Adobe InDesign CC - Essentials Training Course | Daniel Scott | Skillshare

Adobe InDesign CC - Essentials Training Course

Daniel Scott, Adobe Certified Trainer

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78 Lessons (6h 40m)
    • 1. InDesign Tutorial Basics Course Introduction

      2:19
    • 2. Exercise files & projects

      2:42
    • 3. What does Adobe InDesign do?

      1:34
    • 4. What are the differences between InDesign and PageMaker, Illustrator, Photoshop, Quark?

      5:10
    • 5. How to change MM to Inches & changing UK to US dictionary in InDesign?

      1:39
    • 6. New document in InDesign - what is bleed & slug?

      8:08
    • 7. How to create your own RGB & CMYK colors in Adobe InDesign

      8:39
    • 8. How do I steal colors from a logo using InDesign?

      3:14
    • 9. How to color the background of a page in InDesign?

      3:33
    • 10. Importing resizing rotating & flipping images & Logos inside InDesign

      7:53
    • 11. How to Import text from Microsoft Word into Adobe InDesign

      5:46
    • 12. How to group, ungroup & rotate images in Adobe InDesign

      5:12
    • 13. How to make a dotted line, dashed line & borders in InDesign

      5:20
    • 14. How best to preview your work in Adobe InDesign

      5:16
    • 15. How to make a simple PDF from InDesign

      6:43
    • 16. How to save your InDesign file as a JPEG

      3:18
    • 17. Why should I use CC Libraries in InDesign?

      5:08
    • 18. How to share your InDesign files with others by using package document

      4:26
    • 19. Class Exercise 1

      3:24
    • 20. Ideas, Inspiration & starter templates

      4:59
    • 21. Working with other people's InDesign documents, missing images

      3:12
    • 22. How to find missing fonts in InDesign

      4:27
    • 23. How to replace images in InDesign

      1:30
    • 24. Opacity, transparency and see through ness in Adobe InDesign

      2:29
    • 25. Why is InDesign adding [Converted] and making me save as

      1:06
    • 26. What if I can’t find the InDesign file - can I open the PDF?

      2:37
    • 27. Creating a new company newsletter or brochure, what are spreads

      6:58
    • 28. How to use a Master Page in Adobe InDesign

      5:33
    • 29. How do I add automatic page numbering to a InDesign file

      4:12
    • 30. Removing masterpage & delete parts off the masterpage

      2:30
    • 31. Production Video 1

      2:53
    • 32. What is Effective PPI & Image resolution in the InDesign links panel

      6:52
    • 33. How to add drop shadows to an image or logo in InDesign

      4:20
    • 34. What is TypeKit used for in Adobe InDesign?

      8:37
    • 35. How to add the Copyright, Registered & Trademark symbols in InDesign

      5:08
    • 36. Where can I find the different versions of letters in InDesign - Ligatures

      3:35
    • 37. How to add placeholder text & lorem ipsum & get a word count in InDesign

      3:04
    • 38. Importing Text from Microsoft Word & keeping or removing the formatting

      2:58
    • 39. Creating Columns in a text box using Adobe InDesign

      1:46
    • 40. How do I justify text & turn off hyphenation in InDesign?

      3:59
    • 41. What is a the space after & leading in Adobe InDesign?

      5:22
    • 42. How to underline text with a full width line in Adobe InDesign?

      1:53
    • 43. How do I make a paragraph style in Adobe InDesign

      6:06
    • 44. How do I update a Paragraph Style in Adobe InDesign?

      4:28
    • 45. How to use Find & Change to remove double spaces after a period or full stop

      2:37
    • 46. Stealing colours from images, is there a format painter in Adobe InDesign

      3:09
    • 47. InDesign Class Exercise 2 - Magazine Spread

      4:22
    • 48. How to bring in lots of text into InDesign at once?

      8:11
    • 49. How do I import paragraph styles from another document?

      12:45
    • 50. How do I insert completely blank pages in Adobe InDesign?

      2:03
    • 51. How do I create a gradient in Adobe InDesign?

      7:20
    • 52. Do I need to use layers in Adobe InDesign?

      5:29
    • 53. Opacity advanced, water marks and Transparency Effects in Adobe InDesign

      4:24
    • 54. How do I add rounded corners to an image or box in Adobe InDesign?

      2:53
    • 55. How to add a large first letter to my text aka Drop Cap?

      2:16
    • 56. How do I increase the space between letters in Adobe InDesign aka Tracking or Kerning?

      2:32
    • 57. How do I get text to move around an image or shape using text wrap?

      3:57
    • 58. Why can’t I put text over anything that has text wrap applied?

      3:25
    • 59. How to draw an arrow or triangle or star in Adobe InDesign?

      6:40
    • 60. How do I put an image inside other shapes like a circle - cropping?

      2:47
    • 61. What is Adobe Stock?

      4:17
    • 62. Where can I find free images & icons that I can use for my business?

      4:23
    • 63. How do I add bullets and numbered lists in Adobe InDesign?

      0:51
    • 64. How can I create a table inside Adobe InDesign?

      7:10
    • 65. How do I convert tables from Microsoft Word or Microsoft Excel into Adobe InDesign?

      4:26
    • 66. How do I get images to move with the text in Adobe InDesign?

      3:22
    • 67. How do I create a Line Break, Column Breaks & Page Breaks in Adobe InDesign?

      4:17
    • 68. How do I make an automatic table of contents in Adobe InDesign?

      4:46
    • 69. How do you change the tabs in Adobe InDesign?

      4:30
    • 70. Can i change the numbering of my pages so 1 starts later in the InDesign file?

      3:26
    • 71. How do I combine Microsoft Excel spreadsheet in InDesign?

      9:04
    • 72. CLASS EXERCISE: Create your own business card

      1:16
    • 73. How to create a mockup for your portfolio using InDesign

      4:07
    • 74. What to do after this InDesign tutorial course?

      1:31
    • 75. Class project for your own portfolio

      3:51
    • 76. BONUS: Software Updates

      40:41
    • 77. InDesign cheat sheet & shortcuts

      13:31
    • 78. Adobe InDesign CC 2021 New Features & Updates!

      20:07
414 students are watching this class

About This Class

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Overview

Hi there, my name is  Dan. I am a graphic designer and Adobe Certified Instructor (ACI) for InDesign.

We will work with colour, picking your own and also using corporate colours. You will explore how to choose & use fonts like a professional. We will find, resize & crop images for your documents.

There are projects for you to complete, so you can practise your skills & use these for your creative portfolio.

In this course I supply exercise files so you can play along. I will also save my files as I go through each video so that you can compare yours to mine - handy if something goes wrong.

Know that I will be around to help - if you get lost you can drop a post on the video 'Questions and Answers' below each video and I'll be sure to get back to you.

I will share every design trick I have learnt in the last 15 years of designing. My goal is for you to finish this course with all the necessary skills to start making beautiful documents using InDesign.

NOTE: Adobe InDesign CC 2018 or above recommended.  

Exercise files: Download here

Completed filesDownload here

Transcripts

1. InDesign Tutorial Basics Course Introduction : Hi, there. My name is Dan and I'm a graphic designer and an Adobe certified instructor full in design. I'm lucky enough to help Adobe directly with a lot with their help videos on their website. Also, I get to speak at their annual conference, which is Adobe Max, which is a very cool Conference. In this course, we are going to learn how to use Indesign to our really good level. Now Indesign is absolutely one of the essential tools for anybody that wants to work in desktop publishing or graphic design. Now this course is for complete beginners. There is no need for any experience in Indesign or graphic design or desktop publishing before. We'll work through real-world projects, starting with a simple and easy flier on to get us started. Then we'll work through a longer brochure, company newsletter, will make business cards and take control of a longer document like an annual report, we'll work with color, picking your own colors, and then working with corporate colors. Together we'll explore how to choose and use fonts like a professional. Working with images, we'll re-size, adjusting crop, throughout the course there are projects that you can complete. You can use them just to practice, you can also use them if you want to add them to your portfolio. It's part of the course as well. This is exercise falls, so you can play along. At the end of every video, I save my file to see where am at. That can be really help for you, if you're getting a little bit lost, you can compare yours with mine. Now, I'm gonna give you every single design tip and trick that I've learned over the years. Because my goal is for you to get to the end of this video series and have all the skills necessary to make beautiful in design documents. This is my Blue Steel Poles for a while look. Otherwise, I finished the video and rush towards camera to turn it off, and I come to relax. 2. Exercise files & projects : Exercise files. Hi everyone. I've just paused myself here to add some super important new information that's come out in the latest version of InDesign. InDesign has changed the initial view you see in InDesign, we'll just need to make one simple change here at the beginning of the course so that it's not confusing when you get started. Everyone open up InDesign and open up any documents. File new document. Click on print and just click on any of these I'm going to use US letter. This is the view that you see now in the latest version for this entire course was filmed in the slightly different workspace. It's not going to change anything we do in the course. But what you need to do is go up to window, go to workspace, and go to this one here says essentials classic, click on that. It goes back to how this will look throughout this course. One other thing to quickly double-check is go to window, go to workspace. Once you've got these techniques to essentials classic, go to reset essentials classic just kind of read gigs all to make it look like the rest of this course. Friends that is it. Do the workspace update, and continue on, on your merry way. Let's get this guy started again. Exercise files as part of this course there free, you can download them from a link just here. Now as part of this course and an addition to the exercise files, I have something called the completed files. It just means that the end of every video, What I did was I save what I'm up to, and upload it to every video. You'll see a link on the page somewhere for that. You better download it and it's helpful for you if you are doing the same video and you'll just not coming out the same you like. How did you do that? Or why is mine different? You can open up my file, compare it with your file and just see what the differences are, they called the completed files. The other thing you can do is there's lots of, they are not called homework, with the kind of things you can do by yourself. I set some tasks. I'd love to see those projects, depending on where you're watching this video, it might be the comments that you push, put a J-peg in of what you've done. There are some places that have special places for projects, but any which way? Social media, I'd love to see what you are making. The last thing I'd like to do, but early I know, but a review, reviews and likes are things that really help me. While I'm doing these courses can help my business and helped me grow and make more courses. So a review once you're happy with the course, even if you're not happy with that, feedback would be great. So leave review at any stage now could be a good time, maybe later. 3. What does Adobe InDesign do?: Now, what is InDesign? Basically, it's a big desktop publishing, it's like a big version of Microsoft Word. Now, Microsoft Word gets to you to a certain level that navigates you to pro level. It's quite intuitive, you can teach yourself a bit of it. I've got a course, a full course on Word if you want to go check that out, that gets into a lot more of the detail. But InDesign is where Word finishes, InDesign starts. Now, if I'm working in a design agency or a desktop publisher or marketing or communications place and I need to make a flyer, a one page little flyer, InDesign. If I need to make a series of business cards, InDesign. If I need to make some corporate stationary, InDesign. Magazines, brochures, short ones, long ones, if I've got a 400 page book that I'm actually producing, InDesign is the place to go. It is by far the most essential tool in that desktop publishing world. They're like some of the products for Adobe, there are direct competitors that are just as successful, but InDesign doesn't have one. It has this quack and page maker, which is kind of that just really old versions of InDesign. You can still use those things and they do a similar sort of job, but you'll find tons of an industry tool getting a job. InDesign is the place to be for that type of work. Now that my friends hopefully, is what InDesign is. 4. What are the differences between InDesign and PageMaker, Illustrator, Photoshop, Quark?: So what is the difference between InDesign and say, Quark, Photoshop, Illustrator, Pagemaker, Framemaker, these all other programs out there, and let's quickly talk about where they all sit. So intensive InDesign, it has some direct competitors. One would be Microsoft Word, which is the more of an amateur program. You're not going to get a design job with it, and it has quite a lot of limitations. You can do some nice stuff on word, but really that's the entry level program and then you move into InDesign. Now, other competitors to InDesign, the main one would be QuarkXpress. Now, when I was doing my degree as a graphic designer, I [inaudible] on Quark. Now, as soon as I left my degree to get my first job, InDesign got launched and all of those tools. I started actually teaching Quark way back when, and it slowly but surely died a death. I'm sure the people at Quark right now are still making versions and there are people still using it, but it's a very, very small percentage of work, and pretty much any new work is all done in InDesign. Some legacy files you stumble across occasionally had done in Quark, but we don't use Quark very much anymore or I don't use it at all. I haven't used it for probably about 10 years, it's a long time indeed. Now Pagemaker was it's made by Adobe as well, and you probably never going to touch it, it's for really big things. Say I need to put together a scientific document about some medical treatment medicine that we're making, I might open up Pagemaker because it allows many people to work on one document and update it and track it. If I was going to build a nuclear reactor, I'd probably document how it's made and how it's being maintained via Pagemaker. It's a big old program. So not a lot of people using that one. Definitely not for like creative design, it's all about InDesign. Now, the other products that might go in hand in hand, with InDesign is the Photoshop and Illustrator. Generally, designers will know Photoshop, Illustrator and InDesign altogether. Now where they separate out, Photoshop Is a nice clear difference, InDesign is a layout program, you bring in images, bring in text and you combine them in amazing designs. Photoshop, you open up photographs and you manipulate them, make them better, change them, miss with them, fix them up. When you're finished with them, you bring it into something like InDesign. If I was making a flyer, it's a one-page flyer and I start making it in Photoshop, I could probably get away with it and it would be fine and I could make it work, but that would be using Photoshop, what it's not meant to be used for. You can do basic stuff like that, but as soon as you have to have multiple pages, Photoshop just falls over. Can't do multiple pages, you can have master pages or [inaudible] and it doesn't deal with type very well because it's mainly a photo editing program. So that's where Photoshop gets used. Illustrator is the one that is reasonably close to InDesign, it can do a lot of the same things. Illustrator is mainly for people illustrating. But what I use it for mainly in that design field is more logo work and making icons. It;s really get all the tools structure is around doing those things. But if I had to do a one-page flyer, it would look great in Illustrator or InDesign. It wouldn't really matter to me. I'd have both programs open whichever of the one is open. I'm good at both of them, so it doesn't really matter. Where InDesign gets used if I have to start doing things, say it's going to be a monthly newsletter or flyer, then there's some tools in InDesign that may help that flow for doing monthly stuff. The other thing for InDesign is multiple pages. Illustrator can do it, you can have what's called up boards. But if you've got to really image heavy documents and you start getting past three, four or five pages, you'll find illustrator starts grinding to a halt. Get 10 or 20 pages of images and text and it's quite hard to use. It starts struggling as a program. Whereas InDesign, you can have a 400 page document and fly through it and start working. It's engineered to deal with those lots of pages. Same thing with InDesign. You can do some basic illustrator stuff. There's a pin tool and you can build shapes and you can make icons and import them, so you can do that and then design. There's a bit of a crossover between those two. But if you're going to separate them out. Illustrator's for doing things like branding and logos and illustrations and InDesign is all about desktop publishing. Now, I hope that helps with some of the software and which ones you should be learning if you're completely new to this, you can start with InDesign and probably the next step would be Photoshop. Unless you want to start making your own infographics and those things, then you look at Illustrator. I've got courses on all of those. So if you are keen, go check out those ones as well. That'll be it for the what and where does InDesign sit and the world of design. 5. How to change MM to Inches & changing UK to US dictionary in InDesign?: Hi everyone. In this video, before we get started making this lovely flyer, we need to adjust our measurements. By default, often a design comes with a measurement of picas. It just means that whenever this [inaudible] box on top here, its in millimeters, yours might be set to picas. When I make a rectangle, all the measurements is set to that, or if you just switching from imperial to metric. Let's go and change it. On a Mac, it's under InDesign CC. Hit down here to preferences and then down two units and increments. If you're on a PC, it's similar, its under Edit, then preferences is down here, and it will have units and increments. On a Mac CRM, and all you need to do here is we're going to change our horizontal. It might be on picas, and we're going to switch it to millimeters. Or we're going to do this course in inches. Just because most of the people watching my videos are American based, but you can switch it to millimeters. I'll show you a cool trick while you're working to interchange between the two. The other thing we might do here is if you go from millimeters to inches, you might want to change the default dictionary as well. Down here where it says Dictionary, I'll just make sure you're on the most relevant dictionary. I'm on English USA, you might have to switch yours to the one just up, which is UK English or Chinese. Whatever your dictionary is, let's click Okay. You can see up here that little box that I showed you earlier is now in inches. When I try and draw a rectangle, it comes up in inches. Quick, easy, short video. Let's go off and stop making this flyer from scratch. 6. New document in InDesign - what is bleed & slug?: In this video we're going to create our flier document, we're going to have the page size, this little red line around the outside which is bleed and our margins all set up ready to go. Let's go and do that. Create our documents, your welcome screen might look a little different. I've got all these documents that I've previously worked on, so I'm going to go up to here and go to new. You might be on CC files or something else weird. I'm going to click on new and if you can't see that, go up to file new document, we all end up in the exact same place which is here. What we're going to do is you're probably going to be working in print, we are in this case, and it gives you some presets. You can see here view will presets, there's a bunch of stuff we can use, we'll probably never use your compact disc anymore, but anyway, it's in their. Business cards some useful sizes and in terms of width and mobile sizes are done in here as well. If you're designing any design for web, it's not primarily used for that, but you can. We are going to use print, in our case we're going to US. We are going to do like flash size, we are going to do half later. If you are following the country that uses millimeters in the A sizes, this would be an A5. We use it as often a full, so we're going to do half a US later, and we're going to make sure you can see, you can override it over here. It's still thinks I'm in here, which I am. You can trade it over here. Next thing is the orientation. I want to put it landscape facing pages. We're going to turn off and facing pages we'll go into a lot more detail when we stopped building like multiple page brochure further on in this course, but for a moment, if you're just doing like a one-page thing, all facing pages. Probably takes time as well. It's it's a little bit complicated and we'll do that in a later video as well. But just make sure they're off for the moment number of pages. You can add them later if you want, was going to start with one columns, When only going to have one column, in this case, we're looking at multiple column layout when we get into some more text heavy documents that are on margins we'll leave as the default and yours might be a little bit different. You can see margins and blade. You might just pull those down if you can't see them. I'm going to this blade when he has, I've done my margins, left them as the default bleed. What I'll do is I'll get the real Dan to jump out and show you this because it's been at in-person, take it away Dan. Apparently I am the real Dan and this real Dan would like to explain bleed and slug because as my example book. Now what happens when the printing we'll know that like say this image of the front take us right to the edge, black goes right to the edge, the add on the back, right to the age, pretty much all of these pages. Well, these ads here go to the edge of the page. But we know that when we're printing, say at home or at the office, we can have a print right to the edge of a white bit, a paper, because the printed this doesn't go that close to the edge. That's the same for big commercial offset printers as well. It doesn't really matter that you can't print right to the edge. What happens is you print on a little bit of paper that's a little bit bigger. Say it needs to be later or A4. What they do is they printed on a sheet called SI for which is just a little bit bigger. Then I print inside of that and then they'd guillotine it off afterwards down to the original size. Now that guillotine is never perfect, they try and landed up perfect, but you need a little bit of wiggle room for the guillotine to maybe like slice a little bit higher or a little bit lower. You don't want to ride on the age because they might end up with a little white strip. What you do in indesign is you add a little bit of bleed, three millimeters for metric and eighth of an inch for imperial or 0.125 of an inch, if you using decimal places. What happens is you just make your document that tiny bit bigger all the way around so that the guillotine has got something to cut off, okay, and it ends up in the bend. Nothing important there because it laid up in the bend, but it gets cut down to this final size Happens especially with magazines. Magazines are printed and bound and often they don't look this nice. This has got a really sharp, crisp edge, but that never happens when it gets bound. That only happens after it's been guillotine, it's quite missy if you've ever seen magazine that's being printed, that doesn't yet, that hasn't been yet been trimmed up. It's actually little pages are mixed up and not lined up nicely. It's not until guillotine happens and the bleed is cut off before they look nice and tidy. Now in terms of slug, now, the cool thing about slug is you just won't use it. People doing the design side often don't use slug. It's more the printing or production side of things. Let's say that the bleed is just like in that is a little bit run the outside. The slug is the biggest chunk like an inch around the outside and in that you can write notes. If you're the printer and you know that this covers a bit special and it has something that needs to be glued to it on a special spot you could write. He is with us, gets glued to or maybe this gets stapled to this button folded over or something special, or just anything that maybe helped the production later on after it comes off the printers, say maybe this gets put with per A and per B. It's a terrible explanation, but it's just notes that the printer ads it'll wait trimmed off and checked in the bin. I've never had to put bleed on in my entire career, knew probably want to either unleash a work may be behind the scenes and not an offset printer, a big commercial printer, you might be adding blood, you might be adding slug afterwards and adding these notes to it. It's a bleed definitely, slug pretty much never. Did that help? Hope it helped. You can go back to the other Dan, the disembodied voice talking over the screen. We know we need bleed, of 0.125 inches, or an eighth of an inch. Or if you're metric, you can just type in three millimeters. You can see I can type in three millimeters and just click somewhere else and it does the conversion for me. I know it's not exactly the same, but this is just the way it is. Different people use different sized leads, and the slug, we don't use you, so we're going to leave that as it is and let's click Create. Stand back, we have a document. I'm going to zoom out a little bit. Zooming is Command Minus on a Mac or Control minus on your keyboard, if you're on a PC. What I want to do is show you the different pots here. The edge of the big white box is the edge of our page. In our case, it's the US half later and we've got these two other colored boxes here. I've got the red one and this magenta one here. The magenta is the margins. They don't do anything they are just the visual guide to keep everything inside and away from the edges of the page because we all know that our printers don't print right to the edge, so there's like a consistent box around the edge there. The other one we're going to look at is this red one here and that is the bleed we discussed. Everything that goes over this edge prepare to get chopped off and put in the bin. Before we go any further, let's go and save this document. Let's go up to file and it's going to save. We were going to save it. I'm going to save on my desktop, I'm going to make a new folder. If you're using a Mac and it's a new Mac, you might be looking like this. It looks a little different. Click this little arrow here. Find your desktop on the left-hand side make a new folder. I'm going to call this one "Indesign". Class files. Click Create, and we'll stick everything we make during this long course into that folder. In terms of the naming, we're going to call this one, good at heart, because that's the client's [inaudible] and put a hyphen in and we're going to put in flyer, and this is going to be V1. Always give it a vision number, because you'll going to make changes. People could come back a V1, V2 or ABC is just fine. Never call it final, final is like the kiss of death, if you call it final, the universe will send you adjustments and you'll have to call it like final tool, or final revisited. Some people chuckling because you've probably got files just like that all over your computer. We're going to use the V system. Let's click save. That's it for this video, my friends, let's get on to the next one. 7. How to create your own RGB & CMYK colors in Adobe InDesign : Hi there. In this video we're going to look at adding these 60 colors over here to InDesign. We're looking at color in general. It's a little bit long video, but it's the stuff you need to know if you're going to be getting into InDesign production. Let's go and add some premade colors. Before we go any further, let's just ensure your screen is looking like mine. At the top here, go to Essentials. If yours says something else, it may say Advanced or something else, click up in this random area at the top here and click "Essentials". I'm pretty sure on a PC it's over here as well and even in early version it was a little way over here on the left, double-check. But find something that looks like that, make sure it's on Essentials and where it drops down, make sure you click on "Reset Essentials" as well. That means it just gets us back to square one. This is handy for when you doing something and you accidentally drag this and it ends up in a weird spot down, there is a white spot there, it is there and this book goes there and everything's about mixed up, and you get it lost. Come back to this video and go to "Essentials" and got to "Reset Essentials" and everything comes back to normal. What we'll also do for this course is see these double arrows here, I prefer to have this group of tabs always out rather than like little clickable in and out boxes. If you've got a really small screen, you might have to keep them all pushed in. Let's ignore this little thing over here for the moment, that's something I've added for us to write later on. What we're going to do when we are starting a new job is we've created a new page, but one of the first thing you should do now is create a new CC Library. You might do CC Libraries per client rather than per job. If you're looking at one company, you might just have one. You can see all my libraries here, I've got loads of them. All they are is a place to store things like you can see, in this case, colors, fonts, images. The cool thing about it is that it's shared across all the Adobe products. You might be only using InDesign, but if you start using Photoshop, Illustrator, this library is in there as well so you can share these colors across. What we're going to do is CC Libraries. We can use this little drop-down. You'll just probably set to my library. I've got a couple of my libraries for some reason, but you've got one. I'm going to create a new library for this course. I'm going to call this one Great at Heart, you do the same. Let's click "Create" It's just a nice empty Library at the moment. But what it's going to do is when we add our colors, we'll add them to the library at the same time. When we bring in images and icons, they'll go in there as well. To add colors, we're going to add corporate colors. If you're just playing around, you want to mix up any color swatches, if I highlight this text here and just go, what might happen is, in this case, you can see here that nice little rainbow thing that was there a second ago is now this black and white. You can have switched it up here in this little flat menu back to RGB and you'll get that color thing back again. That happens quite a bit while you're working in InDesign. But if you've got no design at the moment, and you're randomly picking colors for the client or yourself, you can just use this little eyedropper done here and just randomly pick colors, and that might be great. But say we working for a client that has specific color needs, so we're going to have to put in their corporate colors. Let's go and do that now. One of the things we'll look at is, Swatches are pre-made colors. Now InDesign is giving you a couple of pre-made ones, there is none, empty box. There's Registration, and reasonably complicated, but at our level here, just never ever use it. I never use Registration, we'll look at it a little bit more in our advanced class, we'll look at Registration and plates, but just ignore that one for the moment. What you want to do is use black, not Registration. Black, and then there's white, they call it paper because you'd imagine if you printing, if I printed this came and I was expecting this to be white, but I put blue paper in my printer, it's not going actually to be white it's going to be blue of the paper. That's why they're clever with the word paper there and not white, but it means white. Then they went and mixed in some really awful colors. These are there by default, you can't delete them. You can select them all and say goodbye with little trashcan, we'll leave them there for the moment. What we want to do is mix our own colors. Now, you're going to have to find out what your corporate colors are. You might be working in a company and they've got a corporate manual, and it lists out their colors. You might have to ask the marketing department what they are, or the designer that was working there or working with you. You're going to have to figure out what these colors are. Now to create a swatch, go into this little flat out menu here, in the swatches panel, and there's one that top hits his new color swatch. If it doesn't have anything, sometimes I've being on my type two and I've got take, selected and it's freaking out a little bit. What I can do is just go back to my arrow and I'll click that from the background. Now, I can go through and get a new color swatch. I'll pretend like I did that on purpose to show you a lesson but really it just got lost. Let's click on this top one here says, "Name with Color Value. " If you leave that on, you're going to have colors like this which aren't very useful, they're actual code for them. Especially when you're dealing with a client, say like me, I've worked for hundreds of companies so if I'm typing great, it could be great from any company. I'm going to untick this and I'm looking for the Great at Heart. I'm just putting a little acronym in there. If you're working with Disney put in Disney Great. I'm working with Great at Heart, Red. What we're going to do is the color mode. Now we're going to be using RGB in this class. You might be looking at corporate manual and you see CMYK, the times where we use each of them, RGB is probably the most common, especially if you're going to be designing something that it's going to be viewed on a screen. RGB is red, green, blue, and that's what your screen uses to display colors, CMYK is what your printer uses to display colors. You'll notice it's a lot less because if you've ever printed something from your laptop and it looks awesome, and then it prints out in the printer just a little bit washed out, it's because of CMYK. RGB luckily has a bigger a color field. It also has light coming out of it, luminance because your laptop screen is all brighten and it got light in it so it can achieve those colors like that. Like toxic green or like a Madonna pink RGB. When you'd use CMYK is when you go into a commercial printer or an offset printer, they call it, and that depends on what you working if you're doing stuff and it's going to be printed in the office, same to RGB, office printers love RGB, even if they're lazy color printers, they'll like RGB more. Certainly if you're getting like 10,000 printed at a large printing house, they'll expect CMYK. They look very similar in terms of their colors, but their codes are slightly different. We're going to use RGB and here are the RGB colors that I've got. We're going to list all these out. I'm going to put in 255 for the first and 99 and then 88. You see it's still a pink, but if I click out here, one of the other ones, it changes to my swatch. What I want to do is I'm going to add it to my library at the same time, Great at Heart you might have a different one, lots of different ones. I'm going to add to My Great at Heart at the same time. If you're confused by libraries and you just hate them, you don't want to use them, you can untick this. Just click "Add" rather than "OK". Why? Just means that keeps us open so I can add more colors. This one's going to be Green at Hearts and this one's going to be the yellow. Add another one, 255, I'm tabbing down. We'll click on the next box, 145. Actually don't click anything because it's pink not yellow. I think I left the 2 on the front of this one. Ignore the notes over here it should be 255, 255, 145. I'm going to click "Add". You can see there it appears in my libraries and also appears down here my swatches and both places. What I want you to do now is pause and go through add these. I'm going to get Taylor our wonderful editor to go through and speed this up. I'm going to insert mine, see then [inaudible]. Here we are. When you're finished, I can click "Add" or click "OK" either way, it closes it down. Now we need to click "Ok" so it's finished. Now, couple of things you might have clicked "OK" by accident, how do you get back in there? You just go back into the flat menu and say "New Color Swatch". If like me, you've spelled one wrong, I've left the green off it, you can just double-click it, and it opens up and put my n in, click "OK". If you forgot to tick the box at the bottom, you can select on these guy and see this little cloud icon here, this will add it to the swatches over here. That's the end of this super-duper, long color nerd fest. I realized we're a bit into this course and we still just have a blank page, but it's okay. That's it for this video, we're going to move on to stealing colors from logos. Just in case you don't know what the corporate speak is, I'm going to show you a sneaky trick to go and do that. Let's go do that in the next video. 8. How do I steal colors from a logo using InDesign? : Okay, in this video is we're going to steal colors from an image rather than knowing what the corporate colors are, because we don't know what they are. Let's say we're going to go and steal them using this handy little eyedropper. Then we're going add to down here into our swatches panel. But before we get started, will it be the exact color from the brand guidelines and be perfect? No. Will it be close enough that nobody will notice? Yes. I don't know why, I don't like stealing colors I like to use the official numbers. But let's go and do this stealy version. You rebel, renegade, outlaw. Let's go and steal colors from a logo. Where did you get the logo from? You might have got it from your websites or you might have setting on your system somewhere got file and go to place. Place is what In Design calls import against just File Place. Find the logo. If you playing along in this tutorial and you Download the exercise files. Inside those exercise files in a folder called O1 flyer and inside of there is bring your own laptop logo or BYOL logo. Click "Choose", click once on your screen and his the logo we want to bring the color from. So to make this thing work, what we need to do is top tool here, just click on the "Background" so you've got nothing selected. Just click in the no man's land here got nothing selected. Then down the bottom here about toolbar, say this one, it looks like an eye dropper, click and hold it for a little while by default, yours is probably set to the color thing tool, I want the eyedropper tool. So you click hold, hold on the mouse, and then you should be able to move over here, still holding down and grabbed the eyedropper tool. Now what we can do is click it's the "Tippy bottom-left". Well that tip of the little eyedropper. Click on that once and nothing really happens. But over here, my colors panel, it doesn't really matter whether it's got the struggle, the fill will look at that in a second, and doesn't really matter. All you need to do now is go to this little flat menu and say add this swatches and what's happened is it's stolen that color, there it is. I'm going to go back to my move tool or my selection tool and I can double-click it and that is a name with color value, the bringer, laptop green. How close is it? It is not going to be absolutely a 100 percent perfect, but it's going to be pretty damn close. So that's a way of stealing and colors from a logo. It's not going to be exact though, so you might. There's just a big asterisk saying don't come run to me if there's a problem. But, I've never had a problem, stealing colors from logos works just fine. I'm going to click "Okay". You can see down the bottom here is my bringing all types of Green. I haven't edited to my library. So with that selected, I can click on this and then it goes over here. But because I don't want to do this, I'm going to delete that, selected it with my Selection tool over here of binded. I don't want it in here and I don't want it in this one either. So I'm going to right-click it and go to Delete, back to happiness. We've got official colors and we're not doing any stealy stuff. I don't know why, I have a problem with stealing colors. I think it's design school. They beat that sort of stuff into you. So you get a bit scared about borrowing, appropriating, stealing. So that's it for this video. Let's get onto the next one. 9. How to color the background of a page in InDesign? : In this video we're going to make a nice, big colored background. It's going to have no stroke around the outside or a little line, but a nice big colored fill. Let's go into that. Okay, before we get started and put the big box in the background, we need to understand the difference between a fill and a stroke. It's reasonably easy but let's quickly look at it. We're going to use this tool down here, the rectangle tool. You got two the frame tool. If I draw out a frame or draw rectangle tool they kind of look the same. You can actually fill these guys with colors if you want to and I never ever use the frame tool it's totally up to you. The frame tool generally gets used for a place holder. This is where an image is going to go. I never really have that problem, so I just leave a big hole where the image is going to go. You might like this, the line through the middle and I'm going to use the regular old rectangle tool the whole course. One thing is you might not be able to see it. It's because the last person that used your computer might have clicked and hold down this rectangle tool and used the ellipse tool. [inaudible] and entered an ellipse. It just means it's always it to ellipse now so if I hold it down you might be able to find the rectangle tool. I just draw a rectangle any outsize and it might have a fill, it might not. This is where it's going to come up at the top we're going to use this option. There's a few different ways, there's is this way they all do the same thing. If you're using any other method you will fine but this way here finds the easiest lane. It just means this top one here's the fill, the next one is the stroke. The fill is obviously the fill on the inside, so I'm going to pick a fill and I'm going to pick the mid green. In terms of the stroke, I'm going to click back on that arrow and there's the stroke. The moment it has a little red line, red line means none, no stroke on the outside. Say if I want to put a black stroke around the outside, you see I clicked on it, it added a stroke and you can see it there. The stroke is the line around the outside. To adjust the size of that stroke, you can see just next to it there's a one point. It's always done in points not millimeters or inches and I can increase it up. I can make a nice thick stroke around the outside. What I actually want from this rectangle is I want to have no stroke. So I'm going to go back to the stroke one, I'm going to click none and this top one here, I don't want this green I want the light green. Also, if it is not changing, you've got to make sure you've got it selected. Grab the selection tool and just got your selected and then make these adjustments. What I want to do is I want to stretch it out because remember we are using bleed, in this case, we looked at bleed earlier on. What we're going to do is it's really hard to see the edges so I'm going to zoom out a little bit. Zooming is command minus on a Mac or control minus on a PC. I'm going to go back to my selection tool the black arrow. I'm going to grab this bottom line and I'm going to drag it. Do I drag it to the edge of the white or all the way out to the red? The answer is red. Same with with this one here. If I leave it just there remember, the bleed might get trimmed and it might leave a little white line on the edge because we need a little bit of overhang to make sure we can get chopped off nice and clean and crisp and clear. Remember anything over this edge here is going to get probably chopped into the bin. That is how to color a background in InDesign there's no way of going in and sitting like the default bit of this to be anything but white. I'm going to undo and we do it with a nice big rectangle. That's it for this video. Let's go and start looking at importing and scaling and flipping and stuff of the images. See you in the next one. 10. Importing resizing rotating & flipping images & Logos inside InDesign : We're going to look at bringing in images and logos and rotating them. We'll look at this one where we've cropped it. You can see, look at this sneaky. This one's actually a little bit bigger. Okay. Corrupted into a nice little box will flip them. We'll do all stuff with images. All right, let's go and do that now. To bring in an image, icon or any visual graphic, it's the same. First thing we need to do though, is we need to get in the habit of, if I have my black arrow selected, and just click off in this dark gray area around the side here so that nothing selected. There's a more official way you can go to Edit and go to de-select all. We've got nothing selected then we're going to go to File Place. Remember that's important for InDesign. Pick the 01 flier folder and this one called lunch. Now your cursor is loaded with this little image and you've got two ways of putting it in there. Now when you bringing in images into InDesign, it can confuse you when you are new. The easiest way is over here in the gray area to click once. That'll bring up my image at full size. If it's coming in too big, you can go to Edit and go to undo Place, that is going to go back. What I want to do is click Hold and drag in this gray area and doesn't really matter how big it is. You can see that's the size of my image. It's coming through really big. Just click and drag it out to a more appropriate size. The reason I do that is I'm going to go to Edit undo again, or Control Z on a Mac or Command Z on a PC, so undone, if I click on this green box here, the icon changes. It's a little bit hard to see. Title zoom in for us so you can see the brackets appear. What it means is if I click on this. It's merged them together. My green boxes gone forever, and you might want that, that's cool, so you can do that. What I do is I find that's always a pain. Edit, undo, undo, undo. I'm going to keep going undo until that's back and remember, I can just click once out here in the background. Let's look at some of the things we can do with images. First of all, probably you would want to resize them, so resizing them seems easy. You grab the black arrow, you grab the corner and you drag it up and it does that by default, lovely InDesign, I'm going to Undo. What we need to do is our first shortcut. We're not going to lead to many in this course, there's going to be a cheat sheet of the info uploads of shortcuts, but what we want to do is learn a couple of the more practical ones. In this case it's resizing an image, and you hold down on a Mac, it's Command and Shift. If you're on a PC, it's Control and Shift. Hold those two down the keyboard, you hold on. Grab this corner now and drag it up, can you see it resizes. We can resize it that way. To rotate it, there's a manual rotation of the top here is a little indicator. If I need it to be 45 degrees, I can just type it in and it rotates. I'm going to Undo. If you want to do it just more casually or you're just playing with a design, is with the same black arrow hover. You can see on the edge it does the resizing thing, but if I hover just a bit further out you can see my icon changes. It's a little double-headed arrow. I can click Hold and drag that now, and you can see that clicking Holding and dragging and it's more of a custom rotation. I'm going to undo that. Another thing we might do is flip it. Up the top, I've got it selected with my black arrow, and there's this option here that flips horizontally. Sometimes it ends up all the way over here and I'm going to click and drag it back across. Flipping it vertically. It does it at the top there as well. I'm going to undo, undo, undo, and we haven't got a flipped image. The next thing we're gonna look at is something called the content grabber. It's this little target that appears. Now when you're trying to just move your image around. So I need to move it down the bottom here. Avoid this thing completely, so I'm going to click and drag anywhere but there, and I can move it around. If I drag this, what happens is, in InDesign, your image is actually inside a picture frame already, so they are two separate things and you can move them individually, which is quite handy sometimes, but can be a bit annoying when you're learning. If I click and drag this, you'll see the frame. It's still there, but the picture within that frame has slid to the side, and that can be quite cool when you're trying to crop things. I can grab it to drag it back, but I'm going to undo a couple of times. Remember, Edit, Undo, and here's my shortcut. What you need to do is if you're physically moving it, click anywhere but the target. But if you want to move it within the frame, you can drag that little content grabber. and undo If you really don't like the content grabber, secret note I don't like it. I turn this off, I go to View and I go to Extras, and I go to hide Content Grabber, There are other ways of cropping stuff. Up to you You don't have to turn it off. You might love it. Lots of people do. What we're going to do now is look at some basic cropping because what I want to do is I would like this thing, let's click Hold and drag it. So it's at least in the top right. It's pretty clever. It's snapping to the edges, if yours is not snapping. Just double-check View. There's one in here that's called Smart guides. So Grids and Guides, Smart Guides. That's the thing that helps it automatically jump to the edge. You don't have to be like perfect pixel. On and the top right, I'm going to grab this bottom left. I'm going to hold down my shortcut to resize it. Who remembers what the shortcut was? Command Shift on a Mac and Command Shift on a PC, so I'm dragging it out. I want it to be at least or bigger than our background image. It's snapped up in the corner there. What I want to do is, remember if I hold this two shortcut keys down it resizes it, but if I don't, remember when I grabbed it before, crops it and that's going to work in our favor now because what I want to do is grab this side and maybe roughly in the middle. I want it to be like this and same with the bottom. I'm going to drag it up, so it's just on my bleed. I'm cropping bits of the image off, but that's the look I'm looking for. What also I might want to do is mimic content grabber. I hated it. It's handy now look, I can drag the center of it and you can see, I can drag it within this box a little bit. Let's bring in one more thing. Let's bring in the logo, exact same technique as the image. Remember black arrow clicking the background so you got nothing selected, Go to File. Let's go to Place and pick one of the logos. I'm going to use this first one logo, one full. It doesn't have to be a JPEG or a PNG can be an Illustrator file, which is another Adobe product. Let's click open. Remember in this gray area in the background, click once, or you can click and drag to get the size that you want. Black arrow grab anywhere, but the Content Grabber. Remember if I try and move them using that seemed a bit weirdly, the image is over here, but the frame is still over here, so I'm going to undo that. Click off the background and I'm going to grab anywhere but the Content Grabber. I'm going to stick it somewhere. That's my lovely logo. Earlier I said you may be having nothing selected. I'll show you the reason why is, if I have this green box selected by accident and I want to bring in my logo, let's say it's before I brought on this logo. Actually, I'll delete it to make it. I've got this green box selected. File and I've forgotten to de-select it, go to Place and I go to my logo and I click open. It doesn't give me the option of dragging it out and giving it a size. It fuses it with this green box,which is cool, but it's stuck there now. They are one and the same. I'm going to undo until life was easier. Remember, before you bring it in, de-select in the background and then go to File Place. All right friends that is working with images. Let's go on and start working with type in InDesign. 11. How to Import text from Microsoft Word into Adobe InDesign: Hi there. In this video we're going to look at bringing in type from word or an e-mail, or look at typing it in yourself in InDesign. We're just going to put in a little bit of text here for our little flier. You're ready? Let's go and do it. To add text by yourself grab the type tool, it's capital T here and all you need to do is click, hold and drag out a box. Now, like we do with the images, if I start kind of dragging over the top of boxes that I've already made, some weird staff starts happenings. If I click in here, you can see it's kind of fused this box with that box and it's kind of a bit weirds, it's weird InDesign quick anyway. So what I'm going to do is have nothing selected. So click on the background, grab my type tool and what I'm going to do is click hold and drag a box over here on the side. Okay, if you need more room, seize little sliders okay, we can just move across down the bottom here and we can start typing. You know, if you can spell helps, okay, but if I start typing over here, obviously I can put anything I like. I can grab my black arrow to resize the box to the size that needs to be. What I'm going to do is import some texts. I'm going to use this text box. Okay, I'm going to use my black arrow and just move it over here. What I'm going to do is select on this type with my type tool, okay, which is the capital t. Just delete it all. I'm going to import some texts. There's two ways of doing it. You could do just caveman style with works perfectly., I'm going to jump to Word, actually let's open the Word document. So it's part of your exercise files. Finds your exercise files. Here is mine on my desktop, I've downloaded it under 01 Flier. There's one in equal flier text. I'm going to double-click and open it. I'm going to copy all this texts so select that it'll go to edit, copy. If you're on a PC, it's slightly different. Is a copy button in the corner or Control C. So whatever you do. Select it, copy it, and jump back into InDesign, and in here I'm going to paste it. Okay, you can totally do it that way. Often that's what I do. You might be copying from an e-mail or from anything. What you can do though, to be a bit more official and to get a few more options in that copy is I'm going to delete it all, have my cursor flashing in hand and I'm going to go to File, I'm going to go to Place, and I've got some text. I found my 01 Flier, there is the flier takes so just kind of goes round using Word. So open and you can see it's dumped it in there. Now the difference between the two is very little and what we're doing, but what you can do and what we'll do later on in more, more advanced sections is if we go to File and we got a place, there is option here that says options and it says show input options. It means when I bring in my Word document, I get to keep some of the styles that might be in there. Maybe there is a table that contains that sort of stuff. I'm going to turn that off and hide that for the moment. But it doesn't really matter how you bring in text as long as we've got some text. Now on my black arrow, I'm going to drag this box, and I'm going to make the box so it's kind of fits in here appropriately within my margins, kind of under the logo here. What I want to do is I'm going to use my type tool. Now you notice I don't jump to the type tool just kind of double-click inside the box and it automatically jumps to the type tool. That's kind of up to you. So I'm going to select title and I'm going to do some basic type stuff now. Okay. So if you are happy with formatting type, you might want to skip along. We're going to do some of the basics. We're going to pick a font, was going to pick Arial because I know everyone's got Arial, it can be a Spell Arial or use Arial Bold for bits of it. I'm going to select all again, and along the top you've got these two options. Okay. Now, you might be happy with bold and sizes and stuff, but you'll notice that these two here have very different kind of see things and we need a lot of them. So I can see among its character and paragraph is the actual names of these. So character has my basic character stuff. You can see all the way down here there's some paragraphs, so that's only because my screen is very large. If you've got a smaller laptop, you might not be able to see any of these. You're going to have to jump to paragraph and you can see there. So you might have to toggle between these two. So I want to go to the one that says aligns center, I'm going to highlight this topic and I'm going to make it my colors over here. I'm going to select the, I'm not going to use dark green at all. I'm actually just going use white. So which is piper over here. Okay, select the text Peter piper, I'm going to go back to character. I'm going to make it all caps. So I'm going to capitalize it all. In terms of the font size, I'm going to pick a font size. What font size? I don't know. I'm going to go to about there. Okay. So 22.0. Go back to my black arrow, clicking the background. It's maybe a little bit close to this black arrow come down a little bit. Kind of things we want to do is I'm going to select this make it a little bigger. I'm going to use my green. I'm going to use the mid green. This last kind of URL here, I'm going to select it all make the same size when you use the dark green. Black arrow, click out and that my friends is the basics of importing ticks. You can either just draw text box copy and paste that into it, or you can go to File Place up to you. We're not going to go through everything like this font selected here. I'm not going to go through what does subscript and tracking will look at some of the more advanced ones a little bit later on, but there are the basics in here and everyone knows what banner, right aligners and left aligners, I hope. If you're not sure on some of them experiment, we will go through more and more as we get through this course. But for the moment now we've got our font, we've got are text in, we've got some images. Let's get on to our next video. 12. How to group, ungroup & rotate images in Adobe InDesign: Hi there. In this video, we're going to look at grouping this thing together and rotating it and adding some text and making a perfect circle and all those are fun stuff. Let's go and make him in this video. First up, we'll bring in the text. You could obviously just type it and box, I'm going to go to the example files. There's a file in there call 'Discount Text', open that up. Copy it. Then design. Grab the type box. Click ''Hold Drag Box'', then paste. Remember I'm doing it on the side, so that I don't end up missing out of these things. What I'm going to do is I'm going to use this little slide bar, move across a little bit and what I want to do is I'm going to select all of this. I'm going to make it paragraph, I'm going to make it centered. I'm going to use my font that I'm using. I am using arial, of course you can use anything, arial bold. What size is it going to be? I'll have to double-check, I've gone for ten point at the moment, black arrow. What we want to do is draw our circle, then group them together. Drawing a circle is click and hold down the ''Rectangle Tool'' hold on that icon until you get to ellipse. What I'm going to do is I could click and drag out any old size. But if I hold down the ''Shift Key'' on your keyboard. Look at your keyboard it's on the left and the right often, hold it down, click ''Hold'' and drag out a circle. But why are you holding ''Shift''? It makes the circle perfect, that is true of the Rectangle Tool, it'll make a perfect square. How big does it need to be? First of all, we'll give it a color and a stroke and then we'll go and play with it. It needs to be a yellow. At the top here. I've got it selected. I've got my black arrow, I've got it selected the top here I'm going to use my down the bottom here. It's GaH yellow, and in terms of the size, what I wanted to be is I've got a pretty close. I could have got it bang on. Let's say you want to resize it? What was the shortcut? You remember, of course you remember it's ''Command Shift'' on a Mac, and it's ''Control Shift'' on a PC. Grab any of these corners. You can click and drag it to an appropriate size. I'm going to get it about that size that looks about good in the corner, I'm going to move it back off. Now I'm going to use this type here, sticking out at the top and we're going to run into our first problem of arranging. Whoever gets made the last is on top. I'll circle was made after the ticks, it's on top. What I'm going to do is with my black arrow, I can go from the background, I'm going to right-click this circle, if you're on a Mac, like a MacBook Pro like me, you might have to use ''Control'' and click it, it gives you the right-click. Let's use 'Arrange'', let's go to send either backwards or back will work, in our case we want backwards, if I sent it to the back, it'll work because behind it, but what happens when I move it across here? It's back behind this image as well. What I want to do is I can undo it, I'm going to right-click it and say I want to move it, 'Arrange' and I'm going to go backward, which means it's going to go back one step. It's going to go behind this one guy. You might have to go backward a couple of times to get the balance right. I'm going to grab this, does it fit? Not really, so I'm going to grab this edge here. I'm going to get it's on like four lines. I'm grabbing the edge here with my black arrow. Does that fit? Kind of. When you are moving things around, it can be a little high because it tries to want to snip. I've got my keys on my keyboard, just the arrow keys, the cursor keys, I'm just going to tappity tap until I get it right and I'm going to drag this up. If I want to select these two and align them, I'm going to grab my black arrow, I'm going to select both of these guys, and then the top here you'll often see it, if you can't see it, there's my tiny little arrange panel here. There's an official panel though, you can't see it, it is under window, 'Object and Layout' and you can turn this panel on. What it'll let you do is this one here send to the both horizontally. If yours does what mine just did, it's probably not, it's aligning to the whole page. Yours generally by default is aligned to selection. I click these guys, clicked this vertical one as well if you want to try and align it that way and I'm going to bring you back out here. What I'd like to do is, hold down a little bit, I want to group them, so I've selected both of them by dragging a box Brown both. I'm going to go up to 'Object' and go to the one that says 'Group'. All that means is that I can click off and click back on just one of them and I've got them both selected. I can select it and go to 'Object' and 'Ungroup' it as well if I need them apart. What I want to do is rotate it. Remember from an earlier video, I want you to grab your black arrow and just outside just go further out, we can rotate. Click ''Hold and Drag,'' and I'm going to move it down here somewhere. That's probably a bit too hard to rotation. I'm looking for the cool lean thing like it's a sticker that go stuck on afterwards, but clearly it's not. That is how to group things, but we also learned how to make perfect circles and we rotated things again. Let's get on to the next video. 13. How to make a dotted line, dashed line & borders in InDesign: Hi there, in this video we're going to look at creating dotted lines and dashed lines, perforation lines. We're going to do wavy lines and strappy lines and all lines, Let's go and do that now. To put the border around the outside, we're going to start with a rectangle. The rectangle tool, not the rectangle frame tool, and what I'd like to do is you saw earlier that I had to perfectly away from the edge now. What I can do is I can draw it exactly the right size, remember, that is actually the edge of the page. This bit on the outside here is the bleed, remember. I'm going to draw the actual size, my half letter. It's a nice big rectangle, now we've got a fill of green and a stroke of nothing. I'll leave it there for the moment just while we're practicing this because if I grab my selection tool and I try and scale it down proportionately, one of the keys, that's, Command and Shift on the Mac, and Control and Shift on a PC. If I hold them down and I make them proportionately smaller. You'll notice that if I put it here in the middle is actually doesn't scale the way we want. We want equal distances around the outside. I first scale it down even more. You can see it's a lot bigger in the sides than it is in the top and the bottom just because it's scaling that way. What I'd like to do is I'm going to undo, it actually fills the outside. What we can do, you can see at the top here it's got a width and height, it's perfect, it matches my off data. What I can do in here is some basic math. These little boxes, any of these little white boxes, you can do some little math, which is really handy. In here, I can go minus and I'm going to turn up half an inch 0.5. You'll see it's exactly half an inch. Do the same here, minus 0.5. You can do times, If I did times 2, it will be times 2 inches, it's that little asterisks, and it's a whole lot told them that needs to be, I undo. I'm going to get minus 0.5 minus plus all that stuff works, and to get it in the middle, you could use your line tools. There's mine at the top here, or there was a panel that we saw earlier, but actually it's just easier to grab your black arrow click "Hold", and you'll notice that it just snaps. You see those two purple, pinky lines just saying, "Hey, there's the middle," and you'll see visually it looks like it's in the middle. It's actually 0.5, half an inch from all the sides and it looks nice and perfect. Now, to make the line dotted. We're going to give it no fill, click on my fill, I'm going to get a none, and this one here, the structure on the outside, I'm going to make a white, or paper. This is the stroke here, how thick it is. At the moment it's one point, it's probably what I want, but let's make it nice and big just as an example so we can all see what we're doing. So bump it up to four points and now we need to find our stroke panel. Mine is there, if you can't find yours here go to Window, go down to Stroke and turn it on. Now, yours might look a little different as well, yours might be these little flier means new that higher options and if yours looks like mine, you've got really basic control. Click on this option and say "Show Options" and you get the big aggravation with all the details that we need and the one we need the moment is type. That's going to allow us to change it from a solid line that we know it to all these other options. There's some wind ones, ones that I've never used Thick-Thin, you might like them, White Diamond I've used, Dotted lines and Dashed lines are the ones that we're going to look at the moment and there's two kinds of dotted. Here there's dotted and some reason the Japanese like their dots a little bit closer together. Japanese thing not sure. There's my dots around here, so if you want a dashed, is dashed, this at the squiggly line. You might like the squiggly line. Isn't way things and they're okay, but we're going to go to dotted and we're going put the size down to something, I don't know, I'm putting two points. Now, you might use dashed lines as a visual thing, like I'm doing here. There's nothing this dotted line just for pretty sake. What we're going to do is maybe it's snip here, this is this like cut this bit off for the reading your coupon. What you can do is instead of doing for this rectangle, you can do the exact same tricks with just a straight line. The straight line here I could draw, and what am I do actually is draw it straight up and down. If you want to draw a line straight up and down, it's the similar technique we did when we made a circle. remember, we held on Shift and it was a perfect circle. That same technique makes it a perfect line. So I hold down shift before I start drawing it out. You can see it really wants to go straight up and down. Say, that's going to be my perforation line where I want people to snip it off. It's got a line fill, and the liner on the outside is going to be white. I'm going to make it two points just so you can see it and then you can see the exact same controls. Hey, somebody's calling. Let's go to dashed lines. I'm going to pause there, go take the phone, I'll be right back. I'm back and this dashed line, I don't need it, so I've selected with my black arrow and just hit "Delete" on my keyboard, just tap the key on the keyboard and it's gone. Dashed lines, dotted lines, wavy lines, curly lines, all of that. Let's move on to our next video. 14. How best to preview your work in Adobe InDesign: What we've been working, we've been just ignoring these like blue lines in this little linking icon and has lots of blue lines around the edges of the boxes. That can be a real pain when you're trying to line things up. It just doesn't look very nice. The quick and easy way to preview and tunnel that off is the W key, just the W key on your keyboard next to Q and between A. But for that to work, you need to be on the black arrow. If you're on the type tool, you just going to type a W, so be on the black arrow, hit "W" in the keyboard, look at that, blue line is gone. You get the feel a bit of this space around. You can still work in this view, you can see I click on it, drag it around and there's nothing stopping you work like this except; sometimes it is easy to see a little blue lines. The other thing that might throw you off if you try and work in this view is, when you hit "W" to go back out, which is, if I start typing something and I go, then we tap on the outside to not join them up and we typing. Watch this, if I go to my black arrow and hit W, it's gone. It's still there, just W hides all of that stuff. That can be one of the things to note if anything starts disappearing in this gray area, it's probably just because you got tap W again. The other thing it does is; you see the bleed. I'll zoom in, here we go. If hit "W", you see the bleed gets trimmed off. To give you a more of a view of like say this border because it's going to get trimmed off and then remember , so it cuts that off and see, I tap W all the time. The problem with W is I forget when I'm in the tap tool, when I type a W and I won't notice and somebody will be proof checking my work and they'll be like, ''What's a home we?" I'll pretend like I don't know, somebody else did it. I know it's because I tap the W key and it was on the top top too. Bad day. The other thing we're going to check is, the display. Mine is set by default to high-quality display. I think that's effect of the new bits of software. The new installs of InDesign, if you're using an older one. We're going to look at this. I've got nothing selected. Come to view, there's one called Display Performance. Often, especially the earlier versions, I'm not sure if it's the new version or not. I'm not sure if it's sittings that I've got or it's remained from my last install or whether it's actually by default now but let's just double check typical display, is what it used to be said as and yours might be. The problem is, that things just look a little bit gross. You can see the logo here, just doesn't look very nice. You know it's good quality because you've seen it in a different program but it's not looking good in here. The reason it's often the default for typical quality, is because trying to run fast and InDesign turn around quickly so it's not producing these beautiful outlined logos and it's the same with images. It's, typical [inaudible]. What we can do, nothing selected view and crank does up to high-quality. I work in high-quality all the time even with an 80 page document. Why? Because my machine can handle it. I've got a pretty new MacBook Pro. If you're working on a really old [inaudible] laptop, hand me hand me downs. You might find actually it just can't keep up. You might, manually go in and say actually I was going to look at it everything typical quality because maybe you're doing type [inaudible] and it just takes so long to scroll through all the pages so you can switch it typical quality. If you're running Windows XP on a really old laptop that billy starts up, what you might do is you might get a view and there's another one on there. It says fast display. What those will do is, allow you to take some [inaudible] super-duper fast. These aren't gone. If you produce a PDF now I'll print it, then print file, they just kind of place holders to make the system run really fast. If you off finding, men this is jumping in slow, switched to fast. You can toggle between if you're working with the images. One last thing about previewing, let's say, I'm going present to somebody, say a colleague of my boss or clients, I'm going to show them my design. Instead of showing them this ugly version with the blue lines and all my swatches around here. What I want do is present to them. I could make a PDF and make a presentation, that sort of stuff. But it's actually easy do straight from in design, down the bottom here of your toolbox, ride down the bottom. This last one, if I click and hold normal. Previews, are the one we've been toggling between when we hit W. This is the long way. If I click on preview, that is exact same as hitting W. We don't want that one, this one here we never use. Bleeding slug will show you like a preview but include the slug a bleed and slug. I hope. I never use these. I use this one down the bottom here, presentation. Does this. It's quite cool. It gets rid of all the junk and just presents it nicely, kind of like a PowerPoint presentation. If you've got multiple pages, you can use your keyboard. I only have one page but you can use the R key on your keyboard and work through all the different pages like PowerPoint.. You can actually add transitions between them all. Will do that in the more advanced and design course. How did I get out of that in it? Hit escape to get back and we are back to the ugly blue line vision W. All right, that's it for this one. Let's go and make a PDF version in the next video. I'll see you there. 15. How to make a simple PDF from InDesign: Hi, there. In this video, we're going to look at creating a PDF from InDesign. We're going to make this super complicated one for the printers. It's not that hard. This one here, just a pretty little version that we can e-mail out or send to our local printer, and share and do all that awesome PDF stuff. Let's go and do that now. First thing to do is save you document File, Save. Next thing to do is if it's grayed out, just means you've already saved. Doesn't mean you can't save. It means you've already done that. Don't do it again. The next thing we want to do is we want to go down to Export, or Command E on a Mac or Ctrl E on a PC. Super easy down the bottom here, it should probably default to Adobe PDF. We're going to use this one called Print. You use that one if you going out to obviously print, and make sure it's set to that. Give it a name. I'm going to call minor name and put it into our folder on my desktop InDesign class files. This one's going to be called my Green at Heart Flyer and my V1, and let's Save. Now, the cool thing about this is this can look quite complicated and you can make it complicated if you want. But let's just do the basics now and we'll go through some more advanced exporting later on in the course case that you've got that video. But for the moment, go up here, put it on High Quality Print, and then just hit "Export". That's it. This will give you a PDF that will go to a printer and print perfectly. It'll print from your office, it'll be downloadable and look good quality. It'll do all of those things. Let's just do a tiny little bit more with the PDF. I'm going to jump back mines or medically opened up in Acrobat. Yours might not see mine, I have to go and find it. Once on my desktop in the folder we made and there it is there. Again, you might double click it. Yours is going to open up in some program. What I'd like to do is a couple of other things. Let's have a little look and InDesign is a little bit more detail. So File, Export again. I'm going to give it the same name and override it. It won't let me save it over the top because I've got to open in this program, so you have to close it down in Acrobat. I'm going to give it the same name. It's going to say, "Would you like to replace?" If it says you can't replace because it's open somewhere, go and close it. So I'm going to replace it. High Quality Print, say to that's fine. The other thing you might do is go to smallest file size. It's going to make it a lot smaller in terms of file size. This might be better if it's a really long document. Say it is an 80 page perspectives with lots of images, you might go to a small file size because you're sending it out to know colleagues to do a check, not the final prints, so it's not so big and you can e-mail it. That's why we need to do for that. Let's say we want to get High Quality Print, but we're sending it to a commercial printer. There's two little things we're going to do is this one under Marks and Bleeds. If we've added bleed to [inaudible] , it was three millimeters or a quarter of an inch, I can't remember, 0.125. In here, we're going to turn on Crop Marks. Crop marks is the only thing you'll need, and down here where it says, I said two things, Crop Marks and you turn on the bleeds. It's picked, it's remembered our bleed. You can manually type it in here. But if I say use the bleeds from the document, you can see it in their very faded out about 0.125. I'm going to click "Export" and the only difference is, can you see around the outside here? These little crop marks here are used by the printer to slice. They lie in a guillotine up but that one and that side, and they just trim it off and that chunk in this little gap goes in the bin. If you're sending it to a commercial printer to print, you've got bleed and you want to add the bleed. All you do is you turn on the Crop Marks and the export and you turn on your bleed settings. If you just sending it out to be printed internally, or if we downloaded from a website, you don't have to turn those crop and bleed marks on. Now before we finish up, let's just have a quick look at our export settings as one of the things. I just want to show you this one. I'm going to close down this guy. I'm going to give it the same name, replace. I'm going to say "Yes, please". We're going to look at these. We're going to turn all of these on. Why would we turn them all on? You'd never turn them all on. We do it to impress people. Look at that, look how impressive and designery we look with, all these extra marks, these color bars, these registration marks, it all looks very good. The time is actually something you might turn on, and it has the document name. If I was sending this to a commercial printer, they would only want the crop marks. They would add their own color bars. These are just here to help the printer on this side of things. They've got a master Calcutta and they'll print yours out, they'll put the master shot next to these colors and just to see that they all merge. That will mean that their printer is working well, but they wouldn't expect you to put them on. You wouldn't add registration marks either. These are used by the printer. What they do is that registration color is actually printed in, it looks black, but has actually cyan, magenta, yellow, and black altogether. What happens is if it goes to the printer and the paper jiggles a little bit. What happens is if they see a yellow target sticking out the side here, they'll know that the plates aren't lined up or at least the printing ink is not laying over the top, and it might be the image might be a little fuzzy because these things aren't printing exactly on top of each other, but that only happens when you get to offset printing. We turn it on mainly to impress people, save your designer, and you're saving off to the client. This stuff is like, I'm a proper design with the least things. But if you're sending it to the printer, pull them off. I've got away on a bit of a tangent there. Just to recap, if you don't have bleed and you don't need it, so it's going to be just e-mail to somebody or download from website, File, Export, click, give it a name, replace, yes, please, and just pick High Quality Prints and then hit "Export". If you need the bleed, all you need to do extra external marks, got a Crop Marks, and turn on the document bleed, and then hit "Export." What you'll notice is see modified on top page, just means that if I pick High Quality Print, that's all basic. But if I turn this on, you see it becomes a modified, you've changed a little bit. Doesn't matter if it says modified because you've added these. We know what we're doing, we are professionals. That long-winded explanation of PDFs is now over. We'll go into some super advanced nerdy stuff in the advanced course of InDesign if you ever need to get into. But really what we've got here will work for 99 percent of the jobs you'll go into work on. See you in the next video. 16. How to save your InDesign file as a JPEG: We need to save a JPEG out ready for some purpose, you might be sticking into a PowerPoint presentation or a real document or sending it to a website to be used as part of a WordPress seem as something. You need JPEG or a PNG same principle works. The one thing I'd say is that often a PDF will work as well. If I'm putting it into Word or PowerPoint, a PDF will go in. The nice thing about PDFs is that quality is always a little bit especially for type. But if you have to use a JPEG let's do it this way. Let's go to File, Export, same as a PDF, down the bottom here, where used to say Adobe PDF, go down to either JPEG or PNG , super easy, and I'm going to give it the same name, but I'm going to make a high-res vision, high-resolution, high-quality one. You can call it what you like and save. I'm saving it into that folder on my desktop, all pages. I'm going to do pages we haven't done any spread yet, we'll look at that later and then the quality. We've got two things that kind of really control what it looks like: quality and the resolution. Quality will be how pixelated it is, how like is it a bit scrappy and a bit yucky looking. Medium will still look fine. Low will look gross never use low, but medium will be fine, high will be pretty amazing and maximum you wouldn't see the difference between these two I promise. We're going to go for a high res one maximum. It's going to look as good as it can be, but the file size is going to be quite big. Then resolution here, the lowest is 72, and the highest you want to go to is 300. Anything that pass this, this thing is going to be absolutely big like meters wide. We're going to get 300, color spices are RGB. Always going to be RGB for JPEG and leave this stuff at the bottom. Let's click "Export". Nothing really happens. You got to go and find that folder and this my high res is 1.4 Megabytes. It's pretty big but you look at the quality. Pretty awesome beautiful. Let's do the aversion. Lets say I am sitting it out and it's going to go up until website and I know that 1.4 Megabytes is far too big for our websites, so we're emailing even is pretty big. We're going to go to "Export" and we're going to say make something really small, I'm going to give it a name. I'm going to call it Lorentz, and I'm going to go through and say "Maximum", I'm going to put it down to like High to Medium and this is the kind of lowest you ever want to go. Save it to Medium, click "Export". I'll make this a little bigger. I'll even make it a little bigger. 1.4 is the high-res and see this one here, Kilobytes. That is 0.04 instead of 1.4. It's tiny compared to it. Look at the quality. It's smaller, the quality is fine. It's not going to win the quality awards but this one here is really big but really big file size. Probably somewhere in the middle. Just find yours, go down a 150 DPI and go to Maximum, see what the size is. Another thing you might find is that if you don't have any images, say it's just block colors, your file size is going to be a lot smaller because it doesn't have to deal with all of these colors. If you've got hundreds of images, it's going to be even bigger than 1.4 KB, so that my friends is how to you save a JPEG from In Design. Let's get on to the next video. 17. Why should I use CC Libraries in InDesign?: [MUSIC] In this video we're going to look at CC Libraries. I love them. You've been probably avoiding them for a long time. They're amazingly let's get to use them because we're going to add things like this, logos and images and colors and it's going to mean we can use them in other InDesign documents, but also look, they appear the same in Photoshop and Illustrator in After Effects and all the other lovely Adobe products. Let's go and learn how to use the. First thing we need to do is make sure you can see a CC Libraries, it's on the Window, CC Libraries. Let's make a new library. I'm going to keep this one that I've got but if you've skipped the early tutorial we did when we made our colors, you'll have to go to this little drop-down. It's probably going to say my library. It's the one you get by default and the bottom here says create new library. Create it, give it a name I've called mine [inaudible] for this client that am working for. Now let's say we've added these colors earlier, but let's say you skip that. Let say that, maybe this just a new color that's appeared. What you do is I've drawn a rectangle and it's filled with some random color that I now want to include in part as my swatches. The way to do it is have it selected with the black color and what we can do, you see this little plus sign to the bottom here. I'm in my Great at Heart library. I want to add something to it and you can see here is a graphic fill color. Graphic [inaudible] add the square itself. I don't need that square listening to fill color. I click add for just that fill color. If I have them both selected, let me show you. If I had the graphic as well, I get a rectangle. That's cool, means that later on I can drag out the exact same rectangle and use it over and over again. That might be useful for you. I don't want him so I can click on him, hit the little trash can, bye bye. Two of these colors now, goodbye. It's got an ugly color. I don't want, goodbye. That's how to add colors, other things you can add, probably the most useful is images. This is image here and I'm going to add it so that I can use it in lots of other documents because this library stays there, doesn't matter what document you have open. If I got a new document, File, new document, click create. You can see these are still here, allow me to quickly grab out colors and stuff. Let's go back to this one. Now adding images can be interesting. If it's just the image by itself, you can just click hold and drag it in but you can see I've dragged it because I've already cropped it and you can see it drag cropped version of it. It's the image is actually quite big. What you can do is double-click the image. You can start to see it spread out for this red edge here and that means I've got the whole image selected and down here, you see now can I drag it, I can. I have just dragged it by double-clicking it and you can see that's the entire image. I'm going to download this guy. This is my food image. You can add images that way. Other things you might add, say this logo here, I can slicked it because it's not cropped, I can just drag the whole thing in there and that's my logo green. You can add blocks of type. Like this one here, say this little round all thing I've made, I want to use over and over again. It's something like it's held, I don't know, a call to action or a unique selling point. I'm going to click and hold and drag it and you can see the whole unit comes with me. If I go to this next document and I want to quickly build a thing, I can drag out a full-page, I can go up the top here and I can click on filling it with the green, dark green, drag the logo out. I can add my image and this little round all thing. You can see how quickly you can stop building extra documents because you've got everything in this library gets even better. If you jump out to another Adobe products, I jumped into say, Photoshop. Am working on this and say I need that color row. You can see this is another library that I'm working on but if I switch to this one here, where is he, Great at Heart, you can see he's in this one as well. I can use them across all these documents. Here we go. I'm not sure why this drawing that I've done needs roundels and stuff but you get the point right. You can go between any Adobe product. I use this a lot between say, my video work in After Effects and premia, or my graphic design work at a Photoshop, the Illustrator, they all use the same libraries. One last thing to consider is that, say you are a freelancer, or you are beginning a freelancing role. It means that when you sign in to another computer and you use your Adobe ID, these libraries will pre-populate. If I go into an office and they say, done, I want you to do some work with us and you're going to use our machine. I jump on my machine and even if they don't have a license for, I can download the trial and login with my username and ID. You can have it installed on more than one computer when it opens up, the trial version becomes a full version because I'm a paying customer and my libraries pre-populate with the stuff that I use. That can be really handy when you're switching machines, it all syncs up and it also does cool things with some of the Adobe apps. Go check out the app store. They're awesome cool things that libraries work with them too. Libraries are awesome. You've probably seen them [inaudible] Adobe products and ignored them, start using them because they are wicked. Wicked is not the word. I take it back. They are awesome or great, not wicked. Terribly ending over, next video, please. 18. How to share your InDesign files with others by using package document: Hi there. In this video we're going to make a nice little zip file that we can send to people. Inside that zip file we have the Indesign file plus all the links and fonts and images all ready to go. I can send it off to my colleagues that they can start working on the file, or it might be that I'm sending it to myself, to my home computer to start working on it, or I might just be packaging it all up to archive it and take it off my machine so that I can get on to the next job. Let's look at this packaging Indesign files ready for other people in this video. To share our Indesign file we need to use the package feature. Let's go to File and go to Package. Make sure it's saved first and leave all of this click ''Package,'' ignore printing instructions, nobody uses this. It's meant to be for notes that you gave to your printer, contact me if the printer is ready. But you'll be doing it via e-mail, I'm not sure anybody uses that. Create Package Folder, so this is going to be an actual folder that's going to group everything and stick it in. I'm going to put mine on my desktop in my Indesign class files, the name of it. I'm going to give mine a different name. I'm going call mine a Green at Heart Flyer. I call this one Packaged Files, that's better. We're going to leave all of these ticked and we'll look at them all when we've finished. Let's click ''Package.'' It says, do not share fonts, it's illegal. But we need to share the fonts because we paid for them, so we ignore that. It's a gray area. Let's jump to our desktop and you can see there is my class folder and there is that folder that's been made, the package file. Let's see what's in here. Let's go inside and there's a bunch. The Indesign file is the main thing. That is the bit where I'm going send it off to one of my colleagues and they're going to start working on it. They are going to double-click the INDD file, the Indesign file, and that's what's going to open it up and they're going to be able to start working on it. A PDF there is just for a visual, just to give people a little quick visual without having to open up the in-design file to see what it is. You don't technically need that, that's just helpful. Same with this file here. The IDML file is just helpful. Say you are sending it to Jeff and Jeff is going try and open it, but he's using a super old version of Indesign. It means that he might try and open the INDD and it just comes up with lots of error is saying, "No way Jose. My version is too old or too new." He can open up that version and will there be any problems? Probably not if it's a simple document, if you're doing some hardcore, animated interactiveness, then maybe. But we're not at the moment so it should all work out fine. The important things are these font folders and links. These are very important. The instructions we ignore that, so I'm going to delete it. We didn't write anything in there, it's meant to be printer instructions telling them what to do, how to contact you. Fonts: you can say here, remember that warning that said, "Hey, you sure you can share these fonts? Be careful check your licenses," and you should. But this is how to get people a document and the fonts that are used in it, so it doesn't come up with font errors. So we'll send those to them. The links: links are just considered, you can see here's the logo and this graphic that I've used in there, so all of these are super important. If I just send an Indesign file, it's going to open, but it's going to say, "Hey alert I'm missing the fonts, hey alert I'm missing all the images." you want to send all of these. What you tend to do, is this is that folder they got packaged, we were just inside there a second ago, is you right-click it and if you're on a Mac, you got to compress, if you're on a PC, I think there's a Send to Zip File. You might have to look through your options. You're looking for a zip all compressed folder. Click this and see this little zip folder that can be emailed. You can't email a folder really, but you can email the zip folder, or it might be just backup. You're working in an agency and you're trying to keep everything, you're closing it off and you want to off your computer, but you know that the images are all over the place. You just want this tidy little package that you can archive and say job done, delete off my computer. Is you package it up into a folder, send this one. All right my friends, that is how to package a document and send it to people without having lots and lots of problems. 19. Class Exercise 1: Okay, so now it's homework time, but not homework. It is class exercise time and I'd love for you to go through and do this. Now when I'm running my in-classroom training, I find this is the most valuable part of the whole experiences, instead of following me step-by-step, you'll run into problems and be able to fix them yourself. Now, like I do in my classroom training, I've got a checklist. I'd like you to do all of these things, please. Set aside, it's a little bit of time now, 15 minutes, 20 minutes, it might take you an hour depending on how fast you're picking it up. But nicely, you get to do this at home at your own pace, so go through and do every single thing on this list, and when you're finished, you can use this thing in your portfolio you have permission, you can use this in your portfolio and say this is something that I've made and it is. What I'd also like you to do is send me a copy. You might follow this verbatim and that's totally fine, just want to see that you've done it, send it to me, depending on where you're watching these videos, often there's a comments or a class exercise part. So stick it in there. Either the PDF or JPEG version or even a screenshot, and just walk you through those lists. Let me quickly help you with what you need to do, is a new document easy, but in that new document it needs to be a US half letter or A5 depending on which part of the world you are in, needs there a bleed of three-millimeters or an eighth of an inch depending on what part of the world you're from, facing pages can be turned off, we're going to make it landscape. I want you to create your very own new library for this client here called Green Gardner, call it that. Add the brand colors, you'll see that in your exercise files, they are there, there is something called, so an 01 Flier. There's one called Class Exercise, and in here, IO Colors, there's the Colors there. There's the checklist that I'm reading through now as well. You can read through it on your own time if you don't want to pause this video, and here is some other bits, this is the finished file that you can see in the background here, so you can use that as an example if you get lost. Other things you need to do? Add those brand colors and add them to your CC library. You need to use a logo that's in there and one of the images there's three to pick from. You can use your own, that's totally fine. You can use your own logo, your own colors, I'd love you to do that, but if you just want to charge on and finish them, you can just use the example stuff. Your image needs to be cropped like this one, it's a lot better and we've cropped it down using our special tricks. I want you to make the heading uppercase, I would like you to put a dashboard and we used a dotted one earlier on. Create around all, around all was a name of this like this little round thing with ticks in it, so I want you to create this with a perfect circle, I want you to group these two together, I want you to rotate them around. Then I'd like you to save and name your file, maybe using the V1, and I'd like you to create a PDF with crop marks and then send me a vision of it, I'd love to see it. Now if you get stuck with anything, please drop me a comment or go back through the previous videos. The previous videos will cover everything we've done in here, if you do get lost though and you're not too sure, drop me a message and I'll give you a hint. Now, I promise you, I've been teaching InDesign for about 12 years now, and it's the people that actually take the effect and do these like little extra examples are the ones that pick it up the most. Following me step-by-step is awesome until you run into problems, so go ahead and do this one, send me a screenshot, send me a sample, even if you don't just keep it on your side, keep it for your portfolio, but make sure you do it. So let's go on to the next project. Exciting. 20. Ideas, Inspiration & starter templates: When you are getting started with InDesign, you might also be getting started in design in general. Getting ideas for layouts can be quite tough, so inspiration is how you grow really quickly. Look at the best people around, see what they are doing. We're copying here, we're getting inspired by and we are appropriating their ideas and using our own content, our own fonts, our own colors. Yeah, so just inspiration. The places to go, Pinterest is an easy one. The one in here in front of me, I put a magazine spread. Spread is two pages side-by-side and gives you an of ideas you might get started. Once you've signed in, you can start putting them to your own boards and you'll have a collection of things you like. I like another versions very similar to Pinterest is called Niice with two i's. There it is, dot co. I like this one. I find a bit of layout. So I have done same thing. I've done a search for magazine spread. It just removes all the Pinterest branding from it. I like this site. Just like Pinterest, you can have boards here, and when you get them all together, let's have a look at one of my boards, hand-drawn type. You can see, hey, psychonic gathering ideas to get you job going. Another really good one is Behance. Behance has some other perks other than just inspiration. I've done magazine spread in here. This is the place that we're going to look at later in the tutorial for your portfolio. This is where people get found as designers more, and more. Another perk in here is often they'll have, see this one here is not somebody's work so much as it's a photorealistic catalog magazine, you can download and start using it like a little template. Now one of the problems often is you'll see this and you'll say, "Great, here's a really cool cover, I really like it." But you have a different project. Somebody's come to you and said, "Hey, here's the cover." They haven't said here's like three words to put on it. They have said. "Hey, I want you to fill the cover with two pages of Word documents." And you're like, "You don't get to do lovely negative space and big blank areas because you've got to fill it jam-packed." I find the best inspiration for those who can takes heavy annual reports, brochures really takes heavy stuff as tell Google annual reports. I'm going to Google here, I've typed annual report, just add the word PDF. Publicly listed companies have to go and report their annual reports online. You will find lots of stuff, and I've just clicked on a few of these, and found like, I don't even know what CRH is. I'm just looking at how they've getting around. Because you see there's a lot of data that have to communicate. They've done some really cool infographics. They've gone for a three-column layout, 1, 2, 3. I'm just looking for an inspiration, just thinking like I never considered the big typed down the side, big image. Getting ideas from this. Here is BMW is one. You can see somebody's going to hand you a thing like this and I'm like, how I'm I going to show this Excel graph and actually make it eligible? You can see here they've done a really nice job of clarifying the year that we're at. Yeah, you just work through some of these really ticks heavy documents and get an idea about how you might approach it. Another thing you can do is use a standard template. InDesign especially, if you go to New, or File New, you go to print, and let's say we're doing some brochure or a magazine. You'll see underneath these blank documents now we have these templates. If you're using an older version of InDesign, it doesn't work. But here we've got some templates, and lets say we are doing some, you can see there's a jacket, there's a food magazine layout, let's click on this, and let's click on Show Preview. It just gives you an idea you like, "I like this." You might start with this, and you can totally uses and just switch out the images. There's is nothing stopping you. What you'll find is, you'll end up adjusting it to suit your tastes and you're content, and it will change quite a bit. You'll be able to take ownership of the design. When you click Download, you've got to be connected to the net. It takes a little while, but eventually, the only difference is that these images won't be there when you open it. You can see now it's downloaded. It is there. Done. Click open. It's using fonts. We don't currently have. We're going to look at missing fonts a little bit later on, but we're going to click Sync Fonts and hit Close, and you've got a magazine layout. The only trouble is without the images just doesn't look as pretty. But hopefully you've got access to some images for your work. Otherwise, you're going to have to go to stock Library sites and start filling it in, and it's a nice way to get started. Now my parting advice for somebody who's a little stressed out for getting design ideas is that it does get easier. Nobody is born a good designer. But now you've got an interest and you've got some tolls in this area. You'll start keeping an eye out for designs that you like fonts, you like colors, you start liking. What will happen after a few projects, you'll start knowing what clients like, and what they don't like, and what's worked, and what hasn't. As you get more experienced, you'll start to be able to pull designs at a thin air, but you're not pulling methanol. You pulling out of past experiences, successes, wins, losses. That's going to be it for our inspiration section. We're going to go through onto the next section where we start updating somebody else's file. Very important. 21. Working with other people's InDesign documents, missing images: Hi there. In this video, we're going to work with a file that's been sent to us by somebody else we're going to have some issues with the images not being loaded and in the next video we'll look at what the fonts not being loaded. First of all, let's go and get a file, let's go to open and done with the exercise files, and then there's a file called 02 existing work, open that up and there's Green at Heart Prospectus, open them up and morning, we're missing some images. It might say modified. Let's click Okay, it also might say we're missing fonts and we'll do that in the next video. But basically this is what we've got, we had a document, but these images are missing, the weird thing is that I can see them they're right there. Why can't I use those? Is that they are really badly. They look okay on screen, but they print really badly, so we need to link them back up. Now this highlights one of the differences between InDesign and word, word when you put an image inside of it, it just packages it into the DOC ex file, when you send it to somebody, it comes along with it with InDesign by default, it likes to link to the images. Why did we do that? It's because the InDesign can run super-duper fast when it's only linking to it. Whereas word if you've worked with a really big word document with lots of images, you'll notice it runs really slowly, so that's the difference. So when somebody sends you InDesign file, be expecting the images to be along with it separately, often in a zip file. If you just get the InDesign file and no images, you're stuck. So you need to find those images. They might seem them later or they might just be hiding somewhere on your computer or the network drive at work something like that. We just need to re-link them. Let's do that. Over here, you can see my links panel, if you can't see it, go to window and go to links. These are the images that are contained in my file. Now, these ones you've got the big red question mark, that means they are completely missing, so we're going to re-link them, you also might just say modified might have a yellow caution symbol here, often you can just click on them and add this one here which says update and often there be no difference. You click on it and the image will reload but nothing will change. Often that just cork between Mac and PCs, sometimes it's to do with the time zones, often there's nothing different given on it just to check, but often there is no change. My case though, missing this completely. I'm going to try and find this green logo one and I select it, and down here this is little chain icon called re-link click on him, and what I've done in your exercise files is go back to the parent folder and in here there's one called missing footage. Why should I call it footage? It should be missing images. In here, there it is, green logo one, I'm going to click Open, and it's gone and replaced it. Now you can select more than one, so select the first one, hold the shift, click the second one go to re-link and it's looking for this first one he called table top. I'm going to call this one table top, click Open and then I'm going to click this one that it says black. Nice. They're already linked, they are ready to go, they not missing anymore, what you might find is this weird content here is pink. It looks strange because you're missing the fonts. So let's go in the next video and look at missing fonts and fixing those. 22. How to find missing fonts in InDesign : Hi. In this video we're going to look at what happens when you open up somebody else document and it says you're missing fonts, is missing images as well, but we do that in an earlier video. I'm going to close this down. Okay. You also notice that it goes as horrible pink color for anything that is missing. So let's go and do that in our Tutorial. In this video we've been sent a file by somebody, but the fonts have come up missing fonts. If you're following along with the exercise files, open up "O2 Existing Work", open up "Green at Heart Prospectus" and it says missing links, which we did in previous videos so go check that one out. But now we're going to deal with this one, missing fonts. Now, this can be a super easy fix or this can be super complicated. Super easy means it's a font that actually exists on Adobe's Typekit. Typekit is the name that Adobe calls it's font library, and what can happen is it can load up and it senses you don't have that font in your machine, but it says, hey, you found Roboto Slab Light on Typekit and because you're a creative club member and awesome, would you like me to download it and install it for you? You can click "Sync Fonts" and life is good. Where life is harder, it's when it has no thinking here and it says I cannot find it anywhere. So what you need to do is you need to click on this "Find Fonts". It's going to tell you, in our case, it's Roboto Slab Light that's missing, and what we can do, I can click "Sync Fonts" here because it's on Typekit, but you might not have that option, often it's not. What you need to do is do one of two things. You can replace it with something else, because sometimes if you're working across Mac and PC, say somebody's used Times New Roman. Times New Roman is what a PC calls Times New Roman, a Mac for some reason equals it times. Same font, same attributes, so you might have to go and say actually Roboto Slab, I'm going to go into my list. This is the list that are on my computer and find it, it might be the provision. You might have Roboto Pro or something slightly different, and you can go to replace it and you keep an eye on it and see if the font changes that might be exactly the same. Or you might have to go through and say, I don't have Roboto Slab I'm just going to use Arial, and I'm going to hit "Change All", and it's going to go through and switch out every use of Roboto for Arial and that's a sad day because Roboto Slab is nice and Arial is not nice. Another thing you could do is actually just ignore this. Hit "Done". Don't care about it and it's going to go this big pink color. I know is there. I've got w on, off, okay, and it goes this horrible pink outline color. Say I'm just doing a text check. I've sent it to somebody and they're just doing a quick check of the text and missing the fonts. Don't worry about it, just leave it missing. Send it back to the person who originally owned it, who does have the font and it'll come back to life. If that's still not fixing your problems, you're going to have to install the font. You'll get a package document from your designer or whoever made this. It'll be a ZIP file and inside of it will be, lets have a look at an existing one. I've got,let's have a look at our desktop and design class files. We made this package file earlier. Somebody might have sent you this and inside here is a documents font and you might find, hey, there it is then and all you need to do is double-click it and depending on what program you're on, I'm on a Mac, and I can just click "Install Font". If you're on a PC, it's very similar process. What I've done for this class is in your exercise files under missing footage, there's one called Roboto Slab, and here are all the fonts that we need. In this case it's Roboto Slab Light. If I go and install this one now, life should be okay. Go back in here. Sprang to life. If you don't have that font and it hasn't been seen to you. You're going to have to probably buy it. Some fonts are free, lots of them aren't. If you're going to go and buy it, I can recommend myfonts.com. This is where I buy my fonts. Fonts aren't cheap, or it depends. People would love to work into these fonts. Say that I need a font and I need to buy this vintage one that's been made. You can see here, this one, he is going to cost me €27. Bigger fonts, by that, I mean, it has a whole lot more characters and whites, then you're going to pay more. But this is a good place to go buy it. But there are plenty of other places. Pick whichever one works for you. I hope one of those options helps you with finding a missing font. Let's get on with this tutorial series. 23. How to replace images in InDesign: [MUSIC] In this image, we're going to look at switching out images. Some are going to switch this one with this one. Let's go do that. Obviously updating somebody's text is super easy. Grab the tab tool, select it, change it to the date. Selecting images just as easy, I'm going to click on this image here. It doesn't really matter actually. If I click on it, it highlights it over here. I can have nothing selected and selected here. I know that that's the image, guiding tools one. But let's say I'm replacing, I needed a new cover, I could delete this and bring in another file and try and stretch it around. But what we're going to do is something that a little bit easier and undo that. With that selected, I'm going to read link and instead of what we did earlier, which was relinking to like a missing file, I'm going to go into our exercise files, go into existing work and this replacement image can going to switch it out. Now what we're going to do is we're going to grab our content, grab, move it around, reposition it how we want. I am going to to zoom out often that is helpful when you are repositioning images in the different sizes. I'm going to hit command minus to zoom out. You might hit control minus if you're on a PC. I'm going to use my black arrow. Click on it and if I click on that content grabber you can see it's actually quite a big image. What I might do is hold down my command shift to resize it. Up there. Bring it down a little bit as well and shuffle it across. It's my new cover. Super easy. That's it for this video. Let's get on to the next one. 24. Opacity, transparency and see through ness in Adobe InDesign : Opacity, transparency, seethroughiness is what the title of this video is going to be. This black box here you can not see through and it's helping me see the text against this. I've done with his green boxes here you can see through a little bit watermark this logo, page 2 is a big black box that is transparent. Let's go and do that now. First thing we're going to do is grab my rectangle tool, not the rectangle frame tool, before I start drawing what you might have to do is make sure you got nothing selected, then go to the rectangle tool. Make sure the stroke is set to none and the fill of this box is going to be set to black not registration, registrations is bad. I'm going to draw a box roughly to go on the outside. Now it's on top of my type, so I'm going to grab my black arrow, I'm going to right-click it, and I'm going to go to arrange and I'm going to go to sent backwards. By chance I have to go back once. Often you'll have to right-click it again and go say and backwards until eventually it get behind the white-type. It depends on when this thing was added to the document because it was last added, it's on the top of the stack so it's easy to get behind. Next thing I want to do, it's going to adjust this and this lady over to the side here because we don't want the black box covering her. But what I'd like to do is lower the opacity and I just have to select it with my black arrow and up the top here there's this one called opacity. I'm going to slow it down, slow it, it's not a word, but I'll lower it anyway. You decide how it's going to work with a background image,or how low it should go. I might do the same for this green box. I'm going to do that, lower this one down as well, it's just for style points. Looks cool having it partly see-through and it's a thing for this book. You can see here on page 2, this big black box here, it's just a cool way of having a text on a black background and we're showing part of the image and stop points. Now we've done it for black boxes, you can do it for anything, you can select anything low the capacity and have water text. Might be watermark for the logo. So let's add this guy down the bottom here, and shrink it down. Moving down here. But I'm going to lower the opacity, so he's like a little watermark thing in the bottom there, which I don't like. But anyway, that is opacity. Let's get on to the next video. 25. Why is InDesign adding [Converted] and making me save as: [MUSIC] All right. I've just opened a file. It's an older file that I've been working on, and it come up with this thing that says, "Converted". Now I try and save it, and it says I got to do a Save As. It won't let me save it over the top of the thing I just opened. Why is that? It's because InDesign is updated between when you created this file and where it is now. It might might have been six months ago, it might have been two months ago, and there is nothing we can do about it, so we just have to live with it. We just go File, Save, and just give it the same name, okay, and it'll say, "Would you like to replace," and you say, "Maybe." What you might do before you go and replace it over the top, I'm pretty confident, I always do it and I never had a problem. I do not want to get you into that problem. I'd like you to go off, make a copy of it somewhere, stick it somewhere hidden in case this all goes horribly wrong for you. At least you can go back to that original. For me, I always replace it with the same name, and I don't have any problems. Just upgrading it to a newer version of InDesign, and we just have to live with it. And that is all. Let's get onto the next video. 26. What if I can’t find the InDesign file - can I open the PDF?: Let's say we can't find the InDesign file, we only have the PDF. Can we open up the PDF and InDesign and start editing it? No, it's not possible. You can place it and it'll stick it in like an image, but you adjust it. The way to adjust it is that, hopefully you're Creative Cloud subscriber and you've got something called Acrobat Pro or Acrobat DC. If you don't have that installed, go and do that on my Mac here's a little icon apps and where's mine's Acrobat DC. It's the current version of it. If yours is not installed and install it on a PC I think the same little icon is in the bottom right. What you want to do is find your PDF, download it from your email or wherever you've got it and right-click it and say, "Open With" and make sure it goes into Adobe Acrobat. Now, because this is the provision and the paid version mine's called, "Acrobat Pro DC" If yours is this Acrobat Reader, it's not going to do any of this though, but because you're Creative Cloud license user, and it's going to work and what we're going to do over here on the right is one called Edit PDF. Now, don't get your hopes up too much. You can do additions, you can add images, but you can't start swapping around and using like InDesign, it's very very caveman. Now, I'm going to make sure I'm on it, it along the top here, let's say, "Address is changed", I can change it to 100. It's really slow and clunky and jumpy. I can do that, no problem. I going to scroll down a little bit and you can see here, let's add as new change or it's just a typo or price change. Jumpy, that's okay. You can do basic stuff in here, basic formatting, you can add images, add text, click, and drag out of the box. Adding text. I'm still waiting for this to catch back up. Mine's a pretty high call Mac and it is a little bit did. Here it is, it's back. That's last ditch use want to make some basic means and you don't have the InDesign file, you can do it here in Acrobat Pro. Now we've done it in Acrobat Pro. This method works and Illustrator often as well and illustrate a has some pros and cons to it. It's a little bit harder to use illustrator if you've never used it before. But there's a little bit more formatting and layout changes you can do so try either this one, this is the easy version or Adobe Illustrator and opening your PDF in there and make changes. That's it for this video. I hope that's helped. Let's get into the next tutorial. 27. Creating a new company newsletter or brochure, what are spreads: Alright, in this video, we're going to create our newsletter our brochure. We're going to work on our margins, our columns, the gutters between it. We're going to look at things called spreads. It's going to be exciting. It's going to do it. Alright, so first thing we're going to do is create a new document. Either click this button or you can go to "File" "New Document." We're going to start with some of the presets print. Now, depending on the part of the world we're going to use A4 or "Letter," we use "Letter" in this case. You can see mine keeps defaulting back to millimeters. It's mainly because in between making videos, I have to do work InDesign and I work in millimeters, so I keep switching it back anyway. So there's my sizes, I'm going to work in portrait and we're going to have facing pages turned on this time. Number of pages we're going to have eight. Just consider when you are making, say, a newsletter or a brochure, often, you have to work in multiples of four. You can have two pages, front and back of a use letter. But often when it gets past that, it's actually big sheets of paper folded in half and stapled. So you can't have like say, six pages because you'll have one big I'm sheet folded in half. Then you have this kind of like one sitting in the middle and it becomes very hard to bind together. There's ways around it, but often you work in multiples of eight. If you go ever opened up and up the newspaper and pulled one sheet out of it, you've dropped it into pieces and you pull out one sheet, you'll notice there's actually four sides. Think of that when you are doing a newsletter, Definitely don't do five because you've got a back of a sheet of paper that you have to use. Starting number, this might be that you've got a really long document and you've got pages, and you want to start the page numbering on something different. We're going to keep our start to one. Very rarely will I change that. Probably it takes fine and we'll look at in a later video. Columns. We haven't used this before. By default, you have to have a minimum of one. What we're going to have is three in this case. The gutter is the space between these columns. Just leave it to whatever the default is. Let's have a quick look at why we use columns. In here, I've done a little search for magazine spreads. What you'll notice is that when people are designing magazines, professionals, they will start with a number of columns and consistently use that throughout the magazine and it gives a bit of consistency through, say, a really long document so that you're not going to every page switching out different columns. It's one of the things that are really easy to notice when you're looking at amateurs do work is that there's no consistency with columns. Often, it's two, three, four, or five columns. Let's have a little look at some of the examples. Now you can break these rules, but it adds a bit of consistency throughout. So let's look at, say this one here, it's an easy one, there's three columns. That's what we're going to be doing and that is keeping the three columns, let's have a look through, say this one here. This one's a little bit different. They are using three columns, but that kind of breaking the rules a tiny bit with a spreading across some of these. So there's still a one, two, three, and now you are thinking like, there's only two columns, but you can see this image here is actually spanning two of them. They're doing the same thing over, so still three columns. But this one is spanning two of them. Let's have a look at some of the ones that, say this one here, I'd say is maybe an amateur work because you can see there's no real columns in there. This is not even, so it should be one and then another one and then this one's spit [inaudible]. I don't know, hope you can kind of see it. It feels like there's no consistencies here. This one here doesn't spin the columns like it should and so it's got all the right ingredients for a great magazine, but I think columns can really help lift an armatures work. This one here, two columns. This one here, still isn't there, I think in the amateur category, it's cool, it's nice, but it's columns I am just unsure about. See this one here, it's beautiful but crazy, but it's still using four columns. So one, two, three, four, this big giant number two spans two of them, and that's okay. You're allowed to break the rules, but only breaking the rules within the rules if you know what I mean. Alright, that was a long explanation let's jump back into InDesign. We're using three columns, and margins, we're going to use something slightly bigger, so we're going to do 0.8 inches. You'll notice that it changed all of them at the same time because this little linking icon is set. I'm going to break that now. So I want to do all of them except I want to do the bottom to be a little bigger. It's going to be 1.4 inches. Now if you're using millimeters, I'm using 20 all around except for the bottom, which I'm using 35 millimeters. Couple of things to note is often the bottom will be bigger than the rest of the document, it gives you a little bit of wiggle room to the bottom to put things like page numbers and document titles. It also just gives a nice, even if you're not going to put page numbers down there, it gives a document a set of grounding. It gives it a base at the bottom. It's just a visual footing. Not sure how to explain it, but it's nice with a nice thick bottom of the bottom. Well, you'll also notice is there's no left and right, there's inside and outside. If I turn facing pages off, can you see it becomes left and right, which we understand, but then facing pages on, it becomes inside and outside. That means if I jump back to my example, you can see here it just means, look at this example here. It's a pretty big example. You don't have a left and a right essentially, but you have an inside margin and an outside margin. What you often can do is you can have a slightly bigger inside margin if you've got something called crepe, if you've got a really big thick magazine and maybe these pages are disappearing into the gap here, they call that crepe. You can increase that, our magazine is not big enough to worry about that. Often as a designer, even if your magazine is really big, that is often the role of the printer, to stop playing around with the crepe and adjusting that for you. Talk to them about it if you are worried about it and often they'll help you out. Back to InDesign. Bleed. We're going to have our 0.125, okay. Unless you're in millimeters and then it's three mill and slug, we never use. We're going to click "Create." Let's jump to our pages panel. If you can't see it, it's got a window pages and just have a quick little look at what we've done. We've got eight pages, so page one here, and that's our cover and then it moves to spreads. I double-click page two and you can see here, I'm going to zoom out, come on minus, I am going to control minus on a PC, you can see they've put pages two and three together. You can't have them separate and that's fine, but obviously when you wicking on a magazine, it's handy to see them to get that. That's why we look at this word, spreads. We want to see you them together. Great work, let's go and save it, "File" "Save." Let's put it into our Desktop. We've got out InDesign class files, and let's call this one, GaH and this one's going to be our newsletter, V1 now final. Alright, let's get into the next video. Let's look at something called master pages. Exciting. 28. How to use a Master Page in Adobe InDesign: Okay, good-looking people. What we're going to do in this video is work on our master pages. When we draw our rectangle, pretty little box that our page number is going to go into. We do it once and it appears on all of our pages. Let's go and do that. To work on the Master page is we need to say this page is panel. So got a window pages if you can't see it and just have a little look at these pages, I've got page one, two, three, four, but you can see the A in the corner. It means that they're attached to something called the A-Master. That's there by default, you are given one. You can have as many master pages as you need, and you put things on the master page that you want to appear on every page, like a page number, maybe it's a small like a title of the document, it's version or date or who produced it. Anything that you want to be consistent on every page, it might be some graphics or logo or watermark to get to the master page, you need to double-click up here. You might not be able to see it, so you might have to scroll down or find it, see if you can see it hiding up in the top of the pages panel. To get to it, you just double-click it and you got to make sure you're there. To make sure it's a little, it's not very obvious. I wish there was like a big flashing green light that seed you will in here, but down the bottom here it says A-Master. I'm not on one page or two or three am on A- Master. I've zoomed out a little bit just so I can see it all. Maybe not that file. It's got the rectangle tool and let's have the top here give it a fill of magenta is fine and just draw a big rectangle on this left-hand side. What you'll notice is, can you see here that rectangle is appeared on all the left-hand spreads. Not on the right hand ones I'm drawn anything on this side because you'll have things like page numbering on different sides of the pages or you only want the document name and the top right. You don't need it on the top right of this page so you have left and right spread. Do the same thing over here do a different style, a box maybe a different color. Just so that you can see over here that when I draw stuff on the Master page, it appears on all of my pages. You'll notice if I go to these pages, double-click on page one, grab my black arrow is I can actually select it. If I need to delete it, it needs to come off the master page. Let's jump back to our master page, double-click it, and select new and delete it. What I'd like to do is grab the rectangle tool and I'd like to draw a rectangle that sits down the bottom we're going to be doing you sorted the beginning there kind of like a box that sits on the bottom. I wanted to make sure it overlaps the brief so gets trimmed off in the bun and it goes right up until the spine here. How far up? Let's have a guess we can change it later on and you'll notice on page one, there it is, they double-click Page two, I've got that nice color box will duplicate it for the other side in sec. On page one, actually, make sure you go back to my A-Master, I promise you'll be like the world's best user of the InDesign and you will still forget you're not on the Master page. It's been ages designing something on page one thinking it's on the Master page, and have to copy and paste it afterwards, we always forget. Same happens when you think you're designing on page one and you're actually in the master page and you realize everything you've designed is on every single page, you just have to do some copying and pasting afterwards. Next thing we want to do is I want to fill this with one about colors. What you can do when you get started with the new document is you'll see at the top here there's actually none of those colors through it that's sitting over there, which is no big drama. But you can't be all official and bring this swatches through properly. With a black arrow, have nothing selected, okay, right-click this guy and say add these swatches and just do it for all of them, so you know you've got all of our colors as part of the swatches thing. There he is there. It's a bit weird. I know that there, but why aren't they there? It's because this is kind of new and there's not a super slick integration yet. That will change, if I have the selected and at the top here, I'm going to pick my green at heart rate. You will see it appears on all the right hand spreads. Now I'm going to select it, copy and paste it, edit copy, edit paste and we're going to have a left-hand spread as well. Let's double check it on other pages. Double-click page A, page two, page three is all a little foot out color box. The next thing we're going to do is do our automatic page numbering will do that in the next video. Skip to that. One of the things I want to explain before we move on though is, master pages control all of these pages. So when it comes to things like adjusting the margins and columns, it's best to do it in the A-Master because it'll adjust all the pages. If I say so I got page one and I'm like, I want to change the columns to four and I go up to object, layout sorry and get a margins and I pick columns are now going to be four. Click Okay. What happens is page one changed because see page two and three are still the same. So that's how to change individual pages, but probably more often than not, you just want to actually change them all. Okay, you've decided you want change the modulus on everything. You do that by going a master, so double-click it and make the changes in here. Now if I go to object, and it's going to layout margins and go to four and you'll see it does this page. You have the drop here and double-click this page go and make it go blue and do it for this side as well. Fiddly, I know, but that's the way it is, it's going to fall. Now, what you'll notice is I got to page one, page two, page three, I've done those adjustments. If you are finding it's a little bit weird it's probably because you're not doing it on your master page. I'm going to undo that. Let's go and do automatic page numbering in the next video. 29. How do I add automatic page numbering to a InDesign file: Hi there. In this video we're going to look at automatic page numbering, where we can jump to any page and it automatically knows what page, we don't have to manually type it in. We're going to use the automatic page numbering feature and the master pages, so let's go and do that. First step we need to make sure we're on our A-master, because we want to do it once and it'll appear all the pages. So double-click any of these two spreads. I'm going to zoom in, and just double-check that you can see down here it says A-master. If it's not, just keep hitting this, double click,double click until you get in there. What we'll do, is we'll start with the bottom right, so I'm going to zoom in a little bit. We're going to grab the type tool, then we're going to draw a type box anywhere in this white area, because there's nothing here, it's safe to be drawn in the white now, it's fun. Let's type in page, I'm going to use the word "Page", space. I'm going to now put in my automatic page numbering. So we're going to go up to Type, and we're going to go Insert Special Character, there is one in here called Markers, and then it's called Current Page Number, and a horrible shortcut. But sure why they decide like, "Yeah, that's the one they use all the time, so we're going to use this." You have to use your two hands and your nose to get that one to work anyway. It says page A, which is a bit weird, you're like, "That's not page 1." It's because we're on now A-master. It means that we're on this page A-master, but if I jump to page one, look double-click, hey, I'm on page 1. Double click page 3, hey, I'm on page 3. So that's the automatic page numbering. It puts an A because I'm on my A-master but it'll adjust for every page. So let's go back to A-master and let's style a tiny bit. I'm going to select the text. Now 12 is the default font size, is too big. Ten point is a nice, good body copy size for page numbers in terms of the font, I'm just going to put an Arial. We'll look at fancier fonts later on. I can't even spell Arial, Arial Bold. I'm going to make it white. So I have the tick selected. Let's go up here and I'm going to pick a paper. What I also might do is I'll grab my black arrow. It's gone. Click anywhere in the center, it's a little hard when you've got nothing to click on. Just click in here in the center of this box, there it is. What I'll do is highlight the text again, and I'm going to get it to go to paragraph, and I'm going to get it to write a line. It just means that when I get up to say double digits, it will stop pushing away from the side that way. I'm going to use a lineup with that margin there. Now if yours is not lining up, I'm like, "Why isn't it lining up, it always lines up? "Go to View, Display Performance, no Extras, no, this one here. Grids and Guides, Smart Guides is turned off. I have no idea why. It's been on for the rest of the course, I must have accidentally bumped that shortcut, but if it doesn't, you'll see Smart Guides. Smart Guides are amazing. They are those little lines that appear. I can see now it lines up perfectly. So down here I'm lining up nicely. You can use your arrow keys just to push it down a bit further, and there's my page. What I want to do is copy it. Say I've used Command C, and open this page, I'm going to go Command V. I'll put it over here. I'm going to get to line up, but what I'd like to do is highlight the text. Boom, boom, boom. Is it lining up across spreads? Probably not. It does do it by accident. You can see the lines I'm dragging out, I zoomed right out and those green lines tried to line it up and it does work. Most of the time it works, but it's a little bit hard to do, I guess. So I'm going to click both of these and align them. To select more than one object, black arrow, click on this box once. Hold shift, click on this box. I'll zoom in a little bit, and up the top here I've got a little shortcut version there, but you can go to Window and go to Object, Align. Let's just get them to align. Double check, nice. So just double check page 1, page 2, page 3, it says page 3, and that my friends is automatic page numbering. Let's get on to the next video. 30. Removing masterpage & delete parts off the masterpage: All right. In this video we're going to have page one where it's got no master page applied, even though the rest of the pages have master pages. We're going to insert a blank page. We're also going to look at, you can say this still has the A-Master applied, but it doesn't have the page number. I've just selectively deleted this, or in this case, I could go and change this color of this box. It's still part of the A-Master. Let's go and learn how to do this. There's two ways we can do this and it depends on your requirements. The first page I want to completely remove the A-Master has wanted to be a blank page with nothing on it. What we can do is you can select on page 1, right-click it and go to the one that says "Apply master to page". Click on that. What we can say is to pages 1, I'm going to say none please. Click "Okay". If I double-click page 1 now, hey, it's got none of that master page stuff on it. That's going to be great for our cover page. The other way you might implement this, is that you want to delete certain parts of the master page. Let's say page 2, I double-clicked on it. We want to remove the page number, but we liked this colored bar here. So what we can do this two ways of doing this, you can right-click it and there's one that says override all master page items. Click on this. Still got the A-Master applied. If I add something to the master page now, it will still receive it. But, you can see these objects are actually clickable. I can say I actually want to get rid of the page number. This side here, because I haven't done it, you can see I can't select it or remove it. This one here, it's still part of the A-Master, but these objects are actually yanked out so I can stop manipulating them. I could change the color of them. I could do some stuff to them, so it depends on what you want to do. Another cool little trick that I use mostly is salinate the exact same thing to page 4. I'll hold down command and shift on a mech will control and shift on a PC and give it a click. That is like a manual way of doing that thing we just did with the override all must page items. Then A Y, that's a shortcut. They make the way shortcuts in Indesign. Who does that and remembers that anyway. Maybe I do. Getting lost. There's two ways you can right-click the page and just say, I want to apply a none to that page, or you can do this, override all master page items and pulls them off and you can individually decide what to delete. 31. Production Video 1: Hi there. Welcome to our first production video. What's a production video? It's where we're not actually learning anything new, we just need to get some stuff done. We do learn a little tips and tricks as we make stuff, but you can skip this video if you like. We're going to go through and actually just put together this cover for our newsletter before we move on, let's go and do it. Okay, so let's do the cover page, double-click "Page one", double check down here you're on page one and zoom out enough that you can see the edges, especially when you're working with like a full page. I'm scrolling around with these guys. I'm actually using a little shortcut, if you hold on "Space bar" on your keyboard, you see your cursor turns into a little hand and I can click "Hold" and drag, I use that quite a bit. Okay, so I've zoomed out so I can see the edges easily, and I'm going to go to "File", "Place", "Command D" or "Control D" on a PC. I'm going to bring in "Garden Centre", so make sure you're in your exercise files, you're an O3 newsletter, and make sure you're working with Garden Centre. Click "Open". You can click once or you can click and drag. I'm going to click and drag across to try and get it all in there. It's a little bit big for it, but it's okay, remember W shows you it trimmed up. Okay, so there's a nice bit of bleed there that's going to go in the bin so it's going to have a nice edge, great. So now we're going to bring in the logo, go to "File", go to "Place", and we'll bring in the black one and click "Open". I'm going to click once over here, make it a little bit bigger, maybe about that sort of size, and stick in there even bigger. Okay, remember we're holding down "Command" and "Shift" to do the resizing and it's going to go in the middle. You see the green line appeared to show it's in the middle. You can get it to align perfectly in the middle, by opening up your "Window", go to your align its under "Object", "Align". What you can do by default, it's going to align to selection, which means, if you've got one thing selected, nothing's going to happen. It's when you have two things selected, it's going to align to those two select things. It doesn't make much sense. What makes sense is I'm going to align to the page. Switch that out. Okay, so now when I hit "Center", it's going to align to the page behind it. Same if I did this side, it's going to align to the page. That only happens if you've got that selected. That could be a pain next time you try and do it and you're trying to just align two things like we did for the photo numbers, okay, the page numbers. So you might have to go back to selection afterwards. We're going to leave it at selection and move him up. Awesome. Before we go, we're going to go and switch this out for the white one. You're like, we just put the black one in? I know it's more of an example I want you to get used to be able to use this links panel, have these selected, you don't have to actually and make sure this is selected over here, "Logo green", and go to this one that says "Relink" and switch it out for the white version. Hey, okay, practice. We're practicing. Alright, production video over. Let's go and talk about image resolution. Fun. 32. What is Effective PPI & Image resolution in the InDesign links panel: Hi there. In this video, we're going to look at what image resolution is, or DPI, or PPI, effective PPI, basically it comes down to the quality of your images. Let's go and do that. Image resolution might have come up in your world before and you might be like, "I can understand it, maybe I don't." Maybe you've never heard of it. Let's have a quick little look at what it is. Resolution is basically the quality of an image. I'm going to click on this background image here and I'm going to go to my "Links panel." If you can't see Links, go to "Window" and down to "Links." What we're going to do is, you might be able to see it already, but I don't have mine activated. See this little area here says "Show/Hide Link Information." I'm going to make mine go up a little bit higher just so I can see a bit more of this link information. You can do it little down, you can make it bigger and it just gives you information about the image. There's the name, it's a JPEG, it's on page one, it's RGB. What we're really looking for is the major one, it's the effective PPI. PPI is an acronym for pixels per inch. If you've ever heard of DPI or dots per inch, it's exactly the same thing, just a new way of explaining it, pixels instead of dots. We've got targets to hit. The effective PPI maximum should be about 300 and that's going to give you amazingly beautiful, crisp, clear image when we print it and the lowest that we can go is variable. It comes down to what its purposes. If this is going to be printed commercially through an offset printer and then put out in our display case, at our showroom, then we want it to be as close to 300 or above. You can have 1200 and that's fine. There's nothing wrong with that. Above is good. Below is when it starts getting into the gray area. So 300 is the target. It's totally just a made-up number that looks really good. Some people use it like some "carved-in-stone-can-never-be-changed" number, but really, if you're close to 300 like this one here, this is 291, I would not care. There's probably prepress people that do that might be going a red color now. But if we're all honest, we've all printed stuff below quality and nobody has noticed the difference. It's how low can you go. What really happens is, it's depending on how big you've stretched this image. This image is, you can see it's actual PPI is 300, so whether it's 300 DPI image or PPI image, but I had to stretch a little bit bigger to cover the bleed, so I just made it just a teensy bit bigger. It reached over this blade here. Let's look at an example that won't work. I'm going to delete this guy in the background temporarily. I'm going to go to "File" "Place." I've got an example in O3 newsletter, grab that one and let's go to "Image resolution" example. I'm going to bring it through and I'm going to bring it in, I just click it once and that has come in. It says it is 72, which is going to commercial printer. It's not going to work, so it needs to be at least 300, but it looks okay on screen. If you were going out to a screen, as in it's going to be emailed or downloadable from your website, 72 is just a fine old size. I'd like it to be a little bit higher, but the minimum is 72 to look okay on most screens. On a retina screen like this MacBook Pro that I've got in front of me, it'll look a little bit pants, but I've got to stop using the word pants. It's UK slang for bad, that pants, not bad anyway. Anyway, back to resolution. It is 72 dots per inch or PPI, pixels per inch. It's going to work for screen, but it's not going to wait for print, but let's just make it bigger. I want to use it for the whole cover, so I'm going to make it quite big. I'm going to make it nice and big so it covers the bleed, I'm going to trim it up there and it's looking okay. It looks fine on my screen now, it might look okay on your video, but it will print really badly. You can see if I select on the effective PPI is 300 now, why is it changing? It's because I'm scaling it out. Watch they effective PPI as I keep scaling it up, scale it up, they go, it's 28. It's stretching those little pixels because if we zoom right in, it's actually made up of little squares. That's what resolution is, or pixels per inch. This is a pixel and how many pixels are in an inch at the moment is only 28 in that inch. You need a lot more dense pixels for this to work. Zoom out and you can start to see, now it's looking a little bit ready around the outside, pants even. The main thing to look at is, don't worry about the quality of the image that came in first, back in the days of your, you had to make sure everything was 300 PPI before it came in. What you can do now is you just looking at effective PPI, ignore this number here, what it is here. If this is going out to commercial print, this is so far from 300 that it's not going to work at all. Now, what are the boundaries? Say I do want to use this commercially, I'm going to scale it down. You can see 78 is still too little. If I want to use this in commercial print and I want to use it at 300 dpi, you can see I'm getting there, 138, might move this across so you can see it closer. Getting smaller, 227, 312. Close to it. That now is the right resolution to be printed. Unfortunately, it's teeny-tiny. Okay, so if you're downloading images from the Internet, you just got to make sure they're really big so you can lease when you scale them down, you get close to 300. How low can you go? Now, this is total personal preference. Now, the rule is 300. But I know if it's a good quality image from a stock library site, you can get down to about 180, 150 if you're really sneaky and it will print fine. I probably wouldn't do this for the front cover because it's such an important part of this document. But say it's an image that's on Page 2 and it's just a small image and the resolution is about 180, nobody will notice. Again, it really depends. If you're trying to sell Bentley and you've got some low-quality images that are just slightly off, I'd be looking for 300 and above for resolution. But in the general day-to-day world, 180 works just fine for me. To recap, if you're working on screens, that means it's going out via digital means. It's going to be emailed or via downloaded from our website, 72 is the minimum. A lot different because screens deal with resolution a whole lot better than when it's printed physically. If that's the case, I can have this all the way up at 54, not quite there, but we're getting close, 59, come on, Dan, you can do it. 71, 72, that is fine if is it's physical size, that's going to be a digital download. In summary, just make sure your effective PPI is between 72 and 300, depending on its purpose. 33. How to add drop shadows to an image or logo in InDesign: Okay, in this video, we're going to look at special effects in InDesign. There's not many of them in InDesign. It's more of a Photoshop job, but there's some basic stuff here in InDesign. The main one that I use is drop shadow, and it's really handy, for say, this logo. It's against a mottled background. We can turn drop shadow watch this turn it off. It's easy enough to read, but it's even easier to read with a drop shadow on it. We're going to show you how to do that. Let's go and do it. First thing we need to do is we're going to select on this logo here, not the center of it, just with the black arrow click anywhere, but your content grabber, and let's go up to "object". Let's go down to "Effects" here are our Effects. We're going to start with "Drop shadow", I going to move mine just over a little bit. I notice "Preview" was on by default for mine, you have to tune in yours on. You'll see there's a drop shadow on, off, on, off. When it comes with a drop shadow, the opacity is important, it's how dark it is. You can see I can lighten it up, darken up, 75 percent is, I don't know why, always the best one. Distance is how far away it is, you can click up. You can see it's moving further and further away. Maybe 0.5, maybe even lower, or was it on by default, I can't remember something like that. Offset is exactly like distance except you can control the up and the down rather than this one does lift and write all X and Y at the same time so you can say actually I just want it to go out that way. I'm going to put that one back to what that one was, and the angle is which way the sun's hitting it and casting the shadow. You can see here the angular 135, it's coming down from this angle. You can say drag this little guy around, and it's now coming up from the bottom up this way, I find top lift or straight up and down is the key. I'm going to use 90 for strap down from my one. Size is how can it fuzzy the edges out, was if I make it really big, it's getting big and broad. It's a little bit hard to see, I guess I'm going to move it out, just click "Ok" and just drag it out here so you can see a bit more. You can see the size now is this big, broad option. To get back into it, I have a five closed it down, you got back to object, back to effects and click on "drop shadow" again, so that's the size. If I moved the size down, you'll see it gets sharper and sharper and sharper until it's more of a hue run the outside, it's up to you. We don't use "spread" and we don't use "noise." You apply around them and it looks a little lame. For me, I only have to use the drop shadow. There are other ones, I just don't find a purpose for them. Let's have a look at them, so I'm going to undrop shadow and take inner shadow. Puts like a shadow inside the logo. I don't really use it very much, I'm going to untick that, took on "Outer Glow." And it's got a halo effect on the outsides. One thing that you'll notice is that, I will turn this tick on and off, you'll see that these, I can't change it. It's because you can see I'm still selected blue here. I still got drop shadow selected, but I'm tuning this on and off. You can do that separately. Say click on the word "Outer Glow. " Then I can go to this and say actually I want to make my size bigger and gets bigger halo effect. "Inner Glow" you turn that one off, that one on, just glowing or on the outside of the life to see because it's a white logo. You can make it a little Bevel and Emboss. You can make it look 3D ish, not my favorite, but it's alright, you might love it. Satin, I didn't really know what that does is like Bevel and Emboss, but more like a pillow. Basic feather, directional feather, all of these, you can have a play around with them, don't use them. You might have loved them, but it's bit of experimentation. I only use drop shadow a lot, mainly because the exact same instance we've got here is that this white logo is against the background, and it's maybe just not as clear as we'd like it to be, so we want to cloud lifted off and push it. It's really good for white text against the background. If you want to go through there and do some more, excite you and turn it into a neon sign doing cool stuff, and that'll be the job Photoshop. What you do is you'd open up this Lego and Photoshop, and that is the tool to do more special effects. This just has the real basics here in InDesign, Photoshop would be the one for the more exciting ones. 34. What is TypeKit used for in Adobe InDesign?: Let's work with some new fonts. We are going to go down to page 3, we're going to get my type tool, draw a nice big box in the center here and we're going to call this one Healing Herbs, okay. We're going to select it and at the top who are going to go to Character and you'll drop this down and you'll see there's a bunch of fonts on your system. These are the ones that come at by default when you machine. We're going to look at adding fonts from Typekit and some other free stuff. Let's quickly look at free fonts and then jump into Typekit. there are lots of places to get free fonts, 1001 free fonts, deaf font, I find. There is a lot of techie fonts and crapy fonts in there. So I just jumped to Font Squirrel. It's a great place for commercial use fonts that are free and you can go through here and download them. See there's Alex Brush here, I'm going to click "Download". I'm going to stick it on my desktop in my class files click "Save". I'm going to open up that little zip file that it came with, double-click it and it's given me this, the ttf file, that should hold the fonts that you want. It might be an otf file. I can't remember what the other ones are, but double-click it and depending on your system, it'll come out with install font super easy, both Mac and PC. Now if we jump into InDesign, no need to restart. I can go up here and say, "Alex". There it is, Alex Brush and I can start using that font. I'm going to make it a lot bigger, maybe up to 40. There's that font, commercial use ready to go. Now, Font Squirrel and Free Fonts site's like it, often have really good heading fonts, but very poor body copy fonts because, body copy fonts just take a lot longer to make because there's so many more nuances than say, just these big headings here. So in an earlier video, we looked at my fonts. We can buy commercial fonts, but we're going to look at Typekit, because Typekit is an actual paid for commercial font library, okay, from Adobe. But because you've got a Creative Cloud license, or potentially you have, you get access to it for free or at least as part of your subscriptions. Let's go and check that out. So up the top here, the easiest way is to click this one, this is "Add fonts from Typekit" and it's going to actually open up a web browser. You can't do it from within InDesign. Let's go, so it's opening up here in my browser and if you're not logged in, you might have to login with your Adobe username and password, mine's already logged in and I love this site. You can do some cool things. I'm going to omit this one that says My Library. Actually go to All Families and the Sample Text thing is quite useful. So I can say I want to do healing herbs. You can see what's it's going to look like before you download it, which is really handy, play around with the size. Because it's going to be a heading. Something like that and you can start working through the fonts. A nice thing about Typekit as well as over here, this Classification. Now all the fonts are on my machine, I've got hundreds of them, but they're all not groups. So it's a bit of a pain to go through and say, I want to find like a hand-drawn font. So it's easy to come to Typekit, click on "Hand" and you can find hand-drawn fonts. You can download them from here. You can see this one here a Slab Serif, nice,, big thick chunky one. You can also add extra little filters as well. You can say I want it for Headings only, so it's going to cut out the ones that it thinks are mainly for paragraph text. Down here is quite useful as well. Say you have a really long headings, you can pick this width to be quite skinny, so you can fit quite a lot of letters and a title or if you want a nice big thick wide one. I'm going to click on it again and it just deselects all of them. If you want heavyweights or a nice thin weight, contrast, x-height, there is all sorts of things. Like this one's quite useful if you're picking a body copy font forever for a company. I hate it when you get stuck where you pick a font, but the numbers do this weird thing where they, can you see down here, they all sit on the baseline, which means this 4 dangles below and the 6 is above. [inaudible] I found that also has all the numbers lining up, to not give me any issues later on. I'm going to deselect that. Actually, I've got some fonts we want to use. I'm going to go in here and I'm going to up here and says search Typekit, and it'll download a couple of fonts for me. The first one I want is called Lust. You can choose Lust or Lust Script. With a bit more clearly really, we are just going to use the plain old Lust. Click on it and there's an option here that says, Sync All, click on that. Click "Back". Relax. The nice thing about this is that actually Adobe's Creative Cloud App is actually installing this for you. I'm going to click "Close". Now if we jump into InDesign and highlight the text, super-simple, Lust and here it is. I'm going to use Lust italic. I'm going to give it the mid green color. That's how you install fonts. Now we're going to go through now and install a couple more. Let's turn back. We're going to use Roboto, I like Roboto. When you are picking fonts, often you'll use a header font, something a little bit more exciting like Lust and then a body copy font, obviously Lust as a body copy font would be a terrible idea. So Roboto, great. I'm going to sync Roboto. I like Roboto because it is like Ariel. Nice, simple, easy to read form, but it's little more sophisticated, I feel. Let's look at Roboto Slab. It's very similar. It's got these what's called Slab Serifs. See this bottom with this "q" here, Serifs are the little feet. So this is a Serif fonts, it's got the little feet down the bottom. San Serif, if you've ever heard of that word means without the little feet. So San is without Serifs and a Slab Serifs just means a big chunky slabby one, like old school university fonts. Now I already had this one synced, so I don't have to click "Sync All" again, and it's all ready to go. As a little side note, Roboto is what Google uses for YouTube or YouTube uses for YouTube. It's their font that they use on everything. It's quite a nice font. They use it well. Go and check out them, on how they use it. If you want to find combinations of Roboto being used nicely. Now one thing when it comes to using fonts, if you are really new, often some basic rules can help you and the basic rules are you pick two fonts. You pick a font that has a Serif font and a Sans Serif, these little things hanging off the edges here, these like little feet are called Serif. So you have a Serif font, that have these and a Sans Serif font is without them. Sans is Latin for without. Often that's a great way to get started. So just pick two fonts. I know we've picked three in this case. I've got some special use cases for it, but pick two fonts, one Serif, one Sans Serif. If you pick two Serif fonts, often, if you pick that something like Times or Garamond together, they're not different enough to look different, it does look a bit messy or broken. So you pick one with the feet and without the feet, and often it doesn't really matter which one you use for the title or the body copy, but the combination can look quite good and from within those fonts, you can pick two weights. So you've got four uses. You've got your Serif font, your San serif font and within those you can pick a light version and a bold version, let's say, or maybe just a regular version and a bold version. So you've got four choices and that'll give you enough options to keep consistency through the document without using too many fonts, but also be able to break up content. Things like headings versus subheadings versus body copy versus paragraphs versus captions, those types of things. If you're still unsure how to put things together which two to pick, you can just go into Google and search for Typekit and something like font combinations or font pairings is another good word, and go to images. What it'll do is it'll show you Typekit fonts that can be used together. Are all of them great? No. But you go through and you say actually, I wish this was actually bigger so I can see it a bit better. But let's say this one here. This seems like a really good example of a Serif font for the title and a San Serif for the body copy. So follow this link, figure out what they are, and you can download those ones. You can also see down here, this is the same font, but with different weights. So it's a good example to show you we're not switching our fonts, we're just playing with two different weights. So that's using Adobe Typekit in InDesign. 35. How to add the Copyright, Registered & Trademark symbols in InDesign: Hi there. In this video we're going to look at doing this. When we zoom in, you can see this copyright symbol. It's the same principle for registered, or a trademark, or any of the other symbols that you might not find on your keyboard. Say that you've got a $ sign on your keyboard, but you need pounds or euros or some other symbol, they're called glyphs and we're going to go and do those now. To add a glyph, let's grab our type tool. We will put it over here and we will move it to this page when we're finished. We are going to draw out a type box and this one's going to be copyright, copyrights and this has come from Adobe stock. I'm going to add 2019 and now we want to put in the copyright symbol. We're going to go up to type, and we're going to go down to glyphs. Glyphs is the word we use for any of the parts of the font that's probably not on your keyboard. You look down on your keyboard, there's no copyright button. There's an emphasis on button and $ signs, but no copyright. What we're going to do actually is select this type first and make sure we're going to use roboto for most of our body copy, we'll use roboto. There is a lot of robotos on here. I'll use medium. You might be using regular, there's is a regular version. I'm going to use robot regular, and now I want to put in the copyright symbol. Let's have our cursor flashing just after the nine. Find copyright in here, and we're going to double-click it. There is registered trademark, there's copyright. It can be a little tough to find. You can play around with the size of this. To see if you can find them in, just scroll through until you find it. I had it, I've lost it. Where is it, there, just double-click it and you can see it appears is over here. It's the same for all of these symbols. If you find you don't have a copyright symbol, it's probably because you're using a font that doesn't have any this extra clift data. Say we use that free font up here, it's called Alex. Yeah, Alex brushes. Okay you see Alex brush, it does have a copyright symbol. Okay, that's more by luck me picking a font that has it often some of those free fonts, that's what they'll do. They'll do the upper and lower case in some of the numbers, but then they'll just ignore doing Copyright and all those other things. That's the reason they are free, but this case, both of these have it. That is the glyphs panel. I'm going to close this down now and the next is more of production. I'm going to go through and bring in an image. I'm not running glyphs stuff anymore, we're going to build out this page here that you saw at the beginning of the video. Then just go File place, bring in hubs. How big is it going to be? Again we're going to have to play around with this because it's a weird format. I'm just going to drag it out. This size, I'm going to zoom out quite a bit. Especially when you're doing full background images, you are going to have to zoom out so you can see the whole thing. Command Shift on a mac, control shift on a PC to scale it. I want to scale it so at least goes over the blade, and then I'm going to tuck it in with my black arrow to the center there. Just zoom in a little bit more. Grab the coners get into the blade. Now, if I lift it like this, and it's hanging over the bleed quite a bit, it's doesn't matter. It'll get trimmed off when it goes out to PDF, so doesn't matter, this is just mainly a bit of designer OCD just to make sure it all lines up and looks nice in design, it changes nothing of the final output. What am I doing here is used the content grabber. Now at the beginning of this course I said, I don't like content grabber and I'm using it in this class because I just am. What I tend to do is just double-click the image anywhere and it does the same thing. It jumps to that content without this little target here, content grabber. Maybe because of this course I am getting a little bit more used to the content grabber. Okay, so I'm going to have to eat my words and say, it's actually not as bad as I thought it was. Let's move on, and what I want to do is grab my rectangle tool, I'm going to give it a feel of my green. We'll use Dark Green and I'm going to give it a stroke of none. I'm going to draw a box. I'll draw it over here, I got my black arrow and move it in. I find that often is more helpful. I'm going to have the w key just to see where the edges are, sometimes it's a little hard to see. How big does it need to be? Big enough to hold this. What size is this? One of the things is that we have to play with the arranged because this guy is behind all of this. I'm going to right-click it before I move it across. You might have to go to undo, go to arrange, and go to bring to front, brings it in front of everything. Select the type I'm going to make mine white. What size is it? 12 is too big, so I'm going to turn it down to 10. Know that 10 is a very common body copy size, 12 was a bit big. What am I doing? I'm just messing about now. Skip on to the next video, while I mess about. Beautiful. Now I'm going to skip off to the next video. I'll see you there. 36. Where can I find the different versions of letters in InDesign - Ligatures: Okay. Have you ever seen some fonts, and you're like, how did they make it look so pretty? You can see that's the one we've worked in, in the last example. These little extra fonts are called ligatures and the part of the font but hidden away. You can see this one here like this y. That's the default y. But look at all the varieties of Y's you get to pick from saying for this ampersand here all sorts of different versions to help you pick the one that's perfect for your situation. So let's go and do that and look at something called ligatures. Ligatures, although they're different from glyphs, they are actually found in the exact same place, so let's zoom in on healing herbs. What we want to do is we want to see if there's any more special H's say with this H is nice, but we want to fancy it up a little bit. With it selected go to Type and go to Glyphs. What will happen is if you've got a letter selected, you can see in here, it's giving you other options for that H. I'm going to make them a lot bigger so we can see. This one here, you can see there's three versions of it. So there's this version. Then I click on this version and you're going to double-click on it. You see it replaced it with a sushi fancy version. Do I like it more? What's the difference between these two? I can't see the difference, held in this one. There is only actually two options. So a fancy that this one maybe this S, is there anything for the S? You highlight them and you hope for the best. This one here has a slightly different version. This one here you can see a spiky version. Now there'll be some litters that adjust more prone to having sushi extra bits. You can start to see down here, let's have a look in, I'm going to make a new text box just for an example. I'm going to type in Y and a lowercase y, and you'll see if a highlight y, it has this version. I can just double-clicking it just to see. But you can see y in this case there has so many versions because it ends lots of words. It's got a nice shape to do these types of flourishes and they are called ligatures, just somebody designs the font and then go through and goes, "What about if it was like this and like this?", and allows you to do some extra bits and pieces. I find x quite useful. I don't know why, but ampersand is one of those latest that you end up using quite a lot. So ampersand is that, the end. But you'll notice in here there's some really cool ampersands. There's that one, double click it. There's that one. Double click it, that one then, the same font but a very different look and feels for them. So if you're doing an invite and I feel like I've done about a zillion wedding invites in my design career and it's always like Dan and Katie's invite you to their weeding and it's always the ampersand you spend the most time on because it's doing you a big ingredient for the design. If you look in here though, and let's say we pick a font that isn't as exciting. So I'm going to copy and paste this one. I'm going to go this and I'm going to pick, say your company uses Times New Roman. I'm going to pick Times Regular, and healing herbs, I'm going to highlight the H and there's no ligatures. So you might just find that, especially if it's a free font, there's going to be no ligatures. If it's just our real plain font, they haven't gone through and done a sushi looking H. All right, my friends that is looking at ligatures. I'm going to go through and tidy this up and you can skip on to the next one. So we need you. I don't really like the little Whately, do I like it? I'm not sure. But let's go onto the next video anyway. I'll see you over there. 37. How to add placeholder text & lorem ipsum & get a word count in InDesign: Okay, in this video, we're going to look at how to bring in Lorem Ipsum or this placeholder text which is super useful when you don't have the copy yet, but you still need to work on the design. So let's go and do that. The first thing to get Lorem Ipsum is that I'm going to actually push this out of the way, placeholder text is what's called and InDesign most people call Lorem Ipsum. I'm going to grab the Type tool and I'm going to draw a type box that goes from this margin all the way to this margin and it's half the page. I'm going to go up to Type, and I'm going to go down to Fill with Placeholder Text, and that my friends is how you insert this mixed up Latin words. They are actual Latin words, but they're jumbled up and from a distance they look like proper language. Why do we use them in design? It's mainly because you probably don't have the text yet and you need something in there to stop picking fonts and styles and things. Often when I'm starting a project, at the very same time, a copywriter will be starting the project, okay, so I don't have the text yet. So I need to start styling it and I will switch it out letter on. The other times I'll do it is when I'm pitching a design to a client and it's a concept, and I don't want them getting into the minutiae of doing copy changes. So I just go and pick some random texts from their websites. I'll end up with meetings and instead of them talking about the design and what they like about that, they end up kind of picking holes in the type. They say, "Oh, you can't write that in there or that in there," and it's hard to say, "Don't worry about the type, okay, and with the text and its content, it's just the style we're looking at." So often Lorem Ipsum is the way to go to get started. Though I have had on many occasions, people emailing me saying, I don't speak Latin or that it's broken and that the fonts aren't loading, something is happening; you might want to just explain that you've used mixed-up Latin when you've seen the concepts, especially if it's going over via email. So you've designed it and the copywriting is happening afterwards. What you can do is work out what the word count is, so check the word count. You have your cursor flashing Type tool cursor flashing in here, anywhere, go to Window and go to Info, and that should, after a second, tell you this is 347 words. So if you know 300 words are coming, you can delete a few and get it down to 300, or you can reach out to the copywriter and say, "You need to be writing to these numbers and you need to write to 347, roughly." Which you can do if you're being told how many numbers, instead of trying to delete and edge trying this word count out. A lot of people would just jump out to a website called lipsum.com. Lipsum.com here is an ugly sight, but it's really usable. People use this one all the time. If you're a designer, click on 'words,' say I need 500 words, I'm going to click Generate Lorem Ipsum, and that is exactly 500 words that I could use. I'm going to copy and paste that into InDesign. All right, back to InDesign. So let's leave it there, and in the next videos we'll look at getting this into columns and bringing in texts from say, Word documents, all right. Bye bye. 38. Importing Text from Microsoft Word & keeping or removing the formatting: Hi there. In this video, we're going to look at bringing in texts into InDesign. Look at some special features when we're bringing in from something like Microsoft web with a top one here brings through all of formatting, that wasn't weighed at head, Italics and bolds, and this version here where it comes in all scrubbed and cleaned. Both versions are useful. Let's look at how to do those. First of all, get and delete our Lorem Ipsum that we had there before because we've got the copy. Now, I'm going to bring it in, and the easiest way is probably just to open up the file in Word and copy and paste it. There's nothing wrong with that, but you probably don't need me to show you how to copy and paste text. But the other way you can do it in InDesign without having to open up Word, so you don't have Word. You can go with a cursor flashing here. We can go to "File and go to place like we did images, and then here under "O3 Newsletter", there's one called "Article 1. I'm going to click "Open', you can see it's bordered all through into InDesign. One of the things that's done by default is that it's kept the formatting that was in Word. But say you don't want that, you don't want the bolds and italics because there's a lot of rubbish in there. Let's say I'm going to undo it. Well, you'll also notice is when I "Undo' the axes not completely gone. It's actually just ended up in my cursor and just a wade quick. Actually, what I'm going to do is instead undoing, I'm going to signal that takes in, just delete it. Now, get my cursor back in there. I'm going to go to the W key, so you can see the box raised here. Let get back to him, and let's go to "File "Place", but we're going to look at a little extra, but this is why it's quite nice to use file-place rather than just copying and pasting from Word, as this is the options down here. I click on it, without opening it, I click on "Options", and I'm going to go show input options, and click "Open". It looks complicated, but basically what I want to do is this one, which says remove all the styles and text from Word. Bring it in, you'll notice that it's just plain old text, scrubbed of all the formatting. Codes. One of the other ways of bringing in texts, it's the same way with a slightly different technique. We're going to use" File", "Place" box. If I have nothing selected, and I delete this. Nothing selected, click on the "Background black arrow" and go to file-place. I nearly the same options are on, so I'm going to make sure it says show in put options, which is great. But when I hit "Article 1" and click "Open" now because I don't have that textbooks are already on the page and have my cursor in it. Something slightly different is going to happen. I'm going to make sure, I remove styles, perfect. But you can see my cursor is loaded down, and what I can do is just click "Hold" and drag out a box. We end up at the same place, It depends on what comes natural to you. Do you like to draw the textbox first and then heavy cursor run and place it? Or just go to file-place and make the textbox at the exact same time. That's often what I do, but everyone's a little different for that one. So that's bringing in texts from Microsoft Word, or pretty much any old text document. Now, let's make some columns and things. See you next video. 39. Creating Columns in a text box using Adobe InDesign: Hi there. In this video we are going to go from these many columns, to these many columns. All right, so let's go and do it. Okay, so what you need to do is, I'm going to have my cursor flashing inside of my type box. So, type tool, click in here. It depends on your screen size. You might have to switch out like me too. If you have a big iMac, you probably see along the top. But for me, I have to go to paragraph and you'll see along the top here is columns. Number of columns, I'm going to bump it up to three. Because we left the gutter, which is the space between the columns at default when we made the document, we've left the default in here as well. So if you change your gutter width, you are going to have to change it in here to match. Great, so now we have three columns, super easy. What we're going to do now is move into a little bit of production video so you can skip along if you want. But what I want to do is I'm going to cut it. Click from the background, grab the type tool, draw another type box. How big is it going to be? I'll adjusted in a second and I'm going to pick a font. We're going to use our Roboto. We'll use medium or regular. I'm going to give it that red fill there. Then size-wise, I'm going to go up to 14. This is going to be like a subheading. So moving him up, moving him around, tidying up some of these box sizes because I want this to be the subheading and I want to spend two columns. Fancy. W off, looking fine. This guy here is going to tuck up about here and I'm going to get rid of these extra [inaudible] in here, this is all lining up a little nicer. All right, let's jump to the next video where we look at justification and hyphenation. 40. How do I justify text & turn off hyphenation in InDesign?: Hi there. In this video we're going to look at justification and hyphenation. At the moment, we have the ticks from the previous video and we want to go from this and then justify it like this. Nice, and then we're going to go through and tune the hyphenation off, which are these little hyphens here. Let's go and do that now and hyphenation are off, so let's go and learn how to do that. Okay, let's start with justification. Easy enough one. I'm going to grab my text box, I'm going to grab my type tool. Now what we want to do is make sure all the ticks is selected. What's actually happening is, can you see this little red box down the bottom here? It means that there's not enough room for my type to fit. We're going to lower the font size a little bit later anyway. We're not too worried about it now, but I need to select all of the text and you can click in here, any way and go to edit, select all, and then select text even the stuff you can't see. Because if you just do the stuff you see it will only change that, and there will be stuff hanging off the edge here that won't be justified. Or what I end up doing is a bit weird, but if you double-click, you get the word, you give it three clicks you get the line, you give four clicks, you get the paragraph. If you have five, you get the whole thing including the stuff on the outside. Seems not that quick. There's other ways like control A on a PC or Command A on a Mac, any which way you like to select them. I don't know why I use this five click.I use it all the time. Anyway, It's especially good when you want to click just a paragraph or just a line. All right, so I've got everything selected and I want to go up the top here from character to paragraph. You see along the top here we've used left line, right line and center. We're going to use this one here is justified left. It just means that everything is going to line up and be forced to the edges. I don't really like justification because I find justification looks better visually because that's a nice thing, everything lines up so cube but in terms of reading they could be some really big. These things here called rivers where you end up with this gaps flowing through things where rivers are running through big white holes. You can see a big one there. It's also that we can make it look butted up next to each other. But when you're actually reading it, there're some really big justification gaps. I guess that's the trade-off. Will you want it to look nice and in little boxes, or will you want the actual lines to read nicely. I don't really like justification, but to be honest, whenever I'm reading something, I never pick it up and go " justified, I can't read this." In terms of the user experience, let's not worry about it too much. If I find some of your work and it's justified, I promised to only lecture you behind your back. What we're going to do is look at hyphenation now because justification, hyphenation often work together and hyphenation is the little hyphens here. Justification forces a little bit more or makes them a little bit more obvious. I'm going to turn it off. But when I turn hyphenation off so I have selected all, and we're going to go up to the paragraph, hyphenation, click. The only trouble with hyphenation is that it gets rid of all the little hanging bits, but we've got more gaps between them. You got to decide if you like justification how much do you need hyphenation? In terms of hyphenation, it's on by default every time I've drawn a new type box and I start to say, let's add some placeholder text, you'll see that hyphenation is on by default and normally is. What you can do if it keeps coming on by default has had nothing selected, so absolutely nothing in your document, then go to your Type Tool and go to Paragraph. If you turn it on or off her