Previous FX000 Welcome to InDesign FX| 00:04 | Hi! My name is Mike Rankin and
welcome to InDesign effects.
| | 00:08 | InDesign's transparency effects or
effects for short are an amazing tool for
| | 00:12 | adding creative eye-
catching visuals to your documents.
| | 00:15 | With then you can create an
incredible variety of designs and make your
| | 00:18 | documents more engaging to your audience.
| | 00:21 | These videos will cover every aspect of
working with InDesign's graphic effects.
| | 00:25 | You will learn how to adjust the
opacity of objects,so it looks like you're
| | 00:28 | seeing through them, how to simulate
three-dimensional objects with shadows and
| | 00:32 | bevel and emboss, and how to combine
effects to simulate real-world materials,
| | 00:36 | anything from hard steel to soft
satin, from black oil to clear water.
| | 00:41 | And the best part is you can do it all
efficiently right from within InDesign
| | 00:45 | without the need to create and
maintain separate linked graphics.
| | 00:47 | Of course, none of this matters if
you can't accurately reproduce your
| | 00:52 | effects in your output.
| | 00:53 | So whether your documents are
destined for a printing press or a tablet
| | 00:56 | computer, we will cover the steps you need to
take to ensure you always get the look you want.
| | 01:01 | So with all kinds of cool tools and
techniques to explore, where do we begin?
| | 01:05 | Well, it may sound a little odd but I think a
great first step is to turn off the computer.
| | 01:10 | Get some time away from the screen,
forget about pixels and paths, and spent some
| | 01:14 | time studying an object in real life.
| | 01:16 | It could be anything, like
this take-out food container.
| | 01:20 | I do a lot of InDesign work just
sitting at the kitchen table, and one day I
| | 01:23 | happened to notice a container like
this and I wondered if I could recreate it
| | 01:26 | using InDesign's drawing tools and effects.
| | 01:29 | I tried to see it as a set of simple
shapes, I could draw with the Pen tool and
| | 01:33 | then bring to life using
effects like bevels and shadowing.
| | 01:36 | glows and embosses.
| | 01:38 | This systematic approach and
attention to detail can help you make amazing
| | 01:42 | things with InDesign's effects.
| | 01:44 | Now when it comes to effects I know some
folks might be thinking, why bother, why
| | 01:48 | not just use Photoshop or Illustrator?
| | 01:50 | It's absolutely true.
| | 01:51 | You can do things with those
programs you could never do in InDesign.
| | 01:54 | Always use the right tool for the job
and if the right tool happens to the
| | 01:58 | Illustrator or Photoshop, use them,
but if you can get the look you want and
| | 02:02 | stay in InDesign there are
several advantages to be gained.
| | 02:05 | You don't have to worry about modified
and missing links. You won't run into
| | 02:08 | mismatched color profiles. You don't
have to worry about the resolution of your
| | 02:12 | effects because the resolution of
effects can be set at output time.
| | 02:16 | And you don't have to worry about
whether a certain file format will do
| | 02:19 | something nasty like rasterize your text.
| | 02:21 | Finally, when you do your effects in
InDesign, you can take advantage of the
| | 02:25 | built-in efficiency tools.
| | 02:27 | Things like object styles, master
pages, books, snippets, and libraries
| | 02:31 | that allow you to share,
| | 02:32 | synchronize, and reuse your effects
throughout your workflow. Are you excited?
| | 02:36 | I am! So let's jump in and start
exploring the world of InDesign's effects.
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| 001 Blurring Objects with Drop Shadows| 00:00 | It may sound strange that you would
want a blur something in InDesign but
| | 00:04 | actually there are lot of cool effects,
you can create with a little blur magic.
| | 00:08 | Blur can add realism to a design where
perfectly sharp edges leave everything
| | 00:12 | seeming a little too digital.
| | 00:14 | You can also use blur to simulate
all kinds of materials with diffused
| | 00:18 | edges, wispy things like smoke and fog,
grainy things like powder and sand,
| | 00:23 | and even spray paint.
| | 00:24 | While there's no Blur command in
InDesign, we can still easily blur objects and
| | 00:28 | text by making them invisible and using
their drop shadows as blurry stand-ins
| | 00:33 | for the actual objects. Let's take a look.
| | 00:36 | So here I have a little eye-chart and
my goal is to make this look blurry like
| | 00:40 | our vision is deteriorating here.
| | 00:42 | And to do a blur maybe you would
think, okay, I will just use a Feather.
| | 00:46 | That seems natural.
| | 00:48 | So I will target it, open the Effects
dialog box and I will try to turn on a
| | 00:52 | Basic Feather and right away I
can see this isn't really creating a
| | 00:56 | convincing Blur effect.
| | 00:58 | The text down at the bottom is pretty
much invisible and the text up at the top,
| | 01:02 | while the edges are becoming a little
soft, it's not really like a good Blur effect.
| | 01:07 | So I could try changing the Corners to
Rounded and that makes it even worse.
| | 01:11 | Now most of my letters are
broken or completely gone.
| | 01:15 | Sharp doesn't really do much of
anything. There is a whole lot of noisy junk
| | 01:18 | going on right here.
| | 01:19 | So let's turn Basic Feather off.
| | 01:21 | Now we will try the Drop Shadow method instead.
| | 01:24 | I'll just cancel out of this dialog box.
| | 01:26 | The first thing I want to do is to
set my text fill from black to Paper.
| | 01:32 | So I will target the text, Fill, fill with Paper.
| | 01:35 | I will select my container and go to the
Effects dialog box and I will apply Drop Shadow.
| | 01:42 | I will turn off Object Knocks Out
Shadow and I set the transparency from
| | 01:48 | Normal to Multiply.
| | 01:49 | Now I have completely hidden the text
and all I'm seeing here is its drop shadow.
| | 01:54 | I go back to the Drop Shadow settings
and now to increase the blur amount all I
| | 01:59 | have to do is increase
the size of the Drop Shadow.
| | 02:03 | So the larger I make the drop
shadow, the more I make the Blur effect.
| | 02:06 | If I decrease the Size, I
bring the text back into focus.
| | 02:11 | I have really nice
control over this Blur effect.
| | 02:15 | Let's see how we can
simulate some materials using this.
| | 02:17 | I would like to spray
paint something on this wall.
| | 02:21 | So I am going to take my Pencil tool
and drag in my window and create a circle.
| | 02:27 | 20 pixels is the stroke width and I am
going to change the stroke color in the
| | 02:33 | Swatches panel from black to Paper.
| | 02:37 | In the Effects panel, I will change it
from Normal to Multiply and that makes
| | 02:42 | the stroke disappear.
| | 02:43 | Now I can double-click to bring up
the Effects dialog box, turn on the Drop
| | 02:47 | Shadow, turn off Object Knocks Out
Shadow, and now I can change the Size of the
| | 02:54 | Drop Shadow to make it look a
little more like spray paint.
| | 02:56 | I will say increase the Size from 5
pixels to 10 pixels and click OK and deselect.
| | 03:04 | That's a pretty decent sray paint effect.
| | 03:06 | I can easily create more spray paint by
drawing some more things with the Pencil tool.
| | 03:11 | I have created a little smiley face here
and I will select those three new objects.
| | 03:19 | Press the I key on my keyboard to get
the Eyedropper and click on my circle to
| | 03:24 | gather the effects that I had applied to that.
| | 03:27 | Deselect and now I have my smiley
face spray painted onto the brick wall.
| | 03:31 | Let's try it again on this NO PARKING sign.
| | 03:35 | This one is different because now
I don't want a black spray paint.
| | 03:38 | I want a spray paint with white.
| | 03:40 | This is text filled with paper.
| | 03:41 | I am going to target the text level in
the Effects panel and change its blending
| | 03:46 | mode from Normal to Multiply.
| | 03:48 | That makes the text disappear.
| | 03:49 | Now I want to target the object level.
| | 03:53 | Double-click to bring up the Effects dialog box
and apply the Drop Shadow at the object level.
| | 03:58 | I am going to change the blending mode
from Multiply to Screen and change the
| | 04:03 | swatch from black to Paper.
| | 04:06 | Now I have a Paper colored drop shadow
standing in for my original object and
| | 04:10 | making it look like I have spray paint.
| | 04:12 | If I want it to appear where the
original object at, I will just change
| | 04:15 | the Distance to 0 and now it's just
a matter of tweaking the effect with
| | 04:19 | Size, Spread, and Noise.
| | 04:21 | So if I want to increase the
size, I can make it be fuzzier.
| | 04:25 | If I want to be more opaque, I can
increase the Spread and I can add a little
| | 04:29 | noise for some randomness.
| | 04:32 | Click OK and deselect.
| | 04:34 | Now there is pretty decent spray
paint effect by using drop shadows.
| | 04:38 | Let's try a couple of more effects.
| | 04:40 | I can simulate clouds using
the same Drop Shadow effect.
| | 04:43 | Here I have just a blue sky background
and some live text filled with Paper.
| | 04:48 | I am going to target the text level in
the Effects panel and change the blending
| | 04:53 | mode from Normal to Multiply.
| | 04:54 | Again the text disappears.
| | 04:56 | Then I will target the object level.
| | 04:59 | Double-click to bring up the
Effects dialog box and apply Drop Shadow.
| | 05:04 | Change the blending mode to Screen,
change the swatch to Paper, and click OK.
| | 05:10 | Now it's just a matter of tweaking the
effect by increasing the Size, Spread and Noise.
| | 05:14 | I am going to increase the Size
from 5 pixels to 20 pixels and I will
| | 05:18 | increase the Spread to 30% to give me
puffy or thicker clouds and a little
| | 05:23 | bit Noise never hurts.
| | 05:26 | Click OK and there we have it.
| | 05:29 | That's some pretty good sky writing.
| | 05:30 | We can also simulate gritty materials like sand
with the same idea, if we add a bunch of Noise.
| | 05:36 | I will select the text frame.
| | 05:39 | Target the text, set it to Multiply.
| | 05:42 | Target the object, turn on the Drop
Shadow, and change the blending mode from
| | 05:48 | Multiply to Screen, and change the
swatch from black to a sand color.
| | 05:57 | Now I just need to apply a whole
bunch of Noise to make it seem gritty.
| | 06:00 | I will hold down the Shift key on my
keyboard and tap the Up Arrow key and
| | 06:04 | watch my sand appear.
| | 06:08 | That's pretty good sand.
| | 06:09 | Blurring objects with the Drop Shadow
technique is a great way to simulate
| | 06:12 | interesting materials with
InDesign objects and text.
| | 06:16 | Anything with a soft edge is
a candidate for this technique.
| | 06:19 | By varying the color of the Drop
Shadow and the amount of Noise, you can make
| | 06:23 | anything from spray paint to sand to smoke.
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| 002 Creating Interlocking Objects| 00:00 | All objects in InDesign have a stacking order.
| | 00:03 | Everything is either in front
of or behind something else.
| | 00:06 | You can move objects up or down in that
order but you can't create interlocking
| | 00:10 | objects, things like links in a chain.
| | 00:13 | But with the little masking trick using
the Paste Into command, you can make it
| | 00:16 | look just like two objects are interlocked.
| | 00:19 | Here I have three ellipses that make
up the links in a chain and I've created
| | 00:23 | this effect by taking extra copies of
the ellipses and pasting them into extra
| | 00:28 | frames to act like a little mask.
| | 00:30 | It's a really simple trick but
it's really effective. Let's try it.
| | 00:35 | So here I have my three ellipses laid
one on top of the other and it doesn't
| | 00:38 | look like they're interlocked.
| | 00:39 | It just looks like they're stacked on
top of one another and in reality they are.
| | 00:43 | I will select the first one, copy it,
press the F key on my keyboard, and I am
| | 00:49 | going to click and drag over this
area where I would like to create the
| | 00:52 | interlocking illusion. And I'll choose Edit
> Paste Into and deselect. Just like that,
| | 01:01 | it looks like I have an interlocked object.
| | 01:03 | Now I will try it again over here.
| | 01:05 | I will press the V key to switch to
my Selection tool, click on the middle
| | 01:09 | ellipse, copy it, press the F key,
click and drag, and choose Edit > Paste Into
| | 01:18 | and deselect. And just like that I have
created my interlocking links in a chain.
| | 01:24 | Let's try another variation on this.
| | 01:25 | Here is my ringed planet.
| | 01:27 | I used a different technique with this
to make it look like the rings were both
| | 01:31 | in front of and behind the planet and it
was even simpler than the masking trick
| | 01:35 | with the Paste Into.
| | 01:37 | In this case, all I did was create
another copy of the circle of the planet and
| | 01:41 | delete the bottom anchor point so it's
only a semicircle and it's laid on top of
| | 01:46 | the ellipse that makes up the rings.
| | 01:48 | Another really simple but really
effective trick. Let's try it.
| | 01:51 | I will press the L key to get my
Ellipse tool and click in my document.
| | 01:57 | I will create my planet shape,
250 pixels wide and 250 pixels high.
| | 02:02 | And in my Swatches I have a
PlanetColor that I will apply to the fill of my
| | 02:09 | ellipse and give it a stroke of None.
| | 02:15 | And I would like to actually reposition
this gradient a little bit to look like
| | 02:18 | the light source was coming
up from the top left corner.
| | 02:21 | So I will press the G key on my
keyboard to get my Gradient tool, target the
| | 02:25 | fill, and click and drag.
| | 02:30 | There, that's more like what I want.
| | 02:31 | Now I will press the L key to get my
Ellipse tool again and I'll click and drag
| | 02:35 | to draw the planet's rings.
| | 02:38 | Something like that.
| | 02:39 | I will change the color of the
stroke from black to PlanetRing and I will
| | 02:44 | increase the width of the stroke to 20
pixels and I will change the stroke style
| | 02:49 | from Solid to Thick-Thin-Thick and
that gives me my nice planetary rings.
| | 02:57 | Now I want to switch to my Selection
tool, click on the planet, copy it, choose
| | 03:03 | Edit > Paste in Place, and then switch
to my Direct Selection tool by pressing
| | 03:08 | the A key on my keyboard.
| | 03:09 | I want to click and select just this
bottom anchor point and press the Delete
| | 03:14 | key on my keyboard to delete it.
| | 03:16 | Now I just have this semicircle but
it's laid on top of the ellipse that makes
| | 03:21 | up the planet's rings
and completes the illusion.
| | 03:24 | You can't really create interlocking
vector objects. They just don't work that way,
| | 03:28 | but with an extra copy of an
object pasted into a frame that acts like a mask,
| | 03:32 | you can create the exact same
appearance as if paths were interlocked.
| | 03:36 | You can also change paths just by
deleting anchor points and sandwiching them
| | 03:40 | around other objects to make them
look like they're both in front of and
| | 03:44 | behind objects.
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| 003 Exploring the Effects Panel| 00:01 | InDesign's transparency effects enable
you to blend the colors of objects and
| | 00:04 | apply special effects like Drop
Shadows, Glows, feathering and more.
| | 00:08 | The Effects panel is where you will find
the controls for creating, applying, and
| | 00:12 | editing transparency
effects. Let's take a look.
| | 00:15 | So here I have my Effects
panel docked with my other panels.
| | 00:18 | Now we will just start by taking a
little tour of the controls in the panel.
| | 00:22 | First off I have this pop-up menu with
the different blending modes I can apply.
| | 00:25 | I have 16 blending modes
available to me in InDesign.
| | 00:29 | They are the exact same 16 blending
modes that you have for use in Illustrator.
| | 00:34 | Photoshop has substantially more but we
can still do a heck of a lot with just
| | 00:38 | these 16 blending modes.
| | 00:40 | Next up, I have some Opacity controls
with a slider that I can click and drag to
| | 00:44 | see through objects to what's underneath them.
| | 00:47 | In the main part of the panel, I have these
different levels at which I can apply effects.
| | 00:51 | So I can apply them at the object level,
at the stroke level, at the fill level,
| | 00:56 | or just to the content within a frame.
| | 00:58 | So if I have a text frame selected, I
can apply effects just to the text, if I
| | 01:02 | have a placed graphic I can apply just
to the place graphic and if I had a group
| | 01:06 | selected I could also apply
effects at the group level.
| | 01:10 | Underneath this I have two controls,
Isolate Blending and Knockout Group.
| | 01:14 | We will get to with those do in a little bit.
| | 01:16 | In the panel menu I can
show and hide the options.
| | 01:19 | To show and hide Isolate
Blending and Knockout Group.
| | 01:22 | I have a menu for my nine different
effects and to also open the Effects dialog box.
| | 01:27 | I have controls to Clear
Effects and Clear All Transparency.
| | 01:31 | So I can just clear effects that
have been applied or I can Clear All
| | 01:35 | Transparency which also resets an
object to 100% Opacity and the Normal
| | 01:39 | blending mode, and I have controls for
this thing called Global Light that I
| | 01:43 | will also get to in a minute.
| | 01:45 | At the bottom of the panel I have
buttons to clear all effects and return an
| | 01:48 | object to 100% Opacity and
the Normal blending mode.
| | 01:52 | I have another pop-up menu to open
the Effects dialog box and access the
| | 01:56 | different effects and I have a Trashcan
icon where I can remove effects that I
| | 02:00 | have applied at any level.
| | 02:02 | Now I will select a couple
of these objects on the page.
| | 02:05 | My sunglass frames, and when I do I can
see that I have applied effects at both
| | 02:09 | the stroke and the fill level. When
I hover over that fx icon InDesign gives
| | 02:14 | me a tool tip to tell me
what effect I have applied.
| | 02:16 | In this case I have applied a Bevel and Emboss.
| | 02:19 | I can also target that fx button and
drag it down to the Trash to remove the
| | 02:24 | effect if I want to.
| | 02:25 | I will just undo that.
| | 02:26 | I can also drag this
fx icon to different levels.
| | 02:30 | So if I wanted to move a bevel from the
fill to the object level I could do that.
| | 02:34 | I can also drag that fx icon from
one object to another in my layout.
| | 02:39 | So if I like the bevel that I had
applied at the stroke level and wanted to
| | 02:42 | apply to this text, I can just click and drag
the fx icon and drop it on top of the text.
| | 02:48 | And there, now I have that
same bevel applied to my text.
| | 02:51 | That's pretty cool!
| | 02:53 | Let's change some of the
opacity and see how that works.
| | 02:56 | So right now I have the object level selected.
| | 02:59 | I will change from the Normal blending
mode to Multiply and if I zoom in, I can
| | 03:05 | see that I taken the whole object and
multiplied it into the background and
| | 03:09 | that's actually doing
something that I don't want.
| | 03:11 | I can see through the sunglass frames to
what's beneath and that's not very realistic.
| | 03:15 | So I am going to undo that and I am
going to target just the fill and set
| | 03:20 | the fill to Multiply.
| | 03:22 | So I have independent controls for the fill
and the object. And that's looking a lot better.
| | 03:27 | Now the sunglass frames are opaque,
but I can see through the lenses.
| | 03:32 | Now let's look at those controls for
Isolate Blending and Knockout Group.
| | 03:35 | Here I have two squares, one filled
with cyan and one filled with magenta, and
| | 03:40 | they're both set to the Normal blending mode.
| | 03:42 | So in the Normal blending mode a top
object knocks out what's beneath it.
| | 03:46 | I can't see through this.
| | 03:47 | Here I have taken the cyan square and I
have set it to the Difference blending mode.
| | 03:52 | So now I'm taking the difference
between the cyan color and the magenta color
| | 03:56 | underneath and I get this orangey color.
| | 03:58 | Now if I group these two and apply
Knockout Group, I am telling InDesign to
| | 04:02 | knock out all group members, to don't
apply the blending mode within the group.
| | 04:07 | So it's as if I'd set everything to Normal.
| | 04:10 | But that Difference blending mode
still applies to objects outside the group.
| | 04:14 | So if I were to drag this over this
dotted object, I can see that the Difference
| | 04:18 | mode still applies. The cyan square
is differencing with the dotted object
| | 04:22 | underneath but it's knocking out the
magenta square because it's grouped with it
| | 04:27 | and I applied Knockout Group.
| | 04:29 | The other control, Isolate
Blending, does the opposite.
| | 04:33 | It tells InDesign to just apply
the blending mode within the group.
| | 04:36 | So the Difference mode still applies
between the cyan square and the magenta
| | 04:40 | square but it won't apply to anything else.
| | 04:42 | So if I drag this over the
dotted object, it knocks it out.
| | 04:46 | It's as if I'd applied the Normal blending mode.
| | 04:49 | What happens if I apply both
Isolate Blending and Knockout Group?
| | 04:53 | Well, that's kind of like if I told
InDesign, hey, don't apply blending
| | 04:57 | modes inside the group and also
don't apply them outside the group;
| | 05:00 | just knock everything out.
| | 05:02 | So it's like I'm back to square one
and I just applied the Normal blending
| | 05:05 | mode to everything.
| | 05:06 | And if I drag this over the dotted
object you can see that everything knocks out.
| | 05:10 | Let's take a look at Global
Light and what that does.
| | 05:14 | Global Light is a setting that applies
to Bevel and Emboss, Inner Shadow, and
| | 05:18 | Drop Shadow and it's a means of having a
consistent lighting effect throughout a document.
| | 05:22 | We can access Global Light through
the Effects panel menu and it has two
| | 05:27 | controls, Angle and Altitude.
| | 05:30 | If I change the Angle, I will set it to 0,
I can see that at 0 degrees the light
| | 05:35 | source comes from the right-hand
side and shines towards the left.
| | 05:39 | And that's what I see in this little
proxy. The crosshairs represents the light
| | 05:42 | source and the dot in the
middle of this circle is the object.
| | 05:45 | Now if I change the Angle and
increase it, I can see the light source go over
| | 05:49 | the top of the object and
move from right to left.
| | 05:53 | At 90 degrees, it's directly
over the object shining down.
| | 05:55 | I will continue on all the way to 180
degrees where now the light source is on
| | 06:02 | the left side of the object
shining towards the right.
| | 06:05 | So highlights on the left, shadows on the right.
| | 06:08 | I will reset the Angle to 0
and now we will look at Altitude.
| | 06:13 | Altitude is like the height of
the light source off of the horizon.
| | 06:16 | So it's like the sun rising up.
At a very low altitude say 1 degree,
| | 06:22 | I have a very weak highlight almost
nonexistent here and half of my object on
| | 06:27 | the other side is in complete shadow.
| | 06:30 | Now if I increase the Altitude, I will
increase the highlight and push that
| | 06:34 | shadow back and the higher I get the
more intense my highlight gets until it's
| | 06:40 | this really bright white spot like
the sun is just beating down on you.
| | 06:44 | Altitude is a key setting
for making objects look shiny.
| | 06:48 | If we think about a shiny reflective
object, there is an intense highlight that
| | 06:51 | shines off of it and that's
what you can achieve with Altitude.
| | 06:54 | I will cancel out of here.
| | 06:57 | Now there is one more thing to be
aware of when it comes to Global Light and
| | 07:00 | that's that Global Light is
a document specific setting.
| | 07:03 | So I can have different Global Light
settings in different documents and when I
| | 07:07 | copy and paste objects that use Global
Light from one document to another,
| | 07:11 | I might get some unexpected results.
| | 07:14 | Let's change the Global Light setting
in this document to something like 90
| | 07:18 | degrees and a high Altitude of 80
degrees, so I will have a very sharp intense
| | 07:23 | highlight and almost no shadow.
| | 07:24 | I'll copy this object and
paste it into another document.
| | 07:29 | Now this document has the default
settings for Global Light and wow!
| | 07:33 | Look at that. I have a deep dark shadow
and the highlight is coming from the top
| | 07:37 | left corner and that's because this
document uses Global Light settings of 120
| | 07:42 | degrees for Angle and 30 degrees for Altitude.
| | 07:46 | So how do I overcome this problem?
| | 07:48 | I will go back to my original document.
| | 07:50 | I will open the Effects dialog box and
in the Bevel and Emboss settings I will
| | 07:55 | turn off Use Global Light.
| | 07:57 | Now when I do that I might see that
these values for Angle and Altitude change
| | 08:01 | and I will have to manually
reset them to what I want.
| | 08:03 | So I will set this to 90 degrees and
Altitude to 80 degrees and click OK.
| | 08:10 | Now this particular object doesn't use
Global Light anymore, so when I copy and
| | 08:14 | paste it into another document it won't change.
| | 08:16 | I will copy it, go back to that other
document, and paste it in and now I see I
| | 08:23 | have my small intense highlight
and no shadow in the beveling.
| | 08:26 | Learning the controls in the Effects
panel is the first step in mastering the
| | 08:29 | use of InDesign's transparency effects.
| | 08:32 | Now you know where to go to adjust an
object's opacity, change its blending mode,
| | 08:36 | apply effects, target them to a
fill, stroke, or content, and clear effects
| | 08:42 | when you don't want them.
| | Collapse this transcript |
| 004 Creating Long Text Shadows with Type on a Path| 00:00 | InDesign doesn't have a built-in
feature for creating cast shadows.
| | 00:04 | A regular drop shadow retains
the shape of the original object.
| | 00:07 | So you have to make creative use of
other features to create cast shadows.
| | 00:11 | One such feature is the Type on a Path
option called Gravity, which can stretch
| | 00:15 | and bend the shapes of letters.
| | 00:16 | Here I have just a little bit of text,
Big Things, and you can see that I have
| | 00:20 | these nice stretched out cast shadows
coming from the bottoms of the letters.
| | 00:24 | Let's see how that's done.
| | 00:26 | I'll go to a new page, I'll press the F
key on my keyboard, and click-and-drag
| | 00:31 | out a long frame. Then I'll go to the
Tool panel, click-and-hold on the Type
| | 00:35 | tool, and I'll select the Type on a
Path tool, or I could press Shift+T. I'll
| | 00:40 | go from the top-left corner. I'll click-and-drag
all the way to the top-right corner and let go.
| | 00:46 | So now I have Type on a
Path applied to this frame.
| | 00:50 | Let's put some words in. I'll just
type in those same words, Big Things.
| | 00:55 | I'll select it all and center it,
and I'm going to switch my font from
| | 00:59 | Minion Pro to Myriad.
| | 01:03 | It's really small right now so I'm
going to increase the point size from 12
| | 01:06 | pixels to 100 pixels, and
that's looking pretty good.
| | 01:11 | Since I'm going to reflect this type I'm
going to flip it. I need to do a little
| | 01:15 | work to make sure that all the
letters line up exactly on the baseline.
| | 01:19 | Right now it looks like they're not.
| | 01:20 | So I'm going to zoom in and see who is
aligned on the baseline and who isn't.
| | 01:25 | The B and the I look pretty good.
| | 01:26 | The G is hovering a little
bit underneath the baseline.
| | 01:30 | So I want that to sit exactly on
the same line as the I and the T here.
| | 01:34 | so I'm going to click and select it,
and then in the Control panel I'm going to
| | 01:38 | go up to my baseline shift and shift it
up just a little bit, maybe just 1 pixel.
| | 01:45 | Deselect, switch to my Selection tool and
check it, and that's going to be good enough.
| | 01:52 | Again, we're zoomed in really close
here, so we're going to see any little
| | 01:56 | defect in the baseline alignment.
| | 01:58 | The G and the S over here are
both sticking under the baseline.
| | 02:02 | So I'm going to select both of them, and
again add 1 pixel of baseline shift there.
| | 02:10 | Now everybody should be sitting on the
same line, so when I flip the type it
| | 02:13 | will all align perfectly.
| | 02:16 | Switch to my Selection tool, grab the
frame, and with the reference point at the
| | 02:20 | top-center I'm going to hold the Option
or Alt key on my keyboard and click on
| | 02:25 | the Flip Vertical button.
| | 02:26 | Now I have my flipped copy of my type
that's going to serve as the cast shadow.
| | 02:31 | Now I don't want it to be 100%
black; I'd like it to be gray.
| | 02:34 | So I'll go to my Swatches panel and
select my Formatting Effects Type, and
| | 02:39 | instead of a Tint of 100% we'll
reduce that down to say 40% and say OK.
| | 02:45 | Now I'll switch to my Formatting Effects
Container so I can apply an effect to this.
| | 02:50 | The effect I want to
apply is a Gradient Feather.
| | 02:53 | I want to fade this shadow out so
it's opaque where it touches the text and
| | 02:57 | fades out to invisible here.
| | 02:59 | And that's why I had to click
on Formatting Effects Container.
| | 03:01 | I'll stash the Swatches panel, I'll
press Shift+G on my keyboard to get my
| | 03:07 | Gradient Feather tool, and I'll click-
and-drag from somewhere around the center
| | 03:10 | of the frame downward to
fade out my cast shadow.
| | 03:16 | That's looking a little too
subtle so I'll do that again.
| | 03:19 | That's looking better.
| | 03:21 | Now let's apply that Type on a Path
Gravity option to apply some skew and
| | 03:25 | stretch these letters out.
| | 03:26 | So with the frame selected, I'll go to
the Type menu, choose Type on a Path >
| | 03:32 | Options, and change the effect
from Rainbow to Gravity and click OK.
| | 03:38 | Now that's looking pretty good, but if
I'd like to change the amount of Skew
| | 03:42 | I can do that easily.
| | 03:43 | I'll switch to my Selection tool by
pressing the V key on my keyboard and if I
| | 03:48 | reshape this frame by clicking-and-
dragging this control point, I can reshape the
| | 03:53 | Gravity option on the toe on a path like so.
| | 03:57 | If I want type that's not skewed very
much, I can make the frame taller, or if I
| | 04:01 | want to skew it way out I can
make it really short. It's up to me.
| | 04:07 | So there I have my nice cast shadow
courtesy of the Gravity option for Type on a Path.
| | 04:12 | So you can create dramatic cast
shadows for text if you make type on a path,
| | 04:17 | flip it, and then apply the Gravity
option to size and shape the shadow any way you wish.
| | Collapse this transcript |
| 005 Making Shiny Effects| 00:00 | In print, on the web, and on TV,
shiny graphics are everywhere today.
| | 00:04 | They give a feeling of high-tech
polish to a design and they are also
| | 00:07 | really easy to create.
| | 00:09 | Let's see how to use InDesign
to create some shiny effects.
| | 00:12 | So when we want to stimulate shine, we need
to create an area that seems to reflect light.
| | 00:17 | The easiest way to do this is to just use a
paper filled object to create a highlight.
| | 00:21 | So here I just have a simple text
frame them with the word Shine in it and I
| | 00:25 | want to make it seem a little reflective.
| | 00:27 | So I'll press the F key on my keyboard
to get my Rectangle Frame tool and I'll
| | 00:30 | click-and-drag over the top of it about halfway.
| | 00:34 | In my Swatches panel I'll fill this new
rectangle with Paper and in my Effects
| | 00:38 | panel, I'll reduce the opacity.
| | 00:41 | I'll drag it down to say
25% or so, and deselect.
| | 00:45 | And there you have it, instant
shine, as simple as it can be.
| | 00:49 | A variation on this is to use an
ellipse instead of a rectangle.
| | 00:52 | So I'll delete the rectangle, I'll
press the L key on my keyboard to get my
| | 00:56 | Ellipse tool, and click-and-drag to draw a curve.
| | 00:59 | In my Swatches panel I'll set the
fill to Paper and the stroke to None and
| | 01:06 | I'll go back to my Effects panel and reduce
that opacity back down to 25% again and deselect.
| | 01:13 | So just another variation on that shine effect.
| | 01:15 | Let's try something a little more complicated.
| | 01:17 | I made this circle look like it's a
glass ball with a shiny reflective highlight
| | 01:21 | on the top and also that it's sitting
on a shiny reflective surface using the
| | 01:25 | Gradient Feather tool.
| | 01:27 | Let's see how it's done.
| | 01:29 | So here I have a circle and it's just
filled with the blue color, so I'll go to
| | 01:33 | my Swatches panel and to create a
little sense of a highlight in a shadow I'll
| | 01:37 | replace the blue fill color with a gradient.
| | 01:41 | I've created this Blue Glass gradient,
so it's light blue in the middle and dark
| | 01:46 | blue almost black at the edges.
| | 01:48 | I'll press the G key on my keyboard
to get my Gradient tool and I'll click
| | 01:52 | somewhere up near the top
of the circle and drag down.
| | 01:56 | So I'll put the highlight near the top
and keep the shadows down near the bottom.
| | 02:00 | I'll switch to my Selection tool, I'll
copy the circle, and choose Edit > Paste
| | 02:05 | in Place, or Command+Shift+Option+V,
Ctrl+Shift+Alt+V, and I'll change the fill
| | 02:10 | from Blue Glass to Paper.
| | 02:13 | I'll set the reference point to the top
center and I'll reduce the width of my
| | 02:17 | new circle to about two thirds of the original.
| | 02:20 | So we'll say 67% and I'll reduce the
height to about 40% of the original.
| | 02:26 | This is going to be my highlight.
| | 02:28 | I'll nudge it down a little bit with
the Down Arrow on my keyboard and in the
| | 02:33 | Effects panel I'll reduce
the opacity down to say 80%.
| | 02:38 | I'll press Shift+G to get my Gradient
Feather tool and I'll click-and-drag
| | 02:42 | straight down, holding the
Shift key to constraint.
| | 02:44 | I want to fade this highlight out,
and I can keep doing it until I get just
| | 02:49 | the effect that I want.
| | 02:50 | Yeah, that's pretty good. I'll deselect.
| | 02:53 | Now I want to create that reflection to
give it a sense that it's on a shiny surface.
| | 02:58 | So I'll select both objects, I'll set
the reference point to the bottom center,
| | 03:04 | and Option+Click, or Alt+Click on the
Flip Vertical button in the Control panel.
| | 03:07 | Now I'll press Shift+G again to get my
Gradient Feather tool and I'll fade out
| | 03:12 | this reflected copy.
| | 03:14 | I'll start by clicking somewhere around
the center of the circle and Shift+Drag down.
| | 03:19 | I'll deselect and there I have my reflection.
| | 03:23 | Now I don't want it exactly touching the circle.
| | 03:25 | That doesn't look very realistic.
| | 03:26 | So I'll select the reflected copy and
nudge it up a little bit with my Arrow tool.
| | 03:31 | There, now it's in place.
| | 03:35 | Let's try another shiny effect.
| | 03:36 | Here we have a series of frames that
look like they're sitting in some kind of
| | 03:41 | perfectly reflective black space, sort
of like Apple's iTunes Cover Flow effect.
| | 03:45 | We can easily do this in InDesign
again with the Gradient Feather tool.
| | 03:50 | So here I have my original photos. I'll
select them all, I'll set the Reference
| | 03:55 | Point to the bottom center, and Option+
Click or Alt+Click the Flip Vertical
| | 03:58 | button in the Control panel.
| | 04:01 | I'll press Shift+G to get my
Gradient Feather tool and Shift+Drag down to
| | 04:06 | create my reflections.
| | 04:09 | I'll deselect, and now I just have
to nudge them down to create that
| | 04:13 | stair-stepped effect.
| | 04:14 | I'll press the V key to get my
Selection tool and I'll Shift+Click to grab the
| | 04:19 | original and the reflection of each copy,
and I'll nudge them down and deselect.
| | 04:27 | You can create instant shine just by
overlaying an object with a rectangle or
| | 04:31 | ellipse filled with a Paper
swatch and reduced in opacity.
| | 04:35 | For a fancier shine effect use a
gradient feather, either applied to a shape like
| | 04:39 | an ellipse, which can create a
highlight, or to a flipped copy of the whole
| | 04:43 | object to create a reflection.
| | Collapse this transcript |
| 006 Producing Slime| 00:00 | Sometimes when you're working with
effects, you're just adding a little
| | 00:03 | seasoning here and there to your layout.
Other times you may want to throw in
| | 00:06 | everything but the kitchen sink.
| | 00:08 | Let's see how we can combine several
different effects to cook up some gooey green slime.
| | 00:14 | So here I have some text and some
bubbles sitting on top of this gooey green
| | 00:18 | slime effect and what's going on here
are these four different effects that are
| | 00:22 | working in conjunction to create this look.
| | 00:26 | If I click on the text and I bring up the
Effects dialog box, you can see what's going on.
| | 00:30 | So I have a Drop Shadow, an Inner Glow,
Bevel and Emboss, and Basic Feather all
| | 00:36 | working together to create the look
that this text is just sort of bubbling up
| | 00:40 | from this cauldron of gooey slime.
| | 00:44 | And if we turn them on and off we
can see what each one is contributing.
| | 00:48 | The Bevel and Emboss gives
me that nice shiny highlight.
| | 00:52 | The Inner Glow gives me a nice
blend of light and dark green colors.
| | 00:57 | The Drop Shadow gives me a little sense of
depth and the Basic Feather softens the edges.
| | 01:03 | So it feels like this text is actually
sitting in the liquid, and together they
| | 01:07 | all work really nicely.
| | 01:09 | So let's create it from scratch.
| | 01:11 | Here I just have the text with no
effects and I'll bring up the Effects dialog
| | 01:17 | box and get to work.
| | 01:19 | I'll start out with the Bevel and Emboss.
| | 01:22 | I'll keep the Inner Bevel with the
Technique of Smooth and a Direction of Up and
| | 01:26 | I'll increase the Size to 20
pixels and I'll increase the Altitude.
| | 01:31 | Remember increasing the
Altitude gives us shiny effects.
| | 01:35 | It intensifies that highlight
and deemphasizes the shadows.
| | 01:39 | I'll go to about 75 degrees and I'm going to
change the Angle, because I want the light
| | 01:47 | to seem like it's coming from the lower right.
| | 01:49 | So I'll change from 120 degrees to -30 degrees
and I don't want black shadows here so I'm
| | 01:56 | going to click on the swatch and
change it from black to my dark green color.
| | 02:01 | Click OK and I might want to just
increase the intensity of the highlight a
| | 02:05 | little bit more so I'll go
all the way to 100% Opacity.
| | 02:09 | Next let's do the Drop Shadow.
| | 02:12 | We'll change from the black swatch to
the dark green swatch and we'll take the
| | 02:18 | Opacity down to say 40%.
| | 02:21 | And I want it right behind the text, so
Distance should be 0 and I need it bigger.
| | 02:26 | So I'm going to increase
from 5 pixels to 20 pixels.
| | 02:32 | I'll make it a little more opaque by
adding some Spread and I'll go to the Inner
| | 02:36 | Glow to blend the light and dark green colors.
| | 02:38 | I'll change from the Screen blending mode
to Normal and pick my dark green swatch.
| | 02:46 | So the glow gives me a blend of the
light green that I filled the text with
| | 02:49 | and the darker green.
| | 02:51 | I'll set the Opacity at 100%
and I'll increase the Size.
| | 02:57 | I'll stick with 30 pixels here and
I'll increase the opacity of the dark green
| | 03:01 | color with some Choke.
| | 03:03 | That looks good, 30%.
| | 03:07 | And lastly, I'm going to apply Basic
Feather to sort of blend the text with the
| | 03:11 | green color in the background.
| | 03:13 | I'll accept the default values.
| | 03:14 | So there we go, there is our slime.
It looks like it's shiny and sitting on top
| | 03:20 | of this green liquid.
| | 03:22 | Now let's use the same four
effects to create some bubbles.
| | 03:25 | I'll take my Ellipse tool and
Shift+Drag to create a circle.
| | 03:31 | In my Swatches panel, I'll take off the stroke
and I'll set the fill to my light green color.
| | 03:37 | Now let's apply some effects.
| | 03:39 | I will double-click to bring up the
dialog box and we'll start again with
| | 03:43 | the Bevel and Emboss.
| | 03:45 | Same idea as with the text. I want
to create a nice shiny effect.
| | 03:49 | So I'll keep the Inner Bevel, Smooth, and Up.
| | 03:51 | I'll make it really big, I'll go all
the way to 50 pixels, and I'll get rid of
| | 03:57 | that dark shadow by increasing the
Altitude. We'll go to 70 degrees and I'll change the
| | 04:04 | black swatch to my dark green swatch.
| | 04:09 | I'll increase the Opacity of the
highlight all the way to 100% just like we do
| | 04:13 | with the text, and then I'll
move onto the Drop Shadow settings.
| | 04:19 | I'll decrease the Opacity to
30% and pick my dark green swatch.
| | 04:27 | I want it right behind the
bubble, so Distance should be 0.
| | 04:30 | I'll increase the Size a bit to about
15 pixels and I'll make it more opaque
| | 04:37 | with some Spread, about 30%.
| | 04:41 | Next up, we'll apply the Inner Glow to
blend the light and dark green colors.
| | 04:45 | I'll change the Screen blending mode to
Normal and pick my dark green swatch again.
| | 04:52 | Increase the Opacity all the way to 100 and
I'll change my Technique from Softer to Precise.
| | 04:59 | And I want to increase the Size a bit
up to say 20 pixels and make it more
| | 05:06 | opaque with that Choke.
| | 05:07 | 60 might be too much.
I'll take it down to 50%.
| | 05:14 | And lastly, we'll use Basic Feather to
blend the edges of the bubble into the
| | 05:18 | surface of our liquid.
| | 05:19 | I'll just increase the Feather Width
until it looks right. That's too far.
| | 05:28 | We'll take it down to 20 pixels and click OK.
| | 05:33 | Now we have one bubble. We can make
more by Option+Dragging or Alt+Dragging.
| | 05:38 | And if we want to make them of
different sizes, we can Command+Shift+Drag or
| | 05:42 | Ctrl+Shift+Drag one of the anchor points.
| | 05:43 | So I can make a big bubble, or
I can make a really small one.
| | 05:52 | To make sure these effects scale
properly, let's check our Preferences.
| | 05:56 | We'll choose General preferences > Object
Editing > When Scaling and have Adjust
| | 06:02 | Scaling Percentage turned on.
| | 06:04 | That way your effects will
scale along with the object.
| | 06:07 | In this video, we saw how to combine
no less than four effects to create text
| | 06:11 | doing in a slimy bubbly liquid.
| | 06:13 | What's really fun is seeing how you
can make the different effects work
| | 06:16 | together, blending colors, and
shadows, and highlights to brew up one potent look.
| | Collapse this transcript |
| 007 Exploring Bevel and Emboss Settings| 00:00 | Bevel and Emboss is the most
versatile all of InDesign's effects.
| | 00:04 | The time you spent learning how to use
Bevel and Emboss will pay great dividends
| | 00:08 | because you can use this effect
in so many different situations.
| | 00:12 | Whether you're trying to simulate
chiseled steel, shiny plastic, or plain
| | 00:15 | water, Bevel and Emboss is the main
ingredient you need to cook up an awesome effect.
| | 00:21 | So here I can see the four different
styles of InDesign's Bevel and Emboss effect.
| | 00:25 | I have an Inner Bevel, an Outer
Bevel, an Emboss, and a Pillow Emboss.
| | 00:31 | Let's see how this work.
| | 00:33 | Here I have four circles filled with
yellow on a yellow background, so I can
| | 00:37 | just see the plain effect, and I have
the four different styles of Bevel and
| | 00:41 | Emboss applied to the circles.
| | 00:43 | The first one uses an Outer Bevel, so
inside the circle there is nothing going
| | 00:47 | on, but there is a highlight
and a shadow outside the circle.
| | 00:52 | The next one uses an Inner Bevel. There is
a highlight and a shadow inside the circle.
| | 00:57 | The third one uses Emboss, so there is
a highlight both inside and outside the
| | 01:02 | circle, and same with the
shadow, inside and outside.
| | 01:06 | The last one uses Pillow Emboss, where
the difference between Emboss and Pillow
| | 01:10 | Emboss is on the outside of the
object the direction of the shadow and
| | 01:14 | highlight is reversed, so in this case
I have a shadow outside the object on
| | 01:18 | top and a highlight underneath.
| | 01:21 | So it looks like I'm punching down
into the material here, whereas with a
| | 01:25 | regular Emboss it looks like I'm
pushing up through the material.
| | 01:28 | Let's take a look at some of the
controls in the Bevel and Emboss dialog box.
| | 01:33 | I'll select these shapes and open my
Effects panel and I'll apply Bevel and Emboss.
| | 01:42 | Right now I'm using an Inner Bevel, and
I'll keep that. I'll increase the Size,
| | 01:46 | so I can see the shadows and
highlights a little bit more.
| | 01:50 | As I increase the Size, you can see I
increase the highlights and the shadows.
| | 01:55 | Right now I am using a technique of
Smooth where I have blurry highlights and
| | 01:58 | shadows, but I can also choose
Chisel Hard, where I can see shadows and
| | 02:02 | highlights follow the edges of the
objects exactly, or Chisel Soft, which is
| | 02:08 | similar but even more intense.
| | 02:09 | I will go back to Smooth right now.
| | 02:13 | I can change the direction, from Up
to Down. When I choose Up, I have my
| | 02:18 | highlights in the direction of the
Angle. So right now my Angle of lighting
| | 02:22 | comes from the top-left, and
that's where my highlights are.
| | 02:25 | But if I change the Direction to Down,
I invert it so my shadows are coming
| | 02:29 | from the angle of the light.
| | 02:31 | I'll switch it back to Up.
| | 02:34 | If I choose one of the Chisel techniques,
Chisel Hard or Chisel Soft, sometimes I
| | 02:39 | see these lines appear
and I may not want that.
| | 02:42 | If you don't like these lines, you
can use Soften to eliminate them.
| | 02:46 | As I increase the Soften, I'll blur the
highlights and shadows a little bit and
| | 02:50 | get rid of those lines.
| | 02:51 | If I want to decrease the opacity of
the effect, hiding the highlights and
| | 02:55 | shadows, that's what I can
do with the Depth command.
| | 02:58 | As I decrease the Depth, I decrease
the opacity of the effect, making it
| | 03:03 | something more subtle.
| | 03:07 | For Shading I can control the Angle and
Altitude of the highlights and shadows,
| | 03:11 | so I can move them all around the
object by changing the Angle and I can
| | 03:18 | control the Altitude of the light source.
| | 03:20 | At a low Altitude I get very dark
intense shadows and weak highlights and at a
| | 03:25 | high altitude I get an intense
bright highlights and weak shadows.
| | 03:29 | So I will increase the Altitude
and I see the shadows go away and the
| | 03:33 | highlights become very bright.
| | 03:34 | I will decrease the Altitude
and the shadows come back and the
| | 03:39 | highlights become weak.
| | 03:40 | I can also control the color and
blending mode of the highlights and
| | 03:43 | shadows independently.
| | 03:45 | So I can pick blending modes from the
pop-up menu and I can pick swatches
| | 03:49 | from these little boxes.
| | 03:51 | I can also control the opacity of the
shadows and highlights, so I could have
| | 03:54 | just a highlight and no shadow. If I
wanted that, I can click on the Opacity of
| | 03:59 | the shadow and change it to 0.
| | 04:02 | Now the shadows go away
and I just have a highlight.
| | 04:05 | So I have complete control
over the Bevel and Emboss effect.
| | 04:10 | Let's see how we would use it to
simulate a real-world material, like gold.
| | 04:13 | Here I have some text and I wanted to
make it look like it was molded out of
| | 04:18 | gold, so I used the Bevel
and Emboss effect for that.
| | 04:22 | I'll click on the Clear Effects
and we'll create this from scratch.
| | 04:25 | I'll double-click on the text
and I'll apply Bevel and Emboss.
| | 04:30 | I'll choose Inner Bevel, and for the
technique, I want Chisel Hard, because this
| | 04:36 | is chiseled out of a metal.
| | 04:37 | I'll leave the direction as Up. I'll
increase the size a little bit, to say 11
| | 04:43 | pixels. I think that works good for
this particular font and size. I will
| | 04:47 | decrease the Altitude because I like a
little bit of a darker Shadow, and in
| | 04:52 | this case I actually don't want any
highlight. I want some dramatic lighting, so
| | 04:56 | I want two shadows instead
of Shadow and Highlight.
| | 04:59 | I can do that by changing the
Highlight blending mode from Screen to Multiply
| | 05:05 | and changing the swatch from Paper to black.
| | 05:08 | I'll click OK and there I have it, some gold
text courtesy of the Bevel and Emboss effect.
| | 05:16 | With all due respect to the Drop Shadow,
Bevel and Emboss is hands down the most
| | 05:20 | versatile of InDesign's effects.
| | 05:22 | You can create dimension and texture
with shadows and highlights using any
| | 05:26 | color, size, angle, and blending mode
you choose. You can make any effect from
| | 05:30 | chiseled stone to clear
water, with Bevel and Emboss.
| | Collapse this transcript |
| 008 Exploring Inner Glow Settings| 00:00 | You can do some really fun
things by applying Inner Glow to type.
| | 00:04 | Here I created some type that
looks like it's made out of weathered
| | 00:07 | wrought iron, and the way that I
did that was to combine two effects,
| | 00:10 | Bevel and Inner Glow.
| | 00:12 | The Bevel gives me a nice 3D feel like
this is made out of real metal, and the
| | 00:16 | Inner Glow supplies the weathered texture.
| | 00:18 | Let's see how it's done.
| | 00:19 | I will select the text-frame, open my
Effects panel, and I can see from the fx
| | 00:25 | icon that effects have been applied at
the text level. I will double-click to
| | 00:29 | open the dialog box and I
can see the Bevel and Emboss.
| | 00:32 | Here I chose an Inner Bevel with a
Chisel Hard technique, a direction of Up,
| | 00:38 | and a Size of 7 pixels.
| | 00:40 | I increase the Altitude to make the
Highlight a little more intense, but I took
| | 00:44 | down the Opacity a little bit,
just to make it a little less shiny.
| | 00:47 | Let's look at the Inner Glow settings.
| | 00:49 | I am screening with Paper at 50%, I
used the Softer technique, and Center, so the
| | 00:56 | glow comes from the center of the letters.
| | 00:58 | Here's what it looks like
at the edges of the letters.
| | 01:00 | I will put it back to Center. I chose
9 pixels in Size, but I can take that Up
| | 01:06 | or Down, to increase the size of the glow.
| | 01:09 | Again since I'm glowing from the
center, increasing the size makes the
| | 01:13 | glow smaller. If I decrease the size, I
bring it back towards the edges of the object.
| | 01:22 | Choke is the amount of Inner Glow
set at the full color and opacity.
| | 01:26 | So right now, 60% of my
Glow is Paper, 50% opaque.
| | 01:32 | And the Noise is what gives me this
weathered effect, by breaking up the black
| | 01:36 | color and making it look like the type is aged.
| | 01:38 | I could increase the Noise for a
more aged look, or take it back down for
| | 01:44 | something more subtle. I like it at 25%.
| | 01:48 | You can do a lot of cool
things with the Inner Glow effect.
| | 01:51 | Of course you can use it to lighten the
edges or center of objects or text.
| | 01:55 | You can just as easily use it to apply
inner shading, coloring or texture.
| | 02:00 | A precise Inner Glow can
look great when applied to type.
| | 02:03 | Consider using it as an alternative to
the Bevel effect when you're looking to
| | 02:06 | add some dimension to an object.
| | Collapse this transcript |
| 009 Building Better Bevels| 00:00 | With all due respect to drop Shadow,
Bevel and Emboss may be the most versatile
| | 00:04 | and useful of InDesign's effects.
| | 00:06 | But it does have an Achilles heel. When
the path crosses itself, the effect goes
| | 00:10 | awry and shadows and highlights get distorted.
| | 00:12 | Fortunately, we can overcome this
limitation quickly and easily by copying path
| | 00:16 | segments and pasting them
into new frames that serve as masks.
| | 00:20 | So here I have just one single path
that loops over itself and you can see
| | 00:24 | that the Bevel and Emboss effect
gets distorted here where I have the
| | 00:27 | intersections of the path.
| | 00:29 | InDesign gets kind of confused.
| | 00:30 | It doesn't know which direction the
shadow and highlight should go in, and if
| | 00:34 | you think about it, this going to make sense.
| | 00:35 | This is one single path.
| | 00:37 | It doesn't have any stacking order.
| | 00:39 | It's just a single object
and it's perfectly flat.
| | 00:41 | So how would InDesign know which segment
should go on top of another? It's impossible.
| | 00:46 | But we can create our own stacking
order by copying some of the path segments
| | 00:50 | and pasting them into little frames that
will serve as Vector masks/ So let's do that.
| | 00:55 | I will press the A key to switch to
my Direct Selection tool, and I'll just
| | 00:59 | hover over this path segment and click on it.
| | 01:02 | I now have it selected, because I can
see that two control handles at either end.
| | 01:06 | I am going to copy it.
| | 01:07 | I am going to choose Edit > Paste in
Place. I am immediately going to cut that
| | 01:12 | segment so I have on my clipboard, and
going to press the F key on my keyboard,
| | 01:16 | to get me the Rectangle Frame tool.
| | 01:19 | Now I am going to click and drag over the
area where the Bevel effect is distorted.
| | 01:23 | I can hold down my spacebar on my
keyboard to reposition the frame if I didn't
| | 01:28 | place it exactly where I wanted to in
the beginning, then I am going to choose
| | 01:31 | Edit > Paste Into, and this will
paste the past segment into the frame
| | 01:36 | that acts as a mask.
| | 01:37 | I will deelect, and now I can see I
have a nice unbroken Bevel effect in this
| | 01:42 | new segment and overlays the other one.
| | 01:45 | Let's try it again on
this main vertical segment.
| | 01:47 | I will press the A key to get my
direct selection tool again, I will click on
| | 01:51 | the segment till I see those direction
handles and make sure I can actually have it,
| | 01:55 | I'll copy it, and choose Edit > Paste in
Place, I will cut it, press the F key
| | 02:03 | again to get my Rectangle Frame tool,
and I am going to click and drag all the
| | 02:06 | way down here, because there is a lot
of distortion going on down here at the
| | 02:10 | bottom and up here at the top and
I want to cover over all that stuff.
| | 02:14 | Then I am going to choose Edit > Paste into
to paste that segment right into my mask.
| | 02:18 | I will deselect.
| | 02:20 | That's looking better, I will press
the A key one more time, and then I am
| | 02:23 | going to click down here.
| | 02:25 | I am actually going to click right on
the control point here, because it's very
| | 02:28 | close to where the beveling is getting
distorted, so I am going to grab this
| | 02:31 | whole segment, both sides.
| | 02:33 | I will copy it, I will choose Edit >
Paste In Place, or I can press
| | 02:37 | Command+Shift+Option+V or Ctrl+Shift+
Alt+V. I am going to cut it, press F one
| | 02:43 | more time to get my Rectangle Frame tool,
and click and drag over here, all the
| | 02:47 | way to this area where the bvel is broken.
| | 02:49 | And last I'll just
choose Edit > Paste Into again.
| | 02:53 | I'll deselect and there you
have some nice better bevels.
| | 02:56 | It looks more like a real 3D object,
instead of something that was just
| | 02:59 | stamped out of a piece of material or
molded out of plastic. This has a real
| | 03:03 | sense of dimension to it.
| | 03:05 | So again, to fix the distortion that
occurs in the Bevel and Emboss effect when
| | 03:09 | you have a self intersecting path,
copy path segments, paste them into empty
| | 03:13 | frames that serve as masks,
and you can build better bevels.
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| 010 Punching Holes| 00:00 | Knockout Group is a command that
lets you target where blending modes are
| | 00:04 | honored in InDesign.
| | 00:05 | Usually, you can use it to make group
members ignore each other's blending
| | 00:09 | modes, so they act as if they were
all set to the normal blending mode and
| | 00:12 | knock each other out.
| | 00:14 | But an interesting thing happens when
you apply Knockout Group when some group
| | 00:18 | members have been made invisible by
a combination of a Paper fill and the
| | 00:22 | blending mode Multiply.
| | 00:24 | These objects knock a hole right
through the group to reveal what's underneath.
| | 00:28 | You can use this idea to simulate holes
in a surface, like I did with this slice
| | 00:32 | of cheese here in my NO CHEESY FX sign.
| | 00:35 | So let's make that a piece of Swiss cheese.
| | 00:37 | I'll go to a new page, I'll press the F
key on my keyboard to get my Frame tool
| | 00:43 | and I'll drag out to create my slice of cheese.
| | 00:46 | I'll go to my Swatches panel and
target the fill and I actually have a cheese
| | 00:52 | colored swatch to apply here.
| | 00:54 | Then I'll press the L key on my
keyboard to get my Ellipse tool and I'll click
| | 00:58 | and drag to start making the holes in my cheese.
| | 01:01 | I am going to make a few of them.
| | 01:03 | I don't have to actually stay within
the boundaries of the square. I can go
| | 01:10 | outside of it and the whole
idea will still work just as well.
| | 01:13 | Yeah, that looks like enough.
| | 01:15 | Now I'll Shift+Click to select all of
them and in the Effects panel, I'll
| | 01:23 | change the blending mode
from Normal to Multiply.
| | 01:27 | I'll Shift+click on my cheese to select
everything, group it, and now I'll apply
| | 01:33 | Knockout Group and now all the holes
are knocked out of the cheese shape and I
| | 01:38 | can see that background underneath.
| | 01:42 | And the neat thing is they
stay independent objects.
| | 01:44 | So if I double-click into the group and
select one of the holes, I can move it
| | 01:48 | around if I didn't like
where it was to begin with.
| | 01:53 | Let's make another hole.
| | 01:54 | Here I have an arrow and I'd like to
have it fly through a shape of some
| | 02:00 | material with some thickness.
| | 02:02 | So I need to show the edge of
that material inside the hole.
| | 02:06 | I'll press the F key to get my Frame tool
and I'll click and drag to draw a rectangle.
| | 02:13 | I'll fill it with a color.
| | 02:14 | I'll just say black. I'll press the L
key to get my Ellipse tool to draw my hole shape
| | 02:19 | and I'll also fill that
with black, but a lighter tint of it.
| | 02:24 | This is going to be that inner edge of the hole.
| | 02:27 | So I'll make it say 50% black.
| | 02:29 | Now I want to get a copy of this, so
I'll switch to my Selection tool and
| | 02:34 | I'll Option+Shift+Drag or Alt+Shift+Drag to
the left to make an exact copy of this ellipse.
| | 02:40 | I am going to fill it with Paper and
set it to Multiply in the Effects panel.
| | 02:46 | That makes it disappear temporarily.
| | 02:50 | I am going to cut it and I
want to paste it into this first ellipse
| | 02:54 | shape, to make it really seem like
it's the edge of some kind of material.
| | 02:58 | So I'll select the ellipse
and choose Edit > Paste Into.
| | 03:02 | I still don't see anything and I
won't until I actually apply the
| | 03:06 | Knockout Group command.
| | 03:08 | So I'll select both the rectangle and
the ellipse, group them, and with the
| | 03:13 | group targeted, apply Knockout Group.
| | 03:14 | Now I can see the arrow through the hole,
but I'd like to also see this part of
| | 03:20 | the arrow in front of the rectangle, so
it really looks like it's come through
| | 03:24 | the hole, and for that I am going to need
an extra copy of both the hole and the arrow.
| | 03:29 | I'll double click into the
group to select this ellipse.
| | 03:33 | I'll copy it and choose Edit > Paste
in Place or Command+Shift+Option+V or
| | 03:37 | Ctrl+Shift+Alt+V, and in the Swatches panel,
I'll change the fill from 50% black to None.
| | 03:44 | I'll click on the arrow, copy it, click
on that new ellipse that I just created,
| | 03:50 | and choose Edit > Paste Into.
| | 03:53 | Now I just have to resize the
ellipse to show the rest of the arrow and
| | 03:58 | deselect, and now it looks like I have
a hole in a material with some thickness
| | 04:03 | and an object that's flying through it.
| | 04:05 | It's easy to create holes in a surface
with paper filled shapes set to Multiply,
| | 04:10 | grouped with a larger object and then
apply Knockout Group to the whole thing.
| | 04:15 | If all you want to make is some Swiss
cheese, then that's all you need, but if
| | 04:19 | you want to give the material some
thickness, create a second copy of the whole
| | 04:22 | shape and paste the Paper-
filled shape into that one.
| | Collapse this transcript |
| 011 Exploring Basic Feather Settings| 00:00 | The Basic Feather effect gives you
the ability to fade an object into the
| | 00:04 | background, creating a soft
transition instead of sharp edges.
| | 00:08 | Perfect focus can sometimes make things
look fake, so Basic Feather is great for
| | 00:12 | making objects seem a little more
real and a littlest less digital.
| | 00:16 | You can control the shape and width of
the Feather and also apply noise to
| | 00:20 | make a transition a little more realistic.
| | 00:22 | Let's see how Basic Feather works.
| | 00:24 | Here I have a simple document with one
placed photo of some flowers and one text
| | 00:28 | frame with the words Basic Feather in it.
| | 00:30 | I am going to start by creating a
second window, so I can see the effect better
| | 00:34 | as I apply it, so I will choose Window >
Arrange > New Window, and I'll drag the
| | 00:39 | divider over to the left.
| | 00:41 | So I have one big window and one small window.
| | 00:44 | I will select the picture, and then
I'll choose Effects and double click at the
| | 00:50 | object level, and click on Basic Feather.
| | 00:54 | This way by having two windows, I
can see the Feather effect without the
| | 00:58 | frame edges highlighted.
| | 01:01 | So I will increase the Feather Width, to see
it fade into the background from the edges.
| | 01:05 | I can apply Choke to make the Feather
disappear and only focus on the parts of
| | 01:11 | the flower that are 100% opaque, and
at 100% Choke, I only see the parts of the
| | 01:16 | image that are 100% opaque and
the Feather is completely hidden.
| | 01:21 | Turn the Choke off. And I have
three different options for corners.
| | 01:25 | Sharp, Rounded, and Diffused.
| | 01:28 | Diffused gives me the softest effect
blending the photo into the background,
| | 01:32 | Rounded is a little more defined shape
with rounded corners, and Sharp shows the
| | 01:39 | photo all the way into the corners.
| | 01:42 | I can also add little bit of noise to
randomize the effect and help blend to
| | 01:46 | fade into the background, or I can
use a whole bunch of noise for some kind
| | 01:50 | of a special effect.
| | 01:51 | All right so change the noise back to
zero, and click OK, and there is a Basic
| | 01:57 | Feather. Now, I can also
apply Basic Feather to text.
| | 02:01 | I will select the text frame, open
the Effects dialog box, and click on
| | 02:06 | Basic Feather again.
| | 02:08 | It can be a challenge in some cases to
apply Basic Feather to text because when
| | 02:13 | I have small parts of the type like
serifs and the other letter shapes, the
| | 02:18 | effect can sometimes make
the letters just disappear.
| | 02:21 | Especially if I choose a corner
effect like Rounded. THat can make it
| | 02:25 | entirely disappear.
| | 02:26 | I will reduce the Feather
Width to bring the letters back.
| | 02:30 | But still you can see that I've broken
up the letter shapes here with the effect.
| | 02:34 | So I am going to cancel out of that.
| | 02:37 | So even though it's a challenge to
use Basic Feather on small shapes like
| | 02:40 | text, you can get a lot of mileage out of it
just using it on regular InDesign shapes and frames.
| | 02:46 | With Basic Feather you can blend the
edges of an object into its background,
| | 02:49 | fading all the sides at once.
| | Collapse this transcript |
| 012 Exploring Directional Feather Settings| 00:00 | Basic feather gives you the ability to
fade an object into the background but it
| | 00:04 | works the same in all directions.
| | 00:06 | What if you want to fade just one
edge of an object or all the edges in a
| | 00:10 | particular direction? Well you can
with the Directional Feather effect.
| | 00:14 | Let's see how it works.
| | 00:15 | Here I have a simple document with one
placed photo of some flowers and one text
| | 00:20 | frame containing the words Directional Feather.
| | 00:23 | I'm actually going to split the window
into two by choosing Window > Arrange >
| | 00:27 | New Window, and I'm going to do
this so I can see the effect better.
| | 00:31 | I'll drag the divider over to the left
so I have one large window and one small
| | 00:35 | window and in the small window I'll
click on the placed photo of the flowers.
| | 00:40 | This way when I apply the Directional
Feather effect I won't see these frame
| | 00:43 | edges highlighted and I
can see the effect better.
| | 00:46 | I'll choose Effects, double-click on
the Object, and in the Effects dialog box
| | 00:52 | I'll choose Directional
Feather. I'll Feather from the bottom.
| | 00:55 | I hold the Shift key down to my
keyboard and tap the up arrow key a few times,
| | 01:00 | and now I can see the bottom of
the photo fade into the background.
| | 01:03 | I can also apply some noise to add a
little randomness or I can add a whole
| | 01:08 | bunch for a special effect.
| | 01:11 | I'll take that back down to zero.
| | 01:15 | I can apply Choke to the hard part of the
feather and emphasize only the part of the
| | 01:19 | object that's 100% opaque.
| | 01:22 | So as I increase the Choke I hide the
feather and eventually at 100% Choke
| | 01:28 | the feather is completely gone and I only
see the part of the photo that's 100% opaque.
| | 01:33 | We'll get into Shape and Angle in a minute.
| | 01:36 | For now I'll remove the Choke and click OK,
so I have my photo feathered from the bottom.
| | 01:43 | Now I select the text frame.
| | 01:45 | Again I'll go to the Effects
panel and apply Directional Feather.
| | 01:51 | I'll target the bottom and I'll
feather the text from the bottom.
| | 01:56 | Now I can see there are some problems
going on here. I've not only faded the
| | 01:59 | bottom of the text but I'm also
starting to break up the letter shapes. You can
| | 02:03 | see inside the H and F and the M I've
broken through the letter shapes with my
| | 02:09 | feather, and that's because I
choose Leading Edges for Shape.
| | 02:13 | Anywhere there's a bottom edge
that's getting feathered right now.
| | 02:16 | I don't want that. I only want the absolute
bottom baseline of the text being feathered.
| | 02:21 | So for that, I'll change
the Shape to First Edge Only.
| | 02:25 | And that restores the letter shapes
and just feathers from the bottom.
| | 02:28 | That's something more like
what I want. I'll click OK.
| | 02:32 | Now let's see how some of those
different feathering options work.
| | 02:34 | Here I have four different objects.
I'll select them and in the Effects panel
| | 02:42 | I'll apply Directional Feather.
| | 02:45 | This time I'll feather from the top.
| | 02:48 | I'll do about 30 pixels of feather
from the top and we'll look at the
| | 02:51 | different shape options.
| | 02:52 | Right now it's set to Leading Edges so
everything along the top edges of the
| | 02:56 | object is being faded.
| | 02:58 | If I choose First Edge Only, I can see
that these sides of the star shape are
| | 03:03 | returned. They're not feathered at all,
and in my pentagon it's only coming from
| | 03:08 | the center not from both of the top
sides. And if I choose All Edges I can see
| | 03:14 | in my star shape even these
bottom edges are now being feathered.
| | 03:18 | I can also change the Angle. If I
highlight the Angle and increase that I can
| | 03:23 | rotate the feather around.
| | 03:29 | One interesting thing you can do with
Directional Feather is you can use it to
| | 03:32 | create this sense that there's
a deep gash in your document.
| | 03:37 | I'll just start out by taking my
Pencil tool. I'll press the N key on my
| | 03:39 | keyboard and I'll draw sort of random
shape, a very jaggedy shape like something
| | 03:45 | is cracked and broken open in my document.
| | 03:48 | I'll press Shift+X to exchange the
stroke and fill, so I have a black filled
| | 03:52 | object, and I'll double-click on the
Object in the Effects panel and turn on
| | 03:57 | Directional Feather.
| | 03:59 | I'll fade from the top, 30 pixels,
and I'll choose for Shape, All Edges.
| | 04:06 | So all the random jagged edges of my
shape will be feathered and I'll click OK.
| | 04:13 | I'll deselect and if I want to add an
extra bit of color I can do that too. I'll
| | 04:17 | switch to the Selection tool by pressing
the V key on my keyboard, I'll copy the
| | 04:25 | object, and choose Edit > Paste In
Place or Command+Shift+Option+V,
| | 04:28 | Ctrl+Shift+Alt+V. In the Effects panel,
I'll turn the effect off by clicking the
| | 04:33 | Clear Effects button and in the
Swatches panel I'll change the fill from black
| | 04:39 | to this iceCrack swatch and reduce
the Tint down to something low like 20%.
| | 04:45 | And finally, I'll send this object to the
back by choosing Object > Arrange > Send to Back.
| | 04:51 | And there I have it. I've
created sort of a gash in my document.
| | 04:54 | I could also use other shapes
like this star for the same idea.
| | 04:57 | Directional Feather gives you more
control than Basic Feather when it comes to
| | 05:01 | blending the edges of
objects into the background.
| | 05:03 | With Directional Feather, you can
apply feathering at any angle and apply in
| | 05:07 | three different ways: to a single edge,
to the edges on one side of an object,
| | 05:12 | or to all the edges at the same time.
| | Collapse this transcript |
| 013 Getting Effects into Print| 00:00 | You've taken the time and effort to learn
how to make awesome effects in InDesign.
| | 00:04 | You've carefully crafted beautiful
designs, but all of that work will be wasted
| | 00:08 | if you can't actually
reproduce those effects in your output.
| | 00:11 | The good news is you can
produce high quality print output from
| | 00:15 | InDesign's effects.
| | 00:16 | You just have to understand some
things about transparency and how it fits
| | 00:19 | into your workflow.
| | 00:21 | For starters, the most important piece
of advice I'd give anyone concerned with
| | 00:24 | how their effects will look in print
is to get in touch with your printer.
| | 00:28 | Contact the customer service rep
and have a conversation. Ask specific
| | 00:32 | questions and keep the
responses on hand for reference.
| | 00:35 | You should ask if they have PDF presets,
preflight profiles, or color profiles
| | 00:39 | that you should be using.
| | 00:40 | Some printers will give you a set of
best practices to follow when preparing
| | 00:44 | documents for their presses.
| | 00:45 | If these are available to you, use them.
| | 00:47 | It's much easier to set things up right
initially so you get what you want the
| | 00:51 | first time than it is to try to fix
things after some thing has gone wrong and
| | 00:55 | to figure out whose fault it was.
| | 00:56 | Submit samples and review the
results in either hard or soft proofs.
| | 01:00 | Unless you really know your way around
color management, don't rely on output
| | 01:04 | from your devices as proofs.
| | 01:06 | What you see on screen and out of
your desktop printer may not reflect how
| | 01:09 | something will come out on press.
| | 01:11 | I'd also advise you to check out
Adobe's materials on transparency.
| | 01:15 | You can download the Adobe guide to
transparency and print production from their web site.
| | 01:20 | All that said, you do have a great deal of
control over how your effects will print.
| | 01:24 | The two most important issues are what
is your transparency blend space and what
| | 01:28 | kind of PDF are you outputting?
| | 01:30 | If your document uses RGB Blend
Space, everything on spreads containing
| | 01:34 | transparency will be converted to
the document's working RGB space.
| | 01:38 | You won't likely see much of a change on
the page due to RGB's larger color gamut.
| | 01:42 | Let me show you.
| | 01:43 | So here I have a document with some
flowers and I've used all the different
| | 01:47 | blending modes to blend a blue swatch
with the flowers and I also have a page
| | 01:53 | with some RGB swatches and an
RGB placed Photoshop file and which
| | 01:57 | transparency blend space I use is going to
greatly affect how these swatches come out in print.
| | 02:02 | So first I will check my
transparency blend space.
| | 02:05 | I will go to my Edit menu and
choose Transparency Blend Space and I am
| | 02:09 | using Document RGB.
| | 02:10 | So I am going to introduce some
transparency into this page by selecting the
| | 02:15 | black swatch and going to my Effects panel and
I'll just reduce its opacity from 100% to 99%.
| | 02:22 | And I don't see any change at all
really and that's to be expected.
| | 02:25 | These are RGB swatches and I
am using an RGB blend space.
| | 02:28 | So all the colors fit but
what if I change my blend space?
| | 02:32 | I'll choose Edit > Transparency Blend
Space > Document CMYK and now I will
| | 02:36 | introduce some transparency to the
spread, and I see a pretty dramatic change.
| | 02:41 | That's because InDesign is now on-the-
fly converting these colors to CMYK to
| | 02:45 | blend them and I can see my reds are
getting dulled and dark and my greens and
| | 02:49 | so forth. I am seeing a big change.
| | 02:51 | So your transparency blend space will
make a big difference in your print output.
| | 02:55 | So given that larger color gamut, you
may think that using RGB blend space is
| | 02:59 | always the way to go, but
some caution is advised.
| | 03:02 | If you output to CMYK, everything on the
spread containing transparency will have
| | 03:07 | been converted to RGB first and then to CMYK.
| | 03:11 | Now for many colors this may not
produce any noticeable color shift, but there
| | 03:15 | is a drawback and that is black.
| | 03:17 | Black text will be converted like everything
else and in the PDF it'll be 4-color black.
| | 03:21 | 4-color blacks especially on small
text are to be avoided because any
| | 03:26 | mis-registration on press will be noticeable.
| | 03:28 | There are prepress tools that
will help you fix rich black text.
| | 03:32 | For example, you could use Acrobat
Professional's Convert Colors tool.
| | 03:35 | But if you don't have a strategy for
dealing with rich black text, you might
| | 03:39 | want to avoid RGB blend space.
| | 03:41 | The second big issue after
Blend Space is flattening.
| | 03:44 | If you output to PDF 1.4, which is Acrobat
5 or higher, transparency is not flattened.
| | 03:50 | Let's look at this in the Export dialog box.
| | 03:53 | So I will export this document to a PDF and
I'll choose Print and I can choose a compatibility.
| | 03:58 | Here I have Acrobat 5.
| | 04:01 | Now if I output Acrobat 5 or any of
these higher standards, I will have live
| | 04:05 | transparency in my PDF, but if I go to
Acrobat 4 or PDF 1.3, this is going to
| | 04:12 | flatten my transparency and flatten my effects.
| | 04:14 | And in my Advanced tab, I can see there's a
transparency flattener that's going to be used.
| | 04:20 | I can choose from the Preset menu.
| | 04:22 | There are three choices,
| | 04:23 | Low, Medium and High, and we
will look at these in a second.
| | 04:26 | But it's something to be aware of.
| | 04:27 | If you can deliver unflattened
transparency, there are a lot of advantages.
| | 04:31 | Your PDFs will be smaller in size and
then the resolution of your effects can
| | 04:35 | be set at output time.
| | 04:37 | So your print service provider can
actually target the resolution of those
| | 04:41 | effects to their output devices, but
if you have to flatten transparency in
| | 04:45 | InDesign then that responsibility is yours.
| | 04:48 | So let's look at those flattener presets.
| | 04:50 | I will go to the Edit menu and choose
Transparency Flattener Presets, and here's
| | 04:56 | Low, Medium, and High resolution.
| | 04:58 | I will just click on High and
click on New so I can see the settings.
| | 05:02 | And first we have Raster/Vector Balance.
| | 05:04 | So when InDesign mixes objects due to
changes in opacity or blending mode,
| | 05:09 | it chops them up into small pieces and it
can decide whether to rasterize a region
| | 05:14 | or to keep it as vectors and this
slider controls how much of your document
| | 05:18 | will be basically converted into a picture, be
rasterized, or will stay as paths, become vectors.
| | 05:24 | You can also choose resolution for
Text and Line Art and you can set this
| | 05:28 | resolution, Gradient and Mesh, and this is
really important when it comes to your effects.
| | 05:32 | The Gradient and Mesh Resolution is
the resolution that your transparency
| | 05:36 | effects will be output at in flattened PDF.
| | 05:39 | So those drop shadows and bevels, those
regions where you've applied a blending
| | 05:43 | mode other than normal or reduced
opacity, this is the resolution they are
| | 05:47 | going to be output at.
| | 05:48 | So in this example, it's 300 PPI.
| | 05:51 | So, if I use that high quality PDF
preset, it uses this high-resolution
| | 05:55 | transparency flattener preset and
my effects will be output at 300 PPI.
| | 06:00 | Now there is a couple of settings for
converting text and strokes to outlines
| | 06:04 | and you might wonder why would I want
to force convert text all to outlines.
| | 06:08 | Well, I'll show you.
| | 06:09 | We will cancel out of these dialog
boxes and I'll go back to the first page of
| | 06:14 | my document and here I have the flower
with all the different blending modes.
| | 06:18 | Now if I choose from the Window menu,
Output > Flattener Preview, I can see
| | 06:24 | which regions of the page are going to
be affected by transparency flattening.
| | 06:27 | I will choose from the Highlight menu
and I'll choose All Affected Objects.
| | 06:31 | And right now I can see where I have
the 15 blending modes other than normal.
| | 06:35 | They are highlighted in red.
| | 06:37 | So they're going to be flattened, but
these areas up here are unflattened,
| | 06:41 | they are unaffected.
| | 06:42 | But what if I take the large
flower and I apply an effect to it?
| | 06:46 | So I'll give it a huge
Outer Glow of, say, 30 pixels.
| | 06:52 | I'll go back to the flattener preview and
refresh my highlight and now look at my text.
| | 06:58 | The first two lines of my text and
then this little attribution down here are
| | 07:02 | now highlighted in red.
| | 07:03 | So InDesign is telling me that
these are going to be affected by
| | 07:06 | transparency flattening.
| | 07:08 | They could either be rasterized or
they could be converted to outlines.
| | 07:11 | Now in either case, I am
not too happy about that.
| | 07:13 | I like to avoid it.
| | 07:15 | In most cases, there's an easy
solution to this problem and you just click on
| | 07:19 | the text frame itself and choose
Object > Arrange > Bring to Front.
| | 07:23 | I will refresh the flattener and now I
can see the text is no longer in red.
| | 07:28 | So it's sitting above the flattening
and it's not going to be converted to
| | 07:31 | outlines or rasterized.
| | 07:33 | But if this was on a lower layer than
the picture of the flower with the Outer Glow,
| | 07:37 | I couldn't exactly bring it above.
| | 07:39 | so it would still be involved in the
flattening and this is what that's setting
| | 07:42 | was for in the transparency flattener.
| | 07:44 | I could force all the text to be
converted to outlines so at least it has a
| | 07:49 | consistent look in my text.
| | 07:50 | It wouldn't look like some
letters were thicker than others.
| | 07:53 | If your layouts are destined for print,
it's important that you understand how
| | 07:57 | to make your effects print
the way you want them to.
| | 07:59 | Use the Flattener Preview to avoid
things like rasterized text and don't flatten
| | 08:03 | transparency unless you need to.
| | 08:05 | Talk to your printer and test your
files so you know in advance that you'll
| | 08:08 | get quality results.
| | Collapse this transcript |
| 014 Getting Effects into Ebooks| 00:00 | To get your InDesign effects into EPUBS,
you need to do to deal with three things:
| | 00:04 | what gets included in the EPUB, where
it goes in the sequence of content, and
| | 00:08 | how it's represented.
| | 00:09 | InDesign CS5.5 represents a great
leap forward for ebook production.
| | 00:14 | Among the enhancements are tools to make
sure all your InDesign effects, make it
| | 00:18 | into EPUBS looking great.
| | 00:19 | Now here I have a little layout and I
am using InDesign CS5.5 and it's added
| | 00:24 | some great controls to make it
feasible for including effects like this
| | 00:28 | button in exported EPUBs.
| | 00:30 | Prior to 5.5, you had to select
content with effects in export as an image,
| | 00:34 | bring it back into the layout, so it
could be included in the EPUB, and just as bad,
| | 00:38 | it was necessary to place that
picture as an anchored object to make it
| | 00:42 | come out in the correct order of
content, and that's a lot of work.
| | 00:46 | By default you'll get the same results
with CS5.5, but there are a couple of new
| | 00:50 | tools that really make improvements.
| | 00:52 | One is called the Articles panel and
the other is called Object Export Options.
| | 00:56 | So let's see how they work.
| | 00:58 | First of all, even though this is
CS5.5 and I have those new tools at my
| | 01:01 | disposal, I am going to just explore
with the default options and see what I get.
| | 01:05 | So I will just press Command+E or Ctrl+E,
and export to the format EPUB, and
| | 01:10 | I will replace any old editions I have here.
| | 01:13 | I will leave all the default settings
in the dialog box and click OK, and
| | 01:18 | I will decrease the type size here in
Adobe Digital Edition, so I can see
| | 01:21 | everything, and I can see right
away that I have some serious problems.
| | 01:25 | There's problems with the content
ordering. I don't have all the paragraphs
| | 01:28 | where I want, and this stuff, Call now
and Order, were supposed to be under the
| | 01:32 | graphic, and the whole
background of the graphic itself is gone.
| | 01:36 | So let's see how to fix these things.
| | 01:37 | First of all I should explain
what's going on with the graphic.
| | 01:40 | It looks like a little
button, and it's a text frame.
| | 01:42 | It's a circle with a Bevel and Drop
Shadow applied and it also uses the Hard
| | 01:48 | Light blending mode to create this
really nice blown out highlight, and since
| | 01:51 | it uses a blending mode, it has to have
something to blend with, so there's an object behind it.
| | 01:56 | So there are actually three elements
here, two circles and this text frame.
| | 01:59 | I will undo to put them back where they
belong and the first thing I want to do
| | 02:03 | is group them so they act all as a unit.
| | 02:05 | The next thing I want to do is I am
going to bring up the Articles panel, so
| | 02:08 | I'll choose Window > Articles.
| | 02:10 | And this is going to allow me to
put the content in the right order.
| | 02:14 | Now once I have that object grouped, it
will act as a single unit and then I can
| | 02:18 | add it to the Articles.
| | 02:19 | I am going to add everything all at the same time
by Command- or Ctrl-clicking this little plus
| | 02:23 | button at the bottom of the Articles
panel, and I will just call my article FX.
| | 02:29 | And here I can see my content, I have
my different text frames, and I have my
| | 02:32 | group that contains my effects, and
if I want to re-order anything I can
| | 02:36 | just drag it up or down.
| | 02:38 | So for example, I want to put this
paragraph Call now underneath my effects, so
| | 02:42 | I can click and drag it
to put it underneath there.
| | 02:45 | So that's pretty good.
| | 02:46 | Now this is only going to fix the
content ordering, the other thing I need to do
| | 02:50 | is to make sure that that background,
the whole button effect gets exported.
| | 02:54 | If you remember, when we look at this
in Digital Editions, all we saw was this
| | 02:58 | text frame that says I love FX.
| | 03:00 | The effect itself actually
didn't even make it into the EPUB.
| | 03:03 | Now for that we need to go to Object
and choose Object Export Options, and now
| | 03:09 | in the EPUB and HTML tab, I can click
on Custom Rasterization, and I can choose
| | 03:14 | a size, a file format, and a resolution.
| | 03:17 | So I can completely control the quality
of my effects in EPUBS. This is fantastic.
| | 03:22 | I am going to leave all those settings, so
I'll have a high-res picture of my graphic.
| | 03:26 | Now I'll press Command+E or
Ctrl+E to export an EPUB again.
| | 03:30 | I'll overwrite that old bad one and
in the General options I am going to
| | 03:33 | choose Ordering, Same as Articles panel.
| | 03:36 | So now I'll get the correct content
ordering and because I chose those object
| | 03:40 | export options, I will
get a nice high-res graphic.
| | 03:43 | I will click OK and now it opens in by
default in Adobe Digital Editions and it
| | 03:48 | looks absolutely horrible.
| | 03:50 | Look at that, and my nice effect is all
jagged and looks rasterized and low-res.
| | 03:54 | I thought we chose 300ppi. Well, we did.
| | 03:57 | This isn't a problem with the EPUB
itself or with InDesign. This is a limitation
| | 04:01 | with Adobe Digital Editions.
| | 04:02 | It's just not representing
my graphic the way it should.
| | 04:05 | Fortunately, there are
other ways to view an EPUB.
| | 04:07 | I am going switch over to Firefox
and use the EPUB reader in there.
| | 04:11 | I'll just choose Open File and open my EPUB.
| | 04:14 | And wow, look at that. I'm zoomed way in
and I have a huge view of my beautiful effect.
| | 04:19 | The Bevel looks great, the Drop Shadow looks
great, the type looks great, and I do love effects.
| | 04:24 | I love effects in EPUBS too,
| | 04:26 | thanks to inDesign CS5.5's
options of the Articles panel and Object Export Options.
| | Collapse this transcript |
| 015 Simulating a Polaroid Effect| 00:00 | Making a placed photo look like it came
from a Polaroid instant camera, not only
| | 00:04 | adds a bit of retro fun to a design, it
also demonstrates how you can vary the
| | 00:08 | width of a stroke applied
to an object using effects.
| | 00:11 | Here I have a placed photo of a girl
and a horse, and it looks like one of the
| | 00:15 | old Polaroid instant photos because I
have a thick stroke at the bottom and a
| | 00:19 | thin stroke on the sides and the top.
| | 00:21 | I accomplished this using
Directional Feather. Let see how it's done.
| | 00:28 | So here's my placed photo and I'm
going to begin by applying a thick stroke
| | 00:32 | around the photo and make that stroke
width match what I want at the bottom
| | 00:37 | of the Polaroid photo.
| | 00:38 | So in my Stroke panel I'll start by
applying a stroke of say 40 pixels, a really
| | 00:44 | thick stroke, and I'll align
it to the outside of the frame.
| | 00:48 | Actually that's not even thick enough.
| | 00:49 | Lt's go to 50 pixels.
| | 00:51 | That looks more like it.
| | 00:52 | Then in my Swatches panel I'll target
the stroke and I'll change it from 100%
| | 00:57 | black down to something like 7% black,
just like tentative gray, something to
| | 01:03 | bring it up off the
background so it's not pure white.
| | 01:06 | The next thing I want to do is to
go to the Effects panel. I can double
| | 01:09 | double-click on the stroke
and apply a Directional Feather.
| | 01:12 | I'm going to apply 100% Choke to
completely hide the feather and give me sharp
| | 01:17 | edges on all the sides.
| | 01:20 | Next I'll click on the Constrain icon to
constrain the feather width in all directions.
| | 01:24 | I'll target at the top, I'll hold down
the Shift key on my keyboard, and tap the
| | 01:29 | up-arrow key a few times to start
pulling in all the sides of the stroke.
| | 01:33 | What I'm trying to do here is to get the
top and the sides of the photo to look right.
| | 01:38 | That looks pretty good to me at 30 pixels.
| | 01:41 | Now I'm going to click the chain icon
again to unconstrain the feather widths.
| | 01:44 | I'll click on the Bottom
value and change it to zero.
| | 01:48 | So now the bottom of the photo is not
directionally feathered, but the top and the sides are.
| | 01:54 | That's why those stroke widths are pulled in.
| | 01:57 | The next thing I want to do is to
apply a Drop Shadow behind this.
| | 02:00 | I'll click on Drop Shadow. Ooh,
but wait, what's going on here?
| | 02:04 | That doesn't look right.
| | 02:06 | What's happening is the Drop Shadow
isn't taking into account the fact that I've
| | 02:10 | applied Directional Feather to the stroke.
| | 02:13 | Fortunately, there is
one click solution to this.
| | 02:15 | I go down to the Options in the Drop
Shadow and choose Shadow Honors Other Effects.
| | 02:21 | When I turn that on, I get a shadow that
follows the Directional Feather effect.
| | 02:25 | I can change the Distance to zero to
put it directly behind the photo, and if I
| | 02:30 | want to I can decrease the opacity and
give it a little bit of spread to just
| | 02:35 | make it a little more pronounced along
the edges of the photo, maybe say 20%.
| | 02:40 | And a little bit of noise never heard anyone,
so 1% noise. Click OK and see what we have.
| | 02:47 | Sometimes you can create cool
effects with an unexpected use of settings.
| | 02:51 | So it pays to look at all the settings
you have at your disposal and experiment.
| | 02:55 | In this case we found that by combining
Directional Feather and Choke you could
| | 02:59 | simulate a stroke that varies
in width around a rectangle.
| | 03:03 | We also saw how to make a Drop
Shadow that takes into account the
| | 03:06 | Directional Feather and Choke by
selecting Shadow Honors Other Effects in
| | 03:10 | Drop Shadow settings.
| | 03:11 | All in all, it makes for one pretty picture.
| | Collapse this transcript |
| 016 Creating Metallic Strokes| 00:00 | You can stroke objects with something that
looks like it's made out of metal in two ways.
| | 00:05 | For simple things like straight lines,
you can use a gradient stroke; for more
| | 00:08 | complex objects you can use the Bevel
and Emboss effect to be bending metal like
| | 00:12 | a blacksmith in no time.
| | 00:14 | Here I have a set of objects filled with
metallic gradients that I borrowed from Illustrator.
| | 00:19 | I just filled objects in Illustrator
with these gradients, copied and pasted
| | 00:23 | them into my InDesign layout.
| | 00:25 | And if I go to my Swatches panel,
I can see now I have all these cool
| | 00:29 | metallic gradients to work with, blue
steel, brass, bronze, copper, gold and
| | 00:34 | so on, really cool.
| | 00:36 | Let's put them to use. So I'd like
to put this pirate in jail for some
| | 00:40 | crime she's committed.
| | 00:41 | So I'm going to create some jail bars
using the metallic gradient for a stroke.
| | 00:44 | I'll select my Line tool and click and
drag from the top to the bottom of my
| | 00:49 | document, holding the Shift key to
constrain it and make a perfectly straight bar.
| | 00:54 | In the Control panel I'll increase
the width of the stroke from 1 pixel to
| | 00:58 | 40 pixels, to make a nice sturdy jail bar.
| | 01:01 | Then I'll go to my Swatches panel,
target the stroke, and apply this jail bars
| | 01:07 | gradient, a nice gray gradient metallic stroke.
| | 01:10 | I'll press the V key to switch to my
selection tool, move the jail bar over to
| | 01:15 | the left side of the document,
and now I'll make a bunch of them.
| | 01:18 | I'll hold down the Option or Alt
key and drag across the document.
| | 01:23 | I'll press the up arrow key a few times
to create some extra jail bars and when
| | 01:28 | I reach the right side, that looks
pretty good. I'll let go. Voila!
| | 01:33 | Instant jail. You can also create metallic
strokes using the Bevel and Emboss feature.
| | 01:38 | Here I have a number of objects that
I made look like they are made out of
| | 01:42 | copper, using the Bevel and Emboss.
| | 01:44 | Let's see how it's done.
| | 01:45 | Here are the plain objects with no
effect applied to them, I'll drag over them
| | 01:50 | to select them, bring up the Effects
panel, double-click to open the Effects
| | 01:55 | dialog box, and I'll apply Bevel and Emboss.
| | 01:59 | I'll choose Inner Bevel with a
technique of Chisel Hard in the direction above.
| | 02:04 | I'll increase the size a
little bit, to say 11 pixels.
| | 02:08 | I think that works good at this size.
| | 02:11 | I'll decrease the Altitude to
make the shadows a little bit darker.
| | 02:14 | I'll go down to 25 degrees.
| | 02:16 | And for making metallic strokes, I
think a really cool technique is to use two
| | 02:20 | shadows instead of a highlight and a shadow.
| | 02:23 | The way we do that is to change the
blending mode of the highlight from
| | 02:26 | Screen to Multiply
| | 02:28 | and change the swatch from Paper to black.
| | 02:31 | I'll click OK, and OK. And deselect.
| | 02:36 | And now it looks like all these
objects are made out of copper.
| | 02:38 | The cool thing is now I can make new
objects using the same metallic stroke.
| | 02:42 | If I select my Pen tool, click and drag
a few times to make some wavy lines and
| | 02:48 | then I can press the I key on my
keyboard to get the eyedropper and suck up this
| | 02:53 | stroke and effect from one of my
other objects, and deselect. Voila!
| | 02:58 | An instant bendy copper pipe.
| | 03:00 | You can create a metallic stroke
effect by applying a solid base stroke color
| | 03:04 | like gold or steel gray or copper,
and then beveling the stroke to create
| | 03:08 | shadows and highlights.
| | 03:10 | You can also borrow metallic gradients
from Illustrator, copy and paste them
| | 03:13 | into InDesign, and then use them to
create all kinds of metallic effects.
| | Collapse this transcript |
| 017 Exploring Inner Shadow Settings| 00:00 | Creating a sense of depth in a
design can really bring it to life.
| | 00:04 | Most often you might want to use a
Drop Shadow to make something pop up off
| | 00:07 | the page, but occasionally you might want to
cut down into an object instead of raising it up.
| | 00:12 | When that's the case, Inner Shadow is
the tool of choice. Let's see how it works.
| | 00:17 | Here I have a simple document with a
placed photo of some flowers and some text
| | 00:21 | here and I'd like to apply
some Inner Shadow to them.
| | 00:25 | First I'll select the photo.
| | 00:26 | I'll go to my Effects panel and
double-click at the object level.
| | 00:31 | I'll click on Inner Shadow and see how it works.
| | 00:35 | So with the default settings of
Multiply and black and 75% Opacity I can see
| | 00:40 | that I have a shadow appearing inside
my object along the top and left sides.
| | 00:47 | I can increase the distance to increase
the shadow. I can also increase the size
| | 00:52 | of the shadow and I can change the
angle to move it all the way around the
| | 00:58 | object if I want to.
| | 00:59 | I can also click on Use Global Light
to make my lighting effects consistent.
| | 01:06 | This can be very important if you used
other effects like Drop Shadow to make
| | 01:10 | sure your lighting effects all look
like they're coming from the same angle.
| | 01:14 | I can apply Choke to intensify the shadow.
| | 01:17 | Choke is the amount of the shadow
that set at the full opacity and color.
| | 01:21 | So as I increase the choke, I increase the
opacity of the shadow all the way to 100%.
| | 01:29 | That's too far, so I'll take that back down.
| | 01:34 | And it's always good to add a little
bit of Noise to a shadow, just to add a
| | 01:37 | little bit of realism, just 1% or 2%.
| | 01:42 | Now let's apply an Inner Shadow to
this text. I'll select the text frame,
| | 01:46 | double-click, and click on Inner
Shadow, and since these letter shapes are
| | 01:52 | smaller and more delicate,
I need a smaller Inner Shadow.
| | 01:55 | So I'll decrease the
Distance and decrease the Size.
| | 02:00 | There, that looks pretty good right away.
| | 02:03 | So I'm getting this sense that I have a
blue surface to my design and I've cut
| | 02:08 | through the letter shapes to
something white underneath. I'll click OK.
| | 02:14 | Now let's see something else
you can do with Inner Shadow.
| | 02:18 | Here I have some envelopes that I
created in InDesign and I was trying to give
| | 02:21 | them a very subtle sense of
dimensional, a little bit of life to them.
| | 02:25 | And I used a really large Inner Shadow to
create this little darkness around all the edges.
| | 02:31 | So the edges of the envelope are
just subtly darker than the center.
| | 02:35 | I just wanted them to seem like they're
little bit farther away and there's just
| | 02:38 | a very subtle puffiness to this envelope.
| | 02:41 | Let's see how I did that.
| | 02:43 | So here is the envelope with no effects
applied to it. I'll select it, I'll move
| | 02:48 | it out of the way so we can open the
dialog box, and I click on Inner Shadow.
| | 02:53 | I'll keep multiplying with black, but
I'll decrease the Opacity down to 20%.
| | 03:01 | I'll increase the Distance a little bit
to 10 pixels, I'll keep the same Angle,
| | 03:08 | but I'll really increase the Size to
90 pixels, make a huge Inner Shadow, and a
| | 03:15 | little bit of Noise never hurt
when you're looking for realism.
| | 03:18 | So I'll just add 1% Noise and
click OK, and there you have it.
| | 03:24 | Now it definitely looks like the edges
of this envelope are just a little bit
| | 03:27 | darker than the middle.
| | 03:28 | It's almost like I've used a gradient
fill, but it gives me this nice subtle
| | 03:32 | sense of dimension and just a little more
realism than if I just use a flat fill color.
| | 03:38 | With the Inner Shadow effect, you can simulate
cutting into an object, creating a sense of depth.
| | 03:43 | You can also use a really big Inner
Shadow to give a more subtle sense of
| | 03:46 | dimension to an object,
like we did with the envelope.
| | Collapse this transcript |
| 018 Exploring Drop Shadow Settings| 00:00 | The Drop Shadow effect allows you to
create a shadow in the shape of an object.
| | 00:04 | The effect helps lend a three-
dimensional feel to a design, lifting an object up
| | 00:09 | off the page or screen.
| | 00:11 | You can control the color, distance, and
size of the shadow to simulate lighting
| | 00:15 | of varying intensity and angle.
| | 00:17 | It's a very versatile and popular
effect, but it can be overused and it's
| | 00:21 | very easy to overdo.
| | 00:22 | So just make sure your Drop Shadows
are supportive players, not the main
| | 00:26 | attraction, and they'll really
adds some welcome pop to your designs.
| | 00:29 | Let's see how they work.
| | 00:31 | So here I have a simple document with a
placed picture of some flowers and some
| | 00:34 | text and I'd like to apply
some Drop Shadows to these things.
| | 00:38 | First thing I'm going to do is open a
second window, so I can see the effect in
| | 00:41 | action more clearly.
| | 00:42 | So I'm going to choose Window > Arrange
> New Window and I'll drag the divider
| | 00:48 | over to the left, so I have one
big window and one small one.
| | 00:51 | I'll select the picture of the
flowers and one interesting thing about
| | 00:56 | Drop Shadow is because it's so
popular, it's the only effect that comes
| | 00:59 | with a built-in keyboard shortcut, Command+
Option+M or Ctrl+Alt+M, to bring up the dialog box.
| | 01:05 | So, here we have our default settings
for our Drop Shadow, and if we look at
| | 01:09 | them they look really too dark.
| | 01:12 | In most cases, 75% Opacity is really
dark for a Drop Shadow and the Distance of
| | 01:18 | almost 10 pixels in this Angle of 135
degrees is usually too far from an object.
| | 01:24 | Again, a subtle Drop Shadow is
often the most effective one.
| | 01:28 | So let's take this opacity down to say 40%
and reduce the Distance down a few pixels.
| | 01:35 | that's looking a little bit
more like a realistic Drop Shadow.
| | 01:38 | If I want to, I can increase the
Size, but I'll keep it at 5 pixels.
| | 01:43 | I can also increase the Spread.
| | 01:47 | The Spread is the amount of the Drop
Shadow that set at the full color and
| | 01:50 | opacity up here in the Blending settings.
| | 01:52 | So right now 0% of the shadow is 40%
opaque, but if I increase the Spread all
| | 02:00 | the way to 100%, now 100% of that Drop
Shadow is 40% black. I'll take that back down.
| | 02:07 | Maybe 10% would look good here.
| | 02:13 | A little Noise is almost always advised
when you use a Drop Shadow. 1 or 2% will do.
| | 02:18 | This just adds a little randomness
and breaks up the affect and makes it
| | 02:21 | look a lot more real and a little less digital.
| | 02:24 | I'll keep these settings for
the Drop Shadow on my flowers.
| | 02:27 | Now I'll select the text frame. I'll
press Command+Option+M, Ctrl+Alt+M to bring
| | 02:33 | up the dialog box and again
I have my default settings.
| | 02:37 | This time I'll just reduce the Opacity to 40%
and I'll decrease the Distance a little bit.
| | 02:45 | That looks pretty good to me.
| | 02:46 | I'm going to increase that spread to say 10%.
| | 02:50 | A subtle Drop Shadow just helping to
lift that type off the page a little bit.
| | 02:55 | And of course a little bit
a Noise, and I'll click OK.
| | 02:58 | I'm going to select the picture of the
flowers again and bring the dialog box
| | 03:03 | back up, because I want to show
you a couple of important settings.
| | 03:06 | The first one I'm going to talk
about is Shadow Honors Other Effects.
| | 03:10 | It's off by default.
| | 03:11 | Now if I apply another effect of this
picture of the flowers, something like say
| | 03:16 | a Gradient Feather, here I've applied a
Gradient Feather to make the photo seem
| | 03:20 | like it's almost in a round picture frame.
| | 03:22 | I used a radial gradient.
| | 03:25 | Most of the picture is opaque, but for
the last 10%, I made that transparent.
| | 03:30 | So it has this nice rounded effect, but
see the problem. The Drop Shadow still
| | 03:35 | thinks it's in a square frame.
| | 03:37 | it's not honoring this gradient feather effect.
| | 03:40 | So I can go back to the Drop Shadow
Settings and click on Shadow Honors Other
| | 03:45 | Effects, and now InDesign is paying
attention to that Gradient Feather and using
| | 03:50 | it when it calculates the Drop Shadow.
| | 03:52 | That's pretty cool.
| | 03:56 | There's another setting I want to
draw your attention to in the dialog box.
| | 03:59 | I'll select these circles and press
Command+Option+M again to bring the
| | 04:03 | dialog box back up.
| | 04:05 | This setting is Object Knocks Out Shadow,
and I can see there is a minus sign here,
| | 04:09 | so it tells me that I have
multiple settings selected with these objects.
| | 04:14 | Some of them are using Object Knocks
Out Shadow and some of them are not.
| | 04:18 | Let's cancel out and I'll just click
on these darker circles on the top and
| | 04:23 | bring up the dialog box.
| | 04:25 | These ones are not knocking out their shadow.
| | 04:28 | They use the exact same
color fill as the bottom circles.
| | 04:31 | Now why do they look different?
| | 04:33 | Well, that's because all of these
circles are using a transparency blending mode
| | 04:38 | that's not the normal blending
mode. They all use Hard Light.
| | 04:42 | Hard Light tends to saturate colors
and intensify highlights and shadows.
| | 04:45 | The interesting thing here is because
I unchecked Object Knocks Out Shadow for
| | 04:52 | these top circles, the color of the fill of
the circles is blending with its own Drop Shadow.
| | 04:58 | This is really interesting because
usually it takes at least two objects for a
| | 05:02 | blending mode to take effect.
| | 05:04 | A foreground object and a background
object. But in this case by not knocking
| | 05:08 | out the Drop Shadow and making the fill
color of the circles blend with its own
| | 05:13 | Drop Shadow, I'm also adding some
texture to the objects with the same setting.
| | 05:18 | If I zoom in, I can see that there's
some noise, adding a nice little texture here.
| | 05:24 | That noise is coming from the Drop Shadow.
| | 05:26 | I'll bring the dialog box backup again,
and I can see that I have 20% noise.
| | 05:34 | If I change this setting
I can change the texture.
| | 05:38 | I'll increase it. Or decrease it to
make something more subtle, like 20%.
| | 05:44 | With Drop Shadow you can
quickly create a 3-dimensional feel to a design.
| | 05:52 | By varying the size and darkness of the
shadow, you can control how far objects
| | 05:57 | appear from each other and the
direction of the light source, but a little
| | 06:00 | caution is advised. A little
Drop Shadow goes a long way.
| | 06:04 | It's easy to go too far making shadows,
too big, too dark, or too far from the
| | 06:08 | objects they're attached to.
| | 06:10 | Often the most effective drop
shadows are small and subtle ones.
| | Collapse this transcript |
| 019 Simulating Multiple Strokes, Part 1| 00:00 | It's not possible to apply multiple
strokes to a single object in InDesign.
| | 00:04 | For now we'll have to be jealous of
Illustrator and its Appearance panel, but
| | 00:08 | oftentimes where there's a will
there's a way, and in this case, the way is
| | 00:12 | to create a custom stroke style that
looks like more than one stroke and we
| | 00:16 | can even use custom stroke styles to
simulate things like photo frames and
| | 00:20 | mattes. Let's see how.
| | 00:21 | Here I have a placed photo of a flower
and it has a thick black stroke on it.
| | 00:25 | And that's fine, but I'd like
something a little more interesting.
| | 00:28 | So I'm going to try to choose a
different stroke style from my stroke panel.
| | 00:32 | I'll go to the Type menu and choose from
the pop-up menu. Maybe I'll try Triple stroke.
| | 00:39 | That's interesting, but in this case
really what I wanted was just a thick green
| | 00:43 | stroke on the outside and a thin black
stroke on the inside. I don't want these
| | 00:48 | other two black strokes.
| | 00:50 | Fortunately, there's an easy way to
accomplish this with a custom stroke style,
| | 00:54 | I learned this trick from David
Blatner at InDesignSecrets and it's a really
| | 00:57 | easy and cool trick for creating
strokes that look like multiple strokes.
| | 01:01 | I go out to the Stroke panel menu and
choose Stroke Styles, and I'll select my
| | 01:07 | Triple stroke as the basis for a custom stroke.
| | 01:10 | I'll click on New and here
I can see my Triple stroke.
| | 01:13 | It's made up of three
stripes separated by two gaps.
| | 01:18 | What I want is just the bottom
stripe. This is the inset one.
| | 01:21 | I can easily get rid of the other two
stripes by clicking and dragging them
| | 01:25 | right out of the dialog box.
| | 01:27 | Now I have a large gap and a thin
stroke that will be inset from the edge of
| | 01:32 | the frame. This is the outer edge of the frame
and this is the inside that touches the fill.
| | 01:37 | I'll give my new stroke style a name.
| | 01:39 | I'll call it inset, and click OK.
| | 01:44 | Now let's apply my new stroke style to my
picture of the flower, and there I have it.
| | 01:51 | It looks like I have two strokes, an
outer green stroke and an inner block one.
| | 01:57 | If I look back at the Stroke panel,
I can see that the outer green color
| | 02:01 | comes from the gap color and the inner black
stroke is just my regular stroke formatting.
| | 02:07 | Let's see another variation on this idea.
| | 02:09 | Here I wanted to have a photo that
looks like it was in a frame with a matte.
| | 02:14 | It's the same idea as
that picture of the flower.
| | 02:17 | I'll click on it and look in the
Stroke panel and the Type and this is
| | 02:22 | called Photo Matte.
| | 02:24 | Let's check it out.
| | 02:28 | So again, I have a gap on the outside
and a stripe on the inside, covering about
| | 02:33 | one third of the stroke width.
| | 02:38 | The gap color is what creates the
black outer stroke and the inner stroke is
| | 02:44 | created by my regular stroke
formatting and it's this copper color.
| | 02:48 | Let's see another variation.
| | 02:49 | Here is the same stroke style, but now
I have a white matte, so the stroke is
| | 02:54 | filled with Paper and the
gap color is still black.
| | 02:58 | Let's see one more variation.
| | 03:01 | In this one I wanted to have a frame
that looked like it had a metal edge and a
| | 03:05 | matte, so I created another stroke style.
This one is called Double Photo Matte.
| | 03:10 | Let's check it out.
| | 03:15 | So on the outside there is a gap followed by a
thick stripe, a second gap, and a thin stripe.
| | 03:25 | The gap color is what
provides that metallic feel.
| | 03:28 | It's a shiny steel gradient and the
black comes for my regular stroke formatting.
| | 03:34 | Really easy and I think really
effective for simulating multiple strokes.
| | 03:38 | Maybe in some future version of InDesign
we'll have something like Illustrator's
| | 03:41 | Appearance panel, which we can use to
apply multiple strokes to an object, but
| | 03:46 | until that day comes, we can create
the look of multiple strokes via custom
| | 03:50 | stroke styles and we can do a pretty
good job of giving a photo a frame and a
| | 03:54 | matte with just one stroke, using
both a stroke color and a gap color.
| | Collapse this transcript |
| 020 Simulating Multiple Strokes, Part 2| 00:00 | It's not possible to apply multiple
strokes to a single object in InDesign.
| | 00:05 | We've already seen one method of
overcoming this limitation, custom stroke styles.
| | 00:09 | Another perhaps less elegant but no
less effective method is to simply create
| | 00:13 | multiple copies of an object stacked
directly on top of one another and then
| | 00:17 | apply different strokes to
each one. Let's take a look.
| | 00:20 | So here I have an image I've placed of
some flowers and I wanted to make it look
| | 00:25 | like it was a postage stamp.
| | 00:27 | So I created a large white stroke on
the outside and then I had to create
| | 00:31 | an effect where I cut out the little
circular shapes that make it look like a stamp.
| | 00:34 | Let see how I did that.
| | 00:37 | So here's the placed photo with the
plain solid paper stroke and actually
| | 00:42 | the stroke isn't paper.
| | 00:42 | It's a very light tinted black.
| | 00:44 | I like to use that instead of plain white.
| | 00:46 | It makes it look a little more
realistic, but our job now is to make those
| | 00:49 | little circular shapes to
cut out of the solid frame.
| | 00:52 | So what I'm going to do is copy this,
I'll choose Edit > Paste In Place, or
| | 00:56 | Command+Shift+Option+V, Ctrl+Shift+Alt
+V, to put a copy right on top of the
| | 01:01 | other one, and then I'll hover over the
image, click on the Content Grabber, and
| | 01:05 | press Delete to get rid
of the extra place photo.
| | 01:08 | I don't need that anymore.
| | 01:09 | I just need the outer frame and the stroke.
| | 01:11 | I'll select it and than I'll change
the stroke width from 30 points down to 10
| | 01:16 | points and I'll change the style
of the stroke from Solid to Dotted.
| | 01:21 | I like Japanese Dots. They're little
closer together than the normal dots.
| | 01:25 | Now I need to change the color of the
stroke from this tint of black to Paper.
| | 01:30 | In the Effects panel, I'll target this
object and change the blending mode from
| | 01:34 | Normal to Multiply. This
makes those dots disappear.
| | 01:38 | When I multiply with white, it makes an
object disappear and that's what I want,
| | 01:42 | because I'm going to cut these
circular shapes out of the other stroke.
| | 01:46 | Now I'll go to my Stroke panel, I'll be
sure to align the stroke to the center
| | 01:50 | of the frame, and now I'll
group all the stuff together.
| | 01:55 | One more trip to the Effects panel,
target the group, and click on Knockout Group,
| | 02:02 | and that knocks those circular shapes
from the top frame out of the lower frame
| | 02:06 | and creates the stamp effect.
| | 02:08 | So by using two different stroke
styles, I've accomplished this stamp look.
| | 02:12 | Let's try another variation.
| | 02:14 | Here I wanted this placed photo to
look like a coupon from a store circular.
| | 02:18 | I used two different stroke styles, a
solid thick stroke and a thinner dash stroke
| | 02:23 | to show where you should cut out the coupon.
| | 02:26 | Let's check that out.
| | 02:26 | There is the placed photo. I'll click
on it and apply the large thick green
| | 02:32 | stroke, say 30 points.
| | 02:35 | In the Swatches panel, I'll change it
from 50% black to 50% of this green color,
| | 02:41 | and in the Stroke panel, I'll align it
to the inside of the frame, then I'll
| | 02:46 | copy it, Paste It In Place, click on the
Content Grabber, and press Delete to get
| | 02:52 | rid of that extra copy of the photo.
| | 02:54 | Then I'll click on my new copy.
| | 02:57 | Change the stroke width up in the
Control panel down to 10 points.
| | 03:02 | I'll change the stroke
Style from Solid to Dashed.
| | 03:06 | Maybe Dashed (3 and 2) would look good.
| | 03:09 | And in the Swatches panel,
I'll Tint from 50% to 100%.
| | 03:14 | And there, I have my coupon.
| | 03:16 | You may not be able to apply multiple
strokes to one object, but there's nothing
| | 03:20 | stopping you from quickly creating
copies of that object and applying different
| | 03:24 | strokes to each one.
| | 03:25 | It may not be a stroke of genius, but it works.
| | Collapse this transcript |
| 021 Creating Metallic Chrome Effects| 00:00 | A highly reflective chrome effect may
look like it was tricky to create, but in
| | 00:04 | reality, all you need is a simple
gradient fill using as few as three color
| | 00:09 | stops to create a convincing chrome look.
| | 00:12 | The key is to create a point somewhere in
the gradient where the colors abruptly shift.
| | 00:16 | When you have contrast, you have chrome.
| | 00:19 | So here in this document, I have five
separate objects filled with gradients
| | 00:24 | that look like chrome.
| | 00:25 | Let's take a look at them.
| | 00:26 | In my Swatches panel, select the first one,
| | 00:30 | and this is filled with a
gradient called Basic Chrome.
| | 00:33 | I will double-click to see
what Basic Chrome is made of.
| | 00:36 | It's a very simple gradient ramp.
| | 00:39 | Most of it is filled with just Paper,
and then right here in the middle there's
| | 00:43 | this abrupt shift between Paper to a
dark blue color, and that's what creates
| | 00:48 | the contrast and the feeling of chrome.
| | 00:50 | Then I transition more
gradually back again to Paper.
| | 00:54 | So just three stops, but this
abrupt contrast makes it feel like a
| | 00:58 | shiny metallic material.
| | 01:02 | Let's look at another one.
| | 01:05 | Basic Chrome Color.
| | 01:06 | I will open that up and here I've
taken that same Basic Chrome gradient and
| | 01:12 | added some color at the ends.
| | 01:14 | So I created a sky blue color on one end
and sort of a sandy color at the other end.
| | 01:23 | This one is called Blue-Gray-Blue, and
sure enough I start out with sky blue,
| | 01:29 | fading to white, then that abrupt
transition to the very dark blue, and then a
| | 01:34 | couple of other gray blues.
| | 01:35 | That creates a nice chrome effect.
| | 01:38 | Here is what I call Beach Chrome.
| | 01:42 | I start out with sky blue, fades to
white, a very dark color for that contrast,
| | 01:49 | and then I fade out to a couple of
stops that look like dirt and sand.
| | 01:55 | Lastly, I have this one called Road Chrome.
| | 01:58 | Sky blue, fading to white, and then
the abrupt shift to black, like this is
| | 02:04 | reflecting the road.
| | 02:07 | Let's apply some of these to some text.
| | 02:09 | I will select both of these text
frames, target the text, and the fill, and
| | 02:15 | we'll apply Basic Chrome.
| | 02:18 | Instantly, just putting that
gradient inside the text brings it to life.
| | 02:22 | It changes it from this plain, flat
white feeling to something that's actually
| | 02:26 | made out of metal and
reflecting things in real life.
| | 02:29 | Let's try another one.
| | 02:31 | Basic Chrome Color. That's nice!
| | 02:33 | Now I feel like I'm reflecting
the sky a little bit up here.
| | 02:36 | It almost feels like I've
curved the type a little bit.
| | 02:39 | We'll try Beach Chrome.
| | 02:41 | That's a nice effect. Blue-Gray-Blue.
| | 02:44 | I think that one is my favorite,
and we'll check out Road Chrome too.
| | 02:48 | A really dramatic affect.
| | 02:51 | They all have their place, but I am
going to switch it back to Blue-Gray-Blue
| | 02:54 | Chrome for now and deselect.
| | 02:56 | I will select this top text frame and
press the G key on my keyboard to get
| | 03:01 | my Gradient tool and now we want to
reapply this gradient to change the
| | 03:04 | effect a little bit.
| | 03:05 | I will target my text, make sure
that my fill is in front, and I will
| | 03:10 | click-and-drag with the Gradient
tool to reapply the gradient and change
| | 03:14 | the chrome effect.
| | 03:15 | So I can change where this abrupt
contrast is and make the effect different.
| | 03:20 | I will drag down again to
change it. Now I see mostly sky.
| | 03:23 | I will drag one more time
in the opposite direction.
| | 03:28 | I could do that too.
| | 03:30 | So there are lots of things you can do with
just a simple gradient to create a chrome effect.
| | 03:34 | Chrome effects are created when we
fill object or type with gradients that
| | 03:38 | include at least one point
of abrupt change in color.
| | 03:41 | This point of change and the contrast
it creates matters much more than the
| | 03:45 | actual colors you use in the gradient.
| | 03:47 | Once you have a basic chrome gradient,
you can create variations incorporating
| | 03:51 | other colors or even using
blending mode tricks to tweak the effect.
| | Collapse this transcript |
| 022 Creating Glass and Plastic Effects| 00:00 | When we want to simulate a clear
material like water or glass, we need to show
| | 00:05 | only the highlights and shadows
created by light shining on that material.
| | 00:08 | So we need to control the opacity of
those highlights and shadows separate from
| | 00:12 | the fill color of the text or the object.
| | 00:15 | The Hard Light blending
mode is perfect for this use.
| | 00:18 | Here I have some text that I want it to
look like it was made out of glass, and
| | 00:22 | indeed, I used the Hard Light blending
mode to show nice shadows and highlights
| | 00:26 | and hide the fill color for the most part.
| | 00:28 | It's slightly visible here in the clear
glass and I get a nice little blue tint
| | 00:32 | here in the colored glass.
| | 00:34 | Let's see how that's done.
| | 00:35 | Here is the plain text, the top copy is
filled with a gray color and the bottom
| | 00:39 | copy is filled with a bluish color.
| | 00:41 | I will select both of them and I'll go
to my Effects panel and switch from the
| | 00:47 | Normal blending mode to Hard Light.
| | 00:49 | Now I will start applying some effects.
| | 00:54 | First off, I will create a Drop Shadow.
| | 00:56 | I will reduce the Opacity from 75% to 30%.
| | 00:59 | I will change the Distance to 3 pixels
and I will reduce the Size to 3 pixels also.
| | 01:08 | Next I'll apply an Inner Shadow
and I'll reduce the Opacity to 30%.
| | 01:14 | Next I'll apply our good
old friend Bevel and Emboss.
| | 01:17 | I'll choose an Inner Bevel with a
Smooth Technique and a Direction of Up.
| | 01:21 | I will leave the Size at 7 pixels, but
I am going to increase the Altitude from
| | 01:26 | 30 degrees to 70 degrees.
| | 01:28 | My favorite setting of
Altitude for making something shiny.
| | 01:32 | Next, I'm going to change the opacity
of both the shadow and highlight from
| | 01:35 | 75% to 30%, and I am going to change
the shadow to a second highlight by
| | 01:42 | changing the blending mode from
Multiply to Screen and the swatch from black
| | 01:47 | to Paper, and I'll click OK.
| | 01:50 | I'll click OK again and now I
have some nice effects, but it doesn't
| | 01:54 | really look like glass.
| | 01:55 | I can't really see through this.
| | 01:57 | Well, this is because I haven't put an
object behind this clear glass and colored glass.
| | 02:02 | It always takes at least two
objects for a blending mode to work.
| | 02:05 | You have to have something to blend with.
| | 02:07 | So behind these two text frames I am going
to place another frame filled with Paper.
| | 02:11 | I will click-and-drag to draw that frame.
| | 02:16 | In my Swatches panel I will fill it
with Paper and in the Object menu I will
| | 02:22 | say Arrange > Send to Back.
| | 02:26 | And there I have my nice glass
effect, clear glass and colored glass.
| | 02:31 | Now let's try making some plastic.
| | 02:33 | Plastic is even easier to make than
glass. Really the recipe for it is just
| | 02:36 | a shiny highlight made by a high Altitude
setting with the Bevel and Emboss effect.
| | 02:41 | I will select these text frames, I'll
go to the Effects panel, open the Effects
| | 02:47 | dialog box, click on Bevel and Emboss.
I will apply an Inner Bevel with a Smooth
| | 02:52 | Technique, a Direction of Up, and a
Size of 7 pixels, all the default values.
| | 02:58 | The only thing I'm going to
change here is the Altitude.
| | 03:00 | Again, I am going to set it to 70 degrees,
and that makes a nice shiny Highlight
| | 03:05 | for my shiny plastic.
| | 03:07 | I am going to increase the opacity of
the highlight from 75% to 100%, because I
| | 03:12 | really want this to shine, and I'd
like to have some nice shadows too.
| | 03:15 | So I am going to increase the
opacity of the shadows to 100% and say OK.
| | 03:20 | Now I've made some shiny plastic.
| | 03:25 | Let's try a different
technique for making plastic.
| | 03:29 | Here are some really shiny plastic that
almost feels like I could see through it
| | 03:32 | little bit, like it's a little bit translucent.
| | 03:35 | For this I used a different blending mode,
Color Dodge, to make the color of the
| | 03:39 | plastic blend with that dark gray background.
| | 03:42 | Here is my original text. I'll select
it all, bring up my Effects dialog box,
| | 03:48 | and the first I will do is change the
blending mode from Normal to Color Dodge.
| | 03:53 | Then I will choose Bevel and
Emboss, with that 70 degree Altitude.
| | 03:57 | I am going to change the opacity of
my highlight from 75% to 100%, and I am
| | 04:03 | going to create a second highlight by
changing the blending mode of Shadow from
| | 04:07 | Multiply to Screen and changing
the swatch from black to Paper.
| | 04:12 | Clicking OK, and then I will also
set the opacity of the second highlight
| | 04:17 | to 100% and click OK.
| | 04:19 | I will deselect, and there I
have some nice vivid shiny plastic.
| | 04:23 | When we apply the Hard Light blending
mode to an object that's been beveled,
| | 04:27 | we can make the fill disappear while
keeping strong highlights and shadows and make
| | 04:31 | things like clear glass.
| | 04:33 | When you want to tint the
glass, just add a fill color.
| | 04:36 | To simulate materials like shiny
plastic the Bevel effect with a high Altitude
| | 04:40 | does the trick, and you can use the
Color Dodge blending mode on top of a dark
| | 04:44 | background for very shining
plastic with saturated colors.
| | Collapse this transcript |
| 023 Exploring Satin Settings | 00:00 | The Satin effect allows you to create
a sense of texture within an object by
| | 00:04 | combining two inner shadows. Where the
shadows intersect, a highlight is created.
| | 00:09 | The effect can be a little like
beveling with complex shapes like text,
| | 00:13 | the highlight can zigzag to
follow all the edges of the shapes.
| | 00:17 | You can also invert the effect
to change shadows into highlights.
| | 00:20 | Satin can be a little tricky to control.
| | 00:22 | My advice is to be subtle when using Satin.
| | 00:25 | Like a drop shadow, a
little Satin goes a long way.
| | 00:28 | Let's see how it works.
| | 00:29 | Here I've a placed photo of some
flowers and some text, and I'll apply the
| | 00:33 | Satin effect to each one.
| | 00:34 | I'll start with the flowers.
| | 00:35 | I'll bring up my Effects dialog box,
double-click, and I'll click on Satin.
| | 00:42 | Here in my controls I can choose a
blending mode and a color, and an Opacity,
| | 00:48 | and Angle, a Distance, and a Size.
| | 00:50 | Let's start by increasing the opacity a
little bit to make the effect easier to see.
| | 00:56 | I'll increase to 80%.
| | 00:57 | Now I'll increase the Distance and you
can get a sense of what's going on here.
| | 01:05 | I have shadows in these
corners and highlights in the middle.
| | 01:09 | What I have are two intersecting shapes
that are in the same shape as this frame.
| | 01:14 | If I turn the Size all the way down
to 0, things become a little clearer.
| | 01:17 | Now I'll change the Distance and as I
increase the Distance the two shapes move
| | 01:24 | away from each other.
| | 01:25 | Now they don't intersect at all.
| | 01:26 | So I just have two shadows in the corners.
| | 01:30 | I'll decrease the Distance and once again
we can see where they intersect I have highlights.
| | 01:36 | I'll invert the effect.
| | 01:37 | Now where the shapes intersect I've a shadow.
| | 01:40 | I'll turn that off and go
back to the normal Satin effect.
| | 01:45 | Now I can increase the Size to blur the
effect, combining the shadows and highlights.
| | 01:52 | Now let's try applying some satin to the text.
| | 01:55 | I'll select the text frame,
double-click, and click on Satin.
| | 01:59 | Here I have the same settings.
| | 02:01 | Multiply blending mode, black swatch,
50% Opacity, and I can drag around the
| | 02:06 | Angle to get a different effect.
| | 02:07 | I can change the Size to 0 so I can
clearly see the letter shapes inside and I
| | 02:16 | can change the Distance to move them around.
| | 02:18 | That looks like a really complex shape.
| | 02:20 | Let's add some blur to that and see what we get.
| | 02:23 | That's an interesting effect.
| | 02:25 | I think I'll take it back
down to 10 pixels and click OK.
| | 02:30 | Now let's see some uses for Satin.
| | 02:32 | Here I've just two letter Ms that I
wanted to put on an interesting background.
| | 02:36 | So instead of just having a plain red
and blue fill, I use the Satin effect.
| | 02:42 | I'll select the background objects and drag
them up so we can see what's going on here.
| | 02:47 | I've a red fill and a blue fill and I
used Satin to create this highlight here.
| | 02:53 | I'll move them out of the way
and bring up the dialog box.
| | 02:57 | So I multiplied with black to create
those shadows, and then I adjusted the Angle.
| | 03:01 | Hey, that looks interesting.
| | 03:07 | Again, if I change the Size to 0 I can
see the shapes clearly, and then I can
| | 03:12 | increase the Size to blow them up.
| | 03:17 | Let's see another use.
| | 03:18 | Now there is a lot going on here.
| | 03:20 | I created these flames with a whole
bunch of different effects, but I think the
| | 03:23 | key element here is the use of Satin.
| | 03:26 | That's what creates these really
interesting shadowy dark shapes inside the flames.
| | 03:30 | So we'll create these from scratch.
| | 03:32 | Here I've just two flame like
objects that I created with the Pen tool
| | 03:36 | and filled with Paper.
| | 03:38 | Now let's start building the effect.
| | 03:40 | I'll Shift+Click to select them all.
| | 03:44 | With the frame shape selected I'll
start by applying a gradient fill.
| | 03:48 | I'll go to my Swatches panel
and select this Burn gradient.
| | 03:52 | So it's got a lot of reds
and browns and oranges in it.
| | 03:55 | I'll press the G key on my keyboard to
get the Gradient tool and click-and-drag
| | 03:59 | to apply the gradient vertically.
| | 04:01 | Now it's time to apply some effects.
| | 04:03 | I'll open the Effects dialog box and
we'll start with an Inner Shadow, but this
| | 04:09 | time we'll use the Inner
Shadow to lighten the object.
| | 04:13 | I'll change the blending mode from
Multiply to Normal and change the swatch
| | 04:17 | from black to this bright orange.
| | 04:21 | I'll increase the Opacity to
100% and I'll set the Distance to 0.
| | 04:29 | I'll set a little bit of Choke on this
Inner Shadow to make it a little more opaque.
| | 04:34 | Next, I'll apply an Outer Glow to
create that orange glow around the flames.
| | 04:39 | I'll set the blending mode to Normal
and I'll select my orange color swatch.
| | 04:47 | I want a really intense glow.
| | 04:48 | So I'm going to increase the Opacity to 100%.
| | 04:51 | I'll increase the Size to 20 pixels,
add a little bit of Noise, say 1%, and
| | 04:58 | increase the Spread to 10%.
| | 05:00 | Spread is the amount of the Outer Glow
that's set at the full color and opacity.
| | 05:05 | Next up we'll apply Basic Feather.
| | 05:07 | After all, we want soft
edges around these flames.
| | 05:11 | I'll decrease the Feather Width a
little bit to 8 pixels and add just a
| | 05:14 | little bit of Noise.
| | 05:16 | Now it's time for the
Satin effect to do its magic.
| | 05:19 | I'll click on Satin.
| | 05:20 | I'll change the blending mode to
Screen and pick my orange swatch.
| | 05:24 | I'm going to go for a full 100% Opacity,
a Distance of 20 pixels, and let's just
| | 05:33 | set this at 11 pixels.
| | 05:36 | Really, these are values you can experiment
with when you're applying the Satin effect.
| | 05:40 | I just think these look good
for this flame effect here.
| | 05:43 | Now I can move the angle
around and see what looks good.
| | 05:47 | So let's go with this Angle of 160
degrees and we've completed our flame effect.
| | 05:51 | I'll click OK and
deselect to see what we've done.
| | 05:55 | That's pretty cool.
| | 05:56 | Now let's try some ice.
| | 05:59 | I'll select this text frame, open the
Effects dialog box, and see what's going on here.
| | 06:05 | Again, we have a lot of effects combining to
make this text look like it's made out of ice.
| | 06:10 | We have an Outer Glow with a whole
bunch of noise to create a grainy effect.
| | 06:16 | We have an Inner Glow to
lighten the edges around the text.
| | 06:21 | We have a Bevel and Emboss to make it
look like it's 3D, and we've the Satin
| | 06:28 | effect that's blending the
Paper-colored fill with this blue color.
| | 06:32 | I'll just turn that on and off
so you can see what it's doing.
| | 06:35 | So there you have it!
| | 06:38 | With Satin you can make
fire and you can make ice.
| | 06:41 | With the Satin effect you can create
texture inside an object with blended
| | 06:45 | highlights and shadows.
| | 06:46 | Even though it can make dramatic
changes in the appearance of an object, Satin
| | 06:50 | is more of a team player than a solo artist.
| | 06:53 | It's almost always best to
used to enhance other effects.
| | Collapse this transcript |
| 024 Exploring Gradient Feather Settings| 00:00 | Gradient Feather is the most
flexible of InDesign's feathering effects.
| | 00:04 | With it you can fade an object in a
linear or radial fashion and have total
| | 00:08 | control over the transition from
opaque to transparent, by creating and
| | 00:12 | adjusting stops along a transparency gradient.
| | 00:14 | Let's see how it works.
| | 00:16 | Here I have a document with a placed image
of a flower and some text and I'd like
| | 00:21 | to apply some Gradient Feather to them.
| | 00:23 | First, I'm going to open a new window
so I can get a better look at the effect
| | 00:26 | without the frame edges getting in my way.
| | 00:29 | So I'll choose Window > Arrange > New
Window, and I'll drag the vertical slider
| | 00:34 | over to the left, so I've one
big window and one small one.
| | 00:38 | I'll click on the picture of the
flowers, and I'll go to my Effects panel,
| | 00:43 | double-click, and I'll click on Gradient Feather.
| | 00:46 | And right away I can see
the effect on my flowers.
| | 00:50 | They are opaque on the left side
and transparent on the right side and
| | 00:54 | there's a transition going on in
between and that's controlled by this
| | 00:57 | transparency gradient here.
| | 01:00 | The stop on the left is set at 100%
Opacity and the stop at the right is set at
| | 01:05 | 0% Opacity, and right in the middle
there's this diamond shape that controls the
| | 01:10 | midpoint of opacity.
| | 01:11 | So I can drag that to change the
gradient or I can drag either of the sliders,
| | 01:17 | so I can make the picture
more opaque or more transparent.
| | 01:22 | I can also click on this
button to invert the effect.
| | 01:26 | I can also change the Angle, so I can
rotate the feathering around the image or
| | 01:32 | I can switch from a Linear to a Radial gradient.
| | 01:35 | I'm going to invert this.
| | 01:37 | Now I have a sort of a spotlight effect.
| | 01:41 | I'll pull the right side transparency
stop back a little bit, and pull the
| | 01:45 | midpoint back a little bit, to show some
more of that flower picture. I'll click OK.
| | 01:48 | Now let's look at an actual
use for the Gradient Feather.
| | 01:56 | One of my favorite uses for the
Gradient Feather effect is to enhance a
| | 01:59 | shiny effect where I'm trying to
create the image of a really shiny
| | 02:03 | reflective surface.
| | 02:04 | So I take a copy of an object and I flip
it and then apply Gradient Feather, and
| | 02:09 | that's what I've done here to this type.
| | 02:11 | I have the nice original type and
underneath it I have a flipped copy that I've
| | 02:16 | feathered with the Gradient Feather effect.
| | 02:18 | I'll show you how I did it.
| | 02:20 | I'll delete this reflected type, select
the original type, and go to my Control
| | 02:26 | panel and make sure that the reference
point is set in the bottom-center and
| | 02:29 | then I'll hold down the Option or Alt
key on my keyboard and click on Flip
| | 02:33 | Vertical to create a reflected copy of my type.
| | 02:36 | There is a little gap in between the
type, so I'm going to nudge it into place
| | 02:41 | by pressing the up arrow key
on my keyboard a little bit.
| | 02:43 | I just want these two copies to touch.
| | 02:46 | Now I can press Shift+G on my keyboard
to get the Gradient Feather tool from my
| | 02:50 | Tool panel and I can click and
drag to apply a Gradient Feather.
| | 02:53 | When I first click, this copy of the
type will be opaque, and when I let go off
| | 02:58 | my mouse button, it will be
transparent. Let's try it.
| | 03:03 | Click and drag, and I've created a
Gradient Feather applied to my text. Pretty cool!
| | 03:10 | I'll move this out of my way
and I'll open the Effects panel.
| | 03:14 | I'll double-click and I can see the
Gradient Feather has been applied here.
| | 03:19 | Here is the transparency gradient that's
controlling the effect and I can adjust it.
| | 03:23 | Say I wanted to make it less opaque.
I can click on this first stop, select the
| | 03:29 | Opacity and turn it down to say 25%, and
I'll deselect, and that's a pretty cool
| | 03:38 | reflected type effect,
courtesy of Gradient Feather.
| | 03:41 | When you want to fade an object into a
background, the Gradient Feather effect
| | 03:44 | gives you the most control.
| | 03:46 | With it you can add feathering at any
angle and with any amount of opacity.
| | Collapse this transcript |
| 025 Simulating Carving and Chiseling| 00:00 | The basic strategy for making text or
other objects look like they were carved
| | 00:04 | or chiseled is to combine two of
InDesign's effects, Bevel and Inner Shadow.
| | 00:09 | Here I have some text, the word CHISEL that
looks like it's been chiseled into my document.
| | 00:14 | If I zoom in, I can see how these
two effects work together nicely.
| | 00:18 | I can see the edge of the material
that's been created by the Bevel effect and I
| | 00:23 | can see the Inner Shadow that adds a
little bit of lighting and makes it a
| | 00:26 | little bit more convincing.
| | 00:27 | I will zoom back out and let's try this.
| | 00:30 | So here's some plain text
with no effect applied to it.
| | 00:33 | I will select the frame, I will go to
the Effects panel, and I will double-click
| | 00:38 | to open up the Effects dialog box.
| | 00:40 | I will start by applying a
Bevel and Emboss and for the Style,
| | 00:45 | I am going to choose an Outer Bevel, for
Technique, Chisel Hard, and Direction Down.
| | 00:53 | So it looks like the light is coming
down from the top-left corner and I can see
| | 00:58 | I have a nice edge to my material there.
| | 01:01 | Next, I am going to apply an inner shadow.
| | 01:02 | I will click on Inner Shadow and
that's a little bit too dark for me.
| | 01:06 | So I am going to decrease the Opacity
from the default 75% somewhere down in the
| | 01:11 | neighborhood of 40% and if you wanted to,
you can add a little bit of noise just
| | 01:16 | to try to make it a little
more realistic. I will click OK.
| | 01:20 | Let's zoom in again and see how
these two effects work together nicely.
| | 01:24 | Again, I have the edge, courtesy of the
Bevel effect and the Inner Shadow adding to it.
| | 01:31 | Nice! Now let's try carving some wood.
| | 01:33 | Here I have a wood carving that's been
done in the same manner as that original
| | 01:37 | chiseling that I just showed.
| | 01:39 | It uses two InDesign
effects, Bevel and Inner Shadow.
| | 01:43 | In the case of the carving, I
actually use two copies of the text.
| | 01:47 | One to give me the bevel highlights
and shadows and the other just to give me
| | 01:50 | this color of the wood fill.
| | 01:52 | The reason for that is I want to
use the Hard Light blending mode.
| | 01:56 | The Hard Light blending mode
allows me to create nice intense shadows
| | 02:00 | and highlights on objects when I use Bevel
and Emboss and make the fill color disappear.
| | 02:05 | That way I can keep this wood color
independent of the shadows and highlights
| | 02:08 | and not have them become
oversaturated and unrealistic. Let's try this.
| | 02:13 | So here I have some plain
text just filled with black.
| | 02:16 | I am going to select it and go to my
Swatches panel, target the text, and fill
| | 02:23 | it with plain wood, and I am going to
select Formatting affects container and go
| | 02:28 | up to the Effects panel and I am going
to change the blending mode from Normal
| | 02:32 | to Hard Light and this gives me that
nice bare wood color that I am looking for.
| | 02:37 | Now I will copy the text, paste it in
place, and I am going to leave the Hard
| | 02:42 | Light blending mode on and this copy is
going to give me my chiseled effect with
| | 02:46 | the Bevel and Emboss and the Inner Shadow.
| | 02:48 | I will switch to the swatches, target
the text, and fill it with black, 50%.
| | 02:57 | That makes that fill disappear.
| | 02:59 | Now I can apply the
effects to create the carving.
| | 03:01 | Again, target the container, open the Effects
panel, and double-click to open the dialog box.
| | 03:09 | So we'll choose Bevel and Emboss, Inner
Bevel, Chisel Hard, and a Direction of Down.
| | 03:18 | That's looking pretty good.
| | 03:19 | And now I just need to add the
Inner Shadow. That's too dark.
| | 03:23 | So I will decrease the Opacity down to
something really small, maybe 20% just to
| | 03:28 | add a little bit of depth there and
maybe a little bit of Noise, industry
| | 03:33 | standard 2% Noise, and click OK and deselect.
| | 03:41 | There I have my nice carving into wood effect.
| | 03:43 | Now let's try some stone.
| | 03:45 | Here I have some text that's been
carved into some stone and the variation here
| | 03:50 | is I wanted to create some weathered
text to look like Mother Nature had been
| | 03:54 | working on this a long time and
roughening up the edges of the type.
| | 03:58 | If I zoom in, I can see that.
| | 04:01 | the edges of the text are sort of
blending into the rest of the stone and having
| | 04:05 | a really rough feel.
| | 04:07 | I accomplished this by applying a
directional feather with a lot of noise.
| | 04:11 | Let's zoom out and we'll start from scratch.
| | 04:14 | So here's some text just filled with black.
| | 04:16 | I will open up my Swatches panel, target
the text, and change the Tint from 100%
| | 04:22 | black down to something in the
neighborhood of 70%, a dark gray.
| | 04:26 | I will target the container, open the
Effects panel, and double-click to open
| | 04:32 | my Effects dialog box.
| | 04:33 | We will apply the Bevel and Emboss
and this time we'll apply an Emboss.
| | 04:38 | Again, we'll Chisel Hard
and a Direction of Down.
| | 04:44 | This is a little bit too deep for me, so I am
going to decrease the size down to 4 points.
| | 04:49 | I am going to increase the Altitude
from 30 degrees to 50 degrees and the
| | 04:55 | Highlights in this effect are
too shiny, too bright for me.
| | 04:59 | So I am going to decrease the opacity of
the Highlight down to something like 40%.
| | 05:05 | That's looking better.
| | 05:06 | Now, I'd like the fill color of
this chiseled text to disappear.
| | 05:10 | I only want to see the photo of the stone.
| | 05:12 | I don't want to see this gray color.
| | 05:13 | So I am going to target the
transparency and change the blending mode from
| | 05:17 | Normal to Hard Light. There we go!
| | 05:20 | Now we will apply the Inner Shadow.
| | 05:23 | That's a little bit too far for me.
| | 05:25 | So I am going to decrease the Distance
from 7 points down to 5 points and I
| | 05:29 | will also decrease the Size down to 5 points.
| | 05:35 | That's too dark for me.
| | 05:36 | So I am going to decrease
it all the way down to 20%.
| | 05:40 | That's looking better and now to
weather the text I am going to apply that
| | 05:43 | Directional Feather.
| | 05:44 | I am going to constrain it so it's
applied the same in all directions, 3 points worth,
| | 05:51 | and a large amount of Noise, 20%
Noise, a setting you probably wouldn't
| | 05:56 | use in any other context, and I
want to apply it to all edges.
| | 06:00 | I will click OK and zoom
into look at my weathered text.
| | 06:07 | That's looking good.
| | 06:08 | I see the edges of the text are
fading into the stone, courtesy of the
| | 06:11 | Directional Feather.
| | 06:12 | I have my Inner Shadow and my
beveling to create a carved stone effect.
| | 06:18 | To make a convincing carving or
chiseling image, you need to use both Bevel and
| | 06:22 | Emboss and Inner Shadow effects.
| | 06:24 | The Bevel creates a sense of depth and
the Inner Shadow adds to it with lighting.
| | 06:29 | If you want to make a convincing
effect of carving into stand wood, you need
| | 06:32 | two copies of your subject, one to
provide you with the color of the underlying wood
| | 06:37 | and a second for the Bevel and
the Inner Shadow with a proper amount of saturation.
| | Collapse this transcript |
| 026 Understanding Transparency Blend Space| 00:00 | The magic of InDesign's effects all
happens via Adobe's transparency technology,
| | 00:05 | which allows us to blend colors
and detail from different objects.
| | 00:08 | In order for it to all work there
has to be a consistent color space for
| | 00:11 | InDesign to use when it blends colors.
| | 00:14 | This is called the transparency blend
space and it's really important that you
| | 00:17 | understand it in order to get
the most out of InDesign's effects.
| | 00:21 | Let's see how it works.
| | 00:22 | So when we use transparency effects,
InDesign compares different objects and
| | 00:26 | combines their colors and detail.
| | 00:28 | In order for objects to be blended,
they have to be in the same color space.
| | 00:32 | So when you apply transparency,
InDesign converts everything on a spread to the
| | 00:37 | transparency blend space,
regardless of whether that object is actually
| | 00:40 | involved in the effect.
| | 00:42 | And it's important to note that when I
say things are converted, I don't mean
| | 00:46 | that InDesign goes out and alters your
Photoshop or Illustrator files; they are
| | 00:50 | left completely alone.
| | 00:51 | What I mean is that InDesign is using
a different method for interpreting the
| | 00:55 | colors in those files.
| | 00:57 | It simulates as if you change the colors
in those documents, just to give itself
| | 01:01 | a reliable method for blending.
| | 01:02 | It's a totally nondestructive change.
| | 01:05 | So let's see some of that change.
| | 01:06 | Here I've a placed photo with a big
flower and several small versions of the
| | 01:11 | flower and I've overlaid each one with
a blue swatch and I've set the blending
| | 01:16 | mode to each of InDesign's
16 different blending modes.
| | 01:20 | This one's set to the Normal blending
mode and it completely knocks out the
| | 01:23 | flower, and all the other
ones blend with the flower.
| | 01:27 | So they blend some aspect of that blue
color with the color and detail of the
| | 01:31 | flower photo underneath.
| | 01:33 | So you can see Multiply makes it
darker, Screen makes it lighter, Overlay
| | 01:37 | increases the contrast, so on and so
forth, and things like Difference give you
| | 01:41 | a really special effect, where it
inverts the colors and mixed blues into
| | 01:44 | orange and so forth.
| | 01:46 | If I go up to my Edit menu and I choose
Transparency Blend Space, I can see that
| | 01:51 | this document is using Document RGB.
| | 01:54 | So everything on this spread would be
converted to RGB transparency blend space
| | 01:59 | for the sake of this transparency effect.
| | 02:01 | But if I choose Document
CMYK, you'll see a change.
| | 02:06 | See that? Several of these different
blending modes have a very different
| | 02:10 | effect when we use Document CMYK, instead of
Document RGB for our transparency blend space.
| | 02:15 | I mean, for example, just look
at that Difference blending mode.
| | 02:19 | I'll switch back to RGB for a
minute and keep an eye on that.
| | 02:24 | So that's a pretty dramatic difference there.
| | 02:27 | What exactly is going on?
| | 02:28 | Well, we don't really want to
get entirely into color management.
| | 02:31 | That's a really deep topic but we can
sort of explore a little bit using a
| | 02:35 | utility that I have on the Mac
called the ColorSync utility.
| | 02:38 | I'll switch over to that and one
of the things I can do with the Mac's
| | 02:42 | ColorSync utility is I can look at
color profiles and I can look at RGB ones
| | 02:47 | and compare them to CMYK ones to see the
different colors I can represent in each color model.
| | 02:52 | For example, I'll click on Adobe RGB
and it gives me this graph of all the
| | 02:57 | colors that can be represented in the
Adobe RGB color space and it's a really
| | 03:01 | neat thing because I can click and
drag them around and it's a 3D map of the
| | 03:05 | color space. So I can see all the dark
colors by turning it upside down and I
| | 03:10 | can see all the light colors by looking
at the top, and I can spin it around and
| | 03:14 | really get a sense of
what colors are in Adobe RGB.
| | 03:18 | Now if I look at a different color
profile like U.S. Web Coated (SWOP), I can
| | 03:23 | see it has a much narrower range.
| | 03:24 | Look at those reds and those greens, how far
they got pulled in from the Adobe RGB space.
| | 03:30 | What I can also do with this is I can
compare the two different color spaces.
| | 03:35 | So I'll switch back to Adobe and I'll
click on this little triangle and I'll
| | 03:38 | say Hold for comparison, and that's
going to keep that on screen, and now I can
| | 03:43 | click on a different color
profile and compare the two.
| | 03:47 | So I'll click on U.S. Web Coated (SWOP),
and I can see the Adobe RGB ghosted
| | 03:51 | around the outside of U.S. Web Coated
(SWOP), and I can see the difference.
| | 03:55 | So the greens of Adobe RGB are way out here.
| | 03:58 | I can represent all these kind of
greens in Adobe RGB that I cannot make in
| | 04:03 | U.S. Web Coated (SWOP).
| | 04:05 | And when I switch to the Transparency Blend
Space in InDesign, green colors that are
| | 04:09 | out here will be converted to those
colors down here, and that explains the
| | 04:14 | color shift that we saw when we
changed the Transparency Blend Space.
| | 04:18 | Let's go back to InDesign
and see some more of that.
| | 04:21 | Again, I'll check my Transparency
Blend Space and I'm using Document RGB.
| | 04:25 | Let's change that to Document CMYK.
| | 04:28 | So now if I apply any transparency on
this spread, everything on the spread will
| | 04:32 | be converted to the Document CMYK blend space.
| | 04:36 | So I'll just select this black square
and go to my Effects panel and I'll just
| | 04:41 | change the Opacity from 100% to 99%.
| | 04:43 | And look at that. See all the color shift?
| | 04:47 | That's really interesting because
they're not even touching that black square.
| | 04:50 | So you might not think they would be
involved or have any kind of change with it.
| | 04:54 | But just because they're on the same
spread, InDesign will convert them to the
| | 04:58 | transparency blend space.
| | 04:59 | So again, just like we saw in that
ColorSync utility, the reds and the greens
| | 05:03 | that were really rich and saturated in
RGB are now kind of dulled and flattened
| | 05:08 | when they are converted to the CMYK blend space.
| | 05:12 | Let's try another example.
| | 05:14 | Here are CMYK colors in a placed CMYK
Photoshop file and I'll choose RGB blend space.
| | 05:21 | So now these CMYK elements will
be converted to RGB if there's any
| | 05:26 | transparency on this spread.
| | 05:28 | So again, I'll click the black square
and I'll reduce the opacity to introduce
| | 05:33 | transparency to the spread, and you
didn't see very much of a change, and if you
| | 05:37 | think back to that graph, that kind of
makes sense because the RGB blend space
| | 05:41 | has a much wider gamut of
colors that it can represent.
| | 05:44 | So it can represent both those
supersaturated reds and greens and these more
| | 05:49 | dull reds and greens.
| | 05:50 | So there's not going to
be much of a change here.
| | 05:53 | Now there is one more aspect to
transparency blend space that's worth explaining.
| | 05:57 | If I look in the menu, it just says,
Document RGB and Document CMYK.
| | 06:03 | Well, that doesn't really tell me exactly
which flavor of RGB and CMYK I'm talking about.
| | 06:10 | What is this document using
for RGB and CMYK blend space?
| | 06:13 | Well, I can look in my Color Settings
and I can see my Working Spaces, but
| | 06:18 | that's not necessarily the same as
the document color spaces,and in fact,
| | 06:22 | it's kind of annoying.
| | 06:23 | There's no real easy place to go to see
which color spaces a document is using.
| | 06:28 | These Working Spaces only apply to
newly created documents, not necessarily
| | 06:33 | documents you already have opened.
| | 06:35 | So one way you can tell is by using
either this North American Prepress 2
| | 06:40 | settings or your own custom settings,
but just make sure you have this option
| | 06:43 | checked, Profile Mismatches: Ask When Opening.
| | 06:47 | That way if the RGB and CMYK working
spaces are different from the Document CMYK
| | 06:53 | and RGB working spaces, you'll get an alert.
| | 06:55 | Let me show you what I mean.
| | 06:58 | I'll open another document that
uses different RGB and CMYK spaces.
| | 07:04 | This one called Profile Mismatch, and
because I have that setting turned on, I
| | 07:08 | get this dialog box and it will tell
me the working spaces for that document.
| | 07:12 | So in this case, this document is using
Apple RGB as its document RGB space and
| | 07:20 | U.S. Sheetfed Uncoated
as its CMYK working space.
| | 07:24 | So that's just a way you can know
exactly which flavor of RGB and CMYK a
| | 07:29 | document is using to blend with.
| | 07:31 | The color space you choose as your
transparency blend space will determine a lot
| | 07:35 | about the look of your effects.
| | 07:37 | You can achieve a wider variety of
effects using RGB blend space because some of
| | 07:41 | the blending modes just work better
there, but be mindful of what's happening
| | 07:44 | when you apply transparency.
| | 07:46 | Remember, everything on a spread
is converted to the blend space.
| | 07:50 | Keep an eye out for color shifts when
you apply effects and know what color
| | 07:53 | spaces your document is using.
| | 07:55 | Make sure they are
appropriate for your final output.
| | 07:58 | That way you won't get any unexpected
color changes at the end of your workflow.
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| 027 Drawing Extrusions, Part 1| 00:00 | InDesign doesn't provide you with tools
for achieving sophisticated 3D effects
| | 00:05 | quickly or automatically.
| | 00:06 | But if you just need some basic 3D
shapes, you can build them by starting with
| | 00:10 | a simple shape and using the Pen tool and
Pathfinder to add sides and extrude an object.
| | 00:17 | Let's try taking an ellipse
and making it into a cylinder.
| | 00:19 | I'll press the L key on my keyboard to
get the Ellipse tool. I'll click-and-drag
| | 00:23 | in the document to make an ellipse.
| | 00:25 | I'll press Shift+X to
exchange the stroke and the fill.
| | 00:29 | now I have no stroke and a fill of black.
| | 00:32 | I'll press the V key to get my
Selection tool and then I'll Option or
| | 00:36 | Alt+Shift+Drag straight down to
create a second copy right underneath
| | 00:40 | the original ellipse.
| | 00:42 | Next I'll copy this and choose Edit >
Paste in Place to create a second copy of
| | 00:47 | the lower ellipse, and then I'll
choose Object > Convert Shape > Rectangle.
| | 00:53 | So now I have created a rectangle right
on top of the lower ellipse in the exact
| | 00:57 | same size and dimensions as the ellipse.
| | 01:00 | I'll take the bottom center anchor
point and drag it up until it snaps to the
| | 01:05 | center of the ellipse.
| | 01:06 | Then I'll take the top anchor point
and drag it up till it meets the center
| | 01:11 | of the top ellipse.
| | 01:12 | Now I want to create the
front side of my cylinder.
| | 01:17 | I'll select both the side and the lower
ellipse, I'll go to Pathfinder, and choose Add.
| | 01:23 | Now I have one shape for
the front of my cylinder.
| | 01:26 | Next I'll select my top ellipse, copy it,
then I'll select both the top ellipse
| | 01:31 | and the side, and I'll choose Pathfinder,
Minus Back, which eliminates that top
| | 01:37 | ellipse and makes this nice
curved shape for my cylinder.
| | 01:41 | Then I'll choose Edit > Paste in Place to
put my original ellipse back where it was.
| | 01:46 | Now I'll just go to my Swatches panel
and apply some different colors so I can
| | 01:51 | actually see my cylinder.
| | 01:52 | I'll apply this blue color to the
top and reduce the Tint to say 50%.
| | 01:58 | I'll apply the same blue
color to the side at 100%.
| | 02:02 | Deselect and there I have a
simple cylinder out of an ellipse.
| | 02:07 | Let's try another shape.
| | 02:09 | This time we'll make an extruded star shape.
| | 02:12 | I'll start with my Polygon tool, click-
and-drag in my document to make a star shape.
| | 02:17 | Again I'll press Shift+X to
exchange the stroke and the fill so there's
| | 02:22 | no stroke and a fill in the object.
| | 02:25 | I'll press the V key to get my Selection
tool, and I'll Option or Alt+Shift+Drag
| | 02:29 | straight down to make a copy of the star.
| | 02:32 | Next I'll press the A key to get my
Direct Selection tool. We'll select each
| | 02:37 | of these sides and make copies of them,
and they'll form the sides of our extrusion.
| | 02:41 | Click once here, I'll copy it, and
choose Edit > Paste in Place, or I could use
| | 02:48 | the keyboard shortcut Command+Shift+
Option+V, Ctrl+Shift+Alt+V, and I have a
| | 02:53 | copy of this segment
right on top of the old one.
| | 02:56 | I'll do the same on the lower star.
| | 02:58 | I'll click on it, copy it, and
press Command+Shift+Option+V,
| | 03:02 | Ctrl+Shift+Alt+V. Then I'll press
the P key to get my Pen tool and I'll
| | 03:07 | connect these two segments.
| | 03:09 | Click once on the bottom and once on the top.
| | 03:12 | Now I have a basic shape I want for
the side, but I want to close this.
| | 03:16 | So I can go to the Object menu
and choose Paths > Close Path.
| | 03:22 | I'll send this to the back, choosing
Object > Arrange > Send to Back, and
| | 03:28 | I'll give it a fill.
| | 03:29 | I'll just use the star fill.
| | 03:30 | So I have my first side that I need.
| | 03:33 | Now let's repeat the process.
| | 03:35 | I'll press the A key to get my Direct
Selection tool, click on this segment,
| | 03:40 | copy it, paste it in place, and do
the same for its twin down below.
| | 03:45 | Click on it, copy it, paste in place.
| | 03:47 | P key for the Pen tool, click once,
click again, and then go Object >
| | 03:55 | Paths, close this path.
| | 03:57 | And we'll apply that same Star
gradient here. Let's do it again.
| | 04:04 | Click once on this segment, copy it,
paste it in place, click once on its twin
| | 04:09 | down below, copy, paste in place.
| | 04:12 | P key for the Pen tool, click, click
again, and in the Object menu choose Paths
| | 04:21 | > Close Path, and we'll
give it that gradient fill.
| | 04:25 | One more time. Click once, copy,
paste in place, click again down below,
| | 04:34 | copy, paste in place, click once
with the Pen tool, click again, Object >
| | 04:43 | Paths > Close Path.
| | 04:46 | Fill it with the Star gradient and
choose Object > Arrange > Send to Back.
| | 04:53 | Now I don't need the bottom copy of the
star anymore, so I'll take my Selection
| | 04:56 | tool and click on it and delete it.
| | 04:59 | And I'll just also change the fill
color of the top star to this blue color.
| | 05:04 | Deselect, and there I
have my extruded star shape.
| | 05:08 | Drawing simple 3D shapes in InDesign is
a fun way to get some quality time with
| | 05:12 | the Pen tool, Pathfinder tools,
and Path commands like Close Path.
| | 05:16 | It's not a substitute for the powerful
3D effects you can achieve in Illustrator
| | 05:20 | or Photoshop, but it is a means of
giving a design element that extra dimension.
| | Collapse this transcript |
| 028 Drawing Concentric Shapes| 00:00 | If you ever wanted to create a design
element with multiple concentric shapes,
| | 00:05 | there are two different ways
you can approach this task.
| | 00:07 | One way it will give you varied spacing
between the objects and another way
| | 00:11 | will give you equal spacing.
| | 00:12 | Let's see how they work.
| | 00:14 | So here I have a few circles in my
document and I'd like to create some
| | 00:18 | concentric shapes based on these circles.
| | 00:20 | So I'll select the first one and
I'll use scaling for this case.
| | 00:24 | I'll set the Reference Point to the
center and double-click my Scale tool and
| | 00:29 | I'll scale 90% in both height
and width and I'll create a copy.
| | 00:34 | Then I'll press my keyboard
shortcut Command+Option+4 or Ctrl+Alt+4 to
| | 00:39 | repeat the transformation.
| | 00:40 | And you can see, as I keep making
smaller circles, the stroke width gets smaller
| | 00:49 | and the spacing in between get smaller as well.
| | 00:53 | Now if you want a sort of a tunneled
effect, this works really well, but what if
| | 00:56 | you wanted equal spacing between the circles?
| | 01:00 | Well, you can use a different method.
| | 01:01 | I'll select this circle and for this
method we're going to use a keyboard
| | 01:05 | shortcut that works in the Control
panel and it works really well when we use
| | 01:09 | centimeters as our unit of measure.
| | 01:12 | So if you're going to use centimeters,
you can right-click in the top left
| | 01:16 | corner of your window and
change your unit of measure
| | 01:19 | to using something
else besides centimeters.
| | 01:22 | So with the circle selected I can
see it's 10 cm wide and 10 cm high.
| | 01:28 | I'll click the chain to
constrain those dimensions.
| | 01:31 | I'll click the W to highlight the width
value, and then I'm going to hold down
| | 01:35 | Option or Alt and press the
Down Arrow key on my keyboard.
| | 01:39 | This is going to decrease the width
to 9 centimeters and holding Option or
| | 01:43 | Alt will make a copy.
| | 01:45 | Now I have another circle
that's 9 centimeters wide.
| | 01:48 | I'll keep holding Option or Alt and
tap the Down Arrow key again, all the way
| | 01:53 | till I run out of space.
| | 01:56 | If I go too far InDesign says I'm not in
a legal dimension anymore. OK, InDesign.
| | 02:02 | So there I have created 10 equally
spaced concentric circles, but I don't have
| | 02:07 | to have them be concentric.
I can change the reference point.
| | 02:09 | So I'll click the bottom center
reference point and I'll click on the Width
| | 02:14 | again and do the same thing. Hold
Option or Alt and press the Down Arrow key.
| | 02:21 | Now they're not concentric
anymore, but it's still a cool effect.
| | 02:24 | Now let's see what happens if we don't
constrain width and height. I'll select
| | 02:27 | the last circle, click on the chain
icon to not constrain width and height, and
| | 02:34 | I'll set my Reference Point back to the center.
| | 02:37 | Select the Width and Option+Click or Alt+
Click on the down arrow key in my keyboard.
| | 02:44 | That's pretty cool.
| | 02:45 | I can also take these shapes and rotate them.
| | 02:48 | So I'll select this group of shapes,
I'll hold Option or Alt, and I'll click on
| | 02:53 | the Rotate 90 degrees button.
| | 02:55 | And there, look at that. In five
seconds I've created this interesting shape
| | 02:59 | looks sort of like a disco ball or a globe.
| | 03:01 | So when you want to create concentric
shapes, you have a couple of different options.
| | 03:04 | You can scale which will
decrease the space between the objects and the
| | 03:08 | stroke as you go progressively smaller,
or you can keep the distance between the
| | 03:13 | objects the same by using a
keyboard shortcut and your Control panel.
| | Collapse this transcript |
| 029 Creative Blend Mode tricks, Part 1| 00:00 | With the power of blending modes at
your side, you can combine objects, mixing
| | 00:04 | their hue, saturation, and
detail, and come up with new designs.
| | 00:07 | You can apply subtle tweaks
or completely recolor an image.
| | 00:11 | You can also apply color where none
existed, quickly creating monotone and
| | 00:15 | duotone effects on grayscale images.
| | 00:17 | Let's see how it's done.
| | 00:19 | So here I have a document and I am
going to be blending colors and since we are
| | 00:23 | going to be exploring what we can do to
recolor objects, it's important we talk
| | 00:26 | about this concept called
transparency blend space.
| | 00:29 | And in my Edit menu down there at
the bottom, I have this choice called
| | 00:33 | Transparency Blend Space.
| | 00:34 | I can choose either
Document RGB or Document CMYK.
| | 00:38 | Now when InDesign blends colors from
different objects, it needs a common
| | 00:42 | color space to work in.
| | 00:44 | So it can be either RGB or CMYK.
| | 00:46 | Many of the blending modes work best
when we use RGB transparency blend space.
| | 00:51 | You can still output to CMYK if you
need to and we will cover the full details
| | 00:55 | of transparency blend space and
outputting effects for print in other videos,
| | 00:59 | but it's just important to mention here
because the tricks I am going to do rely
| | 01:02 | on using RGB transparency blend space.
| | 01:05 | Now let's blend some colors.
| | 01:08 | So here I have a photo of a nice rich
blue sky and a grayish fence and a couple
| | 01:12 | of frames, one called Hue, one called Saturation.
| | 01:15 | If I click on the Hue and I open my
Effects panel, I can see that I've set this
| | 01:20 | to use the Hue blending mode.
| | 01:22 | So it's going to take the hue of this orange
color and mix it with whatever is underneath.
| | 01:28 | So I will click and drag down to
overlay it on top of the fence picture and
| | 01:33 | look at what happened.
| | 01:34 | Replace the hues in the picture with
this orange hue, so wherever the photo
| | 01:38 | or the fence was saturated, like in the blue
sky, it replaced that blue with this orange.
| | 01:44 | Where the photo was desaturated like the
grayish fence, that stuff kind of stayed
| | 01:48 | grayish and also in the
clouds. Those are desaturated.
| | 01:50 | So they didn't get touched very much.
| | 01:53 | Let's check out the Saturation one.
| | 01:55 | So this uses the Saturation
blending mode and it's full of black.
| | 01:59 | So black has no saturation.
| | 02:01 | So if I drag this on top of the photo, it
removes the saturation from the picture.
| | 02:07 | It makes it look like a grayscale picture.
| | 02:09 | Now it's also interesting that we can
change the opacity of these two objects.
| | 02:13 | We don't have to set them at 100% opacity.
| | 02:15 | So we can really mix the effect.
| | 02:17 | I will select both and I will drag down
the Opacity somewhere around 50% and you
| | 02:23 | can see now I have desaturated this
image somewhat, but not completely.
| | 02:26 | So I have taken some of the
saturation out with the gray color and I've
| | 02:30 | colorized this a little
bit with that orange color.
| | 02:32 | I have changed the feeling of the
picture but not completely recolored it.
| | 02:36 | So we have a lot of flexibility when
using these Hue and Saturation blending modes.
| | 02:40 | Let's see some more blending mode tricks.
| | 02:43 | So here I have this picture of a
gargoyle and he's the only thing on the page.
| | 02:47 | What I would like to do is to take his
detail and blend it with a different color.
| | 02:51 | If I double-click on him, I look in the
Effects panel and I can see that I have
| | 02:57 | the graphic targeted.
| | 02:58 | So I actually have the placed photo
targeted, not the frame itself, and I can
| | 03:02 | apply a blending mode just to the graphic.
| | 03:04 | So I will change him from Normal to Luminosity.
| | 03:08 | So I will take his detail and
blend it with whatever's underneath.
| | 03:13 | Right now there is nothing underneath,
but if I press the Escape key, now I have
| | 03:16 | the frame selected, I can go to my
Swatches panel and change the fill from None
| | 03:22 | to this Gargoyle Blue.
| | 03:24 | So I have taken the detail of the
gargoyle and blended it with the color of the
| | 03:27 | fill of the frame using
the Luminosity blending mode.
| | 03:31 | I could pick a different color
swatch for a different effect.
| | 03:33 | So if I fill the frame with Darker Warm
Brown, I completely change the feeling here.
| | 03:38 | Let's check on another trick.
| | 03:41 | I can also create these duotone and
monotone effects with the same ideas really easily.
| | 03:45 | So here I have the same placed picture
of some antique cars and I would like to
| | 03:49 | create a duotone effect.
| | 03:51 | So, for the first one, I will just click
on it once with the Selection tool and
| | 03:55 | I will apply fill like this Light Warm Brown.
| | 03:58 | So I have filled the frame with this
Light Warm Brown color and I've created
| | 04:02 | this dark duotone picture.
| | 04:04 | Now it's important to note that these
pictures are actually true grayscale images.
| | 04:08 | They have just one channel of
detail in the Photoshop image.
| | 04:11 | So InDesign is just using that one channel
and applying the color behind it in this case.
| | 04:16 | I will select the middle one and I will
double-click to select the picture itself.
| | 04:20 | So again, I have the
graphic, not the frame selected.
| | 04:23 | In the Swatches panel I can
see I have black selected.
| | 04:26 | So InDesign is coloring that one channel
of detail with black, but I can change that.
| | 04:31 | I will pick this Darker Warm Brown
swatch and now I have replaced all the blacks
| | 04:36 | with Darker Warm Brown, created a monotone.
| | 04:39 | I can try another trick.
| | 04:40 | This one is similar to the trick that I
did with the fence, overlaying it with a
| | 04:44 | different colored frame.
| | 04:46 | So I will press the F key and drag out a
frame on top and I will fill it with a color.
| | 04:52 | I'll fill it with a Light Warm Brown.
| | 04:54 | Now I can't see anything because I've
overlaid the image and this frame is using
| | 04:58 | the Normal blending mode now.
| | 05:00 | But if I click in the Effects panel
and change from Normal to Color, I will
| | 05:04 | just take the color of that top
frame and blend it with the detail of the
| | 05:08 | picture underneath.
| | 05:09 | So three different ways of creating
duotone and monotone effects really
| | 05:13 | quickly and easily.
| | 05:14 | You don't always have to go out
to Photoshop to make changes in the
| | 05:16 | appearance of placed photos.
| | 05:18 | When you know how to use blending
modes, especially Hue, Saturation, and
| | 05:21 | Luminosity, what you do in Photoshop
can just be the starting point for further
| | 05:25 | developing your designs right in InDesign.
| | Collapse this transcript |
| 030 Creative Blend Mode tricks, Part 2| 00:00 | By applying different blending modes to
placed graphics and InDesign objects,
| | 00:04 | you can mix colors and create all kinds
of special effects without once having
| | 00:07 | to go back to Photoshop.
| | 00:09 | Let's look at some of the
things we can do with blending modes.
| | 00:12 | So here I have a placed photo of a
horse and I'd like to mix him with some
| | 00:16 | other colors and create some special effects.
| | 00:18 | So I'll select him.
| | 00:19 | I'll go into the Effects panel and I'm
going to double-click to select the horse.
| | 00:23 | So I want the graphic selected, not the
frame, and I can tell by the different
| | 00:27 | color of the outline here
that I have the graphic.
| | 00:30 | I can also see in the Effects panel it
says Graphic, and it's set to Normal right now.
| | 00:34 | I'm going to change his
blending mode to Multiply.
| | 00:36 | Then I'm going to double-
click again to select the frame.
| | 00:39 | I'll change the fill of the frame from Paper
to a different color, say Cyan. And look at that!
| | 00:46 | I get an instant special effect.
| | 00:48 | Go back to the Effects panel, select the
Graphic, and I can see he is set to Multiply.
| | 00:54 | So he's multiplying the darkness of the
horse with the cyan color of the frame.
| | 00:58 | Let's pick a different blending mode.
| | 01:00 | We'll go to Screen.
| | 01:01 | Screen lightens everything, so now
I get a really washed out lightened
| | 01:05 | effect with that cyan.
| | 01:08 | I can choose the blending modes to add
contrast like Overlay and Soft Light, and
| | 01:15 | Hard Light, which really
intensifies shadows and highlights.
| | 01:19 | I can choose Color Dodge, which really
bleaches out the image, or Color Burn,
| | 01:24 | which gives me this really
supersaturated intense blue color.
| | 01:29 | I can choose Darken, where I'll just
take the dark pixels of the horse, and
| | 01:33 | replace the cyan fill with those, or
Lighten, which almost makes the horse
| | 01:38 | completely disappear because the
horse is darker than the cyan fill.
| | 01:41 | So there are almost no pixels
that are lighter than the cyan.
| | 01:46 | I can choose these special effect
blending modes like Difference and Exclusion,
| | 01:51 | which invert the colors and give
me almost like an X-ray effect.
| | 01:55 | I can pick Hue, Saturation, Color,
and Luminosity to just blend single
| | 01:58 | elements of the colors.
| | 02:00 | So for example, if I take the hues
here, I can just take the hue of the
| | 02:03 | horse which is very desaturated and blend it
with the cyan, so I can barely see the horse.
| | 02:09 | Or I can take the Saturation.
| | 02:11 | There is almost no saturation here
because the horse is nearly gray, so it's
| | 02:15 | a really flat image.
| | 02:17 | same thing with the color.
| | 02:19 | Lastly, I can take the Luminosity, just
the pure detail of the horse, and blend
| | 02:23 | it with that cyan color.
| | 02:25 | Let's see what else we
can do with blending modes.
| | 02:28 | Here I have just a single text frame
and it's filled with Paper with black text
| | 02:33 | and a black stroke around it and I'm
going to use it to explore the power of the
| | 02:37 | Difference blending mode.
| | 02:39 | I'll create a new frame and drag it over
here and I'll fill this new frame with
| | 02:44 | Paper and I'll send it to the back.
| | 02:47 | I'll choose Object >
Arrange > Send to Back. And wow!
| | 02:52 | Look at this reversal
effect. How did this happen?
| | 02:54 | Well if I select my text frame and
look in the Effects panel, I can see that
| | 02:59 | it's set to the Difference blending mode.
| | 03:01 | So the Difference blending
mode can completely invert colors.
| | 03:04 | Wherever a color is white set to
Difference, it will invert what's behind it.
| | 03:09 | So white becomes black and black becomes white.
| | 03:12 | Now, a word of caution is advised here,
because the black that we get when we do
| | 03:16 | this Difference trick isn't a
pure black. It's a rich black.
| | 03:20 | So if you're going to press with this
and you're concerned about something like
| | 03:23 | rich black text, you might want to
avoid this technique and just save it for
| | 03:27 | your documents that are destined for the screen.
| | 03:30 | But we're not limited to just sticking
to black and white; we can invert other
| | 03:33 | colors with Difference.
| | 03:34 | So instead of filling the frame with
Paper, I could fill it with yellow and
| | 03:38 | yellow is inverted into blue or
magenta is inverted into green, cyan becomes
| | 03:45 | orange, and so on and so forth.
| | 03:48 | So Difference can completely invert colors.
| | 03:51 | By applying blending modes directly
to placed graphics and other InDesign
| | 03:54 | objects, you can mix their colors with
the fill of the frame or other objects,
| | 03:58 | and also how to use the Difference
blending mode to invert colors, and in doing
| | 04:02 | so open up all kinds of creative possibilities.
| | 04:04 | No Photoshopping required.
| | Collapse this transcript |
| 031 Drawing Star Bursts| 00:00 | By starting with just a simple
triangle, rotating it, and using the
| | 00:04 | Transform Again commands, you can
create all kinds of custom light ray
| | 00:07 | effects inside InDesign.
| | 00:09 | So here I have a simple layout and it
looks like I have a lovely yellow sun
| | 00:13 | rising up over a horizon.
| | 00:14 | And below I have lines of perspective coming
across this field that stretches to the horizon.
| | 00:19 | So let's see how I did that.
| | 00:20 | I'll start out taking my Polygon tool,
click in the document, and I'm going to
| | 00:24 | create a triangle, a very thin tall one,
so I'll just use 10 pixels in Width and
| | 00:29 | a Height of 100 pixels and 3 sides.
| | 00:32 | Click OK, and I'll give it a fill.
| | 00:35 | I have the sun ray color, and I'm going
to make sure that the reference point is
| | 00:39 | set to the top center, and I'm going to
double-click on my Rotate tool and I'm
| | 00:43 | going to rotate it 10 degrees, and click Copy.
| | 00:46 | Now I'm going to choose Object >
Transform Again > Transform Sequence Again,
| | 00:51 | and I like this one because it has
the keyboard shortcut Command+Option+4,
| | 00:55 | Ctrl+Alt+4, that I can just keep pressing
over and over again to create extra copies.
| | 01:00 | And I'll do that until I go all the
way around the circle. So there you go!
| | 01:04 | I have 36 copies now.
| | 01:06 | I'm going to group them all. I'm going
to zoom way out, because I'm going to
| | 01:10 | scale them up really big.
| | 01:11 | I'm going to hover over one of the
corner anchor points and hold down
| | 01:15 | Command+Shift+Option, Ctrl+Shift+Alt, to
scale proportionally from the center. And voila!
| | 01:22 | Instant light burst!
| | 01:23 | Now I'm going to position it about in
the center of the document using my Smart
| | 01:27 | Guides, and I'm going to take my
Rectangle Frame tool and I'm going to click and
| | 01:31 | drag to draw a rectangle over
the top-half of the document.
| | 01:34 | This is going to be my sky and I'm
going to paste the light rays into this.
| | 01:37 | So I'm going to fill my sky with the
sun ray color and I'm going to lower the
| | 01:42 | Tint a little bit so I can see my
light rays. Just a little bit, say 80%.
| | 01:46 | Now I need to create the circle for the
sun itself, so I'll press the L key on
| | 01:50 | my keyboard to get the Ellipse tool, go
right in the center of my document, and
| | 01:54 | I'm going to Option+Shift+Drag or
Alt+Shift+Drag to create a circle.
| | 01:59 | I'll fill that with my sun ray color too
and reduce the Tint even more, to about 60%.
| | 02:05 | Now I'll select the circle, plus all
my light rays, group them, cut them, and
| | 02:10 | then I'll select the frame that's
going to be my sky, and I'll choose Edit >
| | 02:14 | Paste Into or press Command+Option+V,
Ctrl+Alt+V. And there is my sky!
| | 02:19 | Now I still have that sun on my clipboard.
| | 02:21 | I'm going to paste it in place, so
I'll choose Edit > Paste in Place, and I'm
| | 02:25 | going to use this in a different way for
the lines of perspective of the ground.
| | 02:28 | First of all, I'm going to double-click
into the group to select the circle for
| | 02:32 | the sun, because I don't need that in this
instance. So I'm going to just delete it.
| | 02:35 | And with this group selected, I'm
going to change the color from sun ray to
| | 02:39 | Darker Yellow Green.
| | 02:41 | I'm going to zoom way out and now I'm
going to hover over one of the control
| | 02:44 | points, and I'm going to Command+
Option+Drag, Ctrl+Alt+Drag to scale it.
| | 02:48 | But I'm not going to hold down the
Shift key, because I don't want to
| | 02:51 | scale proportionally.
| | 02:52 | I want to stretch these out.
| | 02:54 | See how I'm flattening them? And if I
don't go into the corner anymore, now I
| | 02:57 | can hold down the Shift key
and make everything bigger.
| | 03:00 | I might squish them a little bit more.
| | 03:01 | So I'll grab this bottom center anchor
point and Command+Option+Drag up a little bit,
| | 03:05 | and drag the corner a
little bit more just to fill the page.
| | 03:09 | Okay, that looks good.
| | 03:10 | Now I'll cut this, I'll zoom in, I'll
press the F key on my keyboard to get my
| | 03:14 | Rectangle Frame tool again, and I'm
going to click and drag to draw a frame
| | 03:19 | that'll represent the ground.
| | 03:21 | And then I'll choose Edit > Paste Into to
paste my lines of perspective into the ground.
| | 03:26 | I'll select that frame, I'll choose
Dark Yellow Green, deselect, and there I
| | 03:32 | have my sunburst and by lines of perspective.
| | 03:35 | Now let's try a different effect.
| | 03:36 | Here is a variation on a starburst and
you might be thinking, okay, I could do
| | 03:40 | something like this with the Polygon tool.
| | 03:42 | But the interesting thing here is see how
there are two different tints of this blue color.
| | 03:47 | So by having independent objects
that I rotate around, I can change fill
| | 03:51 | color and make a different effect that you
couldn't achieve with just the regular Polygon tool.
| | 03:55 | So actually, let's start with the
Polygon tool for just one piece here and
| | 04:00 | we'll create a triangle.
| | 04:01 | Again, it's going to be a tall, skinny
triangle of 10 pixels wide by 100 pixels tall.
| | 04:05 | 3 sides. Click OK. We'll
give it a fill color of blue.
| | 04:11 | And for this effect, I actually want
a four-sided object, sort of like a
| | 04:14 | diamond, and I'm going to use one of
InDesign's scripts that come with the program.
| | 04:18 | So I'll open my Scripts panel and there is
this AddPoints script which is really handy.
| | 04:23 | All you do is double-click on it and it
immediately adds points in between each
| | 04:27 | anchor point, exactly halfway
in between the anchor points.
| | 04:30 | So this way I don't have to measure or
try to click around with the Pen tool and
| | 04:33 | guess where the exact center of these sides are.
| | 04:36 | I'll just click on the AddPoints script,
and I can zoom in and with my Direct
| | 04:40 | Selection tool I can see I have a nice
point added for me right in the center
| | 04:44 | of the bottom of the triangle.
| | 04:45 | I'll hold the Shift key on my keyboard
down and I'll tap the down arrow key a
| | 04:49 | couple times to make my diamond, and
this will form the basis for my starburst.
| | 04:53 | I'll zoom out a little and with the
reference point in the bottom center, I'll
| | 04:57 | double-click on the Rotate tool and
I'll rotate it 20 degrees, and click Copy.
| | 05:02 | Now I'll change the Tint in the Swatches
panel to 50%, I'll select both of these
| | 05:08 | objects, group them, and that grouping
is important because that gives InDesign
| | 05:13 | a common reference point for both pieces.
| | 05:15 | If I didn't group them and used the
Transform Again feature, I would sort of see
| | 05:19 | them spiral around off the
page as I continue to rotate them.
| | 05:22 | So I wanted them to stay together
and rotate around the same point.
| | 05:25 | That's why I grouped them.
| | 05:26 | Click once on the Rotate tool and then
I'm going to click and drag to move the
| | 05:30 | reference point right to where
these two objects come together.
| | 05:33 | That's going to be the center of my starburst.
| | 05:35 | Then I'll double-click on the Rotate
tool and I'll double the angle of rotation
| | 05:39 | from 20 degrees to 40 degrees, and click Copy.
| | 05:42 | And then I can press my favorite
keyboard shortcut, Command+Option+4, Ctrl+Alt+4,
| | 05:46 | to transform the sequence again, and deselect.
| | 05:49 | And there you have it.
| | 05:50 | An interesting starburst effect that
you can use the Transform Sequence Again
| | 05:54 | command, but you can't do that
with just the regular Polygon tool.
| | 05:57 | So again, by just starting with
simple shapes like triangles or diamonds,
| | 06:01 | rotating them and using Transform
Sequence Again, you can create all kinds of
| | 06:05 | light ray effects inside InDesign.
| | Collapse this transcript |
| 032 Scaling effects| 00:00 | Here's the scenario.
| | 00:01 | You've created a super-cool logo
design by applying all kinds of InDesign
| | 00:05 | effects to an object.
| | 00:07 | Feathers, glows, bevels,
and shadows, you name it.
| | 00:09 | Everyone loves to design and now they
want a huge version for a poster, as well
| | 00:13 | as a mini version for a letterhead.
| | 00:15 | You need to know how to make those
effects scale properly and how to deal with
| | 00:18 | effects that InDesign won't
scale no matter what you do.
| | 00:21 | Whether or not effects scale in
InDesign is controlled by a preference in
| | 00:25 | the general preferences.
| | 00:26 | So if we open InDesign > Preferences >
General, and go down to Object Editing,
| | 00:32 | When Scaling, we have two choices:
| | 00:34 | Apply to Content and Adjust Scaling Percentage.
| | 00:36 | Apply to Content will not scale effects,
so they'll stay the same size that they
| | 00:41 | were originally no matter how
large or small you scale the object.
| | 00:45 | Adjust Scaling Percentage does the opposite.
| | 00:47 | If you scale an object to which
effects have been applied, those effects will
| | 00:51 | scale right along with the object.
| | 00:52 | So let's try those both out.
| | 00:54 | First we'll do Apply to Content.
| | 00:56 | Here I have two identical objects and
I've applied Bevel and Emboss and a Drop
| | 00:59 | Shadow to both of them.
| | 01:00 | I'll select this first one and my
preferences are Apply to Content.
| | 01:04 | I'll Command+Shift+Drag or Ctrl+Shift+Drag
to scale this object up. And look at that.
| | 01:09 | the bevel stayed exactly the same
size and so did the drop shadow.
| | 01:13 | Now I'll go back to my InDesign
Preferences, General, and I'll change When
| | 01:18 | Scaling from Apply to Content, to
Adjust Scaling Percentage, and click OK.
| | 01:24 | Now I'll select my other object, I'll
Command+Shift+Drag or Ctrl+Shift+Drag this
| | 01:28 | corner handle and scale it up the
same amount as my other object. And wow!
| | 01:32 | Look at that Bevel and Emboss effect.
| | 01:34 | It got huge, and it also looks kind of
pixelated and kind of bad, so that makes
| | 01:39 | me a little nervous.
| | 01:40 | But not to worry. Because they're
based on transparency, your effects are
| | 01:44 | resolution-independent until you output,
even though InDesign can't draw these
| | 01:48 | scaled bevels properly.
| | 01:49 | Another interesting thing
is look at the drop shadow.
| | 01:52 | Even though I changed my preference
to Adjust Scaling Percentage, that drop
| | 01:55 | shadow stayed the same
size that it originally was.
| | 01:59 | Drop shadows are the one effect that
remains immune to your preference setting.
| | 02:02 | Either way, the drop shadows are going
to stay the same and you're going to have
| | 02:05 | to adjust them manually.
| | 02:07 | Now let's export this document to PDF
and see if this Bevel and Emboss really
| | 02:11 | looks like that or if it's going to be okay.
| | 02:14 | I'll press Command+E or Ctrl+E to export.
| | 02:16 | I'll export to Adobe PDF (Print) and save it.
| | 02:20 | I'll choose High Quality Print from my
PDF Preset, which will output to Acrobat 5,
| | 02:25 | which is unflattened transparency,
and I'll click Export. And here's my PDF.
| | 02:30 | Look at that bevel. that looks great.
| | 02:31 | It's just that InDesign couldn't
properly draw the scaled bevel, but in the
| | 02:35 | output, it looks just fine.
| | 02:37 | One of the great things about doing
your effects in InDesign is that you don't
| | 02:40 | have to worry that scaling them all
up or down will affect their quality.
| | 02:43 | Since they're based on
transparency, InDesign effects are
| | 02:46 | resolution-independent until
output time. Just remember
| | 02:49 | that if you want your effects to
scale with the object they're applied to,
| | 02:53 | select Adjust Scaling
Percentage from General Preferences.
| | 02:56 | And watch out for those drop shadows.
| | 02:58 | You'll have to adjust them manually.
| | Collapse this transcript |
| 033 Learning Pathfinder Tips and Tricks| 00:00 | Let's start by looking at this gear shape.
| | 00:02 | Can you imagine trying to draw
all of this with the Pen tool?
| | 00:05 | It would take you forever and you
still might not end up with the exact
| | 00:08 | look that you want.
| | 00:09 | But if you pause and really look at it,
try to see each individual shape and
| | 00:13 | then you might start to see how you
could use the Pathfinder tools to make this.
| | 00:17 | Overall it seems sort of like a
starburst effect but with all the sharp
| | 00:21 | points snipped off.
| | 00:22 | And then I have a series of circles that make
up these rings and the circle in the middle.
| | 00:27 | And then I have these wedge shapes
which sort of seem like triangles that have
| | 00:31 | been combined with the circles.
| | 00:33 | If you think like this, you can start
to see simple shapes combined together,
| | 00:37 | you can make anything,
including this gear shape.
| | 00:39 | It's sort of like solving a puzzle
and it's actually kind of fun.
| | 00:42 | I'll start by taking my Polygon tool
and I'll click in my document and I'll
| | 00:49 | create a polygon that's 300 pixels wide and
tall with 30 sides and a Star Inset of 20%.
| | 00:56 | So it's basically a
starburst effect that we start with.
| | 00:59 | Then I want to cut off the sharp tips
of all the stars, so I'll go to my Object menu,
| | 01:04 | choose Corner Options, and
I'll choose a Bevel, and click OK.
| | 01:11 | And immediately it starts looking less
like a starburst and more like a gear.
| | 01:15 | Next I want to copy this and
choose Edit > Paste in Place or
| | 01:18 | Command+Shift+Option+V, Ctrl+Shift+Alt
+V, so I have a second copy right on
| | 01:22 | top of the old one.
| | 01:22 | Then I'll go up to my Object menu and choose
Convert Shape > Ellipse to make it into a circle.
| | 01:29 | Now I want to scale this down a little bit.
| | 01:32 | I'm going to make those holes that
are punched out of the gear shape.
| | 01:34 | And I'm going to start by making this a
little bit smaller than the overall gear shape.
| | 01:38 | So I'll hold down Command+Shift+Option,
Ctrl+Shift+Alt, and scale from the
| | 01:42 | center of the object.
| | 01:44 | I'll click and drag down
and scale it to about there.
| | 01:48 | And let's add a stroke so I can see
what I'm doing a little bit better.
| | 01:50 | Let's target the stroke and
give it a little black stroke.
| | 01:54 | I'll copy it and paste it in place again
and I'm going to make another circle,
| | 01:58 | slightly smaller than this one.
| | 01:59 | I'll Command+Shift+Option+Drag, Ctrl+
Shift+Alt+Drag again to scale from the
| | 02:03 | center, down to about there.
| | 02:05 | I'll Shift+Click to select both circles
and head over to the Pathfinder panel.
| | 02:09 | Now I'm going to subtract the smaller
circle from the larger one, so I'll press
| | 02:13 | the Subtract button. Now I
have sort of a donut shape.
| | 02:17 | If I move it out here, we
can see what's going on.
| | 02:20 | That's what I want, so I'll undo to
put it back where I need it, I'll copy
| | 02:24 | it, paste it in place.
| | 02:25 | And now I'm going to convert it
into a triangle by choosing Object >
| | 02:28 | Convert Shape > Triangle.
| | 02:30 | I'm going to reduce the width of
this triangle down to about 100 pixels.
| | 02:35 | And what I'm trying to do now is to
create these curved wedge shapes that are
| | 02:39 | cut out of the gear shape.
| | 02:40 | I'm going to click and drag straight
down holding the Shift key to constrain
| | 02:44 | until the top of my triangle is
right at the center of my gear shape.
| | 02:47 | And I'm going to create more triangles
rotated all the way around the circle.
| | 02:50 | I'm going to do that with my Rotate tool.
| | 02:53 | First I'll make sure that the
Reference Point is set to the top center, then
| | 02:57 | I'll double-click on the Rotate tool
and I'll use this angle, 72 degrees, because I
| | 03:02 | want five copies of the triangle
rotated around the 360 degrees of the circle.
| | 03:07 | For the first one I'll click Copy.
| | 03:09 | for the rest of them, I'm going to
press a keyboard shortcut, Command+Option+4
| | 03:12 | or Ctrl+Alt+4, to transform again.
| | 03:17 | There I have my copies.
| | 03:18 | I'll press V to get my Selection tool
again, and I'll Shift+Click to select all
| | 03:23 | of the triangles, plus once on the donut shape.
| | 03:27 | Then I want to subtract all the
triangles from the donut shape, so in the
| | 03:31 | Pathfinder panel, I'll click Subtract.
| | 03:33 | Yeah, those are cool.
| | 03:35 | Now I'll Shift+Click to select the
gear shape and I'll click Subtract again.
| | 03:40 | Now I just what one more thing.
| | 03:41 | I want a hole right in the center of the gear.
| | 03:44 | So I'll Copy, Paste In Place,
and then Command+Shift+Option+Drag,
| | 03:48 | Control+Shift+Alt+Drag to reduce
this in size and down to the center.
| | 03:54 | I'll choose Object > Convert Shape, to
an ellipse, because I want a circular
| | 04:00 | hole, and then I'll Shift+Click on the gear
shape, and one more time I'll press Subtract.
| | 04:06 | There! There's my gear shape.
| | 04:08 | Now let's make it a little more realistic.
| | 04:10 | We'll add some effects, like a Bevel and Emboss.
| | 04:13 | I'll double-click to bring up the
dialog box, click on Bevel and Emboss, and
| | 04:18 | I'll choose an Inner Bevel, with a
Technique of Chisel Hard, and I'll reduce
| | 04:22 | the size a little bit. There!
| | 04:25 | That looks good.
| | 04:26 | I'll click OK and there's my gear shape.
| | 04:28 | Let's try another trick.
| | 04:29 | Here I have a couple of interesting
frames that sort of fit together with this
| | 04:33 | nice wavy side, and I did this with
the Pathfinder tools. Let's see how.
| | 04:37 | Starting from a simple rectangle, I'll
press the A key on my keyboard to get the
| | 04:41 | Direct Selection tool and I'll
click on the bottom left anchor point.
| | 04:45 | Then I'll hold down Command+Option,
Control+Alt to get my Convert Direction
| | 04:48 | Point tool and I'll click and drag up.
| | 04:51 | I'll keep these keys held down and I'll click
on the outer direction handle to snip it off.
| | 04:56 | And once again, holding Command+
Option, Ctrl+Alt, I'll drag on the bottom
| | 05:00 | right anchor point to drag out
direction handles, and then I'll click on the
| | 05:04 | outside one to snip it off.
| | 05:06 | And that gives me the nice wavy
shape at the bottom of my frame.
| | 05:10 | I'll press the V key to get my Selection
tool again, I'll copy this, I'll choose
| | 05:15 | Edit > Paste in Place, so I have a copy
right on top of the original, then I'll
| | 05:19 | choose Object > Convert Shape > Rectangle.
| | 05:23 | And then I'll Shift+Drag it down.
I'll Shift+Click to select both frames.
| | 05:27 | And in the Pathfinder panel, I'll
choose Minus back to subtract the original
| | 05:30 | frame from the lower frame.
| | 05:32 | Now I'll choose Edit > Paste in Place
to put my original frame back and I'll
| | 05:37 | drag the bottom one down to
separate them a little bit.
| | 05:39 | Now I have this nice wavy area where
the two frames sort of fit together.
| | 05:43 | Now I can paste some content in and
make a little design, so I'll copy this
| | 05:47 | picture of the boat and
paste it into the top frame.
| | 05:51 | And I'll scale it a little
bit up so it fits. There we go!
| | 05:56 | That's pretty cool.
| | 05:56 | Let's try another trick.
| | 05:59 | Not only can we create interesting
shapes, we can also solve some problems that
| | 06:03 | can happen when we transform
objects that we've applied effects to.
| | 06:06 | Now here I have two crescent shapes that I have
applied a Bevel and Emboss and a Drop Shadow to.
| | 06:12 | And the angle is the same
on both of these effects.
| | 06:14 | it's 90 degrees, meaning that the light is
shining straight down on these objects from above.
| | 06:19 | Now if I take the left crescent shape
and say I want it to rotate it 180 degrees,
| | 06:25 | I could click on the Rotate buttons in the
Control panel couple of times to rotate it around.
| | 06:30 | But wait. Look at the problem I've just created.
| | 06:33 | I still have the drop shadow, but
the drop shadow won't rotate at all.
| | 06:37 | So now I have a drop shadow underneath and
I have a beveled highlight right next to it.
| | 06:42 | That doesn't make any sense.
| | 06:43 | How could I have a highlight and
a shadow right next to each other?
| | 06:47 | But I can use the
Pathfinder commands to fix this.
| | 06:50 | I'll just press the F key on my keyboard
to get my Rectangle Frame tool and I'll
| | 06:54 | click and drag a small shape that fits
entirely inside the crescent shape, and
| | 06:59 | I'll double-click on my Eyedropper tool.
| | 07:01 | I'll make sure that all my settings
are turned on so the eyedropper will grab
| | 07:05 | any attribute of an object that I click on.
| | 07:07 | I'll click OK, and then I'll
click on my crescent shape.
| | 07:11 | What I want to do here is grab the
fill and all the effects, the strokes,
| | 07:15 | everything to do with this crescent
shape, so these two objects match.
| | 07:18 | The small one and the crescent
shape have everything in common.
| | 07:22 | I'll select both shapes and
I'll choose Pathfinder > Add.
| | 07:28 | And when I add the two shapes together,
the beveling from that small object
| | 07:32 | takes precedence, because that was
sitting on top of the crescent shape.
| | 07:36 | So now my effects are in sync.
| | 07:38 | The lighting is consistent from the
top again, so I have my rotated crescent
| | 07:42 | with a highlight at the top and
the drop shadow at the bottom. Nice!
| | 07:45 | Let's do another variation on this trick.
| | 07:48 | Say I wanted this crescent
shape flipped horizontally.
| | 07:51 | So I'll press the Flip
Horizontal button on the Control panel.
| | 07:55 | And if I wanted to fill this with type,
I could press the T key or my keyboard
| | 07:58 | and click in it, and choose
Type > Fill with Placeholder Text.
| | 08:04 | But wait, look what happened.
| | 08:05 | because I flipped the crescent shape,
the type is flipped too. That's no good.
| | 08:09 | I want type that people can actually read.
| | 08:12 | So I can use the same Pathfinder >
Add command to fix this backwards type.
| | 08:16 | I'll undo and deselect, I'll press
the F key on my keyboard to get my Frame tool,
| | 08:21 | click and drag a small shape
that fits inside the crescent shape,
| | 08:26 | I'll press the I key to get my Eyedropper,
and click on the crescent shape to
| | 08:29 | grab all its attributes.
| | 08:32 | Then I'll press the V key to get my
Selection tool and Shift+Click to select
| | 08:35 | both objects, and then
I'll choose Pathfinder > Add.
| | 08:39 | I've added the two shapes together, and
now this crescent is no longer flipped.
| | 08:44 | If I look in the Control panel, I see the P
has its normal orientation. It's not flipped.
| | 08:49 | So now I can press the T key to get my
Type tool, click in the frame, and fill
| | 08:54 | it with placeholder text, and
it's not backwards. Awesome!
| | 08:58 | The Pathfinder commands can help you
draw interesting shapes precisely, like
| | 09:02 | gears and wavy frames that we saw in this video.
| | 09:05 | And they can also help you straighten
out conflicting effects that can occur
| | 09:08 | when you transform an object.
| | Collapse this transcript |
| 034 Learning Transform Again Tips and Tricks| 00:00 | InDesign keeps track of each
transformation you apply to an object.
| | 00:04 | This includes scaling, sizing,
rotating, skewing, moving, and fitting.
| | 00:09 | With the Transform Again commands, you
can apply either the last transformation
| | 00:12 | or an entire sequence of
transformations to existing or newly created objects.
| | 00:17 | Let's see how it works.
| | 00:18 | So here I have a little illustration
that I made of a pinwheel and I want to use
| | 00:23 | the Transform Again commands to
make all the different fins for this.
| | 00:27 | I want to draw one fin and then
transform it again to make the other five.
| | 00:31 | So I'll start out with my Polygon tool
and I'll just draw a triangle, so that's
| | 00:37 | going to be the basis for my fin.
| | 00:39 | I'll hold down the Shift key as I draw
it because I want to draw an equilateral
| | 00:43 | triangle with 60 degree angles.
| | 00:46 | So this side is going to
be 60 degrees from this side.
| | 00:49 | That way I know I can rotate it 60 degrees and
that different fins will fit together exactly.
| | 00:55 | In my Swatches panel, I'll set a fill
of green and I'll take that stroke off.
| | 01:00 | Now I want to zoom in and I'm going to
use the Scissors tool, but in order to
| | 01:05 | use that precisely, I'm going to
click on my Ruler and drag out a guide to
| | 01:09 | halfway down the triangle.
| | 01:10 | And that's going to guide me as I use the
Scissor tool and cut this into two pieces.
| | 01:14 | So I'll click once and I'll click again.
| | 01:19 | And now I don't need that guide
anymore, so to get it out of my way I'll
| | 01:22 | select it and delete it.
| | 01:24 | Now I'll change the fill color of
the bottom object just so I can see it
| | 01:27 | differently from the top object.
| | 01:28 | So I'll just reduce the Tint from 100%
down to 50%, and I'll click on the top
| | 01:34 | object and bring it to the front by
choosing Object > Arrange > Bring to Front.
| | 01:39 | Now I want to use the Direct Selection
tool to start reshaping this triangle and
| | 01:42 | make it look like the fin on the pinwheel.
| | 01:45 | So I'll press A on my keyboard to get
my Direct Selection tool, I'll click and
| | 01:48 | drag over the bottom right
point, and I'll Shift+Drag it out.
| | 01:52 | Now I'm going to press Command+Option
or Ctrl+Alt to get my Convert Direction Point tool,
| | 01:58 | and I'll click and drag on
this point to make it into a curved point.
| | 02:03 | Next I'll click on the top point and
drag it down to the bottom left to sort of
| | 02:08 | give me this folded over idea.
| | 02:10 | And again, I'll hold Command+Option or
Ctrl+Alt and click and drag on this point
| | 02:15 | to give me a nice curve there too.
| | 02:17 | I can also hold down Shift to
constrain it. So there we go!
| | 02:20 | There is one copy of the fin.
| | 02:22 | I'll zoom out, I'll select
both pieces, and I'll group them.
| | 02:26 | It's important that I group them
because when I do Transform Again, I have a
| | 02:29 | reference point that I'll be rotating around.
| | 02:32 | And if I have two separate
objects, they might have two separate
| | 02:35 | reference points and they won't
rotate the way I want them to, so I'll
| | 02:38 | group them together.
| | 02:39 | And right now, this is a little too big,
so I'm going to press Command+Shift
| | 02:42 | or Ctrl+Shift and grab one of the corners
and drag it in to make it a little smaller.
| | 02:46 | Now I'm ready to start rotating it.
| | 02:49 | I'll set the reference point in the
Control panel to the bottom left and I'll
| | 02:53 | double click on my Rotate tool and
I'll rotate it 60 degrees and click on Copy.
| | 02:59 | Now I have two precisely aligned fins.
| | 03:02 | Now I can use the Transform Again
command to make the other three.
| | 03:05 | I'll choose Object > Transform
Again > Transform Sequence Again.
| | 03:10 | And this is my favorite of the
Transform Again commands, because it has a
| | 03:13 | built-in keyboard shortcut,
Command+Option+4 or Ctrl+Alt+4.
| | 03:17 | When you're transforming a whole bunch
of things repeatedly, you don't want to
| | 03:20 | have to keep going to this
menu and choosing the item.
| | 03:23 | So remember that keyboard shortcut, Command
+Option+4 or Ctrl+Alt+4. And there we go.
| | 03:28 | We have all the fins.
| | 03:29 | Let's try another transformation.
| | 03:31 | So here I have a mockup of my fictitious cow moo-
gazine, and I really like it. It looks awesome.
| | 03:37 | But what would make it look even
awesomer is if I had a bunch of copies of this
| | 03:41 | magazine sort of fanned
out in a nice arrangement.
| | 03:44 | And I can use Transform Again for that too.
| | 03:46 | So I'll select it, I'll set the
reference point to the center, and I'll
| | 03:50 | double-click on my Rotate tool.
| | 03:52 | And I just want a small rotation here.
| | 03:54 | I'll choose -5 degrees, which will rotate it
5 degrees clockwise, and I'll click on Copy.
| | 04:00 | So now I have two nice copies of my
magazine, then Command+Option+4, Ctrl+Alt+4
| | 04:06 | to Transform Sequence Again, and I can
make as many copies as I like. There!
| | 04:12 | That looks good. Let's try another.
| | 04:15 | So here I have a little planetary
illustration where I want to show the position
| | 04:18 | of the moon at different
times as it goes around the earth.
| | 04:21 | I need to rotate it around the Earth and
I also need to make sure that the light
| | 04:25 | side of the moon is always facing the sun.
| | 04:28 | So that's going to be two rotations
around two different reference points.
| | 04:32 | So as it goes around the earth I need
a reference point on the earth, and then
| | 04:36 | I also need a reference point in the
middle of the moon itself to keep that
| | 04:39 | white side always facing to the left.
| | 04:41 | So I'll delete these three
and I'll work on this one.
| | 04:47 | So the first thing I'll do is click on
the Rotate tool once and I can see the
| | 04:51 | little proxy inside the moon.
| | 04:52 | That's for the reference point.
| | 04:54 | I'm going to click and drag that
straight down to the center of the earth.
| | 04:58 | Now when I rotate, I'll rotate around the earth.
| | 05:00 | So I can double-click on the Rotate tool
and I'll choose 90 degrees and click on Copy.
| | 05:06 | So now I have two copies of the moon,
but you can see it's rotated it so the
| | 05:10 | white side is facing down.
| | 05:13 | I need to correct that.
| | 05:13 | I need to bring it back up
in the opposite direction.
| | 05:16 | So with the reference point in the
center of the moon this time, I'll
| | 05:20 | double-click on the Rotate tool
and choose -90 degrees and click OK.
| | 05:24 | Now I can use that Transform Sequence
Again to apply both of those rotations
| | 05:28 | with the different reference points.
| | 05:30 | Command+Option+4, Ctrl+Alt+4. And there we go!
| | 05:33 | Let's try one more.
| | 05:35 | So here I have a text frame and I want
to scale it and move it at the same time
| | 05:39 | so it feels like it's
coming down and towards me.
| | 05:42 | So I'll start out with the reference
point at the top center, I'll get my Scale
| | 05:45 | tool, and I'll double-click on it.
| | 05:48 | So I want to scale this text up just a
little bit, 10%, and I'll click Copy.
| | 05:52 | Now I want to move it, so I'll double-
click on the Selection too,l which brings
| | 05:56 | up the Move dialog box, and I want to
move it down just a little bit, 5 pixels.
| | 06:00 | So 5 pixels at an angle of -90 degrees
will bring it straight down. I'll click OK.
| | 06:06 | So now I can just press Command+Option+4
or Ctrl+Alt+4 to repeat that sequence again.
| | 06:12 | And I can do it over and over
again to bring the text towards me.
| | 06:17 | And I get this nice swooping effect.
| | 06:19 | The key for applying a sequence of
transformations is to use the Transform tools
| | 06:23 | instead of the Control panel.
| | 06:25 | This way all your transformations will
be recorded and can be played back on
| | 06:29 | existing or newly created objects.
| | 06:31 | And remember, you can combine
multiple transformations around different
| | 06:35 | reference points, as we did in
the case of the moon diagram.
| | Collapse this transcript |
| 035 Creating Cast Shadows, Part 1| 00:00 | To create cast shadows or long shadows
from a low light-source in InDesign, you
| | 00:04 | kind of have to put on your thinking cap.
| | 00:06 | There's no automatic cast shadow effect.
| | 00:08 | Only drop shadows, which always mirror
the exact shape of the original object.
| | 00:12 | But we can create a cast shadow by
combining other transparency features.
| | 00:16 | In this case, we'll take an object
and apply a standard drop shadow and
| | 00:19 | we'll use blending modes to make that object
invisible but still keep its shadow visible.
| | 00:24 | Finally, we'll stretch the
invisible object and with it its shadow.
| | 00:27 | It sounds more complicated than it is in
reality and it's totally worth the effort.
| | 00:31 | Once you get the hang of this technique,
you can create shadows of any shape
| | 00:35 | or size that you want.
| | 00:36 | So here I have some text that I've
applied my cast shadow effect to and if I
| | 00:40 | select it and move it, you can
actually see that it's a completely
| | 00:43 | independent object.
| | 00:44 | I can do anything that I want to with this.
| | 00:46 | I did the same to these
sunglasses that I drew in InDesign.
| | 00:49 | Let's see how I did that.
| | 00:50 | So I'll go to another page
and here I have my text.
| | 00:54 | I'm going to create a copy of this text
and I'm going to paste it in place.
| | 00:57 | Command+Shift+Option+V or Ctrl+Shift
+Alt+V right on top of the old one.
| | 01:02 | Now I just want plain text with
no effects, just filled with Paper.
| | 01:06 | So I'll go to my Swatches
panel, target my yext formatting.
| | 01:09 | I'll set my stroke to
None and my fill to Paper.
| | 01:14 | I'll select Formatting Affects Container
and I'll go to my Effects panel and I
| | 01:19 | want to clear this beveling that's been applied.
| | 01:21 | So I'm going to click on the Clear
All Effects button down at the bottom.
| | 01:24 | So now I just have plain paper-filled text.
| | 01:27 | I'm going to double-click on the Object
level or I could've also double-clicked
| | 01:31 | on the Text level in this case.
| | 01:32 | It doesn't matter, and I'm going
to set my transparency blending mode
| | 01:36 | from Normal to Multiply.
| | 01:38 | That makes that text disappear again
because it was filled with Paper, and Paper
| | 01:41 | set to Multiply just turns invisible.
| | 01:44 | But it's still there and it's still 100% opaque.
| | 01:47 | So if I apply a drop shadow now,
the drop shadow is going to appear.
| | 01:52 | With my Drop Shadow turned on, I'm going to
uncheck this setting, Object Knocks Out Shadow.
| | 01:57 | Now I can see the whole drop shadow.
| | 01:59 | I'm going to check this setting, Shadow
Honors Other Effects, and this is going
| | 02:03 | to become key for creating that cast
effect where we want to use the Shear
| | 02:06 | command and a Gradient
Feather to stretch out that shadow.
| | 02:10 | So Object Knocks Out Shadow is off,
Shadow Honors Other Effects is on, and I
| | 02:15 | could add a little bit of noise by
selecting the Noise and tapping the up arrow
| | 02:18 | key on my keyboard to just make the
shadow a little bit more realistic.
| | 02:21 | Now I want the shadow
exactly behind the original text.
| | 02:25 | So I'm going to change this
Distance setting to 0, and I'll click OK.
| | 02:30 | Now I have my shadow.
| | 02:31 | Again, I can move it out of the way and
see I have this completely independent
| | 02:34 | object that just acts like a shadow.
| | 02:36 | I'm going to undo to put that back where
it was. I want to place it behind my text.
| | 02:41 | So I'll choose Object > Arrange > Send to Back.
| | 02:45 | Now to create that cast
effect, I'm going to shear it.
| | 02:48 | So first I'll check in my Control panel
and make sure that the reference point
| | 02:51 | is set to the bottom-center.
| | 02:52 | Then I'll go over to my Shear Angle,
I'll click to highlight that, and then I'll
| | 02:57 | hold down the Shift key, and press the
up arrow key a few times on my keyboard
| | 03:01 | to start shearing this
shadow out into the right.
| | 03:04 | Tap, tap, tap, and now we can see that
long cast shadow effect being created.
| | 03:09 | Now, the next thing I want to do is
actually shorten this shadow a little bit.
| | 03:12 | I don't want it exactly as
tall as the original text.
| | 03:16 | So I'm going to hold down the
Command or Ctrl key on my keyboard and
| | 03:19 | click-and-drag the top control point.
| | 03:21 | Drag it down a bit, let go, I'll deselect.
| | 03:25 | Now that's a nice effect.
| | 03:26 | I feel like the text is standing up
straight on a surface that this cast
| | 03:30 | shadow is cast upon.
| | 03:32 | Now the next thing I want to do is
to fade out the cast shadow with the
| | 03:35 | Gradient Feather tool.
| | 03:36 | The reason I want to do this is
because this shadow shouldn't be as far away
| | 03:40 | from the text as it is,
right where it touches the text.
| | 03:42 | So I'm going to select this object and
get my Gradient Feather tool by pressing
| | 03:46 | Shift+G on my keyboard.
| | 03:48 | I'm going to click-and-drag right along the
shear angle to go from opaque to transparent.
| | 03:52 | Click-and-drag, let go, and I'll
deselect, and there you can see I have a
| | 03:58 | nice cast shadow effect.
| | 03:59 | I'm going to do the same
thing to these sunglasses.
| | 04:02 | So I'll press the V key on my
keyboard to get my Selection tool, I'm going
| | 04:06 | to Shift+Click to select both of the lenses,
I'll copy them, and paste them in place.
| | 04:11 | So now I have another copy that I'm
going to create the same shadow effect with.
| | 04:15 | For these, I've actually created an
object style to make this as quick and
| | 04:18 | painless as possible.
| | 04:20 | You can include all those things like
the fill and the transparency blending mode
| | 04:23 | and even the Gradient Feather all
in an object style to apply these cast
| | 04:27 | shadow effects almost instantly.
| | 04:30 | So with the sunglass lenses selected,
I'll click on Cast Shadow Object to
| | 04:33 | apply the object style.
| | 04:35 | Now it's sitting on top of the original
sunglasses, so I want to send that behind them.
| | 04:39 | I'll go Object > Arrange > Send to
Back, and I'll apply that same kind of
| | 04:44 | shearing that I did to the text.
| | 04:46 | I'll select my Shear Angle, hold down the
Shift key, and tap the up arrow key a few times.
| | 04:52 | I've sheared out the shadow.
| | 04:55 | Now again, I'm going to shorten it a
little bit by holding the Command or
| | 04:58 | Ctrl key and click-and-drag this top
control point, drag it down, and then deselect.
| | 05:05 | There I have my nice cast shadow
effect on both my text and my sunglasses.
| | 05:10 | So by applying the Multiply blending
mode to an object filled with Paper,
| | 05:14 | we were able to hide that object
while keeping its shadow visible.
| | 05:17 | This powerful technique frees you
from the limits on the shape and size of
| | 05:21 | standard InDesign drop shadows and
allows you to make a cast shadow in any
| | 05:25 | shape or size you want.
| | Collapse this transcript |
| 036 Exploring Outer Glow Settings| 00:00 | The Outer Glow effect allows you to
apply a color that spreads outward from the
| | 00:04 | edges of an object, similar to a Drop Shadow.
| | 00:06 | You can control the size, color,
and opacity, and blending mode.
| | 00:11 | You can also choose between a soft glow
that emanates only from the sides of an
| | 00:14 | object or precise glow that follows the
exact outline of an object, including the corners.
| | 00:20 | Let's see how it works.
| | 00:21 | So here I have a placed photo of some
flowers and a little bit of text and I'd
| | 00:25 | like to apply an Outer Glow to them.
| | 00:27 | First, I am going to open a second
window, so I can see the Outer Glow effect
| | 00:31 | without my frame outlines getting in the way.
| | 00:33 | So I will choose Window > Arrange > New
Window and I'll drag the divider over.
| | 00:39 | So I have one large window and one small one.
| | 00:42 | I will select the picture of the
flowers and open the Effects dialog box to
| | 00:47 | apply an Outer Glow.
| | 00:50 | So for starters, choose a blending mode.
| | 00:52 | Right now I am choosing
Screen with Paper and 100% Opacity.
| | 00:57 | If I want a more subtle Outer Glow, I
can take the Opacity down or bring it
| | 01:02 | back up for a more intense Outer Glow.
| | 01:05 | I can choose between a Softer diffused
glow or Precise glow where the glow is the
| | 01:11 | same width all the way around
the objects including the corners.
| | 01:15 | Usually, I like to stick with a Softer glow.
| | 01:17 | It just looks more natural.
| | 01:19 | I can change the size of the glow,
making it really big or smaller. I will stick
| | 01:25 | with 40 pixels here.
| | 01:28 | I can add some noise, a little or a lot.
| | 01:32 | I'll take that down. And I
can change the Spread value.
| | 01:36 | Spread is the amount of the Outer Glow
that's set at the full color and opacity
| | 01:40 | up here in the blending area.
| | 01:41 | So right now 10% of this glow is 100% white.
| | 01:46 | If I increase the Spread, I'll
increase the opacity of the glow.
| | 01:49 | I can take it all the way to 100%, so
100% of the glow is 100% opaque, but
| | 01:55 | that's never going to look good.
| | 01:56 | So I am going to take that back down, maybe 25%.
| | 01:58 | That's pretty good. I'll click OK.
| | 02:02 | Now let's apply an Outer Glow to the text.
| | 02:05 | I'll select the text, bring it up in the
Effects dialog box, and click on Outer Glow.
| | 02:10 | I have the same settings.
| | 02:12 | The one thing to be aware of when
you're applying an Outer Glow to text is
| | 02:16 | Softer is almost always
the right technique to use.
| | 02:19 | If I use Precise it looks more like
a beveled effect, because again it's
| | 02:23 | following all the exact shapes of the
type, and it just doesn't look really
| | 02:27 | natural like a glow.
| | 02:29 | So if you're applying an Outer Glow to text,
stick with the Softer technique. I'll click OK.
| | 02:34 | Now let's see some of the other
things you can do with Outer Glow.
| | 02:40 | Here I have an alien from AREA 51 and
he has an eerie greenish glow coming from
| | 02:45 | his head and from the type.
| | 02:47 | And if you look it's actually
two colors blended in the glow.
| | 02:50 | There's a small white glow next to
the alien head in the type and a larger
| | 02:54 | green glow further out.
| | 02:57 | Let's see how that's done.
| | 02:58 | I'll move him over just so I can see him
and the dialog box at the same time and
| | 03:03 | I'll select his head in the other window.
| | 03:06 | In the Effects panel I can see I have
two effects icons, indicating that I have
| | 03:10 | two Outer Glows applied.
| | 03:12 | I'll start by looking at
the one at the object level.
| | 03:14 | So the Object level I have a green
Outer Glow set to 100% Opacity, and this is
| | 03:21 | the big one, this is 30 pixels.
| | 03:23 | I used the technique of Softer, but I
could have used a technique of Precise and
| | 03:27 | made it even larger.
| | 03:29 | That's an interesting glow too,
but it's just not what I wanted here.
| | 03:32 | So I went with a smaller softer glow.
| | 03:35 | I added some noise to give me this
nice hazy effect going on, adds to the
| | 03:39 | eeriness of the effect.
| | 03:40 | Then if I switched from the object to
the text level I can see the white glow.
| | 03:46 | Here I am screening with Paper at 100% Opacity.
| | 03:49 | I used the Precise technique
here to make the glow bigger.
| | 03:52 | Again, if I chose a softer glow,
it would be a little bit smaller.
| | 03:55 | I chose a smaller size.
| | 03:57 | This one is 10 pixels because I wanted
it smaller and right next to the alien's
| | 04:01 | head, and I still use 5% Noise.
| | 04:04 | And for the white glow I added a Spread amount.
| | 04:06 | I wanted it to glow more solid
right next to the alien's head.
| | 04:10 | If I increase this amount I'll increase the
amount of the glow that's this white color.
| | 04:14 | If I take it all the way up to 100%,
it's almost like I had a white stroke
| | 04:18 | around the alien's head.
| | 04:19 | But I will take that back down to 10%.
| | 04:23 | I'll cancel out and we'll
look at the AREA 51 type.
| | 04:25 | I will select that text frame and double
-click to open up the Effects settings.
| | 04:30 | For the AREA 51 type I made some
changes in the settings to accommodate the
| | 04:34 | smaller size and more complex shape of the text.
| | 04:37 | I changed the technique from Precise to
Softer and I decreased the Size from 30
| | 04:41 | pixels down to 17 pixels.
| | 04:44 | If I look at the settings at the text
level, I used a Softer technique and an
| | 04:48 | even smaller size, 10 pixels.
| | 04:51 | But I kept that 10% Spread to make
sure that the glow was white right next to
| | 04:55 | the edge of the type.
| | 04:56 | It really makes the glow stand out
from the black text. I will click OK.
| | 05:01 | Let's see something else
we can do with Outer Glow.
| | 05:05 | Another use for Outer Glow is to
colorize an Outer Bevel effect.
| | 05:09 | By itself an Outer Bevel has no overall color.
| | 05:11 | It's just made up of a shadow and a
highlight, but we can apply a uniform color
| | 05:16 | to the Bevel if we combine that effect with
an Outer Glow. Let me show you what I mean.
| | 05:20 | Here I have this text Spring in Bloom
and I've set a Bevel on it and an Outer
| | 05:25 | Glow and you can see
what that does if I zoom in.
| | 05:28 | I have this nice shiny highlight
courtesy of the Bevel effect and I have this
| | 05:33 | color that comes from the Outer Glow.
| | 05:35 | If I bring up the Effects dialog box
and double-click to see the settings.
| | 05:42 | If I turn off the Outer Glow and see
just the Bevel, you can see that all it
| | 05:46 | is, is a highlight.
| | 05:47 | The Bevel itself is transparent,
but I wanted a color there.
| | 05:52 | So I chose Outer Glow and I made
sure that the size was the same size as
| | 05:56 | my Bevel, 5 pixels.
| | 05:58 | I chose a Precise technique so it
exactly fits the letter shapes and I picked a
| | 06:03 | color that I wanted.
| | 06:04 | I like this magenta color.
| | 06:05 | I could increase or decrease the
Spread amount to increase or decrease the
| | 06:09 | opacity of this color.
| | 06:11 | So I could take it down for a very
subtle hint of magenta or I could take it up
| | 06:15 | to make a solid color.
| | 06:18 | That's just too much.
| | 06:19 | I am going to take it back
down to 40% and click OK.
| | 06:24 | I'll zoom back out and there I have a nice
combined effect of Outer Glow and Outer Bevel.
| | 06:30 | With Outer Glow you can make an
object stand out against a dark background.
| | 06:33 | You can also blend the colors of
multiple glows by applying them at different
| | 06:37 | levels to the same object.
| | 06:39 | It's also fun to combine an Outer
Glow with an Outer Bevel and that way you
| | 06:43 | can colorize the Bevel.
| | Collapse this transcript |
| 037 Understanding Perspective Drawing| 00:00 | You might not ever think of using
InDesign to draw 3D shapes. After all,
| | 00:04 | InDesign has no tools or commands devoted to 3D.
| | 00:07 | But it is possible to make some basic
3D shapes using only the Pen tool, the
| | 00:12 | Polygon tool, and a little
understanding of Perspective.
| | 00:15 | You can use the Polygon tool to create
lines of perspective and trace those
| | 00:19 | lines with the Pen tool to draw 3D shapes.
| | 00:21 | It's a manual task and it's never going
to replace Photoshop and Illustrator's
| | 00:25 | 3D tools, but in a pinch, it works!
| | 00:27 | First we'll try drawing
some one-point perspective.
| | 00:30 | I will grab my Polygon tool and click
-and-drag in my document to create a
| | 00:34 | three-sided polygon, or a triangle.
| | 00:37 | This is going to serve as the top of my object.
| | 00:40 | I am going to try drawing a box
shape using one-point perspective.
| | 00:43 | Up at the top of my document, this is
my horizon and this is my vanishing
| | 00:47 | point at the very top of the triangle.
| | 00:49 | I am going to copy my triangle, and
choose Edit > Paste in Place, so now I have
| | 00:53 | two copies, and now I am going to
choose Object > Convert Shape, to a rectangle.
| | 00:58 | I am going to grab the bottom-center
anchor point and drag it up a little bit to
| | 01:02 | reveal this portion.
| | 01:04 | This is going to be the top of my box.
| | 01:05 | I will select both objects and choose
Pathfinder, Subtract, so I subtracted the
| | 01:13 | rectangle shape from the triangle
shape to leave me with this little shape
| | 01:17 | that's going to form the top of my box.
| | 01:19 | I am going to press Shift+X to
exchange the stroke and the fill.
| | 01:23 | So now I have no stroke on my
object, but a fill of black.
| | 01:25 | I am going to set the Reference Point in
the Control panel to the bottom-center,
| | 01:29 | and Option or Alt+Click
the Flip Vertical button.
| | 01:31 | This is going to be the front of my box.
| | 01:34 | Now I can just adjust the effect by
clicking-and-dragging on the bottom-center
| | 01:37 | anchor point to make the front of my box,
and I can also click-and-drag the top
| | 01:43 | anchor point to adjust the top of the
box, to show more of it or less of it, and
| | 01:48 | then I can adjust the fill in the
Swatches panel so I can see the top and the
| | 01:53 | sides more distinctly.
| | 01:54 | I will reduce the Tint
down to something like 50%.
| | 01:58 | There's a basic box shape created
using one-point perspective and starting
| | 02:02 | out with a triangle.
| | 02:03 | Now let's try some two-
point perspective drawing.
| | 02:06 | Again I'll start with the Polygon
tool. I'll click-and-drag all the way
| | 02:10 | across my document to create a giant
triangle and this time I am going to
| | 02:14 | have two vanishing points.
| | 02:16 | I am going to press the Flip Vertical,
and these are my two points of perspective.
| | 02:20 | The two top corners of the triangle,
and the top of the triangle is my horizon.
| | 02:26 | Just move it up here. I will copy and
choose Edit > Paste in Place and I'll
| | 02:32 | click-and-drag the center
anchor point down a little bit.
| | 02:34 | Again, I am going to draw a box but
this time I'm going to have the corner of
| | 02:38 | the box facing in the center, and
these are going to be the sides.
| | 02:41 | So these two triangles I am going to
select and lock, so they don't get in my way.
| | 02:45 | I'm only going to use them to trace with.
| | 02:47 | I will press the W key on my
keyboard to go into Preview mode.
| | 02:51 | So now I can use these as nice tracing
objects without anything else getting in my way.
| | 02:55 | I will take the Pen tool.
I will click in the center.
| | 02:58 | I will hold down the Shift key and
click again to draw a vertical line and now
| | 03:02 | I am just going to trace along my lines
of perspective. Hold down the Shift key
| | 03:06 | to draw another vertical line, and
then click once more to close the object.
| | 03:10 | Again, I am going to press Shift+X on
my keyboard to exchange the stroke and fill,
| | 03:15 | so I have no stroke and a fill of black.
| | 03:17 | I will switch to my Selection tool,
set my reference point in the Control
| | 03:21 | panel to the center-right, and I will hold the
Option or Alt key and click on Flip Horizontal.
| | 03:26 | Now, I have two sides of my box.
| | 03:28 | I am going to Shift+Click to select
both my sides of my box, copy them, and
| | 03:33 | choose Edit > Paste in Place.
| | 03:35 | Then I'll go to my
Pathfinder panel and choose Add.
| | 03:39 | I am creating the top of my box now.
| | 03:41 | I will switch to my Direct Selection
tool, click on the bottom-center anchor
| | 03:45 | point, and drag it up.
| | 03:47 | Now I will switch to my Pen tool by
pressing the P key and I'll delete these
| | 03:50 | extra points that I don't need.
| | 03:52 | We can get a sense that I'm
creating a box with a top and two sides.
| | 03:55 | I will switch to my Selection tool,
open my Swatches panel, and I'll start
| | 04:00 | reducing the Tint of some of these
shapes, so I can see them distinctly.
| | 04:03 | There is the top and I will
reduce the Tint on the side to say 80%.
| | 04:07 | I'll press Command+Option or Ctrl+Alt+
L to unlock my lines of perspective and
| | 04:12 | delete them because I don't need them anymore.
| | 04:14 | I will zoom in and see my box.
| | 04:16 | That's pretty good.
| | 04:18 | It's true that other programs have
far more powerful tools for creating
| | 04:21 | 3D effects automatically, but you can draw
basic 3D shapes in your InDesign layouts.
| | 04:25 | The key is to use
triangles to create perspective.
| | 04:28 | One triangle with a horizontal side on
the bottom gives you lines for one-point
| | 04:32 | perspective. Two triangles with the
horizontal sides on the top give you lines
| | 04:36 | to trace for two-point perspective.
| | Collapse this transcript |
| 038 Drawing 3D Banners| 00:00 | There is no need to resort to using
generic clip art when you have all of
| | 00:04 | InDesign's drawing tools at your command.
| | 00:06 | For example, if you want to create a
banner for a title you can whip one up in
| | 00:09 | no time at all just
starting from a simple rectangle.
| | 00:12 | And that's what I did here
with this Woo Hoo! banner.
| | 00:14 | So let's see how I created this.
| | 00:16 | I just start with a simple rectangle.
| | 00:18 | Press the F key on my keyboard
to get my Rectangle Frame tool.
| | 00:21 | Click in the document and I'll create
the rectangle with these dimensions, 140
| | 00:25 | pixels wide and 60 pixels tall.
| | 00:27 | In the Swatches panel I'll give it a
fill, 50% of this blue color, and this is
| | 00:34 | going to be the front side of my banner.
| | 00:35 | I'm going to copy that and
choose Edit > Paste in Place.
| | 00:41 | So now I have two copies of this rectangle.
| | 00:43 | Switch to my Direct Selection tool by
pressing the A key on my keyboard and I'm
| | 00:47 | going to click on the right side of
my rectangle and drag down, and I've
| | 00:52 | created my first fold.
| | 00:54 | Now I need to send this to the back, so
I'll choose Object > Arrange > Send to Back.
| | 00:59 | Now this is going to be the back side
of my banner and I'd like some contrast
| | 01:03 | between the front and the back.
| | 01:04 | So I'm going to increase the Tint back
to 100% of that blue color and there we
| | 01:10 | have our first fold.
| | 01:11 | I'll select this, copy it, and
again choose Edit > Paste in Place.
| | 01:17 | So I have another copy to work with.
| | 01:18 | I'll send this one to the back and this
time I'll grab the left side and drag it
| | 01:24 | down to create another fold.
| | 01:26 | And this is again going to be
the front side of my banner.
| | 01:28 | So I'll reduce the Tint back to 50%
again and we'll just keep repeating this
| | 01:32 | process. We'll copy it, choose Edit >
Paste in Place, or Command+Shift+Option+V,
| | 01:36 | Ctrl+Shift+Alt+V, and we'll keep going
back and forth between the left and the
| | 01:40 | right side, dragging these folds down.
| | 01:42 | Again, I need to send it to the back
and increase the Tint again to 100%.
| | 01:48 | So we're just alternating.
| | 01:50 | We'll do one more, Copy, Paste in Place,
grab the left side we'll drag it down
| | 01:57 | choose Object > Arrange > Send to
Back and change the Tint down to 50%.
| | 02:04 | We'll give it something fancy at the
bottom here, so I'll press the P key on my
| | 02:08 | keyboard to get my Pen
tool. I'll click in the middle.
| | 02:11 | Press the A key to get my Direct
Selection tool and drag that point in.
| | 02:15 | Now I've created half of the banner.
| | 02:18 | I'm going to use the Flip command
to flip it and create the right side.
| | 02:21 | So I'll select all my pieces, make sure
my reference point in the Control panel
| | 02:26 | is set to the right side, and hold the
Option or Alt key on my keyboard and click
| | 02:29 | on Flip Horizontal and there is my whole banner.
| | 02:32 | If I want to I can select these two
front parts and use Pathfinder, Add to
| | 02:38 | fuse them together.
| | 02:40 | Now all that's left to do
is add a little bit of text.
| | 02:42 | I'll press the T key, get a text
frame, click-and-drag, and I'll just type
| | 02:47 | the words Woo Hoo! Select them,
| | 02:50 | center them, and we'll give him a fun
font and make it a little bit bigger.
| | 02:55 | In our Swatches panel, we'll give it a
color of gold and move it down into place.
| | 03:06 | And there is our banner.
| | 03:08 | To create a folded banner, you can
start with a rectangle and create folds by
| | 03:11 | duplicating and reshaping each piece
with the direct selection tool and if
| | 03:15 | you're making a symmetrical design, you
only need to make one side and then use
| | 03:19 | the Flip command in the Control
panel to instantly make the other side.
| | Collapse this transcript |
| 039 Shearing to Create 3D Effects, Part 1| 00:00 | If you've ever tried to use
InDesign's Shear tool, you may have experienced
| | 00:04 | more than a little difficulty in understanding
how it works in getting the results you want.
| | 00:08 | Sometimes it seems to have a mind of
its own, but you can use Shear to create
| | 00:12 | interesting effects like a 3D
book shape from a flat cover design.
| | 00:16 | You just need to approach
shearing from a different angle.
| | 00:18 | So here I have a mockup of a book, and
it looks like a nice little 3D version of
| | 00:22 | the book and I just created this
from the cover image, just a flat placed
| | 00:26 | photograph and a text frame, and I
mostly used the Shear command to do this.
| | 00:30 | So let's see how it's done.
| | 00:32 | Here's the cover image.
| | 00:33 | It's just a placed photo of some rust and one
text frame with The History of Rust, Volume 1:
| | 00:38 | The Early Years, and I am going to
start out by selecting the placed graphic,
| | 00:42 | copying it, and choosing Edit > Paste
In Place, or Command+Shift+Option+V,
| | 00:46 | Ctrl+Shift+Alt+V. Why I am doing this
is so I can make the spine. I need an
| | 00:50 | extra copy of this photograph.
| | 00:52 | I need two separate objects that I
can shear in opposite directions.
| | 00:56 | Now, you might be tempted to just
slide this over or to grab the right anchor
| | 00:59 | point and drag it across to make the
spine, but that's probably not a good idea,
| | 01:04 | because if I zoom in, you can see what happens.
| | 01:06 | When you use the Selection tool,
you mirror the image, you flip it.
| | 01:10 | So I get this mirrored copy of the photo
and up in the Control panel you can see
| | 01:14 | what's going on. I've flipped it
horizontally and that's not really realistic.
| | 01:18 | That's not what a real book
cover spine would look like.
| | 01:21 | So let's undo that, and instead of
using the Selection tool, I will use the
| | 01:25 | Direct Selection tool.
| | 01:26 | So I will press A on my keyboard and
I will click the right-hand segment and
| | 01:30 | Shift+Drag it across and create my spine.
| | 01:35 | That looks like a pretty good width.
| | 01:37 | So I have a continuation of the
photo instead of a flip of it.
| | 01:41 | Now let's do some shearing.
| | 01:42 | I'll take my Selection tool and Shift+
Click on both the text frame and the
| | 01:46 | picture, I'll group them, because I
want to shear them together, and I'll set
| | 01:49 | the reference point at the left center.
| | 01:51 | So this is the lockdown part that
we're going to be shearing around.
| | 01:55 | In my tools panel, I'll double-click
on the Shear tool and I will set a
| | 01:59 | Shear Angle of 10 degrees in the Vertical
direction, and what that does is it pulls
| | 02:03 | up the right side, and we can just
see what it would be like to shear along
| | 02:07 | the horizontal axis.
| | 02:08 | That would pull it towards the right.
| | 02:10 | But in this case, we want to use vertical.
| | 02:12 | I'll click OK and now I want to
shear the spine in the opposite direction.
| | 02:16 | So I will select the spine, I will set
the Reference Point to the right-center,
| | 02:20 | so it's sheared around that
same point as the front cover.
| | 02:23 | I will double-click on the Shear tool
and now I want to change the Shear Angle.
| | 02:28 | I am not sure exactly what angle I
want yet, but I know it's in the opposite
| | 02:32 | direction of the front cover.
| | 02:33 | So I am going to hold down the Shift
key on my keyboard and I am going to tap
| | 02:36 | the down arrow key a few times just
until I start to see this angle that I like.
| | 02:40 | I want a nice angle that seems sort
like a right angle from the front cover to
| | 02:45 | the spine and -60 looks
pretty good. I will click OK.
| | 02:49 | Now when I did that, I got the angle I
wanted, but it really stretched out the
| | 02:53 | spine and distorted the
picture and I don't want that at all.
| | 02:56 | So I am going to take my Selection
tool and I am going to Command+Drag or
| | 03:00 | Ctrl+Drag this middle anchor point to scale
it back to something little more reasonable.
| | 03:03 | That looks pretty good.
| | 03:05 | So they'll give me the width that I want
and the photos are not quite so distorted now.
| | 03:09 | Now let's make a back cover.
| | 03:10 | I will click on the front cover, I
will ungroup it so I just have the photo
| | 03:14 | and not the text frame, and I'll copy
it and choose Edit > Paste In Place.
| | 03:17 | Command+Shift+Option+V, Ctrl+Shift+Alt+V,
and then I want to just drag, so this
| | 03:21 | top left corner touches the
top left corner of the spine.
| | 03:25 | I will zoom in to make sure I got that right.
| | 03:27 | That looks pretty good and then I'll
send it to the back by choosing Object >
| | 03:32 | Arrange > Send to Back. I will zoom out.
| | 03:35 | So now I have a back cover, a front cover,
and a spine. Now I just need some pages.
| | 03:39 | I will click on that back cover, I'll
copy it, Paste It In Place, I'll send
| | 03:45 | it to the back, and then I will double-click
to select the placed graphic and delete it.
| | 03:53 | Because remember, I have two copies.
I just want this frame so I can fill it
| | 03:56 | with a paper color that looks like pages.
| | 03:58 | So with that frame selected I will go
to the Swatches panel, target the fill,
| | 04:02 | and fill it with a really
light tint of black, say 10%.
| | 04:06 | Now, I just want to move it a little
bit, so I can see the back cover image.
| | 04:09 | I will take my Direct Selection tool,
I'll click on the top segment, and I'll
| | 04:14 | tap my Down-arrow key a few times
just to reveal some of that back cover.
| | 04:18 | Then I'll click on the right-hand
segment and tap my left arrow key a few times,
| | 04:22 | just to nudge that in.
| | 04:23 | I will zoom in and take a look,
and that looks pretty good.
| | 04:25 | I will zoom back out, and now I want to
extend this line over behind the front
| | 04:31 | cover to about here.
| | 04:32 | So I will click on the bottom-right
corner and pull it up and zoom in and
| | 04:38 | that's a little too much in the corner,
so I will tuck it in just a little bit.
| | 04:41 | Now that looks pretty good.
| | 04:43 | I will zoom back out.
| | 04:44 | Now I just want to apply a couple of
effects to make it look a little more realistic.
| | 04:48 | So the first thing I'll do is select
the pages and go to my Effects panel.
| | 04:53 | Double-click, and I'll apply an Inner
Shadow and what I want here is a little
| | 04:58 | shadowy effect like there's light
coming and shining from the back cover and
| | 05:02 | creating a little shadow on the pages.
| | 05:04 | I will take the opacity down a little bit,
75% is usually too intense, and click OK.
| | 05:11 | Now, I'll just add a little beveling
to the cover. So I'll select the front
| | 05:14 | cover, the spine, and the back cover.
| | 05:19 | I'll double-click and turn on Bevel and
Emboss and I will increase the size a bit.
| | 05:24 | 20 pixels is probably too much. I will
take it down to 15 and I'll increase the
| | 05:29 | Altitude a little bit to make it a
little shinier and have less of a shadow down
| | 05:33 | in the bottom and on the right-hand side. 50 degrees.
| | 05:36 | That looks pretty good.
| | 05:37 | I will click off, and there I have my
next book cover, courtesy of the Shear
| | 05:42 | tool and a little work with the
Selection tool and the Direct Selection tool.
| | 05:46 | Now, a cool thing you can do once
you've done this shearing work is you can
| | 05:49 | use it to create another book cover, just by
replacing the title and the placed photo.
| | 05:54 | So I will go to my Links panel,
select the rust picture, and re-link it.
| | 05:59 | I'll choose this cow picture and I
will click through the dialog boxes to
| | 06:05 | re-link all the instances.
| | 06:08 | Now I just want to reposition Bossy here,
and change the title, and there you go.
| | 06:17 | another book cover.
| | 06:18 | So it's great when we can reuse
our work and work efficiently.
| | 06:22 | Shearing is the trickiest
transformation in InDesign. Dragging with Shear tool
| | 06:26 | can be an exercise in futility.
| | 06:27 | So instead, try shearing precisely
using numerical values, either in the
| | 06:32 | Control panel or by double-
clicking with the Shear tool.
| | 06:35 | That way you can keep the effect under
control and use it to build things like
| | 06:38 | a quick 3D mockup of something like a book.
| | Collapse this transcript |
| 040 Shearing to Create 3D Effects, Part 2| 00:01 | After you've completed a project in
InDesign you might have to produce some
| | 00:04 | materials for marketing or promotional
purposes, or you might want to collect
| | 00:08 | samples of your favorite
work into a portfolio layout.
| | 00:11 | With the Shear tool you can take the
PDFs used to print a project or the
| | 00:14 | actual InDesign files themselves and use them
to create reduced facsimiles of the documents.
| | 00:19 | Let's see how.
| | 00:21 | So here I have a cover of the
fictitious Cow Moo-gazine and I made it seem like
| | 00:25 | a little 3D mockup with some fanned out
pages here, like it's standing up, and
| | 00:29 | it's an attractive design.
| | 00:31 | What I did is I used the actual PDF
that was used to print this cover and then
| | 00:36 | sheared it with a couple extra
copies of pages to create this effect.
| | 00:40 | So let's give it a try.
| | 00:41 | Here is just a blank page.
| | 00:43 | It's filled with a light Tint of black
and has a small Drop Shadow just to add a
| | 00:47 | little bit of depth, and we're going
to shear this a few times to create that
| | 00:50 | mockup of the magazine.
| | 00:52 | So I'll set the reference point in the
left-center, and I'll take my Shear tool
| | 00:59 | and with the reference point here at
the left-center, I'm going to go on the
| | 01:03 | right side of the frame and I'm going
to hold the Shift key and I'm going to
| | 01:08 | drag down just a little bit.
| | 01:10 | And then I'll press the Option or
Alt key to make a copy of this page.
| | 01:14 | I just want a little bit, just around 1
degree of Shear, so that's pretty good.
| | 01:19 | Now I want to scale it just a little
bit, so it's not the full width of the
| | 01:22 | original page and I can see the individual
pages with that Drop Shadow effect I used.
| | 01:27 | So I'll switch from the Shear tool to
the Scale tool and I'll double-click and
| | 01:32 | with that reference point at the
same place, I'm going to scale it just a
| | 01:35 | little bit horizontally, 99%, and I'll leave the
vertical dimension as it was and I'll click OK.
| | 01:44 | Now I can use the Transform Again
command to make some extra pages.
| | 01:47 | I'll go to the Object menu, choose
Transform Again > Transform Sequence Again,
| | 01:53 | and I'll do it one more time. And deselect
and now I have four nice fanned-out pages.
| | 02:02 | I'll select the top copy and I'll
place the photo of my cover into it.
| | 02:10 | Now it's too big so I
need to fit it to the frame.
| | 02:12 | So with the frame selected I'll go to
the Control panel and choose Fit Content to Frame,
| | 02:17 | and there you go,
a nice magazine mockup.
| | 02:21 | Let's try another variation.
| | 02:24 | Here we have the magazine opened and
the pages fanned-out and we can see both
| | 02:28 | the left and the right side, and what
I did here is I placed PDFs of interior
| | 02:33 | pages of the magazine and I created a
little lighting effect, so it seems like
| | 02:37 | there is a little shadow on the inside.
| | 02:39 | So let's see how to do this.
| | 02:40 | Here I just have two empty pages with a
small Drop Shadow on each again, so when
| | 02:47 | I shear them I can see the individual
pages, and I'll start on the left side.
| | 02:51 | I'll set the reference point to the
right-center, I'll take my Shear tool, and
| | 02:59 | on the left side, I'm going to hold down
the Shift key and drag up just a little bit
| | 03:04 | and then I'll press and hold
Option or Alt to make a copy of the page.
| | 03:08 | I just want a little bit of shear,
just about 1 degree again. There we go.
| | 03:13 | Then I'll switch to my Scale tool.
| | 03:17 | I'll double-click on it, and I'll do
that same scaling that I did for the cover.
| | 03:21 | 99% horizontally, 100% vertically, and click OK.
| | 03:26 | Now I want to Transform Again, so
I'll just use the keyboard shortcut,
| | 03:30 | Command+Option+4, Ctrl+Alt+4,
and make a couple more pages.
| | 03:35 | Deselect, there we go.
| | 03:37 | Now let's do the same
thing on the right-hand side.
| | 03:40 | I'll select the right page.
| | 03:41 | I'll set the reference point
to the left-center at this time.
| | 03:44 | I'll take the Shear tool.
| | 03:45 | I'll go outside the right edge I'll
hold down Shift and drag up and then I'll
| | 03:53 | press-and-hold Option or
Alt to make that extra copy.
| | 03:56 | Let go and now I'll scale again.
| | 04:00 | I'll take my Scale tool, double-click
and use those same values, and then I'll
| | 04:06 | Transform Again with Command+Option+4,
Ctrl+Alt+4 to make two more pages.
| | 04:10 | So there I have the blank pages. Now I
just need to place the PDFs into them.
| | 04:16 | So I'll select the left one, I'll choose
File > Place, and I'll pick my left-hand page.
| | 04:24 | In the Control panel I'll fit the
content to the frame and do the same for
| | 04:28 | the right-hand page.
| | 04:35 | And then the last thing to do is to
create that little lighting effect where
| | 04:38 | there seems like there is a
shadow around the spine here.
| | 04:41 | So for that, I'll take my Selection
tool, I'll select both pages, and I'll
| | 04:46 | apply a fill to them.
| | 04:47 | In my Swatches panel I've created this
little page shading gradient. I'll apply that
| | 04:52 | and I'll actually double-click
on it so you can see what that is.
| | 04:55 | Mostly it's paper, so it contributes
nothing all the way to this point, and then
| | 04:59 | right at the end here it becomes a
little light Tint of black, 25%, and that's
| | 05:05 | just going to give me that
little shadow in the gutter.
| | 05:08 | So it's applied but I can't see it yet.
| | 05:10 | What I need to do is use a
little blending mode trick to see that
| | 05:13 | gradient through these PDFs.
| | 05:15 | So I'll double-click on the left page
and you can see by the change in the
| | 05:19 | outline color here that I have the
graphic selected, and not the frame. I'll go
| | 05:22 | to the Effects panel and I can see Graphic.
| | 05:26 | I'll change the blending
mode from Normal to Multiply.
| | 05:28 | So I'll multiply the graphic into that
little gradient and create that little shading.
| | 05:33 | I'll do the same for the right-hand side.
| | 05:35 | Double-click to select the graphic and
then in the Effects panel set it to Multiply.
| | 05:41 | Now this one is backwards.
| | 05:42 | The gradient is on the right-hand side
still, so I need to go to my Gradient panel.
| | 05:47 | I'll choose Window > Color > Gradient.
| | 05:52 | Select the frame and
click on the Reverse button.
| | 05:56 | That puts the shading right in the middle.
| | 05:59 | I'll deselect and there is my effect.
| | 06:03 | You can create miniature facsimiles of
a layout by shearing frames and placing
| | 06:07 | PDFs or InDesign pages into those frames.
| | 06:10 | You can use Transform Again to create
as many pages as you like and then apply
| | 06:14 | effects to add some more visual impact.
| | 06:16 | It's a fun way to reuse your
work, thanks to the Shear tool.
| | Collapse this transcript |
| 041 Simulating a Ripped Background| 00:00 | You can create some really fun
creative effects by playing with the idea of
| | 00:04 | breaking through the surface of your design.
| | 00:06 | Just by drawing on irregular shape and
applying an inner shadow, you can make it
| | 00:09 | look like you've ripped a hole in the
paper so the viewer can see what's on the
| | 00:12 | page beneath. Let's see how it's done.
| | 00:14 | So here it looks like I've torn through
the black surface of my design and I'm
| | 00:18 | seeing a page of type underneath
and it's just a really simple effect
| | 00:21 | accomplished by drawing this jagged
shape with the Pencil tool and then applying
| | 00:25 | the inner shadow effect just to
give me that little sense of depth.
| | 00:28 | Let's see another example.
| | 00:30 | Wow, look at that. I have an eyes
staring back at me through my design in the
| | 00:33 | same idea, a jagged shape plus an inner
shadow. One more example. It looks like I
| | 00:37 | have torn through the pages of the book to
see the pages beneath. Let's try to make this.
| | 00:41 | So here I just have two text frames and
I am going take my Pencil tool and I am
| | 00:46 | going click and drag up and down to
draw this jittery jagged shape, the more
| | 00:51 | jagged the better, and when I get close
to the end I'll hold the Option or Alt
| | 00:56 | key to complete the path and close it.
| | 00:58 | Then in my Swatches panel I'll set at
fill a Paper and a stroke of None and
| | 01:02 | then I'll select my second text frame.
Copy it. I'll select my jagged shape and
| | 01:08 | choose Edit > Paste Into.
| | 01:10 | Now I can apply the effect.
| | 01:11 | I'll go to Effect panel double-click
and apply Inner Shadow and just like that,
| | 01:16 | instant rip. If I want to change the
content that I can see inside the rip,
| | 01:20 | that's easy. I'll just Option or Alt
drag across to make an extra copy and
| | 01:24 | then in my Control panel, I'll select
the content and delete that text frame
| | 01:28 | that I have pasted in there. I'll select the
Rip shaped and I will place a photo into it.
| | 01:34 | I'll place this eye picture. I'll double
-click to select the content and drug
| | 01:39 | around until I can see the
eye through my jagged shape.
| | 01:41 | Inner Shadow gives us the effect that
we are peering down into something below
| | 01:45 | the surface of our page . By using Inner
Shadow applied to a jagged shape drawn
| | 01:49 | with the Pencil tool, we can
create a rip right in our design.
| | Collapse this transcript |
| 042 Creating a Breakthrough Effect| 00:00 | What's better than tearing a hole
in your design to give it some depth?
| | 00:03 | How about punching a design element
right through the hole, so it comes
| | 00:06 | straight at the viewer?
| | 00:07 | We can use the same technique that we
saw in the Rips video to create a hole,
| | 00:11 | and then add a second copy of a
graphic to complete the breakthrough effect.
| | 00:15 | So here I have a wonderful walrus who
has ripped his way right through my page
| | 00:19 | with his big fierce tusks and the way I
accomplish this is to place two copies
| | 00:24 | of this photo and I did a
little pre-work in Photoshop.
| | 00:27 | I have two layers in the Photoshop document.
| | 00:30 | One of which is masked and that's the
one that's on top here that's making
| | 00:33 | his tusk stick out.
| | 00:34 | If I drag it over to the side you can
kind of see what's going on, I placed one
| | 00:39 | copy of the photo unmasked into this
jagged shape and another copy that's
| | 00:44 | masked on top, and when they lay one
on top of the other, I get this nice
| | 00:48 | breakthrough effect.
| | 00:49 | So let's see how it's done.
| | 00:51 | Here's my page with just a text frame
on it and I'll take my Pencil tool and
| | 00:56 | I'll just draw a jagged jittery shape
for the rip, and when I get close to the end,
| | 01:02 | I'll hold the
Option or Alt key to close it.
| | 01:05 | In my Swatches panel, I'll remove the
stroke and give it a fill of Paper, then
| | 01:11 | I'll place my walrus photo. I'm going
to check Show Import Options and the
| | 01:19 | reason I want to do that is so I can
see this, Show Layers. I want to turn on
| | 01:23 | both layers for the copy
that goes into the rip shape.
| | 01:28 | I'll take my Direct Selection
tool and drag him into place.
| | 01:32 | Then I'll copy him and choose Edit >
Paste In Place or Command+Shift+Option+V,
| | 01:37 | Ctrl+Shift+Alt+V, and then I'll right-
click and choose Object Layer Options.
| | 01:45 | And now I'm going to
turn off the unmasked layer.
| | 01:48 | I'll click OK and there you
have it, the breakthrough effect.
| | 01:53 | The trick to making something appear
as if it's poking through a hole in your
| | 01:56 | design is to use two copies of the thing.
The top copy is masked to just reveal
| | 02:01 | the details we want coming out the viewer.
| | 02:03 | With Photoshop's layers in InDesign
Object Layer Options, we can accomplish this
| | 02:08 | with just one Photoshop file.
| | Collapse this transcript |
| 043 Creating Spotlight Effects| 00:00 | Did you ever wish you could shine a
spotlight on one part of a design to
| | 00:03 | draw attention to it?
| | 00:05 | Or did you ever wish you could
deemphasize other objects by partially
| | 00:08 | hiding them in a shadow?
| | 00:10 | You can create spotlighting effects by
overlaying a design with gradient-filled
| | 00:14 | objects and then applying blending
modes to use the luminosity of the gradient
| | 00:18 | to lighten or darken your design.
| | 00:21 | Here I have just some text on a green
background and even though it says it's so
| | 00:25 | dramatic, it's really not very dramatic at all.
| | 00:27 | It's just kind of sitting there.
| | 00:29 | So I'd like to add some drama by
creating a spotlighting effect.
| | 00:32 | So I'll start by creating a
gradient in my Swatches panel.
| | 00:36 | Open the Swatches panel and choose New
Gradient Swatch and I'll call it mood lighting.
| | 00:42 | I want a radial gradient. I'll start on
the left of the gradient with 30% black,
| | 00:48 | and on the right side of the
gradient I'll use 100% black.
| | 00:51 | And I'll move the midpoint
down to about 25% and click OK.
| | 00:57 | Now I'll press the F key on my
keyboard to get my Frame tool, I'll
| | 01:00 | click-and-drag over the design, and I'll
fill this with my mood lighting gradient.
| | 01:06 | I'll go to my Effects panel and
change from the Normal blending mode to
| | 01:11 | Multiply, and now I have a spotlighting effect.
| | 01:14 | I can move it around by pressing the G
key on my keyboard to get the Gradient
| | 01:17 | tool and click-and-drag within
the page to move the spotlight.
| | 01:22 | So if I just want the spotlight around
the word So, I can click-and-drag across
| | 01:26 | it and spotlight it, I'll
move it over a little bit.
| | 01:30 | There we go. Or I can highlight
a different part of the design.
| | 01:35 | Let's try another. Here I have a photo
on a table and I'd like to add the same
| | 01:39 | mood lighting to it.
| | 01:41 | Again, I'll press the F key on the
keyboard, click-and-drag, and for the fill,
| | 01:46 | I'll fill it with my mood lighting gradient.
| | 01:48 | I'll go to the Effects panel and
change the blending mode from Normal to
| | 01:53 | Multiply, and this is a little dark
for my taste. I'd like the center of the
| | 01:57 | photo to be more visible.
| | 01:59 | So I don't have to use the Multiply
blending mode I could use something else,
| | 02:02 | like Hard Light.
| | 02:05 | Hard Light will shine that spotlight
right in the middle of my design and still
| | 02:09 | keep those dark shadows around the edges.
| | 02:12 | You can add dramatic lighting effects
to any design by overlaying it with a
| | 02:15 | gradient-filled object and then blend
the light and dark parts of the gradient
| | 02:19 | with your design using blending modes.
| | Collapse this transcript |
| 044 Backlighting an Object| 00:00 | With InDesign's effects we can
simulate light coming from any angle,
| | 00:04 | including directly behind an object.
| | 00:06 | The main tool for simulating
backlighting in InDesign is Outer Glow.
| | 00:10 | Let's check it out.
| | 00:11 | So for backlighting we need a
background that's darker than all the other
| | 00:14 | objects on the page.
| | 00:16 | So we'll start by creating a black background.
| | 00:18 | I'll click my Rectangle Frame
tool and drag across the page.
| | 00:23 | In my Swatches panel I'll give it a
fill of black and I'll lock it so it
| | 00:27 | stays out of my way.
| | 00:28 | I'll press Command+L or Ctrl+L.
Next, I'll click in the document and I'll
| | 00:34 | create a rectangle.
| | 00:35 | I want to create a square, so
I'll do 150 pixels wide and tall.
| | 00:40 | And just so I can see it, I'll
temporarily change the fill to Paper.
| | 00:46 | Now I want to make a few other
shapes just to compare the effect.
| | 00:48 | So, I'm going to Option+Drag or Alt+Drag
to have another square and then I'll go
| | 00:52 | up to the Object menu and
choose Convert Shape > Ellipse.
| | 00:56 | So now I have a circle and I'll Option+
Drag or Alt+Drag again, and I'll choose
| | 01:01 | Convert Shape and I'll try a triangle,
just so I've some different shapes to
| | 01:05 | compare this Outer Glow effect.
| | 01:08 | I'll Shift+Click to select all
three and I'll change the fill to black.
| | 01:14 | Now to see the Outer Glow effect
more clearly, I don't want to see these
| | 01:17 | frame edges highlighted.
| | 01:18 | So I'm going to create a new window.
| | 01:20 | Window > Arrange > New Window, and I'll
drag a vertical slider over so I have
| | 01:26 | one big window and one small one.
| | 01:29 | I'll make sure I have my shape selected
in the small one and now I'll be able
| | 01:33 | to see that Outer Glow effect really clearly.
| | 01:35 | I'll click on Effects, double-click at
the object level, and click on Outer Glow.
| | 01:41 | I'll change the color from Paper to
yellow and I'll make the Size bigger so we
| | 01:47 | can see it more clearly.
| | 01:49 | I'll make a 30 pixel glow to start with.
| | 01:51 | That looks pretty cool.
| | 01:53 | I can change the Technique. Right now I
am using Softer, which only puts a glow
| | 01:57 | on the sides of objects and
doesn't go into the corners.
| | 02:00 | See the top of this triangle and the
side. There is almost no glow there.
| | 02:05 | But I'll change it to Precise and now the
glow goes evenly all around the triangle.
| | 02:11 | If I want to, I can add some Noise.
| | 02:14 | That's a different effect, or I can add
some Spread to make the Outer Glow more opaque.
| | 02:20 | I'll bring it back down.
| | 02:22 | I can change the fill color.
| | 02:23 | I can make it magenta or cyan.
| | 02:26 | Cyan is pretty cool.
| | 02:27 | I'll leave it at that. I'll click OK.
| | 02:30 | Now this was a really simple backlighting
effect, courtesy of the Outer Glow effect.
| | 02:36 | Let's do something a little more interesting.
| | 02:39 | Here I've an Eclipse effect.
| | 02:40 | I sort of have this idea of a planet
eclipsing some light source out in space
| | 02:44 | and some cool black text with the same effect.
| | 02:48 | And the nice thing here is I
have a blended color of the glow.
| | 02:51 | It's white near the objects and it blends
nicely into this large diffuse blue glow.
| | 02:57 | Let's see how I did that.
| | 03:00 | So here I'll start from scratch.
| | 03:01 | I just have some plain white text and a
plain white circle and I'll select them
| | 03:05 | in my small window, again so I can
see the Outer Glow effect clearly.
| | 03:10 | First, I'll start with the circle.
| | 03:12 | I'll bring up my Effects panel.
| | 03:14 | Double-click to open the
dialog box and click on Outer Glow.
| | 03:18 | Now to achieve that blended
effect, I'm going to use two effects,
| | 03:21 | Outer Glow and Drop Shadow.
| | 03:22 | First, I'll use Outer Glow.
| | 03:25 | I'll keep the Screen blending mode and the
white paper swatch, but I'll change the size.
| | 03:30 | I'll make it much larger.
| | 03:31 | 48 pixels and I'll add a little bit of Noise, say 2%.
| | 03:37 | I'll also increase the Spread to
increase the opacity of the glow to 30%.
| | 03:43 | Then I'll turn on Drop Shadow.
| | 03:45 | This might sounds strange that I'm
using a Drop Shadow for a Glow effect, but
| | 03:48 | remember our background is black.
| | 03:50 | So if I choose any other color than black,
it will act more like a glow than a shadow.
| | 03:55 | I'll change the blending mode from Multiply
to Normal and the swatch from black to cyan.
| | 04:02 | I'll click OK.
| | 04:05 | I'll nudge up the opacity a little bit to say,
80% and I'll change the Distance to zero.
| | 04:10 | I want this right behind
my planetary object here.
| | 04:14 | The big change I'm going to make is
to increase the size a whole bunch.
| | 04:17 | I want a big shadow here, so 150 pixels,
and I'll make it more opaque by adding
| | 04:24 | some spread, say 30%, and
a little bit of Noise, 2%.
| | 04:29 | That's what I'm looking for.
| | 04:32 | I'll click OK and now I can go to the
Swatches panel and change the fill from
| | 04:36 | Paper to black, and now I
get that cool Eclipse effect.
| | 04:41 | Let's do it on the text.
| | 04:42 | I'll select the text frame.
| | 04:44 | In the Swatches panel I'll make sure
that my Formatting effects container, and
| | 04:48 | then I can use the Effects panel
to add the glow and the shadow.
| | 04:52 | I'll double-click to open the dialog
box and I'll start with the shadow.
| | 04:57 | I'll change the blending mode from Multiply
to Normal and the swatch from black to Paper.
| | 05:04 | I'll increase the Opacity all the way to
100% and again make the Distance zero.
| | 05:11 | I'll increase the size from 5 pixels
up to something like 43 pixels, and
| | 05:16 | increase the opacity by
changing the Spread to 20%.
| | 05:20 | And there's always a little bit of noise, 2%.
| | 05:24 | Now for the Outer Glow. I'll keep the
Screen blending mode and change from Paper
| | 05:29 | to Cyan, and I'll increase the Size
to 144 pixels, a really big blue glow.
| | 05:36 | 2% Noise and let's increase
the opacity with a 20% Spread.
| | 05:43 | I'll click OK and then go to my Swatches panel.
| | 05:47 | Select my text and change the fill to
black and there I've my Eclipse effect,
| | 05:53 | using both the Drop Shadow and an Outer Glow.
| | 05:57 | Backlighting requires three things:
| | 05:59 | a background darker than the light
we're simulating, a foreground object,and
| | 06:03 | the lighting effect supplied by either
Outer Glow or Drop Shadow or a combination of both.
| | Collapse this transcript |
| 045 Simulating Stickers and Tape| 00:01 | When it comes to simulating real-world
materials with effects, the little things do matter.
| | 00:06 | The difference between something that
looks flat and something that has depth
| | 00:09 | and life to it is often just a subtle touch.
| | 00:12 | Sometimes a very small drop
shadow does just the trick.
| | 00:15 | To illustrate this, here I have a placed
photo that I wanted to look like it was
| | 00:19 | a snapshot taped up against the wall.
| | 00:22 | So I added a really small drop shadow
right behind the photo and I created these
| | 00:26 | two objects that look like tape and
they also have a very small drop shadow.
| | 00:30 | Let's see how that's done.
| | 00:31 | Here is the placed photo with no effects.
| | 00:35 | I will go ahead and open the Effects
dialog box and I will apply a Drop Shadow.
| | 00:41 | I will reduce the Opacity to 40%.
| | 00:43 | I will make the Distance 0, so the
shadow is right behind the photo.
| | 00:48 | I will lower the size to 3 pixels and I
will increase the Spread to 50% to make
| | 00:58 | the shadow more noticeable right
against the edge of the photo and click OK.
| | 01:04 | Now I have that subtle shadow that makes
the photo seem like it's sitting on top
| | 01:08 | of the woodgrain rather than
one with it, sort of one object.
| | 01:11 | Now, I will make the tape.
| | 01:12 | I will take my Rectangle Frame tool,
click-and-drag to draw a tape rectangle.
| | 01:18 | I will go to my Swatches panel and I will
fill it with black, and a light tint of black.
| | 01:24 | How about 15%?
| | 01:25 | Then I will go to my Effects panel and
reduce the opacity so I can see through this.
| | 01:29 | I will make the tape 30% opaque.
| | 01:33 | Now, it's time for one of those teeny
tiny drop shadows to add a little bit
| | 01:37 | of depth to the tape.
| | 01:38 | I will double-click to open the Effects
dialog box, click on Drop Shadow, and I
| | 01:42 | am going to make this shadow 100% opaque.
| | 01:45 | Now, this may sound weird, but if you
think we made this object only 30% opaque.
| | 01:51 | So if I have 100% opacity in the Drop
Shadow and 30% opacity in the object
| | 01:56 | itself, the most opaque the drop
shadow could possibly be is 30%.
| | 02:00 | So I am going to put 100 here.
| | 02:02 | I am going to make the Distance 0.
| | 02:04 | I am going to make it
really small, just 2 pixels.
| | 02:09 | I am looking for something subtle, but
still noticeable, and I am going to make
| | 02:14 | the Spread really large for the same
reason that I made the Opacity 100%.
| | 02:17 | So I am going to increase it
to 70% Spread and click OK.
| | 02:21 | I am going to deselect, and
zoom in to see the effect.
| | 02:27 | So I have this little shadow right
around the tape and when I zoom out, it's
| | 02:32 | there, but it's subtle.
| | 02:33 | But it's all I need in this case.
| | 02:35 | I will click-and-drag to move the tape
into position and I'll click-and-drag
| | 02:40 | outside one of the corners to rotate it,
and I will just Option+Drag or Alt+Drag
| | 02:44 | to make a copy down in
the lower right-hand corner.
| | 02:47 | I've taped my photo to the wall.
| | 02:50 | Let's try another effect.
| | 02:51 | Here is an effect that's
pretty popular now-a-days.
| | 02:54 | It's a sticker or a decal effect and
it's accomplished with just two steps:
| | 02:59 | by putting a very large paper colored or
very light tint of black stroke around
| | 03:03 | something and then adding another teeny tiny
drop shadow right behind it. Let's do this.
| | 03:08 | I will select all of these objects.
| | 03:11 | I will go to my Swatches panel.
| | 03:13 | I will select Formatting effects text.
| | 03:16 | I'll select the stroke and check it.
| | 03:18 | It's right now 15% black. That sounds good.
| | 03:22 | Then I'll go to my Stroke panel.
| | 03:23 | I will change my stroke
weight from 0 pixels to 15 pixels.
| | 03:30 | Now I will apply a teeny tiny drop shadow.
| | 03:31 | I will click on Effects.
| | 03:35 | Now, I will apply a small drop
shadow by targeting the Formatting Affects
| | 03:38 | Container, going to the Effects panel,
double-clicking to open the dialog box,
| | 03:44 | and turning on Drop Shadow.
| | 03:46 | I will make the Distance 0.
| | 03:48 | I will keep the Size at 5 pixels, but I
will increase the Spread to 30% just to
| | 03:56 | make it a little more noticeable around the
edges of the stickers or decals, and click OK.
| | 04:02 | I'll deselect and now I have some
stickers or decals instead of just some
| | 04:07 | random objects sitting on top of this woodgrain.
| | 04:10 | When you want to add some life to a
design, usually a little drop shadow goes a
| | 04:14 | long way, especially when you're
simulating a thin material like paper or tape,
| | 04:19 | just a few pixels worth of drop
shadow can make all the difference.
| | Collapse this transcript |
| 046 Creating Burnt Edges| 00:01 | You can use effects to add some really
aggressive elements to your InDesign layouts.
| | 00:05 | You can simulate burns and bullet
holes by using the Pencil tool to draw some
| | 00:09 | jagged shapes and then adding
effects like Bevel and Inner Shadow.
| | 00:13 | Let's see how it's done.
| | 00:15 | So here's my poor InDesign
document and somebody just shot it all up.
| | 00:18 | It's riddled with bullet holes. Some
are entrance holes and some are exit holes
| | 00:23 | and I created these using the Bevel effect.
| | 00:25 | This is a Bevel effect with a direction
of down and here's a bevel effect with a
| | 00:29 | direction of up, and I
enhanced it by adding an Inner Shadow.
| | 00:33 | So let's give it a try.
| | 00:34 | I'll press the L key on my keyboard to
get my Ellipse tool and I'll click in the
| | 00:38 | document and I'll create a small
circle, 55 pixels in Width and Height.
| | 00:44 | I'll go out to my Swatches panel.
| | 00:46 | I'll take the stroke off, and give it a fill
of black, about 20% for this first bullet hole.
| | 00:52 | Then I'll go to the Effects panel
and I'll start applying some effects.
| | 00:59 | First off, I'll apply some Bevel and this
is going to be for the entrance bullet holes.
| | 01:03 | So I am going to choose a Direction of
Down, and I am going to choose an Outer
| | 01:07 | Bevel so the shadow and highlight go
outside the hole and I am going to increase
| | 01:12 | the Altitude a little bit to 50.
| | 01:15 | This is going to make the highlight a
little stronger and the shadow a little lighter.
| | 01:18 | Now we'll add that Inner Shadow.
| | 01:21 | I am just going to accept the
default settings and click OK, and there's
| | 01:25 | my first bullet hole.
| | 01:26 | That looks pretty good.
| | 01:27 | I am going to Option+drag or Alt+drag
to create a few more, like a machine gun
| | 01:32 | went after this poor InDesign document,
and I'll Shift+click to select them all
| | 01:38 | and I'll Option+drag or Alt+drag again
and now we'll create some exit holes.
| | 01:42 | I'll double in the Effects panel and
select Bevel and Emboss, and now we'll
| | 01:46 | choose a Direction of Up and we'll
increase the Size a little just to make it a
| | 01:51 | little more prominent.
| | 01:52 | I might want to soften this bevel a little bit.
| | 01:55 | Okay, that works for me.
| | 01:57 | How about 5 pixels? I'll click OK.
| | 02:00 | So there I have some regular bullet holes.
| | 02:03 | I can also enhance the effect by
creating a little jagged shape with the Pencil
| | 02:07 | tool that looks like the paint peeled
off the surface when the bullet hit it.
| | 02:10 | So I'll take my Pencil tool and click
and drag to draw a little jagged shape and
| | 02:16 | I'll hold Option or Alt to
close the path when I am done.
| | 02:19 | In the Swatches panel, I'll give it a
light tint of black. How about 20%?
| | 02:26 | And I'll remove the stroke.
| | 02:27 | I'll go to the Effects panel and
I'll give it a really small Inner Shadow
| | 02:33 | just to give me the sense that there's a
little depth between the paint and the metal.
| | 02:39 | I'll decrease the Distance
and I'll also decrease the Size.
| | 02:45 | Let's see how that looks.
| | 02:46 | That's pretty good.
| | 02:47 | I'll click OK and now I'll move
one of my bullet holes over it.
| | 02:51 | I'll Option+Drag or Alt+Drag and
bring that to the front by choosing Object >
| | 02:56 | Arrange > Bring to Front and I'll darken
the fill color of the bullet hole a little bit.
| | 03:03 | I'll select its fill and
drag the Tint slider up.
| | 03:08 | Then I'll deselect.
| | 03:09 | Now that looks pretty good, but if I
want to, I can also warp this shape
| | 03:14 | with the Pencil tool.
| | 03:15 | I'll zoom in a little bit, I'll get my
Pencil tool, and I'll select the circle.
| | 03:22 | In case I didn't want it to be a
perfect circle shape I can click and drag
| | 03:26 | to reshape this hole, and I can go over it
again until I am satisfied with the effect.
| | 03:32 | Okay, that looks pretty cool.
| | 03:35 | Let's zoom out and deselect and
that's a pretty good bullet hole.
| | 03:42 | Now let's see if we can
create some burns inside InDesign.
| | 03:46 | Here I have some text frames that
look like they are pages that were burnt.
| | 03:50 | They are singed around the edges.
| | 03:52 | I did this with the combination of two shadows.
| | 03:54 | An Inner Shadow and a Drop
Shadow. Let's try it out.
| | 03:59 | So here I have just a light colored
frame and two text frames and I am going to
| | 04:04 | start by taking my Pencil tool and I
am going to drag to create some jagged
| | 04:08 | edges on this light colored frame.
| | 04:11 | Again, I am not trying to be smooth at
all, just trying to create some jagged
| | 04:15 | shapes where I am going to add the burn
effect, all the way down to the bottom
| | 04:21 | and all the way across the top.
| | 04:22 | That looks pretty good.
| | 04:25 | Now I'll select one of the text frames,
copy it, choose my jagged frame, and
| | 04:30 | choose Paste Into from the Edit menu.
| | 04:33 | Now I can select the content in the
Control panel and click and drag to fill
| | 04:37 | this jagged shape with text, and I'll
reposition it. I'll select the jagged
| | 04:43 | frame and apply some effects.
| | 04:48 | First I'll apply an Inner Shadow.
| | 04:51 | I'll reduce the Opacity to 60% and
I'll increase the Distance to 10 pixels.
| | 04:59 | I'll increase the Size to 14 pixels and give it
a Choke of 30% just to make it a little darker.
| | 05:07 | I'll also add a little bit of Noise, say 5%.
| | 05:11 | Next I'll add a Drop Shadow.
| | 05:14 | I'll reduce the Distance down to 3
pixels and I'll change the Angle so the Drop
| | 05:19 | Shadow comes out of the top-left corner
of the jagged shape. And the Opacity is a
| | 05:24 | little too dark for me.
| | 05:25 | I am going to take that
down a bit, just say 50%.
| | 05:30 | And of course, add a little
bit of Noise and click OK.
| | 05:33 | Now I am going to Option+drag or Alt+
drag this page to make a copy of it and
| | 05:39 | right now I have two identical
copies and that seems really unlikely.
| | 05:42 | So I am going to take the Pencil
tool and I am going to click and drag to
| | 05:46 | reshape the jagged edge.
| | 05:47 | Just want it to seem unique.
| | 05:50 | Not like it's a carbon
copy of the one beneath it.
| | 05:56 | I'll do that edge and I'll go down the
side and make some changes there and down here.
| | 06:07 | There we go, and there's my
burned effect with singed edges.
| | 06:11 | You can do all kinds of interesting
things with the irregular shapes you can
| | 06:14 | draw with the Pencil tool.
| | 06:16 | For bullet holes, add Bevel
and Emboss and Inner Shadow.
| | 06:19 | For burns, add two shadows,
| | 06:21 | a Drop Shadow and an Inner
Shadow to create the singed edges.
| | Collapse this transcript |
| 047 Creating Seamless Patterns| 00:01 | With InDesign you can create swatches
of solid colors and of gradients, but
| | 00:05 | you can't create a swatch that will allow
you to fill an object with a repeating pattern.
| | 00:09 | But with some precisely arranged
objects and the Paste Into command, you can
| | 00:13 | make an object that functions like a
pattern swatch, then you can use the
| | 00:17 | Step and Repeat command to fill an
area with the pattern. You can also
| | 00:20 | transform a single object into many
and then fuse them all together with the
| | 00:24 | Pathfinder command.
| | 00:25 | Let's see how it's done.
| | 00:26 | So here I have a scene of some cows in
a field and there's just one problem.
| | 00:31 | These cows aren't contained. They are
going to roam around free and all get lost,
| | 00:34 | and I want to contain them with a fence.
| | 00:36 | So I am going to create a pattern that looks
like a fence and overlay it on top of the photo.
| | 00:40 | I will press the F key on my
keyboard to get my Rectangle Frames tool and
| | 00:44 | click in the document.
| | 00:45 | I am going to create a square
of 100 pixels tall and wide.
| | 00:50 | I'll go to my Swatches panel. I will
target the fill and fill it with black,
| | 00:55 | then I will press the V key on my keyboard
to switch to my Selection tool and zoom in.
| | 01:00 | And in CS5 and later, I have
this yellow square on frames.
| | 01:04 | I can click on that to go into
Live Corners mode and apply corner
| | 01:08 | effects dynamically.
| | 01:09 | You can see the yellow diamonds that
appear around the four corners of the square.
| | 01:13 | I will click and drag on one
of them to apply a Corner effect.
| | 01:17 | Now the first one that comes up is
rounded and that's not going to help me make
| | 01:21 | my fence pattern, but I can hold down
the Option or Alt key and cycle through
| | 01:25 | all the different Corner effects.
| | 01:26 | Click on this diamond and I'll go to
fancy, to beveled, and then to inset, and
| | 01:32 | this is what want to create my fence pattern.
| | 01:35 | Now I will click and drag on that
diamond to increase the amount of inset until
| | 01:39 | it looks like about right what
I want from my fence pattern.
| | 01:41 | And that looks good, that
little cross shape. I will zoom out.
| | 01:46 | Place it in the top left corner of my
document and then choose Edit > Step and Repeat.
| | 01:53 | Now I am going to create a grid.
| | 01:55 | I have the Vertical and Horizontal
Offset matching the size of my square and I
| | 02:00 | can just create as many rows and
columns as I need to fill out my fence pattern
| | 02:05 | and cover the document. There we go.
| | 02:09 | I will click OK.
| | 02:10 | While they're all still selected, I will
go to the Pathfinder panel and click on
| | 02:15 | Add and what InDesign will do is now
fuse all these individual fence segments
| | 02:20 | together into one object and I can
apply one effect to the entire object.
| | 02:24 | So with that still selected, I will
go the Effects panel, double-click on
| | 02:28 | Object, and I will apply some Bevel and
Emboss to give it a little dimension to my fence.
| | 02:32 | I will increase the Altitude
to make it a little shinier.
| | 02:35 | I will make it say 70 degrees.
| | 02:37 | That's a good setting for making things
shiny and click OK and there's my fence pattern.
| | 02:43 | My cows aren't going anywhere now.
| | 02:45 | Let's make another pattern.
| | 02:47 | This time I want to create a tiled pattern.
| | 02:50 | So I will press the F key on my
keyboard and click in the document again and
| | 02:53 | I'll keep the same values
of 100 pixels wide and high.
| | 02:56 | I will go to my Swatches
panel and fill it with black.
| | 03:00 | Now I like to rotate this to 45 degrees so
it seems more like a diamond than a square.
| | 03:06 | So I will press the V key on my
keyboard to get the Selection tool.
| | 03:08 | I will hold down the Shift key and hover over
one of these corners and drag it 45 degrees.
| | 03:15 | Now I will place it in the top left corner
and again choose Edit > Step and Repeat.
| | 03:21 | Now this is left over from my fence
pattern, so I want to change this.
| | 03:25 | I will just decrease the rows and columns
to 2x2 right now and what I need to do
| | 03:29 | is to increase the vertical and
horizontal offsets, so my diamonds just touch
| | 03:33 | each other like they would in a tile pattern.
| | 03:36 | So I will increase both of
these settings to 140 pixels.
| | 03:40 | Now my diamonds just touch.
| | 03:42 | Now it's a matter of again creating as many
rows and columns as I need to fill up the page.
| | 03:50 | There we go. I will click OK.
| | 03:53 | Now I don't want to fuse these
altogether like I did with the fence pattern, but
| | 03:56 | I also don't want them falling out of alignment.
| | 03:58 | So while I still have them all
selected, I am going to group them.
| | 04:02 | Now I'm going to apply an effect.
| | 04:03 | I will choose Effects, target the
Group level, double-click, and I will apply
| | 04:09 | our friend Bevel and Emboss.
| | 04:11 | Again, I like that shiny setting, so I
am going to increase the Altitude from 30
| | 04:15 | degrees to 70 degrees and I would also
like highlights on both the top edges of
| | 04:21 | my tiles, so I am going to decrease
the Angle and make the light source come
| | 04:25 | from straight above.
| | 04:26 | So change it to 90 degrees and click OK.
| | 04:29 | Now I have half the tiles I want.
| | 04:31 | I want to fill in these gaps in between
with another tile that's also beveled.
| | 04:36 | So I can use the Selection tool for that.
| | 04:38 | I will double-click to bring up the
Move dialog box and I'll move them half the
| | 04:43 | distance that I used in the
Step and Repeat dialog box.
| | 04:46 | So now it's 70 pixels in the Horizontal
and Vertical directions, and because I
| | 04:50 | want an extra set of tiles I
will click on Copy. There we go.
| | 04:54 | Now I can just go to the Swatches panel
and change the Tint from 100 down to say
| | 04:58 | 10% black, and there I have my tile pattern.
| | 05:04 | Let's make some wallpaper.
| | 05:06 | I will press the F key on my keyboard
and click in the document and I am going
| | 05:09 | to create a rectangle that will
function as the base for my pattern swatch.
| | 05:12 | I will make it 160 pixels wide by
100 pixels high and click on OK.
| | 05:18 | In my Swatches panel, I will give it
a fill of this nice Victorian Blue.
| | 05:23 | And now I want to create some elements that
are going to repeat throughout the pattern.
| | 05:27 | So I will borrow a glyph from
the Adobe Woodtype Ornaments font.
| | 05:30 | I will click and drag with my Text
tool, and I am going to choose Type >
| | 05:34 | Glyphs, and I've recently applied the
glyph that I want so it appears in my
| | 05:39 | Recently Used Glyphs menu.
| | 05:40 | I will double-click to put into the
document, close the Glyphs panel, and I will
| | 05:45 | increase the type size to 100 pixels.
| | 05:48 | I will switch to my Selection tool and I'd
like to actually convert this to outlines.
| | 05:54 | It's not strictly necessary to do that,
but I just find it easier to use if I've
| | 05:58 | converted this glyph to outline,
rather than leaving it as live text.
| | 06:02 | So I will press Command+Shift+O
or Ctrl+Shift+O on the PC.
| | 06:06 | Now I have an outlined glyph
that I can use in my pattern.
| | 06:09 | I will zoom in and what I want to do
is place this precisely at the center of
| | 06:15 | this glyph at the four
corners of my pattern swatch.
| | 06:18 | So when I create extra pattern
swatches, they all line up perfectly.
| | 06:22 | So I will click from about the middle
of the glyph and use my Smart Guides to
| | 06:26 | help me know exactly when the center of
this glyph is aligned in the top corner
| | 06:30 | of my pattern swatch. There it is.
| | 06:33 | Now I want to make a copy, so I will
hold down Option or Alt and I want to
| | 06:37 | constraint it, so I will hold down Shift
and drag down to make my second corner copy.
| | 06:42 | Again, the Smart Guides is my friend.
| | 06:43 | It lets me know I have perfectly aligned it
with the bottom of the swatch. I will let go.
| | 06:48 | I will Shift+Click to select both of my
glyphs and Option or Alt drag across to
| | 06:54 | create the other two corner copies.
| | 06:56 | Now I would like one for
the center of the pattern.
| | 06:59 | So I will grab any one of these,
Option or Alt+Drag, and then again use the
| | 07:03 | Smart Guides to let me know when I
have it exactly in the middle and let go.
| | 07:08 | Now I want to take these and
paste them into my pattern swatch.
| | 07:12 | I can only paste one object at a time
into another frame, so I have to make
| | 07:16 | these all behave as one, and
I'll do that by grouping them.
| | 07:19 | I will Shift+Click to select all five,
group them, cut them, and then select the
| | 07:27 | frame and choose Edit > Paste Into,
and there I have it, my pattern swatch.
| | 07:32 | I will zoom out, put it in the top left
corner of my document, and again choose
| | 07:39 | Edit > Step and Repeat.
| | 07:41 | I will choose Create as grid, and now I
want to have the Vertical and Horizontal
| | 07:45 | Offsets exactly match what my
size in my pattern swatch was.
| | 07:50 | So it was 100 pixels tall by 160 pixels
wide, and I just have to create enough
| | 07:56 | rows and columns to fill out the page.
I need a few more rows, and I will click OK.
| | 08:03 | Now at this magnification it looks
like there's a little gap in between the
| | 08:08 | pattern swatches, but don't worry.
| | 08:09 | It's not really there.
| | 08:11 | If I zoom in, you can see that it goes way.
| | 08:14 | It's just a screen artifact.
At certain magnifications,
| | 08:16 | it looks like there's a slight gap, but
remember we are really careful using the
| | 08:20 | Step and Repeat function to precisely
align these things and the Smart Guides.
| | 08:25 | So this really is a seamless pattern.
| | 08:27 | InDesign doesn't have dedicated tools
for building patterns, but with a little
| | 08:30 | ingenuity and some careful attention
to alignment, plus the Step and Repeat
| | 08:34 | function, you can create objects that
function just like pattern swatches.
| | Collapse this transcript |
| 048 Using Scripts to Create New Shapes| 00:01 | All InDesign frames, no matter what
content they contain, are vector objects.
| | 00:05 | You can reshape these objects using
tools like the Direct Selection tool and the
| | 00:09 | Pen tool, or you can use a script that
comes with InDesign to quickly reshape
| | 00:13 | paths into interesting shapes.
| | 00:15 | The script is called PathEffects,
and with it you can instantly create
| | 00:19 | complex shapes that would be tedious
or impossible to make using InDesign's
| | 00:23 | path manipulation tools.
| | 00:24 | Let's see how it works.
| | 00:26 | Here I have a set of squares and
circles that I'm going to apply the
| | 00:29 | PathEffects script to.
| | 00:31 | I'll click and drag to select
some and I'll open the Scripts panel.
| | 00:35 | PathEffects is located inside the
Scripts panel in the Application, Samples,
| | 00:40 | and then inside either the JavaScript folder
or the AppleScript folder if you're on a Mac.
| | 00:45 | I'll scroll down and double-
click to run the PathEffects script.
| | 00:51 | In it I see there are several different
effects I can apply and a few options.
| | 00:55 | One called the Offset and another to
make a copy of the path if I don't want to
| | 00:59 | change the original.
| | 01:00 | I'll leave those at their
defaults and I'll apply the Punk effect.
| | 01:04 | I'll click OK and we can see it made a
pretty dramatic change in my square and circle.
| | 01:08 | Let's zoom in to see what happened.
| | 01:10 | I'll switch to my Direct Selection tool
and drag over an anchor point and I can
| | 01:16 | see what the script did.
| | 01:17 | It added direction handles pointed
towards the center of the object and the
| | 01:22 | length of the direction handle
was derived from that Offset value.
| | 01:26 | It's 50% from the anchor point to the center
of the object, because I had a 50% Offset value.
| | 01:33 | The script didn't add any new anchor points.
| | 01:36 | It just added direction handles to
existing anchor points and they all point to
| | 01:40 | the center, and what this does from
the Punk effect is it pushes in all the
| | 01:44 | sides of the object.
| | 01:46 | Remember, this was a square
starting out. This one was a circle.
| | 01:50 | it only looks different because the anchor
points on a circle are in a different place.
| | 01:54 | They're at the top and bottom and on the
sides, but the script did the same thing.
| | 01:59 | It added the direction handles pointed
towards the center, 50% of the distance
| | 02:03 | from the anchor point to
the center of the circle.
| | 02:07 | I'll zoom out and I'll run a
different option in the PathEffects script.
| | 02:13 | This time I'll choose Bloat. I'll click
OK and zoom in to see what Bloat did.
| | 02:20 | I'll drag over one of the anchor points.
| | 02:23 | And again, I have direction handles that
have been added, but this time they're
| | 02:27 | pointing away from the center of the object.
| | 02:29 | So Bloat is sort of the opposite of
Punk. Where Punk pushes the sides of an
| | 02:33 | object in, Bloat will push
the sides of an object out.
| | 02:37 | And again, that Offset amount of 50%
means the length of the direction handle
| | 02:41 | is 50% of the distance from the anchor
point to the center, making for a puffy object.
| | 02:46 | I'll select another square and
circle and run the script again.
| | 02:51 | This time I'll choose PunkBloat.
| | 02:55 | This is going to combine the Punk and
the Bloat functions and give me direction
| | 02:59 | handles pointed both away from and
towards the center of the object.
| | 03:03 | The direction handles are connected, so
if I click and drag one, they both move.
| | 03:08 | This gives me a sort of a twisty effect.
| | 03:12 | I'll select another square and
circle and run the next option, BloatPunk.
| | 03:17 | I'll bet you can guess what this one does.
| | 03:19 | It does the same thing as PunkBloat but
in the opposite direction, so it was as
| | 03:23 | if I twirled this handle around.
| | 03:25 | Again, one direction handle points
towards the center and one points away and
| | 03:29 | they're both connected.
| | 03:30 | I'll run the script again. This time
I'll choose Twirl, select an anchor point,
| | 03:38 | and now I have independent direction
handles, one pointed towards the center of
| | 03:42 | the object and one pointed slightly
away but almost tangent to the curve here
| | 03:46 | on all the four sides.
| | 03:48 | Again, it gives me a twisted effect, but
now the corners are sharp instead of rounded.
| | 03:55 | I'll select another square
and circle and run AntiTwirl.
| | 04:01 | AntiTwirl does the same thing as
Twirl does but in the opposite direction,
| | 04:04 | so the anchor points are twisted and
you get this loop-de-loop effect around
| | 04:08 | all the anchor points.
| | 04:10 | Let's see how you would use one of the
PathEffects scripts for a real project.
| | 04:14 | Here I have some text set with a
Chrome Gradient fill to make it look like
| | 04:18 | it's made out of metal.
| | 04:19 | I made a copy of it, flipped it, and
then used a gradient feather to make it
| | 04:23 | seem like it was
reflected off of a shiny surface.
| | 04:26 | A really cool effect.
| | 04:27 | But I like to take it all the way to
the edge, and for that I want a little
| | 04:31 | light burst effect to pop off of one
of the edges of the letter, say up here.
| | 04:35 | This is the perfect use for the Punk effect.
| | 04:38 | What I'll do is I'll start out with a
polygon. I'll click my Polygon tool, click
| | 04:43 | in the document, and I'll accept these settings.
| | 04:45 | Width and Height of 100 pixels, 6 Sides,
and a 70% Star Inset, and click OK.
| | 04:53 | There's my polygon star.
| | 04:54 | I'll give it a fill of Paper and a
stroke of None, and this is going to be the
| | 05:01 | basis for my light burst.
| | 05:03 | Next I'm going to run Scripts >
PathEffects. I'm going to choose the Punk
| | 05:08 | option, and for the Offset,
I'm going to set it to 0.
| | 05:12 | I want those direction handles pulled
all the way to the center and have a
| | 05:16 | really dramatic effect on my polygon.
| | 05:20 | Okay, and zoom in and I'll deselect, and
there we can see what the Punk effect did.
| | 05:26 | It pulled all the edges all the way
towards the center and made for this really
| | 05:30 | cool looking light burst effect
out of my original six-sided polygon.
| | 05:35 | I'll zoom out, take my Selection tool,
and move it in place at the top of the L.
| | 05:41 | Now one more thing I'd like to do is
to just give it a little bit of an outer
| | 05:44 | glow effect, just to add to
the light coming off of this.
| | 05:47 | So with the Polygon selected, I'll
choose Effects, double-click on it,
| | 05:53 | and choose Outer Glow.
| | 05:55 | I'll set the Opacity to 100%, I'll
leave the technique at Softer, but I want a
| | 06:00 | big glow, so I'm going to
change the Size from 7 pixels to 60.
| | 06:05 | I'll add just a little bit of Noise,
1%, I'll add a little bit of Spread,
| | 06:09 | say 7%, and deselect.
| | 06:14 | And there I have my cool light
burst effect, courtesy of Punk in the
| | 06:18 | PathEffects script.
| | 06:20 | Being able to draw and edit paths
manually with the Pen tool is a great skill to have,
| | 06:24 | but sometimes you'll get
better results faster by just letting the
| | 06:28 | computer do the work for you.
| | 06:29 | In this case, we let a script called
PathEffects reshape objects by moving
| | 06:33 | direction handles towards the center of
the object and we changed the polygon
| | 06:37 | into a cool looking light burst effect.
| | Collapse this transcript |
| 049 Simulating Liquid | 00:01 | Liquids and computers are usually a very
bad combination, but adding things that
| | 00:05 | look like liquids to your InDesign
layouts can be a real eye-catching effect.
| | 00:09 | We can simulate anything from pure
water to black oil with the Bevel and Emboss
| | 00:13 | effect and the Hard Light blending mode.
| | 00:15 | So here I have just an empty
document and I'd like to create a watery
| | 00:18 | puddle effect on it.
| | 00:20 | First thing I need to do is to create a
background object, because I'm going to
| | 00:23 | be using blending modes and it always
takes at least two objects for blending
| | 00:27 | modes to work, foreground
object and a background object.
| | 00:30 | So I'll select my Frame tool, click-and-
drag in the layout, and in my Swatches
| | 00:36 | panel I'll set the fill to Paper, and
I'll lock it by pressing Command or Ctrl+L
| | 00:40 | just to get it out of my way.
| | 00:42 | Now I'll go to the Pencil tool and I
want to draw sort of a puddle shape, just a
| | 00:46 | random rounded shape, nothing too
specific, and when I get close to the end I'll
| | 00:51 | hold Option or Alt to close the path.
| | 00:54 | In my Swatches panel I'll set the fill
to black and a stroke of None, and for
| | 01:00 | a watery effect I'm going to reduce the
Tint from 100% down to just above 50%,
| | 01:05 | something like 52%.
| | 01:07 | In the Effects panel I'll switch from
the Normal blending mode to Hard Light.
| | 01:12 | Now I'm ready to apply Bevel and Emboss.
| | 01:13 | I'll slide this over so I can see
what I'm doing, double-click to open the
| | 01:18 | Effects dialog box, and I'll
click on Bevel and Emboss.
| | 01:21 | Now I get a nice highlight and a dark shadow.
| | 01:24 | I want to reduce that shadow.
| | 01:25 | So I'm going to go to the Altitude
setting and increase it from 30 degrees to 70
| | 01:30 | degrees, and that also moves the
highlight a little bit away from the edge.
| | 01:34 | I can increase the Size of the Bevel,
to go from a flat puddle to a big fat
| | 01:39 | droplet, or decrease it back again.
| | 01:42 | I want a puddle so I'm
going to leave it like that.
| | 01:45 | I'll click OK and then to go from plain
water to black oil, all I have to do is
| | 01:50 | go to my Swatches panel and increase
that Tint of the fill back to a 100%.
| | 01:54 | Now if that super bright highlight
isn't working for you, just go back to the
| | 01:59 | Effects panel, open up the dialog box
and decrease the Highlight Opacity.
| | 02:05 | That looks more like oil. I'll click OK.
| | 02:08 | Then to change to a different liquid I
can just go to the Swatches panel and
| | 02:11 | change the fill color.
| | 02:13 | So vampires are all the rage nowadays,
so I could have a puddle of blood if I
| | 02:17 | wanted to, or I could have paint, or
melted wax, or a melted chocolate, just by
| | 02:22 | changing the fill color.
| | 02:23 | There are two key steps to
simulating liquids in InDesign.
| | 02:27 | The first is to apply the Bevel and
Emboss effect with a high altitude setting.
| | 02:31 | This gives the liquid a shine by
concentrating the highlight and reducing the shadow.
| | 02:36 | The second is to apply the Hard Light
blending mode, which is indispensable for
| | 02:40 | simulating water and others
translucent liquids, because it allows us to have
| | 02:43 | full strength highlights and
shadows on a nearly clear fill color.
| | Collapse this transcript |
| 050 Creating Editable Knockout Text| 00:01 | Transparency blending modes allow
us to mix the colors of objects.
| | 00:04 | You can even make objects
disappear with blending modes.
| | 00:07 | You may wonder, what's the
use of an invisible object?
| | 00:10 | Well, one cool use is Knockout Text,
where the text acts like a mask revealing
| | 00:14 | objects underneath, and the name of this
effect suggests the key to creating it:
| | 00:19 | the Knockout Group feature.
| | 00:20 | So here I have a nice placed photo of
some flowers and some green grass giving
| | 00:24 | me this nice summery feel and I can
actually see the photo through the letters.
| | 00:29 | And I have a slightly opaque
background here. I can kind of see the
| | 00:32 | flowers through that too.
| | 00:34 | But there's different opacity of the
letters and the text frame and this is
| | 00:38 | live text here. This is actual letters,
not some kind of Outline Text effect.
| | 00:41 | Let's see how I did that.
| | 00:44 | So here I have the plain frame.
| | 00:45 | The frame is filled with
white and the text is black.
| | 00:48 | In my Swatches panel, I will target the
text and change the fill from black to Paper.
| | 00:54 | That makes it match the background of
the frame, so we can't really see it right
| | 00:57 | now, but that's okay.
| | 00:58 | Then I will select Formatting Affects
Container and go to my Effects panel.
| | 01:02 | I will target the text and change the
blending mode from Normal to Multiply.
| | 01:08 | Then I will target the Object level
and I will click on Knockout Group, and
| | 01:13 | this makes the text knock out right through
the frame, and I can see what's underneath.
| | 01:17 | So again, I fill it with Paper and
set it to Multiply, then when I click
| | 01:21 | Knockout Group, that knocks the text right
through the frame so I can see the photo.
| | 01:25 | What's really cool is I can also
control the opacity of the fill separately, so
| | 01:29 | I can target that and change
its opacity by dragging the slider.
| | 01:32 | So I can bring that down to
75% or so, or whatever I want.
| | 01:36 | So the fill opacity is completely
separate from the opacity of the text.
| | 01:40 | Let's try something a little more complex.
| | 01:43 | Now, this is a really cool effect
where I am using the text to mask this
| | 01:47 | picture of the jack-o-lantern and create this
really cool Legend of Sleepy Hollow graphic.
| | 01:51 | So I did this using that same
idea of the Knockout Group text.
| | 01:55 | Let's start from scratch.
| | 01:57 | So here I just have the placed text
and I am going to change the fill of the
| | 02:00 | text from black to Paper.
| | 02:02 | I'll go to my Swatches panel, select
the text, and change the fill to Paper.
| | 02:08 | Then I will select Formatting Affects
Container and go to the Effects panel.
| | 02:12 | I'll target the text and I'll
start applying some effects.
| | 02:17 | First I will do Bevel and Emboss.
| | 02:20 | I'll choose an Inner Bevel
with a Smooth and Up settings.
| | 02:23 | I will decrease the Size a little
bit to 5 pixels, and I will leave the
| | 02:28 | other settings the same.
| | 02:30 | Now I'll apply an Outer Glow.
| | 02:31 | I will keep the Screen blending mode but
change from the Paper swatch to RGB Red.
| | 02:39 | And I want to really intense Outer Glow.
| | 02:41 | So I will leave the 75% Opacity, but I
will really increase the Size, from 7
| | 02:45 | pixels to 20 pixels.
| | 02:47 | I will give some Noise and I will
increase the Spread to 20% to thicken that
| | 02:52 | Outer Glow, and click OK.
| | 02:54 | Now I want a black background, so
I'll grab my Rectangle Frame tool and
| | 02:58 | click-and-drag over the whole layout.
| | 03:01 | And in the Swatches panel, I will
change the fill color to black and I'll send
| | 03:06 | this to the back by choosing
Object > Arrange > Sent to Back.
| | 03:09 | I will lock it by pressing Command+L
or Ctrl+L so it doesn't get in my way.
| | 03:14 | Now I'll place the pumpkin graphic
by pressing Command+D or Ctrl+D and
| | 03:20 | clicking in my layout.
| | 03:21 | I will move him over a little bit
and I will bring the text to the front.
| | 03:26 | I will select the pumpkin, I'll copy it,
and choose Edit > Paste in Place or
| | 03:32 | Command+Shift+Option+V, Ctrl+Shift+Alt
+V to make a second copy, and this is
| | 03:37 | going to be the one that I fill with text.
| | 03:39 | So I am going to right-click on it,
and scroll down in the menu and choose
| | 03:44 | Convert Clipping Path to Frame.
| | 03:46 | This picture was saved with a clipping
path in Photoshop and I can convert that
| | 03:49 | to an InDesign frame
that's going to hold the text.
| | 03:52 | Now, I will double-click on the pumpkin.
| | 03:54 | I have a spare pumping graphic that I want
to get rid of now, so I will press Delete.
| | 03:58 | Now I have an empty frame and I
need to change it so it's a text frame.
| | 04:01 | So I will choose Object > Content > Text.
| | 04:05 | Now I can place the text in it.
| | 04:07 | I will choose my Sleepy Hollow text, and I
will select the paragraph style sleepy hollow.
| | 04:15 | I will remove any local override so I
get the exact font and color that I want.
| | 04:21 | So now I have text that's filled with
paper overlaying my pumpkin graphic.
| | 04:25 | I will set the fill of the frame to
black to completely hide the pumpkin and
| | 04:30 | then I will go to the Effects panel,
select my text, and change it from the
| | 04:34 | Normal blending mode to Multiply.
| | 04:37 | This makes it temporarily disappear, but
then I will target the Object level and
| | 04:42 | choose Knockout Group.
| | 04:45 | And there you have it, the
knockout text revealing the
| | 04:47 | jack-o-lantern underneath.
| | 04:49 | I will bring my title back to the front
and then I will select my pumpkin and I
| | 04:54 | will apply that Outer Glow
effect to complete the graphic.
| | 04:56 | So I will select Effects, double-click at
the Object level, and click on Outer Glow.
| | 05:02 | I will select my red color. I will
choose a really big Outer Glow, 100 pixels.
| | 05:09 | I will add some eerie haze with some
Noise and I will thicken the Outer Glow by
| | 05:15 | giving it 20% Spread, and click OK.
| | 05:17 | I will deselect and there is the
finished product, a really cool Halloween
| | 05:23 | graphic, courtesy of Knockout Text.
| | 05:26 | Creating the effect of text knocking
out the frame that contains it is a cool
| | 05:29 | way to take advantage of
the magic of blending modes.
| | 05:32 | You can do it in two steps.
| | 05:34 | The first is to make the text invisible
by filling it with the Paper swatch and
| | 05:38 | then setting the text to multiply,
then target the frame in the Effects panel
| | 05:42 | and select Knockout Group. That's it!
| | 05:45 | You can control the opacity of the text
frame separately, and if you want, only
| | 05:48 | reveal underlying objects through the text.
| | Collapse this transcript |
| 051 Making Peeling Stickers| 00:00 | The effect of making something look
like a peeling sticker is very popular in
| | 00:04 | both print and on the web nowadays.
| | 00:06 | It can add a bit of fun
and some depth to a design.
| | 00:09 | The key to the effect is simulating
the curled part of the sticker lifting up
| | 00:13 | off a surface, and for that Drop
Shadows and gradients are the tools of choice.
| | 00:17 | So here I have just a little bit of text,
I love FX in this round sticker shape,
| | 00:21 | and we can see that the bottom right
corner is peeled up off the surface and
| | 00:24 | we've actually created another little
area here that simulate some glue that got
| | 00:28 | left behind when the sticker peeled up.
| | 00:31 | So let's see how we did that.
| | 00:32 | I am going to switch to another page,
where I just have the text frame here.
| | 00:35 | I am going to click on the L key on my
keyboard to get the Ellipse tool and
| | 00:39 | I am going to click over here on my
document and I am going to accept these values.
| | 00:43 | I am going to make a perfect circle of
220 pixels high and wide. I will click OK.
| | 00:47 | I will go to my Swatches panel and I'm going
to set a stroke of None and a fill of Paper.
| | 00:54 | Now, right now this is a
really flat looking object.
| | 00:56 | It almost just looks like a hole in the
wood grain background, and what I want
| | 01:00 | is to give it just a little bit of dimension.
| | 01:02 | Now, a sticker is made of paper,
really thin material, so I really want a
| | 01:06 | very subtle effect.
| | 01:07 | I want a teeny tiny Drop
Shadow exactly behind the sticker.
| | 01:11 | So I am going to click on my Effects
panel and double-click at the Object level
| | 01:14 | to bring up the Effects dialog box.
| | 01:16 | I am going to click on Drop Shadow, and
to make it go exactly behind the circle
| | 01:21 | I am going to change this Distance value to 0.
| | 01:23 | I am going to leave the Size at 5
pixels, but I am going to increase the
| | 01:27 | Spread value here, and that will make
the Shadow a little bit darker right at
| | 01:31 | the edge of the ellipse.
| | 01:33 | So I will click-and-drag to move that
up to maybe 20%, maybe even 30%, and
| | 01:38 | see how that looks. I will click OK.
| | 01:40 | I will deselect.
| | 01:42 | Now I can see there is a very subtle
shadow around the edge of the circle,
| | 01:45 | giving it a little bit of dimension.
| | 01:47 | The next thing I want to do is to
actually cut the segment off that is going to
| | 01:50 | form the curled part, and for that
I am going to use the Scissors tool.
| | 01:53 | I will go over to the ellipse and
hover where I want to make the cut. I will
| | 01:56 | click once, and twice, and then I will
press the V key on my keyboard to switch
| | 02:01 | back to my Selection tool.
| | 02:03 | In the Control panel I will make sure
that I have the center reference point
| | 02:06 | selected, and then I am going to
use my Flip tools to flip this both
| | 02:09 | horizontally and vertically so
it curls up off the surface.
| | 02:13 | So I'll click once on Flip Horizontal and
once on Flip Vertical, and I will deselect.
| | 02:18 | Now, that's okay, but that looks
more like a fold then a curl to me.
| | 02:22 | What we need to do is to change the Drop
Shadow that's been applied to this curl
| | 02:26 | and make it a little bit larger and a
little bit softer to make it feel like
| | 02:29 | it's up off the surface.
| | 02:30 | I will click on the new piece.
| | 02:32 | I will double-click in the Effects panel
to bring up that Drop Shadow dialog box
| | 02:35 | again, and I am going to increase the Size.
| | 02:38 | I will select it and I'll tap the up
arrow key on my keyboard a couple of times
| | 02:41 | to make it a little bit larger, and
then to make it a little bit lighter I am
| | 02:45 | going to click on the Spread and
take that all the way down to 0.
| | 02:48 | That looks pretty good!
| | 02:49 | I might also take the Opacity down a little bit.
| | 02:52 | That seems a little dark still, so
instead of 75%, I will make it 50% and click OK.
| | 02:58 | And I deselect.
| | 02:59 | That's looking a little bit better.
| | 03:00 | It looks like it has lifted up off the surface.
| | 03:03 | But it still doesn't
really seem like a curl yet.
| | 03:05 | I want to change this from a plain
white background to a gradient that makes it
| | 03:09 | seem like it has a rounded shape.
| | 03:10 | So I have the new segment selected, I'll
go to my Swatches panel, and instead of
| | 03:15 | being filled with Paper, I am
going to fill it with a gradient.
| | 03:16 | I have a gradient called
sticker back that I am going to apply.
| | 03:20 | I'll click once to apply it, and
actually I will double-click to bring open the
| | 03:23 | Gradient Options dialog box so
we can see what sticker back is.
| | 03:27 | On one side of the gradient ramp it's
plain white, but most of it is filled with
| | 03:31 | a light tint of black, 30%. Click OK.
| | 03:35 | I am going to zoom in on the segment.
| | 03:37 | Now, right now the gradient is being
applied from left to right, so it really
| | 03:40 | doesn't add anything to my curled feel.
| | 03:42 | Where I need to apply it is down
across the curl, and for that I am going to
| | 03:45 | use the Gradient tool.
| | 03:46 | So I will tap the G key on my keyboard
and I am going to click-and-drag across
| | 03:50 | the segment to apply the
sticker back gradient, like so.
| | 03:54 | And that's making it feel like light is
shining up at the top here and then this
| | 03:57 | part is going into shadow.
| | 03:59 | If you don't like how it came out the
first time, you can just click-and-drag
| | 04:02 | again with the Gradient tool until you
get a nice peeled feel. I like that.
| | 04:06 | So I am going to zoom back out and deselect.
| | 04:09 | So there is my basic sticker shape.
| | 04:10 | Now I am going to switch to my
Selection tool by pressing the V key and I am
| | 04:14 | going to select my text frame, I love FX.
| | 04:16 | I am going to cut that, select my
sticker shape, and choose Edit > Paste Into.
| | 04:22 | If I want to transform this, I can
click on the content grabber and go up to my
| | 04:27 | Control panel and change the Angle.
| | 04:29 | If I want to angle that text let's say
10 degrees and make it a little bit
| | 04:32 | more fun, I can do that. I will deselect.
| | 04:35 | And then the one last thing I would
like to add is that little lightened area
| | 04:38 | underneath to show a little
bit of glue that got left behind.
| | 04:42 | So I will press the L key on my
keyboard again, click in the document to create
| | 04:46 | another ellipse, and I want to fill
this with Paper, give it a stroke of None.
| | 04:51 | And then go to my Effects panel
and bring the Opacity way down.
| | 04:54 | I will bring it down to maybe say 15%
or so, just something really subtle, just
| | 04:58 | to lighten this background.
| | 05:00 | I will press the V key to switch to my
Selection tool, position it right over my
| | 05:05 | sticker, and send it to the back.
| | 05:07 | And I will tap the up arrow key to make
sure it's exactly behind, and deselect,
| | 05:13 | and let's zoom in and see our
Sticker effect. There it is.
| | 05:17 | So we can create a peeled sticker by
starting with a simple shape, using the
| | 05:20 | Scissors tool to cut and then flip it
with the Flip Control tools in the Control
| | 05:24 | panel, and then we use gradients and
drop shadows to simulate it being raised up
| | 05:28 | off the surface that the
rest of the sticker is stuck to.
| | 05:31 | By thinking about how things work in
the real world, we can add that little
| | 05:34 | something extra to our effects and
make them seem a little less flat and
| | 05:36 | digital and a little more real, like
this little bit of glue left behind when
| | 05:40 | the sticker peeled up.
| | Collapse this transcript |
| 052 Tips for Text Stroke Effects| 00:01 | InDesign only allows you to apply
a single solid stroke to live text.
| | 00:05 | Unfortunately, this prevents you from
unleashing the full power of creative
| | 00:09 | effects on text, but when you convert
text to outlines they become just like any
| | 00:13 | other object and you open up
a ton of new possibilities.
| | 00:15 | Here I have some text that I wanted
to look like a neon sign with a glowing
| | 00:19 | effect, and by converting it to
outlines I was able to apply special stroke
| | 00:24 | style, this double stroke of Thin -
Thin, to make it look like a neon sign.
| | 00:28 | Let's see how it's done.
| | 00:29 | Here is my live text.
| | 00:31 | I will choose Type > Create Outlines
and now I can go to the Control panel
| | 00:36 | and choose from the stroke menu any of the
stroke styles and apply this to my outline text.
| | 00:41 | In this case, I want to choose Thin - Thin.
| | 00:44 | I'll change the fill to None and the
stroke color to that orange color I was using.
| | 00:50 | Now this is really thin so I want to increase
the stroke width to something like 7 pixels.
| | 00:56 | That looks good.
| | 00:58 | Now I want to apply some effects.
| | 01:00 | Click on the Effects panel. I can target
the stroke and I'll apply an Outer Glow.
| | 01:06 | I'll change the color from Paper to orange.
| | 01:11 | I'll decrease the opacity from 75% down
to 60% and I'll increase the Size of the
| | 01:16 | glow from 7 pixels to 20,
and I'll give it some Spread.
| | 01:22 | 30% Spread will make it visible.
| | 01:25 | There, that's a nice glow.
| | 01:27 | Now I want to apply some Bevel and
Emboss to give some shape to the neon.
| | 01:30 | I will click on Bevel and Emboss.
| | 01:34 | I'll choose Inner Bevel, Smooth
Technique, and a Direction of Up.
| | 01:38 | But it's too large right now.
| | 01:39 | So I'll decrease the Size
from 7 pixels down to 2.
| | 01:43 | I'll increase the Altitude to increase the
shininess, about from 30 degree to 40 degrees.
| | 01:50 | I'll increase the Opacity of the
Highlight all the way to 100%, because I'm
| | 01:54 | looking for a really bright shiny sign,
and I'll decrease the Opacity of the
| | 01:58 | Shadow down to 0, because
this is a light after all.
| | 02:00 | There should be no shadows on it.
| | 02:03 | There I have my neon sign by converting
text to outlines and applying an Outer
| | 02:07 | Glow and Bevel and Emboss. Let's try another.
| | 02:10 | Here is one I call blacklight.
| | 02:14 | It's basically text that's been
converted to outlines and the stroke is colored
| | 02:18 | with a rainbow gradient and then
I've applied a dotted stroke to it.
| | 02:22 | Here is the original text.
| | 02:24 | If I select it and choose Type > Create
Outlines, I can go to the stroke styles
| | 02:31 | in the Control panel and I can
choose either Dotted or Japanese Dots.
| | 02:35 | I'll choose Japanese Dots in this case,
because I want the dots close together.
| | 02:40 | Those are really small right now.
| | 02:41 | So I will increase the Width of the
stroke to 2 pixels, and click off.
| | 02:47 | A really simple effect, but a
fun one too. Let's try another.
| | 02:50 | Here is the scribble effect.
| | 02:52 | It's accomplished by converting text to
outlines and applying a number of wavy
| | 02:56 | strokes one on top of the other to
multiple copies of the outline text.
| | 03:01 | Here's the original text.
| | 03:04 | I'll choose Type > Create Outlines and
change from a solid stroke to a wavy stroke.
| | 03:11 | I'll zoom in, and because right now the
stroke width is just 1 pixel the waves
| | 03:16 | are very small. If I increase the stroke
width, I'll increase the height of the waves.
| | 03:21 | So I'll increase it to say 3 pixels.
| | 03:24 | I'll copy this and choose Edit > Paste in Place.
| | 03:27 | So now I have two copies of the
outlined text, one right on top of the other.
| | 03:32 | For my copy on top of I am going to
increase the stroke width again to say 5 pixels.
| | 03:37 | Now I am getting a really
nice mixed scribbly effect.
| | 03:41 | Let's do it one more time.
| | 03:42 | Copy, Edit > Paste in Place, and increase the
stroke width again to get even bigger waves.
| | 03:50 | I'll choose 7.
| | 03:52 | Zoom back out and there I
have a neat scribbly effect.
| | 03:55 | Here I have used two different custom
stroke styles to make text look like it's
| | 03:59 | been stitched into fabric.
| | 04:01 | One stroke style is for the thread and
the other stroke style is for the holes
| | 04:05 | that the thread goes into.
| | 04:07 | Let's see how it's done.
| | 04:08 | Here's my live text.
| | 04:10 | In the Swatches panel I'll give it a
stroke of black and a fill of None.
| | 04:16 | Then in the Stroke panel I can
choose my custom stroke styles.
| | 04:19 | I'll choose Stitching holes, and I
will increase the Width to 2 pixels.
| | 04:25 | From the Stroke panel menu let's take
a look at what this stroke style is.
| | 04:29 | Stitching holes, I'll double-click on it
and I can see it's a dotted stroke with
| | 04:33 | a Pattern Length of six points and
the Corner option is set to None.
| | 04:37 | So I've turned off all adjustment of
gaps, and this is an important setting
| | 04:41 | in this case because I'm overlaying two
custom stroke styles, one dotted and one dashed.
| | 04:47 | If InDesign were to adjust the dashes
and gaps around the corners of the text,
| | 04:51 | my holes and my thread would become misaligned.
| | 04:54 | So I don't want any of that kind of
dynamic changing of the pattern width.
| | 04:58 | I want it to be locked down
and stay exactly as I set it.
| | 05:01 | So again Corner options are set to None.
| | 05:03 | I'll click OK and get out of the dialog box.
| | 05:06 | Now I'll zoom in because I
want to apply effects to my holes.
| | 05:10 | I want to apply a shadow to give a sense
that I'm pushing down into the material
| | 05:15 | and give it a little bit of depth.
| | 05:17 | So I'll double-click, turn on Drop Shadow,
I will change the Distance to 0, I'll
| | 05:24 | change the Size to 2 pixels, and give it a
Spread of 30%, and click OK. I'll zoom out.
| | 05:35 | Now I want to apply a second stroke
style to a copy of this to make my thread.
| | 05:40 | So I will copy it, choose Edit > Paste
in Place, and I'll change from my custom
| | 05:47 | hole stroke style to my
custom thread stroke style.
| | 05:51 | In the Swatches panel I will change
the stroke color from black to Paper.
| | 05:56 | I will zoom in and in my Effects panel
I want to apply a Bevel and Emboss to
| | 06:02 | make this have a little bit of dimension to it.
| | 06:05 | So I will turn off the Drop Shadow and
turn on Bevel and Emboss and for the
| | 06:10 | thread I want an Inner Bevel,
Smooth, with an Up Direction.
| | 06:14 | I'll reduce the Size from 7
pixels to 3 pixels and click OK.
| | 06:19 | I will zoom out and deselect and there
I have my stitched text, courtesy of two
| | 06:26 | custom stroke styles and a couple of
effects, Bevel and Emboss and Drop Shadow.
| | 06:32 | By converting text to outlines you make
it possible to apply any stroke style to it,
| | 06:36 | including custom stroke styles
that you create, and in doing so you unlock
| | 06:40 | all kinds of
possibilities for text stroke effects.
| | Collapse this transcript |
| 053 Creating 3D arrows| 00:00 | Hi! I'm Mike Rankin and
welcome to this week's InDesign effect.
| | 00:04 | The objects you can draw in InDesign are always
going to be flat two-dimensional things. That's
| | 00:09 | just their nature,
| | 00:10 | but you can often make them look more
visually engaging by adding some curves to make them
| | 00:14 | look like they're twisting around in space.
| | 00:16 | Let's see how.
| | 00:18 | Here I have a few examples of some curved
arrows that look like they're coming out from
| | 00:22 | behind these purple
rectangles and curving nicely.
| | 00:24 | Let's go to the next page of
the document, and make one of these.
| | 00:28 | So here I just have the purple rectangle,
and I'm going to start by making the curved
| | 00:32 | arrow by pressing the L key on my keyboard to get my
Ellipse tool, and I'm going to draw the curve.
| | 00:37 | So I'm going to hold Option or Alt on
my keyboard to start drawing from the center
| | 00:41 | and I'll draw out a little ellipse right on the left
side of the purple rectangle, just about like that.
| | 00:46 | Then I'm going to press Shift+X on my
keyboard to exchange the Stroke and Fill, and I'll
| | 00:52 | go to my Swatches panel and I'll
fill it with this orange color.
| | 00:55 | I'm going to copy it, then I'm going to
choose Edit > Paste in Place, and I'm going
| | 01:01 | to go to the Object menu and
choose Convert Shape > Rectangle.
| | 01:06 | So now I have a rectangle in the exact
same size and dimensions as the Ellipse.
| | 01:10 | I'll take my Selection tool, I'll Shift+
Drag over, and what I want to do is align the left
| | 01:16 | edge of this rectangle with
the center of the Ellipse.
| | 01:19 | I'll Shift+Click to select both of them,
and then I'll choose Object > Pathfinder > Add
| | 01:24 | to add those two shapes together,
so now they are one object.
| | 01:28 | I'll copy it to my clipboard and then
I'll choose Object > Arrange > Send to Back, so
| | 01:33 | now it's behind the rectangle, and then I'm
going to lock this one just by choosing Object >
| | 01:37 | Lock or pressing Command+L
or Ctrl+L on my keyboard.
| | 01:41 | Now remember I have another copy of
this object on my clipboard right now.
| | 01:44 | So I'm going to paste that in place by pressing
Command+Shift+Option+V or Ctrl+Shift+Alt+V on the PC.
| | 01:49 | I'm going to take my
Direct Selection tool,
| | 01:52 | I'm going to click and drag and just
select these bottom two control points; this one
| | 01:56 | here and that one there, and I'm
going to press the Delete key on my keyboard.
| | 02:01 | So now I just have this top curve right here.
| | 02:03 | I'll press V to switch to my Selection tool,
hold down Option or Alt on my keyboard and
| | 02:09 | Shift+Drag up, and this is
going to be the curve of the arrow.
| | 02:13 | I'll deselect, press A on my keyboard
to get my Direct Selection tool again, click
| | 02:17 | and drag over the left side, and now
I have just these two control points.
| | 02:22 | Now I'll go to the Pathfinder panel and choose
Paths > Join Path and it joins those two points together.
| | 02:29 | Now I need to add the arrowhead.
| | 02:30 | For that, I'm going to take my Polygon
tool, click and drag, and right now I have five
| | 02:36 | sides on my polygon, so I'm going to press
the spacebar on my keyboard, and tap the down-arrow
| | 02:41 | key a couple of times until
I get a three-sided object.
| | 02:44 | I can drag to make it as big as I want to,
release my mouse button, I'll press Shift+X
| | 02:49 | again to exchange the Stroke and Fill, take my
Selection tool, and click and drag to rotate this.
| | 02:56 | I'll position it in place, I'll Shift+
Click to select my curved part of my arrow, and
| | 03:02 | in the Pathfinder panel, I'll click Add.
| | 03:05 | Now I'll go to my Swatches panel, I'll change the
Fill from black to my arrow gradient here, and deselect.
| | 03:12 | And if I want to, I can also
adjust the arrowhead shape.
| | 03:14 | I'll take my Direct Selection tool, I'll
click on this point here, and tap the right-arrow
| | 03:19 | key on my keyboard a few times,
and do the same for this point here.
| | 03:24 | So by combining paths with the Pathfinder
and using a few other drawing tricks, we were
| | 03:28 | able to create an arrow that looks like it's
wrapping around another object on the page.
| | 03:32 | I'm Mike Rankin and
I'll be back in two weeks.
| | 03:35 | Thanks for watching!
| | 03:37 |
| | Collapse this transcript |
| 054 Creating personal buttons| 00:00 | Hi! I am Mike Rankin and welcome
to this week's InDesign effect.
| | 00:04 | Like bumper stickers and t-shirts, buttons
can allow you to make a personal statement
| | 00:08 | without even opening your mouth.
| | 00:09 | You can also make a personal statement in
your designs by adding buttons you make from
| | 00:13 | scratch in InDesign, and you might be
surprised at just how realistic the results can be,
| | 00:18 | using a combination of
Bevel & Emboss and Drop Shadow.
| | 00:21 | So here in my document I have a photo of a
backpack and I've created a button saying
| | 00:26 | I Love FX, in InDesign.
| | 00:28 | So let's see how we made that.
| | 00:29 | I'll go to the second page of the document
where I just have the photograph of the backpack,
| | 00:34 | and I have a text frame here saying I Love FX.
| | 00:37 | So to start drawing the button, I'm going
to press the L key on my keyboard to get my
| | 00:41 | Ellipse tool, I'll click on top of the backpack,
and I'm going to create a circle with these
| | 00:45 | dimensions; 120 pixels in width and height.
| | 00:48 | I'll click OK, I'll press Shift+X on my
keyboard to exchange the stroke and fill,
| | 00:54 | so now I have a fill of black and no stroke,
and I'll change that fill from Black to Paper.
| | 01:00 | I'll switch to my Selection tool and move
my text frame over the Ellipse, move it into
| | 01:06 | place and choose Object > Arrange > Bring to Front.
| | 01:10 | Now I will select that Ellipse, I'll copy it and
press Command+Shift+Option+V or Ctrl+Shift+Alt+V
| | 01:15 | on the PC to paste it in place, and now I'll
move it over to the left and we're going
| | 01:20 | to change the fill from white to 50% black,
and this is going to help with the effect
| | 01:25 | that we're creating.
| | 01:27 | In order for this button effect to work, I
have to check the Transparency Blend Space
| | 01:30 | in this document.
| | 01:32 | So I'll go to the Edit menu and check
Transparency Blend Space > Document RGB.
| | 01:36 | The effect that I'm going to use here depends
on the document using Document RGB blend space.
| | 01:43 | When InDesign blends colors using
transparency effects, it needs a common color space in
| | 01:47 | which to blend those colors, and every document
is either set to Document CMYK or Document RGB.
| | 01:53 | If your document was set up to use CMYK blend
space, you need to understand that this can
| | 01:58 | affect the colors on all your
spreads that have transparency.
| | 02:01 | So before you change that blend space, you
need to do a little research about that setting.
| | 02:06 | If you want to know more about this I
recommend you watch my video in the InDesign FX series
| | 02:10 | called Getting Effects into Print.
| | 02:12 | So for this document, it's going to be set to
Document RGB, and now I'll go to the Effects
| | 02:16 | panel, and I'll apply Bevel and Emboss.
| | 02:20 | I'll keep the Style at Inner Bevel, the
Technique at Smooth, and the Direction at Up.
| | 02:25 | I'll keep the Size at 7 pixels, but I'm
going to soften it a little bit, say 3 pixels.
| | 02:30 | I'll keep the Depth at 100%.
| | 02:33 | And for the Shading, I'm going to change the
Angle of the light source from 120 degrees
| | 02:37 | to 90 degrees, so the light is coming straight
down from above, and I'll increase the Altitude
| | 02:42 | setting from 30 degrees to 70 degrees.
| | 02:45 | By increasing the Altitude, I lighten the
Shadow area and I intensify the highlight,
| | 02:49 | making for a more shiny effect.
| | 02:51 | I'll keep the Highlight at 75% Opacity,
and I'll actually increase the Opacity of
| | 02:56 | the Shadow all the way to 100%,
and I'll add a Drop Shadow.
| | 03:00 | I'll decrease the distance of the Drop
Shadow down to 3 pixels, and I'll make that Angle
| | 03:05 | match the angle that I used for
the Bevel and Emboss; so 90 degrees.
| | 03:09 | So I have a consistent lighting
effect on this button and I'll click OK.
| | 03:14 | Now we need to change the
blending mode that's set to this object.
| | 03:17 | Right now it's set to the Normal blending
mode, but I want to switch it to Hard Light.
| | 03:21 | When I do that, the 50% gray disappears.
| | 03:25 | So for the Hard Light Blending mode, 50%
gray is a neutral color, meaning it disappears
| | 03:29 | when you apply Hard Light, but shadows and highlights
that are lighter and darker than 50% gray remain.
| | 03:36 | And this is key for making shiny
transparent effects like we want on our button.
| | 03:40 | If I zoom in right now, I can see the shadow,
but I can't really see the highlight because
| | 03:44 | the button was filled with white.
| | 03:46 | So what I want to do is to go to the
Swatches panel, target the fill of this object, and
| | 03:50 | make it a little bit darker than that 50% gray.
| | 03:53 | So I'll just tap the up-arrow key on my
keyboard a few times just to bring a little
| | 03:57 | bit of gray there, and now I can see
the highlight as well as the shadow.
| | 04:00 | I'll zoom back out and
see the completed effect.
| | 04:04 | The button effect is just one of many uses for
the Hard Light blending mode when making effects.
| | 04:08 | The key is to use Hard Light on an object
filled with the neutral or near neutral gray
| | 04:12 | overlaid on top of the background, and that's
what gives this button effect its dimensionality
| | 04:17 | and its personality.
| | 04:18 | I'm Mike Rankin and I'll be back in two weeks.
| | 04:21 | Thanks for watching!
| | 04:22 |
| | Collapse this transcript |
| 055 Simulating leather with bevel and emboss| 00:00 | Hi! I'm Mike Rankin and welcome
to this week's InDesign effect.
| | 00:04 | I often say that bevel and emboss is the
king of InDesign effects in my opinion.
| | 00:08 | There is just so many different things you can
do with the shadows and highlights it creates.
| | 00:12 | One example is to use it to simulate real
embossing on a surface where you might expect
| | 00:16 | it, like a leather book cover, and if you
are careful to match the real shadows and
| | 00:20 | highlights, your effect will blend right in
and no one will be able to tell the difference
| | 00:23 | between what's leather and what's InDesign.
| | 00:26 | So here we have our book cover and it's a
real photograph of a book cover, but these
| | 00:29 | objects, the text frame and the
frame underneath are InDesign objects.
| | 00:34 | And if I go to the Layers panel, I turn off
the background and you can see them there,
| | 00:38 | or I can turn off the text and
you can see the original photo.
| | 00:41 | So let's see how we made these.
| | 00:43 | I'll go to the next page of the document where
I just have the photo of the book cover and
| | 00:46 | we'll start making this.
| | 00:48 | So I'll press the F key on my keyboard to
get my Rectangle Frame tool, I'll click in
| | 00:52 | the document, and I'll create a rectangle
that's 320 pixels wide by 160 pixels tall.
| | 00:58 | I'm going to fill it with 50% black, so I'll
go to my Swatches panel, target the fill,
| | 01:04 | black, Tint of 50%.
| | 01:06 | Now I'm going to apply a corner radius to
make it fancy like the rest of the book cover.
| | 01:10 | So up in the Control panel, I'll go to my Corner
Controls, I'll choose Insert Rounded and 20 pixels.
| | 01:16 | I'll press V on my keyboard to get my Selection
tool and move it into place, and I also want
| | 01:21 | to apply stroke, so I'll apply ten point stroke,
I'll make it Thick - Thick, and in the Stroke
| | 01:27 | panel, I'll align it to the outside.
| | 01:30 | On my Swatches panel I also want to make this 50%
black, so I'll select stroke and reduce the Tint.
| | 01:36 | I'm going to move this over to the left, select
that frame, and then open the Effects panel,
| | 01:43 | double-click to open the dialog box
and we'll apply bevel and emboss here.
| | 01:46 | So I'll select Bevel and Emboss, I'm going
to choose Inner Bevel, Smooth and Up, I'll
| | 01:50 | reduce the size to 4 pixels.
| | 01:53 | For the shading I'll choose an angle of 90
degrees, so the light is coming straight from
| | 01:56 | up above, and I'll increase the Altitude to
40, this will make the shadow a little bit
| | 02:01 | lighter and the highlight
a little bit brighter.
| | 02:03 | I'll decrease the Opacity of the highlight a
little bit down to say 60%, what I'm trying
| | 02:08 | to do is match the intensity of the
highlights and shadows in the real photograph.
| | 02:12 | And I'll also decrease the opacity of the
shadow, maybe down to about 50%, and click OK.
| | 02:18 | Now I'm going to go to the Effects panel and
change from the Normal blending mode to the
| | 02:21 | Hard Light blending mode, that makes the fill
of 50% gray disappear, because 50% gray is
| | 02:26 | neutral for the Hard Light blending mode.
| | 02:28 | This effect depends on using
RGB transparency blend space.
| | 02:32 | So if I go to the Edit menu in the document,
I can check which blend space is being used,
| | 02:37 | so Edit > Transparency Blend Space, and
this document is using Document RGB.
| | 02:42 | If your document was setup to use CMYK blend
space, before you change the blend space you
| | 02:46 | need to understand that, that will affect
all the colors in your document on spreads
| | 02:50 | where there is transparency.
| | 02:52 | If you want to know more about this, I
recommend you watch my video in the InDesign FX series
| | 02:56 | called Getting Effects into Print.
| | 02:58 | All right, now that we've mad that background
object let's make the text frame, I'll press
| | 03:01 | the T key on my keyboard to get my Text tool.
| | 03:04 | I'll drag out and I'll just type in some
letters, I'll select them and in the Control panel
| | 03:10 | I'll increase their size to say 100 pixels,
I'll center them, and then I'll take my Selection
| | 03:15 | tool and move them into place.
| | 03:17 | Again, I want to fill them with 50% gray, so
I'll go to my Swatches panel, Target Formatting
| | 03:23 | Effects Text, and change the Tint from 100 to 50%,
I'll select Formatting Effects Container.
| | 03:29 | And now I can do a little trick with the
Effects panel, if I select the original frame and
| | 03:33 | open the Effects panel, I can drag and drop
this effects icon on to my text frame, and
| | 03:38 | I get that same Bevel settings that I used
before, so it's a nice little shortcut.
| | 03:41 | Again, I'll select this text frame,
I'll apply the Hard Light blending mode,
| | 03:46 | and I'd like to change that Bevel direction
from up to down, so it looks like the letters
| | 03:50 | are pressed into the leather.
| | 03:52 | I'll double-click on Object and I'll just
change direction from up to down in the Bevel
| | 03:57 | and Emboss settings, and click OK.
| | 03:59 | Now I'll just center that a little bit
better in the text frame and we're done.
| | 04:03 | So by making the effort to match the angle
and attitude of the Bevel and Emboss effect
| | 04:07 | to the original lighting in the photo, we
were able to make a really natural looking
| | 04:10 | set of embossed initials on our book cover.
| | 04:13 | I'm Mike Rankin and I'll be back in two weeks.
| | 04:15 | Thanks for watching!
| | Collapse this transcript |
| 056 Creating the effect of a magnifying glass| 00:00 | Hi! I'm Mike Rankin and welcome
to this week's InDesign effect.
| | 00:04 | One of the great things about working with
InDesign effects is how you can use them to
| | 00:08 | enhance the elements in
your layout in creative ways.
| | 00:11 | Take for example this butterfly and
magnifying glass; I was able to combine two separate
| | 00:15 | photos with one effect to make it look as
if we're looking at the butterfly through
| | 00:19 | the magnifying glass.
| | 00:20 | Let me show you how.
| | 00:21 | So if I go the second page of my document, I
just have the placed photo of the butterfly,
| | 00:25 | and now I'm going to place
another photo of the magnifying glass.
| | 00:28 | So I'll press Command+D or Ctrl+D to bring up
place and in my Links, I'll go to magnifying
| | 00:33 | glass, and click in the document to place
that, sort of arrange it over the bottom half
| | 00:38 | of the butterfly where I want it and you can
see that this image is not silhouetted in
| | 00:42 | any way. It has a white background and I want
to knock that out so I can see the butterfly
| | 00:46 | around the corners here.
| | 00:48 | So I'll choose Object > Clipping Path > Options and
for Type I'll just choose Detect Edges and click OK.
| | 00:56 | And that worked because the edges of the
photograph were all pure white, so InDesign was pretty
| | 01:01 | easily able to find them and clip them out.
| | 01:04 | Now to create the circle inside of the
magnifying glass that will hold the magnified image of
| | 01:09 | the butterfly, I'm going to draw an ellipse.
| | 01:11 | So I'll press the L key on my keyboard, click and
drag and I'll press the spacebar to reposition
| | 01:16 | as I draw, so I can get it just about right.
That looks pretty good, right about there.
| | 01:21 | And I don't want any stroke on this, so I'll
go up to the Control panel and I'll decrease
| | 01:25 | the Stroke Width to zero.
| | 01:27 | Now I'll take my Direct Selection tool,
click on the butterfly, copy it.
| | 01:31 | Take my Selection tool, click on the ellipse
that I just drew, and I'll choose Edit > Paste
| | 01:36 | Into and that pastes a second copy of the
butterfly photo into the ellipse that I just drew.
| | 01:42 | Now I can use my Control panel button to
select the content, so now I've selected that new
| | 01:45 | photo of the butterfly and I can use my
Scaling tools to increase the scaling of that.
| | 01:51 | So I'll select one and tap the up arrow key
a few times while holding Shift, and I can
| | 01:56 | click and drag to reposition it. I'll make it a
little bit bigger, say 150% and slide it into place.
| | 02:03 | We're getting a really nice magnified effect.
| | 02:05 | All right, the other thing I want to do here is
to add a highlight, so it looks like there's
| | 02:09 | really some glass here.
| | 02:11 | So for that I am going to click with my Selection
tool on the ellipse, I will copy it and choose
| | 02:15 | Edit > Paste In Place, so I have another copy
of the ellipse with the butterfly in it, but
| | 02:20 | I do not need the
butterfly photo in this copy.
| | 02:22 | So I'll click to select the content and delete
it, so now I just have an empty ellipse. I'll
| | 02:27 | select it, slide it over to the left here
and I'll give it a fill, so I'll go up to
| | 02:32 | the Control panel, target the fill,
set it to black with a Tint of 50%.
| | 02:37 | Next I'll go to my Effects and I'll choose
Bevel and Emboss, and from my Bevel and Emboss
| | 02:43 | settings I'll keep the defaults of Inner Bevel,
Smooth and Up. I'll increase the size a lot,
| | 02:48 | all the way to 50 pixels and for the Shading
angle I want 90 degrees, so the light source
| | 02:53 | coming straight down from above and the
Altitude, I'm going to increase to 70 degrees which
| | 02:58 | usually creates a really nice shiny effect;
it creates an intense white highlight and
| | 03:02 | it pushes the shadows back.
| | 03:04 | In fact I'll increase the Opacity of that
highlight a little bit, to say 80%, and I don't
| | 03:09 | want this shadow going around the other edge,
so I'm going to decrease that all the way
| | 03:13 | down to 0% and click OK.
| | 03:16 | Now in order to see the photo underneath here,
I need to make this gray fill disappear, and
| | 03:21 | for that I need to use the RGB Blend Space.
| | 03:24 | So I'll go to the Edit menu and make sure the
Transparency Blend Space for this document
| | 03:28 | is set to Document RGB.
| | 03:30 | If your document was set up to use CMYK Blend
Space, before you make this change you need
| | 03:35 | to understand that that will affect all the colors in
your document on spreads where there is transparency.
| | 03:40 | If you want to know more about this, I
recommend you watch my video in the InDesign FX series
| | 03:43 | called Getting Effects into Print.
| | 03:46 | So over here we have Document RGB selected,
then I'll go to the Effects panel then I'll
| | 03:51 | change the blending mode from Normal to Hard
Light, and that makes the gray fill disappear,
| | 03:56 | 50% gray is neutral for the Hard Light blending
mode, so it completely disappears, but highlights
| | 04:01 | and shadows that are lighter and darker than 50% gray
remain when the Hard Light blending mode is applied.
| | 04:07 | So that's why the gray disappeared but we
still have that nice highlight that makes
| | 04:10 | it look like glass.
| | 04:12 | So here we saw how one effect can subtly
enhance a composition and make it more believable.
| | 04:16 | I'm Mike Rankin and I'll be back in two weeks.
| | 04:18 | Thanks for watching!
| | Collapse this transcript |
| 057 Simulating a college notebook| 00:00 | Hi! I'm Mike Rankin and
welcome to this weeks InDesign effect.
| | 00:04 | When it comes to simulating real-life objects,
your best guide is to look at those objects
| | 00:08 | in real life, study the details, take
measurements if you have to, and then comes the fun work
| | 00:13 | of figuring out how to recreate
those things with InDesign's tools.
| | 00:16 | So for example, here I have some notebook
paper that I drew in InDesign and I just looked
| | 00:20 | at some real life notebook paper, I measured
how far all the rules were, all the sizes,
| | 00:25 | the shapes of the holes and where they were
positioned on the page, and I recreated that with InDesign.
| | 00:29 | So let's see how to do that.
| | 00:30 | I'll go to the next page of my document which just
has the background and I'll start from scratch.
| | 00:35 | So I'll press that F key on my keyboard to
get my Rectangle Frame tool and click in the
| | 00:39 | document and I'm going to
make it 8 inches by 10.5
| | 00:42 | inches, the real size of a
piece of note book paper.
| | 00:45 | I'll select the Fill in the Control panel,
set it to black, and I really like tint of
| | 00:50 | that, say 9 or 10%.
| | 00:50 | I almost never use plain white when I'm trying
to simulate paper because it's just too bright.
| | 00:56 | In real life it's always a
really light shade of gray.
| | 00:58 | Now also in real life, the notebook paper has
rounded corners on the right side at the top
| | 01:03 | and the bottom, so I
want to recreate that too.
| | 01:05 | So on the Control panel I have my corner
options and I can Option+Click or Alt+Click to bring
| | 01:09 | up the dialog box, and I only want it on the
right-hand side, so I'm going to unconstrain,
| | 01:14 | make sure this chain is broken here.
| | 01:15 | I'll click to select the top right corner
radius and I'll make it 6 points, and Rounded,
| | 01:22 | and I'll do the same for the bottom
right corner, and Rounded and click OK.
| | 01:28 | I'll deselect and zoom in, and now I
have a nice, accurate rounded corner.
| | 01:32 | I'll zoom back out and I'll move this over
to the left and look in my Paragraph Styles.
| | 01:38 | I've gone ahead and created a Paragraph Style
called School Work and I'll right-click on
| | 01:41 | it and choose Edit to see the
Paragraph Style options here.
| | 01:44 | The key was the Paragraph Rules, I turned
on a Rule Below, very thin rule, it's just
| | 01:49 | a quarter point in width, the Color is blue and the
Offset is zero, so it sits right underneath the text.
| | 01:55 | In my Basic Character Formats, the other
important setting here is the Leading.
| | 01:59 | I measured and it's 19.5
| | 02:01 | points in between each rule in a real piece
of notebook paper, so that's what I use for
| | 02:05 | the Leading in my Paragraph Style.
| | 02:07 | I'll Cancel out of here, take my Type tool,
click in my frame and now it's a text frame,
| | 02:12 | I'll apply my School Work Paragraph Style
and I'll press return a bunch of times to
| | 02:18 | fill it up with rules.
| | 02:19 | Now in real life there is an extra gap at
the top, an extra border, and we need to set
| | 02:24 | that in our text frame.
| | 02:25 | So I'll take my Selection tool, select the
text frame and press Command+B or Ctrl+B to
| | 02:29 | bring up my Text Frame Options.
| | 02:31 | I'll go to Baseline Options, First Baseline,
I am going to set it to Fixed, Minimum 1 and
| | 02:36 | a quarter inches, and click OK.
| | 02:38 | I have a little overset text here, so I'll
just delete a couple of those rules and there
| | 02:43 | I have all the blue rules that
I need for my notebook paper.
| | 02:46 | Next I need to draw some
vertical red rules, some margins.
| | 02:50 | So I'll take my Line tool, I'll hold Shift
and I'll drag down until I have a line that's
| | 02:54 | the same height as my paper.
| | 02:56 | Again, I'll make it a very thin rule, quarter
point, and for the color I'll just make it red.
| | 03:02 | I need to move it over one and a quarter inches,
so in the Control panel I'll go to my X coordinate
| | 03:07 | and I'll type +1.25 in, and there is my red margin.
| | 03:13 | Now I can also see the margin from the other
side of the paper through the paper in real
| | 03:18 | life, so I want to make another one of these.
| | 03:20 | So I'll press option or alt and drag to make a
copy, drag it all the way so it aligns over
| | 03:24 | on the right side, and this one I want
to move left one and a quarter inches.
| | 03:29 | So on the Control panel I'll go to the X
coordinates and this time I'll subtract 1.25 inches.
| | 03:35 | And since this is behind the paper I
want to reduce the Opacity a bit.
| | 03:39 | So I'll go to the Effects panel, select the
Opacity and drop it down to about 20%, and deselect.
| | 03:46 | That's looking pretty realistic.
| | 03:47 | Now I need to make the holes.
| | 03:49 | So I'll take my Ellipse tool by pressing L,
I'll click and I'll draw circles that are
| | 03:54 | 5/16 of an inch in diameter.
| | 03:57 | I'll press Shift+X to exchange the Stroke and Fill
and I'll change the Fill from black to paper.
| | 04:04 | Now I need to position this, so I'll zoom in.
| | 04:06 | I'll put it right at the top of the paper
and align it on the red margin, and up in the
| | 04:12 | Control panel I'll move it left a
quarter of an inch, so I'll subtract 0.25,
| | 04:16 | and in the Y coordinate I'll
move it down by adding 7/8 inch.
| | 04:22 | Now I need to make two more holes, so I'll
copy this one and choose Edit > Paste in Place,
| | 04:27 | and I need to move this one down
four and a quarter inches, so +4.25.
| | 04:33 | I'll zoom out so I can see that one, I'll
copy it, choose Edit > Paste in Place, and then
| | 04:40 | Object > Transform Again.
| | 04:44 | And that repeats the 4.25 inch move down.
| | 04:47 | Now I need to select all three holes, and in
the Effects panel I'm going to reduce the
| | 04:53 | Opacity all the way down to 0.
| | 04:55 | I'm going to Shift+Click to select my paper,
group them, and select Knockout Group. Knockout
| | 05:00 | Group makes these holes
knock out through the paper.
| | 05:03 | Now I can't see my red margin, so I
need to send this paper to the back.
| | 05:07 | So I'll choose Object > Arrange > Send to
Back, now I have my margins back, I can group
| | 05:12 | the whole thing, so I get the red margins
the holes and the paper grouped together, and
| | 05:16 | now I can apply a Drop Shadow.
| | 05:17 | So I'll Option+Click or Alt+Click on the
Drop Shadow controls in the Control panel.
| | 05:21 | We'll set the Distance to zero, because this is a
very thin object here, it's just a slice a paper.
| | 05:26 | I'll reduce the Opacity of it, say down to about 50%
and the Size maybe to about 3 pixels, and click OK.
| | 05:34 | Deselect, and there I have my notebook paper.
| | 05:36 | If I want to make it a little bit
transparent I can do that as well.
| | 05:39 | I can select it and reduce the Opacity.
| | 05:41 | I'll select the Opacity and tap the down arrow
on my keyboard a few times just until I can
| | 05:46 | start to see the wood grain
background shining through it.
| | 05:49 | Zoom in and you can start to see that wood
grain there, just like a real piece of paper.
| | 05:54 | So by taking the time to study an object in
real life, in this case a piece of notebook
| | 05:57 | paper, we were able to capture the
little details that make it convincing.
| | 06:01 | It doesn't take a lot of time or special
skill to do this, just a close inspection of the
| | 06:05 | object and a desire to make something great.
| | 06:07 | I'm Mike Rankin and I'll be back
in two weeks, thanks for watching.
| | Collapse this transcript |
| 058 Using multiple effects to create plastic type| 00:00 | Hi! I am Mike Rankin and
welcome to this week's InDesign effect.
| | 00:04 | The coolest InDesign effects are often those that
combine multiple effects in some interesting way.
| | 00:09 | And the coolest effects always seem to
always include the use of Bevel and Emboss.
| | 00:13 | So let's combine those ideas and see what we
can create when we apply multiple instances
| | 00:17 | of Bevel and Emboss.
| | 00:19 | So here I have some text that I made look
like it was molded out of plastic, now like
| | 00:23 | you could break it off at this little mold here
and assemble a model made out of these letters.
| | 00:28 | And the way I did this was to apply three
different instances of Bevel and Emboss to the text.
| | 00:32 | So let's go to the next
page and start building this.
| | 00:35 | First of all we'll select the frame, it's
going to be the background, I'll press Shift+X
| | 00:38 | on my keyboard to
exchange the Stroke and Fill.
| | 00:41 | And in the Control panel I'll change the
Fill from black to this purple color.
| | 00:45 | I also want to give it a Corner Radius, so
I'll go the Control panel Corner Controls;
| | 00:50 | I'll chose Rounded, 20 pixels,
and let's apply some Bevel and Emboss.
| | 00:54 | So go to the Effects panel, from the pop-up
menu choose Bevel and Emboss, I'll choose
| | 00:59 | Inner Bevel with a Smooth Technique and a
Direction of Up, I'll keep the Size at 7 pixels,
| | 01:04 | and I'll increase the Altitude here from 30
degrees to 70 degrees to make it a shinier effect.
| | 01:10 | And I even want a little bit more of a Highlight
there, so I'll up the Opacity of the Highlight
| | 01:14 | from 75% to 80%, and click OK.
| | 01:17 | All right, now let's work on the text.
| | 01:19 | In order to do this plastic effect, we are
going to have to convert the text to outlines,
| | 01:23 | so I am going to select the text frame and
press Command+Shift+O or Ctrl+Shift+O on the
| | 01:26 | PC to convert my live text to outlines.
| | 01:29 | Now I need three separate copies of
this in order to achieve the effect.
| | 01:32 | So I am going to copy it to my clipboard, I
am going to Shift+X to exchange the Stroke
| | 01:37 | and Fill, so now this text has
no fill, but it has a stroke.
| | 01:40 | I am going to increase the width of that
stroke to 7 points and color it Paper.
| | 01:45 | Now let's go to the Effects panel, target
the stroke and apply Bevel and Emboss.
| | 01:50 | For this one we'll use the Pillow Emboss style,
Smooth Technique and a Direction of Down.
| | 01:55 | I'll keep the size at 7 pixels, I'll
increase the Altitude to 70 degrees and click OK.
| | 02:01 | Now I am going to Paste in Place the other copy of
the outline text that I have in my clipboard.
| | 02:07 | Again, I am going to press Shift+X on my
keyboard to exchange the Stroke and Fill, so it has
| | 02:10 | no fill but it has a stroke, I'll make
the stroke 5 points and color it Paper.
| | 02:16 | And I'll go to my Stroke panel and
align this stroke to the inside.
| | 02:19 | Then I'll chose Edit > Paste in Place one
more time for the third copy of the outline
| | 02:23 | text, I'll go to the Control panel and
change the Fill from black to purple, and then go
| | 02:28 | to my Effects panel, Bevel and Emboss again,
and this time we'll use an Inner Bevel, Smooth
| | 02:33 | Technique, Direction of Up, 7 pixels, all
default settings except for the Altitude, 70
| | 02:39 | degrees again and click OK.
| | 02:42 | Now I just want to add the little lines
that attach the letters to the background.
| | 02:46 | So I'll zoom in, and with my Pen tool I'll
tap P on my keyboard, I'll click, hold down
| | 02:53 | the Shift key to constrain and click again.
| | 02:56 | I'll make sure that this line has no fill
and it has a stroke of purple, and we'll apply
| | 03:02 | little Effects to that line too.
| | 03:04 | So it too gets a Bevel and Emboss, with a
Inner Bevel, Smooth and Up, and we'll decrease
| | 03:09 | the size a bit to 4 pixels, and
remember that Altitude, 70 degrees.
| | 03:15 | I'll take my Selection tool, zoom in, I'll
hold Option or Alt on the PC and Shift drag
| | 03:21 | over to drag another copy.
| | 03:24 | And I can position it in place, or I can use
my keyboard arrow keys to nudge it into place,
| | 03:28 | I'll zoom out and continue along
placing this line on the other letters.
| | 03:33 | I'll zoom out and deselect
to see the finished product.
| | 03:36 | So here we saw how amazingly versatile
InDesign's Bevel and Emboss effect is.
| | 03:40 | We applied an Inner Bevel to an object and
a Pillow Emboss to the stroke around that
| | 03:44 | object to create a
complex dimensional texture.
| | 03:47 | And with all the options in the Bevel and
Emboss dialog box the possible combinations
| | 03:51 | are just about endless, and the
results can be endlessly interesting too.
| | 03:55 | I am Mike Rankin and
I'll be back in two weeks.
| | 03:57 | Thanks for watching!
| | Collapse this transcript |
| 059 Achieving a rough-hewn look| 00:00 | Hi I'm Mike Rankin and welcome
to this week's InDesign effect.
| | 00:05 | Sometimes you pour a lot of painstaking effort
into making your effects precise and detailed,
| | 00:09 | other times you might want to achieve a cool
look as quick as possible, not just to save
| | 00:12 | time but also to capture a
feeling of spontaneity and energy.
| | 00:16 | Like for example, this effect, where we have
a motorcycle image that looks like it was
| | 00:20 | hastily hacked out of a magazine or some
other document, so let's see how to do this.
| | 00:24 | I'll go to the next page of my document where
I just have a copy of the background and the
| | 00:28 | motorcycle photo, and I'm going to press the
P key on my keyboard to get my Pen tool and
| | 00:33 | I'm going to quickly start out drawing out
the shape of the cut piece of the paper that
| | 00:37 | I want this motorcycle to
seem like it's sitting on.
| | 00:40 | I'm just going to click several times and just
almost as if I were using a pair of scissors
| | 00:44 | just quickly hacking the shape of this out,
really working as fast as I can. There we go.
| | 00:51 | Now I'm going to press Shift+X on my keyboard
to exchange the Stroke and Fill, and I'll go
| | 00:55 | up to the Control panel and I'll
reduce this black tint down to say 15%.
| | 01:01 | Now I'll go to the Effects and I'll add a Drop
Shadow, I'll set the Distance to 0 and click OK.
| | 01:08 | I'll deselect and now I want to add some tape
holding this piece of paper onto the background.
| | 01:13 | So again I'll press my F key to my Rectangle
Frame tool and I'll draw out a rectangle, and
| | 01:19 | this is going to be a piece of tape.
| | 01:20 | So I'll go up to the Control panel, I'll give
it a Fill of black, 10%, and I'll reduce the
| | 01:25 | Opacity of it down to 40%
so I can see through it.
| | 01:28 | I also want to add a drop shadow to this, so
I'm going to Option+Click or Alt+Click the
| | 01:32 | Drop Shadow button in the Control panel to
bring up my Effects settings, and I can edit
| | 01:36 | the Drop Shadow settings here.
| | 01:38 | I want to change the Distance to 0 and I want
a pretty small drop shadow in this case, just
| | 01:43 | about 2 pixels and click OK.
| | 01:46 | I'll deselect and there's my piece of tape.
| | 01:48 | Now I could re-position it to add to this
sort of hasty feeling, so I'll just rotate
| | 01:52 | it a little bit, and I'll Option+Drag or Alt+
Drag to make some extra copies, and click and drag
| | 01:58 | to rotate that piece of tape into place
and maybe one down there, the front tire.
| | 02:03 | Hold down Option to make a copy
and rotate this one into place.
| | 02:07 | This effect shows that sometimes you can achieve
a fun and interesting look by working quickly
| | 02:11 | and freely which is not
the same as being careless.
| | 02:14 | We were sure to make the drop shadow appropriate
for the materials we were trying to simulate,
| | 02:18 | but even so, it didn't take much at all and
that combination of speed and accuracy helped
| | 02:22 | us create convincing rough cut effort.
| | 02:25 | I'm Mike Rankin and I'll be back in two weeks.
| | 02:27 | Thanks for watching.
| | 02:28 |
| | Collapse this transcript |
| 060 Creating speech bubbles| 00:00 | Hi! I am Mike Rankin and
welcome to this week's InDesign effect.
| | 00:04 | They say a picture is worth a thousand
words, but how do you know which words?
| | 00:08 | Particularly if you want to know which words
someone in a picture is saying or thinking.
| | 00:12 | Well one way is put words in a speech bubble,
and you could certainly get speech bubbles
| | 00:16 | from clipart or you could make
them in Illustrator or Photoshop,
| | 00:19 | but by doing the job in InDesign you can have
speech bubbles that only take a few seconds
| | 00:23 | to make, they look perfect and
they are infinitely adjustable.
| | 00:26 | So let's see how.
| | 00:27 | Here we have our picture of our little
kitten and he is really excited, and you can tell
| | 00:31 | that because he has his
words in a speech bubble.
| | 00:33 | I'll go to the next page of this document
and I just have the words up here but I want
| | 00:37 | to put a speech bubble
pointing down to the kitten.
| | 00:40 | So to start that, I am going to press the L
key on my keyboard to get my Ellipse tool,
| | 00:43 | and I am going to hold down Option or Alt on the PC
and drag to draw that ellipse from the center.
| | 00:49 | Up in the Control panel I'll give the ellipse a 3
point stroke, and I'll color that stroke black.
| | 00:54 | I'll go to the Stroke panel and align the
stroke to the outside of the path, and then
| | 00:59 | I'll switch to my Selection tool, I'll copy that
ellipse and I'll choose Edit > Paste in Place.
| | 01:05 | And now I'm going to press Shift+X on my
keyboard to exchange the Stroke and Fill, so now I
| | 01:10 | have two copies of this ellipse.
| | 01:12 | I'll undo to put that back in place and then
in the Control panel I'll change the fill
| | 01:16 | from black to Paper.
| | 01:18 | Now I'll press the P key on my keyboard to
get my Pen tool and I want to draw the little
| | 01:22 | pointer pointing down to the kitten. So I'll
just click three times; one, two, three, again
| | 01:28 | I'll give that the same stroke that I gave
the rest of the speech bubble, a 3 point solid
| | 01:33 | stroke, color it Black, and I'll also give it a
Fill, so target the Fill, fill it with Paper.
| | 01:39 | And now I just have to arrange it, so I'll
go to Object > Arrange > Send Backward, and
| | 01:45 | now that's sitting behind the white ellipse.
| | 01:47 | And if I zoom in, I can see that I have a
really nice join where the pointer joins the
| | 01:52 | rest of the speech bubble.
| | 01:54 | And if I want to reposition it I can
just select it and move it around.
| | 01:57 | And no matter where I move it up or down or
left or right, it always stays perfectly joined,
| | 02:02 | there is no seam visible.
| | 02:04 | Further more, I can reshape this.
| | 02:06 | If I select it with my Direct Selection tool,
I'll click on it and I'll press Command+Option
| | 02:11 | or Ctrl+Alt on the PC to get my Convert
Direction Point tool, and click and drag on one of the
| | 02:17 | end points, and I can make
them curved if I wanted too.
| | 02:20 | I'll deselect and you can still see that the joins
between the ellipse the pointer stay perfect.
| | 02:27 | Speech bubbles are a great example of how an
effect that might be tedious or difficult
| | 02:30 | to make with a single object can be easily done
when you use multiple objects, each contributing
| | 02:35 | one aspect of the overall effect.
| | 02:37 | I'm Mike Rankin and I'll be back in two weeks.
| | 02:40 | Thanks for watching.
| | 02:41 |
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| 061 Creating buttons for interaction| 00:00 | Hi! I'm Mike Rankin and
welcome to this week's InDesign effect.
| | 00:04 | Now more than ever, InDesign documents are
being built with interactive features like
| | 00:08 | hyperlinks, animations, slide shows and video.
| | 00:11 | To allow readers to control those interactive
elements, you usually have to include buttons
| | 00:15 | for them to press.
| | 00:16 | InDesign comes with a slew of premade buttons and
these can certainly save you time and effort,
| | 00:21 | but if you want something
unique you have to make your own.
| | 00:23 | Fortunately you can make great looking
buttons with very little effort in InDesign.
| | 00:27 | So here I have in my document a couple of
buttons that I made from scratch, a Go button
| | 00:31 | and a Stop button and you can see that they
have a little shiny effect, they have a glow
| | 00:34 | coming out from the text, and they have a
frame going around it so it sort of holds
| | 00:39 | the button in place.
Let's see how we made those.
| | 00:42 | So I'll go to the next page in my document where I
just have the text go and stop in text frames.
| | 00:46 | I'll tap the L key on my keyboard to get my
Ellipse tool, click in the document and I'm
| | 00:50 | going to make a circle with these dimensions,
160 pixels in Width and Height, I'll click OK.
| | 00:55 | I want to increase the Width of the stroke
to 10 pixels, so I'll go up to the Control
| | 00:59 | panel, I'll hold down the Shift key on keyboard and
tap the up arrow, and now I have a ten point stroke.
| | 01:04 | I want to align this stroke to the outside,
so I'll go to my Stroke panel and click Align
| | 01:09 | Stroke to the Outside of the path.
| | 01:12 | Next I'll switch to my Selection tool, I'll
copy this path, I'll choose Edit > Paste in
| | 01:16 | Place or press Command+Shift+Option+V or Ctrl+Shift+
Alt+V on the PC, and then I'll press Shift+X on my
| | 01:22 | keyboard to exchange the Stroke and Fill.
| | 01:24 | So now I have two circles, one which has a
stroke but no fill and the other which has
| | 01:29 | a fill but no stroke.
| | 01:30 | For the circle with the fill I want to change
that fill from black to a gradient, so I'll
| | 01:34 | go to my Swatches panel, scroll down
and choose my Go button gradient.
| | 01:38 | Then I want to rearrange that gradient a
little bit, so I'll go to my Gradient panel, and
| | 01:42 | I'll change the Angle to negative 90 degrees, so
it's lighter at the top and darker at the bottom.
| | 01:47 | All right, now let's start
applying some effects.
| | 01:49 | I'll select the path that has the stroke on
it, I'll go to the Effects panel and I'll
| | 01:54 | choose Bevel and Emboss.
| | 01:55 | I'm going to choose Inner Bevel with Chisel
Hard, I'll leave the direction at Up and the
| | 02:01 | size at 7, but I'll soften it
a little bit say 2 pixels.
| | 02:05 | I'll change the Angle, so it's 90 degrees
so the light source is coming straight down
| | 02:09 | from above and I'll leave the
Altitude at 30 degrees, then click OK.
| | 02:14 | Now to create the shinny effect, I'm going to
select my green circle, copy it and choose
| | 02:18 | Edit > Paste in Place, or press Command+Shift+Option
+V or Ctrl+Shift+Alt+V, go back to the Swatches
| | 02:23 | panel and now I'm going to
set the Fill to be Paper.
| | 02:27 | I'll confirm up in my Control panel that the
Reference Point is set to the Top Center and
| | 02:31 | I want to make this a little bit smaller,
so about 130 pixels in Width and Height.
| | 02:36 | I want to reduce the Opacity of this so I'll go
back to the Effects panel, set the Opacity to 50%.
| | 02:43 | And then I'm going to press Shift+G on my
keyboard to my Gradient Feather tool. I want
| | 02:47 | to fade this out a little bit
from the top to the bottom.
| | 02:49 | So I'll click and drag from the top of the
white circle to the bottom and as I do so
| | 02:53 | I'll fade from opaque to transparent.
| | 02:57 | And deselect, and there I
have a nice highlight object.
| | 03:00 | Next I just want to select the text frame,
move it into position, bring it to the front
| | 03:05 | and I'd like to add a
little bit of a glow here.
| | 03:07 | So again my Effects panel, I'll choose Outer
Glow and I'll just accept the default values.
| | 03:12 | Now to change this Go button into a Stop button,
I'll select all the pieces, I'll Option+Drag
| | 03:18 | or Alt+Drag to make a copy and then I just need to
change the Fill from my green gradient to a red one.
| | 03:25 | So I'll select the circle, go to the Swatches
panel and I'll choose the Stop button gradient.
| | 03:29 | And then I could just select the text frame,
delete it and then I'll move the stop text
| | 03:34 | frame into place and bring it to the
front; Object > Arrange > Bring to Front.
| | 03:40 | I also need to apply that outer glow to the
text, so I'll go to the Effects panel, Outer
| | 03:45 | Glow, default values OK.
| | 03:48 | And there's one more thing I could do, I could
also add an Inner Shadow along the inner edge
| | 03:52 | of the red and green circles.
| | 03:54 | So let's select both of them, and in the
Effects panel I'll go to Inner Shadow, I'll leave
| | 04:01 | the Distance at 7 pixels, I'll make that Angle
of the lighting 90 degrees to match the other
| | 04:06 | lighting on this page and click OK, and
that just adds a nice little shadow.
| | 04:12 | And since I want to move down the highlight a
little bit to make it a little more convincing,
| | 04:15 | I'll select it, tap the down arrow key a few
times and do the same for the one on the left,
| | 04:21 | right about there.
| | 04:23 | So here we saw how just a few simple elements
can come together and make great looking buttons
| | 04:27 | for interactive documents with Gradient
Feather and Bevel and Emboss providing a 3D shape
| | 04:32 | and a shiny texture.
| | 04:33 | I'm Mike Rankin and I'll be back in two weeks.
| | 04:35 | Thanks for watching.
| | 04:37 |
| | Collapse this transcript |
| 062 Creating wraparound headings| 00:00 | Hi! I'm Mike Rankin and
welcome to this week's InDesign effect.
| | 00:05 | Objects in InDesign usually look pretty flat
and two dimensional, but you can create an
| | 00:08 | interesting 3D effect by combining a little
imagination with paragraph rules and anchored
| | 00:13 | objects, and that's what we
are going to do in this video.
| | 00:15 | So here we have a couple of text frames and
you can see that around the headings I have
| | 00:20 | these extra little objects that make it look
like the heading is sitting in a separate
| | 00:23 | frame that's sitting above the normal text frame and
it's sort of like folded paper that wraps around.
| | 00:28 | And on the right-hand side we can see that
it goes up above the top and down below and
| | 00:33 | it's a nice wrap around sort of ribbon effect.
| | 00:35 | So let's see how to do this.
| | 00:37 | I'll go to my second page of the document and here I
just have the text set in a basic paragraph style.
| | 00:42 | I'll move it over to the left, I'll select
this second paragraph of wrap around heading
| | 00:46 | and I'll apply a paragraph
style that I've created.
| | 00:49 | I'll change it from body text to blue wrap.
| | 00:51 | And now I can see that I have a paragraph
rule of blue going around this heading.
| | 00:56 | But it's not extending out past the edges of the text
frame, we need to edit the paragraph style for that.
| | 01:01 | So I'll right-click and choose Edit blue wrap
and then in the Paragraph Style Options dialog
| | 01:06 | box I want to go to Paragraph Rules.
| | 01:08 | And here I can see that blue rule, I'm going
to set the Width to the Column, I'll turn
| | 01:13 | on Preview, and what I want to change
here are the Left and Right Indents.
| | 01:18 | Right now they're set at zero, so they go
right along to the text inset, that's why
| | 01:22 | they don't go all the way
to the edge of the column.
| | 01:24 | But I'm going to give this a negative value and
that's going to push it out past the outside
| | 01:28 | of the text frame.
| | 01:29 | So I'm going to tap down arrow key a few times
on my keyboard and you can see that rule start
| | 01:33 | moving out to the left outside the text frame.
| | 01:36 | I'll click on Right Indent and tap my down
arrow key again and so they're both set at
| | 01:41 | 1p6, I'll click OK.
| | 01:44 | Now that's nice but I have to create a couple of
extra objects to create that sort of folded effect.
| | 01:49 | So I'll switch to my Selection tool, I'll
zoom in and now I want to take my Pen tool,
| | 01:54 | and I'm going to draw a triangle
object right here to create the fold.
| | 01:58 | So I'll start out on the left, click,
click, click and close up that triangle.
| | 02:05 | I'll press Shift+X on my keyboard to exchange
the Stroke and Fill, and I'm going to zoom
| | 02:09 | in and neaten this up a little bit.
| | 02:12 | So I'll switch to my Direct Selection tool
and I'll grab one of the control points and
| | 02:16 | try to align it just right.
Right about there. That looks good.
| | 02:22 | I'll go to my Swatches panel and I'll change
the Fill from Black to Cyan and I'll zoom
| | 02:27 | out and deselect, and there I have one side.
| | 02:30 | Now that's a nice looking effect but if I
move the text frame it's not going to move
| | 02:34 | with the rest of the text frame.
| | 02:36 | So I'll do and what I'm going to do is I'm
going to anchor that little triangle so it
| | 02:39 | moves along with the text frame.
| | 02:41 | I'll zoom in again, I'll select the triangle and this
little blue square here is the anchored object control.
| | 02:47 | If I click and drag that, I can drop it right
before the beginning of the heading and now
| | 02:51 | that's an anchored object.
| | 02:53 | So when the text frame moves,
the little fold moves too.
| | 02:55 | I'm going to zoom back out, switch to my
Selection tool by pressing V on my keyboard, then I'll
| | 03:00 | click that triangle, copy it and paste it
and this is going to serve as the triangle
| | 03:05 | for the right-hand side.
| | 03:06 | Let's zoom in, let's move it into position,
I'll zoom in and in my Control panel I'm going
| | 03:13 | to press the Flip Horizontal controls
and slide it right where I want it.
| | 03:18 | Now again I want to anchor this object, so
I'll zoom out a bit, click the anchored object
| | 03:24 | controls and drag them into place, and
now this is an anchored object too.
| | 03:29 | So it will move with the text frame but
there's still a little problem here and that's if
| | 03:32 | that's text frame resizes you can see that
this object is no longer going to be in place,
| | 03:38 | but we can fix that.
| | 03:39 | I'll undo, select the object and I'm going to Option+
Click or Alt+Click on the Anchored Object controls.
| | 03:44 | And now we are going to make same changes in
this dialog box that's going to make that
| | 03:47 | triangle stick to the frame.
| | 03:49 | So I'll set the Reference Point of the Anchored
Object to the left side, the Reference Point
| | 03:54 | of the text frame to the right
side, and an X Offset of zero.
| | 03:58 | So the zero space between the right side of the text
frame and the left side of that triangle and click OK.
| | 04:04 | Now it doesn't look like anything has happened
but if I resize this text frame, you can see
| | 04:08 | that that object stays in place.
| | 04:11 | So we have our nice wrap
around heading effect.
| | 04:12 | Let me go down to the next page and
we'll try a variation on this effect.
| | 04:17 | So in this one, if I zoom in, you can see in this
one I put the triangle on the top, so it's
| | 04:21 | like the fold goes up and
behind the text frame.
| | 04:24 | I'll zoom back out and we'll make this.
| | 04:26 | For this one I'm going to press the F key
on keyboard to get my Rectangle Frame tool
| | 04:30 | and I'm going to click and drag to make a rectangle
that's about the same size as that paragraph rule.
| | 04:36 | In the Swatches panel I'll target the fill,
fill it with magenta, then I'll press the
| | 04:40 | A key on my keyboard to get my Direct
Selection tool, I'll deselect and then click right on
| | 04:45 | the right side of that new
rectangle and drag it up.
| | 04:48 | Then I'll go to Object >
Arrange > Send to Back.
| | 04:53 | And if I need to I can zoom
in and nudge this into place.
| | 04:57 | But that actually looks pretty good, so I'm
going to zoom back out and do the bottom one.
| | 05:01 | Again I'll press the F key on my keyboard to
get my Rectangle Frame tool, and this one
| | 05:05 | I'll start from the right side.
| | 05:07 | So I'll click and drag, go to my Swatches
panel, target the Fill, set it to Magenta,
| | 05:13 | press the A key on my keyboard, deselect and
then select the left side this time and click
| | 05:18 | and drag it down.
| | 05:19 | Then I can select Object > Arrange > Send to Back,
I'll zoom in this one I need to move into place.
| | 05:27 | So I'll click and drag it until I
get it where I want it, and deselect.
| | 05:31 | I'll zoom back out and
there's the finished effect.
| | 05:34 | So here we have a couple of nice folded paper
3D effects that we created by setting paragraph
| | 05:38 | rules to extend beyond the sides of the
text frame and using anchored objects.
| | 05:42 | I'm Mike Rankin and I'll be back in two weeks.
| | 05:45 | Thanks for watching.
| | Collapse this transcript |
| 063 Creating picture frames| 00:00 | Hi I'm Mike Rankin, and
welcome to InDesign FX.
| | 00:03 | In this week's effect, we'll see how
to create picture frames like these.
| | 00:07 | One of the best things about InDesign's
transparency effects is the way different effects can work
| | 00:11 | together to create a really interesting look.
| | 00:13 | This picture frame look is achieved by
combining four different effects, Drop Shadow, Inner
| | 00:18 | Shadow, Inner Glow and Bevel and Emboss.
| | 00:21 | You couldn't get the same look with any
single effect, but together they create the frame
| | 00:25 | and give it some realism.
| | 00:27 | So let's give it a try.
| | 00:28 | I'll go to the next page in my document, and I'll
zoom in on this dog, and let's give him a frame.
| | 00:35 | I'll select him and up in the Control panel,
he already has a 30 point stroke. That's what
| | 00:39 | I want, but I want it to be
colored this mahogany color.
| | 00:42 | So I'll select that swatch, I'll go to my
Stroke panel, and I'll make sure to align
| | 00:47 | the stroke to the outside, and now it's
time to start applying some effects.
| | 00:51 | Up at the Control panel, I'll start with the
Drop Shadow. I'll leave the default settings
| | 00:56 | of Multiply and 75% Opacity, but I'm going
to decrease the Distance to 4 pixels. I'll
| | 01:02 | set the Angle to 90 degrees so the light is shining
directly down, and I'll leave the Size at 5 pixels.
| | 01:08 | Next, we are going to give it an Inner Glow
and this is just going to add some texture
| | 01:12 | to the frame. I'll keep the Screen Blending
mode, but I'll change the Swatch from Paper
| | 01:17 | to that same mahogany color and click OK.
| | 01:20 | I'll reduce the opacity down a little bit
say to 50% and I'll choke it back a little
| | 01:26 | bit, about 20% just to make the
effect a little bit more visible.
| | 01:30 | Next, we'll apply Bevel and Emboss, we'll
choose Inner Bevel, and instead of Smooth,
| | 01:35 | we'll choose Chisel Hard with a Direction of
Down, and the same size as the stroke, 30 pixels.
| | 01:42 | I want to match that lighting angle so I'll
choose 90 degrees and I'll increase the Altitude
| | 01:47 | just a little bit, say to 35, just to lighten
up that shadow a little bit there on the top.
| | 01:53 | I'm going to change the Highlight from Screen
to the Multiply blending mode and switch the
| | 01:58 | swatch from Paper to Black.
| | 02:01 | So in effect, I have two
shadows going on in the frame.
| | 02:03 | I am going to reduce the Opacity down a little
bit of the first shadow say to 50%, and I am
| | 02:08 | going to take the other one down even
more to about 30%. That looks pretty good.
| | 02:13 | Next, I'm going to change from the Object
settings to the Fill settings, and I want to
| | 02:17 | create that little tiny Inner Shadow here
just to look like the frame is casting its
| | 02:21 | shadow on the picture itself.
| | 02:23 | So I will choose Inner Shadow, I
will keep Multiply and Black.
| | 02:27 | I'm going to increase the Opacity all the
way to a 100%, a Distance of 0, and I'm going
| | 02:32 | to increase the Size up to say 20 pixels,
and I'm going to really increase the choke
| | 02:37 | all the way to 80%. It's going to give me a
nice little solid shadow right up against
| | 02:41 | the inside of that frame and click OK.
| | 02:44 | I'll zoom out, deselect and
there's our picture frame.
| | 02:48 | Now another nice thing that you can do is
you can make this into an object style really
| | 02:51 | easily and apply it to your other photos.
| | 02:53 | So I'll select the dog.
| | 02:55 | I'll go to my Object Styles panel and create
a new object style, I'll just call it frame,
| | 03:01 | and now I can select my other
pictures and apply the frame to them.
| | 03:05 | In this video, we saw how to combine four
effects, Drop Shadow, Inner Shadow, Inner
| | 03:09 | Glow and Bevel and Emboss to
create a great picture frame effect.
| | 03:13 | So don't be afraid to build up complex effects.
Just think through what you are trying to
| | 03:17 | do and take it one step at a time, and
you can get great results like these.
| | 03:20 | I'm Mike Rankin and I'll be back in two weeks.
| | 03:23 | Thanks for watching.
| | 03:24 |
| | Collapse this transcript |
| 064 Customizing stroke styles| 00:00 | Hi! I'm Mike Rankin and
welcome to InDesign FX.
| | 00:03 | In this week's effect, we'll take a
look at how to make custom stroke styles.
| | 00:07 | InDesign comes with a bunch of built-in stroke
styles that you can use to create different
| | 00:10 | stroke effects on your objects.
| | 00:12 | You can also create your own unique stroke
styles when none of the built-in styles gives
| | 00:16 | you the look that you want.
| | 00:17 | In this video, we'll take a look at the kind of
cool things you can do with custom dashed strokes.
| | 00:21 | We'll make strokes that appear only at
the corners of objects like this one.
| | 00:25 | We'll make strokes that appear only on the
sides like this one, sort of looks like brackets.
| | 00:29 | And we'll make strokes that even
look like these valentine hearts here.
| | 00:33 | This is achieved with a custom stroke style.
| | 00:35 | So I'll switch over to my other document,
I'll take my Rectangle Frame tool, click in
| | 00:39 | the document and I'll make a new
rectangle that's 40 picas wide by 30 picas high.
| | 00:45 | I'll give it a 10 point stroke up in the Control
panel, and over in the Stroke panel I'll align
| | 00:50 | that stroke to the inside.
| | 00:52 | In the Stroke panel menu, I'll choose Stroke
Styles, I'll click on New to create a new
| | 00:56 | stroke style, and we'll do the corner one first,
call it Corners. I'll click OK, and I'll also
| | 01:02 | click OK to get out of the dialog box, because
right now I want to apply that stroke style
| | 01:06 | to that frame I just created.
| | 01:08 | So as we change the settings in the dialog
box, we can see that reflected on the frame.
| | 01:12 | So I'll choose Type > Corners, my new stroke
style, and then I'll go back to the panel
| | 01:17 | menu and edit the style.
| | 01:20 | So I have Preview selected, and I can see the
effects of the changes that I make right now.
| | 01:24 | So in the dialog box, I can click and drag
to change the length of the dash, or I can
| | 01:28 | adjust the values here by changing the
numbers of the dash, or the overall Pattern Length.
| | 01:33 | Now for this Corners stroke style, I'm going
to have a very large Pattern Length because
| | 01:36 | I only want dashes right in the corners.
| | 01:39 | So I'm going to choose 45
picas for the Pattern Length.
| | 01:42 | And you notice what happened here in the dash length
that stayed half the width of the overall pattern.
| | 01:47 | I'm going to change the Corners from
Adjust dashes and gaps to Adjust gaps.
| | 01:51 | And I'm going to decrease the length of the
dashes themselves down to about 12 picas, and
| | 01:56 | that gives me nice corner dashes.
| | 01:58 | All right, let's create
that bracket stroke style.
| | 02:02 | So again, in the Stroke panel menu, I'll choose
Stroke Styles > New > Dash, and we'll call this
| | 02:08 | Brackets, we'll click OK, get out of the dialog
box and again I'll apply it to my frame, choose
| | 02:14 | Brackets and then we'll edit the style.
| | 02:18 | Now for this one, I want a very long Pattern
Length, I'm going to go all the way up to
| | 02:22 | 60 picas, and there you can see the brackets,
but I want the top and the bottom to be a
| | 02:26 | little bit shorter.
| | 02:27 | So what I am going to do is change Corners
from Adjust dashes and gaps to Adjust dashes
| | 02:33 | and that trims off the top and
the bottom here. I'll click OK.
| | 02:37 | One thing to note about this custom stroke
style is the fact that it works depends on
| | 02:41 | the exact size of the frame here.
| | 02:43 | If I take my Selection tool and I click and
drag one of the control handles, you can see
| | 02:48 | that the bracket breaks as soon
as I go beyond a certain height.
| | 02:52 | And if I change the Width, then the top and
the bottom get crunched in a little bit there.
| | 02:56 | I'm going to undo.
| | 02:57 | So how can you fix this problem? Well, there's
two ways you can do it; one, you can go back
| | 03:01 | and change the settings in the custom stroke
style or you can actually scale the frame.
| | 03:06 | But if you scale the frame, you first have
to make sure that you have your preferences
| | 03:09 | set the right way that will
preserve this stroke style.
| | 03:11 | I'm going to press Command+K or Ctrl+K on
the PC to bring up my Preferences dialog box
| | 03:16 | and in General preferences, I want to have
Adjust Scaling Percentage selected. Click OK.
| | 03:22 | Now I can hold down Command+Shift or Ctrl+Shift
to constrain and I can drag a corner of this
| | 03:27 | frame and my stroke style stays in
tact. The bracket doesn't get broken.
| | 03:32 | The one thing to note though is that as I
make it larger the width of the stroke gets
| | 03:36 | larger or if I make it smaller, the
width of the stroke gets smaller.
| | 03:40 | So that's the tradeoff you have in order to be
able to scale this without having to change
| | 03:44 | the stroke style itself.
| | 03:46 | I'm going to undo that to get
my original size of this frame.
| | 03:49 | And we'll make the
valentine heart stroke style now.
| | 03:52 | Back in the Stroke Style menu > New > Dash
and we'll call this Hearts, click OK, apply
| | 04:00 | to the frame and I want
these hearts to be pretty big.
| | 04:04 | So I'm going to go up to the Control panel
and I'm going to increase the Width of the
| | 04:07 | stroke all the way to 60 points.
| | 04:10 | Now go back to the Stroke panel and edit it.
| | 04:13 | For our Pattern Length, I want 45 picas, for
the length of the dash I'll go to 11 picas,
| | 04:19 | and in the Corners, I
want to adjust the dashes.
| | 04:22 | Now those don't look like hearts yet, but if I
change the Cap setting to rounded, voila!
| | 04:26 | Hearts. Click OK.
| | 04:29 | Now let's make them red, so go to the Control
panel and change the color of the stroke to
| | 04:33 | red and then I'll open up my Effects panel,
I'll target the Stroke, and let's apply some
| | 04:41 | Bevel and Emboss.
| | 04:43 | We'll increase the size up to 3 picas and
increase the Altitude to 75 degrees. That will
| | 04:51 | give me a nice shiny look on these hearts.
| | 04:53 | We will also add a little bit of the Satin
effect for some texture. I will set the Distance
| | 04:57 | to 3 picas and match that
with the size and click OK.
| | 05:02 | And there you have it, the
valentine heart custom stroke style.
| | 05:05 | So these are just a few of the examples of
what you can do by adjusting the Gap and Dash
| | 05:09 | settings on the stroke, and I hope they
inspired you to see what cool things you can create
| | 05:12 | on your own with your
own custom stroke styles.
| | 05:15 | I'm Mike Rankin and I'll be back in two weeks.
| | 05:17 | Thanks for watching.
| | Collapse this transcript |
| 065 Creating photo corners| 00:00 | Hi! I'm Mike Rankin and
welcome to InDesign FX.
| | 00:03 | In this week's effect we'll create the look
of an old-fashioned album by adding these
| | 00:07 | corners to our placed photos.
| | 00:08 | I'll go to the next page of my document and
here I have just a plain photo of some trees,
| | 00:13 | and I'd like to make it look like a
photograph in one of those old-fashioned albums.
| | 00:17 | So the first thing I'm going to do is add a
stroke to create a white border around the photo.
| | 00:22 | So I'll go up to the Control panel and in the
Stroke Settings I'll apply 10 point stroke,
| | 00:26 | I'll change the tint from 100% down to about
15% black, I'll go to the Stroke panel and
| | 00:32 | align to the inside of the frame, and now
I'll go back up to the Control panel and I'm
| | 00:36 | going to add a Drop Shadow.
| | 00:38 | I want to set the Distance to 0 so the
shadow sits right behind the frame.
| | 00:43 | I'll click OK and now we can
start making those photo corners.
| | 00:46 | I'll zoom in a little bit, I'll take my
Rectangle Frame tool, click in the document, and I'll
| | 00:51 | make both the Width and the Height 30 pixels.
| | 00:53 | I'll fill it with black and reduce
the Tint a little bit to about 90%.
| | 00:59 | So it's a very dark gray color.
| | 01:00 | I'll press the P key on my keyboard to get my
Pen tool, and I'll click on the bottom-right
| | 01:05 | Control Point to delete it,
so now I have a triangle.
| | 01:09 | I'll move it into position, I'm going to zoom in
so I can see the detail that I'm creating here.
| | 01:13 | Now I don't want these corners to be perfectly sharp,
so I'm going to round them off just a little bit.
| | 01:18 | So in the Control panel I will choose Rounded
and maybe 3 pixels, then I'll choose Effects
| | 01:23 | in the Control panel, Bevel and Emboss, I'll
reduce the size of the Bevel down to 3 pixels,
| | 01:28 | and the only other setting I'm going to
change down here is the Shadow setting, because I
| | 01:32 | don't really want that shadow over here.
| | 01:33 | You see how it gets a
little bit darker right there?
| | 01:35 | I want to take that off, so I'm going to
reduce the Opacity all the way down to 0.
| | 01:39 | I just want the highlight. I'll click OK.
| | 01:42 | And now what I want to do is align the edge
of the Bevel with the edge of the photo.
| | 01:46 | So it seems like the photo is
pushing up the corner just a little bit.
| | 01:49 | So I want this line right about there, and this
one I'll nudge into the left with my arrow
| | 01:53 | key on my keyboard. There,
that looks pretty good.
| | 01:56 | I'll zoom back out and see how it looks.
| | 01:58 | Okay, so there is one. I'll zoom back in a
little bit so I can see what I'm doing.
| | 02:02 | I'll select that corner and hold down Option+Shift
or Alt+Shift on the PC, drag that corner
| | 02:07 | straight down, and in the Control panel
I'm going to rotate this 90 degrees.
| | 02:13 | Again I'll hold Shift and drag down.
| | 02:15 | I'll zoom in, and again, I want to align that
beveled edge right with the edge of the photo.
| | 02:20 | So I'll use my arrow keys to nudge up and
this edge is right because I constrained it
| | 02:24 | with the Shift key when I
dragged down. Zoom back out.
| | 02:28 | Now I'll select both corners, Option+Shift
or Alt+Shift, drag over to the right side.
| | 02:34 | In the Control panel I'll
click on Flip Horizontal.
| | 02:36 | I'll zoom in and use my arrow
keys to nudge these in place again.
| | 02:41 | That looks pretty good.
| | 02:42 | Now the one thing you might notice when I
did that transforming when I rotated, and
| | 02:45 | then when I flipped the other three
corners, the Bevel doesn't look right.
| | 02:49 | I have highlights coming from all four
sides, and that's not really very realistic.
| | 02:53 | I want the highlight of the Bevel to be in
the same direction on all four corners.
| | 02:58 | So what I need to do is to make them all act as one,
and to do that I can make them into a compound path.
| | 03:03 | So I'll select all four corners by holding
down the Shift key and clicking on all four,
| | 03:09 | and I can go to the Object menu, Paths > Make
Compound Path, and when I do that, the highlight
| | 03:15 | is all in the same direction now.
| | 03:17 | You can see it's all
coming from the upper left.
| | 03:20 | The other nice thing about making them into
a compound path is now I can click on any
| | 03:23 | one of them, and I can change the fill color.
| | 03:25 | So if instead of black I wanted a
dark magenta, I could have that color.
| | 03:29 | In this video we saw how to make realistic
looking photo corners by applying a little
| | 03:33 | Bevel and Emboss to some triangles,
transforming them, and then converting them to a compound
| | 03:38 | path to make all the highlights look right.
| | 03:40 | I'm Mike Rankin and I'll be back
in two weeks. Thanks for watching!
| | Collapse this transcript |
| 066 Making new shadow effects| 00:00 | Hi! I am Mike Rankin and
welcome to InDesign FX.
| | 00:03 | In this week's effect we'll take a look at
alternatives to the standard drop shadow.
| | 00:07 | In fact, we won't use the Drop Shadow effect
at all. Instead we can create shadow effects
| | 00:12 | by making a copy of objects or text, and then
pasting other shapes into those outlines to
| | 00:17 | create looks like these,
let's see how it's done.
| | 00:20 | So I'll go to the next page in my document,
I'll take my Type tool and I'll click and
| | 00:24 | drag to create a really large text frame.
| | 00:27 | I'll change the font to Myriad Pro, Black,
I'll make it really large, 150 points, and
| | 00:34 | I'll type in the word Alt Shadows.
| | 00:36 | I'm also going to select all that and I'm
going to track it back a little bit to about
| | 00:42 | -50, just to compress it a little bit. I'm going to
press Command+Shift+Option+O or Ctrl+Shift+Alt+O
| | 00:48 | on the PC to convert this type to
outlines and also copy it at the same time.
| | 00:53 | So if I drag the new copy out of the way you
can see that I still have the original text
| | 00:58 | plus this outlined copy.
| | 00:59 | I'm going to undo to place
that back where it was.
| | 01:02 | Now I'm going to take the Line tool and click
and drag while I hold Shift right at the left
| | 01:06 | edge of my page here to draw a
line that's taller than the text.
| | 01:10 | With my Selection tool I'll choose Edit > Step
and Repeat, and I'm going to use these values.
| | 01:16 | I'll repeat a 110 times, Vertical Offset of
0 and Horizontal Offset of 9 pixels just to
| | 01:22 | space out these lines a little bit, and so
you can see it goes the entire width of the
| | 01:26 | text here, plus a little extra.
| | 01:28 | I'll click OK, and now I'm going to group
all these lines, I'll cut them, I'll select
| | 01:33 | my outline text, and I'll
choose Edit > Paste Into.
| | 01:37 | In the Control panel I'll change the fill
from Black to None, and now I can use my arrow
| | 01:42 | keys to nudge these outline shapes down into the
right, and if I zoom in I can see these lines.
| | 01:48 | Now I want to control if look a little bit here, I
want to change the stroke style that's on these lines.
| | 01:54 | So up in the Control panel, I'll click on the
Select content button, so now I've selected
| | 01:58 | that group of 110 vertical lines and I'm going
to change the stroke style from Solid to Triple,
| | 02:05 | I'll increase the stroke width until I fill
in all those spaces, maybe take it down to
| | 02:10 | 7 points. I'll zoom out
and see what I have here.
| | 02:14 | So that's an interesting effect,
let's change it a little bit here.
| | 02:17 | Again I'll select those outlines, I'll select
the content and I'll change the stroke style
| | 02:22 | instead of Triple I'll go to the Straight
Hash, I'll increase the Width and that'll
| | 02:27 | fill in those little gaps.
| | 02:29 | Now I have horizontal lines for my alternative
shadows. I can even choose Wavy if I wanted
| | 02:34 | to, if I wanted a sort of zebra effect here.
| | 02:37 | All right, let's zoom back in
and try a couple of more things.
| | 02:40 | Again I'll select the outlines, select the
content, I'll go back to my Triple Lines and
| | 02:47 | this time I'm going to apply some shearing.
I'll select the shear value and hold down
| | 02:51 | the Shift key on my keyboard and tap the
up arrow until I get to about 30 degrees.
| | 02:55 | I can even try other stroke styles too.
| | 02:57 | If I wanted to I could use
diamonds as well for a different effect.
| | 03:00 | You can really use any of these custom stroke
styles you want to for the alternative shadows.
| | 03:05 | So you can see there is no need to settle for
the regular humdrum drop shadow that you've
| | 03:09 | seen a million times before.
| | 03:11 | Not when it's easy enough to create a fun
alternative with the Paste Into command.
| | 03:15 | I am Mike Rankin and
I'll be back in two weeks.
| | 03:17 | Thanks for watching!
| | Collapse this transcript |
| 067 Making 3D type| 00:00 | Hi! I'm Mike Rankin and
welcome to InDesign FX.
| | 00:03 | In this week's effect, we'll take a look at how
to add more depth and dimension to lettering.
| | 00:08 | Drop Shadows are one of the key tools to
giving objects a 3D effect, but you can't apply a
| | 00:12 | drop shadow or any effect for
that matter to a selection of text.
| | 00:16 | The same drop shadow is applied
to all the text in a frame.
| | 00:19 | This means that you can't make letters seem
like they're stacked on top of one another.
| | 00:23 | But by converting text to outlines, we can
get around this limitation and into a greater
| | 00:27 | variety of 3D text effects,
like the one that you see here.
| | 00:30 | So let's try this.
| | 00:31 | I'll create a new page in my document, I'll
press the F key on my keyboard to get my Rectangle
| | 00:35 | Frame tool, and right now I just
want to create a background object.
| | 00:39 | So I'm going to drag over the entire page,
and up in the Control panel, I'll give it
| | 00:43 | a Fill of black, switch my Selection tool and I'll
lock this object, so it doesn't get in my way.
| | 00:48 | Now I'll switch to my Type tool, click and
drag out, and I'm going to create some text
| | 00:53 | just saying 3D Type. I'll select it,
change the font to Myriad Pro, Bold Condensed.
| | 00:59 | I'll make it really large, 200 points, and
I'm going to change the Fill of the text to
| | 01:05 | 10% Black, move it over my
background, and I'll center it.
| | 01:10 | Now since I want these letters to overlap a
little bit, there's another thing I want
| | 01:13 | to do, and that's to track back all this text.
| | 01:15 | So I'll select it all and track it back.
| | 01:17 | In fact, a little bit more, just so they
are going to overlap and that looks good.
| | 01:23 | Now I need to convert all these to outlines,
and I'm going to do them one at a time.
| | 01:27 | So I'll double-click, switch to my Type tool,
I'll select the first character, this 3, and
| | 01:32 | then I'm going to press down Command+Shift+Option+O
or Ctrl+Shift+Alt+O on the PC to convert this
| | 01:37 | one character to outlines, and
also copy it at the same time.
| | 01:41 | So the original live text of the number 3 is
still intact, but I have an outline copy of it.
| | 01:48 | So Command+Shift+Option or Ctrl+
Shift+Alt+O and there is my 3.
| | 01:51 | Now I'm going to go do the same thing
for each of the rest of the characters.
| | 01:55 | Now I have all my copies.
| | 01:56 | I can discard or just move out
of the way the original text.
| | 01:59 | And now these are all independent frames that I can
apply any effect I want to, including a drop shadow.
| | 02:05 | So I'll select them all, I'll Option+Click
or Alt+Click on the Drop Shadow button to
| | 02:10 | bring up the Effects dialog box, and
I'll change the settings a little bit.
| | 02:13 | I'll leave the blending settings the same
and the Distance setting the same, but I'm
| | 02:16 | going to change the Angle to a 180 degrees.
| | 02:19 | This makes the light shine from the left
and cast the shadows towards the right.
| | 02:23 | I'll click OK and deselect,
so we can see the effect.
| | 02:26 | That's pretty nice.
| | 02:27 | Now what if I wanted the shadows
to be cast in the other direction?
| | 02:30 | Well, I can select all the frames again.
| | 02:32 | Option+Click or Alt+Click on the Drop Shadow button in
the Control panel, and I'll change the Angle to 0.
| | 02:37 | Now I can't see the shadows right now and that's
because the stacking order has to be changed.
| | 02:41 | So I have to select each of these objects,
and then bring them to the front, so they
| | 02:44 | cast a shadow to that character to the left.
| | 02:47 | So I'll press Command+Shift or Ctrl+Shift
on the PC plus the right bracket to bring
| | 02:51 | each of these to the front.
| | 02:53 | And there you have it, 3D type.
| | 02:54 | In this video, we saw how to overcome the
limitation of only being able to apply a single
| | 02:59 | drop shadow to all the text in the frame.
| | 03:01 | We converted each letter to outlines, and in
doing so, we made each letter its own frame,
| | 03:06 | with its own individual drop shadow,
which made for some cool looking 3D type.
| | 03:10 | I'm Mike Rankin and I'll be back in two
weeks with another new InDesign effect.
| | 03:14 | Thanks for watching!
| | 03:15 |
| | Collapse this transcript |
| 068 Making a 3D object| 00:00 | Hi! I'm Mike Rankin and
welcome to InDesign FX.
| | 00:03 | In this week's InDesign effect, we'll see how
to combine two different methods for making
| | 00:07 | an object look 3D.
| | 00:09 | When it comes to effects, one thing InDesign
definitely lacks is a set of robust easy-to-use 3D tools.
| | 00:14 | Sure you can make 3D effects, but they often
require some manual drawing or other workarounds.
| | 00:20 | In this week's effect, we'll take a look at
one such workaround by employing a separate
| | 00:23 | copy of an object in the Bevel & Emboss effect to
make something look 3D, like this bar of soap here.
| | 00:29 | So I'll zoom out.
| | 00:30 | I'll create a new page in my document by
pressing Command+Shift+P or Ctrl+Shift+P on the PC,
| | 00:35 | and when I click, I see I had
lurking up a primary textframe.
| | 00:38 | I don't want that here getting in my way.
| | 00:40 | So I'm just going to select it and delete it.
| | 00:42 | Now I can create my bar of soap.
| | 00:44 | So I'll take my Rectangle Frame tool, click
in the document and I will use these values;
| | 00:49 | 230 pixels wide by 140
pixels high. I'll click OK.
| | 00:53 | Up at the Control panel, I'll give it a Fill.
| | 00:57 | I'll choose this pink color and a Tint of 80%.
| | 01:02 | And I want it to have rounded corners, so I
will change to a Rounded Corner effect.
| | 01:06 | I'll switch to my Selection tool and zoom in,
and we will start applying some effects.
| | 01:11 | Select the frame, and in the Control
panel I'll choose Bevel & Emboss.
| | 01:16 | I'll keep these settings of
Inner Bevel Smooth and Up.
| | 01:19 | I'll increase the Size to 20 pixels;
I'll set the Angle to 90 degrees.
| | 01:24 | That way the light shines directly from the top to the
bottom, and I'll increase the Altitude to 60 degrees.
| | 01:30 | This increases the Highlights and decreases
the Shadows, but increase the highlights are
| | 01:34 | a little bit too much for my taste. I don't
want the soap to appear quite so shiny, so
| | 01:38 | I'm going to decrease the Opacity of
the highlight right here, down to 15%.
| | 01:42 | All right, that's it for the Bevel & Emboss.
| | 01:43 | Next, I'll apply Drop Shadow.
| | 01:46 | I'll decrease the Opacity a bit from the default, down
to 40%, and I'll decrease the Distance a bit too.
| | 01:52 | Bring that shadow a little bit
closer to the bar of soap like 7 pixels.
| | 01:56 | I want consistent lighting, so I'll use that 90
degrees shading Angle again, and all increase
| | 02:01 | the Spread of the shadow just a
little bit, make it a little bit darker.
| | 02:04 | I'll give it a 15% Spread.
| | 02:06 | Now one more thing I would like to do with this
bar of soap is to soften the edges a little bit.
| | 02:10 | Right now, these are really crisp
edges and I want to blur them a bit.
| | 02:14 | So for that I'm going to apply a Basic Feather and
decrease the Width down to 2 pixels and click OK.
| | 02:20 | So there is my basic bar of soap.
| | 02:22 | Now I'll my Type tool and
start adding some text.
| | 02:24 | We will just call this SOAP, select the text
and we will change the Font to Myriad Pro
| | 02:31 | Black Condensed Italic.
| | 02:33 | We'll make it larger about 90 points,
and I want those letters closer together.
| | 02:37 | So I'm going to track them back to -50.
| | 02:40 | There is my lettering. I will double-click on the
Control Handle to size the frame to the text.
| | 02:46 | And now I want to make this text to
look like it's cut into the bar of soap.
| | 02:50 | So for that I'm going to use
the little blending mode trick.
| | 02:52 | First of all I'm going to set
the text to 52% Black Fill.
| | 02:56 | I'll target the text, Black Fill, slightly
darker than 50%, 52%, I'll select Formatting
| | 03:03 | Effects Container, go to My Effects panel
and now I'll double-click on the text, and
| | 03:07 | I'm going to apply an Inner Shadow.
| | 03:09 | I'll keep the Multiply blending mode, but I'm
going to change the Swatch to this purple color.
| | 03:15 | I'll decrease the Opacity a little bit to 60%,
decrease the Distance as well to 3 pixels
| | 03:21 | and change the Angle to 90 degrees.
| | 03:23 | I'm also going to decrease the Size down to 3
pixels, and I'm also going to add a little
| | 03:27 | bit Choke here, 40%, to make a nice solid
edge there, make it really look like it's
| | 03:32 | carved into the bar of soap.
| | 03:34 | And like I did on the outside of the bar soap,
I'm also going to give this a little bit of
| | 03:37 | Basic Feather, just to soften the edges.
| | 03:40 | So for the Feather Width, we'll try 2 pixels,
that looks pretty good, and maybe Choke that
| | 03:44 | back as well, a Choke of 10%.
| | 03:47 | Now there's just one problem.
| | 03:48 | The fill of text still looks gray. I just
want it to look like the color of the soap.
| | 03:52 | Well for that, I'm going to choose Transparency and
change the blending mode from Normal to Hard Light.
| | 03:58 | That was why we filled the text with that 52% Black,
for the Hard Light blending mode,
| | 04:03 | 50% gray is neutral, it disappears.
| | 04:06 | And that's what we wanted here. We want it to
only see the shadows to make it look like
| | 04:10 | the letters were carved into the bar of soap.
| | 04:12 | I made it a little bit darker than 50% just
to give it a little bit of difference from
| | 04:16 | the rest of the bar of soap.
| | 04:17 | So it looks like it's down
a little bit further here.
| | 04:20 | I'll click OK, and we're almost done.
| | 04:22 | We've used all our effects, but I want to
make this bar look a little bit more 3D.
| | 04:26 | I want to see an edge underneath.
| | 04:28 | And for that I'm not going to use
any transparency effects at all.
| | 04:31 | I'm just going to select the bar, Copy it, Paste
it in place by pressing Command+Shift+Option+V
| | 04:36 | or Ctrl+Shift+Alt+V.
| | 04:38 | And then I'm going to go up to the Effects
Controls in the Control panel and choose Clear
| | 04:41 | All Effects, so removing all the
shadows and glows and bevels there.
| | 04:46 | And I'm going to change the Fill, make the
Tint 100%, so it's a little bit darker than
| | 04:50 | the rest of the bar soap.
| | 04:52 | Now I'm going to send the object to the back,
choosing Object > Arrange > Send to Back,
| | 04:58 | and using my keyboard arrow keys, I'm
just going to nudge it down a little bit.
| | 05:02 | So there you have it, combining transparency
effects with a little bit of old-fashioned
| | 05:06 | trickery to make a 3D effect.
| | 05:08 | I'm Mike Rankin, and I'll be back in two
weeks with another new InDesign effect.
| | 05:11 | Thanks for watching!
| | Collapse this transcript |
| 069 Making translucent objects| 00:00 | Hi! I'm Mike Rankin, and
welcome to InDesign FX.
| | 00:03 | In this week's video, we'll see how to make
translucent objects like these bubbles on
| | 00:07 | the bar of soap using
blending modes and effects.
| | 00:10 | When it comes to making translucent objects, you
just can't beat the Hard Light blending mode.
| | 00:14 | It allows you to hide the fill color of an
object, while still showing an effect applied
| | 00:18 | to that object, like Bevel & Emboss.
| | 00:21 | So let's see how to make these bubbles.
| | 00:22 | I will go to the second page of my document
where I have the bar of soap, but no bubbles.
| | 00:27 | I'll press the L key on my keyboard to get
my Ellipse tool and click in the document
| | 00:31 | and I'm going to create circles
30 pixels in width and height.
| | 00:35 | I'm going to press Shift+X on my
keyboard to exchange the stroke and fill.
| | 00:40 | So now the circle has no
stroke but a fill of black.
| | 00:43 | Up in the Control panel, I'll change the
Tint from 100% to 50% and this is the key step
| | 00:49 | for making translucent
objects; that 50% black fill.
| | 00:52 | The reason is, 50% black is a neutral
color for the Hard Light blending mode.
| | 00:57 | It just disappears when you apply Hard Light
to it, but we can still have the shadows and
| | 01:01 | highlights of effects that I
applied to this circle stay visible.
| | 01:05 | So let's do that next.
| | 01:06 | With the circle still selected, I'll go to my
Effects controls and I'll choose Bevel & Emboss.
| | 01:12 | I'll keep Inner Bevel Smooth and Up, I'll increase
the Size to 25 pixels, make it look really round.
| | 01:19 | I'll change the Angle to match the rest of
the lighting in this document, which was 90
| | 01:23 | degrees where the highlights are on top and
the shadows are on bottom, and I'll increase
| | 01:27 | the Altitude to about 70 degrees,
making for a nice shiny circle.
| | 01:32 | I might want to decrease that highlight just
a little bit, I'll take it down to say 50%
| | 01:36 | Opacity, and I'll also take down the
Shadows as well, maybe about 30%.
| | 01:41 | Now I target the Transparency and I'll change
the blending mode from Normal to Hard Light.
| | 01:47 | See how it makes the fill color disappear,
but I can still see that highlight and the
| | 01:51 | shadow at the bottom here.
| | 01:53 | I'll click OK, deselect,
and there's my bubble.
| | 01:58 | Now if I want to make copies, I'll just
hold down Option or Alt and drag around.
| | 02:03 | I can also hold down Command+Shift or Ctrl+Shift and
drag one of the corner points and make smaller bubbles.
| | 02:08 | Just see what happened to that new bubble?
The highlight isn't as sharp and focused as
| | 02:12 | it is on the larger bubbles, that's
because of the Preference setting.
| | 02:15 | So let's press Command+K or Ctrl+K to bring
up Preferences and in General Preferences >
| | 02:20 | When Scaling, we want to
select Adjust Scaling Percentage.
| | 02:25 | I'll delete that smaller circle,
and let's make a new one.
| | 02:28 | Again, Option+Drag or Alt+Drag, and this
time with the Scaling Preference set to Adjust
| | 02:32 | Scaling Percentage, I'll get the
effects scaled along with the circle.
| | 02:36 | So I get that nice sharp highlight.
| | 02:39 | And I can continue to drag around and make
extra bubbles as many as I want, and so forth.
| | 02:46 | In this week's video we saw a key use for the Hard
Light blending mode, making translucent objects.
| | 02:51 | We did it by filling an object with 50% black
before applying the Hard Light blending mode.
| | 02:57 | This makes the fill disappear, so then you
can apply effects like Bevel & Emboss, and
| | 03:01 | only see those Highlights and Shadows.
| | 03:03 | And Voila! Instant bubbles.
| | 03:04 | I'm Mike Rankin, and I'll be back in two
weeks with another new InDesign effect.
| | 03:08 | Thanks for watching!
| | Collapse this transcript |
| 070 Mocking up a film strip| 00:00 | Hi! I'm Mike Rankin, and
welcome to InDesign FX.
| | 00:03 | In this week's effect, we'll see how to create a
strip of film like this and place images into it.
| | 00:08 | Remember film? That stuff people use to
stick in cameras to take photographs and movies
| | 00:12 | before digital took over? Well, this week's
InDesign FX video is all about simulating
| | 00:17 | old-fashioned film as a fun way
to display a series of images.
| | 00:21 | So let's see how it's done.
| | 00:22 | In my document I'll press Command+Shift+P
or Ctrl+Shift+P on the PC to create a new
| | 00:26 | page and I'll press the F key on my
keyboard to get my Rectangle Frame tool.
| | 00:30 | I'll click in the document and I'll create a
rectangle that's 270 pixels wide by 160 pixels tall.
| | 00:37 | And this is going to be the
basis for one single frame of film.
| | 00:40 | In the Control panel I'll target the
Fill and set it to this brown color.
| | 00:44 | I'll switch to my Selection tool and confirm
that in the Control panel I have the Reference
| | 00:48 | Point set to the bottom-center.
| | 00:50 | I'll copy this object and paste it in place by
pressing Command+Shift+Option+V or Ctrl+Shift+Alt+V,
| | 00:56 | and now I'm going to
decrease the width and height.
| | 00:58 | I'll decrease the width to 230
pixels, and the height to 150.
| | 01:02 | I'll change the Fill color from brown to gray,
change that Tint from 100% to 50% black, and
| | 01:07 | now I want to make the holes
on either side of the film.
| | 01:11 | So I'm going to zoom in a bit, again press F
to get my Rectangle Frame tool, click, and
| | 01:17 | I will make these 15
pixels wide by 11 pixels tall.
| | 01:21 | I'll Fill them with paper
just so I can see them.
| | 01:24 | And now I'm going to zoom in a
bit and nudge this into place.
| | 01:29 | I'm going to hold down Command+
Shift or Ctrl+Shift on the PC and
| | 01:32 | use my arrow keys to move this 1/10th of the normal
keyboard increment and get it just where I want it.
| | 01:38 | That looks pretty good.
| | 01:39 | Zoom back out a bit, so I can see the whole
frame, and now I'm going to make some copies.
| | 01:44 | So I'll hold down Option or Alt, I will start
dragging and hold down the Shift key to constrain
| | 01:49 | and now when this matches the top of the gray rectangle,
I'm going to tap the Up Arrow key on my keyboard.
| | 01:54 | Let's make some extra copies till I end up
with six total, let go off the mouse key and
| | 01:59 | there I have all the holes
I want on the left side.
| | 02:01 | I'm going to hold down Option or Alt again,
plus Shift to constrain, and drag this over
| | 02:07 | to the right side.
| | 02:08 | Again, I can nudge them into place.
| | 02:10 | So make sure I got them where I want them,
and that looks pretty good. Zoom back out.
| | 02:15 | Now I want to join all these smaller rectangles
with the large brown one and make it a compound
| | 02:20 | path, but before I can do that I need to
reverse the direction of all these copied
| | 02:24 | objects, otherwise they won't
punch a hole in the brown object.
| | 02:28 | So with them selected, I can go over to the
Object menu and choose Paths > Reverse Path.
| | 02:33 | Now I can hold down Shift, drag over the
other small rectangles and the brown rectangle,
| | 02:38 | and press Command+8 or Ctrl+8 on my
keyboard to make this a compound path.
| | 02:42 | So now all of these objects will act as one.
| | 02:45 | Now I'll take my Line tool, I'll click and
drag and hold down Shift, and I'm going to
| | 02:50 | set the Stroke of this to 15 points and make
it black, and make sure it aligns right to
| | 02:56 | the side of my filmstrip.
| | 02:59 | It's a little too tall, that looks better.
| | 03:04 | Again, I'll hold Option+Shift or Alt+Shift,
drag over to the right side and the piece
| | 03:09 | of film is starting to take shape.
| | 03:11 | All right, let's place a
photo in this filmstrip.
| | 03:14 | So I'll select it and press Command+D or Ctrl+D,
and in the Exercise Files folder, inside the
| | 03:19 | Links folder there's apples.psd.
| | 03:22 | We'll place this and zoom out, so
there's one piece of our filmstrip.
| | 03:27 | Now we want to make some extra copies of this.
| | 03:29 | So I'll select it all, move it up a bit, and
again, I'll press Option+Shift or Alt+Shift
| | 03:36 | to make a copy, and we'll do this a few times.
| | 03:40 | Now because I've placed a Photoshop file that
has different layers in it, I can use InDesign's
| | 03:44 | Object Layer Options to expose
different pictures of this apple.
| | 03:48 | So I'll select this one, I'll right-click
and choose Object Layer Options, and here
| | 03:54 | I can see the layers in the Photoshop file.
| | 03:56 | Right now the only one that's showing is Layer 1,
that shows this apple in its original state.
| | 04:01 | But if I show Layer 2 and turn off Layer 1,
and click OK, here I can see a bite has been
| | 04:07 | taken out of the apple.
| | 04:08 | Let's do that again.
| | 04:10 | Right-click, Object Layer Options, turn off
Layer 1, and this time we'll turn on Layer
| | 04:16 | 3, OK, and we'll do the same
thing for the last two frames.
| | 04:23 | This time we'll show
Layer 4, and lastly Layer 5.
| | 04:30 | And be sure to turn off Layer 1.
| | 04:33 | And there you go, the disappearing apple.
| | 04:35 | So in this video we saw how to construct an
effect that looks like old-school film from
| | 04:39 | just a series of well-placed rectangles,
plus a couple of lines, and by using a layered
| | 04:44 | Photoshop file, plus InDesign's Object Layer
Options, we were able to use just one placed
| | 04:49 | image for the effect.
| | 04:50 | I'm Mike Rankin and I'll be back in two weeks.
| | 04:52 | Thanks for watching!
| | Collapse this transcript |
| 071 Showing graphics as tiles| 00:00 | Hi, I'm Mike Rankin, and welcome to InDesign FX.
| | 00:04 | In this week's video we'll see how to make an
image appear as though it's printed on a set of tiles.
| | 00:08 | We can make a tiled image by creating
multiple frames and then uniting them so they act as
| | 00:13 | one, then we can apply effects like corner
effects and transparency effects all at once.
| | 00:18 | So let's see how it's done.
| | 00:19 | I'll create a new page in my document by
pressing Command+Shift+P or Ctrl+Shift+P on the PC,
| | 00:23 | and I'm going to start with a simple square.
| | 00:26 | I'll press the F key on my keyboard, click in the
document, and I'll make it 60 pixels wide and tall.
| | 00:31 | This is going to be my single tile.
| | 00:33 | I'll move it up to the left corner,
I'll choose Edit > Step and Repeat.
| | 00:39 | I'm going to create a Grid, and it's going
to be a grid with the 10 rows, but before
| | 00:43 | I can do that, I need to change this vertical and
horizontal offset so I don't send objects off into space.
| | 00:48 | I will change the Vertical offset to 76
pixels and the same for the Horizontal.
| | 00:52 | Now I can create 10 Rows
and 13 Columns and click OK.
| | 00:56 | I have to be sure I select my original square,
and now I can make these into a compound path
| | 01:01 | by choosing Object > Path > Make Compound
Path, or by pressing Command+A or Ctrl+A.
| | 01:09 | Now let's place in the image into this path.
| | 01:11 | I'll press Command+D or Ctrl+D, and in the
Links folder inside the Exercise Files folder,
| | 01:15 | I'm going to choose goldengate.jpg.
| | 01:18 | With it still selected, I'll choose Fill
frame proportionally, and now I can start applying
| | 01:23 | some effects to make these look like real tiles.
| | 01:26 | I'll select my effects in my
Control Panel and choose Bevel & Emboss.
| | 01:30 | I'll choose an Inner Bevel with Smooth and Up.
| | 01:32 | I'll decrease the Size from 7 pixels down
to 3 pixels, and I'll increase the Altitude
| | 01:36 | to 70 degrees to give me a nice shiny effect
on these tiles and really decrease the Shadows.
| | 01:41 | In fact, I'm actually going to increase the
Opacity of the Highlight all the way to 100%
| | 01:46 | to make them even shinier.
We'll also apply a Drop Shadow.
| | 01:50 | I'll decrease the Opacity because
that's a little dark for my taste.
| | 01:53 | So we'll take it down to 40%.
| | 01:55 | Let's set the Distance to just 1
pixel and also the Size down to 1 pixel.
| | 01:59 | So I want a really small
shadow here, I'll click OK.
| | 02:04 | And now another thing that I can do with a
compound path is I can also apply corner effects.
| | 02:08 | Right now if I zoom in on these tiles, I can
see that they have really sharp corners, but
| | 02:12 | if I wanted to round those off, I can just do it once
and the rounded corners apply to all of these squares.
| | 02:18 | So in the Control Panel, I'll select Rounded
corners, I'll zoom out so I can see them all,
| | 02:22 | and you can see the
effect is applied throughout.
| | 02:24 | If I didn't want rounded, I can choose any
of the other styles, and they can create some
| | 02:29 | interesting effects as well.
| | 02:32 | But for now, I'm going to stick
with Rounded at about 3 pixels.
| | 02:36 | Now one other thing I'd like to do here is
to apply some kind of background color, some
| | 02:40 | texture here to look like
grout in between the tiles.
| | 02:43 | So for that, I'll press the F key on my
keyboard to get my Rectangle Frame Tool, drag over
| | 02:48 | the entire page, and in the Control
Panel I'll set it to Black, the Tint of 40%.
| | 02:54 | I'll send it to the back, and I'm going to
create some texture with an Inner Glow Effect.
| | 03:00 | So I'll choose Effects > Inner Glow, I'm
going to reduce the Opacity from 75% down to 25.
| | 03:06 | I'll keep it Softer in the Source of the Edge,
but I'm going to make it huge, 400 pixels.
| | 03:11 | So it goes all the way
from the edge to the center.
| | 03:14 | And then I'm going to add Noise
of 50%, that's a lot of noise.
| | 03:18 | It's going to create this
nice grainy texture and click OK.
| | 03:21 | In this video we saw how to create a tiled
image effect by using Step and Repeat to create
| | 03:26 | an evenly spaced set of frames and rows and
columns, then we united those frames by making
| | 03:30 | a compound path into which we could place a
single image, and then we applied the finishing
| | 03:35 | touches like corner
options and transparency effects.
| | 03:38 | I'm Mike Rankin, and I'll be back in two weeks.
Thanks for watching!
| | Collapse this transcript |
| 072 Simulating chalk| 00:00 | Hi, I am Mike Rankin,
and welcome to InDesign FX.
| | 00:03 | In this week's video we'll take a look at a
very unexpected use for a Drop Shadow, making
| | 00:08 | text look like writing on a chalkboard.
| | 00:11 | Normally you think of a Drop Shadow is
something that makes things darker, but the fact that
| | 00:14 | you can apply any color and any blending mode
to a Drop Shadow makes it a much more versatile
| | 00:19 | effect, so let's see how it's done.
| | 00:21 | I'll go to the next page in my document where
I have a blank chalkboard, I'll take my Type
| | 00:26 | Tool, click and drag out a large frame, and
I'll just type FX Quiz Today! Select the text,
| | 00:35 | I'll press Command+6 or Ctrl+6 to highlight
the text controls in the Control Panel, I'll
| | 00:40 | change the font and make it much larger and
center it, switch to my Selection Tool, and
| | 00:49 | I'll just move it in place, I'll slide it over, and now
we'll apply some Effects, we'll apply that Drop Shadow.
| | 00:59 | So I'll open up the Effects, and I'll change
the Transparency from Normal to Screen, apply
| | 01:07 | Drop Shadow, and I'll change the Blending
Mode from Multiply to Hard Light and a light
| | 01:14 | color that's 15% tint of black, click OK.
| | 01:20 | I'll change the Distance to 0 so the Drop
Shadow is exactly where the text was, I'll
| | 01:24 | turn off this setting, Object Knocks Out
Shadow, I'll increase the Spread to 40%, and I'll
| | 01:32 | also give it some Noise, about 20% to
roughen up those edges and click OK.
| | 01:39 | So there is a basic chalk effect applied to
some text, but you don't have to just apply
| | 01:43 | it to text, you can apply it to
anything you put on this chalkboard.
| | 01:46 | So if I draw out a new frame, I'll give it
a stroke and right now it's set to black,
| | 01:54 | but again, I can go to my Effects Panel,
I'll change it from Normal to Screen, and what
| | 02:01 | I can do is select this text and grab this
fx icon and drop it on top of that new frame,
| | 02:09 | and voila! Now I have the
chalk effect applied there.
| | 02:11 | Furthermore, I can make this into an object
style so I can just apply it with a single
| | 02:15 | click to anything I put on this chalkboard.
| | 02:18 | So with it selected, I'll go to my Object
Styles Panel and just click on New Style,
| | 02:23 | I'll also hold down the Option or Alt key
so I can name it, Chalk, and now I'll just
| | 02:32 | take the Pencil Tool and draw out some squiggles and
I can apply the chalk object style, and there you go.
| | 02:40 | Just like writing with a piece of chalk.
| | 02:42 | In this video we saw the
power of blending modes.
| | 02:44 | So with them we were able to make text
invisible but still display its Drop Shadow, and we
| | 02:49 | were able to make that shadow a light gray color and
blend it with the detail of a blackboard beneath it.
| | 02:54 | We also saw how to reuse rather than re-create
effects by dragging the fx icon and by creating
| | 03:00 | and applying an object style.
| | 03:02 | I am Mike Rankin, and I'll back in two weeks.
Thanks for watching.
| | Collapse this transcript |
| 073 Using drop- and inner-shadows to create a cutout effect| 00:00 | Hi, I am Mike Rankin,
and welcome to InDesign FX.
| | 00:03 | In this week's video we're going to use both
kinds of shadows in the InDesign arsenal of
| | 00:08 | effects, Drop Shadows and Inner Shadows,
and we're going to use them to make lettering
| | 00:12 | look like it was cut out
of paper like you see here.
| | 00:15 | So let's get started.
| | 00:16 | I'll create a new page in my document by
pressing Command+Shift+P, or Ctrl+Shift+P on the PC,
| | 00:21 | and then press F to get my Rectangle Frame tool.
| | 00:24 | I'll click and drag out over the entire page,
and what I'm doing now is just creating a
| | 00:28 | background tint that looks like paper.
| | 00:32 | So I'll give it a fill of black with a
light tint of say 10%, and I'll press Command+L
| | 00:38 | or Ctrl+L to lock that
so it stays out of my way.
| | 00:42 | Now I'll take my Type tool, click and drag
a large text frame, and I'll type the words
| | 00:48 | CUT IT OUT, select them all, center them
by pressing Command+Shift+C or Ctrl+Shift+C,
| | 00:55 | I'll press Command+6 or Ctrl+6 to highlight the text
controls in the Control panel, and change the font.
| | 01:01 | I'll make it really large, switch to my
Selection tool, and then I'll hold down Option or Alt
| | 01:08 | and drag to make a copy.
| | 01:10 | And I'll select the original and I'll
press Command+Shift+O, or Ctrl+Shift+O on the PC,
| | 01:15 | to convert this text to outlines.
| | 01:17 | With the text still selected, I'll press Command+D
or Ctrl+D to bring up the Place dialog box,
| | 01:22 | and in the Links folder
I'll select woodgrain.jpg.
| | 01:26 | With it placed into the outlines I'll click
on fill frame proportionally, and now I can
| | 01:33 | apply that inner shadow to
make it look like a cutout.
| | 01:37 | I'll use the fx controls and
choose Inner Shadow and click OK.
| | 01:42 | Now for the paper cutouts, I'll select my
other text and again convert it to outlines
| | 01:46 | by pressing Command+Shift+O or Ctrl+Shift+O.
| | 01:49 | I need to change the fill to match the rest
of the paper background, reduce the Tint to
| | 01:54 | 10%, and I'll give it a Drop Shadow.
| | 01:59 | I'll set the Distance to 0, so the shadow
sits directly behind the letter shapes and
| | 02:04 | reduce the size a little bit
down to say 4 pixels and click OK.
| | 02:10 | Now what I'd like to do is sort
of scatter these letters around.
| | 02:14 | So in order to do that I need
to release the compound path.
| | 02:17 | Right now I've converted these text outlines
and it all acts as one path, but in order to move
| | 02:22 | the letters individually I need
to release that compound path.
| | 02:26 | So I'll go to Object > Path >
Release Compound Path.
| | 02:31 | Now there's one thing I
need to do on this letter O.
| | 02:33 | You can see that the inner oval
is independent of the outer oval.
| | 02:37 | I need to join those two back together.
| | 02:39 | So I'll undo, I'll choose Object > Path >
Reverse Path, Shift-click to select the outer oval,
| | 02:49 | and then remake a compound
path out of those two pieces.
| | 02:55 | See now this acts as a regular compound path.
| | 02:57 | You can see what's
beneath inside the smaller oval.
| | 02:59 | So now we can take all these letter shapes
and move them independently, I can rotate
| | 03:03 | them, I can have them overlap one
another and so forth, make a nice messy effect.
| | 03:15 | One other thing I can do is I can take one of
these letter shapes and paste it into another
| | 03:19 | copy of this outline text and that'll make it look
like the letter fell through the hole, so let's try that.
| | 03:25 | I'll select the outline text with the inner
shadow, I'll copy and paste it in place by
| | 03:30 | pressing Command+Shift+Option+V, I'll remove
the fill, and I'll also remove all effects.
| | 03:39 | I'll position the I where I want it.
| | 03:41 | I'll even rotate a little bit, I'll cut it,
select these outlines and choose Edit > Paste
| | 03:49 | Into, and there you have it.
The I is falling through the hole there.
| | 03:54 | If I want to reposition the I, I can select
these outlines and then use the Select content
| | 04:00 | button in the Control panel, I can use my
Arrow keys to nudge it around, I can change
| | 04:05 | the rotation angle, and so forth.
| | 04:08 | In this video we saw how to use both Drop
Shadow and Inner Shadow on two separate copies
| | 04:13 | of some outline text to create the look that
the text was cut out of paper, and by releasing
| | 04:19 | the compound path of the text outlines we
could scatter the individual letters around
| | 04:23 | for a variation on the effect.
| | 04:25 | I am Mike Rankin, and I'll be back in two weeks.
Thanks for watching.
| | Collapse this transcript |
| 074 Applying multiple strokes with layers| 00:00 | Hi, I am Mike Rankin,
and welcome to InDesign FX.
| | 00:04 | In this week's effect, we are going to take
a look at how to overcome the fact that you
| | 00:07 | can only apply one stroke
to an object in InDesign.
| | 00:11 | If I could apply multiple strokes to objects in InDesign,
we could do all kinds of complex layered effects easily.
| | 00:17 | Unfortunately, in InDesign
one stroke is all you get.
| | 00:21 | So we have to use multiple copies of
an object to create a layered effect.
| | 00:25 | It's not elegant, but you can do
it, and it does look cool in the end.
| | 00:29 | So here are a couple of examples where I've
created layered or stacked text effects by
| | 00:33 | creating several copies of an
object, each with its own Drop Shadow.
| | 00:38 | So let's re-create these.
| | 00:39 | I am going to go to the
next page of my document.
| | 00:42 | I'll take my Type tool and
drag out a huge text frame.
| | 00:47 | I'll type the word Layers, select it and
press Command+6 or Ctrl+6 to highlight the text
| | 00:54 | controls in the Control panel.
I'll make it large, 300 points, and center it.
| | 01:02 | I am also going to track it out a bit to give
myself some extra space in between the letter shapes.
| | 01:07 | I will track it to 25, take my Selection tool,
and in the Swatches panel I will target the
| | 01:14 | text and fill it with this
Pastel Violet Magenta color.
| | 01:18 | I will change the Tint down to 33%, so
it's a very light tint of that magenta color.
| | 01:25 | I will zoom out a little bit to give myself some more
room, move it over, and let's give it a Drop Shadow.
| | 01:36 | Target my effects, Drop Shadow, I will change the
Distance to 0 and make the Size pretty small, just 2 pixels.
| | 01:44 | I want a really small Drop Shadow just to give me a
really thin layered effect here. I will click OK.
| | 01:53 | And now I want to make an
extra copy of this text.
| | 01:56 | So I will copy it and paste it in place by pressing
Command+Shift+Option+V or Ctrl+Shift+Alt+V on the PC.
| | 02:02 | I will go back to the Swatches panel,
target the text and I will give it a stroke, that
| | 02:08 | same Pastel Violet Magenta.
| | 02:09 | But instead, I want a Tint of 66%,
and I want a Stroke of 5 points.
| | 02:16 | I am going to send this to the
back so it's behind the original text.
| | 02:24 | Now I am going to copy again, paste in
place again, again select my text controls, and
| | 02:30 | this time I will give the stroke a Tint of 100%, and we
will make it 10 points, and again send it to the back.
| | 02:43 | So there is that nice layered effect with three
separate drop shadows and three separate tints on the text.
| | 02:49 | Now let's try something a
little bit more ambitious.
| | 02:50 | I will create a new page by
pressing Command+Shift+P or Ctrl+Shift+P.
| | 02:55 | Again, take my Type tool, drag out a huge
text frame, and I will type the word Stacks now.
| | 03:03 | Select it and center it, I will press Command+6
or Ctrl+6, and I want a really thin font for
| | 03:09 | this one because I am going to have several
layers, each one progressively thicker underneath
| | 03:13 | this original layer, so a super-thin font.
I am going to choose Helvetica Neue UltraLight.
| | 03:19 | I am going to make it huge, 300 points,
switch to my Selection tool, target my Text fill
| | 03:28 | and reduce the Tint down to 10% black.
| | 03:32 | I am going to convert this to outlines by
pressing Command+Shift+O, or Ctrl+Shift+O
| | 03:36 | on the PC, and I am going to give it a
Drop Shadow, so I will use my Effects controls
| | 03:41 | in the Control panel, Drop Shadow, I am
going to change the Blending mode to Color Burn,
| | 03:47 | reduce the Opacity down to 30%, set the
Distance to 0 so the shadow is right behind the text,
| | 03:54 | and increase its size to 10 pixels and click OK.
| | 03:59 | Now I am going to copy this, paste it in place,
I am going to give it a stroke of Black 40%,
| | 04:08 | I will make the Width of the stroke 10 points up in
the Control panel, and I will send it to the back.
| | 04:19 | With it still selected, I will copy and paste
it in place, and for this stroke I'll increase
| | 04:24 | the Tint to 60% and make it 20 points.
| | 04:29 | I'll hold down the Shift key on the keyboard
and just tap the Up Arrow, and again, I will
| | 04:33 | send this to the back, I will press
Command+Shift+Left Bracket or Ctrl+Shift+Left Bracket,
| | 04:38 | and I will repeat that same process again.
| | 04:40 | Copy the object, paste it in place, I will
increase the Tint, this time to 80%, increase
| | 04:47 | the width of the stroke to 30 points, and
send it to the back, and you can see how we
| | 04:52 | build up these progressive layers.
| | 04:54 | Now if I want to add some color to this, I can do
it really easily by creating a separate color object.
| | 05:00 | So I still have the largest
object selected right now.
| | 05:03 | I am going to copy it and paste it in place.
Now it's sitting on top of all the others.
| | 05:07 | I am going to remove the Drop Shadow just
by clicking on the Drop Shadow button in the
| | 05:11 | Control panel, and I am going to change
this Stroke color from Black to RGB Cyan.
| | 05:17 | In the Effects panel, I will change
the Blending mode from Normal to Color.
| | 05:23 | And now that color is applied
to all the objects underneath.
| | 05:27 | So if I wanted to change the color, I can
just pick a different swatch, so I can make
| | 05:30 | them Green or Magenta, or if I
like the Blue, I could stick with that.
| | 05:36 | Now there is one more thing you can do to
give this some extra pop and that's to add
| | 05:40 | a separate set of objects with drop shadows on
top of the color, because right now everything
| | 05:44 | is going to get the Cyan color, but if you
want real gray drop shadows, you need to put
| | 05:49 | them on top of the Cyan object.
| | 05:51 | What I will do now is go to the Layers panel,
tip open Layer 1, and I can see which object
| | 05:57 | I have selected here.
| | 05:58 | I am going to lock that object, so I have
locked the color object, I will click and
| | 06:03 | drag to select all the others,
copy them, and paste them in place.
| | 06:07 | So now they are on top of that color object.
| | 06:09 | In the Swatches panel I will set the
stroke of all these objects to Paper, and I will
| | 06:15 | set the fill of these objects to Paper.
| | 06:18 | In the Effects panel I'll
set them all to Multiply.
| | 06:22 | I'll deselect and zoom in
a bit so we can see better.
| | 06:28 | So now I have these nice strong
shadows on top of the Cyan object.
| | 06:32 | And if you want to change the Opacity of
the shadows, you can select one of the objects
| | 06:36 | and make it even more prominent
just to give it an extra 3D feel.
| | 06:42 | In this video we saw how to overcome
InDesign's limit of one stroke per object by stacking
| | 06:48 | several copies of an object each with its
own Drop Shadow, and we made some nice layered
| | 06:52 | text effects with a lot of pop and
things that are easily recolored as well.
| | 06:57 | I am Mike Rankin, and I'll be back in two weeks.
Thanks for watching.
| | Collapse this transcript |
| 075 Enhancing design with skewed text| 00:00 | Hi, I'm Mike Rankin, and welcome to InDesign FX.
| | 00:03 | In this week's effect we're going to see how to use
Type on Path options to skew text to enhance a design.
| | 00:09 | You can create a very strong design by choosing
photos with distinct lines that direct a viewer's gaze.
| | 00:15 | You can take this idea one step further by
also skewing type so it follows those same lines.
| | 00:20 | And a great way to do this is with
InDesign's options for Type on Path.
| | 00:25 | So here I have a photo of some very Tall Trees,
and the photo is taken from a low level looking
| | 00:29 | upward to really enhance the
feeling of the trees' height.
| | 00:32 | You get these lines of perspective going up,
and you can see that the type has been skewed
| | 00:36 | to also follow those same lines of perspective.
So let's see how to do this.
| | 00:41 | I'll go to the next in my document
where I have the same photo but no text.
| | 00:45 | I'm going to press the W key on my keyboard
just so I can see my margins, and I'll take
| | 00:50 | a Frame Tool, click and drag out a
giant frame all the way to the margins.
| | 00:55 | Now I'll take my Type on Path tool and up at
the center of that new frame at the top I'll click.
| | 01:02 | Now I'm going to the type the words Tall Trees,
I'll select them, make them large, 140 points,
| | 01:11 | and while I have it selected, I'll also
change the fill color from Black to Paper, and I'm
| | 01:18 | going to center them as
well. Now what happened?
| | 01:22 | Why did the text just go all the way to the
bottom, and in fact like off the page here?
| | 01:26 | Well, when I clicked with the Type on a Path
tool, I clicked up at the top of the frame,
| | 01:30 | and when you click you set
the left and right margins.
| | 01:33 | Now remember, I also centered this text.
| | 01:35 | So centered in between these two margins is all
the way around on the other side of the frame.
| | 01:40 | And that's okay.
| | 01:41 | That's actually where I want this
text, but I don't want it upside-down.
| | 01:45 | So what I need to do is click on this little
vertical bar and drag upward, and that flips
| | 01:50 | the text so it's now inside
the frame where I want it.
| | 01:54 | The next thing I want to do is to change the Type
on a Path option to create that skewing that I want.
| | 01:59 | So with the frame selected, I'll go to
Type > Type on a Path > Options and change the
| | 02:05 | Effect from Rainbow to Gravity and click OK.
| | 02:11 | And now you can see I get that sort of scrunching at the
top these lines of perspective converging up here somewhere.
| | 02:17 | Next, I'm going to move this whole frame up
because it's sitting a little bit too low,
| | 02:22 | and now because of where I positioned it I
can't really see the text over here, so I want to
| | 02:26 | apply a little Drop Shadow.
| | 02:28 | Open my Effects Panel, click on Drop Shadow,
make it a little bit larger, say 10 pixels,
| | 02:36 | there we go, now I can actually read the text.
| | 02:40 | Now to control the angle of the skewing of
this type, I have to actually change the size
| | 02:44 | and shape of the frame that it's on.
| | 02:47 | So I'm going to zoom out by pressing Command+Minus
or Ctrl+Minus so I can the see the whole frame.
| | 02:51 | In my Control Panel I have the Reference Point set to
the bottom center, and I'm going to increase the Height.
| | 02:56 | I'm going to go up to 900 pixels.
| | 02:58 | And you can see that slithered over to the left a
little bit, and that's because the margin is also moved.
| | 03:05 | So by clicking and dragging on the margin,
I can move the text back where I want it and
| | 03:10 | also affect the angle of the skew.
So I can match the angle of these trees here.
| | 03:14 | I am going to just move the whole frame over,
that's not too bad, but I'll move this margin
| | 03:20 | a little bit more and see if I can
match that angle a little bit better.
| | 03:26 | That's pretty good.
| | 03:27 | I'll press the W key and zoom in, and we can
see we have the lines of perspective that we want.
| | 03:33 | In this video we saw how we can skew text
to integrate it into a design that features
| | 03:38 | very distinct lines of perspective.
| | 03:40 | We used the Type on Path option called
gravity to create the skew and tweaked it by adjusting
| | 03:45 | the shape of the frame that the text was sitting
on and move the endpoints of the Type on Path.
| | 03:51 | By doing these things, you can skew text
to match just about any angle you want.
| | 03:55 | I'm Mike Rankin, and I'll be back in 2 weeks.
Thanks for watching.
| | Collapse this transcript |
| 076 Creating and revealing hidden objects| 00:00 | Hi, I'm Mike Rankin, and welcome to InDesign FX.
| | 00:03 | In this week's video, we'll create a fun effect that
looks like we're revealing hidden objects in a design.
| | 00:09 | So here we have the text YES YES YES, and these
objects revealed NO NO NO inside all the letter shapes.
| | 00:16 | And in fact, I can actually move these
objects around and see that these letter shapes are
| | 00:20 | all filled with those nos.
So how did I do this?
| | 00:23 | Well, let's create a new
page and start from scratch.
| | 00:28 | I'll take the Type Tool, drag out a really
large text frame, and type YES YES YES,
| | 00:35 | I'll select the type, center it, and get
really large, and I'll change the Font.
| | 00:44 | Next, I'll convert the text to outlines by
choosing Type > Create Outlines, and I'll
| | 00:52 | make a second copy by holding
Option or Alt and dragging down.
| | 00:57 | Now I'll create a new text frame that fits over
all this text, and I'll fill it with little tiny nos.
| | 01:06 | Select that, copy it, paste it over and over
again, and just do it really quickly. There we go.
| | 01:19 | Now I'll cut this whole frame, select my top
set of outlines, and choose Edit > Paste Into.
| | 01:28 | I'll change the Fill to None, and
I'll give it a 1-point Black Stroke.
| | 01:36 | Now I'll align both sets of
outlines using my Align Panel.
| | 01:44 | I'll press the L key on my keyboard to get
my Ellipse Tool, hold down Shift and drag out
| | 01:48 | to create a circle I'll give it a Black stroke
of 10 pixels, and I'll give it a Fill of Cyan.
| | 01:59 | I'll switch to my Selection Tool, hold down
Option+Shift or Alt+Shift and drag over to
| | 02:05 | create a second circle, I'll select them
both go to my Pathfinder Panel and click on Add.
| | 02:14 | So it's sort of like I'm
creating this binocular shape here.
| | 02:17 | Now I'll go to the Effects Panel, target the
Fill, reduce the Opacity, and now I just have
| | 02:26 | to change the stacking order of the objects.
| | 02:28 | The one with the black fill needs to go to the back,
so I'll choose Object > Arrange > Send to Back.
| | 02:36 | And then the circles have to go beneath
the top object, and there I can see the frame
| | 02:44 | that was filled with the little nos, but
the big Black YES is still in the back.
| | 02:49 | And I can move this around wherever I want it.
| | 02:52 | Now if you want a variation on this effect,
I'll hold down Option, drag over, I'll copy
| | 02:59 | it and paste it in place or press Command+Shift+Option+V
or Ctrl+Shift+Alt+V, and now because this
| | 03:04 | copy is sitting on top of everything else
I can actually change the stroke color to
| | 03:08 | something other than black, like so.
| | 03:15 | In this video we saw how to create the
illusion of revealing hidden text by making the text
| | 03:20 | the same color as a background object--in this case
Black--and then placing a third object in the middle.
| | 03:26 | It's a simple trick, but it works like a charm.
I'm Mike Rankin, and I'll be back in 2 weeks.
| | 03:31 | Thanks for watching.
| | Collapse this transcript |
| 077 Setting text vertically| 00:00 | Hi, I'm Mike Rankin, and welcome to InDesign FX.
| | 00:04 | In this week's effect we'll see how to set text vertically
so the letters are stacked one on top of another.
| | 00:09 | The keys to setting text vertically is to
set it on a straight vertical path and use the
| | 00:14 | Type on a Path option called Stair Step.
So let's see how it's done.
| | 00:19 | In my document I'll create a new page by
pressing Command+Shift+P or Ctrl+Shift+P, I'll press
| | 00:24 | the W key so I can see my margins, and I'll
take my Line Tool and click and drag while
| | 00:29 | holding Shift to constrain to draw a
straight vertical line inside the margins, then I'll
| | 00:35 | take my Type on a Path Tool, and
I'll click and drag to set endpoints.
| | 00:40 | I'll type some text, I'll make
it a little larger, and center it.
| | 00:50 | Now I can go to Type > Type on a Path > Options and
change the Effect from Rainbow to Stair Step and click OK.
| | 00:59 | Now the text is scrunched up a little bit here,
so I'll track it out, and that's pretty good.
| | 01:06 | But can you see the problem with it?
| | 01:08 | If I look down at the word TEXT, the last
letter is out of alignment with the others.
| | 01:14 | This is just sort of an artifact that
comes along with the Stair Step effect.
| | 01:18 | So to overcome this what I need to do is add
an extra character here after the last character
| | 01:22 | I want to see and then make
that extra character invisible.
| | 01:26 | So I'll take my Type on a Path Tool,
click in here, and I'll just add a Period.
| | 01:31 | I'll select that Period, which I don't
really want to see, go up to my Control Panel, and
| | 01:36 | set the Fill to None.
| | 01:39 | That pushes the T back into
alignment with the rest of the letters.
| | 01:42 | I'll zoom out, and I'll also
remove the stroke on my vertical line.
| | 01:48 | And there's my vertical text.
| | 01:50 | So I can also enhance it by
adding a background color.
| | 01:52 | I'll create a large frame, fill it with black,
send it to the back by pressing Command+Shift+Left
| | 02:02 | Bracket or Ctrl+Shift+Left Bracket, I'll lock
it by pressing Command+L or Ctrl+L, and then
| | 02:08 | I'll drag over to select my text, and in the Swatches Panel
select my text formatting and change it to green.
| | 02:17 | And remember, I have to change the fill of
that last object to None, so I'll double-click,
| | 02:23 | select it, and set the Fill to None.
| | 02:26 | I'll press W to preview,
and there's my vertical text.
| | 02:31 | In this video we saw how to set text
vertically by placing it on a straight vertical path
| | 02:36 | and using the Type on a
Path option called Stair Step.
| | 02:39 | And remember, it's also necessary to add one
extra invisible character at the end of the
| | 02:44 | text to keep things aligned.
| | 02:46 | I'm Mike Rankin, and I'll be back in two weeks.
Thanks for watching.
| | Collapse this transcript |
| 078 Achieving a developing Polaroid effect| 00:00 | Hi, I'm Mike Rankin, and welcome to InDesign FX.
| | 00:03 | In this week's effect we'll see how to make a picture
look like a Polaroid instant photo that's developing.
| | 00:08 | For this effect, we'll use InDesign's Animation
tools to make a photo slowly appear just like
| | 00:13 | those old instant pictures.
| | 00:15 | But unlike the real-life pictures, you can
control exactly how long it takes for your
| | 00:19 | image to appear inside InDesign.
| | 00:21 | I'll start by opening the SWF Preview Panel
by choosing Window > Interactive > SWF Preview,
| | 00:29 | and I'll preview the animation.
| | 00:33 | So I can see the photo of the
birthday party slowly comes into view.
| | 00:36 | So let's see how I did this.
| | 00:38 | I'll close the Preview Panel, go to the next page
in my document where I have just the placed photo.
| | 00:44 | I'll begin by putting a stroke around
this photo, a really large stroke, 55 points.
| | 00:52 | I'll change it from 100% Black to a very light
Tint, say 6%, then I'll go to the Stroke Panel,
| | 00:58 | align that stroke to the outside, and now
I'm going to use an effect to make a thin
| | 01:05 | border on the top and sides
and a thick border on the bottom.
| | 01:08 | And the effect I'm going to use
is called Directional Feather.
| | 01:11 | I'll open the fx Panel, I'll target the
Stroke, and turn on Directional Feather.
| | 01:19 | I'll constrain the feather widths,
and I'll set the Choke to 100%.
| | 01:22 | This will make a nice sharp
edge around all of the stroke.
| | 01:27 | Then I'll select the Top Feather width,
I'll hold down the Shift key on my keyboard and
| | 01:32 | top my Up Arrow key just a few times until I
see the width that I want on the top and sides.
| | 01:37 | Maybe a little bit more.
Right about there, that looks good.
| | 01:41 | Then I'll unconstrain, select the
Bottom feather width, and set it to 0.
| | 01:47 | So now I have a thick border at the
bottom and thin on the top and sides.
| | 01:51 | And while I'm here, I'll
also set a small drop shadow.
| | 01:54 | So I'll choose Object, but what's going on here?
| | 01:57 | I can see the Drop Shadow even
where the stroke was feathered.
| | 02:00 | Well, what I need to do is set this setting
right down here, Shadow Honors Other Effects,
| | 02:05 | and that takes into
consideration the directional feather.
| | 02:09 | I'll set the Distance to 0 so the shadow sits
right behind the photo, and that looks pretty good.
| | 02:14 | I'll click OK.
| | 02:16 | Now I need to make an object that sits on
top of the photo right here that I can use
| | 02:19 | the Animation tools to hide this photo.
| | 02:22 | So I'll select it, copy it, paste it in place,
and then I'll just remove the effects I applied
| | 02:28 | to this copy, I'll choose Clear All
Transparency, and I'll remove the stroke.
| | 02:36 | I'll double-click to select
the photo and delete it too.
| | 02:39 | So I have just an empty frame right now.
| | 02:42 | I'll apply a fill, this
film color that I created.
| | 02:46 | And now I can apply the animation.
| | 02:48 | I'll choose Window > Interactive > Animation,
and from the Preset menu I'll choose Fade Out.
| | 02:57 | For the Event I'll leave it
at On Page Load right now.
| | 02:59 | I want to increase the Duration to 8 seconds,
that will make it slowly fade out, and I'll
| | 03:06 | open the Properties and I'll make
sure I select Hide After Animating.
| | 03:10 | All right, we're ready to preview.
| | 03:14 | And there you have it, over 8 seconds that
new square on top fades out and reveals the
| | 03:19 | photo of the birthday party underneath.
| | 03:21 | In this video we saw how to make a placed photo
look like it was taken with a Polaroid instant camera.
| | 03:25 | First, we used a directional feather to create
the unequal border around the photo, and then
| | 03:30 | we used the fade out animation
preset to slowly reveal the picture.
| | 03:34 | I'm Mike Rankin, I'll be back in
two weeks, and thanks for watching.
| | Collapse this transcript |
| 079 Creating ornamental frames| 00:00 | Hi, I am Mike Rankin, and welcome InDesign FX.
| | 00:03 | In this week's effect, we will see how to
add ornamental features to a frame, taking
| | 00:07 | a plain rectangular frame and adding
some fancy details, like these and these.
| | 00:14 | Let's see how it's done.
| | 00:16 | I will go back to the first page of my
document, I'll select my fancy frame, and delete it.
| | 00:22 | I now have this plain
photograph of the woman and her parasol.
| | 00:26 | Now I am going to use the paste into feature to
create the fancy frames, so I need a separate frame.
| | 00:31 | I can't apply those details right to this frame
because it already has something in it, the photograph.
| | 00:36 | So I am going to copy it, paste it in place,
double-click to select the photo and delete
| | 00:41 | it, so I have a second copy of this
frame sitting right on top of the photo.
| | 00:44 | So I am going to give it a Stroke, a large
one, 60 points, I'll go to the Stroke Panel
| | 00:52 | and just confirm that I have aligned it to the
outside of the photo, and now I need an Ornament.
| | 01:00 | I am going to steal a glyph from one
of the fancy fonts that you can get.
| | 01:03 | This one is going to be called
Adobe Wood Type Ornaments.
| | 01:06 | So if I take my Type Tool, click and drag
to Draw Frame, and now I'll go to the Type
| | 01:12 | menu, choose Glyphs, and in the Glyphs Panel, here's the font
that I want, Adobe Wood Type Ornaments and here's the Glyph.
| | 01:22 | I'll double-click to Insert it, close the
Glyphs Panel, and now that's a really tiny,
| | 01:27 | so let's scale that up nice and large.
| | 01:29 | I'll hold down Command+Shift or Ctrl+Shift and drag to
scale this way up until it's about the size that I want.
| | 01:38 | Now I could, if I wanted to, just place it down at the
bottom of the frame and that would look kind of interesting.
| | 01:43 | But in this case, what I wanted to do is
just show half of this glyph and put half up in
| | 01:47 | this corner and half down in this corner, and
that's why I am going to use the Paste into Command.
| | 01:53 | So first of all, I'll just double-click to
size that text frame down to the size of the
| | 01:57 | glyph and just make it a
little easier to move around.
| | 02:00 | And then I'll position it up in the top
left where I want it, I'll zoom in and nudge it
| | 02:05 | using the arrow keys on my keyboard, right
above, there it looks good, maybe one more
| | 02:13 | nudge, I'll zoom back out, and I'll hold
down Option or Alt and drag down to the bottom
| | 02:20 | right corner, position it, zoom in to
make sure it's where I want it to be.
| | 02:27 | We'll be nudge it down just a
little bit again and zoom back out.
| | 02:35 | Okay, now I need to hide these outer edges
of the two glyphs, so I am going to select
| | 02:39 | both of them by Shift-clicking, I'll group
them, cut them, and paste it into my new frame
| | 02:47 | by choosing Edit > Paste Into,
and there you have it.
| | 02:51 | So let's try another one.
| | 02:53 | I'll delete this frame, and again, we'll
copy the photo, paste it in place, double-click
| | 03:00 | to select the photo and delete it,
so we have a fresh new empty frame.
| | 03:04 | Again, we will give it a large 60-point Stroke,
align to the outside, and again, we'll draw a text frame.
| | 03:12 | Open the Glyphs Panel, now we'll choose a
different Glyph this time, we'll choose this one.
| | 03:17 | I'll double-click to insert it, and I'll
Command+Shift-drag or Ctrl+Shift-drag to scale this
| | 03:25 | up to the size that I want, maybe about there,
and I'll position it at the bottom of the frame where
| | 03:31 | I want it, nudge it with my arrow keys.
| | 03:35 | Now it's still a little too large, actually.
| | 03:37 | So again, Command+Shift-drag or Ctrl+Shift-drag,
make it smaller, and nudge it into place.
| | 03:47 | Then I'll go up to the Control Panel, set
the Reference Point to the left side, and
| | 03:52 | hold down Option or Alt and click on Flip Horizontal,
so I get this mirrored pair of ornaments here.
| | 03:58 | Then I'll hold down the Shift key, select both,
group them, then I'll hold down Option+Shift
| | 04:02 | or Alt+Shift to constrain and drag to make
another copy, just so they are touching there.
| | 04:09 | I'll zoom out and then I am going to use the
Transform Sequence again command by pressing
| | 04:14 | Command+Option+4 on the
Mac or Ctrl+Alt+4 on the PC.
| | 04:18 | Now we'll repeat that
transformation all the way across.
| | 04:21 | Now these Ornaments are still little too large.
| | 04:23 | They don't exactly fit inside the shape here,
so I want to scale them down again one more time.
| | 04:28 | I'll Shift-click to select them all and I'll hold
down Command+Shift+Option-drag or Ctrl+Shift+Alt-drag
| | 04:39 | just in so I get that Width right.
| | 04:42 | That looks pretty good, just nudge them into
place, maybe scale them up just a little bit
| | 04:51 | more, can be a little tricky to do this.
| | 04:54 | So I am having a little trouble
getting it exactly sized the way I want to.
| | 04:58 | There's still a small gap right here.
| | 05:00 | So what I am going to do is group all of these,
make sure the Reference Point in the Control
| | 05:05 | Panel is set to the left side, and then just
increase the scale just a little bit, making
| | 05:10 | sure that I've constrained
both horizontal and vertical.
| | 05:12 | So I am just going to type in 100.5% and
that's just enough to touch that right-hand side.
| | 05:20 | All right, now let's copy these
and put them at the top of the frame.
| | 05:23 | I'll select them, zoom out, I'll set the
Reference Point at the top center, I'll hold Option
| | 05:30 | or Alt and click on Flip Vertical, I'll Shift-drag
up, and there I have a pretty fancy frame.
| | 05:40 | In this video we saw how to use Glyphs from
an ornamental typeface to create decorative
| | 05:45 | elements for a picture frame via the Paste Into
Command and the Transform Sequence Again Command.
| | 05:50 | I am Mike Rankin, I will be back
in two weeks, thanks for watching.
| | Collapse this transcript |
| 080 Framing photos in letters| 00:00 | Hi, I am Mike Rankin,
and welcome to InDesign FX.
| | 00:03 | In this week's effect, we'll see how to
create outline text that can hold the place photo.
| | 00:07 | We'll also see how to adjust the position of
the letters after the photo has been placed
| | 00:12 | into them, and a different method that allows
us to have overlapping letters with strokes.
| | 00:17 | So my goal here is to create a frame for this
picture of the dog where you can see the letters
| | 00:21 | D-O-G kind of overlap and there is a Stroke
around them all and I can see the picture
| | 00:26 | of the dog inside there.
So let's see how to do this.
| | 00:28 | I'll create new page in my document, take
my Type Tool, drag out an enormous frame and
| | 00:36 | type dog, select it, I'll make it 600 points,
and I'll change the font to Myriad Pro-Bold
| | 00:47 | Condensed, and I'll center it, I'll also
Option-drag or Alt-drag to make a copy.
| | 00:53 | I'll just stash an extra copy
over here on the side for now.
| | 00:56 | So the first thing I need to do if I want to place a photo
into type is I need to convert that type to outlines.
| | 01:02 | I can do that by pressing Command+Shift+O
on the Mac or Ctrl+Shift+O on the PC.
| | 01:07 | Now I can press Shift+X to exchange the Stroke and Fill,
so now I have no Fill on here and a 1-point stroke.
| | 01:14 | I'll increase the Stroke Width to about
10 points by holding down the Shift key on my
| | 01:18 | keyboard and tapping this little up arrow
here, and now I can place the photo of the
| | 01:22 | dog into it, I'll press Command+D or Ctrl+D.
| | 01:25 | And in the Links folder, I'll choose the dog.jpg,
place him, double-click to select the photo,
| | 01:31 | and I can move it around inside the type
outlines and put the dog wherever I want him.
| | 01:36 | I like having him down there.
| | 01:38 | But now I have these big gaps in between the
letters, I'd like to move them a little bit
| | 01:42 | closer, so I could see more of the dog.
| | 01:44 | Well, I can do that, if I switch to my Direct
Selection tool, I'll press A on my keyboard,
| | 01:49 | hold Option or Alt, I'll click on the D letter
shape, and then I am going to hold down the
| | 01:52 | Shift key on the keyboard while still holding
Option or Alt and clicking on the Inner oval.
| | 01:57 | So, now I have just these two subpaths
selected inside the compound path of my type outlines.
| | 02:03 | Then I am going to tap my right arrow key
on my keyboard to slide the D over,
| | 02:10 | I'll do the same for the G.
| | 02:11 | So with the Direct Selection tool, I'll hold
Option or Alt click on the outer path, don't
| | 02:17 | release Option or Alt, and now hold down
Shift and click on the inner path, and then tap
| | 02:24 | the arrow keys your keyboard
to nudge it closer together.
| | 02:28 | Now that looks pretty good, but what
if I want to have the letters overlap?
| | 02:31 | I am going to run into a little problem.
| | 02:34 | So let me select the letter D again, and
I'll nudge it over and you can see what happens.
| | 02:42 | If I want it to be this
tight, I still see that stroke.
| | 02:45 | What I want to do is eliminate these
inner strokes and just see the outer stroke.
| | 02:49 | So let's see how to do that.
| | 02:52 | I'll delete this, I'll get my other copy of
the type that I stashed over on the pasteboard,
| | 02:58 | and I am going to make the letters overlap
to begin with, just by tracking them way back.
| | 03:03 | We'll just do -100 right now.
| | 03:05 | I'll select the frame and press Command+Shift+O
or Ctrl+Shift+O to convert to Outlines.
| | 03:11 | Now what I need to do is
release the compound path.
| | 03:13 | I'll go to Object > Paths > Release Compound Path.
Now I have all these individual paths.
| | 03:21 | Now what I am going to do is select the outer
paths and use the Path Finder command to add them.
| | 03:29 | Now I need to send this to the back.
| | 03:31 | I'll select all four paths, so I have the
three inner ovals and the large shape, and
| | 03:36 | then I'll choose to subtract, so that
subtracts the ovals from the large shape.
| | 03:41 | Again, I'll press Shift+X to exchange the
Stroke and Fill, hold down Shift and tap
| | 03:46 | the up arrow key to give it that 10-point
stroke, and then place the dog photo again,
| | 03:53 | double-click to select him, and I'll
have him just peeking in the bottom there.
| | 03:58 | Looks like he's begging for treat.
So there you go.
| | 04:01 | In this video we saw how to create outline
text that can hold the placed image, how to
| | 04:05 | adjust the position of the letters after placing
the image, and how to use the Pathfinder commands
| | 04:10 | to create a frame that can have
overlapping letters and a stroke.
| | 04:14 | I am Mike Rankin, I'll be back
in two weeks, thanks for watching.
| | Collapse this transcript |
| 081 Creating effects with paragraph rules| 00:00 | Hi, I am Mike Rankin,
and welcome to InDesign FX.
| | 00:03 | This week we'll see how to create some
interesting effects with paragraph rules.
| | 00:07 | As you see from these examples, there's no
shortage of things you can do with paragraph rules.
| | 00:11 | You can control the colors, the stroke styles, the size,
and position of rules both above and below a paragraph.
| | 00:18 | So let's see how each of these were done.
| | 00:19 | I'll go to the next page of my document,
and we'll start at the top with Rounded Rules.
| | 00:24 | I'll double-click to select the paragraph,
and I am going to press Command+Option+J
| | 00:29 | or Ctrl+Alt+J on the PC, and because I just
copied the paragraphs from the first page of
| | 00:34 | this document, it's going to
remember the rule that I used.
| | 00:36 | I just temporarily turned it off here.
| | 00:38 | So I am going to turn it back on, and we can walk through
the dialog box and see the settings that create the rule.
| | 00:43 | The first thing I need to do is turn on Preview,
so I can actually see the Rounded Rule, and
| | 00:47 | the way this was created
is with a very thick rule.
| | 00:50 | I used a red color, and the interesting
part is a Rounded Rule is made of two parts,
| | 00:55 | a Dotted Rule, and a Gap Color.
| | 00:57 | If I turn off the Gap Color, if I make it
None, you can see that this really is just
| | 01:02 | a bunch of dots, but by applying a Gap Color
in between, I can fill in these empty spaces
| | 01:07 | and make a solid Rounded Rule.
| | 01:09 | Of course, if I wanted to, I could pick a
different color, and then you'd see the dots again.
| | 01:14 | But I'll just leave this as
a Rounded Rule and click OK.
| | 01:18 | Now let's try a different one, again, Command+Option+J
or Ctrl+Alt+J to bring up the Paragraph Rules dialog box.
| | 01:24 | I'll turn this rule back on and this is
a double-dotted rule, so I have a rule
| | 01:29 | both above and below the paragraph.
| | 01:33 | We'll try another one, Gradient Rules, Rule Above,
let's turn it on, and again this is
| | 01:42 | a really thick rule, so all the
type fits inside of it, so 30 points.
| | 01:45 | Let's round it just like the first one by
choosing Japanese Dots style and a matching
| | 01:51 | Gap Color, but in this case instead of using
a Solid Color, I'll use the Gradient Swatch.
| | 01:56 | And the interesting thing about this is as
you type or add more text, the gradient will
| | 02:01 | stretch to be applied to the entire paragraph.
| | 02:04 | But you can see what happens
when it goes to a second line.
| | 02:07 | If I go too far, I don't see the rule applied down here,
so it's only going to be applied to one line of type.
| | 02:13 | Let's try the next one.
| | 02:17 | Turn this rule on, and I made something
that looks a little bit like Green Grass here.
| | 02:22 | This time I chose a Straight Hash and
again a Gap Color, but the contrast is provided
| | 02:27 | by Tint change, so I have 100% for the
regular hash mark and only 60% tint for the gap,
| | 02:34 | so slightly different green color.
| | 02:36 | And the last one, this is
a really interesting one.
| | 02:39 | With this rule, I have a different
color that appears behind each letter.
| | 02:43 | Now the key to this was choosing a mono-
space font, so if I look up in the Control Panel,
| | 02:47 | I can see I have chosen Courier Regular.
| | 02:49 | This will only work with a mono-space font
where each glyph is the same width, and for
| | 02:53 | this rule I chose a Dashed rule with
different colors, so I have Cyan and Magenta
| | 02:58 | for both the Dash and the Gap.
| | 03:00 | And as I type more text, you can
see that it continues on alternating.
| | 03:04 | In this video, we saw how to make a variety
of paragraph rules, we saw how to make rounded
| | 03:08 | rules with dotted stroke styles and matching
gap colors, we saw how to place rules above
| | 03:13 | and below a paragraph, how to make a
gradient filled rule that fits a paragraph text,
| | 03:17 | and even how to make a crazy rule that
alternates colors with each character that you type.
| | 03:21 | Really, you can do a huge number of different
things with Paragraph Rules, so have fun experimenting.
| | 03:26 | I'm Mike Rankin, I'll be back
in two weeks, thanks for watching.
| | Collapse this transcript |
| 082 Putting curved shadows on paper| 00:00 | Hi, I'm Mike Rankin, and welcome to InDesign FX.
| | 00:03 | In this week's effect, we'll see how to create
curved shadows that make a simple rectangular
| | 00:07 | frame look more like a realistic piece of paper.
| | 00:10 | The key is to use a script that
comes with InDesign called Path Effects.
| | 00:14 | Compare these two squares
on the screen right now.
| | 00:16 | Look at the shadows underneath.
| | 00:17 | See the one on the left, how the
shadow just comes out at the corners?
| | 00:20 | And the one on the right, the
shadow goes straight across?
| | 00:23 | In my opinion, this one looks a lot more
realistic like a curved piece of paper that's
| | 00:26 | sort of curling up a little bit in the corners.
So let's see how to do this.
| | 00:30 | I'll zoom out, go to the next page in my
document where I just have three squares, slide them
| | 00:35 | over a little bit, I'll select all three by
Shift-clicking on them, I'll copy, paste them
| | 00:40 | in place by pressing Command+Shift+Option+V
or Ctrl+Shift+Alt+V.
| | 00:45 | In the Swatches panel, I'll change the Fill
for mixed to Paper, then I'll go to the Effects
| | 00:50 | panel, double-click and I'll turn on Drop
Shadow, and these are the settings that I'll use,
| | 00:55 | 40% Opacity, Distance of 0, Size of
3 pixels, a little bit of Noise, and I want
| | 01:02 | to make one change right here, Object Knocks Out Shadow,
turn that off, and click OK.
| | 01:08 | Next, I want to set this object from Normal
to Multiply, and did you see what happened?
| | 01:14 | That Paper fill disappeared because
Multiply always makes things darker.
| | 01:18 | But I still have the Drop Shadow.
| | 01:20 | Now I can apply the Path Effects script
to change the shape of these Drop Shadows.
| | 01:24 | I'm going to Window > Utilities > Scripts,
I'll double-click on PathEffects,
| | 01:32 | and I'll choose this top one, Punk.
| | 01:34 | Under Options, I'll choose Offset
from Center Point, 90% and click OK.
| | 01:42 | If I zoom in on one, we can see
a little bit better what happened.
| | 01:45 | The Punk effect pushes the sides in while
keeping the corners right where they were originally.
| | 01:50 | And this is going to create
that curved shadow that I want.
| | 01:53 | I'll zoom back out and I'll select each one of these
in turn and move it behind the original piece of paper.
| | 01:57 | I'll press Command+Left Bracket until the
shadow disappears behind the piece of paper.
| | 02:01 | Now, I still have it selected at this point,
and I'll press the Down Arrow key on my keyboard
| | 02:06 | to nudge it down, just so it starts to peek out from the
bottom there, deselect, do it again for the middle one,
| | 02:11 | Command or Ctrl+Left Bracket+Down Arrow key,
| | 02:18 | and one more time, Command
or Ctrl+Left Bracket+Down Arrow key.
| | 02:22 | So there you go, nice curved shadows making
for a more realistic looking piece of paper.
| | 02:26 | In this video, we made use of a script that
comes with InDesign called Path Effects with
| | 02:31 | an effect called Punk to curve these
shadows and make for a more realistic look.
| | 02:35 | I'm Mike Rankin, I'll be back
in two weeks, thanks for watching.
| | Collapse this transcript |
| 083 Building a puzzle| 00:00 | Hi, I'm Mike Rankin, and welcome to InDesign FX.
| | 00:03 | In this week's effect, we'll see how to break an
image into several pieces that fit together like a puzzle.
| | 00:08 | For this, we'll use a handy script
that comes with InDesign called Make Grid.
| | 00:12 | It does all the hard work of dividing up
the image into as many frames as we want.
| | 00:16 | Then once we have the grid of images,
we can rearrange them and apply effects.
| | 00:20 | Let's see how it works.
| | 00:22 | So here we have the goal what we're looking
for, this picture of the Golden Gate Bridge,
| | 00:26 | and it's been broken into several different
frames, each of which is independent,
| | 00:29 | I can move them around, I can rotate
them and so forth. So let's do this.
| | 00:34 | We'll go to the next page where I have
that same placed photo, but in a single frame,
| | 00:39 | I'll slide it over here and I'll choose Window >
Utilities > Scripts and in my Scripts Panel,
| | 00:47 | inside the Application folder there is a
Samples folder and then inside the JavaScript folder,
| | 00:52 | I'm looking for the script
called MakeGrid, there it is.
| | 00:56 | So with this frame selected, I'll double-
click to run the script and then I just need to
| | 00:59 | tell it how many rows and columns I want, so
in this case I want four rows and five columns.
| | 01:04 | I don't want any space in between
the different pieces.
| | 01:07 | So I'll set the Row Gutter to 0 and same
for the Column Gutter, and I can leave the rest
| | 01:12 | of these settings as they are and click OK.
| | 01:14 | Now it doesn't look like very much has happened,
but as soon as I click and drag on the image,
| | 01:18 | I can see that it's been
broken into all separate pieces.
| | 01:21 | I'll just undo to put those back where they
were and now I can start applying some effects.
| | 01:26 | So I'll click and drag over the whole thing,
I'll hold down Option or Alt and click on
| | 01:30 | the Drop Shadow settings in the Control panel,
and I'll give them a small drop shadow.
| | 01:35 | I'll set the Distance to 0 and maybe decrease
the Size just a little bit, down to say 4 pixels,
| | 01:42 | I'll click OK and deselect.
| | 01:44 | Now I can just drag these around, rearrange
them, I'll pull one off and rotate a little bit,
| | 01:48 | we'll slide one over to the side,
I can change the stacking order as well.
| | 01:53 | If I want to, I could send this to the
back and move the other pieces in front of it.
| | 01:56 | I can stack a couple over here and
decide I want this one on top and so forth.
| | 02:01 | In this video, we saw how to create a puzzle
image by using the MakeGrid script to slice
| | 02:05 | up one picture into many equal-sized pieces
and then we are free to rearrange those pieces
| | 02:10 | and apply effects to them.
| | 02:12 | I'm Mike Rankin, I'll be back
in two weeks, thanks for watching.
| | Collapse this transcript |
| 084 Applying a gradient to text| 00:00 | Hi, I'm Mike Rankin, and welcome to InDesign FX.
| | 00:03 | In this week's effect, we'll see how to fill
text with a gradient and use InDesign CS6's
| | 00:08 | new Auto-Size feature to automatically
adjust that gradient to fit the text as we type.
| | 00:14 | So here I have two text frames,
my Auto-Size Gradient and Not-o-Size Gradient.
| | 00:20 | And if I click on the top one and I change
the text--I'll just delete the word Gradients
| | 00:24 | out of here--I can see that the gradient has
scaled, it's sort of going to fit the exact
| | 00:29 | size of the text no matter
how much I add or remove.
| | 00:32 | I'll add some more text again, and you
can see the gradient adjusts on the fly.
| | 00:38 | Now this other frame is not
going to do the same thing.
| | 00:40 | If I delete that word Gradient again, you
can see that I don't have any of the magenta
| | 00:44 | over here, it's just all the
green half of the gradient.
| | 00:46 | Well, what's going on here?
| | 00:47 | If I take my Selection Tool and I click on
this frame, I can see that the frame still
| | 00:52 | extends way out to the side here.
| | 00:54 | If I click on my Auto-Size Gradient, I can
see that it's snapped exactly to the width
| | 00:58 | of the text, and that's the key.
| | 01:00 | Even though the gradient is applied to the text,
it acts as though it's applied to the frame,
| | 01:04 | and the gradient is applied
to the entire width of the frame.
| | 01:07 | So if I double click on a control handle over
here, now I make this frame fit the text
| | 01:12 | and so does the gradient as well.
| | 01:13 | But if I drag it back out again,
you can see the gradient changes.
| | 01:17 | So if I want the gradient always to fit the text, I
use InDesign CS6's new Auto-Size feature for text frames.
| | 01:24 | To access the Auto-Size option, I'm going
to hold down Option or Alt and double-click
| | 01:28 | on the text frame to bring up my Text Frame
Options dialog box and in the new tab over
| | 01:33 | here, Auto-Size, I'm going to select Auto-Sizing >
Width Only, and I'm going to select from the left side.
| | 01:40 | I can click on Preview, and right away I
can see that gradient snapped to the text.
| | 01:45 | Click OK, and again as I type more text,
the gradient is applied to all the text.
| | 01:50 | So in this video, we saw how to use the Auto-Size
feature in InDesign CS6 to automatically make
| | 01:55 | gradient fill text look the way we want to.
| | 01:58 | I'm Mike Rankin, I'll be back
in two weeks, thanks for watching.
| | Collapse this transcript |
| | 085 Creating a theater marquee | | 086 Centering type on a curve | | 087 Creating looks without fill | | 088 Creating spiral patters from random lines | | 089 Creating highlights at top and bottom | | 090 Combining stroke styles | | 091 Making a bottle cap | | 092 Creating a 3D bevel effect behind a cover | | 094 Making trading cards | | 093 Creating custom frames | | 095 Revolving an item around an object | | 096 Creating old-fashioned spotlights | | 097 Creating a rust effect | | 098 Creating sparkle | | 099 Double beveling text | | 100 Creating a 3D pocket with bevel and gradient | | 101 Creating metallic text | | 102 Creating stained glass |
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