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Explore book design with Nigel French, as he breaks down the components of an elegant and readable layout and jumps into the setup and strategy for designing a book from the ground up in Adobe InDesign. This class covers document setup, placing and styling text, working with images, creating the book cover, preparing the book for print and or distribution as an ebook.
One more brief very easy and very satisfying task before we move onto placing our images. By the way if you watch the previous movie I went back to our original mouses tail which I felt was better than the one I actually did on camera. Proving the point that it is a rather tricky thing and one that requires some degree of finessing. And of course that takes time. But what we're going to do in this movie is apply Optical Margin Alignment. And I have applied Optical Margin Alignment to this one piece of text which, since I cut it out, is technically a separate story. I'm now going to apply it to the rest of my text. And lets go to the beginning to see this.
It doesn't really matter where we place our cursor just so long as we are somewhere inside our continuous flow of text. We can then come to the Type menu and before I do this I'm just going to turn my guides On. Type menu > Story. It doesn't matter whether you have the story selected with your Type tool or with your Selection tool. The result will be the same. And, it couldn't be any easier. I just need to check this box, Optical Margin Alignment. Now, why am I doing this? Let me find a place in the text where we will be able to discern the difference.
Down here, I see I have a hyphen break. I'm going to zoom in on that. And when I check Optical Margin Alignment, that hyphen is going to stick out beyond the edge of my text frame, as does this quote mark as will any other punctuation. So the idea here is that we are stressing the straightness of that right hand edge by moving any punctuation beyond it. And in that case we have a stronger vertical stress of the letters themselves.
Because these punctuation marks that were formerly flush with the right hand edge were creating, now I will just turn that off, were creating some sort of visual hole right theer and right there. Where as the stress will become stronger with the Optical Marigin Alignment couldn't be any easier than that. The only option that we have to consider is this one, the point size. It doesn't really make much difference in practice but the idea is that you make the point size of the type you're working with.
We happen to be working with 12 point type, so we need go no futher.
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