By Starshine Roshell | Thursday, February 05, 2015
Get to know the art director, designer, writer, photographer, and professor who teaches our Foundations of Typography series.
A former design director at Time Magazine, Ina Saltz authored the Body Type books on typographic tattoos and co-authored the award-winning book Typography Referenced: A Comprehensive Visual Guide to the Language, History and Practice of Typography.
Her favorite typefaces are Requiem, Bickham Script, and Franklin Gothic No. 2, and her favorite characters are &, Q, Z, and R.
In this Q&A, Ina tells us about her favorite teachers (she worked with Hermann Zapf!), and why typography matters.
By Starshine Roshell | Sunday, November 02, 2014
People come to lynda.com for different reasons. Some come to learn a particular software. Some come to master a skill. Some come to complete a project.
David Black came to learn InDesign and Photoshop for his printing business 10 years ago—and, well, he never left.
By Scott Fegette | Sunday, June 29, 2014
Fonts used to be limited in number and flexibility for web designers. Those days are over. Although web typography still isn’t perfect, support for rich browser-based typography is comprehensive enough to stop waiting. It’s time to make your site’s text as beautiful as its layout and design by learning how to use web fonts in your designs.
By Kristin Ellison | Wednesday, September 04, 2013
Explore this course at lynda.com.
What do you do when you’re faced with creating a great design—but have no images to bring variation and interest to the piece? John McWade’s answer to this common challenge is to use more white space, also known as negative space. This is the portion of a page left unmarked, such as margins, gutters, and space between columns, lines of type, and graphics. It may sound like a simplistic solution, but it’s a great way to make your design more dynamic, and attract your viewer’s attention.
By Kristin Ellison | Thursday, August 01, 2013
Type has two primary goals. The first is to convey information (what the actual words say), and the second is to add further context to the information. A typeface helps form that critical first impression about your message; before the viewer even reads what the words say, the typeface offers important clues. This is why it is so important to choose the right one. As you can see above, typefaces are so much more than just stylized alphabets; they have personalities that come across immediately and inform the viewer.
By David Blatner | Thursday, April 04, 2013
No one likes formatting prices, but in this week’s free InDesign Secrets video, Adobe InDesign guru David Blatner shows you how to add custom dollar signs and superscripts for your cents with one single paragraph style. The magic lies with nested styles and GREP styles. Let David show you how these work.
By David Blatner | Thursday, September 13, 2012
In this week’s InDesign Secrets episode, David Blatner shows you how to use the free IndyFont script to create one custom font character that you can use to create a custom bullet. There is also a commercial version of the IndyFont script that allows you to make complete fonts, but for our purposes today, we only need the free version that lets you make a single bullet character.
If you want to get right to watching the technique, here’s David explaining the process, video style:
If you prefer a step-by-step visual walk-through of this technique, here’s how it’s done:
Installing a script isn’t as daunting as it might sound. First, and perhaps most obvious, you’ll need to download the script, which you can do by clicking here to automatically download the .zip file, or by visiting indiscripts.com.
After the file is unzipped, installing the script simply requires dragging it to the correct folder. To discover where that folder is, open the Scripts panel in InDesign (Window > Utilities > Scripts), then right-click on the User folder and choose Reveal in Finder (or Reveal in Explorer if you’re working in Windows).
Next, open up the Scripts Panel folder and drag the script file, indyfont_demo.jsxbin, from your Downloads folder, or wherever you downloaded and unzipped it, and put it into your Scripts panel.
There’s no need to restart InDesign or perform any other acrobatics, just return to InDesign to find the script visible in the panel.
Next, you’ll need a piece of vector art to turn into your new character. You’ll want it to be fairly substantive and black. I thought it would be fun to use my personal light bulb doodle, a little graphic that I draw in my notebook margin when I want to mark an idea. Here’s the vector-based version of the light bulb:
Note: IndyFont requires that the vector art be defined in black. (Possibly, I learned this the hard way. )
To turn this graphic into a bullet character, double-click on the IndyFont script in the Scripts panel. In the Create font template dialog box, enter the name of your new font. (Don’t worry, it’s still a font, even if there’s only one character.) The /bullet in the Character field indicates that your graphic is going to become the default bullet character.
IndyFont will automatically create a new InDesign file. (One of the beauties of IndyFont is that you get to work primarily in InDesign; the weird thing is that it’s not particularly intuitive.) On the second page of that new file, there’s a place to paste your vector art. The red line represents the text baseline, and the green vertical line can be moved left and right to accommodate your artwork. It’s important that your artwork is placed between the two vertical green lines.
Run the script again and you’ll be asked where you want to save your font. In this case, go with the default InDesign Fonts and click OK.
When you return to InDesign, your new character will be available in any place a standard character would be. So in David’s example, he sets his new character up as a custom bullet. So let’s say I started with this boring list of our most recent InDesign weekly ideas:
To customize the bullets in your list, first Alt-click on the bulleted list icon in the options bar.
Then, in the Bullets and Numbering section of the Paragraph Style Options dialog box, click the Add button.
Then in the Add Bullets dialog box, navigate to your new character. It will be in the Font Family called IF (for IndyFont) and it will be named whatever name you gave it (I named my light bulb bulbosaur). Since you only created one IndyFont character, it will be the only character you see.
Click OK twice to back out of the two dialog boxes, and voilà, your boring bullet has become your interesting new character. If you’ve applied a paragraph style (in this case, I’ve turned my light bulbs a nice lynda Yellow), you can update all the bullets at once:
To see these steps in action, make sure to check out the video Making a font with InDesign using the IndyFont script on lynda.com, or embedded at the top of this post. For members of lynda.com, David’s partner in InDesign secrecy, Anne-Marie Concepción also has a member-exclusive movie in the lynda.com library this week called Finding where that color is used that discusses how to find where a specific color is being used within your InDesign document.
David and Anne-Marie will be back in two weeks with more InDesign Secrets.
Interested in more?
• The entire InDesign Secrets biweekly series
• Courses by David Blatner and Anne-Marie Concepción on lynda.com
• All lynda.com InDesign courses
Suggested courses to watch next:• InDesign CS6 New Features
•InDesign CS6 Essential Training• InDesign Typography
By Colleen Wheeler | Tuesday, April 03, 2012
In this week’s free Deke’s Techniques video, Deke turns ordinary text into…a shrubbery! This relatively simple technique combines a text layer and a leafy photo to make letters that appear to be made from foliage.
Deke begins by creating a mask using the standard Myriad Pro text. Then, using the Refine Mask command (in Photoshop CS5 or later—later meaning Photoshop CS6 beta), he renders his text to have a realistic, botanical effect. The refinement supplied by the Refine Mask feature allows the leaves to gracefully manifest around the letter edges, providing some transparency and detail. He follows up this relatively simple procedure with some key layer effects (Drop Shadow and Inner Glow) and voila, leafy letters! It’s a quick, easy technique that has an abundance of potential uses.
It’s good to keep in mind that you don’t have to use text for your mask—really, any shape outline will do.
If you’d like to go full topiary, Deke also has a member-exclusive tutorial this week called Creating topiary type, where he explains how to create the full grown from the ground look. All you need is a photo featuring some nicely textured plant life, and your Photoshop garden can grow to whatever shape you desire. Since Deke is lounging in Hawaii this week, I decided to use this technique to create the tropical topiary you see below. Applying the technique to a different set of files only required a few adjustments in the Refine Edge panel and a slightly different green for the Inner Glow layer style.
Deke will return from his island sojourn with another free technique next week.
Interested in more?
• The entire Deke’s Techniques weekly series on lynda.com
• Courses by Deke McClelland on lynda.com
• All Photoshop courses on lynda.com
Suggested courses to watch next:• Photoshop CS5 One-on-One: Mastery• Photoshop for Designers: Layer Effects• Photoshop Masking & Compositing: Fundamentals•Photoshop CS6 Beta Preview
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