head.
| | 00:05 | We're going to overlap the top of the model's
head with the masthead, and since we're focusing on
| | 00:12 | an exclusively InDesign workflow, I'm going
to achieve this all within InDesign, so here
| | 00:19 | is where we left off.
| | 00:20 | Actually, I have to admit I have slightly moved
the model to the right from the previous movie,
| | 00:27 | just so that it corresponds in its location
with the finished version here, and all of
| | 00:33 | the other elements that I'll later add will fit
in the same way as they do in this finished version.
| | 00:39 | So we're in cover_inprogress 2, and I'm now
going to switch to my Pen tool by pressing P.
| | 00:46 | I'm going to zoom in on the area that we are
concerned with so that we can see a nice crisp
| | 00:53 | rendition of the picture.
| | 00:54 | I'm going to come to Display
Performance and choose High Quality Display.
| | 00:59 | Now I need to draw myself a pen
path around this portion of the hair.
| | 01:05 | I'll start just outside of that area.
| | 01:09 | The pen path I'm drawing currently has a black stroke.
I'm not really concerned with that at the moment.
| | 01:15 | Ultimately, the stroke will be set to None.
| | 01:20 | I'm going to turn off the masthead layer
so that we can see exactly where we're going
| | 01:27 | with this, so I'm clicking, and to make
the curved points, I'm clicking and dragging.
| | 01:35 | When I get to about here, I can then click
back on my starting anchor point, and that
| | 01:40 | will close the path.
| | 01:42 | Let's turn the masthead layer back on. I'll
now change the stroke color to None, so I'm
| | 01:49 | making sure I'm on the Stroke property,
I'll press forward slash, then I'm going to
| | 01:54 | create a new layer, and I'm going to move
this pen path to that new layer,
| | 02:00 | rename the layer cut out, and I will
move it up above the masthead layer.
| | 02:07 | Switching to my Selection tool by pressing
the V key, zooming out, I will come click
| | 02:14 | on the content selector of the cover
image to select the picture and copy that.
| | 02:20 | Now come to the cut out layer, click on that to select
the pen path, and from the Edit menu choose Paste Into.
| | 02:29 | Now let's zoom in on that area, I'll click
outside of the pen path to deselect it and
| | 02:36 | press the W key to hide the guides.
| | 02:40 | So a potential drawback of this approach,
staying exclusively within InDesign to do this is
| | 02:46 | that using the Pen tool, we don't get the
chance to make a subtle mask of the hair against
| | 02:54 | the background type, and we can see that there's
a slight problem here because we are not seeing
| | 03:00 | through the negative space that's
trapped within these colors of hair.
| | 03:05 | If we want to do that, then we need to go
and do this in Photoshop, and I'll be doing
| | 03:09 | that in a later movie, but for now
I'm going to leave it as is.
| | 03:13 | This is going to be relatively small,
and perhaps we can get away with it.
| | 03:18 | We could also just reposition the model so
that we sort of designed our way around the
| | 03:25 | problem, but I'm going to leave it as is.
| | 03:28 | I will just make a minor change to the pen
path, press P to select my Pen tool again.
| | 03:36 | Just so that I make sure I'm only selecting the content
that I want, I'll lock everything but the cut out layer
| | 03:45 | Making sure I'm on the cut out layer, I can
then select that point right there, and that
| | 03:50 | point right there, just so that we don't see a
white outline around the top of that curl of hair.
| | 04:01 | And then finally, this effect is achieved
by using two separate layers. We have the
| | 04:08 | image in one custom-drawn picture frame that
sits exactly on top of the whole image.
| | 04:17 | Obviously, it's very important that the relationship
between these two doesn't get disrupted, so
| | 04:22 | I'm going to lock both of those,
just to make sure that that can't happen.
| | 04:28 |
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| Creating a color palette| 00:00 | The colors you choose for your cover elements should
relate to and enhance the colors in your cover image.
| | 00:08 | It's a simple and an effective technique to
sample colors from the image and then apply
| | 00:13 | these colors to your cover elements.
| | 00:16 | There are a few different
ways we can go about this.
| | 00:20 | Before I sample colors from the cover image,
I'm going to go to the View menu and choose
| | 00:25 | Display Performance > High Quality Display
so that I have an accurate representation
| | 00:31 | of the colors that I want to sample.
| | 00:33 | I'm then going to press my I key
to choose my Eyedropper tool.
| | 00:38 | In the previous movie, I
locked the cover image layer.
| | 00:42 | I'll now need to go to that layer and
unlock it so that I can sample colors from it.
| | 00:49 | Let's zoom in so that we get a closer view, and
I want to get a nice gold color from this dress.
| | 01:01 | Now with color, context is everything, so
the color that you sample may end up looking
| | 01:06 | a little bit different when you
see it as just a flat color swatch.
| | 01:11 | I could try again because that's not quite
what I'm after, so I'm going to come to the
| | 01:15 | Selection tool go back to the
Eyedropper tool, and that's closer.
| | 01:23 | I'm now going to add that to my Swatches panel just
by dragging it down to the bottom of the Swatches panel.
| | 01:30 | That's going to allow me to use
that color repeatedly and consistently.
| | 01:35 | As I said, with color, context is everything,
so don't be afraid of modifying the color
| | 01:42 | slightly, and that's what I'm going to do next.
| | 01:44 | Since I have sampled the color from an RGB
image, we have an RGB color, and that's okay.
| | 01:51 | It'll print fine, but you maybe more
accustomed with seeing your color values in CMYK.
| | 01:59 | So I'm going to switch that, and then
looking at the CMYK values, I think I will just up
| | 02:05 | the yellow a little bit and maybe down
the cyan a bit, so I'm using those values.
| | 02:16 | Now let's put that color into practice.
| | 02:18 | I'm going to press A key, which will choose
my Direct Selection tool, click on my masthead,
| | 02:24 | and I can now apply that color to my masthead.
| | 02:29 | So there is the first and perhaps most direct
approach to creating a color palette, a custom
| | 02:35 | color palette from your image.
| | 02:37 | Of course, I could do that
repeated times to get other colors.
| | 02:41 | Another approach would be
to use the Kuler extension.
| | 02:45 | If I come to the Window
menu > Extensions > Kuler,
| | 02:53 | in the Create mode, this is going to allow
me to create a Color Theme or a group of five
| | 02:59 | colors that is suggested by your base color, and I
want my base color to be the color that I just made.
| | 03:09 | I can come and click on this icon to make
that my base color, and I now have a color
| | 03:16 | theme derived from that.
| | 03:18 | Currently using this color harmony rule,
Analogous, I'm going to change this to Complementary,
| | 03:27 | that's not quite what I'm after either,
so I'm going to switch to Compound.
| | 03:31 | Now let's say I like that, and I want to
add this Color Theme to my color palette,
| | 03:36 | I will just click on that
and those colors are all added.
| | 03:39 | Again, if I wanted to change the RGB values
to CMYK values, I could select all five of
| | 03:47 | those, come to Swatch Options, choose Name
with Color Value, and change the Color mode to CMYK.
| | 03:58 | We can use Kuler in a different way. We can use the
Kuler website, and if we come to the Create button,
| | 04:08 | now rather than Create From a Color, which is
what we were doing with the Kuler extension,
| | 04:13 | I'm going to Create From an Image and then
we can upload an image, and it will make a
| | 04:19 | color palette based on that image.
| | 04:22 | Now I don't want to upload the full-
resolution cover, because it would take too long, so
| | 04:27 | I have made a low-resolution version of it,
and it's that that I'm going to upload.
| | 04:32 | Now it is cover_lowres.
| | 04:41 | So there is the Color Theme the Kuler is
suggesting based upon the Colorful mood.
| | 04:47 | I can change the mood if I'd like for a
different result, and I can also customize it.
| | 04:53 | Back to Colorful, and if I think that this
is more or less what I want, but maybe I don't
| | 05:00 | like this particular color. I can mouse
over this color, and it shows me on the diagram
| | 05:06 | which color target this is referring to,
that one right there, and I can just move that
| | 05:11 | around to update that particular color.
And then we have a Custom Color Theme.
| | 05:19 | Now in order to use this in a document, we
will need to save it as an Adobe swatch exchange
| | 05:26 | file and then load it in our InDesign document.
You need to be logged into Kuler in order
| | 05:32 | to do this, and for that, you will need a
login and password. It's free to get one.
| | 05:37 | I highly recommend you do.
| | 05:39 | I'm just going to call this cover, and I'm
going to save it, there it is right there.
| | 05:47 | I can now come and download this, and I'm
going to save it in the Exercise Files folder.
| | 05:57 | Now switch back to InDesign, and on my Swatches panel I
can choose Load Swatches, and there are all the colors.
| | 06:08 | When you bring them in from Kuler, they come
in as hexadecimal values, so as we did with
| | 06:14 | the RGB values, you may wish to convert these
to CMYK colors, which we can do with our Swatch
| | 06:22 | Option, Name with Color
Value, set the Color mode CMYK.
| | 06:28 | A third more customized but more labor-intensive
approach is to do this in Photoshop, and I'm
| | 06:35 | working with a low-resolution version of this
image. Very important that we don't work with
| | 06:40 | the real cover image.
| | 06:42 | I'm then going to come to the Filter menu
and choose Pixelate > Mosaic, and I want to
| | 06:48 | use a Cell Size that is going
to completely abstract this image.
| | 06:52 | Let's go for that, and these are the
essential colors for the image, and I'm now going to
| | 07:00 | add some of these colors to my Swatches panel.
| | 07:03 | To do that, I want to be in my Eyedropper tool,
and I'm going to hold down my Option or Alt
| | 07:09 | key as I move over an empty space on the
Swatches panel, and then I can just click, and I can
| | 07:15 | do that for as many times as colors I want.
| | 07:24 | So let's go with those five. I now want to
use those swatches in InDesign, so I need
| | 07:32 | to get them out of Photoshop
in Adobe Swatch Exchange Format
| | 07:37 | I'm going to come to the Edit menu and to my
Presets and Preset Manager and to my Swatches,
| | 07:46 | I'll select just those five, and then from this cog
thing here, I'll choose Save Swatches for Exchange.
| | 07:57 | I'm going to call it mosaic1. I already
have one called mosaic in there, so rather than
| | 08:02 | overwrite that, and I can click Done and
now return to InDesign, and on my Swatches
| | 08:10 | panel there, Load Swatches. And I have
those five swatches loaded once again.
| | 08:19 | If I want to convert them to
CMYK values, I can do that, like so.
| | 08:27 | Three different approaches, you can combine
these if you want to, creating a color palette
| | 08:33 | that is suggested by your cover image.
| | 08:36 | The first is using the
Eyedropper tool in InDesign,
| | 08:39 | the second using Kuler, and the third, abstracting
the image in Photoshop with the Mosaic filter.
| | 08:46 |
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| Adding cover lines| 00:00 | The cover lines are for an enticement to
what's inside the magazine, and in an increasingly
| | 00:05 | competitive marketplace, it's become common
to surround the cover model with as many cover
| | 00:11 | lines as will fit, giving the impression of a
magazine brimming over with exciting content.
| | 00:18 | So I'm in the cover_inprogress4 document,
and on the Pasteboard we have a text file.
| | 00:24 | That is the cover lines.
| | 00:26 | Now, your cover lines should be short and
they should be to the point. The wording of your
| | 00:31 | cover lines is essential, finding the right
tone for the magazine and the right length
| | 00:35 | to fit the available space.
It needs to be very carefully considered.
| | 00:39 | I'm going to concentrate
here on the typographic choices,
| | 00:43 | the typeface, its size, its color, its type
style, and other attributes, like its letter
| | 00:50 | spacing and its leading.
| | 00:53 | So I'm going to zoom in here and select
the text for what will be my main cover line.
| | 00:59 | I'm then going to cut that from this text
frame and click and drag to make a frame on my page.
| | 01:09 | I'll turn on my hidden characters.
I'm going to press Delete so that I bring
| | 01:16 | the end of story marker back to that last line.
| | 01:21 | I would like these textframes to be on a
separate layer, so before I go any further, I'm going
| | 01:27 | to select them both.
| | 01:28 | I'm going to create a new layer, move those
elements to that new layer, rename the new
| | 01:34 | layer cover lines, and then drag that up
so that it is just below the guides layer.
| | 01:41 | Now first and foremost, I am going to choose my typeface,
so I'm going to use Myriad Pro for several reasons.
| | 01:49 | One is that we have Myriad Pro in a variety of whites.
| | 01:53 | It comes installed with InDesign, so I know
that if you are a premium subscriber and following
| | 01:58 | along you also have this font, and it's
also a very nice contemporary font that walks a
| | 02:06 | line between being impactful and being
contemporary and being modern all at the same time.
| | 02:14 | I do want to use it in all uppercase so that
we can make the type look as dense as possible
| | 02:21 | and so that the space between the lines looks as
consistent as possible without any descenders or ascenders.
| | 02:30 | I'm then going to adjust the relative
sizes of these two bits of type, and that's all
| | 02:36 | I'm concerned with really at
the moment, their relative sizes.
| | 02:40 | So I'll increase that first line, get that to
about there, and then I'm going to select both lines.
| | 02:48 | I would now like to apply some negative
tracking to make the type a bit denser still
| | 02:54 | so that it's now occupying less horizontal space,
and I can now increase the size a little bit more.
| | 03:03 | And then I'm going to add
in a line break right there.
| | 03:07 | I'm going to adjust the leading,
bringing those two lines close together.
| | 03:11 | I want the leading to look consistent
across these three lines, which I think it does.
| | 03:15 | I am now going to fit my frame to my content.
That didn't have quite the effect I wanted.
| | 03:23 | I'm going to come and select all of that type.
| | 03:26 | Definitely, I want to make sure
that no hyphenation is happening.
| | 03:29 | I'll add in a line break right there.
| | 03:33 | I will fit the frame to the content again by
double-clicking on the right-center handle,
| | 03:39 | and I'm now going to stretch this out, or
rather scale it up, holding down Command+Shift or
| | 03:47 | Ctrl+Shift to make it occupy
as much of that space as it can.
| | 03:50 | I need to adjust that so that we don't get
the words overlapping too much of the image.
| | 03:58 | Let's make that a little bit bigger, select
that first paragraph, make that a little bigger,
| | 04:10 | pull that down a fraction.
| | 04:13 | So there is my first cover line. I've
deliberately left it just in black for the time being.
| | 04:18 | 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.
| | 04:24 |
| | Collapse this transcript |
| Using paragraph styles with cover lines| 00:00 | Here's where we left it. We have the main cover
line in position, and we now need to add the others.
| | 00:06 | Because the arrangement of the cover lines
around the picture needs to be very flexible,
| | 00:11 | I'm treating each cover line as a separate
textframe which I can independently drag into position.
| | 00:17 | For a most sober cover treatment, it might
be preferable to keep all the type within
| | 00:22 | a single textframe and adjust the spacing using
the paragraph formatting options on the Control panel.
| | 00:31 | But that's not what I'm going to do here.
I am, however, going to use Paragraph Styles.
| | 00:37 | Now for a very free-form approach like we
have here, some people might prefer to use
| | 00:43 | the Eyedropper tool, and that would probably
be quicker, but ultimately using Paragraph
| | 00:49 | Styles is going to give us more
flexibility in terms of how we edit the end result.
| | 00:55 | So it does involve a bit of
investment up front, but it will pay off.
| | 00:59 | I'm going to come to my Paragraph Styles,
and with my cursor in the main cover line,
| | 01:08 | I'm going to call this kicker1, Apply to
Selection, and then I'll come and choose the explanatory
| | 01:16 | line, and I'll call that explanatory1, okay.
| | 01:24 | Now, moving up to my text file on the
Pasteboard, I'm going to select all of those, and we will
| | 01:34 | apply kicker to all of that, and that's going
to make it go a little bit weird for a while,
| | 01:42 | but then every other line we'll
come and apply the explanatory to.
| | 01:48 | Okay, and these two actually
don't have explanatory lines.
| | 01:56 | This text which I'm going to cut from that
textframe is for the sticker and the flash.
| | 02:03 | I'm just going to put that in a
separate textframe on the Pasteboard.
| | 02:07 | Right, now that that's--we have the starting
point of some formatting applied to this text,
| | 02:15 | I will cut that cover line and
come and paste it about there.
| | 02:23 | So this needs to get smaller.
| | 02:28 | I'm going to scale it down,
I'm going to adjust the leading,
| | 02:33 | and I'm now going to create a new paragraph
style based upon that, which I'll call kicker2.
| | 02:40 | You'll notice--and very importantly--it's based on
kicker1, and I'll use the same approach for the explanatory1.
| | 02:49 | I want to make that smaller,
so it fits on a single line.
| | 02:52 | Let's just remove that end of paragraph mark.
| | 02:58 | Hold down the Alt key, click on the New
Paragraph Style icon, and we will call this explanatory2,
| | 03:08 | then I will fit the frame around the content.
| | 03:11 | Let's cut the next cover line and paste that
into a frame, and I think this needs to get
| | 03:24 | a little bit smaller still.
So same approach, let's scale it down a bit.
| | 03:30 | So I'm continuing to scale this, I'm going
to add a line-break, a Shift+Return to force
| | 03:35 | the lines to break in a certain way, and
then I'm going to create a new paragraph style
| | 03:41 | for that, which will be called kicker3, based
on kicker2 which itself is based on kicker1.
| | 03:48 | The style is applied to the selection.
| | 03:50 | I think I'll keep the
explanatory line the same size.
| | 03:53 | Let's take the next one, and we'll put that
in a frame right there, and this can be kicker3.
| | 04:06 | This begins with a Plus symbol. If we
just take a look at the finished version, we
| | 04:10 | want the type to be indented, and we'll
have the Plus symbol in a separate color.
| | 04:15 | So I'm going to add an indent to here
character just before the T, and the keyboard shortcut
| | 04:22 | for that is Command or Ctrl+Backslash
| | 04:28 | And again, another line break just to force
the words to break in a way that both enhances
| | 04:34 | the readability and hugs the
contour of the model's picture as well.
| | 04:41 | Now we are going to have to come back and
just adjust the exact positioning of those, but
| | 04:47 | they are more or less in place.
| | 04:50 | This final one that we left
with that can be kicker3.
| | 04:55 | Let's move that one over on the right-hand
side. You can see my smart guides kicking
| | 05:02 | in there indicating that this textframe is
at the same height as the textframe on the
| | 05:08 | left, which I'm not sure that's where we want it.
| | 05:15 | But I'm just going to put
it there for the time being.
| | 05:19 | So we now have the cover lines more or less in
the right position, more or less at the right size.
| | 05:25 | We need to change their colors, we need to refine
their position, and we'll do that in the next movie.
| | 05:32 |
| | Collapse this transcript |
| Refining cover lines| 00:00 | Part 3 of adding and refining the cover lines.
We are going to have to scrunch things up
| | 00:06 | a bit down here, because one thing
that I forget to consider was the Barcode.
| | 00:11 | So I am going to place the Barcode, and let's
create a new layer for this, I'll press Command+D
| | 00:20 | or Ctrl+D in the Exercise Files folder,
place this, and I am going to put it right there.
| | 00:29 | I want it to go in the bottom corner.
| | 00:31 | So things need to move up to allow
room for that. I am going to lock the Barcode,
| | 00:38 | come back to the Color Lines
layer, and that looks better now.
| | 00:51 | In each case, I am going to fit the contents
to the frame, I am coming to each text frame,
| | 00:56 | and double-clicking on its bottom center handle,
need to make sure that the end of story marker
| | 01:03 | is on the last line of those
pieces of type for that to work.
| | 01:09 | And having done that, we should be able to
a make sure that they are using our smart guides.
| | 01:13 | You can see those green lines kicking in
there, that the distance between all of
| | 01:19 | these elements is the same.
| | 01:27 | I am now going to come and just position this
piece on the right, let's drag down our guides
| | 01:37 | to the baseline, right there, and we'll
nudge this one up and over a fraction. Okay.
| | 01:53 | Now we get to see the benefit of having used
Paragraph Styles, because we want to experiment
| | 01:58 | with some colors here.
| | 02:00 | I am going to come to my primary cover
line and select that, go to my Swatches panel.
| | 02:06 | Now when I was creating the Color Palettes,
I've added a lot of colors using different approaches.
| | 02:11 | I don't need all of these and
ultimately some of these we will discard,
| | 02:15 | but I am going to apply this
color to that first cover line.
| | 02:20 | And if I like that, and I do, I am then going
to Redefine this Style based upon that selection,
| | 02:31 | and you see that when I do that, because
the kicker2 and the kicker3 are both based
| | 02:36 | on that, they will also change.
| | 02:38 | I am going to use the same approach for the
explanatory line in the original. I ended up
| | 02:45 | using just a 50% black, and that ultimately
may be what I do here as well, but for now
| | 02:52 | let me try that one, how does that look?
I'm going to create a 50% black.
| | 03:04 | So after all of my jumping through hoops
to create the color palette, I am essentially
| | 03:08 | over-ruling it now and just
creating colors independently.
| | 03:15 | So I want a tint of 50%.
| | 03:18 | I want that to be rolled out across my other
explanatory lines, so I'll Redefine Style based upon that.
| | 03:27 | Let's see how all of that looks without the guides.
Maybe we would like our kickers to be in a Bold Font.
| | 03:38 | Currently everything is regular.
Let's see what happens when we do that.
| | 03:43 | If I turn on my Preview, things go a little
awry, and that's because the type is now too
| | 03:51 | big to fit inside those frames.
| | 03:53 | And now I am going to try this, I am going
to Undo that first of all, come to my Cover Lines,
| | 03:58 | select all of those Text Frames, and then
from my Text Frame Options, go to Auto-Size,
| | 04:05 | and I will turn on my Auto-Size Option.
| | 04:08 | So when the type gets bigger, the text
frames will grow accordingly, and I want that to
| | 04:14 | grow from the top left. This option
is only available in InDesign CS6.
| | 04:19 | So now when I go in Edit kicker1, great!
Those frames adjust their size accordingly.
| | 04:33 | So there we have our cover lines in
position. It's looking rather cramped,
| | 04:38 | so I could go on refining that and refining
it for some time, but that's essentially the technique.
| | 04:43 | It does need some tweaking, but I am
going to live with it as it is for now.
| | 04:47 | And then in the next movie, what we're going
to do is add a few additional cover elements.
| | 04:52 |
| | Collapse this transcript |
| Including additional elements| 00:00 | If you've been following along and have
just seen the adding cover lines movies, I have
| | 00:05 | to confess I have done some housekeeping
since you saw this document last.
| | 00:09 | I've made some changes using Paragraph Styles
to the sizes of the different styles, I have
| | 00:16 | adjusted the spacing between these elements,
I have done some housekeeping on the Swatches
| | 00:22 | panel, removing all the unnecessary
color swatches that I don't intend on using,
| | 00:28 | and I've also made a tweak up here. We had
a problem with some optical spacing here,
| | 00:34 | where since we're using such a large font,
if we place the edge of the text frame on
| | 00:40 | the margin, then it looks like we have got
extra white space to the left of those characters.
| | 00:46 | We didn't want that.
| | 00:48 | That was one part of it, and then in this
smaller paragraph, I've had to add a small amount
| | 00:54 | of left indent, again, to make sure that the
left-hand edge of this type corresponds optically
| | 01:01 | with the left-hand edge
of the larger type above it.
| | 01:04 | Okay, so I just wanted to come clean on those
things in case you thought, wait a minute, that looks
| | 01:10 | a little bit different to how we left it.
| | 01:13 | Two things I want to add here, we want to
add a flash across the top left-hand corner
| | 01:19 | and a sticker in this space right here.
| | 01:22 | So both of these deal with two of the pressing
issues of our time, Good Hair Days and Free Shampoo,
| | 01:30 | so I am going to just cut them into two
separate text frames, I'll select the
| | 01:36 | type in this one by pressing Command+A or Ctrl+A.
| | 01:40 | I am not going to bother with Paragraph Styles here.
I am just going to do this all with local formatting,
| | 01:44 | Command+6 to jump to my Font menu, Myriad Pro,
Command+Shift+K to make it all upper case.
| | 01:52 | I think, actually, we probably are going to
need to use Condensed type because we have
| | 01:57 | a lot to fit into a small amount of space.
| | 02:00 | So I'll make that Condensed, and I'll make the top
line Bold Condensed, we'll make both paragraphs centered.
| | 02:08 | I want to center this vertically as well
within the frame. Before I do that, though, I will
| | 02:14 | just reduce the leading on that second
line to bring the two lines closer together.
| | 02:19 | I want to center vertically within the frame, so I
am going to go to the Object menu > Text Frame Options.
| | 02:26 | All right, we are now ready
to move this into position.
| | 02:30 | I'll choose my Center Reference Point on the
Reference Square, press R for my Rotate tool,
| | 02:38 | spin that around, drag it into position.
Let's apply a Fill Color. I am going to use 50% black,
| | 02:46 | which I've added to the Swatches
panel since you last saw this document.
| | 02:50 | I want to make sure that it definitely goes
all the way to the bleed guide, so if necessary,
| | 02:55 | I am going to increase the size of that, and
I need to make sure that the Type is within
| | 03:02 | the safe area as defined by
the magenta and purple lines.
| | 03:07 | So that all needs to come down a bit and get a
little bit smaller, all right! I think that's okay.
| | 03:16 | Let's make this one a little bit bigger and
then with the frame selected, I'll come to
| | 03:22 | the Effects panel, and I am
going to adjust the opacity on this.
| | 03:26 | I don't want to adjust the opacity of the
whole object because that's also going to
| | 03:29 | reduce the opacity of the type.
| | 03:30 | So I am going to go to Fill
and change the Opacity to 60%.
| | 03:36 | Next, we need a sticker.
| | 03:41 | Now on the original, I didn't make the
sticker a peeling sticker, which is a very popular
| | 03:47 | thing to do, but I will here.
| | 03:49 | I am going to just do a quick
run-through on this technique.
| | 03:52 | If you want to check out Mike Rankin's InDesign Effects
Title, he has a movie devoted to creating a peeling sticker.
| | 04:00 | I must also mention that I added a
date and a price line right there.
| | 04:08 | So to start with, let's just work with this
text for a little bit, some basic things that
| | 04:12 | we need to do to this.
| | 04:13 | We want it to be centered, we
want it to be all upper case.
| | 04:17 | We want it to be Myriad Pro.
| | 04:20 | I want the first and the last
lines to be bigger and bolder.
| | 04:27 | It's going to look something like that.
This needs to come up a little bit more.
| | 04:30 | So I'll adjust the leading on that, make that into
one single paragraph and adjust the leading on that too.
| | 04:38 | All right! We can get back to that in a moment.
| | 04:42 | Rather than put this inside the circle shape,
I am going to put it on top of the circle
| | 04:46 | shape and then align it too.
I find it's a bit more flexible in that way
| | 04:51 | Then I will choose my Ellipse tool.
| | 04:53 | I want to make sure that I have a Fill of
Black 50% and a Stroke of None, but I don't
| | 05:00 | want to apply to that.
| | 05:01 | So I am going to deselect that first,
then come and choose those properties,
| | 05:08 | Option+Shift as I draw my circle to make it a perfect
circle, and now to create the peeling sticker effect.
| | 05:17 | In a nutshell, it is this, take your
Scissors tool, place two anchor
| | 05:22 | points somewhere at the bottom of the circle
wherever you want it to peel, and what that's
| | 05:27 | done is made a separate segment, and I am
now going to come and choose the top-center
| | 05:32 | point on my Reference Square
and flip that vertically.
| | 05:36 | Then I want to apply a gradient to that.
| | 05:39 | But before I can see the gradient, I am
going to need to bring this portion to the front
| | 05:44 | because it's currently gone behind
the larger part of the circle.
| | 05:48 | So I'll bring that to the front, and if I
fill it with white, you can see what I mean.
| | 05:53 | But actually, we want to fill it with a
gradient. I seem to have lost my Gradient panel, so
| | 05:57 | I am going to come up to the Window menu and
Color to get it back, and then I am going to
| | 06:03 | just apply that Gradient to it.
| | 06:05 | So I have the color stop. There is the Black 50%,
and I have brought that in towards the center.
| | 06:14 | I'll now use the Gradient tool.
| | 06:15 | I want the lighter part of the
gradient at top of that curl, like so.
| | 06:22 | And now I am going to add a Drop Shadow to that,
and the Drop Shadow needs to have no offset.
| | 06:31 | I am going to change the Angle so the shadow
is cast over the sticker, and then the Y Offset
| | 06:39 | needs to get dramatically
reduced, something like that.
| | 06:44 | I'll reduce the Opacity a bit.
| | 06:47 | I'll select the largest circle and give that
a Drop Shadow, too, and take the X Offset off
| | 06:55 | and reduce the Y Offset and the
Distance and reduce the Opacity.
| | 07:03 | Of course, you can just
adjust these numbers to your taste.
| | 07:06 | So there is my sticker with a peel at the bottom.
| | 07:09 | I am now going to select those two shapes
that make it up and group those together,
| | 07:15 | Command+G, I'll select the Type, position
that over it if necessary, and it is necessary,
| | 07:21 | bring it to the front, Command+Shift+Right square bracket.
I'll reduce the size of that as necessary.
| | 07:29 | Let's make that white, and we'll make that white.
| | 07:40 | This is why it's easier to do this
with the Type in a separate frame
| | 07:45 | If this were actually in the circle, it
would be much more fiddly than it already is. Okay.
| | 07:56 | Then so, if that's how I like it, I can then
select this and select the group beneath it
| | 08:05 | and then using my Align panel, I can align
the horizontal centers and the vertical centers,
| | 08:15 | then group all of that together, move that into
position and just rotate it accordingly, like so.
| | 08:31 | Okay, we have ourselves a magazine cover.
| | 08:35 |
| | Collapse this transcript |
|
|
4. Preparing for PrintCreating a preflight profile| 00:00 | Now that we have our magazine cover designed,
it's time to start preparing it for print.
| | 00:05 | Before we make a print-ready PDF, we are going to preflight
our document using InDesign's Live Preflight feature.
| | 00:14 | Down here it says no errors, and
that's always a good thing to see.
| | 00:18 | And preflighting has been happening
while we've been working on the document,
| | 00:22 | but the Preflight profile or list of criteria
that our document has to match that has been
| | 00:28 | used is just the basic working profile.
| | 00:31 | And the basic working profile
isn't rigorous enough for our needs.
| | 00:36 | So we are going to create
our own preflight profile.
| | 00:39 | From the Preflight panel, I am going to choose
Define Profiles, I am going to call it Magazine,
| | 00:47 | and then it's just a question
of checking the relevant boxes.
| | 00:50 | So, starting out with the LINKS, I
am going to leave those two checked.
| | 00:55 | In the COLOR section, I want to make sure
that the Transparency Blending Space is CMYK.
| | 01:03 | It's highly unlikely that it wouldn't be,
| | 01:05 | but just to make sure, it's not
going to hurt to have that checked.
| | 01:09 | I also want to be informed of any
overprinting or registration having been applied.
| | 01:15 | Again, highly unlikely that such a problem would exist,
but it's not going to hurt to have the boxes checked.
| | 01:23 | More relevant and far more likely to
be an issue is the image resolution.
| | 01:28 | As we have discussed, we want the
image resolution to be 300 pixels per inch.
| | 01:32 | So, I am going to twirl that one open,
and put 300 as the value in there.
| | 01:40 | Then I will also do the same for grayscale
images, even though it's unlikely that we'll use any.
| | 01:48 | I am also going to increase the resolution
for the 1-bit image, but again, even more
| | 01:54 | unlikely that we would use those.
| | 01:57 | Non-Proportional Scaling of Placed Object, this
will inform us if we've distorted any of the images.
| | 02:06 | I would like to make the Minimum
Stroke Weight one-quarter of a point.
| | 02:13 | In the TEXT area, I'd like to be informed
of any overset text, any missing fonts, any
| | 02:21 | non-proportional type scaling.
| | 02:26 | And in the DOCUMENT area, I'd like to be
informed of any blank pages, and in the Bleed and Slug
| | 02:34 | Setup, we want to make sure that
the minimum bleed size is 9 points.
| | 02:39 | We are not using a slug, so that's not relevant.
That is pretty much it for our criteria.
| | 02:47 | I am now going to click OK.
| | 02:49 | And then we need to turn that profile on, and the
preflighting is now happening using this profile.
| | 02:59 | If we are packaging this document to send
to a colleague, we can click this button here
| | 03:04 | to embed the profile with the document.
So I see no errors, which is good.
| | 03:09 | I am now going to do something
that will cause an error to happen.
| | 03:13 | Let's say we said we wanted no
non-proportional type scaling.
| | 03:17 | I am going to do that, and then you see
that when I do that, I now have an error.
| | 03:24 | To troubleshoot the error, I would
come to my Preflight, twirl that one open.
| | 03:29 | It gives me a hyperlink to where the error is,
and then it's up to me what I want to do with it.
| | 03:35 | Obviously, in this case, I am going to just press
Command+Z or Ctrl+Z to go back to how things were.
| | 03:42 | So now that we've preflighted our document,
we are ready to go and make a print-ready
| | 03:47 | PDF, and that's going to be
the topic of the next movie.
| | 03:52 |
| | Collapse this transcript |
| Making a print-ready PDF| 00:00 | So, I have preflighted my magazine cover document
using the Preflight Profile created in the previous movie,
| | 00:07 | we have no errors, and we are now ready to make a
print-ready PDF to send to the commercial printer.
| | 00:14 | The exact PDF settings you choose will vary
according to how and where your cover will be printed.
| | 00:21 | As I mentioned in an earlier movie,
a very useful tool is the telephone.
| | 00:26 | Talk to--or better still--meet in person your
printer to discuss the needs of your project,
| | 00:33 | including expectations and costs.
| | 00:36 | To create the PDF, I am going to use a
slightly modified version of the PDF/X-1a standard.
| | 00:43 | The PDF/X standards have been created to ensure predictable
and consistent printing in a professional print environment.
| | 00:51 | PDF/X-1a is the standard recommended by the
Professional Publishers Association or PPA,
| | 00:59 | a publishing industry body which promotes
best practice in the UK magazine industry.
| | 01:05 | It ensures that all colors in the InDesign
document are converted to CMYK colors using
| | 01:11 | the CMYK working space as defined
in the Color Settings dialog box.
| | 01:17 | So, I am just going to back out of here for
a moment, because that brings up a few things.
| | 01:23 | Because the colors are converted to CMYK
by the PDF Export preset, it's not necessary
| | 01:29 | to first convert them to CMYK in Photoshop.
| | 01:34 | This means that we're working with an RGB
image in the document, and so that we don't
| | 01:40 | set ourselves up for any false expectations,
number one, we want to make sure that we are
| | 01:46 | working with a calibrated monitor, and
number two, we want to soft-proof our document, i.e.:
| | 01:52 | we want to see it how it will look
when the colors are converted to CMYK.
| | 01:58 | We can soft-proof our
document using Proof Colors.
| | 02:01 | Now, when you choose that, you may notice
that the colors become a little bit flatter,
| | 02:07 | a little bit duller, depending on
the colors in your original image.
| | 02:11 | It says now on my title bar that we
are proofing in Document CMYK colors.
| | 02:18 | Document CMYK colors are those
defined in the Color Settings file.
| | 02:26 | Each of the applications of the Creative Suite,
Photoshop, Illustrator, and InDesign, have this
| | 02:32 | same Color Settings dialog box where you can
choose the Settings file that you are working with.
| | 02:39 | And as part of that Settings file, you will
get an RGB working space, a CMYK working space,
| | 02:47 | and conversion options which determine
what color management engine is being used and
| | 02:53 | what is the rendering intent.
| | 02:54 | Now, if you want more information about this
stuff, I highly recommend that you check out
| | 03:00 | Chris Murphy's Color Management Essential Training
here in the lynda.com online training library.
| | 03:08 | I can't tell you exactly what settings you need
to use. You should speak to your printer about that.
| | 03:14 | But I can say that they almost certainly will
want to be synchronized across the different
| | 03:20 | applications of the Creative Suite.
| | 03:23 | We can do that. You can see that I am currently
unsynchronized. We can synchronize using Bridge.
| | 03:28 | So when I come to Bridge--and I will switch
Bridge now to my Full mode--I can then come
| | 03:35 | to the Edit menu and choose
Creative Suite Color Settings.
| | 03:42 | Then I choose the
Settings file that I want to use.
| | 03:45 | I am going to use North America Prepress 2.
| | 03:51 | The European equivalent for
this would be Europe Prepress 3.
| | 03:56 | Both of these settings files use
CMYK profiles that are generic profiles.
| | 04:02 | I will now switch back to InDesign.
| | 04:06 | And by that, I mean that they broadly
describe this printing circumstance, U.S Web Coated.
| | 04:14 | You may be able to get a better result using a
custom CMYK profile that specifically describes
| | 04:22 | your output device or the
characteristics of your output device.
| | 04:27 | Talk to your printer about
getting a custom CMYK profile.
| | 04:31 | They may be able to supply you with one.
| | 04:33 | So back now to the PDF preset, and I'm just
going to make a few changes here, I want to
| | 04:39 | turn on View PDF after Exporting.
| | 04:45 | You can see that in the Compression settings,
anything bigger than 450 pixels per inch will
| | 04:51 | be down-sampled to 300 pixels per inch.
| | 04:56 | Marks and Bleeds, here I'm going to turn on my Crop
Marks, my Registration Marks, and my Page Information.
| | 05:04 | I'm going to make the Offset 12 points just to
offset those marks slightly further away from the edge.
| | 05:12 | I'm also going to turn on
Use Document Bleed Settings.
| | 05:16 | Since we have established a Bleed Guide in
this document, we want to use it in the PDF
| | 05:22 | that we generate from it.
| | 05:22 | Now, here is the important bit that I
was talking about with the color conversion.
| | 05:26 | You can see that the colors will be
converted to your destination profile.
| | 05:32 | Your destination profile--there it is it's the one
that we saw just a moment ago in the Color Settings.
| | 05:38 | That's our document CMYK profile.
| | 05:41 | In the Ink Manager, not relevant for us now,
but if we did have Spot colors, Pantone colors
| | 05:48 | in our document, we could check all spots to process
to make sure that they were converted to CMYK colors.
| | 05:58 | The PDF/X-1a standard generates
an Acrobat 4 compatible file.
| | 06:04 | In an Acrobat 4 file, layers are not supported,
which means that all the content will be flattened
| | 06:12 | to a single layer in the resulting PDF.
| | 06:15 | So for this reason, it's also necessary
to create a Transparency Flattener preset.
| | 06:21 | Once you have created the Transparency
Flattener preset, it can be incorporated into your
| | 06:27 | PDF Export options here in the Advance settings.
| | 06:31 | You can see that this is using the
higher resolution Transparency Flattener.
| | 06:36 | I am actually going to back out of here now, and I am
going to make a custom Transparency Flattener preset.
| | 06:43 | And to do that, I can come to the Edit menu where
we start out with these three pre-defined presets.
| | 06:52 | I am going to click on High Resolution and
then click New, and I am going to call this
| | 06:58 | Higher because I want the Line Art and
Text Resolution to be double what it currently is.
| | 07:05 | And I could also--and these are the settings
recommended by the PPA, the Professional Publishers
| | 07:13 | Association--I am going to make that 600.
| | 07:17 | Even though as it tells me in the warning
message I'm about to get, I may not see much
| | 07:22 | improvement for that, but I
am going to choose that anyway.
| | 07:25 | Now, I have made that Transparency Flattener.
| | 07:29 | That gets incorporated into the
PDF preset in the Advanced Options.
| | 07:39 | And since I backed out of here, I will
need to just change the settings for the Marks
| | 07:46 | and Bleed, and the Document Bleed settings.
| | 07:49 | Now, I have made a few changes here, and so
that I don't have to make these same changes
| | 07:54 | again, I am going to save this as a preset.
| | 07:59 | Thereafter, I will be able to choose it from the
PDF Presets menu, and I'm now going to export that.
| | 08:09 | And there is the resulting
PDF viewed in Acrobat Pro.
| | 08:13 | You may find that your printer can supply
you with a PDF Job Options file, one that
| | 08:20 | includes all the PDF settings, as well as the
Transparency Flattener options where appropriate.
| | 08:27 | The Pass4press website is one such place
where you can download job options files.
| | 08:35 | You can go to Google and type in
pass4press, and you'll come to this.
| | 08:41 | I am going to download these job options.
| | 08:45 | I've actually already done that to
implement these or any job options that your printer
| | 08:50 | has supplied you with.
| | 08:53 | When you come to Adobe PDF presets, go to
Define and then to Load, and there are the
| | 09:01 | job options right there.
I can then click Done.
| | 09:05 | Then I can return to my PDF presets,
and that will appear in my list.
| | 09:12 | So, using this approach, thereafter you'll
have the convenience as well as the confidence
| | 09:19 | of knowing that the appropriate
boxes have all been checked.
| | 09:24 |
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| Packaging and archiving the project| 00:00 | So, let's imagine that the cover has been
printed, it looks great, and now we're ready
| | 00:05 | to celebrate, but just before we do, one last thing,
and that is that we want to package the project.
| | 00:11 | In creating our cover, we would have
experimented with various different images, we may have
| | 00:16 | a folder full of lots of assets
that we never actually ended up using.
| | 00:21 | So we just want to narrow it down to a
folder that contains only the things that we ended
| | 00:26 | up using in this cover, and we can
do that using the Package command.
| | 00:32 | This is just going to gather up everything
all of the linked files in this document and
| | 00:37 | put them in a single folder.
| | 00:39 | There was a time when this command was used
to make a package to send to the commercial
| | 00:45 | printers, but these days most printers
will prefer to receive a print ready PDF.
| | 00:51 | It's easier for you, it's easier
for them, and it's less prone to error.
| | 00:55 | But the Package command is still useful because
it provides a quick and effective way of gathering
| | 01:00 | up everything that's used in the project and
by implication, separating those things out
| | 01:06 | from all the elements that didn't get used.
| | 01:09 | So at this point, all I
need to do is click Package.
| | 01:12 | I don't care about this, this is irrelevant,
and since this I think is meant to be the
| | 01:19 | February 2013--that's what I'm
going to call it, February 2013 cover--
| | 01:28 | I don't need to copy the fonts.
| | 01:30 | If you do that, you're going to end up with
lots of copies of fonts on your hard drive.
| | 01:34 | If you are sending this to somebody else for
them to finish this project or to print this
| | 01:38 | project, then yes, you would choose this, but
in this case using Package for an archiving
| | 01:44 | purpose, not necessary.
What I do need is to copy the linked graphics.
| | 01:50 | Click on Package, and then we
can go to wherever this was saved.
| | 01:54 | In my case, I just put it
on the Desktop. There it is.
| | 01:58 | I have the InDesign document, I have that
instructions.txt file, I didn't bother to
| | 02:03 | fill out, I can get rid of that, and I have
a folder of links containing all the linked
| | 02:09 | graphics that are part of this project.
| | 02:14 |
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|
|
5. Alternative Workflows: PhotoshopSetting up the Photoshop document| 00:00 | In this chapter we are going to look at an
alternative workflow, and that is using Photoshop
| | 00:05 | rather than InDesign to
create the magazine cover.
| | 00:09 | Why would we want to do this?
| | 00:11 | Well, two reasons, one is
maybe you prefer Photoshop.
| | 00:15 | That's a pretty compelling reason, and the
second reason maybe you don't have InDesign.
| | 00:20 | Maybe Photoshop is all you have.
| | 00:22 | So this is the same cover that we saw in the
previous chapters, but this is all been created
| | 00:28 | within Photoshop, It's been created with layers.
| | 00:31 | Let's just take a quick spin through it. I'm
going to hold-down the Alt key or Option key
| | 00:36 | and click on the eyeball of the bottom layer.
| | 00:38 | There's the masthead, there's the cut out,
barcode, our sticker, and our slash, the cover
| | 00:50 | lines, and then finally, you can't see
them because the guides are turned on.
| | 00:54 | I'll have to turn the guides
off for this, the crop marks.
| | 00:58 | Most of the aspects of designing this in Photoshop
are very similar or the same to doing it in InDesign.
| | 01:05 | The type conventions are broadly
similar. The Character panel.
| | 01:15 | The Character panel gives us access to familiar
type options, type size, leading, tracking, et cetera.
| | 01:24 | What is very different, though, is the way that you
set the document up, and this is how I'm going to do it.
| | 01:30 | I'm not going to open the cover image and
then resize that to the trim size of the magazine.
| | 01:38 | Rather, I'm going to create a blank
document and then drag the image into it and then
| | 01:44 | position it within that blank document.
| | 01:47 | So I'm pressing Command+N or Ctrl+N to go to File and New.
I'm going to specify the trim size in inches.
| | 01:56 | Now we want a document size of 8 inches
by 11 inches, that's our magazine size.
| | 02:04 | We need to add the bleed amount to that.
There is no command here to specify a bleed guide.
| | 02:11 | We have to do this manually.
| | 02:13 | We want an eighth of an inch left and right,
so that means I'm going to add a quarter of
| | 02:18 | an inch to the width and a
quarter of an inch to the height.
| | 02:23 | Resolution, as we have discussed, we
want this to be 300 pixels per inch.
| | 02:28 | The Color mode I'm leaving as RGB. These
RGB colors or screen colors will be converted
| | 02:34 | to print colors CMYK when we
output to PDF as the final step.
| | 02:40 | If your cover image is already in CMYK, then
you could make a case for choosing CMYK Color
| | 02:46 | here, but the image that we
are going to be using is RGB.
| | 02:51 | And the Color Profile I'll leave that at
Adobe RGB (1998). This is the most commonly used
| | 02:58 | RGB working space for print work
because of its relatively large color gamut.
| | 03:04 | That's set up, we now need to add our guides.
| | 03:08 | To do this, I highly recommend that you
download a free extension because it's going to make
| | 03:13 | things a whole lot easier.
| | 03:15 | Without the free extension, you
literally have to draw the guides.
| | 03:20 | We don't want to do that.
Life is too short.
| | 03:22 | The extension is GuideGuide, and you can
get that from this website, guideguide.me.
| | 03:31 | It's free, but the author does request a
donation, and the author is Cameron McEfee.
| | 03:37 | I hope I'm pronouncing that correctly.
| | 03:39 | So here is the GuideGuide panel, and I'm
going to start out by adding the bleed guide
| | 03:51 | on all four dimensions. I'll click on the
GG button, and that gives me my Bleed Guide,
| | 04:00 | and then I want a safe area
or margin of 0.2 of an inch.
| | 04:05 | And this is going to get added to the Bleed amount,
so I'm going to just increase this value to 0.325.
| | 04:16 | I'm also going to add in some rows and columns.
| | 04:20 | And as I mentioned before, this
bit is optional, but I like to do it.
| | 04:26 | I'm going to have 12 points of space as
the gutter between the rows and the columns.
| | 04:32 | So when I have these values in, I'll click
on the GG button again, and I now have my
| | 04:38 | Layout Grid, I have my Margin,
and I have my Bleed Guide.
| | 04:42 | What I don't have is crop marks
indicating where that Bleed Guide is.
| | 04:47 | If you're printing your final document
from Photoshop--which is unlikely because your
| | 04:52 | printer is probably not going to want to
accept a PSD file, they are going to prefer instead
| | 04:58 | a PDF--but if you were printing it from Photoshop, in the
Print dialog box you can specify printing marks right here.
| | 05:06 | And in the year 2012 this does seem rather primitive,
but instead, I'm going to draw the crop marks manually.
| | 05:15 | I'm going to create a new layer for this
which I'll call--not surprisingly--crop marks.
| | 05:21 | Choose my Pencil tool, zoom in, choose a
1-pixel brush, and then I'm just going to hold down
| | 05:29 | my Shift key and draw those marks.
| | 05:37 | If you draw them exactly on the guide, you
may not see them, so you might need to just
| | 05:42 | toggle the guides on and off--Command or
Ctrl+Semicolon will do that--and I now need to go
| | 05:49 | and add those in on all four corners.
| | 05:53 | Make sure that your foreground
color is black when you're doing this.
| | 05:56 | So there is our document, it's at the right
resolution, it's at the right size, incorporating
| | 06:02 | the bleed, and we have the crop marks
indicating where the bleed is happening, and we have
| | 06:08 | a margin indicated and the
crop marks are on a separate layer.
| | 06:12 | And next step, which I'll leave to the next movie,
is to place our cover image within this document.
| | 06:23 |
| | Collapse this transcript |
| Placing and scaling the cover image in Photoshop| 00:00 | So I have saved the document that I was
working on in the previous movie as cover1,
| | 00:06 | and we're now going to put the
cover image into this document,
| | 00:09 | so I'm going to open up the cover image, and
then just to make things a bit easier, I am
| | 00:18 | going to go to my Window menu, and
to Arrange, and to Tile 2-up Vertical,
| | 00:24 | I'll then switch to my Move tool, and I'm
going to drag that over into the cover document.
| | 00:33 | We can now come and close that, and
we can go back to Arrange and do that,
| | 00:44 | Consolidate All to Tabs, and so we're now
just looking at the single document.
| | 00:48 | I want to make sure that this is
actually beneath the crop marks.
| | 00:53 | So our next step is to scale this, and I
need to scale it relative to the masthead.
| | 00:59 | So I'm also going to come to
Illustrator, where we have the masthead,
| | 01:04 | I'm going to select this and copy it, and
then come back to Photoshop and paste it.
| | 01:12 | And I have some options here.
How do I want to Paste it?
| | 01:15 | I want to Paste it As a Shape layer.
I can then drag that up into position.
| | 01:22 | And because it's a Shape layer, I
can very easily change its color.
| | 01:27 | Just before I do that, though, let's just make
sure it is in the right location. That looks good.
| | 01:35 | Let's rename that.
| | 01:39 | Changing color, very easy. You just choose
the color that you want and Option+Delete
| | 01:43 | or Alt+Delete to fill your selected layer--
in this case, the masthead layer with the color.
| | 01:51 | Scaling the image. Now, because there is likely to
be some back and forth on this, some experimentation,
| | 01:58 | what I want to avoid is transforming it, making it
smaller, making it bigger, making it smaller again.
| | 02:04 | Every time I do that, I'm
going to degrade the image.
| | 02:06 | So to give myself the necessary amount of
flexibility and not degrade the image, I am
| | 02:14 | going to Convert that layer to a Smart Object,
and I can now scale it to my heart's content.
| | 02:21 | So I'll zoom out a bit, give myself a bit
of growing room, Command or Ctrl+T, and I
| | 02:31 | am going to position it very similarly to
how we had the image positioned in the InDesign
| | 02:38 | document, about there.
So that is that step completed.
| | 02:47 | Two important points there: I copied and pasted
the vectors from Illustrator for the masthead,
| | 02:53 | and I copied them as a Shape layer.
| | 02:56 | That's going to allow me to very easily
change the colors within the Photoshop document.
| | 03:01 | And secondly, I dragged and dropped the image,
and I've Converted that to a Smart Object
| | 03:07 | so that I can scale it non-destructively.
| | 03:12 |
| | Collapse this transcript |
| Combining the image and the masthead in Photoshop| 00:00 | Our next task is to
combine the image and masthead.
| | 00:04 | You'll remember that we did this in InDesign,
but we had some problems because there are
| | 00:09 | some trapped areas of negative space inside
the curls of the hair, and we couldn't really
| | 00:15 | mask those out using the Pen tool in InDesign.
| | 00:19 | But we are able to do that in
Photoshop using a layer mask.
| | 00:24 | And you can see that I have two layers
here that together achieve this effect.
| | 00:29 | So let's re-create it. I am going to turn
those two off and then come to my bottom layer,
| | 00:36 | switch to my Rectangular
Marquee tool by pressing the M key,
| | 00:41 | make a selection of that portion of the
head, and then press Command+J or Ctrl+J
| | 00:47 | to copy that to a new layer.
| | 00:50 | That then needs to go above the masthead layer,
and we now need to try and drop out the white
| | 00:57 | space around the hair.
| | 00:59 | I am going to turn off the other two
layers so we are looking just at this portion in
| | 01:04 | isolation, and then I am going to come
to the Select menu and to Color Range,
| | 01:12 | select the white background. I have
Invert checked. I have the Fuzziness way up.
| | 01:17 | You can see that if turn the fuzziness
down we get that sort of effect, but as I move
| | 01:22 | it up, it becomes a finer selection.
| | 01:25 | So I am going to go with
about 140 for the Fuzziness.
| | 01:30 | And now we can turn the two layers on again.
| | 01:34 | And I'm going to use that selection as a layer
mask on layer 2, and it's going look like that.
| | 01:42 | So now I am going to come and paint back
in these areas. I am going to do that on the
| | 01:49 | layer mask, and it needs to be in my Brush
tool with white as my foreground color, Normal
| | 01:56 | as my mode, and 100% Opacity.
| | 02:03 | Now I will say that if you are doing
this, try and avoid too much of an overlap.
| | 02:08 | The way you position the model in the first
place is either going to make your life very hard--
| | 02:12 | you might want to try to achieve
this--or relatively easy.
| | 02:16 | So I would personally opt for the Easy option.
| | 02:24 | And we do have one secret weapon up our sleeve,
and that is that although we are currently
| | 02:29 | looking at the masthead in magenta--which
is very contrasting against the hair color--
| | 02:34 | I am actually going to change it to a gold
color which will blend with the color of the hair
| | 02:38 | much more sympathetically.
| | 02:40 | But for the moment, I just want
to see where the problems lie.
| | 02:44 | So I am painting these areas back in. This
area here is going to be very problematic,
| | 02:50 | and that's because as soon as I try them paint back in,
the hair, we also reintroduce the white of the background.
| | 03:03 | So what I am going to do for that portion is
I'm going to put that on a whole separate layer,
| | 03:10 | I am going to duplicate layer 2, and on layer
2 I am now going to fill the mask with black.
| | 03:23 | Black is currently my background color, so I will
press Command or Ctrl and the Backspace or Delete key.
| | 03:29 | And now painting in white, I am just going
to paint over that area, aware of the fact
| | 03:36 | that I am bringing back some of
that white surround that we don't want.
| | 03:45 | And then here I'm going to adjust the mask edge.
| | 03:51 | I double-clicked on the layer mask
and then clicked on the Mask Edge button,
| | 03:58 | and I am now going to adjust these settings.
| | 04:01 | I want to shift the edge towards the left,
and you can see that should be contracting
| | 04:07 | that white space around the hair.
| | 04:11 | Very modest amount of Feathering,
maybe increase the Radius to 1,
| | 04:17 | and then I am going to use this tool, the
Refine Radius tool, just paint over that edge,
| | 04:28 | maybe with a smaller brush than that.
| | 04:30 | Now if you went too far, as I just did, hold
down the Alt key and paint over it to restore it,
| | 04:41 | and then I am going to go painting over again.
| | 04:50 | All right, that could be better, but I'm going
to live with that as it is, and I'm just going
| | 04:55 | to output this to the layer mask
rather than create a whole new layer.
| | 05:01 | So then I'm going to blend these two layers
together, Command+E or Ctrl+E, and those two
| | 05:11 | layers will become one.
| | 05:15 | Now I will choose my Eyedropper tool, come
and sample the color that we want to use for
| | 05:22 | the masthead, and let's go with that.
| | 05:26 | Then I'll come to the masthead, Option
or Alt and the Backspace or Delete key,
| | 05:36 | and there we have our finished result, a
relatively subtle masking of the model's hair against
| | 05:43 | the type of masthead, so
right here, here, and here.
| | 05:48 |
| | Collapse this transcript |
| Working with text in Photoshop| 00:00 | Okay, we are now ready to add our cover type,
and adding the type in Photoshop can be a
| | 00:05 | bit of a frustrating experience, especially if
you are used to the sophistication of InDesign's
| | 00:12 | paragraph styles, or even
Illustrator's paragraph styles.
| | 00:16 | In Photoshop CS6 there is a Paragraph Styles
option, but what it lacks which would really
| | 00:24 | be useful for us is the ability to base one
style on another, then go and edit the parent
| | 00:30 | style and have that affect
all of the offspring styles.
| | 00:34 | So for that reason and for other reasons,
mainly because the Paragraph Styles leave a bit to
| | 00:40 | be desired the way they are in
Photoshop, I am not even going to use them.
| | 00:43 | Instead, I'm going to use this simple--it seems a
rather primitive approach given the sophistication
| | 00:49 | of Photoshop in just about every other realm--
| | 00:53 | but I'm going to do nothing more than get
one layer of type using Placeholder type.
| | 00:59 | Get this ready using my Character formats, sizing
it as necessary, adjusting the Leading as necessary.
| | 01:14 | Two pieces of type here, so I'm also adjusting the space
between the paragraphs, making those adjustments as necessary.
| | 01:26 | Then when we get one right, we
essentially just copy it for the others.
| | 01:34 | So I have one, and I am
going to duplicate that layer.
| | 01:38 | And with my Move tool I
will drag the duplicate down,
| | 01:41 | I will come back to this one, choose my
Type tool, and I'm now just going to type over
| | 01:48 | this dummy text, the
actual text that we want to use.
| | 01:51 | And this is almost inevitably going to cause us
to need to make a few adjustments when we do so.
| | 01:56 | Okay, if I want to insert a line break there,
Shift+Return will carry that down to the next line, that's okay.
| | 02:06 | Now come back to our second cover story, we
need three cover lines down here, and these
| | 02:12 | all need to be smaller.
| | 02:13 | I have my Auto Select set to layer, so if press
Command and click on that then I select that layer,
| | 02:21 | I'm going to scale that down a bit, and then I am
going to duplicate that two times, Command+J twice.
| | 02:33 | And with the top version, I am going to
hold down to Shift key and bring that down.
| | 02:41 | And I'm probably going to need to do this
again because the length of these is inevitably
| | 02:46 | going to change, but I will select those
three and then I can distribute these layers using
| | 02:55 | the Distribute icons on the tool Option Bar.
| | 02:59 | So now I will zoom in,
press T to go to my Type tool
| | 03:03 | I like that, change that to
the type that it should be.
| | 03:09 | I am going to select the next line.
| | 03:17 | Now it's just a question
of repeating that process.
| | 03:25 | And cover lines 3 and 4
need to be smaller than 2.
| | 03:32 | So I am going to select those two,
and we can scale those down a bit.
| | 03:42 | Once I have accepted that transformation,
press T to go to my Type tool, click in there
| | 03:51 | and increase the size of that text frame.
They are not called text frames in Photoshop,
| | 03:57 | They are text containers.
And I am going to pull it down a bit.
| | 04:04 | I am now going to select the type and come to
my Character panel, size that down a bit more.
| | 04:18 | Now actually, I would like the explanatory lines to
be the same regardless of the size of the cover line,
| | 04:28 | so I am going to come and copy that one, move
to this layer and paste that, and we are not
| | 04:37 | getting the formats the way we want to, so
I'm just going to go back to this one, and
| | 04:46 | 12.65 is what that should be.
I can then select this, then to this one.
| | 05:03 | So now some further adjustments,
further tweaks to the leading on this one.
| | 05:07 | Okay, that looks okay for
a third level of cover line.
| | 05:16 | I think what I'll do for the next one is
just duplicate that, so this is now obsolete,
| | 05:24 | or rather, I will just drag that one over there.
| | 05:28 | Come back to this one, hold down Option or Alt,
I can drag down to make a duplicate of that.
| | 05:35 | Come to my Type tool.
| | 05:38 | For this one there is no explanatory line,
so I am just going to delete that, highlight
| | 05:43 | that text, and replace it
with the text for the cover line.
| | 05:54 | And this we need to add on four lines, so I
am just going to insert some line breaks and
| | 05:59 | Shift+Return, and adjust the size of that.
| | 06:03 | I can then move that over a bit, and you may
remember that there is a Plus symbol that
| | 06:12 | goes to the left of that.
| | 06:14 | It's going to be easier for me to just create
that on a separate layer rather than try and
| | 06:18 | adjust indents of this particular block of type.
| | 06:21 | So I will switch to my Type tool, and when
I click, that's going to make a new layer,
| | 06:27 | type in my Plus symbol, highlight that.
We want this to be 50% gray.
| | 06:37 | Perhaps I want it to be a little bit bigger.
I am going to scale it with a Free Transform,
| | 06:41 | Command+T, and then I can just position
that relative to the type at its right.
| | 06:53 | And I may want to link these two layers together like
so, so that if I need to move them, I can move together.
| | 07:05 | Now that one I can just do
and would be moved up a bit.
| | 07:08 | And I am just spacing these by eye at this time,
and then finally, we just have one more over here.
| | 07:15 | I will delete the explanatory
line, select the kicker line,
| | 07:27 | switch to my Move tool,
and move this into position.
| | 07:29 | I am going to drag down a guide.
| | 07:34 | It's snapping to my ruler, and I don't want
it to do that, so I am going to come and turn
| | 07:40 | off Snap so that I can position that guide
exactly where I want it, which is on the baseline
| | 07:48 | of this piece of type.
| | 07:49 | Move that, adjust the
size of that text container.
| | 07:58 | Now this is bigger than this.
| | 08:03 | Watch out for these inconsistencies. We sort
of having to do this in a rather manual way
| | 08:08 | because we are not using Paragraph Styles,
22.75 is the Size and 20 is the Leading.
| | 08:19 | It might be easier for me just to copy this, but I
have six of one and half a dozen of the other, really.
| | 08:27 | I am going to just put in
that value, leading of 20.
| | 08:40 | Okay, that's fine, except I
would like it to drop down one line.
| | 08:54 | And there we have our cover lines. Let's just
view that without the guides on, Command+Semicolon
| | 08:59 | or Ctrl+Semicolon turn off the guides.
| | 09:02 | It was a bit of a slog, but we got there
eventually, and I did it just using that very primitive
| | 09:10 | technique of make one, copy it,
adjust the copy as necessary.
| | 09:16 | Beware of introducing too many inconsistencies
in the type, so just keep an eye on the different
| | 09:22 | sizes that you are using.
| | 09:24 | And if necessary, just record the size of one
piece of type and apply those sizes in other
| | 09:30 | formats to the other piece of type.
| | 09:35 |
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| Creating a peeling sticker in Photoshop| 00:00 | Since the last movie I've made a few
changes to this document. I've added the flash in
| | 00:05 | the top left-hand corner, a photographer
credit running up the right-hand side, price and
| | 00:10 | date line, and this peeling sticker.
| | 00:13 | And it's the peeling sticker that we
are going to recreate in this movie.
| | 00:18 | Let's just zoom in on it. That's how it looks.
| | 00:21 | We get a different sort of--or at least we
have the potential of creating a peeling sticker
| | 00:27 | with a different feel to the one that we can create
in InDesign, which you saw me do in an earlier movie.
| | 00:33 | So this is going to be a slightly
different approach and a slightly different result.
| | 00:37 | I'm going to turn off the Layers Group that
makes up the current sticker, Create a new
| | 00:43 | layer, choose my Elliptical Marquee tool,
and draw a circle from its center point.
| | 00:50 | Before I do that, I'm also going to turn on my Guides,
Command or Ctrl+Semicolon, so there is the guide
| | 00:57 | that marks my safe area.
| | 00:59 | I'm going to hold down Option or Alt
and the Shift key to draw myself a circle.
| | 01:06 | If necessary, just drag from within to reposition that,
and then I'm going to fill it with 50% gray,
| | 01:12 | which is currently my foreground color, so
Option or Alt and my Backspace/Delete key will do that.
| | 01:19 | I'm now going to switch to my Polygonal
Lasso tool, and I'm going to draw myself a simple
| | 01:26 | selection over the bottom portion of that
sticker, and now I want to cut that portion
| | 01:36 | of the sticker to a new layer.
Command+Shift+J will do that.
| | 01:42 | So if we turn off layer 3, we can see that
we have just the peeling portion, or what
| | 01:48 | will become the peeling portion on its own layer.
| | 01:51 | I'm going to name this
just so there's no ambiguity.
| | 01:59 | So now on the peeling layer, I'm going to
press Command+T or Ctrl+T to go to my Transform,
| | 02:06 | flip this around, move it into position,
and I'm going to apply a Gradient to that.
| | 02:15 | I'm going to Lock the Transparency of that
layer, come and choose my Gradient tool.
| | 02:20 | I'll press the G key to do that
| | 02:22 | And I'm going to flip my foreground/background
colors so I have white to gray, and then just
| | 02:29 | drag down from the top.
| | 02:32 | If you don't get it right
first time, have another go.
| | 02:35 | Okay, so we have the white at the top.
| | 02:38 | I am then going to Unlock the
Transparency and come to Bevel & Emboss,
| | 02:46 | I want to make sure that
Global Light is turned off,
| | 02:50 | and for the Style of the Bevel & Emboss, it's
just going to be an Emboss without any shadow,
| | 02:56 | so all we're seeing is
the light top area of that.
| | 03:01 | I might want to increase the Size.
| | 03:03 | And then I'm going to go to Drop Shadow, turn
off Global Light, drag the shadow into position,
| | 03:12 | increase its Size, decrease its Opacity.
| | 03:23 | I'll now come to the circle, and on the circle
I'd like to add a very small amount of Inner Shadow.
| | 03:31 | I'll increase the Size of the Inner Shadow
just to spread it a bit further, but I'm going
| | 03:39 | to dramatically decrease its Opacity.
| | 03:47 | Now I'm going to add another
layer beneath the circle layer.
| | 03:50 | Since I know I want it to go beneath, I'm
going to hold down the Command key when I
| | 03:55 | click on Create new layer, and
that's going to add it beneath that.
| | 03:59 | I'll call this one shadow, because on here
I'm just going to literally with a paintbrush,
| | 04:05 | press B to go to my Paintbrush tool and D to
restore my colors to their default black and white.
| | 04:12 | I have my Opacity all the way down at 20.
| | 04:15 | I'm just going to paint in a bit of a shadow there,
and then I can always reduce the Opacity of that.
| | 04:26 | I think one more thing I'll do is come to
the peel layer, get in a little bit larger,
| | 04:34 | press Command+T or Ctrl+T to go to my Free
Transform, and then I'll just warp that
| | 04:40 | so it's looking a little bit less
perfect and more like it is peeling.
| | 04:56 | And I might also consider a small amount
of warping on the circle itself, like so.
| | 05:08 | So finally, I just want to put these three layers
into a layer Group so that I can keep them organized.
| | 05:13 | Command+G or Ctrl+G will do that.
I'll call that sticker1, and I now need the type.
| | 05:22 | And the type I'm just going to
borrow from the already finished version.
| | 05:26 | I'm going to come to that type layer, hold
down the Option or Alt key, and drag it into
| | 05:31 | the sticker1 group, which I'll then expand.
I'll contract the layer effects that were
| | 05:38 | applied to it, drag that type layer to the
top, and then I can press Command+T or Ctrl+T
| | 05:45 | and transform that and position it as necessary.
| | 05:55 | So there's the sticker in
the context of the whole color.
| | 05:58 | So a different approach to creating a sticker
using Photoshop, painting in a shadow, warping
| | 06:04 | the different elements, and also we have
the ability to add in shadows and embosses.
| | 06:10 | So a slightly different result to what we
saw in InDesign. I'm not sure it's any better,
| | 06:14 | but it is different.
| | 06:19 |
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| Preparing for print in Photoshop| 00:00 | So now our document is ready, let's
look at how we can get this into print.
| | 00:05 | So I'm going to assume a scenario the same as
we used in InDesign that we have been recommended
| | 00:12 | by our printer to create a PDF/X-1a file,
| | 00:18 | a PDF file that is compatible with the PDF/X-1a
standard, and this is a standard for commercial printing.
| | 00:25 | It of course, is not the only
standard, so do check with your printer.
| | 00:31 | The PDF/X-1a preset is going to
create a PDF with CMYK or print colors.
| | 00:39 | We currently have an RGB image, so throughout
the course of creating this document, we really
| | 00:46 | should be working with Proof
Colors turned on. I'll do that now.
| | 00:51 | When I do that, you may notice the colors
becoming a little flatter, a little less vibrant.
| | 00:58 | So the CMYK that we are proofing is the CMYK
profile specified in our Color Settings right there.
| | 01:08 | And as I have mentioned before, this can
be synchronized in Bridge using the Creative Suite
| | 01:16 | Color Settings, so make sure that you have
the same settings in InDesign and in Illustrator.
| | 01:24 | So with my document ready and my manually
drawn crop marks that we created in an earlier
| | 01:28 | step turned on, I'm going to go to File >
Save As, where I'm going to choose As a Copy.
| | 01:37 | And this is quite important, because this
is going to mean that there's no chance of
| | 01:43 | us getting the PSD version
and the PDF version mixed up.
| | 01:47 | It will keep the PSD version, the cover5.psd
as the open document, and then just create
| | 01:54 | the PDF in the background.
| | 01:57 | So I'm going to call this now cover_final,
and then just to distinguish it from any others
| | 02:04 | I'm going to add a PS to that, indicating
that it's been saved from Photoshop.
| | 02:10 | I'll come and choose the
Photoshop PDF file format.
| | 02:17 | I'll click OK to move through that.
| | 02:20 | Any presets that you made or loaded into
InDesign or Illustrator will show up here as well.
| | 02:27 | So if you have a preset that's been supplied by your
printer or that you've made, you can use that right here.
| | 02:33 | I'm just going to come back
and choose the generic PDF/X-1a.
| | 02:36 | I do want to make sure that I'm
going to View this After Saving
| | 02:43 | And everything else can stay the same.
So I'm now going to save that.
| | 02:49 | Even though I checked View PDF After Saving,
it has not opened it for me, so I need to
| | 02:54 | go to Acrobat, where I can just go to the
folder where it was saved and open it from there.
| | 03:01 | And there is our print-ready PDF prepared
from Photoshop with the crop marks indicated.
| | 03:08 |
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|
|
6. Alternative Workflows: IllustratorSetting up the Illustrator document| 00:00 | I've created the magazine cover in InDesign, I
created the same magazine cover in Photoshop,
| | 00:05 | and now I'm going to create it again in Illustrator,
pointing out the differences that are necessary
| | 00:10 | in approach as I go along.
| | 00:12 | So here's the finished version in Illustrator,
and just as I did in the other two applications,
| | 00:19 | I've created it using layers.
| | 00:21 | We have the cover image, barcode, the masthead,
the cut out that crosses over the masthead,
| | 00:31 | cover lines, and the extras, the flash,
the sticker, and the price and date line.
| | 00:38 | And I also have some guides.
| | 00:39 | I don't have the guides on a separate layer,
but I can turn those on and off by pressing
| | 00:44 | Command or Ctrl+Semicolon.
| | 00:48 | So I'm going to create a new document, and
my document size is going to be as it has
| | 00:54 | been before, 8inches by 11 inches.
| | 00:58 | Points are my current
default unit of measurement.
| | 01:01 | I can leave them at Points.
| | 01:02 | That's fine just as long as I explicitly
state my dimensions in inches, and I can express
| | 01:09 | a Bleed here which is going to be 1/8 of an
inch, which is 9 points, and I want that to
| | 01:15 | be the same on all four dimensions.
| | 01:18 | The Profile, I'm using what has started out as Print,
but now it's become Custom since I've changed it.
| | 01:23 | But if we look at the Advanced options, we
see that we had a Color mode of the CMYK,
| | 01:29 | and that we have Raster Effects
resolution of 300 pixels per inch.
| | 01:33 | Note that we won't be rasterizing anything,
so this in our case is going be a moot point,
| | 01:39 | but this is the option that you
would want typically for a print workflow.
| | 01:42 | There is my blank document.
We have the red guide indicating the bleed.
| | 01:49 | I now want to indicate a
margin, an inner margin of 5 mm.
| | 01:57 | Now the reason I have a
margin setting as such in InDesign.
| | 02:00 | So here's how I'm going to go about doing that.
| | 02:03 | I'm going to create a rectangle, and at this point
I'm going to change my unit of measurement, actually.
| | 02:13 | I'm going to create a rectangle, and the rectangle
is going to be at my trim size, 8 inches by 11 inches.
| | 02:24 | I want that to be positioned at the
very top left-hand corner of my page.
| | 02:31 | So I need to get its X and Y coordinates,
and I don't see them right there, so I'm going
| | 02:35 | to come to the Transform panel.
| | 02:41 | Choosing the tap left reference point
I'm going to make the X: 0 and the Y: 0.
| | 02:47 | I am then going to -10 mm from the horizontal,
and before I do that I'm going to set the
| | 02:58 | reference points to center -10 mm from
the width and the same from the height.
| | 03:08 | Then the size of my rectangle
now corresponds to my margins.
| | 03:13 | So what I'll do next--and I'm really like
this about Illustrator, the ability to take
| | 03:17 | any item, any object and make into a guide.
So that's now my margin guide or my safe area
| | 03:25 | Then what I'm going to do
is I'm going to create a grid.
| | 03:29 | Since I have made a grid in the other two
applications, it's interesting to see how we
| | 03:34 | can achieve much the same end in a
slightly different way in Illustrator.
| | 03:39 | I'm going to create myself a rectangle inside
that margin area and then come to the Object
| | 03:46 | menu and to Path and choose Split Into Grid.
| | 03:52 | I want to have five Rows with the Gutter of
1 pica and 3 Columns with a Gutter of 1 pica,
| | 04:06 | and if I turn on my Preview, you can see
that's going create not so much a typical layout
| | 04:11 | grid, because here we actually have rectangles,
but it's going to serve the same purpose, and
| | 04:15 | then as I did before I'm
going to make those into guides.
| | 04:20 | Then I just want to make sure
that my guides as they all are locked.
| | 04:26 | So there's my blank document.
| | 04:28 | Now I want to place my image in this
document, and I'll do that in the next movie.
| | 04:34 |
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| Placing, scaling, and cropping the cover image in Illustrator| 00:00 | Our next step is to place, to
scale, and to crop our cover image.
| | 00:05 | I saved out the work from
the last move as cover1.ai.
| | 00:09 | I didn't in the original, but I am going
to here put my guides on a separate layer.
| | 00:15 | So layer 1, that I'm going to rename guides, and
then I'm going to create a layer beneath that.
| | 00:21 | I'm going to hold down my Option and my
Command key and come on click on Create layer.
| | 00:26 | That's going to create the new layer beneath the guides
layer, and I'm going to call this cover image
| | 00:32 | and then go to File and Place.
| | 00:38 | The image that we are after is in the Cover
images folder, and that's the one we want,
| | 00:45 | and it should be linked.
| | 00:47 | So this is going to create a linked
document in just the same way as links are created
| | 00:54 | in InDesign, and we can check out
those links using the Links panel, right there.
| | 00:59 | We could go edit the original
in Photoshop if we needed to.
| | 01:04 | So that same relationship that you're probably
familiar with in InDesign exists here in Illustrator as well.
| | 01:11 | Our next step, and this is unique to Illustrator,
we want the image to be clipped to the bleed area.
| | 01:20 | So to do that, I'm going to draw a rectangle
from the top left bleed guide to the bottom
| | 01:24 | right bleed guide, and then I'll come to the
bottom of the Layers panel, and since these
| | 01:30 | two items are the only items on this
layer, I can choose Make Clipping Mask.
| | 01:37 | I am going to use this as the
top object to a Make Clipping Mask.
| | 01:41 | Now if I want to select the picture that
is being clipped by the rectangle that is on
| | 01:47 | top of it, I can use this icon up here,
Edit Contents. Because I do want to do that,
| | 01:53 | I need to now scale the image.
| | 01:57 | I'm going to zoom out, and I can scale it by
coming and picking up one of the four corners,
| | 02:03 | holding down the Shift key, and just pulling
that so the we keep things proportional, and
| | 02:12 | I'm going to put it there.
| | 02:12 | Next, I'm going to go to the masthead file,
and the masthead as I mentioned in earlier
| | 02:19 | movies is already converted to outlines.
So these are just vector outlines.
| | 02:25 | I'm going to copy the masthead, come back
to the cover, and on a new layer which I
| | 02:31 | call masthead, I'm going to paste those outlines
and then position them according to the guides,
| | 02:41 | so they should go to very top of
the safe area, right about there.
| | 02:53 | So as I've done before, I'm going to sample some
color from the image and then apply that to the masthead.
| | 03:00 | Every time I do this I am choosing a slightly
different color, so we are getting a somewhat different result.
| | 03:05 | I'm going to choose the masthead, select
that by clicking on the bull's eye of the layer,
| | 03:10 | and then come and choose my Eyedropper
tool, and that color will do just fine.
| | 03:20 | So there we have our image scaled, clipped to
the bleed area, and we also have the masthead
| | 03:27 | that exists on a layer above that.
| | 03:32 |
| | Collapse this transcript |
| Combining the cover image and the masthead in Illustrator| 00:00 | Next step, we're going to the image with the
masthead to achieve this commonly-seen effect
| | 00:06 | of overlapping the model's
head with the masthead type.
| | 00:09 | Here is where we left off cover2, and to do
this it's a bit more like how I did it in
| | 00:17 | InDesign than it is in Photoshop.
| | 00:19 | So it has probably more in common with the InDesign
pen path technique than the Photoshop masking technique.
| | 00:27 | And I'm going to go about like this.
| | 00:29 | I am going to duplicate the cover image
layer, drag that layer above the masthead layer,
| | 00:36 | then I'm going to twirl that one open, select
the clipping path--or the clipping mask, rather--
| | 00:45 | that is at the top of that layer, and delete it.
| | 00:51 | I'm now going to zoom in, choose my Pen tool,
and draw my pen path around the top of hair.
| | 01:06 | Once again, we're now going to have the
opportunity here to not include these trapped areas of
| | 01:12 | white space inside the curls of the hair so
that the way you position the model relative
| | 01:17 | to the masthead is going to have a big influence.
| | 01:23 | Now what I'm going to is I'm going to use
that new path to be the clipping mask for
| | 01:29 | this copy of the cover image layer just by
clicking on the Make/Release Clipping Mask,
| | 01:40 | and then we can see that doing that
we now show the masthead behind it.
| | 01:47 | Let's just zoom out a bit and deselect that.
| | 01:54 | I'm going to press Command+Shift+A to deselect, or
maybe you need to just clean that up a little bit.
| | 02:02 | So I'm going to zoom in.
| | 02:03 | Bear in mind I am at a very large view size
here, so many of these inaccuracies will not
| | 02:11 | show up at 100% of the cover size,
but I am a very enlarged view size.
| | 02:17 | But I can just now come in with my Direct Selection
tool and make a few adjustments to that clipping mask.
| | 02:27 | Now we will zoom out, and I want to
make sure that that layer is locked.
| | 02:34 | I will rename it, and I'm
going to called it cut out.
| | 02:39 | That should be locked, and so too
should the cover image layer be locked
| | 02:44 | In a nutshell, the technique is this: you
duplicate the cover image layer, make sure that the
| | 02:49 | copy of the layer is above the masthead layer,
| | 02:52 | on that layer you draw a pen path, and then
use that pan path as a clipping mask to reveal
| | 02:59 | only that small portion of the
head the overlaps the masthead type.
| | 03:04 |
| | Collapse this transcript |
| Adding more cover lines in Illustrator| 00:00 | Our next step in creating our magazine
in Illustrator is to add the cover lines.
| | 00:05 | So I am going to start out--and I must
mention that since you last saw this document I've
| | 00:09 | added the barcode down there. I placed that,
File > Place, it's an AI, an Adobe Illustrator
| | 00:17 | file, and I have put that on its own separate layer.
| | 00:19 | So now what I am going to do is I am going
to switch to my text file, and I am going
| | 00:25 | to copy that, switch back to Illustrator,
Create a new layer, which I will call cover
| | 00:32 | lines, and then click to make an insertion point.
I am using Point Type here and not Area Type.
| | 00:41 | Illustrator makes the distinction between
the two. Point Type means that my line is
| | 00:46 | going to be as long as I type it, so it could
conceivably go on and on, way beyond the edge
| | 00:52 | of the page, beyond the edge of the pasteboard.
| | 00:55 | I am going to force the line breaks with Shift+Returns,
and I'm working with very short lines anyway.
| | 01:01 | So if I were working with paragraph
text, Area Type would be more appropriate.
| | 01:06 | But in this scenario, Point Type
gives me a bit more flexibility.
| | 01:12 | I am going to cut from this block of text,
that last chunk right there, which will go
| | 01:18 | to make up the flash and the sticker.
| | 01:21 | Hold down my Command key and click so that I
am out of that text area and click somewhere
| | 01:26 | on my pasteboard and paste that right there.
| | 01:29 | We will come back to that in another step.
Now, how do we go about this?
| | 01:36 | Well, Illustrator has paragraph styles and
they are about as good as the paragraph styles
| | 01:43 | in Photoshop, which is another way of saying they're
not very good at all, and I am not going to use them.
| | 01:49 | They don't allow you to base one paragraph
style on another, so you can't construct this
| | 01:53 | hierarchical relationship, which is
really what would be very time saving.
| | 01:58 | But what Illustrator does allow us to do
that we could also have done in InDesign, which
| | 02:04 | we couldn't do in Photoshop is use the Eyedropper
tool to copy formats from one piece of type to another.
| | 02:12 | So I am going to use that approach. It's not
particularly elegant, but it will get us to
| | 02:17 | where we want to go in a reasonably quick way.
| | 02:22 | So with my Type tool I am going to click in
this block of text, and I may as well address
| | 02:28 | it as one block for as long as I can.
| | 02:31 | So all the things that it has in common I
should apply now while I have all of it selected.
| | 02:37 | I am going to open my Character panel by
pressing Command+T or Ctrl+T, and I'll want to see
| | 02:44 | the Options on that.
| | 02:48 | All Caps, in the past I've been using the keyboard
shortcut, Command+Shift+K, that doesn't work here.
| | 02:53 | So I am actually going to
have to choose that from the menu.
| | 02:57 | And I will go and apply a
Color of 50% gray to that.
| | 03:03 | It's Myriad Pro Regular, and I am
going to apply some negative Tracking to it.
| | 03:11 | From now on it's addressing the text on
a line or paragraph by paragraph basis.
| | 03:18 | So I am going to select that
first line and increase its Size.
| | 03:23 | Now, you see no matter how much bigger I make
this, those two words are not going to break,
| | 03:28 | because I am using Point Type.
| | 03:30 | So I am going to get the first word as big
as I can and then come in there and add a
| | 03:36 | Shift+Return to that to
carry that down to the next line.
| | 03:39 | Then I will select both, and we will tighten
up the space between them using the shortcut
| | 03:45 | for the Leading, which is Option+Up Arrow
or Altus Arrow, just as it is in InDesign,
| | 03:51 | just as it is in Photoshop.
| | 03:53 | You might want to come to your Type Preferences
and reduce this value to 1 to give you a little
| | 03:59 | bit more flexibility so you
can size in 1-point increments.
| | 04:02 | Right! Next, I am going to come and choose
the Eyedropper tool and pick up the Color
| | 04:10 | from the color that's in
masthead, and we want this to be Bold.
| | 04:16 | And then let's just nudge that down a fraction.
| | 04:18 | Now, what I am going to do is select this, the
next example that should get similar formats,
| | 04:28 | not exactly the same, but I'll select that,
use my Eyedropper tool, and I can click in there.
| | 04:33 | Now, if this were InDesign, what I could do
with this format, on my Eyedropper I could
| | 04:39 | go and paint it onto the other pieces of type.
| | 04:42 | That unfortunately won't work here, so I
need to deselect that piece of type, go back to
| | 04:48 | my Type tool, and then select the next piece,
Eyedropper tool, and then just repeat that.
| | 04:56 | Now, I am not going to go any further than that, because
when we get here, this actually needs to get smaller.
| | 05:04 | So I am going to now chunk the type into
different segments, selecting all of that portion, cutting
| | 05:12 | that, and then we will scroll down a bit.
| | 05:16 | And making sure that I am making a new
piece of Point Type, and that it's not going to
| | 05:20 | be joined to the bit that I just cut it from,
I'll hold down the Command or Ctrl key and
| | 05:25 | click, and then click again with my Type tool to
make an insertion point and paste, Command+V or Ctrl+V.
| | 05:35 | So now I'll add some line breaks.
| | 05:39 | This needs to get smaller and
the Leading needs to get tighter.
| | 05:53 | Okay, that's probably different to how
I've done it before, but I quite like it, so I
| | 05:57 | am going to live with that as it is.
| | 05:59 | Now, I am going to select the next piece, get
my Eyedropper tool, sample the formats from there.
| | 06:08 | And I can then select these last two
lines and sample the formats once again.
| | 06:15 | Now, a little bit more chopping up of the
text, I'll select all of this, and cut that,
| | 06:23 | hold down my Command key, click, release, click with
my Type tool to make a new insertion point, and paste.
| | 06:32 | And then I will repeat that process.
| | 06:36 | So I have now chopped that into separate
segments. Let's just move that one over there,
| | 06:43 | out of the way for the time being.
This one is going to come back right there
| | 06:50 | This piece of type needs to get smaller,
like so, so that the lines break, like so.
| | 07:01 | Adjust the Size of that.
And then I will select this piece.
| | 07:11 | Copy the formats from there.
| | 07:15 | I am going to cut that Plus symbol out
of there, that is itself going to be a whole
| | 07:21 | separate bit of type. Okay.
| | 07:32 | I am adding Shift+Returns to carry the type
down to the next line, move that into position,
| | 07:43 | apply a Color of 50% gray.
| | 07:49 | That Plus can maybe get a little bit bigger.
That's how I like it.
| | 07:59 | Now over here with this last
cover line, insert my line breaks.
| | 08:10 | And I am going to turn on my Rulers, which
are not currently turned on, Command+R or
| | 08:14 | Ctrl+R, drag down a Ruler. In this case, I
am going to go to the top of caps over there,
| | 08:21 | and I am going to make sure that
that is starting at the same point.
| | 08:27 | Nudge it over a bit, and
there are our cover lines.
| | 08:33 | Now, they need some refinement, especially
this one, actually. That needs to get bigger.
| | 08:44 | And I think a little bit
more Leading on that one.
| | 08:51 | Hard to know when to stop,
but I am going to stop there.
| | 08:55 | So in this case, what I've
done is use the Eyedropper tool,
| | 09:00 | and I've done that partly because I don't
particularly care for the paragraph styles
| | 09:04 | in Illustrator, and partly just for variety,
because it would be a bit too similar perhaps,
| | 09:10 | because we've already seen how to
approach this using a paragraph style solution.
| | 09:14 | So I wanted you to see a
different way of doing it.
| | 09:16 | I think this way is perhaps a little more
off the cuff, a little bit more flexible,
| | 09:22 | but ultimately the problem that you might
run into here is introducing lots of small
| | 09:28 | inconsistencies which you can't oversee
with a more global paragraph style approach.
| | 09:35 | So just watch out for that potential
drawback of formatting your text in this way.
| | 09:40 |
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| Adding cover items in Illustrator| 00:00 | I am now going to add the extras to the cover,
specifically the flash in the top left-hand
| | 00:04 | corner, and the peeling sticker
that's going to go right here.
| | 00:08 | So we have the text for this over on the pasteboard.
I am going to come to my Layers panel where
| | 00:14 | I'll make a new layer, I'll call that extras, and I
will drag the selection of that type to that layer.
| | 00:22 | I'm now going to lock all other layers by
holding down my Option or Alt key and clicking
| | 00:27 | in the locking column.
| | 00:30 | Zoom in on that Type, I may as well
address as many commonalities as possible.
| | 00:36 | So I'm going to press Command+T or
Ctrl+T to open up my Character panel.
| | 00:41 | And I'll set the Type in All Caps, on the
Paragraph panel I will center it, and that's
| | 00:48 | about as much as it has in common.
| | 00:51 | I am now going to chop it
up into two separate chunks.
| | 00:53 | So I will select the first part, cut that,
delete that extra paragraph mark that remains,
| | 01:02 | hold down my Command or Ctrl key, click.
| | 01:06 | Back to my Type tool, make in Insertion point,
Command+V or Ctrl+V, and we now have two separate
| | 01:13 | pieces of point type.
| | 01:16 | Starting out with this one, the Flash,
let's move that over into position.
| | 01:23 | And I need to do a few things to this. This
actually should become condensed and switch
| | 01:30 | to my Type tool by pressing T.
| | 01:32 | The first line is going to become Bold Condensed.
I see I've got some extra spaces at the end
| | 01:40 | of that line, which I'll make sure I delete.
| | 01:44 | I will select the first line, and I am just
going to increase its point size by pressing
| | 01:49 | Command+Shift+More Than or Ctrl+Shift+More Than and decrease
the point size of the second line down to 10 pt.
| | 01:59 | Command+A or Ctrl+A to select both, and I
am going to reduce the Leading or pressing
| | 02:04 | Option+Up Arrow or Altus Arrow to
bring those two lines closer together.
| | 02:09 | Now I'll switch to my Rectangle tool.
Centering on the center point of that type, I am going
| | 02:16 | to hold down my Option or Alt key and draw
myself a very wide rectangle like so which
| | 02:25 | I will then apply a 50% shade of gray to, and I will then
send that to the back, Command+Shift+Left bracket
| | 02:39 | I am going to just nudge it up a fraction
so that it's optically centered on that type.
| | 02:48 | I'll come and select the type along with
the rectangle and press Command+G or Ctrl+G to
| | 02:54 | group those two elements together, and then the R key
to select the Rotate tool, and I will spin that around.
| | 03:02 | Hold down my Command key so I toggle to my
Selection tool and drag that into place, maybe
| | 03:12 | spin it around a little bit more.
| | 03:15 | Maybe come and adjust the size of the
rectangle, which I think is a little bit too big.
| | 03:20 | I now have a group so I am going to double-
click on that group to switch to Isolation mode,
| | 03:25 | and I can select the particular item of the
group--in this case the rectangle itself--and
| | 03:32 | make that a little smaller.
| | 03:36 | And while I'm here I am just going to increase
its point size, I'll just tweak that a little,
| | 03:46 | making size, and I think
we'll quit there with that one.
| | 03:51 | I will come and exit Isolation mode and zoom out.
| | 03:58 | So I now have type for the sticker. I will
drag that over into position or near the position
| | 04:04 | and then zoom in on this area, I'll switch
to my Ellipse tool, hold down my Option or
| | 04:10 | Alt key and my Shift key to
draw a circle from its center point,
| | 04:15 | I'll use that same Fill Color of 50%,
and I now want to make this into a peeling sticker.
| | 04:25 | And I could do this the same way as I did
it in InDesign using the Scissors tool, that's
| | 04:30 | a perfect valid approach, but for a bit of variety
I am going to use the Line tool here and then just drag a line
| | 04:38 | over the bottom portion of that, select the two items,
and I'll now use the Pathfinder > Divide option to slice those
| | 04:51 | into two separate pieces.
| | 04:54 | It's now the bottom portion of this that I
want to select, and rather than going to Isolation
| | 04:59 | mode, I am just going to press A, which
will select my Direct Selection tool.
| | 05:05 | Click away from it so that nothing is selected
and then click back just on this bottom portion
| | 05:12 | but holding down the Alt key as I do.
| | 05:15 | It's difficult to tell here, but this
bottom portion is actually in the stacking order
| | 05:20 | behind the top portion, so I do need to just
do this, Arrange > Bring to Front. That's not
| | 05:27 | going to make any visual difference
here, but it will for the next step.
| | 05:31 | And the next step is I am
going to now spin this around.
| | 05:35 | I'll press A to choose my Free Transform,
hold down the Shift key, and then spin that
| | 05:40 | around like so, hold down my
Command key and drag it up into position,
| | 05:48 | and then I will go to the Effect menu to
Stylize > Drop Shadow, turn on my Preview, and we
| | 05:57 | need to just adjust the position of the shadow.
| | 06:00 | Let's turn the X Offset down to 0 and the
Y Offset I am going to make 0.05, and you
| | 06:13 | can see that's going to adjust the
position of this shadow so it's actually above the
| | 06:18 | peeling portion of the sticker.
| | 06:20 | And I probably would want to make a few
adjustments to these other settings as well.
| | 06:25 | Let's turn the Opacity down a bit.
| | 06:29 | And now when I click outside that, you can see
that the shadow is cast in the right direction.
| | 06:36 | But I do want to select this, let's come back
and keep that portion selected because I want
| | 06:43 | to apply a gradient to it.
| | 06:46 | So I'm going to find my Gradient panel, which
is that one right there, I am going to actually
| | 06:54 | tear that Gradient panel right off, and I'll
apply the default gradients to that segment,
| | 07:02 | and then I'll choose the Color Stop. And the
Color Stop, rather than it being white to black,
| | 07:09 | I would prefer it to be white to the 50% grey.
| | 07:13 | So I'll hold down the Alt key and click on the
color that I want to be the ending Color Stop,
| | 07:20 | and I am going to drag that towards the center,
| | 07:22 | then get the Gradient tool and determine
the direction of the gradient which we want to
| | 07:27 | be from top down to bottom, like so.
| | 07:33 | So we have the lighter portion at the top.
Now let's go and get that type.
| | 07:44 | We can drag that into position, like so.
| | 07:46 | It needs to come to the front of the layer,
Command+Shift+Right bracket, and that can
| | 07:56 | get bigger and bolder and maybe become
white as well and so can the last line.
| | 08:10 | Now I'd like to center this on my sticker,
so I am going to select both and then use
| | 08:17 | my Alignment icons, and I'm now ready
to spin that around to adjust its angle.
| | 08:31 | Somehow I managed to make that type black
again, so let's put it back to being white.
| | 08:35 | All right, one last thing that I think we
need to do here. I think the sticker is probably
| | 08:42 | a little bit too big.
| | 08:43 | So I am just going to select that, hold down the
Option and Shift key, and make that a little bit smaller.
| | 08:56 | One last thing, and that is let's add a
clipping mask so that we don't see the bar extending
| | 09:02 | way out on to the pasteboard.
| | 09:05 | I will choose my Rectangle tool, and drawing
a rectangle from top left bleed guide down
| | 09:15 | to bottom right bleed guide, I can then click on Make/Release
Clipping Mask, and that will clip everything on that
| | 09:25 | layer to that shape.
And there we have our cover extras.
| | 09:30 |
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| Preparing for print in Illustrator| 00:00 | Now our cover is ready, let's look at our
printing options, and getting a print-ready
| | 00:05 | PDF out of Illustrator is more or
less the same as creating one in InDesign
| | 00:12 | So I am going to come to the File menu,
and I am going to choose Save a Copy.
| | 00:16 | I am choosing Save a Copy so that it makes
the PDF but retains the Illustrator document
| | 00:22 | as the open document.
| | 00:24 | And then I am going to just append that _final
to the file name, change the format to Adobe PDF,
| | 00:34 | and then we come to
the Save Adobe PDF options.
| | 00:41 | And same sort of options as we saw in InDesign,
we have the same presets available to us as
| | 00:48 | we have in InDesign, and if you had made
any presets there, they will also show up here
| | 00:54 | I am going to use as my
starting point the PDF/X-1a standard.
| | 00:59 | This is just one standard.
| | 01:02 | You will want to check with your printer about
what specifically they want to receive from you
| | 01:07 | But I am going to use this standard which is
going to create an Acrobat 4 compatible file.
| | 01:14 | Compression options, we've seen these before.
| | 01:17 | Anything bigger than 450 pixels per inch,
down-sample to 300, Maximum Image Quality,
| | 01:24 | Marks and Bleeds, we do not have these
turned on, and I do need to turn them on,
| | 01:29 | so I am just going to check All Printer's Marks,
and I am going to increase the amount of Offset.
| | 01:35 | We're in Inches, but that is the
same as 6 points or half a pica.
| | 01:40 | I am going to double that to 1 point for the amount of
Offset, and I'm going to check Use Document Bleed Settings.
| | 01:48 | We added the Bleed to this document, so I
am going to use the Document Bleed Settings
| | 01:53 | In the Output area, here is where our RGB
colors that are in the current document get
| | 01:59 | converted to our Destination CMYK profile.
| | 02:04 | That Destination CMYK profile is the profile
chosen in your color settings, and I addressed
| | 02:11 | this when we made the PDF out of InDesign,
but your color settings are under the Edit
| | 02:17 | menu if you want to go and have a look at those.
| | 02:20 | And then finally, the Advanced Options.
Because we're creating an Acrobat 4 compatible file,
| | 02:27 | the resulting file will not support transparency.
| | 02:30 | So we do need to choose a
Transparency Flattener preset.
| | 02:34 | The default is High Resolution.
| | 02:37 | We have made--or I made in earlier movie
when I made the PDF in InDesign a Transparency
| | 02:44 | Flattener that was higher than that, that
doubles the resolution that is in the default
| | 02:49 | High Resolution Transparency Flattener preset.
I am going to choose that for now.
| | 02:54 | I will show you how that is
made when I've exported the PDF
| | 03:00 | Save PDF, it's going to warn me that we won't
be able to edit this in Illustrator afterwards,
| | 03:05 | that's okay, we don't really need to do that.
| | 03:09 | So here is that print-ready PDF with the
printer marks, and the page information
| | 03:15 | Back in Illustrator, here is how that Transparency
Flattener is made from the Edit menu, Transparency
| | 03:23 | Flattener Presets, choose the one that you
want to create, the new one based upon--I
| | 03:29 | am going to click on that one to make a new
one--and I will just call this Higher 1 since
| | 03:36 | I already have one called Higher.
| | 03:38 | And the settings that I am using here are
2400 for the Line Art and Text Resolution
| | 03:44 | and 600 for the Gradient and
Mesh Resolution, so that's that.
| | 03:51 | When that's made, that can then
be incorporated into the PDF preset.
| | 03:57 | One other thing that is relevant to what
we just did, the Color Settings right there,
| | 04:05 | that's the Destination profile
that the colors are converted to.
| | 04:09 | While we're working in the document, it's
a good idea to proof the colors so the RGB
| | 04:16 | colors that are actually in that image are previewed
as CMYK colors based upon that working CMYK profile.
| | 04:24 | And if I switch now to Proof Colors, you
may notice a very slight shift in the colors,
| | 04:32 | the colors becoming a little bit flatter and
a little bit duller than they were previously
| | 04:37 | So those are the steps for getting
a print-ready PDF out of Illustrator.
| | 04:42 |
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ConclusionGoodbye and next steps| 00:00 | And so the title on Designing a
Magazine Cover comes to a close.
| | 00:04 | I hope it's given you some food for
thought when designing your own magazine cover.
| | 00:09 | And I'd like to leave you with some resources.
| | 00:12 | In the lynda.com online training library,
there are essential training titles for InDesign,
| | 00:20 | Photoshop, and Illustrator.
| | 00:23 | So if you're not comfortable with the basics of
these programs, these titles are a great place to start.
| | 00:29 | Once you have mastered the basics, you might
want to drill down to more specialist titles
| | 00:35 | like InDesign Secrets, InDesign FX,
and my own title InDesign Typography.
| | 00:45 | I also have a title called Designing a
Magazine Layouts which complements this course.
| | 00:51 | And lastly, a couple of book recommendations,
Magazine Covers by David Crowley, and 100
| | 01:05 | Years of Magazine Covers by Steve Taylor.
So goodbye for now and thanks for watching.
| | 01:13 |
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