IntroductionWelcome| 00:01 | Brochures are everywhere.
| | 00:02 | In the mail, in the lobbies of hotels
and theaters, in stores, in libraries and
| | 00:07 | other public buildings.
| | 00:09 | Brochures are an essential marketing
tool and your opportunity to list the
| | 00:13 | services you offer as well as persuade
potential clients to use those services.
| | 00:18 | (music playing)
| | 00:21 | Hi, I'm Nigel French
and this is Designing a Brochure.
| | 00:24 | As the graphic designer and instructor
with more than 15 years experience, I
| | 00:28 | have come to know the tools of the
trade and how to get the most out of them.
| | 00:33 | In this course, we'll be using real
world design and production techniques in
| | 00:36 | Adobe InDesign, Illustrator,
Photoshop and Bridge CS4 to create compelling
| | 00:42 | and dynamic brochures.
| | 00:43 | But this course is more than just
learning the functions of the programs.
| | 00:48 | My goal is not only to show you the "how"
of creating the brochure but also to
| | 00:52 | explain the design decisions that
contribute to a successful end product.
| | 00:57 | We will design a brochure from
conception, through the sourcing and prepping of
| | 01:01 | artwork, to the combining of text and
graphics to finally getting it printed.
| | 01:06 | Starting with a basic tri-fold
brochure, we'll move on to explore different
| | 01:13 | brochure formats as well as folding
techniques, and of course, we won't be
| | 01:18 | ignoring the "how" power of design either.
| | 01:20 | You will see how to optimize your
workflow, how to design with grids to take the
| | 01:26 | guesswork out of placement.
| | 01:27 | How to create color palettes based on
the rules of color harmony and some really
| | 01:31 | cool techniques for livening up your images.
| | 01:34 | You will also see how to create a
mockup that you can present to a client and
| | 01:39 | how to pre-flight your document
before generating a print ready PDF.
| | 01:43 | As cyber marketing becomes increasingly
ubiquitous, the printed page becomes a
| | 01:48 | more valued and a person conduit to get
your message to your potential clients.
| | 01:53 | The unique creativity you bring to
designing a brochure can turn a simple piece
| | 01:58 | of paper into a growing client base.
| | 02:01 | With that thought let's get
started with Designing a Brochure.
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| Using the exercise files| 00:00 | Exercise Files for this title are
available to Premium subscribers of lynda.com
| | 00:05 | or to those who have bought the DVD.
The files are arranged in folders by chapter.
| | 00:10 | There may be certain occasions on
which when you open the InDesign document
| | 00:15 | you may come up with a Profile
or Policy Mismatch. On such occasions
| | 00:20 | you can choose to leave document as is
and there may also be certain occasions
| | 00:26 | on which you open the document
and there is a missing font.
| | 00:29 | How you handle the missing font,
you can just click OK and allow InDesign to
| | 00:34 | substitute the font using its own best
guess or if you click on Find Font
| | 00:40 | you will come to a list of all of the
fonts used in the document and then you can
| | 00:44 | choose an appropriate substitute for
those fonts that are missing as indicated
| | 00:50 | by the yellow warning triangle.
| | 00:52 | So most of the fonts you should have,
but this one in particular you probably
| | 00:56 | will not. Matrix Script. So we can
change that to Myriad Pro, Italic.
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1. Getting StartedMaking thumbnails| 00:00 | Before you sit down at your computer
and start designing, it's a good idea to
| | 00:03 | make some thumbnail sketches. Some
graphic designers draw elaborate and
| | 00:08 | detailed thumbnails that are things
of beauty. I'm not one of those people.
| | 00:13 | My thumbnails are hastily drawn, almost
child-like and won't mean anything to
| | 00:18 | anyone but me. But that's okay, because
I don't make them to show to other people.
| | 00:22 | I make them solely to clarify
my own thoughts, to give me a road map of
| | 00:27 | where I'm going.
| | 00:28 | It's tempting to skip this stage and
start trying to work things out on
| | 00:32 | the computer, but this can waste a lot
of time. No matter how fast you are in
| | 00:36 | Photoshop or InDesign. Chances are you
will end up tinkering, moving an element
| | 00:41 | a few pixels this way or that way,
scaling an image of bit bigger or a bit
| | 00:45 | smaller, working on an idea that no
matter how much you refine it is ultimately
| | 00:50 | just a bad idea. And before you know it,
several hours have gone by and
| | 00:54 | you have achieved nothing.
| | 00:56 | Making thumbnails can help you weed out
the bad ideas from those that have some
| | 01:00 | merit and it's only these potentially
good ideas that you need to pursue when
| | 01:05 | you sit down with computer and
software. So before you even turn on your machine,
| | 01:10 | pick up pencil and paper and
sketch some thumbnails. It will save you
| | 01:14 | a lot of time and frustration and
ultimately produce a better design.
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| Gathering assets| 00:00 | Beginning at the ending. Here we are with
the finished version of the tri-fold brochure.
| | 00:05 | It's two letter-sized pages,
landscape orientation, two folds to make
| | 00:10 | three panels on both sides. This is the
outside and there is the interior. Now,
| | 00:15 | before we start putting this together,
we need to evaluate the assets that we have.
| | 00:19 | This brochure is made up of a
text file that has been created in Word,
| | 00:25 | numerous images that have been
developed in Photoshop, and new versions of the
| | 00:31 | logo or the same version used
twice created in Illustrator,
| | 00:36 | and these ornamental swirls which are part
of an Illustrator symbol set that you can
| | 00:41 | download from the Adobe Exchange website.
| | 00:45 | So let's take a look in more detail
at these different assets. I'm going to
| | 00:50 | switch to the Finder, to my Desktop and
let's take a look in the exercise_files folder.
| | 00:54 | We are in the exercise_files folder.
We have a folder called assets and
| | 00:59 | in that folder we have got a text file.
We have got the Illustrator symbol set
| | 01:05 | from jlwDesign. We have got various
versions of the deep green design logo and
| | 01:12 | then we have lots of photos.
| | 01:14 | Let's first begin by looking at the
photos. I'm going to drag the photos
| | 01:17 | folder on to Bridge and we see that we
have 35 items to choose from. Now Bridge
| | 01:24 | if you are not familiar with it is a
fantastic file management program and
| | 01:28 | we can work with our images far more
efficiently using Bridge because we can rank
| | 01:33 | our images and we can evaluate our
images and we can find out all sorts of
| | 01:37 | useful information about our images.
| | 01:40 | If I click on any of these, I see a
thumbnail in the Preview window and I have
| | 01:45 | useful metadata over here, I'm just
going to expand that panel a little bit,
| | 01:49 | which will tell me the file size in
megabytes and its dimensions. The f-stop,
| | 01:55 | that it was captured with,
the ISO rating, etcetera.
| | 01:58 | Over here in the Filter pane it tells
me how many files of certain types I have.
| | 02:03 | I have got 34 Camera Raw and 1 JPEG.
Where is the JPEG? Well, I could just
| | 02:08 | put a check mark next to that and I
see that's the one JPEG. If I put a check mark
| | 02:13 | next to them both, I see them
both or I can uncheck them both and
| | 02:16 | I now see all of those images.
| | 02:18 | There are different ways of viewing
your assets in Bridge and if I come up here
| | 02:23 | and click on Filmstrip then I have a
much larger Preview window which is useful
| | 02:28 | because I can then click on the image
and move my cursor over the image.
| | 02:33 | My cursor now becomes a magnifying glass.
Now when I click on it, I see that
| | 02:37 | portion of the image, the portion
that the loop is pointing to at 100% view size.
| | 02:43 | So I could use this to evaluate
the quality of the image. This saves an
| | 02:47 | enormous amount of time, meaning that I
don't have to actually open the image in
| | 02:51 | Photoshop only to find out that it
wasn't the image that I wanted after all.
| | 02:56 | You will see on these images, these
Camera Raw images, most of them have badges.
| | 03:00 | And this badge here indicates
that adjustments have taken place and
| | 03:06 | this one indicates that cropping has
taken place. If you wish to dismiss this loop,
| | 03:11 | you just come and
click inside and it goes away.
| | 03:14 | You will see that they have been rated.
Some of them have four stars, some of
| | 03:17 | them have three, some of them have one,
some have none. This rating system is
| | 03:22 | one used by me fairly arbitrarily in
this case just to differentiate one type
| | 03:27 | of image from another and let's now
switch back to the Essentials view and
| | 03:33 | if I wanted to change the rating,
I could click on the image and then go to
| | 03:37 | the Label menu where I can apply the
rating in this way or I could just use
| | 03:43 | the keyboard shortcut. Apple+1 or Ctrl+1
for a one star rating, Apple+2, Ctrl+2,
| | 03:50 | etcetera for a two star rating.
| | 03:52 | We are going to need to come up with a
short list from these images. We are not
| | 03:56 | going to use all of them by any means.
We are only going to use the handful of them
| | 03:59 | and in the different variants of
the brochures that we'll be producing
| | 04:04 | we are going to use a
slightly different set of images.
| | 04:07 | Bridge is going to make it easy for us
or easier at any rate to determine which
| | 04:12 | images we want to use and which ones we
are not going to end up using. I'm now
| | 04:16 | going to switch back to the Desktop
and I'm going to use Bridge now to
| | 04:21 | navigate through the folder structure
and if we come to the assets folder and
| | 04:27 | then we are look in the logos folder,
there we have various different versions
| | 04:33 | and variants of the deepgreendesigns
logo. Now I also mentioned the Illustrator
| | 04:41 | symbol set. Let me show you how we
get to this. I'm going to switch to
| | 04:46 | InDesign and from InDesign I'll go
to the Help menu and to the Welcome Screen.
| | 04:52 | On the Welcome Screen, under the
Community list we have a link to InDesign Exchange.
| | 04:58 | You can also just type in InDesign
Exchange or Adobe Exchange into a
| | 05:03 | search engine but since we have this
link here, I'm going to click on that to
| | 05:08 | go to it. And at Adobe Exchange we see
the Exchanges By Product. I'm now going
| | 05:14 | to click on Illustrator. And then in
the Search field if I type in swirly,
| | 05:21 | that will take me to the swirly curls
Vector Garden Symbol Set and I can download that
| | 05:27 | and that is how I came by that.
| | 05:31 | And then one other asset that we need
to look at and that is the text file.
| | 05:36 | This is the Word Document. There it is.
We can see in Word that we have 323 words,
| | 05:43 | which given the amount of
space that we have means that we have got
| | 05:46 | plenty of room to fit this text in a
quite luxurious way really. We don't have
| | 05:51 | to cram in by any means and at my
request the client has provided the Word
| | 05:58 | document without any formatting, all of
the text in one single file rather than
| | 06:05 | lots of itty bitty pieces. Although we
are going to end up chopping it up into
| | 06:10 | individual sections.
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| Choosing a printer and selecting paper| 00:00 | Before we roll up our shirtsleeves
start designing in the Adobe Creative Suite,
| | 00:05 | we need to consider how we are going to
get our brochure printed. It's always a
| | 00:09 | good policy to begin at the end. So
before we invest too much time in actually
| | 00:14 | designing stuff, we want to figure out
who is going to be printing this.
| | 00:17 | There is no point in designing a fancy
brochure that no one is going to able to
| | 00:21 | print, because it is just too complex,
or it is going to be too expensive for us to print.
| | 00:26 | Your commercial printer is your partner
in producing the brochure. So you want
| | 00:30 | to choose someone who is helpful, who
is willing to advice you, who is willing
| | 00:35 | to hold your hand, advice you on
printing techniques and advice you on paper
| | 00:39 | choices. Show your printer a mock-up.
This is essential because with your
| | 00:44 | mock-up you can identify any potential
problems, you can get an idea of costs
| | 00:49 | and you can also discuss any printing
extras like spot varnishing or embossing
| | 00:54 | or whatever other fancy
techniques that you might consider using.
| | 00:57 | If possible, if your printer is local,
obviously if you are printing online at
| | 01:01 | some remote location this isn't going
to be an option but if you are working
| | 01:05 | with a local printer then request a
press check. It's an interesting thing to
| | 01:09 | do anyway to go to the print plant and
see your work coming off the press and
| | 01:14 | it's your last chance to
fix any potential problems.
| | 01:17 | When making your paper choices, the
paper that you choose for your brochure is
| | 01:22 | going to play a big part in its
success or failure. So it is very important
| | 01:27 | that you consider what types of paper
stock you are going to working with.
| | 01:30 | Ask your printer to recommend the paper.
| | 01:32 | Maybe you have a brochure or several
brochures that you really like. Take those
| | 01:37 | along to your printer and ask them to
match it. Ask to see the printer swatch
| | 01:41 | books or perhaps you can go to a
paper supplier and request swatch books or
| | 01:45 | sample from them. Paper is very
tactile and there is no way I can show you in
| | 01:49 | the two-dimensional world of a training
video what paper is like. You have got
| | 01:54 | to feel it, you have got to touch it,
bend it, fold it. Your paper should
| | 01:58 | reinforce your message.
| | 02:00 | So if you are a non-profit group, you
probably want to avoid having a sleek and
| | 02:05 | glossy paper stock. Likewise if you
are producing a brochure for a luxury car
| | 02:11 | brand, then you probably don't want
to have an uncoated dull looking stock.
| | 02:16 | Typically photos reproduce better on
coated stock but that's the massive
| | 02:20 | generalization. There is an almost
infinite number of paper types available and
| | 02:26 | there are many excellent uncoated stocks
on which photographs will reproduce just great.
| | 02:32 | These days of course we tend to use
online printing a great deal and online
| | 02:36 | printing can be extremely cost
effective and of excellent quality. But to keep
| | 02:41 | cost low, there may be a very
limited number of paper stocks available.
| | 02:45 | Don't rely on the descriptions on
screen alone, request samples and make your
| | 02:50 | decisions based upon those samples.
So with all of this in mind, having
| | 02:56 | identified your printer, having a
fairly good idea of the paper stock that you
| | 03:00 | are going to be working with,
it's now time to start designing.
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2. Setting Up the WorkspaceSaving a workspace| 00:00 | So you are itching to get started and
I am too, but it is really going to help us
| | 00:04 | if we take a moment just to set up a
workspace that has all of the palettes
| | 00:09 | or panels as they are now called that
we need for the kind of work that we are
| | 00:12 | going to be doing.
| | 00:13 | So I'm going to start out with the
Typography workspace, which is a good
| | 00:19 | starting point, but there are some
panels there that I'm frankly not going to
| | 00:23 | be using and there are other panels
that I need that I'm going to need to add
| | 00:27 | to this workspace, then save the
workspace and we have always got that to
| | 00:30 | return to at any time.
| | 00:32 | So let's see. Gradient. We are not
going to be using Gradient too much.
| | 00:36 | So I'm just going to pull one out and close it.
If we need it, I can always go get it
| | 00:41 | again from under the Window menu.
Hyperlinks, don't need it. Paragraph,
| | 00:48 | don't need it. And I don't need it because
all the options on the Paragraph panel are
| | 00:52 | available on the control panel up here.
So I'm actually going to save space by
| | 00:56 | not having that one. And Character,
don't need that one either for this same reason:
| | 01:01 | all the options that are on the Character
panel are available on the control panel.
| | 01:05 | But in addition to these there are
some that we don't have that would be with
| | 01:11 | us getting. Info, nice to have that
around. Handy for word counts and also to
| | 01:17 | check the resolution of images. So how
about if we drag Info on to the Stroke
| | 01:23 | group and let's see what else. Object
& Layout. It's nice to have the Align
| | 01:30 | panel. I can move put that in that
group right there. I don't need the Pathfinder.
| | 01:37 | And then Object Styles which I'll
group with Paragraph Styles and then
| | 01:43 | I'll also put Character Styles in the same
group. That looks good. I'm now come up
| | 01:49 | to the Window menu > Workspace > New
Workspace. Going to give it my name. Click
| | 01:55 | OK, so now at any time throughout the
course of our working session, things are
| | 02:01 | going to get messed up as they inevitably do,
but I can reset to that working space at anytime.
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| Setting preferences| 00:00 |
In a similar vein to setting up your
workspace, it's always a good idea to make
| | 00:04 |
InDesign your own by setting up
your preferences. Because I want to set
| | 00:09 |
application preferences I'm going to
close any InDesign document. That way,
| | 00:14 |
any preferences I change that going to apply
to every document I create from this point forth.
| | 00:19 |
Now bear in mind preferences
are just that. They are preferences.
| | 00:25 |
An obvious point but this is just what
I prefer. It's not necessarily the right way
| | 00:30 |
but it's what I prefer. And most
of these I'm just going to leave as they are
| | 00:34 |
and I'm not even going to mention them.
| | 00:35 |
But I'm going to come down to Type
first of all and I want to have drag and
| | 00:41 |
drop editing in my Layout View. That
makes things a little bit faster.
| | 00:45 |
Whether or not I'll actually use it, I don't
know but I'm as well check that to have
| | 00:49 |
the option. Units and Increments. Now,
I want my units to be in points although
| | 00:56 |
as you will see I do tend to bop back
and forth between points and millimeters
| | 01:01 |
and inches and occasionally picas. But
for the most part I want to be in points
| | 01:06 |
and if I need to change it, and it's
very easy to do that. Use Move to where
| | 01:09 |
the two rulers intersect to the top
left hand corner, right-click or Ctrl-click
| | 01:15 |
on a one-button mouse and you
can change the units on the fly.
| | 01:19 |
But I'm going to set that to Points.
My Cursor Key Increment, how far
| | 01:24 |
the things move when I nudge them using
the cursor arrows, and I think I'll leave
| | 01:29 |
that where it is. But I'm going to
make both my Size and leading and my
| | 01:33 |
baseline shift at half point increments.
So if I'm using keyboard shortcuts to
| | 01:38 |
increase or decrease my type size or
my leading, I have got finer control by
| | 01:44 |
setting it to half point increments.
Now here is one that's really important
| | 01:47 |
and I just don't understand why the
default setting is at 20 because
| | 01:52 |
that's far too coarse.
| | 01:54 |
We want to be kerning and tracking
in the finest increment that we have
| | 01:58 |
available to us. 1/1000th of an em
and by kerning and tracking, what we're
| | 02:03 |
talking about is the adjustment of
space between the characters and the only
| | 02:08 |
other preferences that I feel that
need to change are in the grids.
| | 02:13 |
I'll be using baseline grids in all
the different versions of the brochure.
| | 02:17 |
Of course, it's not essential to do
that. Again it's just my preferences,
| | 02:21 |
the way I like to work. I find having
a grid gives you something to hang the
| | 02:25 |
content on and makes your layout
decisions much easier. I don't like the
| | 02:30 |
default color of the grid. I find
that a little bit too in your face.
| | 02:34 |
So I'm going to change it to Light Gray
and rather then starting at a specified
| | 02:39 |
distance from the top of the page,
I'm going to set that to zero and start
| | 02:42 |
from the Top Margin.
| | 02:43 |
I am going to leave the Increment at 12
points. Although I may need to come and
| | 02:47 |
change this on a case by case basis.
The View Threshold, the size at which
| | 02:53 |
the grid becomes visible if it's turned on,
I can leave that as is. And because
| | 02:58 |
I really like my grids, I like to see
where they are at all times, I'm going to
| | 03:03 |
uncheck Grids in Back.
| | 03:05 |
Now that's really all I need to do in
terms of preferences. Of course, we are
| | 03:09 |
now going to see how these work until
we get going with creating our documents
| | 03:15 |
in later movies. But having done this,
this is going to pay us dividends
| | 03:19 |
because we are now working with
InDesign and what I think are the optimum
| | 03:23 |
settings for the kind of work
that we are going to be doing.
| | 03:27 |
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| Using keyboard shortcuts| 00:00 | Patience, please. Just a little bit
more setup. This time we are going to add a
| | 00:04 | keyboard shortcut. You may want to add
more, I'm just going to show you how to
| | 00:08 | add one. The one that I'm going to
choose is one called No Break. It's useful
| | 00:12 | for preventing a string of words
typically two from breaking over a line break,
| | 00:17 | and we are going to be using this so
I'm anticipating in advance that we are
| | 00:21 | going to be using this. It's very,
very useful for preventing paragraphs from
| | 00:25 | ending on a single short word.
| | 00:28 | Now, No Break it is kind of buried
away on our menus. It has no keyboard
| | 00:33 | shortcut. On the control panel, on the
Character Formatting level, it is right
| | 00:38 | there. It is also on the Character
panel, on the panel menu right there.
| | 00:44 | So I am going to go to the Edit menu and
to Keyboard Shortcuts, where the first
| | 00:50 | thing I'll do is I'll create a new
shortcut set and then identify the
| | 00:56 | Product Area where the No
Break menu item is found.
| | 01:00 | So I'm going to come down to choose
Panel Menus and now I'm now have a very
| | 01:04 | long list of all the available panel
menus and their menu items. So I need to
| | 01:10 | scroll down here until I come to
Character, No Break. There it is. Currently no
| | 01:17 | shortcut. The new shortcut is going
to be Option+Command+B or on Windows
| | 01:26 | Alt+Ctrl+B. I'll click to assign that.
Click OK and now we can see that it
| | 01:32 | has that shortcut.
| | 01:33 | Now throughout the course of working
on this title or just your InDesign work
| | 01:38 | in general, you are going to come
across various different menu items that
| | 01:42 | don't have keyboard shortcuts. If you
are using them regularly it really saves
| | 01:47 | time to make a keyboard shortcut for them.
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| Synchronizing color management settings| 00:00 | Don't get scared that I'm going to talk
about color management. Now you may be
| | 00:04 | thinking wait a minute this is a title
on brochures, why we are getting into
| | 00:08 | all this technical stuff about color
management? Well, because we are going to
| | 00:11 | be using a lot of color. We want to
make sure that the color is consistent from
| | 00:15 | one application, from Photoshop to
Illustrator to InDesign, and is consistent
| | 00:21 | from screen to print. Now to do that,
to make that happen, we need to set up
| | 00:26 | our Color Management settings.
| | 00:28 | Without getting into what color
management is, there is an excellent title on
| | 00:33 | the lynda.com Training Library, Chris
Murphy on Color Management which will
| | 00:38 | tell you more than you could
possibly care to know really about color
| | 00:43 | management. A fantastic, really in-
depth title. All I'm going to point out is
| | 00:48 | how we can synchronize our color
management settings across the different
| | 00:53 | pieces of the Creative Suite, InDesign,
Illustrator and Photoshop. And we do
| | 00:58 | this through Bridge.
| | 00:59 | So I'm going to come up to my Edit
menu and choose Creative Suite Color
| | 01:03 | Settings. Now I can't really tell you
which of these is going to be the one
| | 01:08 | that you need to use. All I can say in
general is that whichever one you use,
| | 01:13 | make sure you are using it in all of
the applications. Although, even having
| | 01:18 | set that, if you watch a title by
David Blatner, he will make a good case for
| | 01:23 | not using the same ones. But for Mere
Mortals, not amazing InDesign gurus like
| | 01:29 | David, I suggest that you probably
want to use the same ones in each of your
| | 01:34 | applications and what I'm going to
use is North American Prepress 2.
| | 01:38 | Now actually what I would use where I
doing this at home when she is long way
| | 01:42 | from where I'm right now. Click on
this Show Expanded List and I would
| | 01:47 | actually use Europe Prepress 2. It's
very slightly different I mean how much
| | 01:52 | difference it actually makes I'm not
sure. But since I'm in North America
| | 01:56 | I am going to use North America
Prepress 2 and then when I click Apply that's
| | 02:01 | going to push that color settings
file out to InDesign and Photoshop and
| | 02:06 | Illustrator. So that now if I come to
InDesign and Show All Menu Items, Color
| | 02:13 | Settings and we find that we got
exactly the same color settings here.
| | 02:18 | Now what that means, it's too much for
me to get into here but it's using the
| | 02:24 | same color profiles from one
application to the next to ensure that we have
| | 02:30 | consistent color.
| | Collapse this transcript |
|
|
3. Setting Up the DocumentSetting up a new document| 00:00 | Let's set up our document, but before
we do that let's just take a look at the
| | 00:04 | finished version or a finished version.
The version that we create, it's going
| | 00:08 | to be ever so slightly different
from this. We are going to make a few
| | 00:11 | different design decisions along the
way just as things pan out. So this is a
| | 00:17 | finished version and if I turn on
my guides we can see that there is a
| | 00:22 | confusing number of guides and frame
edges around all the different things.
| | 00:26 | We have a Baseline Grid there, we have
Column guides and we have these Turquoise
| | 00:32 | guides which indicate that three
different panels. This is the interior.
| | 00:38 | If we page up, we can go to the outside,
which looks like that. You can more clearly
| | 00:43 | see that the three different panels
with this being the first of them and then
| | 00:48 | it's going to open out into this.
| | 00:50 | So I'm going to begin with a new
document, Ctrl+N or Command+N, and we are
| | 00:56 | going to be working with a letter-sized
page, landscape orientation. We do not
| | 01:00 | want Facing Pages; we want it to be two
pages. Now there are different strategies
| | 01:05 | here that you can adopt. We are going
to need to put fold marks and trim marks
| | 01:11 | around our brochure. Do we want to
design it on a larger size sheet or do we
| | 01:16 | want to design the brochure to the trim size?
| | 01:19 | I think the latter. We are going to
design the brochure at the size which
| | 01:23 | it's going to be printed. Which is a
letter sized page landscape orientation,
| | 01:28 | no facing pages, no master text frame.
Number of columns- and I prefer to do it
| | 01:33 | this way. Number of columns three, with
each of those three columns serving as
| | 01:38 | an individual panel. We are going to
have two sides obviously. So we'll have
| | 01:42 | six panels total. The margins, I'm going
to set independently so I'm breaking that chain.
| | 01:47 | I am going to have a top margin of 58
points and bottom, left and right-hand
| | 01:53 | margin of 29 points. Why those values?
Well, to be honest with you I just
| | 01:59 | experimented and those are the ones
that I kind of liked. So I didn't chance
| | 02:03 | upon those by accident but just
through trial and error, those are the margin
| | 02:07 | values that I decided I wanted to use.
Now the gutter, the space between the
| | 02:11 | columns. I'm going to set the gutter
to be twice the value of my left and
| | 02:16 | right hand margins so that the gutter
actually serves as a margin between
| | 02:22 | the different panels.
| | 02:23 | And you will be able to see better what
I mean by that as soon as we get to the
| | 02:27 | open document. So my gutter value is
going to be 58 points. If you don't see
| | 02:32 | the Bleed and the Slug then you all
need to click on this button here so that
| | 02:36 | you can see that. But I have already
got those options available. I want a
| | 02:40 | Bleed of 9 points and the Slug, which
I'm actually going to use for the fold
| | 02:47 | marks. I want a Slug of 36 points on
all four dimensions and that is how I want
| | 02:54 | my trifold brochure to be set up.
| | 02:56 | I could go one step further and save
that as a preset. So that next time I come
| | 03:01 | to the new document dialog box and I
want a document like this I can just
| | 03:05 | choose it from there. Okay there is
our blank page or one of our two blank
| | 03:11 | pages. If I press Command+- or Ctrl+-
just to go to a slightly smaller view,
| | 03:16 | we can see on the right offset we have
the slug, the red guide is the bleed.
| | 03:21 | The black the page and then we have our
type area, the area inside our margins
| | 03:27 | divided into three columns. I'll do
one more thing here and that is
| | 03:32 | I'll come to the Layout menu
and choose Create Guides.
| | 03:35 | Because I want to divide my page into
three sections like so with each of those
| | 03:42 | guides indicating where the fold is
going to be. In the next movie, we'll see
| | 03:47 | how we can adjust the position of the
fold guides and the column guides to make
| | 03:52 | sure that the brochure sits flat when folded.
| | Collapse this transcript |
| Adjusting columns and creating fold marks| 00:00 | So we have our page divided into three
equal columns, which are going to serve
| | 00:05 | as our three panels, but we need to
make sure that we have one narrow panel on
| | 00:10 | each of our two pages. Just to make
this a little easier, I have made a layer here
| | 00:16 | where we can see the
panel I'm talking about.
| | 00:18 | So on page 1, it is the first panel
or the left-hand panel, and on page 2,
| | 00:25 | the Inside, it is the right panel and
that's obviously when printed and folded,
| | 00:30 | it's going to go on the back of the
left panel on page 1. So let's return to
| | 00:35 | page 1, and this is the math. Now the
exact numbers I'm going to give you may
| | 00:41 | vary, so check with your printer, it
may vary according to paper stock, but
| | 00:46 | this is the math that I'm going to be using.
| | 00:48 | So if I come to my Document Setup
my document width, and I'm working in
| | 00:52 | points, is 792. So if we divide 792
by 3, we get 264. Currently each of our
| | 01:01 | three panels is 264 points wide. I'm
going to remove four points from this
| | 01:07 | one, making it 260 and allot two of
those four points to this one, making it
| | 01:13 | 266 and the same to this one.
| | 01:17 | I am now going to turn off that Narrow
Panel layer and what I want to do is
| | 01:23 | I want to select that fold guide and
change its X value to 260. And then I want
| | 01:31 | to select this one and change its X
value to 260+266, 526. Now what I want to
| | 01:40 | do is I want to adjust the column
guides accordingly so that the fold guide
| | 01:44 | sits exactly between the gutter.
| | 01:46 | I am going to zoom in on this one and
I'm going to choose my Rectangle tool,
| | 01:52 | which I'm going to be using as a
measuring stick. I'll click to define a
| | 01:56 | rectangle and I want my rectangle to
be 58 points wide and the height doesn't
| | 02:02 | really matter. I'm going to just
make it a square. 58 points, because 58
| | 02:07 | points is the width of my gutter from
here to here. I want to make sure that
| | 02:12 | this rectangle has a fill and no stroke
and in fact when I do that, that makes
| | 02:17 | it one point less because it now has no strokes.
| | 02:20 | I am going to go up to my control
panel and just change its width there to 58
| | 02:24 | points and then dragging this
rectangle from its center point I'm going to
| | 02:29 | position the center point of the
rectangle on the guide. Now I'm working with
| | 02:33 | my smart guides on so that my arrow will
turn from black to white when I hit that guide.
| | 02:39 | Now I'm making sure that my column
guides are not locked. I'm going to adjust
| | 02:44 | my column guides so they correspond to
position of that rectangle. I'll then
| | 02:49 | cut it from there, zoom out and zoom
in to the gutter between panels two and three.
| | 02:57 | Then I'm going to drag my rectangle on
to the column guide and drag my column
| | 03:02 | guides to correspond with the rectangle.
So that's it sorted out for Page 1.
| | 03:08 | We now need to do the same thing, but in
reverse, mirroring these values on page 2.
| | 03:13 | I am going to cut my rectangle from
there, move down to page 2. Now on page 2,
| | 03:19 | I am going to begin by coming to the
Layout menu and choosing Create Guides
| | 03:23 | where I'll add three columns, no
gutter, and these guides are fitted to the
| | 03:29 | page, giving me column guides at 264
and 528. So remember on this page, we want
| | 03:40 | the narrow panel to be the outside.
| | 03:43 | So what I'm going to is I'm going to
select the fold guide between panels one
| | 03:49 | and two and change its X value from 264
to 266 and then the fold guide between
| | 03:58 | panels two and three and change its X
value from 528 to 532. Then zooming in to
| | 04:08 | the gutter between panels one and two,
I'll paste my rectangle, position my
| | 04:15 | rectangle on the fold guide and
adjust my column guides accordingly.
| | 04:20 | I will cut the rectangle from there,
zoom out, zoom in to the gutter between
| | 04:26 | panels two and three, paste it, drag
it onto the fold guide and adjust my
| | 04:31 | columns accordingly. And then
I'm going to delete that rectangle.
| | 04:36 | The next thing I want to do is add
fold marks in the slug area. I'm going to
| | 04:41 | return to page 1 and choosing my Line
tool, I'm going to draw myself a line
| | 04:49 | right there and I want to make sure
that it has a stroke of half a point and
| | 04:56 | that the stroke color is Registration
and also I want to make sure that its X
| | 05:03 | value is exactly on that fold guide, 260 points.
| | 05:09 | I am now going to copy that one,
holding down my Alt key and my Shift key and
| | 05:15 | I want to make sure that its X value is
526 points. Having applied these fold
| | 05:23 | marks at the top of the page, I'm
now going to duplicate them down to the
| | 05:27 | bottom of the page. So I'm zooming
out and I'm going to select them both.
| | 05:33 | Then hold down the Alt key or the
Option key and the Shift key and drag down a
| | 05:38 | copy into the bottom gutter area.
| | 05:40 | I am now going to select them, hold
on page one and copy them. Come over to
| | 05:46 | page 2 and Paste in Place. I'm now
going to need to move them to the right by
| | 05:52 | 6 points. So I'm going to come up to
the X value in my control panel and type
| | 05:56 | in +6 to shift them over. Then I'm
just going to verify that they are exactly
| | 06:02 | corresponding to the fold guide,
which they are and that looks good.
| | 06:08 | Just to verify that everything is
working okay, I think I'll turn on this
| | 06:13 | layer, just temporarily, and then I'm
going to do a proof print just to make
| | 06:17 | sure that everything folds the way it
should. File > Print, and I want to make
| | 06:24 | sure that I'm printing on a sheet size
bigger than my trim size so that I can
| | 06:28 | print my page at 100% and include all
the trim marks and fold marks around the page.
| | 06:36 | So my Paper Size is 11x17, my trim
size is Letter. I'm going to Position the
| | 06:42 | page Centered on the sheet and in my
Marks and Bleed section, I want to make
| | 06:47 | sure that I have my Crop Marks turned
on, that I'm working with the Bleed and
| | 06:51 | Slug turned on and I'm including the
Slug Area because it is in the slug area
| | 06:58 | where we have put our fold marks. Then
it's going to go ahead and print that
| | 07:02 | and then trim it from the sheet and
fold it just to make sure everything is okay.
| | Collapse this transcript |
| Setting up a grid| 00:00 | So we have our page now divided into
three vertical sections, I would now like
| | 00:04 | to add a baseline grid. As I mentioned
in an earlier movie, it seems like
| | 00:10 | I'm just coming up with these numbers
instantly like I know exactly what I want.
| | 00:13 | But there is some trial and error
involved here. If we just switch back to
| | 00:18 | the finished version, and let me choose
my Type tool and click in a piece of this type,
| | 00:22 | we can see that it's using
a 15 point leading increment.
| | 00:26 | So I ended up deciding for this
to use a 15 point leading grid and
| | 00:31 | I'm using a type size of ten points. So,
it got a very generous amount of space
| | 00:36 | between our lines and I feel like we
can afford it. We don't have that much
| | 00:40 | text. So let's make it nice and
luxurious and easy to read and have it very
| | 00:45 | generously leaded document.
| | 00:47 | Although, in some of the other
versions of the brochure that I do, I end up
| | 00:50 | using 10 point type or a 9 point on a
12 point leading grid. That works as
| | 00:56 | well. But in this case, I'm going with
a 15 point grid. So, how do we set that
| | 01:02 | up? We need to come to Preferences and
to Grids and we want to start at zero,
| | 01:08 | Relative To the Top Margin and for the
Increment to be 15 points. Let's click
| | 01:13 | OK to that and now to turn the grid
on, Show Baseline Grid. There we are.
| | 01:19 | It's no accident you will see that at
Type area, the distance from the top
| | 01:24 | margin to the bottom margin is an exact
multiple of 15. How did I come up with
| | 01:29 | this? Remember, two movies ago, I was
putting in the margin values. Let me just
| | 01:34 | remind ourselves of what the margins
are and I'll have to switch back to
| | 01:38 | Points. Margins and Columns. I've got a
Top margin of 58 and a Bottom margin of
| | 01:42 | 29. So hold those values in your mind
for a moment and I'm going to go to my
| | 01:47 | dashboard and to the calculator.
| | 01:49 | Now the Letter size page is 612 points
from Top to Bottom. If we take away from
| | 01:56 | that 58 for the top margin and another
29 for the bottom margin, that leaves us
| | 02:03 | with a type area of 525 points. If we
divide 525 by 15, our leading increment,
| | 02:11 | that gives us a value of 35. So, what
we have here is 35 lines from top to
| | 02:18 | bottom. Is it necessary to know this?
Do you need to know this to do a
| | 02:21 | brochure? No. But will it help you
in laying out your brochure in a more
| | 02:27 | pleasing and harmonious way? I think
so. You will be the judge, but it's an
| | 02:31 | interesting way to approach it, I think.
| | 02:34 | So, I also would like to add some
more rows that divide my type area into
| | 02:42 | sections between here and here. In
this case, I'm going to do this on the
| | 02:46 | master page. So I'm going to click on
Pages, double-click on A-Master. I've
| | 02:50 | got two document pages, they are both
based on A-Master. So anything I put on
| | 02:56 | A-Master is going to
apply to both document pages.
| | 02:59 | Come up to Layout > Create Guides,
and in this instance I want rows.
| | 03:05 | Now I would like to have 6 rows with a
Gutter of 15, because that's the leading
| | 03:12 | increment that we are using, and fit it
to the Margins. You will see that that
| | 03:18 | very neatly divides our type area into
six segments. I'm going to click OK to
| | 03:25 | that and then use my Selection tool to
just drag over all of those guides to
| | 03:30 | select them. Come to the Layout menu
and to Ruler Guides where I would like to
| | 03:34 | change the color of them. I'm going to
make them gold. Is that going to make
| | 03:37 | my layer any better? Well,
I just like gold lines.
| | 03:41 | Okay, now you might think, surely, he
is done by now with the baseline grid and
| | 03:46 | all these different guides. I don't
think I am, although there is one other
| | 03:51 | aspect to the baseline grid that
I think we are going to find helpful,
| | 03:54 | but it's going to be difficult for us to really
realize its utility without any content on our page.
| | 04:01 | But let's just try the grid out, so
you can see why we are using this.
| | 04:04 | I'm just going to draw myself a text frame
and you'll see that as I do so, it very
| | 04:09 | nicely snaps to a specific grid
increment. So we don't have to guess on how
| | 04:15 | much distance we leave between
different elements. That's decided by the grid.
| | 04:19 | Everything we are doing, we
are doing in 15 point increments.
| | 04:24 | If I now put some type in there, I'll
select that type and press Command+6 or
| | 04:30 | Ctrl+6. That's going to jump me to my
Font menu, where I'll change that to
| | 04:36 | Myriad Pro, which I'm full shadowing
here, the font I'm going to be using.
| | 04:40 | Myriad Pro Regular and make that
10 points and we'll make the leading
| | 04:45 | increment 15, and then let's zoom in on that.
| | 04:50 | Now there is one more very essential
thing that we need to do to make the type
| | 04:55 | fit on the grid, and that is we
need to come to where are the Paragraph
| | 04:58 | Formatting controls and then over there
Align to Baseline Grid and you will see
| | 05:03 | that the type very neatly, very
pleasingly, sit on that baseline grid.
| | Collapse this transcript |
| Indicating the cap height line| 00:00 | I am going bonkers with these grids.
I'm just loving these grids and that
| | 00:04 | thing that I said I wasn't going to do
until later, I'm going to do it now.
| | 00:06 | I can't resist it, and that is I'm
going to add another grid increment that
| | 00:11 | indicates the cap height of the type.
| | 00:13 | Now why would we want to do that? Here
is the issue. The purpose of the grid or
| | 00:17 | one of the purposes of the grid is so
that we can align elements relative to
| | 00:21 | each other to the same line and let's
say I have got a picture. I'm just going
| | 00:25 | to draw a box for the picture for now
and I draw that so that it sits on one of
| | 00:30 | those grid increments and it's going
to be a single column wide, like that.
| | 00:35 | Now you will see that the top of the
picture is aligned to the top of the grid.
| | 00:38 | The top of the text frame is aligned
to the top of the grid, but the text
| | 00:41 | itself begins a distance down from the
top of the grid. So what we have here is
| | 00:47 | 10 point type and this distance from
the top of the cap height to the top of
| | 00:52 | the box, this is empty space at the moment.
| | 00:55 | We need to draw ourselves a guide that
indicates the cap height i.e. the top of
| | 01:01 | the capitals of the type and then copy
that line. In our case, 34 times giving
| | 01:08 | us a total of 35 of those and then
we'll have that grid increment to align
| | 01:14 | the top of that picture boxes too. It
all seems very complicated, but it's
| | 01:18 | actually when you get down
to it, very straightforward.
| | 01:21 | So, having decided upon the size of
type that we want and I've got 10 point
| | 01:25 | type on a 15 point leading, let's zoom
in nice and big and I'm going to drag
| | 01:30 | down a guide that sits at the top of
the caps. Now I could make it the ascender
| | 01:35 | height line. You will see there is a
slight difference. I'm choosing the cap
| | 01:39 | height line. I'm going to put that there.
| | 01:40 | Now since I want this guide to be on
the master pages and I'm currently on my
| | 01:46 | document page 1, I'm going to cut that
and then go to my master pages where I
| | 01:52 | will zoom out, Command+0 or Ctrl+0.
Then choose Paste in Place. I also want
| | 01:59 | this guide to go on a separate layer
so that I can turn this particular level
| | 02:05 | of grid on and off as it suits me.
Because it's going to be a bit much looking
| | 02:10 | at them all the time.
| | 02:11 | So I'll come to my Layers panel,
create a new layer which I'll call cap
| | 02:16 | height, and then that square there
that represents the selected guide,
| | 02:20 | I'll drag that up to the cap height layer.
It's still selected. I'm going to come
| | 02:25 | to the Edit menu and choose Step and
Repeat. Now I got 35 lines, I have one
| | 02:30 | already, so I need a Repeat Count of 34
and the Vertical Offset needs to be the
| | 02:36 | leading value, which is 15 points.
| | 02:38 | If I Preview that, that's what we are
going to get. That's what we want.
| | 02:41 | I'll click OK, and am I finding that color
of guide a little bit too in your face.
| | 02:48 | I think perhaps I am. I'm going to lock
Layer 1, select all of those guides on
| | 02:53 | the cap height layer, come to my Ruler
Guides and let's just turn that down a
| | 02:58 | little bit. I think we'll have that be Gray.
| | 03:01 | So now, having added my cap height
increment to my master page, I'll return
| | 03:07 | to page 1, where we can see, to now
make my picture align exactly to the text,
| | 03:17 | I can select that and snap it to the
cap height grid increment. To turn all of
| | 03:24 | those off, I can just press W to
switch to preview and then W again to turn
| | 03:29 | them back on.
| | 03:30 | If I would only occasionally need
to see the cap height layer, which is
| | 03:33 | probably the case, I can come to my
layers and hide that. Just turn it on as
| | 03:38 | needed, and it's probably a good idea
to make sure that it's locked as well so
| | 03:42 | that those guides can't be disturbed.
| | Collapse this transcript |
| Using layers| 00:00 | Now we touched on layers in the
previous movie, but I would like to explain
| | 00:03 | a bit more about layers in this movie and
we are going to set up layers for this document.
| | 00:08 | Now, how many layers do
we need? We need to keep it simple.
| | 00:11 | Layers are implemented in a very
straightforward way in InDesign. There is no way near
| | 00:15 | the amount of complexity that you
have in programs like Illustrator or
| | 00:19 | especially Photoshop. But they are
essential really for an effective workflow
| | 00:23 | and we happen to know-- because you
have already seen the finished version and
| | 00:28 | there it is again.
| | 00:28 | We're going to have a lot of things on
top of other things by the time we are
| | 00:33 | finished with this, which makes
layering very, very essential. You can see here
| | 00:39 | the layers of the finished version.
If I were to hide the pictures layer,
| | 00:42 | they were going to go away. With the
exception of this one, which I have considered
| | 00:45 | to be something different. I'll put
that on a layer called text wrap. As you saw,
| | 00:49 | we can show and hide things
selectively. We can also lock things
| | 00:54 | selectively. So if I lock the pictures
layer, there is nothing I can do to move
| | 00:58 | those pictures. What you saw happen
there was I moved the background. I can
| | 01:02 | lock that one too.
| | 01:03 | Using layers enables us to work on a
specific aspect of our layout leaving the
| | 01:09 | other aspects unchanged. Also, it's
very useful for doing as the name suggests,
| | 01:15 | setting the layering order of objects.
So let's come back to our work in
| | 01:20 | progress right here and we've got this
one layer called cap height, which has a
| | 01:25 | cap height increment on it. I'm going
to turn that one off for now and then
| | 01:29 | we've got the layer that we
started with called Layer 1.
| | 01:32 | Now the guides that we have added so
far dividing our page into three and
| | 01:38 | adding these rows, they have all been
applied to Layer 1 and I think what
| | 01:42 | I'm going to do is I'm going to rename
Layer 1, guides, so that if we get tired of
| | 01:48 | seeing those guides, but maybe we
still want to see our column rules and our
| | 01:53 | baseline grid, we can just
turn off the guides layer.
| | 01:55 | I am going to switch now to my Fit in
Window view, Command+0 or Ctrl+0. Now in
| | 02:01 | addition to that, I think I'm just
going to change the color of the guides
| | 02:05 | layer because I like to have Light Blue
be the color of my text layer. Now does
| | 02:10 | that really matter? No, this is just
my own preference. Have it be any color
| | 02:15 | that you like. I'm now going to add a
layer for text and a layer for pictures
| | 02:23 | and I'll have the pictures layer to
be red, just because that's my habit.
| | 02:28 | Let's change the color of the cap
height layer to, make that Gray. Now, by
| | 02:32 | color I'm just referring to the
selection outline color. When I click on one
| | 02:37 | of these things, the color of the
outline of the frame is your visual cue is to
| | 02:42 | what layer it is on. We also need
one other, which I'm going to call background.
| | 02:48 | Now as we work more on this, we are
going to need to add more layers but for
| | 02:52 | now, we can't really anticipate that.
But we know that we want text, pictures
| | 02:58 | and background as well as that two
guide layers. We're going to need to order
| | 03:02 | these differently. I'm going to put
background all the way down at the bottom
| | 03:07 | and I'm going to put pictures
underneath text. So I have text at the top.
| | 03:11 | Now just to show you how we move things
from one layer to another, I have here
| | 03:16 | this box which I put in as my picture
placeholder. This is currently on the
| | 03:20 | guides layer. How do I know? Well, two
ways. It has a tan color frame edge and
| | 03:26 | I see that square up here to the
right of the layer name guides.
| | 03:31 | Now I grab that square, you are not
moving the item itself but you are moving
| | 03:35 | this square and I'm going to move that
up to the pictures layer. You will now
| | 03:38 | see that the frame edge is red and if I
were to hide the pictures layer, that's
| | 03:43 | going to go away and I'll do the same
with this but move it to the text layer.
| | 03:48 | Now these layers are they don't
specific to any page. They apply throughout the
| | 03:52 | document and we are going to be using
them a lot. We are going to be turning
| | 03:56 | them on and off selectively, we are
going to be locking them and inevitably we
| | 04:00 | will be adding things to our layout,
which end up on the wrong layer. So we
| | 04:04 | will have to correct that by
moving them to the right layer.
| | 04:07 | But we are now in a very good position
to start on that layer. We have got a
| | 04:12 | beautifully designed grid and we have
got a very good infrastructure for this
| | 04:16 | document with the layers
that we have just established.
| | Collapse this transcript |
|
|
4. Creating the BackgroundChoosing a color palette| 00:00 | In this chapter, I would like to
go over how to create colors for
| | 00:03 | our backgrounds and how to work with
different shapes, experimenting with gradients,
| | 00:08 | and textures, and other shapes to
create more interest. But I want to start by
| | 00:13 | creating a color palette and look at
three different approaches to creating a
| | 00:18 | color palette that we can use for our
brochure and have the colors will be
| | 00:22 | kind of related to each other.
| | 00:24 | So the first way that I'm going to do
this and the method of the three which
| | 00:29 | I am ultimately going to favor is to
open up the assets folder in Bridge and to
| | 00:34 | go to the logos folder, where I'm
going to open up this document, the logo
| | 00:39 | that we are using. This logo has a
green color used in it. I'm going to use
| | 00:44 | that green color as my base color
from which to derive our color palette.
| | 00:49 | So I'm going to choose that and then
come over to my Color Guide. We see on
| | 00:55 | the left-hand side, top-left, Set base
color to the current color. I'm going
| | 00:59 | to click on that and then I get a
color palette suggested by any of these
| | 01:05 | chosen Harmony Rules.
| | 01:06 | Now because I want a fairly
monochromatic color palette, that's the one
| | 01:10 | I'm going to go for. We have got a total
of five colors, all suggested from this
| | 01:14 | original chosen green. I'm then
going to click Save color group to Swatch panel,
| | 01:20 | so that those five greens
now up here on my Swatches panel.
| | 01:25 | What I want to do now is export these,
so that I can then import them or load
| | 01:31 | them into my InDesign document. So that
I don't bring in all these other colors,
| | 01:36 | I'm first of all going to
need to delete those. I'm going to click
| | 01:39 | away from my selection, so that I
don't change anything about that and select
| | 01:44 | all of these colors, not including the
Registration and the None which we can't delete.
[00:01:49.2 3]
Delete those? Yes, select that
and then from the Swatches panel menu,
| | 01:56 | choose Save Swatch Library
As ASE, Adobe Swatch Exchange.
| | 02:00 | Now I'm going to navigate to my
Desktop and to my exercise_files and to
| | 02:06 | the 04_creatingbackground folder, where
I'll save this as a swatch file.
[00:02:143.89]
I'll just call it colors. I'm going to
get this warning message about not being
| | 02:17 | able to save gradients or patterns.
I'll click OK to that since it doesn't affect me.
| | 02:22 | Then let's come back to the InDesign
document, the trifold5. Here is where
| | 02:28 | we left off from the last chapter. I'm
going to come and click on my Swatches panel,
| | 02:32 | where before I load the swatches
that I have just saved, I'm going to
| | 02:37 | do a bit of tiding up here. These
default colors, the cyan, magenta, yellow,
| | 02:41 | the red, the green, the blue, I'm not
going to be using these. So just to tidy
| | 02:45 | things up, I'm going to
first of all delete them.
| | 02:47 | From the Swatches panel menu, I'll
choose Select All Unused and then click on
| | 02:52 | the trashcan to get rid of those.
Return to the Swatches panel menu,
| | 02:57 | Load Swatches and there in the 04_
creatingbackground folder, the Adobe Swatch
| | 03:02 | Exchange file that I have just saved,
click Open and there are those colors.
| | 03:07 | Now everything that I just did by
making a color palette using the Color Guide
| | 03:12 | in Illustrator, you can now to some
extent do in InDesign itself. If we come to
| | 03:17 | the Window menu and down to Extensions,
we come over to this fantastic feature
| | 03:21 | called Kuler, which we are about to see
coming up. It's a website where you can
| | 03:25 | make your own color themes, but it has
it's implementation within InDesign and
| | 03:30 | within Illustrator. I can choose a
base color, which is the larger of those
| | 03:35 | five circles, from which a color palette
is derived based upon my chosen color Harmony Rule.
| | 03:42 | The reason I did it the way I did
originally by choosing the color palette in
| | 03:46 | Illustrator is that the Color Guide in
Illustrator is a bit more fully featured
| | 03:50 | than it is here. We actually have more
color rules to choose from than we do
| | 03:55 | here in InDesign. Nevertheless,
I'm going to go ahead and do that.
| | 03:58 | Much the same thing, but staying
within InDesign exclusively.
| | 04:03 | I am going to place the logo and it's
from that logo that we are going to be
| | 04:09 | sampling that green. Now so that I
don't apply the color to that selection,
| | 04:13 | I am going to de-select it first of all.
Then with my eyedropper come and click
| | 04:17 | on the green, which will
make that green my fill color.
| | 04:22 | I am then going to come over to the
Kuler panel and click on this button,
| | 04:27 | Add current fill color as base color.
When I do that, that becomes my base color
| | 04:32 | from which all of the other colors in
my color theme are derived based upon my
| | 04:37 | chosen rule. As I did before, I'll
choose Monochromatic, except that
| | 04:42 | in Illustrator I choose Monochromatic 2,
a color rule that we done actually have
| | 04:47 | here in InDesign. So I'm going to
get a slightly different result.
| | 04:51 | I can now add these colors to my
swatches by clicking on this button,
| | 04:55 | Add this theme to swatches. They appear
here over here and another slight drawback:
| | 05:01 | they appear as RGB colors rather than the
CMYK colors. So it would be a good idea
| | 05:06 | for me to double-click on each of them
and convert their color mode to CMYK and
| | 05:12 | name them with the color value. I would
now like to do that for the remaining four.
| | 05:17 | Now I'm not going to do that.
I'm going to stay with the original color
| | 05:20 | palette that we have got from
exporting the Adobe Swatch Exchange file from
| | 05:25 | Illustrator. So to get rid of these
colors, I'm going to press Command+C or
| | 05:29 | Ctrl+C as many times as necessary to
get rid of those. Then I'm also going to
| | 05:37 | delete that logo and it
will close Kuler for now.
| | 05:42 | Let me now show you an alternative
and this is going to involve using
| | 05:45 | a really cool website called Kuler,
kuler.adobe.com, and this is free to use.
| | 05:53 | In order to be able to save a color theme as
its code here, you will need to sign up but
| | 05:59 | it's free to do so. I have signed up
and you can see that I'm signed in.
| | 06:04 | I can just mix my colors here using the
color wheel and choose from one of the color
| | 06:11 | Harmony Rules.
| | 06:12 | This is much the same as the options
that I have, working with the Color Guide
| | 06:16 | inside of Illustrator, but we have
one extra option here. That's the one
| | 06:20 | I'm going to explore and it's loading
an image and having the color theme be
| | 06:25 | suggested by that image.
| | 06:27 | Before I can do this, I'll need to
prepare an image. So I'm going to come
| | 06:30 | back to Bridge and in the photos_raw
folder, these are all the images that
| | 06:37 | we have to work with. These are all in
the Camera Raw format. So I'm not going to
| | 06:42 | be able to open these or upload these
to the Kuler website. We'll first need
| | 06:47 | to save one of these as a JPEG
and I'm going to use this one.
| | 06:52 | Now when I double-click on this, it
opens in the Camera Raw plug-in, something
| | 06:57 | that we haven't yet looked at. For now,
all I need to do is click Open Image to
| | 07:01 | open that image in Photoshop. It's much
too large to upload to the website.
| | 07:06 | It doesn't need to be anywhere near
this large. So I'm going to just come to
| | 07:09 | the Image Size menu item where I'll
scale this down dramatically. I'll go
| | 07:16 | to the File menu and choose Save As.
I'm going to save it in the same folder,
| | 07:22 | I'll just call it colors and Quality
of 6 is going to be good enough for this purpose.
| | 07:27 | Click OK.
| | 07:30 | Now returning to the Kuler website,
I'm going to create From an Image. So now
| | 07:36 | what I want to do is I want to click
on the Upload button. If I don't have
| | 07:40 | an image of my own, I can go to the
Flickr site and use somebody else's,
| | 07:44 | but I'm oing to use the one that I have
just prepared. Upload, select that and then
| | 07:49 | it automatically chooses these different
points on the image to create this,
| | 07:53 | my color theme.
| | 07:54 | If I want to modify this, I can just
move these points around, but I'm quite
| | 07:58 | happy with what it's given me. So I'm
now going to give this a title. Again,
| | 08:03 | you have to be signed-in in order to
be able to do this. I'm going to call it
| | 08:07 | summer garden and save it.
| | 08:11 | The next thing I want to do is download
it to my folder and then import it into
| | 08:17 | my InDesign document. This is
available for anybody else to use as well.
| | 08:21 | So I am going to click on that and I'll
save it into my folder, return to InDesign,
| | 08:29 | and just as I did before, Load
Swatches, summer garden, click OK.
| | 08:32 | Now these, for some reason, are
coming in as hexadecimal values. No big deal.
| | 08:38 | It's not going to prevent me from
using them. I can choose them as is
| | 08:42 | and that will be fine, but just to be
consistent I'm going to double-click on them,
| | 08:47 | choose Name with Color Value
and change the Color Mode to CMYK.
| | 08:51 | Now the third approach and the most
manual, most old school approach is simply
| | 08:57 | to do pretty much what the Kuler
website does for you automatically, but
| | 09:00 | to do it manually. I would need to place
a document and then I can just sample the colors
| | 09:10 | manually using the Eyedropper tool.
Let's maybe get in a little bit bigger.
| | 09:14 | So I'll move around on the image,
click right there. That color then
| | 09:19 | becomes my fill color.
| | 09:20 | If I wish to add that fill color to
my Swatches panel, I'll come over and
| | 09:24 | right-click, on a one button mouse
on a Mac, Ctrl-click right there,
| | 09:29 | Add To Swatches. If you are more
comfortable working with CMYK values,
| | 09:34 | just double-click on it to
change the Color Mode to CMYK.
| | 09:39 | So you now have your color palette.
I have now got three slightly different
| | 09:42 | versions of the color palette. We are
ready to proceed with adding some color
| | 09:46 | background to our brochure. Before
I do that though, I'm going to press
| | 09:51 | Command+Z or Ctrl+Z a few times just
to backup to that point, the point after
| | 09:57 | which I imported the first
monochromatic color palette that I had created using
| | 10:03 | the Color Guide in Illustrator.
| | Collapse this transcript |
| Working with color panels and background shapes| 00:00 | We are now going to add some color to
our brochure, some color backgrounds,
| | 00:03 | and we are going to add some
interesting shapes as well.
| | 00:06 | Let's look at the final version. What
I'm taking about here is we are going to
| | 00:10 | add these panels of green, different
shades of the green, and also this wavy
| | 00:16 | shape that goes on the top. We'll
experiment with some different transparency
| | 00:20 | settings to have some nice
interaction between the two.
| | 00:24 | So to do this, I'm going to use the
Rectangle tool as opposed to the Rectangle
| | 00:28 | Frame tool because I don't want a big
X inside the box, I have enough visual
| | 00:31 | clutter as it is. I want to make sure
that I'm doing this on the background
| | 00:36 | layer. So make sure that the
background layer is selected and then draw
| | 00:39 | yourself a rectangle from
bleed guide to bleed guide.
| | 00:43 | I am going to turn off the text and
the pictures layer for now that just
| | 00:49 | currently have those pieces of dummy
text and the placeholder picture, which
| | 00:53 | ultimately we are going to be getting rid of,
but that can stay around for the time being.
| | 00:56 | I will now go to my Swatches panel and
I want to use the lighter green as my
| | 01:02 | base color. Now on the first page, I
would like the central panel to be in a
| | 01:08 | darker green. So what I'm going to do
is I could just draw another rectangle,
| | 01:12 | but rather than doing that, I'm going
to Copy that and then Paste in Place.
| | 01:18 | So I now have two green rectangles,
one on top of the other. With the top one
| | 01:24 | that is selected, I'm going to reduce
its size, like so, bringing in to the
| | 01:31 | guides that marks the fold and then we
are going to make that a darker green.
| | 01:37 | Okay, now let's go to page 2. On
page 2, I want pretty much the same
| | 01:44 | arrangement, slightly different
this time. I'll draw myself another
| | 01:49 | rectangle. I could have just copied
and pasted that one that I had already
| | 01:53 | done, but I'll just draw another one.
| | 01:55 | This time I want the third panel, the
right-hand panel to be the different
| | 01:59 | shade. So I'll Copy and Paste in
Place. I think this time we'll make it a
| | 02:07 | lighter green and I'll reduce its size.
I'm not entirely sure that's what I want,
| | 02:14 | but I'm going to live
with that for the time being.
| | 02:17 | So there are my basic background color
panels. On top of that, I'm now going
| | 02:22 | to add what I'll refer to as the
wave. Because I have got a sneaking
| | 02:29 | suspicion that the wave may just be a
Bridge too far really, in terms of adding
| | 02:34 | just a bit too much content, but as I
mentioned in an earlier movie, I want to
| | 02:38 | throw all of these things in and you
can be the judge on which one of them you
| | 02:42 | keep. It's just interesting to add as
much of the stuff as we can because it's
| | 02:46 | interesting content.
| | 02:48 | So I'm going to create a new layer.
This is going to give me the ability to
| | 02:52 | turn this layer on and off and evaluate
the whole thing with and without,
| | 02:57 | what we will refer to as the wave. I'm going
to put that just above the background layer.
| | 03:03 | I want to lock everything else now,
so that I can't affect anything else.
| | 03:08 | So I'm going to hold down my Alt key
and click in the locking column.
| | 03:12 | So everything but the wave layer is now
locked. I'm on page 2 and I might as well
| | 03:16 | remain on page 2. I'll use these guides
that I applied earlier on which divide
| | 03:25 | my page into rows. I'll draw myself a
rectangle, like so. I think I'll revert
| | 03:34 | to giving it that same green that we
started out with, but then come to the
| | 03:39 | Effects panel and let's
change it's blend mode to Multiply.
| | 03:45 | Now to turn this into a wave, what I
need to do is add some anchor points to
| | 03:50 | this rectangle. I'm going to do that
with the Pen tool. I'm going to add
| | 03:56 | these anchor points where the
rectangle intersects with the guide that marks
| | 04:02 | the crease. You can probably just about
tell there is a plus symbol next to my
| | 04:07 | pen, indicating that I'm about to add
an anchor point. I'll do one in there
| | 04:11 | and another one right there.
| | 04:15 | Then what I'm going to do is I'm going
to, with my Direct Selection tool, the
| | 04:19 | white arrow, I'm going to select
that anchor point. This one over here,
| | 04:23 | holding down the Shift key, and I'm
going to pull those both down a few lines,
| | 04:29 | something like that. So we now have a
zigzag type shape. I'll switch back to my
| | 04:33 | Pen tool by pressing the P Key.
| | 04:35 | I now want to convert these corner
points to smooth points. So if I hold down
| | 04:42 | my Alt key, my cursor changes it's
shape and I can just start dragging.
| | 04:48 | I'm dragging from right to left, in this
case, to make that into a curve point,
| | 04:52 | like so. I want to do the same over
here on the top, roughly the same sort of
| | 04:58 | distance. You might want to also hold
down your Shift key, just to constrain
| | 05:02 | the moment of that. So keep the Bezier
control points flat. There we have some
| | 05:08 | sort of wave shape. So it's looking
a little bit too big I think so
| | 05:14 | I'm going to now move it down a bit,
reduce it's size, like so. It's still a bit
| | 05:22 | too big. Let's reduce its size a
little bit more. That's looking better.
| | 05:28 | Now I'm going to duplicate that
up to the top. I'll then flip that
| | 05:36 | vertically, like so, making sure
before doing so that I have my center
| | 05:40 | Reference Point selected. So that it
occupies the same space, which it just
| | 05:44 | flips vertically. Let's just take a
look at how that is without a frame edges
| | 05:51 | and column guides and all the other guides on.
| | 05:54 | Okay, I'm quite liking that. So I'm
going to select both. Because I could
| | 05:59 | have put these on the master pages,
but I didn't, so my next step is going to
| | 06:04 | be to copy both of those, Ctrl+C or
Command+C. I'm actually on page 2,
| | 06:10 | so I'm going to switch back to page 1
where I'll Paste in Place to get copies in
| | 06:16 | exactly the same page coordinates.
| | 06:18 | All right, so we've got our background
panels marked out and we have got our
| | 06:22 | wave shape. If you think that wave
shape is just a little bit too much, we can
| | 06:28 | always turn it off, should we at the
some point further down the road decide
| | 06:32 | that it's unnecessary.
| | Collapse this transcript |
| Adding decorative swirls| 00:00 | Let's see how we can add some
decorative swirls to our background. Again,
| | 00:05 | you might think this is maybe over-egging
the pudding a little bit too much,
| | 00:09 | adding a bit too much seasoning, but we are
going to add these on a separate layer
| | 00:12 | where we always have the option to
turn them off or turn them down, should we
| | 00:16 | decide that later on.
| | 00:18 | But this is going to use an Illustrator
symbol set that I have downloaded from
| | 00:23 | the Adobe Exchange website. It's by
jlwDesign and it's in this photo right here.
| | 00:30 | There it is. I'm going to open up
the Illustrator version of these three files.
| | 00:36 | If I now move to the Symbols panel,
we see that each one of these swirls
| | 00:43 | is saved as a symbol.
| | 00:45 | What I actually want to do here is add
each of these symbols or at least the
| | 00:50 | ones that I'm interested in to my
Illustrator document and then copy and paste
| | 00:56 | them into Illustrator, where I can
experiment with how they are going to work
| | 00:59 | with my particular layer.
| | 01:01 | So I'm going to come over to one of
these. I don't want to spray them with a
| | 01:05 | symbol sprayer because I just one
instance of each. You may well have that one,
| | 01:10 | so I'll click on this item here, Place
Instance. We can make that a whole lot
| | 01:17 | smaller than it currently is. Put that
one right there. I'll go ahead and add
| | 01:25 | a few of these.
| | 01:26 | Okay, having chosen the various
different swirls that I want to use, I'm going
| | 01:32 | to select them. I'm going to press
Command+C or Ctrl+C to copy them. Switch
| | 01:36 | back to InDesign. In InDesign, I'm
going to paste them onto a new layer.
| | 01:41 | So I'm going to create a new layer,
I'll call it swirls. I'll drag its
| | 01:46 | position down to just above the wave
layer. Then I'll press Command+V or
| | 01:50 | Ctrl+V to paste those. They have
all come in as a group. That was to be
| | 01:56 | expected. For the time being, I'm
going to put them on to the pasteboard.
| | 02:00 | So I need to press W to go and return
to my normal view mode, drag those over
| | 02:06 | on to the pasteboard. Then I'll come
to the Object menu and Ungroup them.
| | 02:11 | I will start off by applying the same
color to all of them. So with them still
| | 02:16 | selected, I'll come to my Swatches
panel and how about we try this lighter
| | 02:21 | green. Now let's just experiment
with positioning a few of these.
| | 02:27 | I think mainly what I would like
these to do is serve as some kind of
| | 02:30 | transition between one of the color
panels to the next. So it just kind of
| | 02:35 | creates a connection between the
different panels. I'm just going to pop back
| | 02:39 | to the finished portion and see how
it was I used them. We are on page 1.
| | 02:45 | You can see that they are placed where one
panel meets another and they are coming
| | 02:50 | off of the corners as well
and bleeding off the edges.
| | 02:52 | Now, of course, you may feel a need to
rotate them, to position them slightly
| | 03:00 | different, to maybe flip them around,
go ahead and do any of that you feel
| | 03:03 | necessary. I'm going to flip that one
around, I'm going to press my R key and
| | 03:07 | I am going to rotate it. I'm not entirely
happy with that so I'm going to rotate it the other way.
| | 03:17 | That's where we are at with decorative swirls.
| | 03:19 | I am going to go ahead and add similar
swirls to the second page, but you don't
| | 03:25 | need to see me do that. I'll go ahead
and do that and I'll meet you in the
| | 03:28 | next movie with those swirls in place.
As I mentioned, they are on a separate layer,
| | 03:34 | so that we can turn that layer
on and off. I'm going to lock everything
| | 03:39 | but that layer. Press Apple+A or Ctrl+
A to Select All. We can also experiment
| | 03:46 | with different transparency modes
and different degrees of opacity.
| | Collapse this transcript |
| Adding textures and gradients| 00:00 | In this movie, I would like to show you
a couple of things that I experimented
| | 00:03 | with and ultimately decided upon not
using. That is adding either a gradient or
| | 00:09 | some kind of texture to the background.
I think what I have right now is what I want,
| | 00:14 | but I would like to show you some
of the things that I looked at and
| | 00:17 | ultimately decided not to use.
| | 00:20 | So first of all, how about a
background texture. I'm now on page 1.
| | 00:26 | I think what I want to do is I'm going to
select the large background rectangle that
| | 00:31 | I filled with green. I'll go to
the Layers panel, making sure that
| | 00:35 | the background layer is unlocked and
click on that rectangle to select it.
| | 00:39 | Into this rectangle,
I'm now going to place an image.
| | 00:45 | I have in the 04_creatingbackground
folder, a file called background1.
| | 00:51 | It's a close-up of a flower border essentially,
just showing some different textures of plants.
| | 00:55 | I'm going to click Open and
that image is going to go into that
| | 01:00 | rectangle. Now the moment
that is not at all what I want.
| | 01:05 | So the first thing I want to do is I
want to fit this to the frame. Let me just
| | 01:10 | contract my panels there. So I'm
going to come to my Object menu and choose
| | 01:15 | Fitting and choose Fill Frame Proportionally.
| | 01:19 | Having done that, I'm now going to
switch to my Direct Selection tool,
| | 01:23 | my white arrow, by pressing the A key
and clicking on the image itself, rather
| | 01:28 | than its frame and choosing my Effects
panel, where rather than having this at
| | 01:35 | 100%, I'm going to change its
blending mode to Multiply. Something
| | 01:42 | substantially less than 100% and see
what 50 looks like. We are getting close
| | 01:47 | to what I'm after. We don't want
anything that's going to make it impossible
| | 01:50 | to read the type that we put on top of
this, nor for it to conflict with the real images.
| | 01:57 | So that's one option. Now you can see
that the central panel is overlapping
| | 02:02 | this. So I would then need to select
that central panel and make it's blend
| | 02:06 | mode Multiply as well to create an
interaction between it and the image below.
| | 02:13 | I have another image which we might
also want to look at. So I'm going to
| | 02:17 | select that same picture frame, come
to my File menu and choose Place again.
| | 02:23 | This time I'll use this one,
background2. I have Replace Selected Item
| | 02:28 | chosen. So that when I click Open,
it does exactly that, it replaces that.
| | 02:34 | Of the two, I think I like this one the better.
| | 02:36 | Although, I do think it is still a bit
too visually distracting, but if I type
| | 02:42 | the Opacity down a bit more,
interesting but ultimately I think I'm not going
| | 02:47 | to use that. So let's go ahead and
delete it. But you may choose to work with
| | 02:54 | it or perhaps you have an image that
is a bit less busy than the ones I have
| | 02:58 | been using and are most suited to
the task. Let's set up back to Normal.
| | 03:07 | The other thing was rather than working
with flat color in these color panels,
| | 03:12 | using a gradient instead. So how
would that look? I'm now going to go to my
| | 03:17 | Swatches panel. From the Swatches
panel menu, I'll choose New Gradient
| | 03:22 | Swatch. I'll just leave it called
that for the time being and click on my
| | 03:29 | Stop Color. Then change my options to
Swatches to be able to access the colors
| | 03:35 | that are on my Swatches panel.
| | 03:37 | So I'm going to go from the lightest
green that we have to the darkest green
| | 03:43 | that we have. I'll have more of the
light than the dark, add that to my
| | 03:50 | Swatches panel. It has simultaneously
applied it to that selected rectangle.
| | 03:55 | I am going to temporarily get rid of that,
so that we can see the whole of that
| | 04:01 | panel with the gradient applied. Then
to determine the angle of the gradient,
| | 04:06 | I can use my Gradient tool. In this case,
rather than going from left or right,
| | 04:11 | I am going to go from top to bottom.
| | 04:14 | So there is another alternative as
opposed to working with flat color, working
| | 04:18 | with a gradient inside these color
panels, but again, I ultimately decided not
| | 04:24 | to go that route. So I have just
restored the document to the way it was, using
| | 04:30 | the solid colors in these panels.
| | Collapse this transcript |
|
|
5. Working with TextPlacing text| 00:00 |
Now that we have our layers set up
now that we have our color palette,
| | 00:03 |
it's time to get to work with our text. So
I'm going to place out one text file and
| | 00:09 |
let me just remind you what we have
in our text file. So this is all of the
| | 00:15 |
text for the brochure and at the request
of the client they have typed this all
| | 00:22 |
as just one type size without any
formatting, just extra carriage returns
| | 00:28 |
separating the paragraphs.
| | 00:30 |
There are few things in there that
we are going to need to strip out but
| | 00:33 |
we have got everything in one text file.
We are going to chop it up into different
| | 00:38 |
chunks for easier placement in the
InDesign document. But we are going to
| | 00:42 |
import it all as one continuous flow.
| | 00:47 |
So back in InDesign, I want to make
sure that I'm on the text layer, which is
| | 00:51 |
currently hidden. I'm going to turn
that on and there we see that bit of dummy
| | 00:55 |
text that we are working with earlier.
I think that has now served its purpose
| | 01:00 |
so we can get rid of that. I need to
unlock the text layer. In fact, I'm going
| | 01:03 |
to unlock the text layer and lock
everything else and I'm going to do that by
| | 01:08 |
holding down the Option or the Alt key
and clicking in the locking column and
| | 01:13 |
I will get rid of that.
| | 01:14 |
Turn on my guides now by pressing W.
Going to the File menu and choosing Place.
| | 01:21 |
And going to the assets folder where
we see the text document, there it is
| | 01:26 |
right there. If you are working on
another kind of document and you have a Word
| | 01:31 |
document or any other kind of text
document that's got lots of formatting in
| | 01:35 |
it, and you want to maybe strip some
of that out or leverage some of that
| | 01:38 |
formatting, you could choose to Show
your Import Options which would then bring
| | 01:43 |
up the Microsoft Word Import Options.
Where, if you wanted to you could remove
| | 01:48 |
the styles or you could map the
styles to styles you might have in your
| | 01:53 |
InDesign document.
| | 01:54 |
In the case of what we have here we
don't need to do any of that. So I'm just
| | 01:58 |
going to click OK to move directly
through that and there we have our loaded
| | 02:02 |
text cursor and I'm going to begin by
auto-flowing. Although, it is probably
| | 02:06 |
going to all end up on a single page
like so. Okay now obviously why I'm a lot
| | 02:12 |
familiar with this text than you are,
you have not seen it before. So the first
| | 02:15 |
thing that we would need to do is
familiarize ourselves with the text.
| | 02:19 |
Just decide what bit we are going to
give importance to, what hierarchy there
| | 02:23 |
might be and what's it's all about. So
just refresh your memory. This is how
| | 02:30 |
the text do got broken down in the
finished version. So beginning here this is
| | 02:35 |
our opening panel and then from there
we move on to page two where we got these
| | 02:41 |
three kind of different sections just
describing the benefits of having your
| | 02:45 |
garden design and then back on the
first page on the last two panels, a list of
| | 02:51 |
services, the credentials of the
owner and the logo and the address.
| | 02:56 |
So all of that currently exist in
this one continuous flow of text and
| | 03:02 |
I'll leave it as one continuous flow of
text for as long as I can apply the
| | 03:08 |
formatting to it. While it is in this
state and then chop it up into individual
| | 03:14 |
bite size chunks. So in the next movie,
we are going to see how we can do a few
| | 03:19 |
find and change routines just
to strip out some unwanted stuff.
| | 03:24 |
One more thing before we switch to
that and that is when working with type
| | 03:29 |
always a good idea to show your hidden
characters and that's going to indicate
| | 03:34 |
to me. I'm just going to zoom in where
the extra carriage returns are, where
| | 03:39 |
the space are between the words.
| | 03:41 |
| | Collapse this transcript |
| Using Find/Change to clean up text| 00:00 | Before we start worrying about how our
text looks, we need to just get familiar
| | 00:04 | with the content of our text and strip
out from it anything that we don't need.
| | 00:09 | This you may find easier to do in the
Story Editor. Of course, you can do it in
| | 00:13 | the layout and that's fine. But since
we want to concentrate just on the text
| | 00:17 | and we currently have black text on a
dark green background, which is not the
| | 00:21 | most readable, maybe it's going to be
easier for us to go to the Story Editor.
| | 00:26 | So with either of the two text frames
selected go to the Edit menu, Edit in
| | 00:31 | Story Editor and here we can see just a
continuous flow of our text and we see
| | 00:36 | that we got lots of unnecessary
carriage returns separating the different
| | 00:41 | paragraphs. We want to get rid of
those. We also notice that we have double
| | 00:45 | hyphens instead of em dashes and that
we have two spaces after a period.
| | 00:50 | These are all things that we want to strip out.
| | 00:53 | This can be done either in the Layout
or in the Story Editor but we want to go
| | 00:57 | to the Find/Change option under the
Edit menu and now there is a saved Query
| | 01:02 | that we can use for this, Multiple
Space to Single Space. And we want to run
| | 01:07 | this routine on the whole document.
Change All, there you go. We can also do
| | 01:13 | this one Multiple Return to Single
Return. As we want to control the spacing
| | 01:18 | between the paragraphs using paragraph
spacing before and or after but not by
| | 01:24 | extra carriage returns.
Change All again, there we go.
| | 01:28 | And then the third thing that we wanted
to change was the double hyphen that we
| | 01:33 | want to change to an em dash. Hyphen
hyphen, this I need to make sure is a text
| | 01:38 | routine and not a GREP. So make sure
you click on Text first of all. Hyphen
| | 01:43 | hyphen and I'm changing that to-
before I go and put in my em dash I actually
| | 01:48 | want it to proceed and
follow the dash with a thin space.
| | 01:52 | So I'm going to come to White Space,
Thin Space which is narrower than a
| | 01:56 | regular word space and then instead
of actually using an Em Dash which is a
| | 02:02 | little bit too long. I'm going to use
an En Dash instead and I want after that
| | 02:08 | a Thin Space. And I want that to
take place in the whole document.
| | 02:14 | Now where are we talking about,
right there. I'll just highlight that bit
| | 02:19 | right there. I'm going to do Change All.
Two replacements made and if we want
| | 02:25 | to see that in the layout later on
once we've formatted the text, you will
| | 02:28 | better appreciate the improvement to
that rather than using the double hyphens.
| | 02:33 | One last thing and that is we have got
say single ellipses character, the dot
| | 02:38 | dot dot. Now we want it to remain that
way rather than being three individual
| | 02:43 | dots. But I think we also want
those dots preceded by a thin space.
| | 02:51 | So I'm going to select that there copy that.
Come to my Find What, paste that in there
| | 02:57 | and that's the symbol for the ellipses
character and I want to proceed that as
| | 03:02 | before with the thin space. I'll just
use the token that is already in the
| | 03:07 | Change to field and I'll copy that one again.
| | 03:12 | Change All, two replacements made.
Having done that I'm now going to close my
| | 03:16 | Story Editor and return to the layout.
Nothing is going to look tremendously
| | 03:20 | different. But we have made sure that
we have stripped out any of these real
| | 03:25 | telltale signs of amateur type setting.
Extra carriage returns, extra spaces
| | 03:32 | and double hyphens instead of em dashes,
or as we have chosen en dashes. So in
| | 03:38 | the next chapter, we'll actually start
creating a paragraph styles and making
| | 03:44 | a text look like something.
| | Collapse this transcript |
| Choosing fonts| 00:00 | Let's say a few words about choosing
fonts for the brochure and why I have
| | 00:03 | chosen the fonts that I have. I'm
going to zoom in to 200% by pressing
| | 00:08 | Command+2 or Ctrl+2 and I'm just scrolling
around so that I can read that comfortably.
| | 00:13 | Now you will probably want to select
this type and experiment with various
| | 00:17 | different fonts. I have ended up
choosing Myriad Pro for the body text and just
| | 00:22 | about everything except the heads and
if we look at the finished version,
| | 00:25 | for the heads I'm using this
script face called Matrix Script.
| | 00:31 | And my reasoning there is my choice of
Myriad Pro is because the logo itself is
| | 00:37 | in Myriad Pro. So it's an obvious
choice in that respect. Also Myriad Pro comes
| | 00:42 | in a variety of different weights. So
it's very flexible and there is a lot of
| | 00:48 | reversing out here, reversing the type
out of colored panels. I have got type here
| | 00:53 | that's running on top of a picture.
And these are all things that are
| | 00:57 | going to somewhat compromise
the readability of the type.
| | 01:01 | So I want a typeface that is robust
enough to be able to withstand that while
| | 01:07 | at the same time still being clean
and contemporary and stylish looking.
| | 01:12 | At least that's how I think of it. Other
choices that I considered were I did
| | 01:17 | consider using the Helvetica Neue
family but ultimately I went against that.
| | 01:23 | I don't like the square dots on the
i's with that. And also it seemed in
| | 01:28 | conflict with the Myriad Pro that was
used in the logo. Now since the logo is a
| | 01:34 | non-changeable thing, that typeface is
what it is and has to stay that way,
| | 01:39 | then that very clearly suggests that
the body text should also be in the same
| | 01:44 | typeface or the same typeface family.
| | 01:47 | Because of all of these reversing outs
that I'm subjecting the font to, I want
| | 01:54 | letter shapes that are relatively mono
white by which I mean there is not
| | 02:01 | too much variations in the thin and thick
parts of the stroke. And if I zoom in to
| | 02:07 | 400% we can see that there is
certainly is some but less then you would have
| | 02:12 | with a serif typeface where the
thinner more decorative parts of the letters
| | 02:19 | might be prone to be lost especially
when they are put on a background of a picture.
| | 02:25 | So that's my reasoning and the choice
of the script is in some way to contrast
| | 02:30 | with the Sans-serif typeface that I'm
using for the body text and also to echo
| | 02:35 | the ornateness, the decorative nature,
of this swirly patterns that I have got
| | 02:41 | going on. And I have chosen this
particular script because I think it looks
| | 02:46 | clean and contemporary, not too wedding
invitation-like. I'll show you a couple
| | 02:52 | of other option that I did
look at and ultimately rejected.
| | 02:55 | So with that reasoning in mind, I'm
now going to move to the document itself
| | 03:03 | and select this and just go through
some of that experimentation. I could work
| | 03:08 | on a piece of dummy text. I'm actually
working on the text itself. I'm going
| | 03:12 | to get it the way I like it and
then save that as a paragraph style.
| | 03:16 | So I want to make sure that I'm on my
Character Formats. I'll clicked on the A.
| | 03:21 | Command+6 or Ctrl+6 will jump me to
my Font menu, Myriad Pro and the size
| | 03:29 | I am going to use is 10 points which I
think is perfectly big enough. Doesn't need
| | 03:33 | to be any bigger then that. And as
we discussed in an earlier movie when
| | 03:38 | setting up the grid, we want to use the
15 point leading increment, 15 points of
| | 03:42 | space between the lines.
| | 03:45 | Now you will see even though I'm using
15 point leading and I have a 15 point
| | 03:49 | baseline grid, that doesn't guarantee
that the type is going to lock to that grid.
| | 03:54 | For me to have that happen I need
to go to my Paragraph Formats and then
| | 03:58 | come and click on this. The Align to
Baseline Grid icon and we also want to
| | 04:03 | be Paper so that it is more readable
now against the green. The green is
| | 04:10 | perfectly dark enough to have
the type reversed out of it.
| | 04:14 | And in terms of the subheadings I'm
going to select this the first instance of them.
| | 04:20 | Switch back to my Character Formats
and I can do that by using the toggle,
[00:04:245.39]
which is the Command+Option+7
or Ctrl+Alt+7 and then Command+6.
| | 04:32 | Now things that I looked at were--
let's first of all make it a bit bigger.
| | 04:37 | I'm using the keyboard shortcut Command+Shift+>
or Ctrl+Shift+>. We'll make it bigger.
| | 04:43 | And I considered one called Bickham
Script Pro but this is looking a little bit
| | 04:51 | too much like a wedding invitation to
me. And I'm also finding right now, and
| | 04:56 | you are too I expect, the grid lines
of the baseline grid are a little bit
| | 05:01 | too visually distracted at the moment.
| | 05:02 | So I'm going to turn that off. So we
can just concentrate for the time being
| | 05:08 | on the type itself. So I didn't like
that one too much. Other script faces that
| | 05:13 | I considered were Caflisch and Snell
Roundhand but ultimately I ended up
| | 05:20 | going with this one, Matrix Script.
| | 05:24 | So I'm going to go with the Matrix and
I got to size that down a bit and
| | 05:31 | all right, I think that is looking pretty
good. Also since it is a script typeface
| | 05:38 | I want to apply some negative tracking
to it, bringing the characters closer
| | 05:43 | together and in one of our setup
movies we changed the preference for
| | 05:47 | the tracking increment. So I can now just
hold down the Alt key and press my Left
| | 05:53 | Arrow and I'm going to be tracking in
increments. And we can see it happening
| | 05:57 | right there in increments of 1/1000 of
an em and yeah, I'm liking that better.
| | 06:05 | Like so.
| | 06:06 | So there I have pretty much made a
decision on my main typeface and
| | 06:10 | the supporting typeface that I'm going to
be using for the subheads. Now you may
| | 06:15 | not have that particular typeface. Of course,
go ahead and use any typeface that you want.
| | 06:19 | Just wanted to pointing out
a website that you might find useful.
| | 06:23 | It's called dafont.com and from this
you can download and they are free for
| | 06:29 | personal, non-commercial use. Various
different typefaces that are organized
| | 06:35 | along these different themes.
| | 06:37 | So if you are needing a bit of typeface
inspiration this is often a good place to start.
| | 06:42 | Back now in InDesign having
made our typeface choices,
| | 06:47 | in the next movie I'm going to save
these attributes as paragraph styles.
| | Collapse this transcript |
| Applying paragraph and character styles| 00:00 | Let's save our text as paragraph
styles and this is going to ensure that we
| | 00:04 | can format this document really
quickly and edit it really quickly and that
| | 00:09 | everything is going to be nice and
consistent. So I'm going to begin with this
| | 00:14 | the body text and we have already done
a certain amount of work to this.
| | 00:18 | So I am going to continue with that.
I'll select that whole paragraph and
| | 00:23 | I'm doing that with four clicks making
sure that I select the invisible character
| | 00:27 | that is at the end of the paragraph.
| | 00:31 | If I turn my View to Normal we can
see it right there. Let's say we got the
| | 00:37 | typeface, the style, the point size,
the leading, everything there is okay.
| | 00:42 | I am going to change my Language to
English UK since this is a brochure for the
| | 00:48 | UK and that's just going to determine
when I do a spell check, which at some
| | 00:52 | point I will, what language dictionary is used.
| | 00:55 | Now let's switch to my Paragraph
Format and I need to make a decision about
| | 01:00 | what kind of alignment that I want.
And given the kind of informal nature of
| | 01:04 | this, I want it to be aligned left as
opposed to justified which is it will
| | 01:10 | start to make things a little bit
more problematic because it's going to
| | 01:13 | increase the spaces between the
words. And we can say that using these
| | 01:17 | relatively narrow columns that we are
going to be working with is not very pleasing.
| | 01:22 | So I want to be working with left
aligned text. We want to make sure it is
| | 01:26 | aligned to the baseline, which it is.
Well do we want to Hyphenate or not.
| | 01:30 | I feel that with such a small amount of
text that we actually do not want to
| | 01:35 | hyphen it. So want to make sure that
that is unchecked. Having done that now
| | 01:40 | then come to my Paragraph Styles panel
where I'll choose New Paragraph Style
| | 01:44 | and I'll call this body. I can check
this or not, it's not going to make any
| | 01:48 | difference because what I'm going to
do next is select all and apply the body
| | 01:55 | style to everything and when I do
that I get a plus symbol next to the body
| | 01:59 | style indicating that there are some
overrides there. To clear any overrides
| | 02:04 | making sure that I'm beginning with
just the base body style for all of my
| | 02:08 | text. I'm going to hold down the Alt
key or the Option key and click on that
| | 02:11 | style name again and now
everything is just in the plain body style.
| | 02:16 | All right, next let's set up a head
style. So I'm going to select the first
| | 02:22 | instance of the head and switch back to
my Character Formats. Command+Option+7
| | 02:29 | or Ctrl+Alt+7, Command+6 or Ctrl+6 and
as we determined in the previous chapter
| | 02:37 | we are going to use Matrix Script
regular and I think I want to make this quite
| | 02:43 | large. Let's make it 24 points and
since we are using a leading increment of
| | 02:49 | 15, I'll make that 30 points leading.
| | 02:52 | I am going to make sure that there
aren't any instances where one of our heads
| | 02:56 | should break across the column the way
it's currently doing, but I'm going to
| | 03:00 | not worry about that right now. So the
next thing I'm going to do is again New
| | 03:05 | Paragraph Style. We'll call that head
and I should have hit Apply Style to
| | 03:10 | Selection but I didn't. So I just
applied it there, and there and there and we
| | 03:18 | may as a rule so start out with
that introductory message and there.
| | 03:25 | Now it's quite possible highly likely
in fact that I'm going to be modifying
| | 03:30 | these styles. I may even end up with
some overrides in the paragraph styles.
| | 03:34 | That's okay. We don't need to be purest
about it but let's start out with just
| | 03:39 | the basic styles applied. I have here a
list of services and I want to apply a
| | 03:45 | bullet to those. So I'm going to swipe
through those, switch to my Paragraph
| | 03:50 | Format, Command or Ctrl+Alt+7 and
let's click on the Bulleted List.
| | 03:57 | Now just before I do this, I'm going to
need to prepare a Character Style that
| | 04:02 | can be applied to the bulleted character.
Before we do that click on Character
| | 04:07 | Styles and I choose New Character
Style where I'm just going to change the
| | 04:12 | color and the color that we'll use
will be that light green I think and we
| | 04:18 | will call it bullet. Having done that
back to my Paragraph Styles and click
| | 04:25 | here on my Bulleted List and to access
more options I hold down the Option or
| | 04:30 | the Alt key when I click on that.
| | 04:32 | I want a List Type of Bullets. The
Character Style is going to be the bullet
| | 04:36 | character that I just made. Let's turn
on the Preview see what we are going to
| | 04:39 | get? The Alignment is going to be Left
but I want to indent it less then it's
| | 04:43 | currently indented. So I'm going to
make that an 18 point indent with a -18
| | 04:50 | point First Line Indent and that's
currently looking like it's a little bit too
| | 04:54 | much, but I now want to change the
bullet character. And for the bullet
| | 04:58 | character I'm going to choose an
ornament from another font. So up here
| | 05:02 | I'll click on the Add Button and Myriad Pro
is not going to give me what I'm after.
| | 05:08 | So instead, let's change that to say
Minion Pro. If we now scroll down we
| | 05:17 | should find ourselves some nice flairy
type ornaments like that one there and
| | 05:22 | there is more. And I think the one
that I would like to use that one.
| | 05:26 | So I'll click OK, choose that and then
that is the Character that we'll be used.
| | 05:32 | Kind of echoes the decorative swirls that
we have got going on, on the background.
| | 05:36 | Click OK to that and then I'm going to
capture those settings as a paragraph
| | 05:41 | style which I'll call bullet and again
I forgot to check that checkbox, Apply
| | 05:47 | Style to Selection, so I'm going to
have to actually do that manually there
| | 05:52 | and then we got this address line here.
I think I'll just leave that in the
| | 05:57 | body style but overriding with a
centering alignment and with this one here.
| | 06:03 | I think we just want some space before it,
probably don't need to make a whole
| | 06:07 | new paragraph style for that. But I'll
just go to my space before and we will
| | 06:12 | add a whole line space before.
| | 06:14 | That's actually looking like a little
bit too much. So I'm going to make that
| | 06:18 | a half line space before. You will see
that when I do that it doesn't affected
| | 06:22 | and that's because it's locked to the
baseline grid. So for this particular
| | 06:26 | paragraph I'm going to take it off the
grid. So that we can have a little bit
| | 06:30 | more flexibility in terms of the
amount of space before and I think I also
| | 06:36 | might want to do the same for that. But
that's going to change when we come and
| | 06:41 | maybe modify the heads a bit. So
I'll leave that as is for the moment.
| | 06:47 | So there now is my type and I think the
next thing that I want to do is chop it
| | 06:53 | up into bite sized chunks and place
those chunks in the relative areas of our
| | 06:59 | pages and that's what
I'll do in the next chapter.
| | Collapse this transcript |
| Arranging text| 00:00 | So let's arrange our text now into the
relevant chunks and place them in
| | 00:05 | the right parts of the pages. And to
remind ourselves of where we are going with this,
| | 00:09 | let's take a look at the finished
version. Here is the outside and the inside.
| | 00:16 | So the exact placement is-- we
are going to need to adjust that later on.
| | 00:20 | I just want to get things
roughly placed where they need to be.
| | 00:23 | Now, for something like this I favor
chopping the text up into discrete and
| | 00:30 | wholly separate stories rather than
trying to maintain it as a continuous text flow
| | 00:34 | and I'm going to do that with
that one paragraph. I'm going to cut it
| | 00:38 | from there and that's going to
move over to this, the first panel.
| | 00:43 | In order to help me in the accuracy of
placement, I of course want to turn my Guides on.
| | 00:48 | So with my Type tool, I'm
going to drag a text frame and we will
| | 00:53 | put that about there and we want to
make this a bit smaller. Maybe it would be
| | 00:59 | worth my while making a second level
of head, so that I can have this be the same
| | 01:04 | as this and if I can, I think that's
what I'm going to do. But before I do that,
| | 01:08 | it occurred to me that one
thing I did in the second movie,
| | 01:13 | I then undid in the third movie and I was
being a bit careless. I want to put that back now.
| | 01:17 | I removed the tracking that I
had applied to this, the heading style.
| | 01:23 | So, let's just fix that up. First of
all, Apple or Ctrl+2 to zoom in on that
| | 01:29 | and I'm going to apply some tracking
now, Alt or Option+Left Arrow, just to
| | 01:35 | bring those letters closer together,
something like that. Then to my Paragraph
| | 01:41 | Styles, we see this is now head+, but
this actually how I want my heads to be.
| | 01:47 | So I'm going to come to the panel menu
and choose Redefine Style, so that they
| | 01:51 | will get that tracking.
| | 01:53 | Having done that, I'm now going to
make this one smaller. Again, I'm using
| | 01:57 | the shortcut and you'll remember in one
of our setup movies, we changed one of
| | 02:01 | our preferences to make the size and
leading increment when using the shortcuts
| | 02:07 | a half point. And if you look on my
control panel, you can see that every time
| | 02:12 | I press the shortcut Command+Shift or
Ctrl+Shift+<, I'm getting a half point smaller.
| | 02:19 | So I think maybe around 16 points will
be good for that and having done that,
| | 02:24 | I am then going to come to my Paragraph
Styles panel menu, New Paragraph Style,
| | 02:29 | this one is based on head and it
is going to be head2, Apply Style to
| | 02:34 | Selection, click OK.
| | 02:35 | All right and then I'll also apply
that same style down there. I want to take
| | 02:43 | all of that stuff, select through all
of that, cut that, Command or Ctrl+X, and
| | 02:49 | now move to my second page, Option or
Alt+Page Down, and I'll click and drag
| | 02:56 | a frame along the top there and Paste.
Now, you will see I have got overset
| | 03:02 | text that is about as much as I want to
fit in there, I can't see the remainder
| | 03:07 | of the text, I know it's there.
| | 03:09 | In order to select it, even though I
can't see it, Command or Ctrl+Shift+End
| | 03:15 | and then I'm going to cut it, Command
or Ctrl+X. You will see that the red
| | 03:20 | plus indicating overset text disappears
because we are only left with the text
| | 03:25 | that we can see in that text frame.
I'll come down to about here click and
| | 03:29 | drag and paste and I somehow seem to
have managed to get an extra character
| | 03:35 | turn in there which I want to get rid of, okay.
| | 03:40 | So now placing my cursor in front of
the A of entertain, I'll use that same
| | 03:44 | technique to select to the end of the
story, Command or Ctrl+Shift+End, Command
| | 03:49 | or Ctrl+X, and just being a little
bit obsessive here, I want to bring that
| | 03:56 | hash mark which indicates end of
story to the end of the paragraph.
| | 04:00 | So I'll press my Delete key to do that.
Let's zoom out and create myself another text
| | 04:07 | frame about there into which I'll
paste the remainder of that text.
| | 04:11 | So now on page 2, we have got things
roughly in the right place. Switching back
| | 04:17 | now to page 1, our address block, we
are going to cut from there into this
| | 04:23 | central panel right there and I think,
I may have an empty text frame floating
| | 04:28 | around there which is going to cause
nothing but confusion. So I'm going to
| | 04:31 | select that and delete it, then switch
back to my Type tool, click and drag to
| | 04:37 | make myself a frame and you can see
I'm dragging from column guides to column guide.
| | 04:41 | As I'm doing so, you can see how
things are snapping nicely to my grid
| | 04:45 | increments. I'll paste that in there,
press my Delete key to bring my end of
| | 04:50 | story marker to the very end of the
story and just to shrink my text frame so
| | 04:56 | that it's no bigger than it needs to
be, I'll also do this and I'll just
| | 05:01 | switch to my Selection tool
so you can see this happening.
| | 05:03 | Command+Option+C or Ctrl+Alt+C to fit
the frame to the content. That way we
| | 05:10 | don't have text frames overlapping
other elements and causing confusion and
| | 05:16 | I think I just want to do the same,
kind of tidy up on that one as well.
| | 05:20 | This I am also going to make that into its
own separate story. I want to fit the frame
| | 05:25 | to the content here and it won't let me
do that because it considers this to be
| | 05:30 | continued elsewhere.
| | 05:31 | So what exactly is going on with this?
In order to just troubleshoot this,
| | 05:37 | I'm going to go to my View menu and
choose Show Text Threads. That is going to
| | 05:40 | allow me to see where this is
continued to and it is continued to that empty
| | 05:46 | text frame there, which I'm now going
to delete and I can fit the frame to the
| | 05:51 | content. I have still got some text
on my clipboard. I'll press my T key to
| | 05:56 | access my Type tool, come down to about
here, click and drag, Ctrl or Command+V
| | 06:04 | to paste that.
| | 06:06 | So again, we are going to end up moving
this text around a bit, but everything
| | 06:10 | is now more or less in the place where
we want it to be and everything is on
| | 06:16 | the text layer. So I think, we can now
move on to preparing our images in the next chapter.
| | Collapse this transcript |
|
|
6. Preparing ImagesDeveloping in Camera Raw| 00:00 | This chapter is all about preparing
your images and to start that process,
| | 00:04 | we are going to be developing the Camera
Raw images in the Camera Raw plug-in
| | 00:09 | which is part of Photoshop. I'm here
in Bridge looking at the photos that we
| | 00:13 | have to work with and I think I'm just
going to simplify things by labeling or
| | 00:18 | rating the images that we want to use
and then filtering my view. So that we
| | 00:22 | are looking only at those images and not
at others that we are not going to end up using.
| | 00:27 | So we want this one, which is the
picture of the owner of the business.
| | 00:32 | We'll give that five stars, just to
distinguish it from the others because none of
| | 00:35 | the others have five stars and we want
that one, so Command or Ctrl+5 and what
| | 00:41 | else do we want, we want that one, and
we want that one and we want that one
| | 00:48 | and that one. Now, I may have forgotten
some, but I think that's what we need.
| | 00:53 | So I'm now going to come over to my
Filter pane, where I'll put a checkmark
| | 00:57 | next to those.
| | 00:58 | Let's take a look at this image. As I
mentioned in an earlier movie, you will
| | 01:03 | notice that most of these images have
these badges on them indicating that
| | 01:07 | adjustments have been made in Camera
Raw and pretty much you can use the
| | 01:11 | adjustments that I have made feel
free to go and tweak them yourself to get
| | 01:15 | them more to your liking. But I have
got these images pretty much the way that
| | 01:19 | I like them. If you did want to revert
any of these to their unaltered state,
| | 01:24 | then you can right-click on them and
then come down to Develop Settings and
| | 01:29 | choose Clear Settings. We cannot do
that for this one, so we are starting up
| | 01:34 | the completely unaltered state for this
image. Then if I double-click on it,
| | 01:39 | we open in the Camera Raw plug-in.
| | 01:41 | Now, there is a tremendous lot to
the Camera Raw plug-in is an absolutely
| | 01:45 | fantastic tool where you can do most of
what you need to do to your photographs
| | 01:51 | without even being in Photoshop proper.
Obviously I don't have the time nor
| | 01:56 | even the qualifications to go into all
of this, so I'm just going to give you
| | 02:00 | a quick overview of the necessary
things that we need to do here. We have got a
| | 02:04 | toolbar up at the top, which replicates
a lot of the same tools that we have in
| | 02:08 | Photoshop. We'll be using this in some
instances, the Cropping tool. And then
| | 02:12 | we have our Zoom and our Hand tool.
These function exactly the same way as they
| | 02:16 | do in Photoshop. We also down
here have a view percentage.
| | 02:20 | This Workflow Option, this link here
if I click on that it will give us the
| | 02:24 | option of how large we want to open
these images and I'm going to use the base
| | 02:28 | size which is this one, but I can't
down sample or I can up sample, but
| | 02:33 | I'm going to open them as the base size
for this image as an 8 mega pixel image.
| | 02:38 | Now, most of the stuff gets done over
here on the right-hand side and we have
| | 02:42 | these different categories of tools
starting on the left-hand side with Basic,
| | 02:46 | Tone Curve, Sharpening. Basic is the
one where we do most of the work. I have
| | 02:51 | got my Preview checked so that any
changes I make will automatically reflect in
| | 02:55 | this window and I'm currently
looking at a maximize to full screen mode.
| | 03:00 | So what do we want to do here? Here is
my Histogram, which shows a graph of the
| | 03:04 | number of pixels at each brightness
level, and over on the left hand side
| | 03:08 | I have got the shadows, on the right-hand
side, I have got the highlights and in
| | 03:12 | the middle, I have mid-tones. This is
a relatively healthy looking Histogram.
| | 03:16 | It's going from end to end, there is a
spike at this end here indicating that
| | 03:20 | some clipping is occurring.
| | 03:22 | So in my shadow area, there is going to
some blocked up detail. Judging by how
| | 03:27 | much there is, I don't think that is
going to be a problem, but if I click on
| | 03:31 | that triangle it's going to give me
my shadow clipping warning and we can
| | 03:35 | barely even see it. But there are a few
blue dots around, if I make that worse
| | 03:40 | by doing that, you will see that these
areas that are appearing in solid blue.
| | 03:45 | That's my shadow clipping warning.
Warning means that those are going to be
| | 03:48 | solid black without any shadow detail.
I'm going to press Command or Ctrl+Z to
| | 03:54 | undo that or Command or
Ctrl+Z as they say over here.
| | 03:57 | So pretty much, I'm mainly interested
in the Exposure, the White Balance,
| | 04:01 | I am going to leave this As Shot, but I can
adjust the color temperature by choosing
| | 04:06 | any of these predefined White Balance
settings or I can move it to the right to
| | 04:11 | make it warmer and more yellow or to
the left to make it cooler and more blue.
| | 04:15 | Then you get the idea like so.
But I'm going to leave that As Shot.
| | 04:19 | Now, the Exposure, maybe I'll just
brighten that up a little bit by moving that
| | 04:23 | to the right and you can see how that
is affecting the Histogram, moving all of
| | 04:28 | the information slightly over to the
right. I'll add a little bit of Clarity,
| | 04:32 | I am not sure that will necessarily
notice much difference here, but that's
| | 04:34 | going to give a slight mid-tone boost
to the detail and let's have a little bit
| | 04:39 | of Vibrance which will increase the
Saturation on the more muted colors and
| | 04:44 | anything else that we want to do.
| | 04:45 | I think the next stop we want to make
is in the Detail settings where we can
| | 04:51 | adjust the Sharpness. We have a warning
down here that tells us that we need to
| | 04:55 | be at 100% view size in order to see
the changes that this is making. So let's
| | 05:00 | indeed do that and if I click on my
Zoom tool that takes me to 100%, hold down
| | 05:05 | my Spacebar, drag around to an area
of pertinent detail and let's see what
| | 05:11 | happens if we put the Sharpening up to
about 100 and it will whack it all the
| | 05:15 | way up, now 150 you can see things are
definitely more sharp around the edges.
| | 05:20 | If I take it all the way down, all the way up.
| | 05:23 | Now, 150 is a bit too much, I'm going
to trying to slightly overdo it a bit
| | 05:26 | and put it about 100 and that is pretty
much what I want to do with this image.
| | 05:32 | I don't really need to do anything more.
My histogram is looking good. I think
| | 05:36 | we are ready to go and I'm now going
to open this image. When I do that
| | 05:41 | I'm taken into Photoshop and my next
option is to save this image in a compatible
| | 05:48 | file format. So I could save as
either a TIF or a JPEG or PSD.
| | 05:54 | Now since with this image in the way I
intend to use it in this version of the
| | 05:59 | brochure, I don't plan on doing any
masking with it or cutting it out. So in
| | 06:04 | order to save myself a bit of file
space, I think, I'm going to save it as a
| | 06:08 | JPEG, but a high quality
JPEG. So File > Save As. JPEG.
| | 06:14 | Now I want to navigate to the
preparingimages folder and I'm just going to
| | 06:18 | leave it, got that, click Save and
I'm going to maximize the quality. Save
| | 06:24 | that as Quality 12 Maximum. But we'll
still even with Quality 12 and Maximum
| | 06:29 | image quality get a substantial
saving so that the closed file size will be
| | 06:34 | substantially less than the
open file size of 23 megabytes.
| | 06:39 | Okay, now I need to repeat that
process with the other images. But with a
| | 06:44 | couple of them or actually with three
of them, I also need to cut them out.
| | 06:49 | So in the next movie let's see how we
can mask our images where we need to.
| | Collapse this transcript |
| Masking| 00:00 | Our next step is to mask some of our
images, to make them cut outs. Now,
| | 00:04 | we're going to need to do that with this
image here and this one right here and also
| | 00:09 | another one that is right there,
that one. But I'm going to do it to the
| | 00:13 | sunflower. The technique for all
three of them is pretty much the same.
| | 00:17 | So we'll do it for one and then you can
apply that same technique to the others.
| | 00:20 | So I'm going to open up this image and
it's a Camera Raw image again, we might
| | 00:25 | want to set the crop here so that we
are only taking in the portion of the
| | 00:28 | image that we actually need to use.
Everything here has been set up the way
| | 00:33 | I like it. Feel free to adjust as you
feel necessary but I'm just going to go
| | 00:36 | ahead and click Open Image to
open up this image in Photoshop.
| | 00:42 | This is going to be a rather tricky
mask to make and I think I'm going to
| | 00:46 | begin by selecting the background with
the Quick Selection tool. So I'll choose
| | 00:51 | my Quick Selection tool, make my brush
size a bit bigger and then go over the
| | 00:54 | background and see how far that takes us.
I might need to make my brush size a
| | 01:01 | bit smaller. Let's get into these
tight areas here and let's go a little bit
| | 01:06 | too far. I think that's about as far as we
are going to get with the Quick Selection tool.
| | 01:11 | So I'm now going to Inverse that
selection and perhaps, I want to refine it a
| | 01:18 | little bit using the Quick Mask. Come
down here to Quick Mask or press Q, and
| | 01:25 | then zoom in. Now if I had a Wacom
tablet, I would try and paint out these
| | 01:29 | areas, but I don't. So I'm working
with a mouse, which is a pretty blunt
| | 01:34 | instrument for these purposes. I'm
just going to -- oops! I'm in the wrong
| | 01:37 | tool. I need to switch to my Paint Brush tool.
| | 01:40 | And I want to change that to Normal,
Opacity 100, paint in some of these areas
| | 01:48 | or where we have paths that are masked
and we don't want the mask, switch to
| | 01:53 | white as the foreground color, smaller
brush and paint them out. But you can
| | 01:57 | say, "I am just finding it too
difficult to be accurate with the mouse." So
| | 02:03 | it's a question of going around
these edges, either painting in black and
| | 02:06 | that's going to add to the red
overlay which represents the mask area, or
| | 02:10 | painting a white which is going to
add to the selection to the sunflower itself.
| | 02:15 | Now, it might be the case with some of
these edges that I just want to kind of
| | 02:20 | improve upon the reality because some
of them are a little bit raggedy. So if
| | 02:24 | they don't get included that's just
fine. I'm pressing X, to switch back and
| | 02:31 | forth between my black and my whites,
pressing my left bracket to go to a
| | 02:37 | smaller brush, my right
bracket to go a bigger brush.
| | 02:46 | Now I could continue in that vein with
the Quick Mask tool. I might find some
| | 02:51 | of these areas in here easier to
remove using pen paths. So I think at this
| | 02:58 | juncture, I'm going to press the Q key.
That's going to come back to my active
| | 03:04 | selection and just so that we have that
saved in case we need it, I'm going to
| | 03:09 | come to my Channels panel and click
on Save Selection as Channel. And now
| | 03:16 | moving into these areas, I'll use
my Pen tool. I'll deselect my current
| | 03:21 | selection, Command or Ctrl+D,
and draw in these pen paths.
| | 03:28 | Now actually it might be useful for
me to see what parts the selection is
| | 03:32 | covering and what parts are not, so
I'm going to activate the selection by
| | 03:35 | pressing Command or Ctrl and clicking
on its thumbnail right there. Now I can
| | 03:40 | see like that it's not going
all the way into that little nook.
| | 03:44 | Pen stacking, I know it's a little bit
like knitting, quite therapeutic in a
| | 03:52 | way, not that I'm an avid knitter, I
can't say I have ever knitted anything in
| | 03:57 | my life, but I imagine, it's quite
like knitting. That petal though, we are
| | 04:02 | just going to do without it, we don't
need it and that's not an area we want to
| | 04:07 | subtract, but rather an area we want to
add. So I'm going to address that in a
| | 04:11 | different step.
| | 04:15 | Now, you may not need to do all of
these yourself. In fact, if you want to just
| | 04:19 | walk through this point, kickback,
just watch you can pick up the finished
| | 04:24 | version of this file. Let me do the
heavy lifting for you. This is all kind of
| | 04:29 | repetitious really, once you drill on
one pen path, you drill on them all.
| | 04:35 | Well, not really but it is a bit
repetitious. So anyway, so I have been around
| | 04:40 | the edges, I have drawn a series of pen paths,
these are going to appear as a work path.
| | 04:46 | I just want to make sure I got that
one up there and I didn't because
| | 04:50 | I'm going to add that one. I didn't get
this one either. Sloppy. Deselect that,
| | 04:57 | turn on the path. Make sure we are on
that path. Turn my selection back on.
| | 05:08 | Okay, now the reason for all of that
was this. I'm going to just double-click
| | 05:15 | on that work path to save it and then
I'm going to turn the work path into a selection.
| | 05:21 | I am going to hold down the Command
key and click on it and the Shift key, so
| | 05:26 | that I can check all the options.
I'm going to go here instead to Make
| | 05:29 | Selection and this is going to be
subtracted from the selection and that should
| | 05:35 | fix up a lot of those problems of
the interior space. Now some of them I missed,
| | 05:41 | like that one down there. I missed
that one, so I'm just going to come
| | 05:47 | and add, do the same thing again,
at another pen path, like so and then
| | 05:57 | we will choose Make Selection,
Subtract it from the Selection and that's now,
| | 06:02 | getting that edge quite nicely.
| | 06:04 | All right, so with this now improved
selection, I'm going to come to my Layers
| | 06:08 | panel, I need to unlock my Background
layer by double-clicking on its thumbnail
| | 06:13 | and then changing that selection into
a layer mask. At which point, I can see
| | 06:20 | there are still some areas where I
didn't quite achieve what I was after. So at
| | 06:25 | this point, I'm going to activate the
mask. So there we have the selection
| | 06:28 | active, but then I'm going to throw the
resulting layer mask away and before
| | 06:35 | I make the new layer mask, I'm going to
come and fix the problems that exist
| | 06:40 | with this. So here's a case in point
right here, I want to just add that little bit.
| | 06:47 | I'm just going to do this on a case
-by-case basis. Draw the path. There's
| | 06:51 | my Path panel. In this case, I want to
add it to the selection, so Command or
| | 06:55 | Ctrl+Shift, and click on that.
| | 06:58 | These bits, if these don't get included,
that's fine. No one is going to miss
| | 07:01 | them. No one is going to know they
were even there. It flows interior spaces
| | 07:08 | where we are seeing the dark background
that's really proving problematic like
| | 07:14 | there, right there. So I'm drawing
myself the pen path inside of there and
| | 07:22 | this really wouldn't work well with the
magic wands or with the Quick Selection
| | 07:28 | tool, the selection that we would get,
will be just too raggedy and we want it
| | 07:33 | to be crisper than that.
| | 07:35 | In the case of this particular path, it
needs to be removed from the selection.
| | 07:42 | Hope I haven't added that to the other
one? No, it seems it's okay. So in order
| | 07:47 | to do that, that's going to be Command
and Option-click. All right, we are now
| | 07:52 | ready for the layer mask. Take two. So
back to my Layers panel and we'll turn
| | 07:59 | that into a layer mask.
| | 08:02 | That's looking not too bad. It's a
little problem down there. I'll just fix
| | 08:06 | this one on the layer mask itself.
Another pen path and I want to activate that
| | 08:18 | part as a selection Command-click on it.
Switch back to my Layers panel to the
| | 08:23 | layer mask itself and I want to fill
that selection with black, so that we hide
| | 08:30 | that bit of green.
| | 08:31 | I need to set my foreground, background
colors to black and white. So I press D
| | 08:36 | and then if necessary to switch them X
and then Option or Alt+Delete. Now, as
| | 08:44 | you can gather I could go on doing
this all day long, but I'm not. I'm going
| | 08:48 | to, at this point if I want to make
any further refinements to it, I'm going
| | 08:53 | to come my Masks panel and click on
Mask Edge and that's going to bring up my
| | 08:58 | Refine Mask option.
| | 09:01 | Well, I start out by setting all of
these slides back to their 0 state and then
| | 09:08 | we will zoom in on this area over here
and just see how the mask is looking.
| | 09:13 | So I want to increase Radius. I'm going
to go up to something like that and then
| | 09:19 | the Contrast is going to remove any
artifacts that I might have introduced by
| | 09:24 | putting up the Radius. I'll smooth
things by about 3 pixels. I'll give it
| | 09:30 | a very slight Feather softening of the edge
and I'm also going to Contract it by about -10.
| | 09:35 | Now if I turn off the Preview, we go
from that to that which is not a perfect
| | 09:44 | mask by any means, but it's not bad.
It's not bad at all. So let's now zoom out
| | 09:51 | and I think we are ready to save this
and move on. So I'm going to choose File
| | 09:59 | and Save, I don't want to save this in
the 06_preparingimages photo and
| | 10:06 | I'm just going to leave it with its
current file name, but it will append the PSD
| | 10:10 | extension because I'm
saving it in Photoshop format.
| | Collapse this transcript |
| Placing images | 00:00 | Okay, here is where we are at. We have
got our text in and more or less in
| | 00:03 | the right place with paragraph styles
applied. We have got our background setup,
| | 00:06 | we have got our guide setup, we have
got our color palette setup, we have
| | 00:10 | our images prepared. You saw me prepare
two of them. You can prepare the rest under
| | 00:14 | your own steam or you can use the
ones that are in the Links folder in the
| | 00:19 | 3Panel brochure folder, which is
in the Finished Brochures folder.
| | 00:23 | Our next step is we want to place the
images. So I'm back in InDesign, in the
| | 00:28 | brochure document itself. Here is my
Layers panel I want to turn on my Pictures layer.
| | 00:34 | There is that placeholder
picture that we were using earlier on.
| | 00:37 | We can get rid of that now.
| | 00:38 | I am now going to lock everything
but the pictures layer. So I'm going to
| | 00:43 | Alt-click or Option-click in the
locking column, making sure that I'm on
| | 00:48 | the pictures layer. I can select that one
and we can get rid of that. So let's just
| | 00:52 | remind ourselves of where our pictures go.
| | 00:54 | If we look at the finished version
and start out with page 1, we have
| | 00:59 | the portrait right there, we have the
sunflower and then we have got a couple of
| | 01:04 | more picture frames that are going to
be necessary for the logos, which
| | 01:09 | we haven't dealt with yet. Then we have
got a row of three pictures right here.
| | 01:14 | This one being a special case because
it pops out of the frame and another one
| | 01:18 | beneath it. This one over here,
which is using a text wrap.
| | 01:23 | So starting out on page 1, I'll use my
Rectangular Frame tool and I have got
| | 01:29 | my guides on. So I have got an idea of
to what depths to draw these. I'm going
| | 01:32 | to draw them to increments of my 15-point
baseline grid. I'll put that one right there.
| | 01:38 | Before I go any further, let me just
show you how I'm going to do this.
| | 01:41 | There are several approaches we could take.
I could, with the frame selected, come up
| | 01:46 | to my File menu and choose Place and
then navigate to the folder. There it is,
| | 01:53 | right there. Then click Open and then
the image is going to go into the frame.
| | 01:58 | I would then need to size the
image to the frame or vice-versa.
| | 02:02 | But I'm not going to do it that way.
But anticipating that this is what's
| | 02:06 | going to happen, i.e., the image is
going to come in and it's going to be at a
| | 02:10 | completely different size from the frame.
I'm just going to press Command+Z or
| | 02:14 | Ctrl+Z a couple of times.
| | 02:17 | Now with that frame selected, I'm
going to set up the fitting options before
| | 02:21 | I place the images. So I'm going to come
to my Object menu and down to Fitting >
| | 02:27 | Frame Fitting Options. I'm going
to select the center Reference Point.
| | 02:32 | So that when I do this on Fitting on
Empty Frame, Fill Frame Proportionately,
| | 02:36 | any portion of the image that doesn't fit
is going to be cropped equally, left and
| | 02:40 | right or top and bottom. I'll click OK to that.
| | 02:44 | I think what I want to do there is I
want to capture that setting as an object style.
| | 02:49 | So let's come over to our Object
Styles panel right there. Maybe I could
| | 02:54 | have applied that to the Basic Graphics
Frame object style that we were already given,
| | 02:58 | but I'm just going to create
a new one. New Object Style and
| | 03:02 | I'll call that Fitted frame.
| | 03:05 | Then I want to come down to the
attributes down here because Frame Fitting
| | 03:08 | Options is not automatically checked.
I need to make sure that that is checked.
| | 03:13 | You can see that it is going to
capture those settings. So now I'll draw
| | 03:17 | myself the other frames that we need.
| | 03:20 | That text is in the wrong position. Let
me just quickly unlock that text layer
| | 03:25 | and select that and move that up a bit,
get that out of the way, lock the text
| | 03:30 | layer back on the pictures layer. Draw
myself a picture frame right there and
| | 03:37 | anticipating that we are going to
need the logo at some point, I'll draw a
| | 03:41 | couple more. I'll now select all. When
I do Select All, I'm only going to be
| | 03:47 | selecting those picture frames
because I have all of the other layers locked.
| | 03:51 | I can then come to my Object Styles and
apply the Fitted frame style to them.
| | 03:55 | I'll now move to page 2 and I have got
a picture that I want to bleed-off the
| | 04:03 | left hand edge, all the way over to
the fold. On top of that, you can see how
| | 04:08 | I am kind of using these row divisions
that I set up earlier as guides here.
| | 04:13 | Although, I'm not sure that I
want to interpret that too literally.
| | 04:16 | Having said that, I'm going to
override that. Actually, what do we want here?
| | 04:21 | Let's say that I'm going to draw one
and I'm going to drag it all the way
| | 04:25 | across the full width of two panels.
I now want to divide that into four equal
| | 04:32 | sections. To do that, this is going to
give me the opportunity to show you
| | 04:36 | a very handy script. Although of
course I could just do it manually, but
| | 04:40 | the script is really quite useful.
| | 04:42 | So I'm going to come to the Window
menu and I'm looking for Automation.
| | 04:44 | I don't see it, so I need to come down to
this Show All Menu Items. Automation > Scripts.
| | 04:50 | Now these scripts come with
InDesign. You can write your own,
| | 04:54 | if you are brave enough, but we are just
going to use one that's already there.
| | 04:58 | The first time you open this it's not
going to look like that. It's going to
| | 05:01 | look like this and if I expand the
Applications folder and then expand
| | 05:06 | the Samples folder and then in the
JavaScript folder, you will see a script that
| | 05:10 | is called MakeGrid.
| | 05:11 | So with your picture frame selected,
double-click on that. What you want to say is
| | 05:17 | that we want 1 row and 4 columns with
no gutter between them. That's going to
| | 05:23 | divide that into four. All right,
we can put the script away for now.
| | 05:27 | Actually, I want the second and the
third to be merged into one. So I'm now
| | 05:31 | just going to delete the third one and
move the second one over, like so.
| | 05:36 | Now back to my Rectangular Frame tool,
coming all the way to the bleed guide and
| | 05:41 | extending all the way down to the
bottom bleed guide, something like that.
| | 05:47 | There is my hedge that is going to form
an interesting shape for the text to wrap around.
| | 05:53 | Again, I'm going to Select All. And
because I have all the other layers locked,
| | 05:57 | I'm only selecting the picture
frames and apply the Fitted frame
| | 06:03 | object style to them. You will see
why I have done that in the next step.
| | 06:07 | I am going to now collapse that layer.
I want to return to Bridge.
| | 06:12 | So in Bridge, I now need to go to the
folder containing the files. I'm in my raw
| | 06:18 | assets folder here. So instead, I
need to switch to my 06_preparingimages folder.
| | 06:24 | There are all of the files that
I want. I'm going to select them all
| | 06:29 | with the exception, of
course, of the brochure itself.
| | 06:32 | I am now going to switch my Bridge
view. If I come to the View menu,
| | 06:36 | I can switch it to Compact Mode or I
can use the shortcut Apple+Return or Ctrl+Return.
| | 06:43 | I'll just drag that over, like so.
Then with all of my images selected,
| | 06:49 | I'll drag them on to my InDesign
layout. There will be a brief pause.
| | 06:55 | If I click on the InDesign window, you
will see that I now have a loaded cursor
| | 07:00 | and in parenthesis I have got a number
after it telling me how many pictures
| | 07:05 | I have on that cursor. I'm not ready
to place this image that is at the front,
| | 07:09 | which I'm not, then I can use my Up/
Down or my Left/Right arrows to cycle
| | 07:15 | through the images.
| | 07:16 | Now that one is going to go right
there and that one is going to go right there.
[00:07:21.3]
Now you will see that they
are fitting or they are rather filling
| | 07:24 | proportionately because of the way we
set up the object style. There is a hedge.
| | 07:28 | That one is going to go right there,
that one is going to go there and that one there.
| | 07:32 | Now I can go back to page 1, Alt+
Page Up or Option+Page Up. That's going
| | 07:37 | to go there and that one is going to go there.
| | 07:40 | Let's just minimize Bridge to get it
out of the way and we can see that we have
| | 07:45 | now got the images in. They may
require some cropping, but basically they are
| | 07:51 | all fitting. This one down here is a
bit more problematic. I think we need to
| | 07:55 | adjust that one. So I'm going to
choose my Direct Selection tool, click on it
| | 07:59 | and then I'm using my Down arrow in
combination with my Shift key to nudge
| | 08:04 | that down. So that I get it
into position just about there.
| | 08:08 | All right, I think we have got our
images in. There is going to be much more
| | 08:13 | that we need to do to them, but
that can wait for another movie.
| | Collapse this transcript |
| Scaling and cropping| 00:00 | Our images are in but we still need to
do a few things to them. When I look at this
| | 00:04 | I see various problems with it.
In no particular order of preference,
| | 00:11 | our hedge over here. We set up
our object style to fill the frame
| | 00:16 | proportionally, which is great, except
for a cropped image like this where it's
| | 00:22 | not working at all. We need to Fit
Content Proportionally in this case.
| | 00:27 | So I'm going to come up to my
Object menu > Fitting > Fit Content
| | 00:30 | Proportionally. Oh! And that's not
going to work. So instead of that, what we
| | 00:35 | are going to do is we are just going
to crop it differently. So it's selected
| | 00:38 | and with my Direct Selection tool, I'm
just going to hold down the Shift key
| | 00:43 | and press the Right Arrow, so that we
make sure that we are not losing any of
| | 00:49 | the left hand edge of that.
| | 00:52 | I also realize that we probably want to
make it a little bit bigger as well, so
| | 00:58 | that it extends all the way to the top
of the page. I would like to leave the
| | 01:02 | bottom portion of the image in
place where it is. So I'll come to my
| | 01:06 | reference square and click on the bottom
right. So it's going to anchor that position.
| | 01:11 | Then I'll use the shortcut Command+>
and then that's increasing the scale of
| | 01:17 | my image proportionally 1% at a time.
That looks just about right, except
| | 01:23 | I realize that I'm going to need to
do then a little bit more cropping.
| | 01:29 | I'll call that perfect, for now at least,
until I decide to mess with that again
| | 01:34 | a bit later on.
| | 01:35 | Okay, now these flowers over here,
these need to get a little bit bigger, so
| | 01:39 | they are a bit more prominent. I'm
just going to click on that image with my
| | 01:43 | Direct Selection tool and again use
that shortcut. This time I'll make it the
| | 01:48 | bottom center that stays fixed in place.
Command+> or Ctrl+> to just bump those
| | 01:55 | up a bit, maybe to about that size and
then a little bit of cropping, something
| | 02:01 | like that. We'll come back to this
one in the next movie or a forthcoming movie.
| | 02:09 | We need to put the logos in as well.
I could just drag and drop these as I did
| | 02:13 | before, but for a bit of variety
instead this time I'll choose File > Place.
| | 02:20 | These, we need to get from the assets
and they are in the logos. This one is
| | 02:26 | called logo_alternate_reverse. This is
the one that we want. So I'm going to
| | 02:30 | replace the one that I have selected.
There it is. In fact, why don't I just
| | 02:35 | get rid of that one there?
| | 02:37 | Now there is an interesting thing that
comes up there. You will see that
| | 02:41 | the reverse version; and again, this was
set to Fill the Frame Proportionally.
| | 02:46 | It's not what we need here. What we
want is to Fit Content Proportionally.
| | 02:51 | Then I'm going to fit the frame to the content,
Command+Option+C or Ctrl+Alt+C.
| | 02:58 | Then I am going to need to scale that.
So dragging from one on the four corners,
| | 03:01 | holding down Command or Ctrl and Shift,
pulling that out, like so there and
| | 03:09 | up there, like that.
| | 03:10 | Now this reversed out version of the
logo, it's set against a solid color
| | 03:15 | background. Mainly because when you are
previewing it in Bridge, as you want to
| | 03:21 | do; let's just backup here till we
get to the assets and the logos; you can
| | 03:27 | tell what's there. Otherwise, it's just
going to be white on white and you are
| | 03:30 | not going to be able to tell what's what.
| | 03:33 | But we don't want that background here
in the layout. So here is what we are
| | 03:38 | going to do. We are going to select it.
We are going to go to the Object menu
| | 03:41 | and to Object Layer Options. That
background is on a separate layer. We can
| | 03:46 | hide it. Turn on the Preview and
there we see what we want to see.
| | 03:51 | Except that we realize I have got a
bit of a problem now because the color of
| | 03:55 | the twirly thing in the logo is exactly
the same color as that background.
| | 04:00 | So I am going to need to rethink that
background. I'm going to need to unlock that
| | 04:06 | and that needs to get a different color
of green. Let's make the outer one the
| | 04:11 | darker green. Okay, I'm going to go
over with it like that. Adopting and
| | 04:15 | adapting as we go along.
| | 04:16 | All right, so I can now make the frame
for that small. Now we are looking at a
| | 04:22 | low-resolution proxy of that image
which is why it looks so rough. If that's
| | 04:29 | bothering you and it's bothering me,
then here is how we can fix it. We could
| | 04:34 | change the Display Performance for
the whole document because we have
| | 04:40 | Object-Level Display Settings ticked.
I think the other images are looking
| | 04:44 | fine. So I'm just going to
change it for this particular one.
| | 04:47 | So I'll go to the Object menu and to
Display Performance and set this to High
| | 04:53 | Quality Display. Now that looks a lot
better. I'm then going to duplicate that
| | 04:59 | over to the right hand panel. I'm
holding down the Alt key as I drag that
| | 05:04 | bringing that in position over there.
| | 05:07 | Okay, so we have got the images in
place. A couple of other things that I can
| | 05:10 | see that are problems. Let's take a
look at our document in Preview. I'm going
| | 05:15 | to press W and problem with our wavy
thing and twirly thing. They are both
| | 05:22 | currently behind the pictures. We want
them in front of the pictures. We are
| | 05:26 | going to need to change our layer ordering.
| | 05:28 | So I'm going to come and click on the
Layers panel and pictures. I'm going to
| | 05:33 | need to go underneath the wave. So I'm
just going to drag those down to there.
| | 05:37 | Now we have got the wavy thing in front.
I'm not entirely sure I like it, but
| | 05:42 | it is in the right layering order.
We can always come back and adjust its
| | 05:46 | transparency. In fact, why don't
we have a look at that right now?
| | 05:50 | If I select that right there and then
come over to the Effects. I wonder if
| | 05:56 | rather than Multiply, we would have
changed that to Screen. That's interesting.
| | 06:02 | Then maybe turn it all the way down
like that. I think, I might prefer that,
| | 06:09 | but I don't hope to do it. I'm prone
to change my mind. I'm going to leave it
| | 06:13 | like that for the time being.
| | 06:15 | All right, that's all for this movie.
We have got more things to do with the
| | 06:19 | images, especially this one right here.
In the next movie, we are going to make
| | 06:25 | that pop out of its frame
in a really interesting way.
| | Collapse this transcript |
| Setting up text wrap| 00:00 | We are now going to sort out some text
wraps for our graphics to create some
| | 00:03 | interesting shapes for our text to
run around. You may have noticed that our version,
| | 00:09 | work in progress trifold15,
looks a little bit different from
| | 00:14 | the finished version and especially if
we look at the first page. You have got a
| | 00:20 | slightly different color palette. I think
it looks better. The more times we do this,
| | 00:25 | it's going to get better every time.
| | 00:27 | So don't worry about absolutely
faithfully reproducing the original.
| | 00:32 | That's just there as reference. Feel free to
diverge from that as much as you want to,
| | 00:37 | just making sure you use
more or less the same content.
| | 00:41 | Okay, Text Wrap. Let's apply a text
wrap to this image. I know that earlier on
| | 00:48 | I moved that over to the right. I'm now
thinking that I moved it over too far.
| | 00:51 | So I'm going to move that back a bit
and then pull that out a bit, like so.
| | 00:57 | So we see a bit more of it. So that the
text has more to wrap around. I'll need
| | 01:02 | to unlock my text layer.
| | 01:06 | Let's turn the guides on by pressing
W. I think, I'm going to start this
| | 01:11 | closer to the top from clear bounce
there. I'm also thinking -- there is going
| | 01:17 | to be a lot of things that I see
going through this that I just can't stop
| | 01:21 | myself from fixing it. Here is one of them.
| | 01:23 | A little off topic, I want to have
some space between my heads and my text.
| | 01:29 | Because they are in there a bit too
close together at the moment. So I'm going
| | 01:32 | to come and edit the head paragraph
style by right-clicking on it and going to
| | 01:39 | Indents and Spacing. I'm going to add
15 points of Space After, separating the
| | 01:45 | head from the body copy itself.
| | 01:48 | Okay, then that is in turn going to
create it's own problem but we'll address
| | 01:52 | that as and when we need to. But for
this text block right here, I think it's
| | 01:57 | pretty much okay. Let's select this
picture and then come to Text Wrap and we
| | 02:04 | want to create a wrap around the object shape.
| | 02:07 | Now when I do that, the Contour Options
by default are Same as Clipping, which
| | 02:11 | at the moment is the bounds of the
image box. I want to set that to the alpha
| | 02:15 | channel, as that it's saved as part of
this image. I need to move that out of
| | 02:22 | the way, so I can see what's going on there.
Yup! I think that's looking pretty good.
| | 02:26 | I think I want a bit more interaction
between the text and the image itself.
| | 02:31 | I am going to set the Offset amount at
3 points and I might need to increase
| | 02:37 | the depth of that text frame. Now this
is going to be a little bit tricky, but
| | 02:44 | what I obviously want to prevent
happening is stuff like this. That's a
| | 02:50 | complete no, no. A filter in that
though. I think it looks pretty much okay.
| | 02:55 | Now there are a couple of things that I
can try to make sure that that problem
| | 03:00 | doesn't happen. One is I can just try
nudging the picture of it so slightly.
| | 03:04 | Or scaling the picture ever so slightly.
Let's just remind ourselves of how that's
| | 03:08 | fitting. We have got a little bit of
headroom at the top. So if I were to nudge
| | 03:13 | that down and just keep nudging --
well, that fixes one problem and creates
| | 03:17 | another. So that's not working for us.
| | 03:20 | What I'm going to need to do is I'm
going to need to manually come in and
| | 03:24 | adjust the Text Wrapper part. So I'm
going to zoom in on that. Then with my
| | 03:29 | Direct Selection tool, I'm going to get
that anchor point right there and pull
| | 03:32 | that up, keep doing that until there
is sufficient space between the path and
| | 03:40 | the text to allow the text to pass. If
we just zoom out a bit on that, I think
| | 03:47 | that is looking okay, really. Certainly,
we can live with that for now. We may
| | 03:53 | later decide when we want to come back
and mess with it some more but for now,
| | 03:57 | I think it's fine.
| | 03:59 | Another text wrap is required over here.
Now this is going to be a special kind
| | 04:03 | of approach because we are not going
to put the text wrap around the edges of
| | 04:07 | the image but around a portion of the
image. Now let me just show you what the
| | 04:13 | finished version looks like because
you haven't noticed that before. You can
| | 04:18 | see we have got a nice kind of graceful
curve around the shape of the flower there.
| | 04:24 | So for this, I'm going to start off by
first of all positioning my text frame
| | 04:29 | more or less where I wanted. I think
just be on the safe side I'm going to
| | 04:33 | come and lock my pictures and
background layer, so I can't disturb those, which
| | 04:38 | will be very easy to do by mistake. All
right, let's then move that down right
| | 04:44 | to about there I think. I'm now
going to use my Pen tool and I'm going to
| | 04:50 | draw myself a simple pen path around
the shape of that flower and apply
| | 04:55 | the text wrap to that.
| | 04:56 | This is going to end up having no Fill
and no Stroke applied to it. For that
| | 05:01 | reason, it's going to be very easy
for it to get lost, very hard for us to
| | 05:05 | select, should we need to select it.
Anticipating that potential problem,
| | 05:10 | I'm going to put this on it's own layer.
I'm going to call this layer text wrap.
| | 05:16 | It's pretty much going to be the only
thing on this layer and maybe I'll add
| | 05:19 | one other item to it. But that way we
can just come to that layer, lock all the
| | 05:23 | other layers and Select All and we'll
be able to select that wrap shape even
| | 05:26 | though we can't see it.
| | 05:28 | So now with my Pen tool -- I'm not
worried about the fact that it's going to
| | 05:32 | fill in it. I'm going to get rid of
that in just a moment. I'll just do
| | 05:35 | that. Now of course, I can close it off,
not that I need to but I may as well
| | 05:40 | do that. Then I want to make sure
that has a Fill of None. So with the Fill
| | 05:45 | property as the chosen property, I'll
just press my forward slash to apply
| | 05:49 | None to that.
| | 05:51 | Then come to Text Wrap where I'll
wrap around object shape, creating a text
| | 05:58 | wrap like so. Having narrowed that
text frame, all the text doesn't fit.
| | 06:04 | So I will just need to increase its depth,
something like that. And I realize that
| | 06:09 | I need to go over and modify that Text
Wrap because it's now no longer tall
| | 06:13 | enough. So I can just pull it around
of it like so and that should work just fine.
| | Collapse this transcript |
| Making a pop-out image| 00:00 | Most tough to do with our images, we
want to make this flower right here pop
| | 00:04 | out of its frame. Let's take a look
at the finished version like that.
| | 00:09 | This is serving several purposes.
It's kind of trying a lot of things together.
| | 00:13 | The way it's extending into the
outer panel here. It's making a connection
| | 00:18 | between the two and just all around
creating a far more interesting shape than
| | 00:22 | where it confines to a rectangle.
| | 00:24 | Now you can see what we have is the
masked version of that image. And to do this
| | 00:31 | we are going to use a trick that
involves having two copies of this image.
| | 00:36 | One exactly on top of the other. One of
them will be masked; the other will not
| | 00:41 | be masked. We can use the same version
of the image and we can bring to bear
| | 00:47 | a technique called layer comps to do this.
It's an interesting way of doing it
| | 00:51 | and I confess slightly gratuitous
because it's just way of me being able to
| | 00:56 | show you another feature. I suppose
there are other ways of doing it as well.
| | 00:59 | But I particularly like the
elegance of approach. Let's take a look
| | 01:04 | at what I mean and this allows us
to see another topic as well. The way
| | 01:07 | the links work in InDesign. And if I
open up my Links panel which I must have
| | 01:13 | forgotten to include as part of my
workspace. Let's drag that down there and
| | 01:18 | then click on that.
| | 01:19 | And there is that link. We can see it's
up-to-date. Here's all the information
| | 01:23 | about it. It's much more detailed
information now in CS4 which is going to use
| | 01:28 | the Links panel to open this image
up in Photoshop to edit the original.
| | 01:33 | So when we do that, that's what it
looks like. We can see that it has a layer
| | 01:38 | mask, nothing has been permanently
deleted, everything is changeable. And that
| | 01:43 | layer mask is really going to come in
handy for us. We are going to use that.
| | 01:46 | In addition this image has
two different layer comp states.
| | 01:51 | Now if you went ahead and added mask to
your own version of this, you will not have
| | 01:55 | these layer comp states and you will
need to create them. If you are using the
| | 01:59 | one that was already prepared then they
are already there for you. To see them
| | 02:04 | we need to go to the Layer Comps panel,
and we've got two different layer comp states.
| | 02:08 | The masked state
and the not masked state.
| | 02:12 | And here is how we make a layer comp.
And in fact, I'm just going to start out
| | 02:18 | by deleting those two, and I'll turn
the mask off by holding down the Shift key
| | 02:24 | and clicking on it. And then I'll
come and click on the Create New Layer
| | 02:28 | Comp and we'll call that not masked.
We are capturing the visibility and then
| | 02:35 | I am going to turn the mask back on
by Shift-clicking on the layer mask.
| | 02:40 | Clicking on the Add New Layer Comp and
I'm going to call this one masked. And
| | 02:45 | we can switch back and forth between
the two by clicking in this column.
| | 02:50 | All right, so having done that and
I'm not going save this because I have
| | 02:54 | already got that set up in the document,
but if you need to create those layer
| | 02:59 | comps you'll need to save the file again.
| | 03:02 | I have placed the file and the last
document state was the mask state so that's
| | 03:07 | why it's come and looking like this.
What I want to do next is I'm going
| | 03:12 | change this. I'm going select it and
then come to the Object menu and choose
| | 03:17 | Object Layer Options. But if I had
different layers I could turn my layers turn
| | 03:21 | on and off, we saw how that worked with
the Illustrator logo. But in this case
| | 03:25 | I am going to leverage the layer comp
so I want this to be not masked. And now
| | 03:33 | it's going to look like that.
| | 03:34 | All right, now having done that I
want to make this a lot bigger. I want to
| | 03:39 | scale the image up with in its frame,
so I'm going to switch to my Direct
| | 03:43 | Selection tool. Let's just turn my
Guides off for a moment minute by pressing
| | 03:46 | W. Click on the image and select the
Center Reference point so that it grows
| | 03:52 | out with from its center point and I'm
going to hold down my Command key or my
| | 03:56 | Control key on Windows and my Alt key
as well. And press my Greater Than key
| | 04:03 | (>). So I'm increasing, how big do we
want to go? I think we want to go about
| | 04:10 | as big as that.
| | 04:11 | All right, now having done that, I'm
going to come back and select the picture
| | 04:16 | frame with my Selection tool, and I'm
going to copy it, Command or Ctrl+C, and
| | 04:23 | then I'm going to paste in place.
| | 04:26 | So I have now got two versions, one
exactly on top of the other. Now I'm going
| | 04:31 | to come back to the Object menu. Object
Layer Options, and I'm going to choose
| | 04:37 | the masked state for this one. Okay,
and then I'm going to come to my Object
| | 04:44 | menu again, Fitting and I'll choose
Fit Frame to Content. And look at that my
| | 04:51 | flower just bursts out of the box.
| | 04:54 | So we are kind of combining the
original rectangle shape of the image with the
| | 04:59 | regular shape of the flower bursting
out of the box, which I think is a very
| | 05:04 | nice technique. And I now want to
select both of those and group them together,
| | 05:12 | and to that here's where my layers
really comes in hand. I want to make sure
| | 05:16 | that all of my layers except my
Pictures layer are locked so that I can swipe
| | 05:21 | over just those two there and group
them. So that if I move one the other
| | 05:27 | portion goes with it.
| | Collapse this transcript |
| Fine-tuning images using the Pen tool and Warp| 00:00 | Here's where we are at. I printed this
out, I looked at it, and there are few
| | 00:04 | things I was less than happy about. So
I would like to just make a few changes
| | 00:07 | here, so please indulge me. I think
it's going to make the whole thing better.
| | 00:11 | I am very much liking this flower here
that's popping out of its rectangle, and
| | 00:17 | it's tying things together,
and I wanted to do more of that.
| | 00:20 | I would like to it with this image
down here as well. I like the top of this
| | 00:25 | flower to pop out of the top of the
frame, so that it creates more of a
| | 00:29 | connection between the different
elements. Right now it's looking a bit
| | 00:33 | rectilinear over here.
| | 00:35 | I could use the same technique as I
used here with this one. Remember we went
| | 00:39 | to the Object menu and Object Layer
options, and we used two different layer
| | 00:43 | comp versions, and combined them
together. I could do the same thing here,
| | 00:47 | I'm going to do it in a slightly
different way, just for a bit of variety, and
| | 00:51 | really no other reasons than that,
because I think the previous technique may
| | 00:55 | be a bit like using a hammer to crack a
walnut. But I think we need to bring in
| | 00:59 | the big guns on this one. We can
do it in slightly more simple way.
| | 01:02 | First thing I want to do, I think, is
I want to scale this one up and have it
| | 01:07 | be more of less in the position
where I wanted it to be. So I'm going to
| | 01:11 | select it with my Direct Selection
tools. Select the image itself, come and
| | 01:14 | select the bottom center reference
point. Again, for a bit of variety rather
| | 01:18 | than use the keyboard shortcut this
time, I'll use the control panel up here.
| | 01:22 | Just nudge that until it's going to
cause the top of that flower to peek out
| | 01:29 | over the top of the other image, and
having done that, I also want to adjust
| | 01:34 | the cropping up, I would like the
whole image to move to the left a bit, and
| | 01:39 | yup, I think that's about right.
| | 01:41 | Now of course this is making the
Text Wrap that we set up earlier on,
| | 01:44 | completely redundant, we are going to
need to fix that, and in fact, maybe just
| | 01:48 | so that we don't have that visual
distraction, I think I'll turn the Text
| | 01:51 | layer off for a moment. Right, I need
to go and adjust this image in Photoshop,
| | 01:56 | so I'm going to open the Links panel,
and because I have it selected, it's
| | 02:01 | appearing highlighted on my Links
panel, I'm going to click on the Edit
| | 02:06 | original button.
| | 02:07 | Now it really is just that top of
flower there that we need to adjust. I could
| | 02:12 | try and mask this, but as we look at
this closely, we see that the detail is
| | 02:16 | actually not that great. I took all
these pictures myself, so I'm the one to
| | 02:20 | blame for any inadequacies with them,
and frankly they are not the greatest
| | 02:25 | pictures in the world. But it's a
fairly real world scenario. They are the kind
| | 02:28 | of pictures that you will be supplied
with when doing a job like this. So,
| | 02:33 | their deficiency is just to make the
whole thing more real. So what I'm going
| | 02:36 | to do is rather than try and mask it,
which is going to be difficult,
| | 02:40 | I'm going to draw a pen path around it.
Let's get into 100% view, and choose my Pen
| | 02:48 | tool, and I realize that watching
someone use the Pen tool is not exactly the
| | 02:53 | most exciting spectator sport. So I
have gone around the top of this flower,
| | 02:59 | and I have made it a close path, and if
we look on the path panel, its current
| | 03:03 | status is as a Work Path. I now need
to save that Work Path. I'll leave it
| | 03:09 | and call Path 1, and I'm going to
overwrite the original document.
| | 03:13 | Now if you don't want to go to the
trouble of making that path, I'm going to
| | 03:17 | be overwriting the document that is in
that folder, so you will have this path
| | 03:21 | to use, and if you need to activate it,
you can just click on it like so.
| | 03:25 | So I am going to save over the original,
and now return to InDesign, which I have
| | 03:31 | opened in the background. And if I
click on that Image, it should have updated
| | 03:36 | in place. So now what I'm going to do
is I'm going to select that image, and
| | 03:43 | I am going to Copy it. Command or Ctrl
+C, and then I'm going to paste it in place.
| | 03:51 | So I now have got two versions, one
on top of the other, and I'm going to
| | 03:55 | increase the size of the picture frame
of the top version, and then come to the
| | 04:00 | Object menu > Clipping Path > Options.
So on this top version, I now want to
| | 04:07 | bring in the Photoshop Path that I have
saved. Let's turn on the Preview. Here
| | 04:11 | it is. Now if I just click away from
it to deselect, there is our result.
| | 04:17 | Okay, second thing I want to do, and
you might think of me a bit obsessive to
| | 04:21 | wanting to do this, but it does show
a useful tool in Photoshop, and that's
| | 04:25 | using the Wrap tool. This picture of
the sunflower has not been photographed
| | 04:29 | head on, and ideally I would like it
to look like it had been. Maybe the most
| | 04:35 | time-effective solution here is to
go and shoot an image of the sunflower
| | 04:39 | head-on so that we got that one to
work with. Always start with a good
| | 04:42 | original, but that's not an option here,
we are up against the clock, we got to
| | 04:46 | get this out, and real world, seat of
your pants kind of design, we are going
| | 04:51 | to fix what we have rather than having
the luxury of going and finding a better
| | 04:55 | original. So I'm going to open this
document up in Photoshop, and then
| | 05:01 | I'm going to go to my Transform tools.
Before I do that I'm going to be cautious
| | 05:05 | and duplicate the original layer, just
in case I get it wrong, and so that
| | 05:10 | we can compare as well after
I have made the changes.
| | 05:13 | So I'm now going to the Transform
options under the Edit menu, and to Wrap,
| | 05:20 | and then start pulling it around, and
this is going to be called our trial and
| | 05:25 | error involved here, just to change the
perspective on it a little bit. Okay,
| | 05:28 | I think that is an improvement. All
I'm going to have to now press Return to
| | 05:31 | accept that transformation, and if I
open up my History panel, we can click
| | 05:37 | back on the starting snapshot. That's
how it was, and when we see it now,
| | 05:42 | we realize that it did look little bit
crooked, and I think what we are ending up
| | 05:46 | with is definitely better. So I'm going
to get rid of the original layer, save
| | 05:53 | this image, overwriting the original,
so that when we now return that should
| | 05:58 | update in place. Now because the shape
of the image is now slightly changed,
| | 06:03 | I may just need to adjust the balance of
my picture frame, making sure that we
| | 06:08 | are not cropping out any
of the petals on the edge.
| | 06:11 | So, okay, there we have I think some
improvements, and in the next movie we are
| | 06:16 | going to look at how we can
retouch one of the images.
| | Collapse this transcript |
| Retouching| 00:00 |
Let's retouch a hedge. This image
over here has a little bit of retouching
| | 00:04 |
already applied to it. That is in the
PSD version of the file, which is placed
| | 00:09 |
in this layout. I'm going to use the
Links panel to open it up, show you where
| | 00:13 |
that retouching is, why I did it, and
then we'll redo it. It's a very small job.
| | 00:19 |
If you want to see exactly what
I'm talking about, we could just quickly
| | 00:23 |
turn off the retouching layer
here in the InDesign layout.
| | 00:26 |
I'm just going to make sure that my
Display Performance is set to High Quality
| | 00:30 |
Display, so that the images look as
good as they can look. And then with this
| | 00:35 |
hedge image selected, come to the
Object menu and Object Layout Options, and we
| | 00:41 |
there I have got this Retouching layer.
If I hide the visibility on that,
| | 00:46 |
we can see there is this kind of twig thing,
branch thing whatever is down here is
| | 00:51 |
that, I think it was a little bit
visually distracting, and all I did was clone
| | 00:55 |
some leaves over the top of that.
| | 00:58 |
This scenario is I have placed the image,
I have noticed in the context of the
| | 01:02 |
layout that something is not quite
right and I want to go and edit this image
| | 01:07 |
in Photoshop, and have it updated in
place. So I have got the image selected.
| | 01:12 |
Come to my Links panel, there is on
my Links panel. I'm now going to add a
| | 01:17 |
Original, there it is, and I'm going
to press my F key here to go to a gray
| | 01:22 |
background so that we can
concentrate just on this image.
| | 01:25 |
We can see that the retouching
exists on a separate layer that's a none
| | 01:29 |
distractive way of doing it, because
if you go wrong, then you can just turn
| | 01:32 |
that layer up on and off as you need
to. I'm just going to quickly going to
| | 01:36 |
redo it. I won't end up saving over it,
because the way it is right now is
| | 01:39 |
fine. But this is how it would be done.
Create a new layer, which is always a
| | 01:45 |
good idea to name, and then choose
whichever retouching tools you feel are
| | 01:50 |
appropriate. I think in this case the
Clone Stamp tool is going to work just
| | 01:53 |
fine, and I want to make sure that we
are sampling over layers. That is going
| | 01:56 |
to allow me to clone from layer and
paint to another, and that's essential for
| | 02:02 |
doing it this way.
| | 02:03 |
Let's look at it at 100% view. There
is the problem right there. Choose my
| | 02:10 |
Clone Stamp tool, Alt-click to set the
cloning to a sample point, and then just
| | 02:16 |
paint over the offending leaf or the
offending branch rather, and we can very
| | 02:20 |
simple sloppy with this. It should
be said I'm not the world's greatest
| | 02:28 |
retoucher, although I think I'm up to
the task of this. All right, I'm not
| | 02:33 |
making the greatest job over there,
but with a bit more time, I could improve
| | 02:37 |
upon that, so I'm just going to now
restore that, to the way it's there and
| | 02:43 |
save the file, and then you would
update the link in the InDesign layout.
| | 02:48 |
| | Collapse this transcript |
| Refining text| 00:00 | We've given a lot of time to fixing up
the images, but our text we left in a
| | 00:05 | very unfinished state. We kind of more
or less left it where we dropped it and
| | 00:09 | we need to now spend a few moments
refining that. So let's turn back on
| | 00:15 | our text layer and there are
several things that we need to fix.
| | 00:19 | Firstly, let's address this Text Wrap
problem down here, because the Text Wrap
| | 00:23 | that we drew is no longer appropriate,
since we resized the image. I've put
| | 00:28 | that Text Wrap element on its own layer,
making it easier to select because
| | 00:32 | it's actually invisible.
| | 00:34 | So what I'm going to do is hold down
the Option Key or the Alt Key and click
| | 00:38 | in the locking column to lock
everything but the Text Wrap layer and then
| | 00:42 | press Command+A or Ctrl+A and that
will select the Text Wrap, which I can now move.
| | 00:49 | And I'm going to remove the
Text Wrap from that pen path.
| | 00:54 | So up in my Text Wrap panel, take it off,
let's zoom in, and I now need to switch to
| | 01:01 | my Direct Selection tool. I'm holding
down my Shift Key here just to extend that
| | 01:06 | down and maybe chose my Pen tool.
Click on a Path Segment to add a few anchor points
| | 01:13 | as necessary. Extend it down a
bit further and then click on my Wrap
| | 01:18 | around object shape icon. I think,
let's just go a little bit further down.
| | 01:23 | I think that's going to do it. All
right. So that's one problem solved.
| | 01:28 | Another problem is that when I printed
out a draft at this stage, I realized
| | 01:35 | that this text just doesn't have
enough contrast. This green is far too light
| | 01:39 | to run white type on it. So I'm going
to unlock the text layer, select that
| | 01:46 | text frame, come to my Swatches panel,
and click on the Formatting Effects Text icon.
| | 01:54 | Now I'm going to be making changes to
my text at this point, which for the
| | 01:58 | most part are just going to be local
overrides. I have got the styles applied,
| | 02:03 | and I'm just kind of doing it in a
more freeform way from this point,
| | 02:07 | since we are working with
such a short amount of text.
| | 02:10 | So I have clicked on the Formatting
Effects Text and I want to make this dark
| | 02:14 | green color. And I think that it looks
a lot better. I do want to make a change
| | 02:18 | to the head style. I think all of the
heads are far too small; they are not
| | 02:22 | really having the impact that we need.
So I'm going to come to my Paragraph Styles
| | 02:26 | and right-click on the head style
to edit that and we'll make that 36 points
| | 02:33 | and that looks much better.
| | 02:36 | Now this opening paragraph over here,
it's too wide for the point size.
| | 02:41 | So I would like to narrow it on the
left-hand side. Let's turn my Guides on.
| | 02:46 | We've got two pictures here and I'm
going to draw myself a guide at the break
| | 02:52 | between them and then select that
text frame and bring it's left-hand edge
| | 02:57 | over to that guide. I'm now going to
slightly reposition it so that it starts
| | 03:02 | at the top of the margin. And then
I'm going to select that paragraph,
| | 03:07 | four clicks.
| | 03:08 | I just want to enlarge the type enough,
so that it comes out as far as the tip
| | 03:12 | of this petal. See if we can zoom in a
bit bigger, so we can see better what
| | 03:16 | I am talking about. And using the
keyboard shortcut Command+Shift+> or
| | 03:20 | Ctrl+Shift+> we are moving up in half
point increments, because that was the
| | 03:25 | preference that we changed earlier
on to move in half-point increments.
| | 03:29 | A whole point is too much, so when I get
to a half point, I'm just going to then come
| | 03:34 | and type in very incremental changes
and 10.8 point is the size that
| | 03:41 | we want it to be.
| | 03:42 | I would like this section here to begin
on the same baseline as the first line
| | 03:48 | of copy of this section so I'm going
to move that down to there, and just
| | 03:55 | check to make sure that we haven't
messed up the way our text is wrapping
| | 03:59 | around the edge, which looks okay.
And let's get in and look at this stuff
| | 04:04 | down here. Let's turn off the guides
for a moment. This is exactly the kind of thing
| | 04:10 | that if you were to look at my
typography course, I would say not to do.
| | 04:15 | White text on a very busy background.
| | 04:17 | We need to do something about this.
I think we can get away with quite a lot here,
| | 04:21 | because it is such a short burst
of text and really frankly not essential
| | 04:26 | information. I'm primarily concerned
here with how it looks and I'm willing to
| | 04:31 | compromise a bit of the readability,
but we do want to get as readable as we can.
| | 04:36 | So I'm going to select that text and
I'm going to change the way of the font
| | 04:39 | from Regular to Bold, which improves
it somewhat, and just one slight change.
| | 04:46 | Remember our wavy thing down here that
we have got going on? There is a blend
| | 04:51 | mode on that that is set to Screen,
which is making it lighter, having a
| | 04:54 | lightning effect for the areas that it overlaps.
| | 04:57 | What if we were to -- let's unlock
that layer, it's on the wave layer.
| | 05:01 | If I were to select that and then come to
the effects, instead of making it Screen,
| | 05:06 | making it Multiply and maybe increasing
the percentage on that a little bit,
| | 05:12 | I think that makes the ending of
that text a little bit more readable.
| | 05:16 | It's a very slight, but
noticeable improvement nonetheless.
| | 05:19 | All right, I think that's good for the
interior. Let's now go and take a look
| | 05:25 | at the outside. Alt or Option and Page
Up and if I click on this text frame,
| | 05:32 | which I'll need to unlock the text
layer for, we see we've got overset text,
| | 05:37 | and you may have also noticed creeping
in down here on our preflight warning,
| | 05:42 | we've got one error and that is the
error that it's referring to, overset text.
| | 05:46 | I need to make sure that we're seeing
all of that and I think I would like
| | 05:51 | to increase the sizes that a little bit
as well. It's currently 16 point.
| | 05:56 | Let's see if we can bump that up to 24 point,
which now makes the leading too much.
| | 06:02 | So I'm going to make this not aligned
to the baseline grid and then reduce the
| | 06:09 | leading on that, and I'm holding down
the Alt Key and pressing the Up Arrow,
| | 06:13 | bringing those two lines closer together,
and then on this paragraph right here,
| | 06:17 | in fact, I'm going to choose
to not align any of the stuff to the
| | 06:21 | baseline grid. And I'll think we'll
just leave that like so, although maybe
| | 06:28 | I want to take the word following down
to the next line. So I'm going to insert
| | 06:31 | my cursor in front of that, Shift+Return.
| | 06:35 | In a similar vein of tweaking, although
this relates to a graphic as opposed to the text.
| | 06:41 | I think I want to put a keyline
or a thin stroke around this picture.
| | 06:46 | So let's unlock that, select that
Swatches, Stroke, and we'll have
| | 06:51 | a Paper stroke of a single point and then
I'm going to select the picture and the text
| | 06:56 | and move that down one grid increment.
| | 07:01 | Now do you remember when we set up our
guides, we set up a guide that indicated
| | 07:05 | the cap height and this is where
I'm going to bring this into play.
| | 07:09 | This picture is too close to the text,
but if I do that, if I bring it up to the
| | 07:14 | next grid increment, it's now too far away.
| | 07:17 | So what I actually want to do is I want
to size it or position it according to
| | 07:20 | the cap height guides. So I'm going to
turn that one on and then I can just
| | 07:26 | crop the bottom of that from there to
there. And that's going to mean that
| | 07:30 | the distance from the bottom of the picture
to the top of the text is going to be a
| | 07:33 | 15-point increment, and that
compensates for the fact that your text does not
| | 07:38 | begin at the top of the text frame.
And that's one of the uses of that cap
| | 07:43 | height grid that we created in an earlier movie.
| | 07:45 | With our teaser over here,
although it's going to happen on the front panel,
| | 07:52 | I think I'm going to just
stretch this it from guide to guide.
| | 07:56 | I'm holding down the Control+Shift or
Command+Shift and just making that goes all
| | 08:03 | the way across the type area of that panel.
| | 08:06 | All right, let's take a look at how
that is looking now and I want to make
| | 08:10 | sure that I'm viewing this with high
quality display, so that it looks as good
| | 08:15 | as it can. And I would like the
address to come down and share the same
| | 08:19 | baseline as this, so that's going to
move down and I would like this to come
| | 08:26 | closer to the address.
| | 08:28 | And I think we are now ready to do
another proof and I'm sure that will
| | 08:33 | reveal other things that we might want
to fix, but I think it's looking good for now.
| | Collapse this transcript |
|
|
7. Preparing for PrintFinishing touches| 00:00 |
I must confess I have made some
changes. I'm just going to point out what
| | 00:03 |
those changes are without you having
to watch me do them, and then I'm going
| | 00:07 |
to proof this and I'll probably make a
few more changes. There is going to be
| | 00:11 |
a fair amount of going back and forth
proofing it, mocking it, up, seeing it
| | 00:15 |
how it looks, getting second
opinions, making changes accordingly.
| | 00:20 |
Let me just point out what I have done
though. I decided that the title needs
| | 00:24 |
to be bigger and I made it in bold.
I also experimented with the different
| | 00:29 |
transparencies on the wave. I have
changed the transparency of the top wave.
| | 00:34 |
I made the swirls a little smaller in
some places, slightly adjusted their
| | 00:38 |
position, so that they are not
interfering with any of the text, but just
| | 00:41 |
rather kind of nicely interacting
with it. On the first page I adjusted the
| | 00:46 |
position of a few things, again,
adjusted the scale of some of the swirls, and
| | 00:51 |
just generally kind of moved a little
bit here and there, until I got things
| | 00:57 |
just how I like them, and I'm not
sure with that yet, but I think we are
| | 01:01 |
getting closer.
| | 01:01 |
There is one other change that I would
like to make to this document, and this
| | 01:06 |
takes us back to an earlier movie
where you saw me create a keyboard shortcut
| | 01:12 |
in anticipation of this very thing,
and it is applying a no break. Now if we
| | 01:19 |
look at this text down here, we see
that it ends with a single word. I would
| | 01:24 |
like to prevent that from happening.
| | 01:25 |
So what I'm going to do, and I
could do this to the end of all of my
| | 01:28 |
paragraphs to make sure that no
matter how I move them, how they changed in
| | 01:33 |
their placement, that this problem is
never going to occur, I'm just going to
| | 01:36 |
select those two words and if I
remember correctly, the keyboard shortcut that
| | 01:41 |
I applied for the No Break was Command+
Option or Ctrl+Alt+B and that's going to
| | 01:47 |
carry that second word down to the next
line. But we can also see where that is
| | 01:52 |
on the menu. It is right there.
| | 01:54 |
Okay, so that was just a bit of
follow up on some thing that I mentioned
| | 01:58 |
earlier on, and now let's take a look
at the process of proofing and mocking up
| | 02:03 |
this document.
| | 02:04 |
| | Collapse this transcript |
| Soft-proofing| 00:00 | I think I have mentioned at a few points
that the images that are in this document
| | 00:04 | are RGB images. Ultimately they need
to get separated to CMYK, but I'm going
| | 00:09 | to let that happen when I make the
PDF. I'm going to choose a certain PDF
| | 00:13 | preset that will ensure that the RGB
colors in this document get converted to
| | 00:17 | CMYK colors.
| | 00:19 | Now you may think, well, isn't there a
problem with that? Aren't you setting
| | 00:23 | yourself up for disappointment, working
with bright vivid RGB colors that can't
| | 00:28 | be reproduced in CMYK? Well, yes to
some extent, but I can easily make sure
| | 00:34 | that I'm seeing an accurate view of
how my document will look when printed on
| | 00:39 | this specific printing circumstances
by soft proofing my document, and that
| | 00:46 | involves coming to the View
menu and choosing Proof Colors.
| | 00:50 | Now if you watch very carefully, there
is going to be a very, very slight shift
| | 00:55 | in the colors on screen. I'm currently
seeing the RGB colors, but when I proof colors,
| | 01:01 | things become a little bit more
flat looking. We see up here,
| | 01:05 | I'm soft proofing it as Document CMYK.
| | 01:08 | Now what does that mean? If I come up
here and to my Proof Setup, I'm using
| | 01:14 | my Document CMYK color profile. These
profiles go back to a discussion we had
| | 01:20 | earlier on when we were synchronizing
our Color Settings using Bridge,
| | 01:26 | and if we look at the individual Color
Settings for InDesign they are right here under
| | 01:29 | the Edit menu. We are using these
settings North America Prepress 2, which
| | 01:34 | involves using this CMYK working space.
So this describes the basic printing
| | 01:40 | conditions that we are printing
under and when we proof our colors,
| | 01:45 | we are viewing our document as it will
look printed under those conditions.
| | 01:50 | We can also if we want come to Proof
Setup and choose Custom and we may have a
| | 01:56 | color profile installed for any of our
available printers and here is one that
| | 02:01 | I have for hp color laser jet that is
installed in this computer. So when
| | 02:05 | I click OK to that, and I also want to
check this box Simulate Black Ink, and
| | 02:12 | then I can make sure that I'm now
proofing Custom using that color profile,
| | 02:18 | and it looks ever so slightly
different. It tells us there that that's
| | 02:21 | the color profile that we are using from
the way it did, when we were proofing using
| | 02:25 | our document CMYK.
| | 02:27 | Let's just see that difference again.
There is Document CMYK and there is our Custom
| | 02:35 | and there is without the
soft proofing. When we see without,
| | 02:40 | our colors look a little bit more vibrant
because they are being represented as RGB colors.
| | 02:45 | So to cut a long story short, color
management is all about ensuring that
| | 02:50 | our colors are consistent from what
we see in one application to another
| | 02:55 | application, and from what we see on
screen to what we getting in print, and
| | 03:00 | proofing our colors is a way
of ensuring that consistency.
| | Collapse this transcript |
| Proofing and mockup | 00:00 | Here's a proof from a color laser printer
that I printed on both sides of the page.
| | 00:05 | First printing one side, then
turning the page over and running it
| | 00:09 | through the printer again. To be able
to print a letter-sized page with a full bleed
| | 00:14 | at 100% size, including the trim
marks as well as the fold marks,
| | 00:21 | it's necessary to print on a tabloid-sized page.
To make sure that the two sides line up,
| | 00:27 | I have centered the page on the sheet.
If your printer doesn't allow you
| | 00:31 | to print on both side of the paper,
then you will have to print both pages
| | 00:34 | separately and paste them together
with a glue stick. This makes it harder,
| | 00:39 | though by no means impossible to make a
convincing mock up, because your paper
| | 00:43 | will be double the thickness.
| | 00:45 | First, working with an X-acto blade,
a steel ruler and a cutting mat,
| | 00:51 | I'm going to lightly score along the fold
marks, running the back of the blade
| | 00:58 | along the fold marks.
| | 01:01 | First one.
| | 01:04 | And then the second.
| | 01:09 | Having done that, I'm now going to trim the
page from the tabloid sheet, align my ruler
| | 01:16 | with the bleed marks.
| | 01:22 | Cut one edge.
| | 01:29 | Edge number two.
| | 01:39 | Number three.
| | 01:49 | Finally!
| | 01:51 | So now, remove the printed page from
the tabloid window and fold along those score marks.
| | 02:11 | And we have ourselves a working mockup.
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| Adding a spot varnish| 00:00 | As an optional extra, we might consider
adding a Spot Varnish in our print job
| | 00:05 | which is going to give an extra
shininess to wherever we choose to apply and
| | 00:10 | I am going to choose to apply to photographs.
| | 00:12 | Now this is not something that we can
appreciate in the proofing process.
| | 00:16 | It is a bit of a leap of faith. We are not
really going to see what it looks like
| | 00:19 | until we come to do the final print on
an offset press. But here is how we set it up
| | 00:25 | and it's going to go on a separate
layer. Now since I intend to have this
| | 00:30 | Spot Varnish applied to the pictures,
what I'm going to do is I'm going
| | 00:34 | duplicate the pictures layer by
right clicking on that and I'll call it
| | 00:39 | spot varnish.
| | 00:41 | Now on this spot varnish layer, I want
to see just that by itself. I'm going
| | 00:48 | to delete all of those pictures, not
that one not quite. Now this one here
| | 00:57 | you may remember is grouped. I'm going
turn my guides icon, so that I can see
| | 01:01 | my frame edges, because I have not
deleted the frames. I have just deleted
| | 01:06 | the pictures from the frames. This one
is grouped, and I need to ungroup it.
| | 01:10 | This is going to be the tricky one,
because it is an irregular shape,
| | 01:15 | and I want to select that one, and then
that's going to be a little bit hard to get hold of,
| | 01:22 | so I'm going to cut the top one,
select the bottom one, delete the content,
| | 01:27 | and then with the one that I cut,
I'm going to paste that in place.
| | 01:33 | So it goes back where it was. And
this is also is going to be a little bit tricky.
| | 01:40 | So I'm now going to need to create a
clipping path for this one. I'm going to
| | 01:46 | come to the Object menu and choose
Clipping Path > Options. We are currently
| | 01:52 | using an alpha channel there, but for
this we are going to have the clipping path
| | 01:58 | be made from the alpha channel.
| | 02:01 | Okay, now that I have done that I can
do this next step, which is necessary,
| | 02:07 | which is Convert Clipping Path to Frame.
And now that I have done that, I can
| | 02:14 | delete the content of that frame, but
the frame itself remains. And let's come
| | 02:19 | over to this one here where we need
to do the same thing. Object > Clipping Path >
| | 02:24 | Options, Object > Clipping Path
> Convert Clipping Path to Frame, and
| | 02:34 | then delete the content of that frame.
| | 02:37 | I am now going to create a color,
which is going to serve as my spot varnish color.
| | 02:44 | I just want to make sure it's a
color that I'm not using anywhere else.
| | 02:47 | So from my Swatches panel menu, I'm
going to choose New Color Swatch and
| | 02:53 | I'm going to make it into a Spot Color,
Pantone Solid Coated. It doesn't really
| | 02:58 | matter which one I use. How about
that Pantone Rubine Red? And then
| | 03:03 | I'm going to select all and apply that
color as a fill. Now it's probably a good
| | 03:11 | idea for me to rename that Spot Varnish.
| | 03:15 | Now let's go to page one, where we
want to do exactly the same thing.
| | 03:21 | We'll not apply a spot varnish to the logo.
I'm going to delete those. On this one,
| | 03:26 | Clipping Path > Options > Convert
Clipping Path to Frame. Once we have done that,
| | 03:35 | we can delete the content and
now we can delete the content there. I can
| | 03:39 | select the both of those and apply
the spot varnish. Let's make sure we also
| | 03:44 | get rid of this stroke on that one.
| | 03:48 | And another thing I didn't mention I
just remembered now was that I applied a
| | 03:52 | drop shadow to the sunflower here and
I don't want that drop shadow to appear
| | 03:59 | as part of the spot varnish. So I'm going to
come to my Effects and delete the drop shadow.
| | 04:05 | So I can now return to my layers.
I'm going to drag this all the way to the top,
| | 04:10 | and the rest is really dependent
upon you communicating with your printer
| | 04:17 | that you intend to use the Spot
Varnish plate as just that, as a spot varnish,
| | 04:24 | and I'm going to turn that off. But we
need to make sure that we output this
| | 04:30 | as a separate file, so that it can
be applied as a spot varnish on press.
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| Preflighting the document| 00:00 | A new feature in CS4 is the ability to
be able to do a live preflight. You may
| | 00:06 | have noticed throughout working on this
brochure that occasionally things have
| | 00:10 | popped up in this Status area down here
and we have been alerted about possible
| | 00:15 | errors. These possible errors are
derived from our preflight profile.
| | 00:21 | Now we haven't really set up a
preflight profile, which is just basically a
| | 00:26 | list of criteria that your document
needs to adhere to, and if it doesn't,
| | 00:31 | you are going to get a warning message up
here in red. So let's set up a preflight
| | 00:36 | profile by choosing Define Profiles.
| | 00:39 | We have just got the basic one. We
could modify that one. But I'm going to
| | 00:43 | create a new one and we'll call
this Brochure. We are just going to go
| | 00:48 | through these steps one by one to
determine which of these we want to change
| | 00:53 | and most of them we don't. So I could
give it a description, but I don't think
| | 00:56 | that's really necessary. Links.
| | 00:59 | We want to be notified if there is a
missing or modified link. That's why that
| | 01:03 | one is checked. Color, do any of these
affect us? I think I'm going to look at
| | 01:08 | Spot Color Setup. Check that. Maximum
Spot Colors Allowed, I think we want that
| | 01:14 | to be 1. The reason for that is we
have got the one spot color that we are
| | 01:18 | using for as Spot Varnish and that is
going to print as a fifth color ink.
| | 01:23 | So using a spot varnish is obviously
going to add some cost to your printing.
| | 01:28 | But we don't want any more than that,
so any other spot colors that are in there
| | 01:31 | aren't going to need to print at
their CMYK equivalents, which is why
| | 01:36 | I am choosing that option right
there. The rest can remain unchecked.
| | 01:41 | Images and Objects. Image Resolution,
I think we want that one checked.
| | 01:48 | What is the threshold resolution number, i.e.
what is the number below which it's going
| | 01:55 | to notify us of a problem? Let's make
it a little bit high. Let's go up to 300.
| | 02:00 | Now we don't have any grayscale images,
but let's say that that would be
| | 02:04 | the same for those. I also want to know
about any non-proportional scaling and
| | 02:11 | the rest don't really concern us.
| | 02:13 | Text, yes we want to be notified of
any Overset Text and any missing fonts.
| | 02:19 | Non-Proportional Type Scaling, that
might be a good one to check. Document,
| | 02:24 | nothing there that concerns us. So
I'm now going to go ahead and save that profile
| | 02:28 | and click OK.
| | 02:32 | Now let's have a look at our Preflight
panel. We want to make sure that we are
| | 02:36 | using that profile. Aha! We have got a
couple of errors. Let's just find out
| | 02:41 | where those errors are. Let's expand this.
Image Resolution, yeah okay. 8047,
| | 02:49 | the JPEG, which is this one down here.
If we didn't know that then we can
| | 02:55 | click on that link there and
it will highlight it for us.
| | 02:59 | So we have got a minimum resolution of
300. That's our own stipulation. We have
| | 03:04 | an effective resolution of 267. You
know what? I'm going to let it go.
| | 03:08 | That's not really going to make too much
difference. So nice to know about it.
| | 03:13 | Thanks for telling us, but I think we can get
away with something just slightly less than 300.
| | 03:16 | All right, so other things that we may
do may cause errors to pop up there.
| | 03:23 | So for example if I add overset text,
that is also going to appear as an error.
| | 03:32 | So this is a very useful feature and we can-
using our discretion, we don't have
| | 03:36 | to necessarily take everything that
it says as the gospel, but it's a very
| | 03:41 | useful indicator of potential problems.
| | 03:45 | Just to point out that there is
another way of just verifying your image
| | 03:48 | resolution and that would be using the
Info panel. Info. When I click on any of
| | 03:55 | these images, it tells me the Actual
ppi and the Effective ppi. The Actual ppi,
| | 04:02 | the resolution of the image when
you import it at its document size.
| | 04:06 | The Effective ppi, the most important,
the resolution after any scaling has been
| | 04:12 | applied to it. If you are scaling it
from bigger to smaller, then the Effective
| | 04:17 | ppi is going to be bigger than the Actual ppi.
| | 04:21 | We see these images are RGB images.
That's okay because how I intend to print this
| | 04:27 | is using color management. We set up
color management earlier on and
| | 04:33 | the color management, let me just quickly
remind ourselves, we are using North
| | 04:38 | American Prepress and their images are
tagged with the Adobe RGB (1998), RGB
| | 04:46 | Working profile. But when they are
output, they are going to be converted to
| | 04:50 | this as CMYK Working Space.
| | 04:53 | So the good news there is that we do
not have to open up each of these images
| | 04:58 | in Photoshop and convert them to CMYK
or indeed if we did do that, we wouldn't
| | 05:03 | get any better or any different
results because Photoshop would use the same
| | 05:08 | color profiles to convert from
RGB to CMYK as would InDesign.
| | 05:13 | So we might as well save ourselves the
headache of having to do that. We just need to
| | 05:17 | make sure that when we output to a
PDF that we choose the appropriate PDF preset
| | 05:22 | and that we make sure that the
color settings are set up the way they
| | 05:26 | need to be set up. That is
what we are going to do next.
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| Making a PDF| 00:00 | We are ready to make a PDF to send to
our printer. Now your printer may well be
| | 00:05 | able to supply you with a PDF preset.
In which case, that's the one you should use.
| | 00:10 | Give them what they want. So ask
them upfront, do you have a PDF preset?
| | 00:15 | If they say yes, you can download it
from their website. They can e-mail it to you.
| | 00:18 | You can load it by coming to
Define, clicking on Load and then
| | 00:24 | double-clicking on that document and
that's the preset that you'll be using.
| | 00:28 | What we are going to be doing is using
a kind of industry standard preset as
| | 00:33 | our starting point and it's going to be
this one, PDF/X-1a. Before we do that though,
| | 00:39 | there is a couple of things that
we want to take into account first of all.
| | 00:44 | The first one is we need to just
make sure that everything goes out to
| | 00:49 | the bleed lines. We have defined bleed lines.
| | 00:51 | Let's just a take spin around the
document, make sure that things do actually
| | 00:55 | go up to that red border and indeed they
do. But it's worth double-checking that.
| | 01:00 | It's also worth double-checking that
you don't have any overset text and
| | 01:05 | our preflighting, our live preflighting
down here will alert you to that fact.
| | 01:10 | So keep a watchful eye to what's going
on down here. If you see any errors,
| | 01:14 | you need to act on them.
| | 01:16 | But there is an issue of transparency,
which we are using a whole lot of
| | 01:21 | transparency in this document.
Transparency can sometimes cause problems when
| | 01:26 | we print to a PDF. So we want to avoid
these problems. A way to do that is to
| | 01:31 | set ourselves up a Transparency
Flattener Preset. This is how we do it.
| | 01:37 | Under the Window menu, if we come to
Output and to Flattener Preview, first of all,
| | 01:43 | we can have the Flattener Preview
highlight all transparent objects.
| | 01:49 | When I do that, you can see we get a
whole lot of red on our document, because
| | 01:53 | we are using a tremendous
amount of transparent objects.
| | 01:57 | All of those areas, and we don't
need to panic about this, are potential
| | 02:01 | problem areas. So we are just going to
take a couple of steps to avoid those problems.
| | 02:06 | I'm now going to from the Flattener
Preview menu set that back to None,
| | 02:10 | and from the panel menu choose
Transparency Flattener Presets.
| | 02:16 | When we print, using the kind of PDF
preset that we are about to use, all of
| | 02:20 | the elements in our document are going
to be flattened onto one layer in the
| | 02:24 | resulting PDF. Where text comes up
against transparent objects, that can
| | 02:30 | sometimes cause some problems with the
text that can make it look a little bit
| | 02:33 | furry or pixilated. We need to make
sure that we are using the appropriate
| | 02:38 | Transparency Flattener Preset to
make sure that that doesn't happen.
| | 02:42 | Now we could use this one and in fact,
that is the one that you would use
| | 02:47 | unless you specify otherwise, but we
can also make our own. So I'm going to
| | 02:52 | make a new Transparency Preset that
is derived from this one, the High
| | 02:56 | Resolution one. I'll click on that
and then click on New. All I really need
| | 03:00 | to do here is change the Line Art and
Text Resolution. This is the resolution
| | 03:05 | at which things will be rasterized if
they need to be rasterized and I'm going
| | 03:10 | to make that as high as possible.
| | 03:13 | I would also as part of this preset,
although it is not going to affect
| | 03:16 | anything in this document, turn up
the Gradient and Mesh Resolution to 600
| | 03:21 | pixels per inch. I'm going to give
this Transparency Preset a name.
| | 03:26 | I'll call it 2400 for the resolution.
It will warn me that I'm not going to see
| | 03:32 | much benefit from increasing the
Gradient Resolution, but I'm going to go ahead
| | 03:37 | and use it anyway. I'll click OK to that.
| | 03:41 | It's when we come to make the PDF that
we implement that Transparency Flattener
| | 03:45 | Preset. But another thing that we
need to be aware of is the use of spot colors.
| | 03:51 | I'm going to apply a spot color
to this color panel right here.
| | 03:58 | We have a spot color on our Swatches panel.
I'm going to apply that right there
| | 04:02 | and that is going to cause us some problems.
| | 04:06 | So,I just want to see what the
problem is and you will probably run into it
| | 04:11 | yourself at some point. So I have deliberately
set this up to create a problem for us.
| | 04:15 | Adobe PDF Presets from under
the File menu, PDF/X-1a:2001, and
| | 04:22 | I'll save this on the Desktop with this name.
| | 04:26 | So, let's see. What do we need to
change about this? Most of these options can
| | 04:30 | stay the same. We definitely want to
make sure that we are viewing the PDF
| | 04:33 | after exporting. In the Compression
settings, I think this can stay the same.
| | 04:38 | It means that anything that is
bigger than a 450 pixels per inch and
| | 04:43 | its effective resolution
will be downsampled to 300.
| | 04:47 | So it's making the resulting PDF as
lean and mean as it can be. Anything above
| | 04:53 | 300 pixels per inch is not going to
really result in a better quality image.
| | 04:57 | It is just going to result in a bigger
file size. Although we might choose to
| | 05:01 | tweak those numbers slightly. I think
I'll make that 350 for both. We could,
| | 05:08 | if we wanted to, set the compression
to None, but I'm going to leave
| | 05:12 | the compression to JPEG with the quality at maximum.
| | 05:15 | Marks and Bleeds. I'm going to have my
Crop Marks, my Registration Marks and
| | 05:20 | my Page Information. I could have them
all if I wanted to, but the Bleed Marks
| | 05:23 | I think just create a bit of confusion.
The Color Bars are unnecessary.
| | 05:27 | Use Document Bleed Settings, yes and
Include Slug Area, yes, so that we get the
| | 05:33 | fold marks that we drew.
| | 05:35 | In the Output settings, we want to
make sure that color conversion is
| | 05:38 | happening. So we are converting all
the colors to the destination profile,
| | 05:44 | which is the document CMYK. This
was something that we set up and
| | 05:49 | we synchronized through Bridge at the
start of this whole process. It is going to
| | 05:54 | ensure that any RGB
colors are converted to CMYK.
| | 05:58 | In the Advanced settings, here is
where we implement our Transparency Flattener.
| | 06:02 | Everything is now good to go.
I'm going to go one step further and
| | 06:08 | save this as a preset. I'll just call
it Brochure, click OK and then Export.
| | 06:15 | Remember we have a spot color in
there and I'm anticipating that the spot color
| | 06:21 | is going to cause us some problems.
| | 06:23 | So here we are in Acrobat. This is our
first page. We have got our fold marks
| | 06:29 | and our trim marks, registration marks.
So we're looking good. Now if we go to page 2,
| | 06:34 | not as much of a problem as I thought
it would be, but do you see around the edges,
| | 06:39 | it's a little bit hard to see,
but around the edges of this graphic
| | 06:45 | we have this line appearing. Now
that's a very common problem when you are
| | 06:49 | using transparency in InDesign. There
is a little trace of a line around here.
| | 06:54 | Obviously, we want to get rid
of that and here is our solution.
| | 06:58 | So I'm going to close that, return to
InDesign, where if we want to use this color,
| | 07:05 | which in fact we don't, but let's
pretend that we did want to use this color.
| | 07:08 | I just need to convert this
color to a process color. I can do that in a
| | 07:13 | couple of different ways. I could
from the Swatches panel menu choose Ink
| | 07:18 | Manager and check All Spots to Process.
But in fact, that's not going to work here
| | 07:23 | because we want the Spot Varnish left on.
| | 07:27 | So that's not going to work. I'm going
to need to do it individually by just
| | 07:29 | double-clicking, making sure I have got
nothing selected so that I don't apply
| | 07:32 | that color. Double-clicking on that
color and changing its mode from Pantone
| | 07:39 | Solid Coated to CMYK and its color type
from Spot to Process. Then clicking OK.
| | 07:47 | Let's now try and export that once
more as a PDF. This time I'm going to use
| | 07:53 | the PDF preset that I defined before.
Now append an A to that. Everything
| | 07:59 | should be good to go. I don't need to
change anything this time. There is page 1
| | 08:05 | and page 2. We see the problem is solved
by converting the spot color to a process color.
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| Packaging| 00:00 | To conclude our brochure project,
we are going to package it. Packaging
| | 00:05 | traditionally has been used to gather
up all the assets, all the project into
| | 00:09 | one folder so that you can then send all
of those assets along with the InDesign
| | 00:14 | file to the printer. These days your
printer is probably going to prefer that
| | 00:18 | you send them a PDF document. You
should check that with them before you make
| | 00:21 | any assumptions though. Because a PDF
document is easier for you, it's easier
| | 00:26 | for them and it's less prone to error.
| | 00:29 | But the Package function in InDesign
still serves the useful purpose. Perhaps
| | 00:34 | you need to move your working progress
from one computer to another or perhaps
| | 00:39 | as we are supposing here the project is
finished and you want to just gather it
| | 00:44 | all up into one folder, so that you
can then archive it on your hard drive.
| | 00:48 | Because it's quite likely that in
the course of designing this project,
| | 00:53 | you have been drawing in images from a
variety of different folders, possibly even
| | 00:58 | from a variety of different file
service and we just want to get everything all
| | 01:03 | in one place.
| | 01:04 | So to do that, I'm going to go to the
File menu and choose Package and this
| | 01:09 | will also if we wish give us some kind
of brief like information if I choose,
| | 01:14 | Show Problems Only. There are
potential problems with the links but
| | 01:23 | as I mentioned when making the PDF, the fact
that these are RGB images is not really a problem
| | 01:29 | because we are using a PDF
Export Preset that includes with it
| | 01:34 | the instructions to convert the RGB to CMYK.
| | 01:38 | So that's not something that we need to
be concerned about. What we do want to
| | 01:41 | be concerned about though is anything
that says that the links are missing or
| | 01:45 | need to be updated and they don't so,
we are in good shape; we can now go ahead
| | 01:49 | and click on the Package button. This
form only needs filling out if you are
| | 01:54 | sending it to a printer so that they
can contact you in the early as in the
| | 01:58 | morning when there is a problem. Since
I'm not intending to do that, I'm just
| | 02:01 | going to click Continue to move
through that and here is what we have the
| | 02:05 | option of including in the package.
I'm going to save this on the desktop and
| | 02:10 | it's going to be saved in this folder
or I can change that name if I wish but
| | 02:14 | that's fine and it's going to include
the fonts, the linked graphics and update
| | 02:18 | any graphics in the package.
| | 02:20 | Now so that I don't end up with
multiple versions of the fonts on my drive,
| | 02:25 | I am going to choose to uncheck this but
if I were moving the project from one
| | 02:30 | machine to another then I would
typically have that check. In this case,
| | 02:34 | I'm just supposing that I'm packaging the
project because the project is finished.
| | 02:39 | I will go ahead and save, and now if
we come to the desktop, we see in that
| | 02:46 | folder that it has created, we have got
the InDesign document, we have got the
| | 02:50 | instructions, the simple text file
that I didn't bother to fill up the
| | 02:54 | information for and all of the images
that we have placed in that document.
| | Collapse this transcript |
|
|
8. Alternative Brochure StylesExploring gatefold brochures| 00:00 | Now, of course, the trifold brochure
is by no means the only game in town.
| | 00:04 | There are many, many alternatives to
that and the gatefold brochure is one of them.
| | 00:08 | In the case of the gatefold brochure
that I have designed, I made a legal
| | 00:12 | size document. Folded 3 times to
create 4 panels, 8 panels in total and
| | 00:18 | the outside panels are folded into the
center and then it's folded from the center again,
| | 00:23 | so that when the brochure is in its
folded state, we see this as the first panel.
| | 00:28 | Then turning it over, we have
panels 2 and 3, which fold into themselves,
| | 00:34 | and when you open those up,
you reveal panels 4, 5, 6, and 7 of
| | 00:41 | the spread on Page 2.
| | 00:43 | Let's take a look at the InDesign document
and I think that will be a lot clearer.
| | 00:46 | Here we have Page 1. Here is
my panel 1. On my panel 2 and 3,
| | 00:53 | I have got the sunflower image split across
those panels so that when they are folded
| | 00:57 | into the middle the image becomes a whole.
| | 00:59 | I am using the 4th panel here, the 8th
panel in total, as a mailing panel,
| | 01:05 | this brochure being a self-mailer. It's
always a good idea to check with the post office
| | 01:09 | about any mailing requirements.
On Page 2, I've got the outer panels
| | 01:14 | used for ancillary information and
then the main body of the brochure is
| | 01:19 | contained in these two interior panels.
| | 01:22 | Let's look at the guides. I have
default marks indicated and I have also got
| | 01:28 | the bleed turned on and just as with
the trifold, I'm also working with a
| | 01:33 | leading grid and I have got things
broken out onto different layers so that
| | 01:38 | my workflow is a whole lot easier.
| | Collapse this transcript |
| Exploring pocket brochures| 00:00 | Here is a neat solution. You take a
letter size page or an A4 page, you fold it
| | 00:05 | into eight sections. When unfolded, it
reveals a poster-like presentation for
| | 00:10 | the second page. The tricky thing is on
your first page four of your panels are
| | 00:16 | going to be upside down. It really is a
good idea to get a piece of paper, and
| | 00:19 | fold it and mark each of the panels
with the content that is going to go on it.
| | 00:23 | Let's take a look at the InDesign
document and this is what the first page
| | 00:27 | looks like. So here is my first panel.
When unfolded that's going to reveal
| | 00:32 | panels 2 and 3. Unfold again.
We'll see panels 4, 5, 6, and 7. On the
| | 00:40 | backside of the whole folded piece,
we'll have panel 8. When unfolded, the
| | 00:45 | whole thing will reveal this
as your interior center spread.
| | 00:50 | And again if I turn my guides on by
pressing the W key, we can see that I've
| | 00:55 | got the fold marks indicated in the
slug area and in fact, this one uses a
| | 01:01 | different logo to the other two that
we have seen already and that's because
| | 01:05 | the client is unclear yet which of the
two potential logos that I designed for
| | 01:10 | her, she wants to use and I found that
this one tends to work better in certain
| | 01:15 | situations and the other
works better in other situation.
| | 01:18 | So that's something that's still up
for grabs. But anyway, that's the pocket
| | 01:22 | size brochure. It makes a very handy
little piece that you can easily carry around
| | 01:26 | and it's a quite pleasing scene
to unfold it and reveal this on the inside.
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| Exploring wraparound brochures| 00:00 | Here is an interesting solution, the
wrap-around brochure where you take a
| | 00:04 | landscape page and you divide it
into three panels. And have one of those
| | 00:08 | panels be narrower than the other two.
I have used a legal-size document and
| | 00:13 | my narrow panel is 3 inches wide leaving
11 inches for the remainder of the brochure.
| | 00:19 | The narrow panel, panel 1, folds back
in front of panel 2 and then when we turn
| | 00:26 | the page over we see the center
spread of panels 3 and 4. Panel 5 is
| | 00:33 | informational text; panel 6 in
the case of mine is a mailing panel.
| | 00:39 | Here's how it looks in the InDesign
document. Here is my first panel, which is
| | 00:43 | going to fold back over this. Now I
have made a little mock-up of how this will
| | 00:48 | work and it's perhaps a good idea to
do this with your layers so you get a
| | 00:52 | better sense of how it's working
before you go ahead and print it. And I have
| | 00:57 | this on a separate layer, I can turn
that on, and we can see that's how panel 1
| | 01:01 | is going to fold back over panel 2 and
then we open it out, revealing panel 2,
| | 01:08 | we turn it over, we go to
panels 3 and 4, and there is panel 5.
| | 01:15 | I have fold marks indicated in the
slug area. I have my bleed. I'm also using
| | 01:20 | a baseline grid. The type is
appearing here greeked as gray lines because
| | 01:25 | I have obviously chosen the smaller
point size but it really is the same type
| | 01:29 | that we have been using throughout in
all of the different iterations of the brochure.
| | 01:34 | Now what I particularly like about
this is the dramatic way in which the
| | 01:39 | wrap-around brochure reveals your
content. You are partially concealing your
| | 01:44 | first panel, you open it up and then
you open it up again to see the main content.
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| Exploring eight-page booklets| 00:00 | For my fifth and final version of the
brochure I have an 8-page booklet and
| | 00:05 | I took an A5 page, which is similar to a
half letter size, and I squared it off
| | 00:11 | making it smaller, a square page. Set
up an InDesign document with 8 pages.
| | 00:16 | When I output this I can output it as
Printer Spreads imposing the pages so we
| | 00:23 | go from 8 Reader Spreads
to four Printer Spreads.
| | 00:27 | I will show you how we can do that in
InDesign using the Print Booklet feature,
| | 00:33 | and then if I'm going to make a mock-
up of this on my Inkjet printer assuming
| | 00:37 | that I have the capability of printing
on both sides of the paper putting the
| | 00:41 | same piece of paper through the printer
again. Some you can, some you can't, so
| | 00:46 | check with you model of printer
whether or not it can support that. But if we
| | 00:49 | do have that capability I can print
the odd numbered pages from my printer
| | 00:54 | spreads, turn over, and then print the
even numbered pages. And I'll have two
| | 01:00 | double-sided printer spreads, which I
can then fold into my 8-page booklet.
| | 01:05 | Here is how it looks in InDesign.
This is the first page. If we look on the
| | 01:10 | Pages panel we can see that's how it's
organized. Pages 2 and 3. 4 and 5. 6 and
| | 01:19 | 7. And the last page.
| | 01:21 | So now to make these reader spreads
into printer spreads I'll come to the
| | 01:26 | File menu and choose Print Booklet.
I'm going to all pages. The Booklet Type
| | 01:32 | would be 2-up Saddle Stitch. This
is going require a staple to hold it
| | 01:36 | altogether. If we look at the preview
we can see I have got Page 1 next to Page
| | 01:41 | 8. The total of these two numbers
should always add up to one more than your
| | 01:47 | total number of pages. So in all cases
the total of these two numbers should be
| | 01:51 | 9. 2 and 7. 6 and 3. 4 and 5.
| | 01:57 | I am now going to output that to a PDF
file. The resulting PDF ends up on my
| | 02:06 | desktop, I'm going to double-click on
it and there it is. Spread 1 of 4.
| | 02:10 | Now you may not remember what order of
the pages comes in but we can clearly see
| | 02:14 | that Page 1 has now been imposed to the
right of Page 8. So I could now output
| | 02:20 | these two at a time, odd pages, turn
the paper over then even pages, and I have
| | 02:26 | got myself a mock-up.
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ConclusionGoodbye| 00:00 | Thanks for watching Designing a Brochure!
| | 00:02 | Now it's time to take these
techniques and apply them to your own work.
| | 00:06 | If you are interested in related design
techniques then take a look at my other
| | 00:10 | titles on lynda.com: Professional Typography, Designing
a Logo, Designing Business Cards, Designing
| | 00:16 | an Event Poster, and InDesign Long Documents.
| | 00:20 | I'm Nigel French wishing you good
luck with all your design projects.
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