Game Design: Design Your Own Print-Ready Cards for Table Top Games | Daniel Solis | Skillshare

Game Design: Design Your Own Print-Ready Cards for Table Top Games

Daniel Solis, Art Director by Day, Game Designer by Night

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27 Lessons (3h 3m)
    • 1. Basic Considerations of Card Design

      3:52
    • 2. Cards and Context

      2:55
    • 3. Stuff You'll Need

      3:24
    • 4. Cutting Card Prototypes

      8:49
    • 5. Constants and Variables

      4:50
    • 6. Asset Sources

      2:09
    • 7. Setting Up a Spreadsheet

      4:17
    • 8. Linking a Spreadsheet

      10:09
    • 9. Variable Images

      3:31
    • 10. Variable Ranks

      5:24
    • 11. Duplicate Variables

      3:45
    • 12. Organizing Assets

      2:05
    • 13. Setting up a Template

      4:43
    • 14. Setting Up a Spreadsheet

      3:08
    • 15. Linking a Spreadsheet

      5:27
    • 16. Dual-Suited Cards

      4:34
    • 17. Starting a Template

      2:30
    • 18. Variable Border

      6:05
    • 19. Variable Icons

      1:49
    • 20. Variable Text

      6:14
    • 21. Variable Art

      1:31
    • 22. Setting up a Spreadsheet

      10:05
    • 23. Linking a Spreadsheet

      6:18
    • 24. Variable Text Front and Back [Trivia Cards]

      11:10
    • 25. Variable Art Front and Back and Prepping for DriveThruCards Print [Koi Pond]

      36:19
    • 26. Variable Line

      8:54
    • 27. Making a 3x3 Card Sheet (Multiple Record Layout)

      18:54

About This Class

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Learn how to quickly design brand new cards for your own card game or board game. This class begins with the basics of prototyping with hand-made materials, then eases you into the deeper tricks of the trade.

Whether you're just starting out in the game design hobby or you're a professional looking for some handy tips, you're bound to learn something new in this class.

We'll start with the basics of laying out a deck of playing cards then gradually move on to complex CCG layouts. In the process, you'll learn how to dissect the cards from your favorite game to find out how you can make your own cards like the professionals.

As a creative director in advertising and graphic designer in the tabletop game industry for ten years, I've learned all sorts of tricks that I'm ready to share with you.

We cover important aspects of card design including:

  • Breaking down a card design into easy-to-understand blocks.   
  • Free resources for prototype iconography and art.
  • Using InDesign's DataMerge to make revising cards a snap.
  • Formatting files for print-on-demand.
  • Readymade photoshop actions to make your card layouts easy.

So join this class and learn how to make your own cards for tabletop games!

Transcripts

1. Basic Considerations of Card Design: - thing is the mountain of games behind me. - This is actually my game collection because it's sort of a rule that if you're a host for - anything giving related that you have to have your entire game collection behind you. - So here it is. - What you see behind me represents a lot of different varieties of games, - from abstracted thematic board games to card game, - and regardless of the form factor of those games, - a lot of them use cards. - I wanted to kind of do an overview of the types of cards that you may find and they want to - design. - The very basic default card you're going to be working with is probably a playing card with - the standard playing card deck. - You're getting a whole set of ranks from 1 to 13 depending on how you count the face cards - . - On top of that, - you're also getting four different suits when you cross reference all that stuff. - That's a lot of data that you can incorporate. - And indeed, - from all that data you do get quite a few games from poker to bridge to or what's important - to note in terms of car design is that it's hard to beat the elegance with which playing - cards incorporate a vast amount of data into a very simple presentation. - Standard playing card is going to be 2.5. - Why by 3.5 tall. - This is what you're gonna be working with for most for most cards by default. - When you're designing cards for any kind of game, - you have to consider the context in which those cards are going appear. - You're gonna have a hand of cards. - You're probably going to play them, - discard them, - put them in front of you. - Probably put them in different locations, - and that will have different effects. - But really, - the cars are the central focus of play. - There are some basic questions you have to ask yourself whenever you're designing a card - for a card game, - even if it's just a prototype. - Are you holding the cards in your hand for an extended period of time? - Do you have to constantly refer to them? - If so, - you should probably set up your car so that most of the information is on one corner or at - most along one edge s so that when you fat the cards, - you can see the important information along the outside. - Outside you have to consider. - Do you want to actually do a double edged card, - for example, - have the same information on one margin, - and along the other I call this ambidextrous layup. - The advantage, - of course, - in terms of utility is that anyone, - regardless of how they've been cards, - will be able to see the important information. - The downside is that it creates a very busy design on, - doesn't need a lot of room down the center column to do much of anything in terms of any - cool art. - If you want cool work that this if you don't, - then I guess it's no big deal. - Other thing to consider is that if the card is set out in front of you in play, - actually put up on the table so that everyone could see it, - that whatever information on here has to be visible to the entire table. - So that also implies that you're gonna have to have icons that are fairly large, - something that's at least a happen age square 24 point size is coming with the smallest. - You want to do anything small that you really risk getting something that's just not - eligible at all from a distance. - Also, - one thing to consider when you're designing the cards is can you rotate them? - If not, - that's another thing to consider. - So you have only one orientation in which you can hold these cards So you're gonna get - people when they grab their cards, - whatever direction to grab them from their going to shuffle the cards or rotate cards in - your hand, - you make sure that they're aligned so they can be read. - You should also consider any kind of visual impairment that your players may have. - This is less than issue in prototypes, - since you can afford to be very spartan and your design once you start getting into cars - that are a little bit more complex like this from Warhammer Game color blindness, - maybe in issues. - So you want to make sure that your art on your iconography is sort of color independent 2. Cards and Context: - before you have your basic playing card that has several different ranks in several - different suits. - There's no other thematic element in this card. - In all, - this card is from a poor. - It's a trading game in which you trade goods of various kinds. - In this case, - this card represents spices, - and you'll know that there's no ranks, - no other information. - This is just one piece of art on one card that represents one spicy. - Another way to use cards is to represent the rules that you will play in a game. - For example, - this is from the resistance, - and this represents one of the good guys, - though she seems a little peeved. - But if you have this card, - that means you're one of the good guys and you have to keep that secret for the whole game - because no one else knows who the good guys are. - Bad guys are some games, - just used cards as pure trivia questions in this case should be a category. - This is from no Mia. - This is a card from guillotine. - This is an interesting case because the cards and guillotine are never held in your hand. - Everyone around the table has to be able to read this card easily, - so that's why you get really the number really big type and really big portrait. - By contrast, - you have collectible card games like Magic. - The gathering. - This is a particular old example of a magic. - The gathering card. - This is a lot of information on usually what you find is that any one is playing. - Magic has memorized their decks so well that they don't even need to be able to really this - information at once and even more complex example. - You have a game like race for the galaxy, - in which you can use cards face up, - face down. - All these cards have different effects based on the time in which they're used. - Eso. - You'll get iconography based on these based on these different phases of play. - In this case, - these two cards are this. - One card would be activated if it's used in one of these two phases, - and you have some information here that goes into more detail about that. - It gets pretty complex on this is a lot of information, - but at same time it's all kept a one edge, - so you could theoretically ban your cards and keep this pretty straight. - These are actually played face up on the table as a sort of map of a city. - That's the important stuff is very, - very clear. - Big numbers, - big suits and anything else like the background art, - all that stuff that actually has some mechanical effect. - But it's so blended into the background, - and it's so rarely addressed that they could afford to keep it right. - Point is, - there are a lot of different types of cards that you can design, - but I'd like to focus on is just the very basics of production what type of card you're - trying to design all these things I'd like to address throughout the course of this course - . - First, - let's start with things that you'll need. 3. Stuff You'll Need: - So here's what you need. - I always have a supply of playing cards on hand. - You can get these super cheap at the dollar store. - Thes packs were about a buck. - Each I wouldn't like about playing card decks is that you get you get quite a few of them. - You get 54 cards plus plus a few others just for branding. - But they all have different backs. - You can get a read back blue back. - If you get different brands, - you'll get different patterns on them, - and you're also going to need a pack of penny sleeves. - Thes are actually just card sleeves, - little plastic sleeves into which you place cards for your games. - Actually, - you're not so much interested in protecting the cards themselves. - What you're actually interested in is having one container to keep a stiff backing for - playing paper. - The way this works out, - you can fit a three by three, - uh, - playing cards, - size cars. - I have a sheet of paper. - We cut you cut out those cards out of the paper, - you slipping inside this many Cillian Ffolliott, - the playing card back, - and you're set with a card prototype. - If you want something a little bit fancier. - I recommend getting actually colored cards leaves. - You would probably use thes if you're designing a card, - a card game that has action cards that are distinct from cards that you acquires a resource - Or, - as points, - for example, - could go with some recent card. - You can just print street of your printer, - then you don't need any any new backs. - I still recommend getting some colored carts leaves, - even if use card stock just cause it will save you a little bit of time for distinguishing - the backs of the cars. - If you have actually have different decks, - the one downside also of cutting out prototypes out of card stock is that once they're - actually cut out there really hard but shuffle. - So let's say you've actually gone ahead and print it out your car, - your cards onto a sheet of paper. - This is an example of one sheet of cards that I've put together for again I'm working on. - There are lines along the edge that note where I'm meant to cut. - There's one over here in the corner of one over here between these two cars. - Remember her putting these two cars over here between these two cards and so on for the - whole sheet, - there are nine cards on the sheet. - How am I gonna cut them out? - You could just use a plane set of scissors, - but that's not very efficient. - Grabbing my candidate cutting board. - It's a basically a plastic mat that I've had for way too many years and is actually - starting to really bo really badly, - so I probably get a new one. - Grab a exactly bleak. - Be very careful with these. - These are very, - very sharp. - You want them to be short because you're probably gonna be coming through multiple sheets - of paper at once. - You want to get a stiff metal ruler straight edge because you'll be cutting along this edge - . - You don't want to get a wooded ruler or pass through because the blade is so sharp it will - gouge along the edge. - Doesn't have to be a ruler. - Just as long as you have a metal straight edge you'll find. - Make sure it is straight. - You could get your own paper cutter. - I like this one because it actually does the job really well. - It's small compact. - It was affordable, - and all it does is just You stick the paper underneath this little swing latch, - you slide across and you're done 4. Cutting Card Prototypes: - Here's an example of how I would cut a set of cards using the straight edge Exacto blade on - cutting map. - Now I've taken several sheets of cards that I designed and bound them together using binder - clips. - I like these just because they keep Asia. - They keep several sheets of paper together all at once, - and it makes cutting out cars a lot more efficient when I can do multiple sheets at once. - The key thing is making sure that all of the cart card sheets are lined up properly. - And when I cut, - I don't go to the edge of the paper. - I keep it right along this die cut here and along over here and make sure that I don't cut - to the end of the paper because again, - I want to find your clips to keep everything together. - When I start, - my cutting also start away from the binder clips s so that I can keep the insides, - uh, - cut and keep the outsides lined up. - Now, - gradually, - Card is gonna pop out of this on. - That's fine, - but it won't lose structural cohesion until the very end. - So this is how it's done. - I'm cutting with shallow cuts. - Coliseum really only cutting through one sheet at a time. - I'm doing so very, - very, - very gradually. - I don't want to cut through all the sheets at once because then I'll just sort of gouge - everything and I'll get really rough edges. - So I just want to do really shallow cuts one at a time. - There you go. - You can see that, - uh, - the paper is not cut to the edge. - It's just a cut inside within these die cuts. - This also makes sure that I don't lose my diet cuts as I start cutting out cards. - As you can see in the center, - I don't have any I cuts at all. - I really wanna make sure that I cut everything in center appropriate. - Well, - I have accidentally cut this little bit, - but no matter. - Uh, - you can see where they were. - It's useful to have binder clips now because the sheets that are underneath have not been - cut all the way to the edge. - Only this top sheet has. - So this is still standing in place like an impressing very, - very firmly with all four fingers on the steel straight edge so that it presses the sheets - together and make sure again that they don't shift. - Well, - a drag. - My bleed across Starting from with the indie margin shallow cuts Here we are. - See that the die cut along the top edge bottom And from your perspective, - it's very, - very narrow. - So it could be very careful about this. - And again, - I'm making sure that the cuts are shallow but also intersect. - The previous cuts I've made that are vertical so that once I'm done making these cuts, - this stack is gonna pop out just as easily as the central wonder you go. - Okay. - Shipping this down just a tad so that I have room for my straight edge working our way - around again. - Now that I am at the far edge here, - I don't need that binder clip anymore because my weight of my fingers is gonna be pressing - down on this sheet of paper. - Who supposed to be careful of when you were using an Exacto blade is when you're inserting - the blade to keep it screwed on tight, - so it doesn't pop out at inopportune moments like this. - You go nice and firm. - Keep your fingers well away from the edge of straight edge as you do this. - That's another reason why you want to do shallow cuts so that in the rush to get a bunch of - sheets cut all at once, - you don't end up just cutting off the tip of your thumb, - which has happened on occasion. - Teoh. - A number of people Now you have all these cards. - It's nicely cut. - Its more re very, - very careful. - You don't wanna have to get your tetanus booster just because you are taking your car - prototype key thing as you're cutting is always, - never, - ever bleed on the cards. - Here we go, - a whole stack of cards. - This is a sign of a very nice cut. - You have the entire outer edge of the sheet of paper pretty much solid, - made cutting these out a lot easier. - You could get your own paper cutter paper cutters coming all sorts of different sizes. - Some are much larger than this. - This is a very compact model, - and I got it for cheap at a scrap store. - Where you can do is use these sliders, - which have tiny little blades that you can barely barely see, - and they slide across this this edge on they dipped down into this crevice so that as - you're cutting your sheets of paper, - the tiny blade will cut through that sheep. - The only downside that you have with a paper cutter like this is that you can't cut as many - sheets as Aziz. - You do with an Exacto blade because your you are not controlling a zoo. - Much of the pressure of the blade going to the sheep. - The plus side is that you get a little bit more accuracy in terms of straight corners. - Eso you can actually, - but up the sheet of paper against one edge of the paper cutter as you cut through. - The thing is not to keep Keep watch up is making sure that your die cuts are in the right - place, - which is a little bit harder to do when you have when you have this bit of a distance - between your fingers and on the exact control of the blades. - So you're just kind of trusting that your die cuts are in the right place, - and as you slide across, - you make a good cut Now again. - Another downside is that you have lost your die cut here and here, - so let's see what we do here. - If you're going to be using a paper cutter like this because you don't have as much control - over where the blade goes in terms of sticking within the margins of die cuts and you have - less control over the alignment of blade and I cut we really want to do is lay out your - card so they actually have a border along every edge, - instead of just these tiny little die cuts that you have in the corners. - Personally, - I think their strengths and weaknesses of both when my thumbs sore and my wrist is shot. - The exact blade does not seem all that appealing, - and I'm willing to sacrifice any accuracy and cuts that I get to the convenience and the - ease with which I can use paper cutter. - But if I'm being particular and being for kind of perfectionist, - I'd rather go with the accuracy and the honestly the efficiency of exactly Blade, - especially since I can cut through many different sheets all at once, - using exactly as I control the pressure, - the way that a lot of paper and what a card stock works, - there is a grain that keeps all the sheets from shifting around too much. - So what you want to do is use your pace leaves with your handy dandy playing card backs. - Grab your project card, - slip it in the penny sleeve, - and now you have a nice firm backing for your prototypes. - What the playing card also does is make sure that you can't see through your prototype - cards. - If that's important, - a lot of times if if your paper is then or if your card stock is, - then you'll be able to see the back in particular. - If you have a high contrast graphic like this, - that's just black and white, - you want to make sure that you can't see through it. - It's useful to have a opaque background like this. - In particular, - it's if it's patterned. - So once you have a whole deck of cards like this, - you can slip in different, - different colored backs If you want to make a different deck or use your your colored - sleeps to make a different day 5. Constants and Variables: - Lastly, - I want to cover two key issues that you're going to encounter a lot. - You're designing a deck of cards and the things that we're gonna be using frequently as we - lay out cards and how to do so in in design. - The key thing you want to identify in any card deck you're looking at is what is consistent - across the entire deck and what is changing across the entire deck. - Constants and variables. - Constants are things that are going to be on every card face, - no matter what they never change. - Those could be things like borders, - icons, - placement of icons, - variables or things you could imagine that will change from card based card face. - So take a standard deck of playing cards. - If you want talk about variables, - you gotta look at what is consistent across the entire deck right now. - If you were just to compare these two cards, - all you would you see, - as far as differences go are that they have different pictures in the center. - They have different ranks that's que in que But otherwise there they have the same suit. - So be diamond. - So you think that that the constant of this deck is that they have. - They all have diamonds. - That is, - until you start getting into some really weird stuff like seven of Hearts. - Well, - now we see that there are some changes here. - Not all cards have pictures in the center. - Not all cards have the same symbol underneath their their rank. - And in fact, - some of those ranks are not even letter. - Some of them are numbers. - Oh, - crap. - What we're gonna do. - You take, - for example, - these six magic cards, - some constants that I see. - There's always a title at this base line across the top of every card. - There's also a categorical name that's in the middle of the card, - about halfway down a little bit over. - There's always space for text that explains the card. - The card effect also a little bit of space for a bit of flavor text, - but it looks like, - uh, - all text in this area is part of one single block that's that's kept together. - They're not separate. - There's always we'll actually know the There is sometimes a space in the lower right hand - corner. - For a for creatures to stats, - there is usually a space for an art credit. - Very, - very tiny space for a coterie disclaimer. - Uh, - and there is always a space for a piece of artwork, - but that artwork obviously can change from card to card. - Another noticeable difference between between these cards. - While every other card here, - along the top in along the side has a consistent frame. - This one has a unique frame and in fact, - has this interesting, - layered effect where the piece of artwork that is in this section actually peeks up over - the frame. - Once we actually take this into design and maybe even to photo shop, - we're going to have to make this artwork a separate layer from the art background, - uh, - and have a layer in between the background and the foreground where we put this custom - frame. - You can set up your cards when we go into in design so that your variable is set right here - and I was going to be there. - The colors and the background will probably be flat tiffs made in Photoshop and saved in a - support holder on those will be variable. - We'll change those out in the background as as needed. - Uh uh. - We're probably going to have six. - Uh, - probably six custom frames, - each one a different color that would correspond to the background. - We're probably going to have a rectangular space for any artwork that we would bring into - in design. - That would go. - That would be nestled right in this little rectangle. - Even a very complex deck of cards starts getting some consistent elements that you can - predict in control. - When do you actually start designing your your carts? - I hope you've enjoyed this lesson so far. - The rest of the Siri's is gonna be a little bit shorter in terms of episode length on, - it's going to be going straight to the computer. - So if you don't have in design yet, - go ahead and get it. - Now get a free trial, - if you can. - I'm using in design CS six. - So that's probably the version that you want to get also. - But I'm sure any of the features that I talk about our basic enough that even earlier - versions are going to be applicable. - So thank you again for watching on. - I hope to see you in the next episode. - Thank you 6. Asset Sources: - So this first lesson we're going to learn how to make resource cards like you might find in - sectors of Bataan For the for this lesson, - we're gonna focus on just three. - Resource is so that we can keep this example very simple. - If you're looking for art to use in your prototypes, - I would highly recommend going to flicker and searching in their creative Commons. - You'll find lots of really big images like this that people have released to a Creative - Commons license for your use in personal projects. - Artwork as long as you have attribution and you can find attribution for most of these - images over here when you click on their their full size pages. - Um, - different licenses. - Very so. - So be careful about whose images used in how you attribute them. - There are other resources available to you to game icons. - That net is a site that has thousands upon thousands of just 1000 images so far that are - very much oriented towards gaming. - So you'll find stuff here on all sorts of subjects. - When it comes to like Hells or are aliens or scifi stuff fantasy stuff, - swords, - you name it. - They're icons here that will suit your needs. - And it's one that's a sight that I use frequently for. - I need a icon on short notice. - If game icons doesn't have it, - then I'll go to the site. - The noun project, - which has all sorts of cool icons including a collection of mustache, - is here, - but they have all sorts of stuff, - and they're much more generalized, - designed for universal, - uh, - iconography for communication. - But you'll still be able to find stuff here that is very useful for gaming, - whether it be, - you know, - maples or food or some kind of resource, - for example. 7. Setting Up a Spreadsheet: - now to get started. - Uh, - the first thing you need to do is set up a spreadsheet, - and I like to use Google docks for this purpose, - mainly because it loads a little bit faster on a machine than excel on. - If you're anything like me and come from the art world, - spreadsheets are very much a foreign sort of idea. - I've never worked with spreadsheets before. - I started doing card layout, - but now that I have touched them a little bit, - there are a little bit less intimidating eso. - First, - I want to talk you through the very, - very basics of setting up a spreadsheet for for a car design. - First thing I do is, - of course, - name your name your spreadsheet. - In this case, - we're gonna call this resource parts, - and you can have several sheets within the same file on you may start using these if you - have, - for example, - several decks of cards within the same game. - In which case you'd probably just changed the name of this document to the game name and - then have each spreadsheet refer to a different deck of cards. - But for our purposes, - we're just going to call this just sheet one because it's the only sheet that we're going - to have. - Um, - so the key thing to know about spreadsheets and car design is that each row that that - you're going to be editing represents one card. - Well, - every column represents individual variables that are going to be on those cards. - Eso in case, - for example. - Uh, - we're going to call this column Resources? - No. - When you're setting up a spreadsheet for for car design, - the first column is going to be essentially the first row is going to be the name for that - column. - So from now on, - this whole column is going to be referred to as resource is and in designing will recognize - any text numbers anything here as, - uh, - as a variable of the I guess the attributes resource is to make sure that doesn't get mixed - up with anything else. - I always freeze that rose. - So I go to view Frieze Rose and I select Freeze Row One, - and that will, - no matter how how I reorganize this from Zita a. - A dizzy or some other method that will always keep this role at the very, - very top. - And again, - some of this may be basic t some of you. - But for me, - I had to learn spreadsheets from scratch very, - very late in the game. - So forgive me if this sounds very simplistic, - but this kind of from the basics now, - before we get to actually how toe make variable art and a card, - I thought it would be important to show you that essentially, - how spreadsheets translate into variables on a cart. - So under the resource is column. - Let's just type wheat stone, - can she? - So for now, - these are just going to be text variables. - There's no images here. - There's no art. - You have to do a special thing to make images show up. - But first, - I wanted to show you exactly how a spread sheet gets linked into in design on how you can - make it a variable Kardec. - So I'm going to download this. - I'm going to download this as a CSB uh, - any of these other formats are not gonna work for for in design state emerged. - So just click on CSP or to save this. - And when you're saving your files for your project, - whether whether you're saving your spreadsheet or your images, - you want to keep them all in the same folder. - There may be a way to to have a spreadsheet link to a sub folder, - but I've tried a couple different ways, - and it doesn't seem to work for me. - So I like to keep everything in a folder called Support. - That's where I just downloaded up. - Let's go to in design. 8. Linking a Spreadsheet: - we're going to create a new document. - I have a preset here called Card that is 2.5 wide, - 20 inches wide, - 3.5 inches tall, - and I set up a column grid of six columns with 1/4 inch gap in between them. - I really need Teoh actually use entire all six columns individually, - but it's a helpful small number that's big enough that I can. - I can organize stuff and you'll see how, - in a sec I add 1/4 inch. - Merge in around the edge, - and I always make sure to create a bleed of a eight inch. - I mean, - it's 1/4 Instead, - that should be eighth of an inch, - an eighth of an inch bleed, - eighth of an inch margin. - Okay, - got it. - Make sure I don't have facing pages turned on. - Sometimes I will use a primary checks frame, - but it's usually more of a household than need be. - This is only going to be one page because all replacing here are variables, - so let's see how that looks. - Okay, - so we have a very small in design document here. - Let's just drop one text window here. - I'm using my tax tool you can find here making a text window text frame. - I suppose I'm just gonna type something. - Let's just type sheep. - I haven't said any you styles or anything, - but I'm by default. - I've got I've got a fund set up. - Two million pro say I want to make that something a little bit different. - Say, - I want that to be metallic. - So I choose. - I tell it. - Okay. - And you can see um I've got six columns set up. - One here, - one here, - one here, - one here, - one here. - Those are not at all related to the columns in a spreadsheet, - and hopefully that's that's obvious. - But just to be clear, - they have no relation. - All these columns are are just layout guides, - basically. - So I know exactly about halfway. - If I need to make a text Fran, - that's halfway across the card. - Then I can do that here very easily. - But I'm gonna just make this go across the whole card. - I'm going to center that and here's a little trick I like to use whenever I'm creating a - text frame for a card, - especially if it's a title. - Uh, - I'll go to object text frame options. - I'll set the alignment to center and just click on preview so I can see how this looks. - And you'll see that instead of the text being aligned to the top is aligned to the center - so that no matter how wide or how many, - how many words I put into the text frame, - it's always gonna be centered within centered vertically. - Within that text frame, - there are some other things you can do. - You can set this to the bottom and always have text rise from the bottom of the text frame - , - which can be handy if you have Texas the bottom of your card. - But when I'm just going to center this, - Okay, - now here's how did emerge works. - Ah, - if you don't have data, - merge in your panels already. - I always have that emerge set up ride the very top since I use it so often. - But if you don't have it already, - you can find it on your utilities date emerge once again, - that's window utilities did emerge, - and it emerges a funky little tool because it has this tiny, - tiny text that you can barely read. - And it's not exactly intuitive. - Um, - but, - uh, - all you're doing is basically importing, - uh, - in a the spreadsheet like you would an image. - Except, - um The way you do it is by clicking on this context menu here, - the very, - very top on the right. - You select data source and go to your folder that had your spreadsheet. - So resource cards cheat one CSP selecting that and you'll see there is a line item here in - the main in the window now called Resource Is that is called resource is because we've - named that column. - Resource is so I'm going to select this word, - and I'm going to click on Resource is, - you see that the word has been replaced with this tag. - And every time I click on this, - even just once, - just one cursor is gonna automatically select this entire word. - Uh, - this entire place holder and also select resource is in the data merge panel. - Now, - what this represents is the variable resource is that column that we set up in the - spreadsheet and whatever words we put underneath se wheat stone, - sheep, - those air going to appear here instead. - Once we actually start previewing this. - And so I click on preview. - And while up. - We have wheat. - If I, - uh, - click the next page over here, - if you see this little Arab suddenly that were changes to stone next page. - Uh, - that's sheep. - Now you'll note that the page number hasn't actually changed. - We're still on page one. - All we're doing is previewing the variables that that may occur. - If you want to get a sense of what this looks like when it's a little more finished, - I'm clicking on W to hide every everything, - all the guides, - all the bleeds and everything. - So again, - very playing street for this, - just as wheat and each page. - Rather, - each card will have a different title, - so it's very straightforward. - If you actually want to export this into a document that has each card on a separate page, - you would click on this little button on the bottom of the data merge panel That's us. - Create merged document and you get this, - uh, - can't kind of complicated dialogue box. - But when you want to make sure of is that you have selected already all records. - It refers to every, - uh, - row in the spreadsheet as a record, - so you want to record them all or you want to include them all you want? - Teoh, - make all of them go to one page. - Uh, - if you have any text in the A in any cell that will be over set, - that is, - if there's too much text to fit within this text frame. - If you have this selected design will create a text report for you to tell you that there's - been error when when this document exports. - It will also alert you if there's any images missing, - but we don't have any images just yet. - Still, - it's important to have that track, - too. - So I'm gonna click OK, - and I get a report saying that no over set text was generated when emerging the records. - That makes sense because these words are very short in this text. - Window text frame is very big, - so I wouldn't expect to see anything, - and you'll note our original document is still here. - This is a brand new document that has three pages. - Each one is a separate card. - The first cards has read the second cars that stone. - The third card says sheep, - and this is how you would basically export entire deck. - So if you would imagine for example, - say I wanted to make nine cars. - I'm just gonna copy these twice three times. - So now I have nine cards I'm going to download again. - Say that I'm going to save over this old spreadsheet. - Going back to in design. - I'm going to close the the document that I just generated that has all everything broken - out because it's no longer valid. - I want a document that has nine cars, - not just three. - And I go to the links palette on you will see in the links palette that this item has been - modified with the little exclamation point. - So all I do is update link in this little button over here. - Just update that. - And now the CSP has been updated and in design on, - and I can prove this by again previewing page four page five, - page six, - page seven, - Page eight each nine makes sense, - Right? - I would just again create emerged document. - Okay, - No over set text with generated. - Great. - Go back two pages and I see that there are nine individual pages in this document. - Sweet stone sheep. - We stone she wheat stone. - Okay, 9. Variable Images: - basics of making a text based carp. - Now say you actually wanted to include images in this. - Let's go back to the spreadsheet now, - uh, - in designs kind of weird in that if you're going to make a variable, - that is an image on the card. - You have to name the column first, - with and N percent or rather, - an at symbol. - Let's call this image. - And here is where you would put the name of the image. - So for example dot Okay, - not looking at your support folder, - you want to make sure that the names of the images that you're putting into the spreadsheet - matched the names of the files that you actually have available? - This is again your support older. - This is your spreadsheet, - and these are the images that you'll be calling upon to make a variable image. - Now, - in this case I've made, - I have ah made this final name lower case. - So I want to make sure that the spreadsheet is also lower case. - It is, - unfortunately, - case sensitive. - So you got to keep track of this kind of stuff. - So I'm gonna make sure that this is lower case. - Make sure that's lower Keys, - Stone and lower case. - It's gonna bring a copy. - Paste this so it's on every card. - I am going down with this CSP. - Replace the existing CSP that I have there once again in the support folder going back to - in design. - I want to update the link now before we'll see what this looks like. - When I preview it, - you'll know that resource is is on the page, - and it's even noted here. - That's on page one on the right side here, - but Image doesn't have a placeholder. - Doesn't have anything for the image variable to go anywhere for the image variable to go. - So when I click on preview, - nothing is going to appear in this image because there's no place holder for damage. - So first I have to create a, - uh, - a frame for the image. - We're gonna make that a full bleed, - so it's going to extend outside the edge of the card. - And while I have this frame selected, - I'm going to select image and you'll see that the image something pops into frame. - I want to go in when I click on W so I can hide all of the guides and everything so you can - get a better sense of what this card will look like. - So you see out, - we're previewing right now. - Card number nine. - That's page nine going back to page one. - You'll see that we have image of wheat stone, - she wheat stone cheap. 10. Variable Ranks: - Let's say you wanted to make a card that actually had variable quantities of a resource on - each card. - So, - for example, - you wanted to have three sheep or four wheat or whatnot. - Let's go back this, - Richie. - Let's call this right or number whatever you want for now. - Again, - this is a text variable, - so I'm not gonna put that that at sign there. - That is only if you're making a variable image in the card, - and let's just call this a lot, - these one. - It's called these two. - It's called these three great downloading that CSB going to save over the existing - spreadsheet. - Go back to design. - We're going to update the link. - You'll note that if you're in preview mode when you update the link to the spreadsheet, - that preview mode will be turned off. - So it's preview again and again. - We're not going to see the rank until we actually apply this variable to an actual text - text frame. - Uh, - so, - for example, - let's say we want to make a text frame right here on the corner, - and I like to just tight something in tow, - type a number or type of word beforehand and start adjusting the font size and things - before I started playing a variable to it. - I find it just a little bit easier to deal with. - So I don't have to worry about about both things at once. - Once I'm comfortable with the size of a word or or name or or some kind of stat, - then I'll select it and apply the variable in this case rink. - And there you go. - You'll see that this is now active because you can see the page number on the right and - you'll see that right here. - This is to sheep. - Let's go back to page one. - You'll see that this is one week, - one stone, - one sheep to eat to use down two sheep, - three weeks, - three stone, - three sheep. - Now you don't have to actually put variable in a separate text frame. - For example. - I'm gonna cut this. - I'm just gonna delete that text frame and let's put this whole shebang in one text frame. - I'm pasting. - Let's look at this house Looks outside a preview mode. - Now, - outside of preview mode, - this looks crazy. - It looks like there's thing is gonna be huge is never gonna fit in a text frame. - That's only because this is how in design represents text placeholders when you're doing a - variable. - We've named this variable rank in the India spreadsheet and and we have set up the font - style to that set the fonts to be a certain size, - and because of that, - it's not gonna appear in its actual actual format. - Which is also why I like to do this kind of stuff outside of preview mode at first and then - started playing variables while I'm in pretty mode. - So I'm gonna select all this. - I'm going to align it to the left so that no matter what, - you'll be able to read this from the corner of the card. - If you're finding out the cards, - I'm gonna hit preview. - You can see that is all in one text frame now, - which is nice. - Uh, - say I want I want the name and the numeral, - or rather the rank to be lined up. - I'm gonna center those make the make the text frame just 3 1/3 the width of the card. - And again, - this is why I choose six column layout so that I have these individual dividing lines to - guide me When I'm doing layout, - I'm gonna reduce that little. - That's fine. - Now, - you see that there's some overlap here between the text and the image. - I'm just gonna nudged down this image so that it leads off the bottom. - Now let's go back to page one. - You see you some of the variables that we have here we have one wheat, - one stone, - one sheep and someone 11. Duplicate Variables: - now taking this a step further. - You can have multiple placeholders for the same variable. - So, - for example, - if you were to just copy and paste this entire text frame, - you'll see that over in the gate emerge panel that there are now two placeholders noted for - resources and to placeholders noted for rank, - both of appearing on page one. - If you look at this outside of preview mode and look at the whole text frame now, - you'll see that there are, - in fact, - two jacks frames each of them identical. - Each of them have rank. - Each of them have. - Resource is that's reduced this back down to its original size back to preview. - And this is one way that you can set up a ambidextrous layout. - So say I were to take this text frame and align it to the left and this text frame ally - into the right, - or I got that mixed up. - Well, - actually, - technically, - this is a line to the right, - and this is a line to the left even know this is on the left side. - Right. - Anyway, - um, - so again, - previewing, - uh, - this is when we eat one stone when sheep and someone s So let's that let's say we create - emerge document again. - Keeping all those settings No over set text was generated when emerging records. - One thing to note you may you may notice when you great when you create this merge document - , - it's always gonna add the number one to it. - I'm not sure how I, - uh and I don't know if you you kept creating merge documents, - it would start naming them one in two and three and four. - But what I do if I need to save this document, - I rarely do. - But if I ever do, - I will just name it something like resource cards then renders mainly just to show that - this is not the original source document that has the date emerged a spreadsheet Because as - you'll see here and there on the name and the date average panel, - the spreadsheet is not linked at all. - In fact, - all of the images that we've linked are now linked multiple times across the entire - document. - Whereas when you're looking at the original document over here, - you'll see that only think is actually the spreadsheet. - We only see any other links when we go to preview mode In which case on Lee, - the one image that appears on that preview page will appear in the links palette. - So it's strong. - Previ there go back to our rendered, - uh, - rendered document. - Now, - you can save this as a pdf. - You can save these as flat J pegs and put them into a print and play document if you like. - But this is the very basic use of Get emerge. - And it's something that I do all the time. - And I have a recommend that you familiarize yourself with this. - If you're going to do any kind of, - ah, - large deck layout, - even small decks, - it can make this really handy on and make uh, - creating entire deck of cards a lot more efficient than editing each card individually. - So I hope this was useful. - If you have any questions, - please email me in the next lesson. - We're going to learn a little bit more about how to make a deck of playing cards 12. Organizing Assets: - for the sake of simplicity. - Again, - we're just gonna focus on one suit for now, - and you can extrapolate from there how to create the other four suits. - One thing to know when you're designing a deck of playing cards or anything more complex - like like this, - it's helpful. - Toe. - Just take a look at your assets and see what you have already available. - In this case, - I've got art for the ace of spades. - The Jack, - the King, - the Queen. - I've also got the other four suits. - The artwork here, - you see, - is a tiff. - That's basically another bit map file format that that is basically kind of like a J pick - but can be much higher resolution. - And it's not really meant for the Web. - It's usually done in print. - By contrast, - there's another file format called E. - P s that eyes basically vector CPS files and Vector Vector format files in general can be - resized to any dimension that you like eso. - This can be resized to 10 inches by 10 inches, - and it's never going to lose resolution. - The lines were always going to stay sharp. - The downside of a vector format like UPS is that you usually don't get any files are are - able to make any images of GPS that have a lot of detail. - And if they do have a lot of detail, - the files are usually pretty big and sometimes won't load properly the way that a a plan on - tiff will. - So, - uh, - once again, - if you have images that have a lot of detail, - like photos, - or say something complex like this, - sometimes you'll probably want to go with a tiff or JPEG a Z, - your your asset for anything that's an icon. - You'll probably want to go with something that is the vector E. - P s like this. - So that's enough about assets. - Let's talk about how we actually designed these cards. 13. Setting up a Template: what? You're sending a deck of cards like Like this. Uh, it's kind of complex, and sometimes it can be a little confusing going straight to the spreadsheet. Um, but, uh, so is that I'd like to go to in design. So what I'm doing is going straight to in design on and basically designing one card. I do this sometimes with complex card just so I can get everything in the place that I want it. So I could get a sense of what this card is actually gonna look like. Then I can go to the spreadsheet later on and actually start placing their variables in the spreadsheet. Um, now, let's say let's drag some stuff over here. So all I'm doing is basically just dragging from my find your window over to design. You could go the old fashioned route and go to file and, uh, place, and you will just have to pull in an image from your support holder. But I find this just so much easier in particular. If I if I need to switch out a an icon, for example, I could just drag one file over to the other, and a lot of Matthew replace it kind of redress that. But I find it. I just find it a lot easier and faster to it. This way. So we have these two assets there set right now, the display performance is set at typical. I'd like to set mine it high quality display if the card is very simple, because it's gonna load fast anyway. And I'd like to see how things are actually going to render when they're finally done. Once again, I'm hitting W to remove all the guides so I could get a better sense of what this is going to look like. Ants final form. I am aligning the artwork in the center here. What I'm designing right now is just the ace of spades. Or that I guess pace of clubs Let me grab the space icon. Go. All right. So, uh, I'm just re sizing this icon over to the corner. Now, a standard deck of playing cards will usually just have the icon in the two corners and on the top, left in the top, right, so that you can rotate it in either direction and van it in that one direction. But you could just as easily have. So it's on every corner, which is not a big deal, but it's sometimes nice to have it. I'm going to align. These two got them selected. It's a line to the page one line to selection to make sure that only thes two items that I've got selected are going to be aligned. Line these two up, make sure that these two are lined up. All right, Now we've got a card with suits of, but we also need a place for the rank. So let's make a text one text frame. So I want to make thes ranks very, very big, and I want to center it underneath the suit already. You can see this kind of unusual just cause I've got the rank about the suit and all that, but it's not a big deal. We're just kind winging it a little bit. But a happy little rank over here very about bras of us. Line that up line. These two up there only aligned. So we have a very simple card already set up. We don't have a date emerge set up yet. This is all all these images, all these things are actually on this page. Now you can see in the links palette also that we have spades linked four times. And we have this image linked once. Uh, so with all that in place now, we can actually go to the spreadsheet, get a better sense of what each of these things will look like when she goes on the page and how they'll change eso this. We're gonna call rank this image. We're going to call suit this image. We're going to call, just call it image. 14. Setting Up a Spreadsheet: - so back to the spreadsheet. - Remember, - If you're going to have a variable image, - you want to put the at sign first, - and then that's called this suit and for the central image, - I'm gonna put that sign image and then for the rank, - we don't need to put an outside because it's not a variable image. - So we'll just put Frank going back to our sport. - Fuller. - Want to make sure I've got the right name for this copying and pasting the final name Spade - . - That GPS pacing it over here. - Great. - Now there are 13 cards in each suit. - Uh, - so I'm just coming pasting this. - So that appears 13 times. - I'm gonna freeze this top row to make sure that it's distinct from the rest of the rose. - Now the artwork in the center of the card is only going to appear on the ace, - the Jack, - the King and the Queen. - So it's first that determined which cards? - Those are so ace than 234 before five, - 678 nine. - Then our Jack, - Queen and King. - We can reduce the width of that column just to make a little bit easier to organize. - So Now we know which card is going to be our ace. - So let's grab the file name for that image spirited hyphen. - A stock tiff Put that here. - No images air going to appear in the center of the card for for two through 10. - So we could just get we can just leave those blank. - It's not gonna hurt anything. - And I grab a spade a spade jack dot tiff Place that here. - Grab spade queen deductive and grab speed Kingdom. - I've got a file download the CSB when you download your CSB. - Remember to keep it in the same folder as your assets that CSB is going to call on when you - did emerge it and in design. - So I'm gonna download this spreadsheet into the same folder as the as the artwork and all - those suits. - Okay? 15. Linking a Spreadsheet: - in fact, - in design. - Now we go back to the date emerge palette, - their right hand corner we still let due to source back to our support folder. - Here's that CSB that we just downloaded and you'll see that we have items in the panel for - suit for image and rank. - And once again you can tell that which variables are text variables in which are variable - and variables. - Because there's a different icon on the art, - uh, - are variable, - and there's a little T and the text variable. - But right now, - another these variables or actually applied anywhere in the in the card. - So first, - let's start with a suit, - so I'm selecting the icon. - I am also going to click on the's suit item in the date emerge panel. - Now it looks like it's just disappeared, - but what it's actually done is replaced the image with a variable For for the suit on, - you can tell that this has happened if you go to view extras and show frame edges, - and there you can see very tiny in the image frame is thieve variable. - That's called suit. - Uh, - I don't usually work with with frame edges turned on just because it was a very messy - interface, - and I find it hard, - Teoh work around it, - so if you need to, - you can turn it on just to see what variables are applied to different image frames. - But for me, - I just turn them off and I just gotta hide for images. - 11 thing that show here I accidentally clicked the image that's inside the image frame, - and unfortunately, - for some reason, - dimmers just doesn't recognize that you have to actually click the frame, - have the frame selected when you click on through the variable. - So now I'm looking again at the frame edges. - We can see that the suit has been placed in each of these four frame edges. - Let's do the rank. - I'm selecting the rank that we just typed in. - I'm going to click on rank in the data merge panel and you'll see that there is a a little - icon here that represents over set text that that is, - there is more text than can fit into this text frame, - Uh, - as we learned in the previous US and that's because the, - uh, - the actual text variable is way, - way longer than than what we would actually type for a rank. - Um, - so you could just ignore that. - Just know that the variables in place that we need to confirm it. - You can also see it in the data merge panel. - I'm gonna go ahead and do this for each other rank. - And lastly, - I'm selecting the central image frame and applying the image variable to that you can see - at the top of this frame eyes, - thievery, - able image. - Now, - looking at this in a, - uh with without any of the variables turned on without preview, - it looks like this card is blank. - But in fact, - it's full of thes image frames and text frames that have different variables applied to - them. - Here's how it would look once we actually preview looks just like how we laid it out, - which is good. - Now let's see what the next page looks like again. - I'm just previewing here. - This is all still a one page document. - As you can see, - the only thing that's changing is that we're previewing each what design calls a record. - This is the two of spades. - Three of spades, - Four of spades, - five of spades, - six, - 78 nine. - Oh, - What's this way hasn't over that text. - The 10 is wider than we anticipated. - So let's increase the with of this text. - Monk. - This is why I go through a entire deck in preview before I start doing emerge Document - dressed in case there's weird stuff like this. - Uh, - in this case, - I'm going to select both East are rather all of these sex frames. - I'm gonna change the point size of the text to be 30 points, - and I'm gonna go back to pay to ah, - card nine. - Just to see how that looks. - I like it. - So I'm gonna move on, - paged him, - then we have the jack, - and you can see that the variable that we've applied to this card is still holding up. - It's calling on the jack artwork that we designated in the spreadsheet, - The Queen and the King. - So all that makes sense, - I hope. - Let's try something a little different in the next step. 16. Dual-Suited Cards: - they could do some weird stuff here. - Now that you've got this basic templates set up, - say, - for example, - you wanted to have a deck of cards that had two suits. - For whatever reason, - I'm not sure exactly what you would do this for, - but it's very simple to do. - All you need to do is go back to the spreadsheet. - Let's name this suit one at a column. - Insert one right, - Let's call the second suit suit too again putting the outside there because this is gonna - be an image that's you, - too. - Grab the file name for your heart icon in a copy and paste that a few times. - Let's say you wanted to make, - um, - the face cards at the top of the at the top of the suit. - Uh, - diamonds. - This could be any icons you want, - obviously, - but let's just go with double suited playing cards for now. - Now, - we don't have a placeholder for this variable, - so we have to go back to our in design document and find a place to put that for. - Now, - let's just assume that it's going to be right next to our primary suit and I'm gonna turn - off preview going to go back to the spreadsheet, - save a CSP, - saving over the old CSP back to in design, - updating the CSP in the links pellet. - And you can see that now, - there are two variables here that were not there before suit. - One suit too. - And unfortunately, - the variables that we've got set up for these icons just just a suit. - So you're gonna have been just run into some problems. - So now that I'm trying to preview it, - I get an error here. - There's a least one day to place older that cannot be found in the data source. - Make sure all the placeholders corresponded fields in the data source. - Basically, - that means that all of these images image frames are calling for suit. - And there was no suit. - Uh, - there's no field named suit in the data merge in the spreadsheet. - So we need toe, - select all these and replace them with suit one. - So you got do it one at a time. - It is kind of a bummer. - No, - we've got all of our variables applied. - Let's see how this looks in preview. - Look at that. - Our king is a diamond. - It's corrected. - Aces. - The ace is a spade and a heart two is spade in the heart three is spade in the heart for a - spate in the heart five is nothing 6789 10 No one boom! - We get some new stuff here we get the diamonds. - So, - uh, - right. - I mean, - this is all pretty simple. - This is how you can start making some of your own icons. - Say, - for example, - if you wanted to make cars that have up to three suits, - you can do that. - Uh, - the trick is in organizing your spreadsheet and just the right way. - When you're designing a card game, - a lot of times you're going to focus on balance, - and you're spending a lot of time looking at your spreadsheet, - making sure that say powers are distributed evenly across the deck or that certain - attributes are distributed, - if not evenly, - then predictably across an entire deck. - So you'll be looking at different ways to divide up Ah, - different items across across an entire deck and you're gonna be reorganizing this list - quite a bit. - But no matter what, - thankfully, - your top row here is frozen, - so it will always be in place and you're never gonna have that broken in the data merge - document. - So I hope that makes sense is just a quick lesson. - We're gonna go next to something a little bit more complex. 17. Starting a Template: - So now we're going to learn how to make a much more complex card than a resource card or a - playing card. - But it's still going to use the very basic principles that we've learned already. - Uh, - in this example, - I'm modeling my my card off of a magic card, - but you can use these techniques for very much anything. - The main thing we're going to learn this time is how to create different different borders - and styles that will be variable while also creating layers so that no matter what, - the artwork will always appear within a frame, - while other elements can up here above it. - Now, - in this case, - I have just grabbed a screenshot of this magic card. - So first off, - I wanted to show you the layers palette, - and you're gonna be using layers pilot quite a bit when you're doing more complex layouts. - Eso I'm just kind of late label this layer background and that that is where I will put my - plain black background. - Now, - if you're familiar with magic, - the expansion cards are usually have a black border. - While the basic cards have a white border. - Azadeh practice. - Been a while since I played magic. - So I'm hoping that still the case that may have just revealed my age, - if that's not the case anymore. - But I'm just gonna call this black or make this black, - I'm going to make a new layer. - I'm gonna call that, - Uh well, - let's call it border so that we don't confuse terms. - So that's the border and pulling this image back again. - And I'm clicking on making sure that the little pen icon is on the border layer before I - dropped us in. - So you'll note that every layer is color coded. - In this case, - background is blue, - so any items that are on the this layer that's a blue layer are going to have a blue - outline around them. - And when you select an item that is on another layer, - that is safe, - for example, - probably quoted, - Red is going to have a red outline around it. 18. Variable Border: first thing I'm gonna do now is make a border and you can tell that this border is really all one piece on this card. So I'm gonna first make this big rectangle, and I'm not gonna fill it yet. I'm just gonna create a very obvious, really garish color. So make that a big magenta, Add that to the Swatch pellet, and I'm not gonna fill it in. I'm just gonna make that a stroke, because what I'm going to do is create a basically a window within this frame again, I'm adding a stroke, so so I can see where that is. Making sure that both of these items are aligned to the page and centered. Got a nice and center. They're great. So, uh, I am going to select both of these. And this may be easier for you to see if if I go ahead and actually make both of these Adams solid. So I'm switching the stroke and the Phil. So now these air, both solid pink, and I'm selecting both of them. We can see the outline for the smaller window here, and in that outline for the larger item in the background, I'm going to Pathfinder and cooking on subtract. And basically what it does is it subtracts the front. Most objects when the most objects. So eso the small window. I made that, uh, that that is in front of the larger item behind it. And you can tell this for sure. If you actually open up the layer sub menu here and the and you click on this little triangle, it's like a folder. You can see rectangle rectangle and then pasted graphic. The first rectangle here is is on top of the list. That means it's further up front. That is the small, small item that I have got stuck and you can see it's highlighted here when I click on the larger rectangle, the then that is highlighted when I click on the pace of graphic and that is highlighted. So I'm selecting both rectangles, going back to Pathfinder and subtract and boom, we have this handy, dandy little window. Now I am going to make several different borders. I'm gonna open up a new car, a new ah document pasting this here. This document is the exact same size as my standard card. And, uh, I'm going to increase the size of it just a bit so that it fits within my, uh, exactly within my eighth inch margin. So this color is what I'm going with right now. I want to add some new colors, so I'm going to make a new page. I'm just going to I'm holding right now. Uh, the option key while I click on this and drag and drag it and that will duplicate the page . But also just right click and duplicate spread. And that will make you make a copy of that page is Well, some clicking on page two. I'm gonna make a new swatch. Let's say this is gonna be really garish green And that say that in this I'm gonna And this is this is me just making a new page again, and I'm gonna make a new color. So you call us much? It's called that, uh, yellow. Okay, so this again, this is not our data merge Document. This is just a separate document that I have set up so that I can make these items. So I've got a pink porter, a green border and a yellow border, and this is really ugly. But I'm just using this as a really, really obvious example. And also so it's clear that I'm not trying to counterfeit magic arts. So I am, uh, now going to save this so telling this border and I'm going to file export. And again, I'm still in the support folder on I'm going to click on E. P. S because I like UPS files. They're they're nice and sharp. They say they keep their resolution regardless of what size they are and just click on GPS . And what this will do is make every page and individual GPS file. There's some settings here that you can mess with. I kind of leave things all on their own. Except that the color, uh, I don't want to switch it to any other format. I'm just gonna leave it unchanged just to make sure that it is exactly how I've set it up. Sometimes you'll have color profile issues if you change things from seeing like a RGB or vice versa. So I'm just gonna leave things unchanged. I've got all pages selected and all the pages all pages as arranged and then pages as my export thing. If you have a have facing pages you could export both facing pages as spreads. But not gonna do that. And just to be on the safe side, I'm also going to add a bleed that ihsaa eighth of an inch exporting that. And what you see here are three e. P. S is that are numbered one through three. So now that those air set up, I can go back to the original file that I was creating. And I can delete this object because now I have a proper border file that I could bring into this layer. You can see that this is actually the utter edge of this GPS goes an eighth of an inch beyond the outer border of the card. That's because I set an eighth of an inch bleed. 19. Variable Icons: - I'm gonna make a new layer now, - and I'm going to call that I can't. - I'm gonna turn off the border layer now so I can make sure I see everything I need to see. - So icons, - typically in a CCG, - You're gonna get icons somewhere. - Let's say you wanted icons on the top right here. - Say, - for example, - you wanted a heart on the corner. - You just bring in the CPS and again make sure you have the right layer selected in this - case. - I'm selecting the layer icon. - I'm gonna drop this here. - And if this icon would be variable than than, - uh, - I would just make sure that I have all the variable icon set up on Let's view this and high - quality mode so that you can see exactly how it would appear. - All right. - Now, - uh, - that icons a little hard to read. - So let's say I were to put a white circle behind it there. - Now that icon can be variable. - And it could be it could be any of these items that I've got set up already. - Be diamond. - It could be spayed club and ah, - when it's variable, - those images, - any images you bring into the image frame are going to resize to fit that frame 20. Variable Text: - making your layer here, - that is text. - I'm going to make the text. - We know white so that you can read the text and I'm going to object text frame options, - and I'm going to center this vertically. - I'm also going to align the texts of the center so that all the Texas appearing here. - So that's a very simple text under you and you are. - You have already learned how to do this. - There's a number of different things that you can do for for different corners and stuff in - a design. - If you want to get something a little bit interesting, - I try to avoid this kind of stuff that's a little bit too obvious just because any other - car designer that is gonna be looking at your stuff, - um, - is going to know how you did that. - And one thing you kind of want do is do something a little bit different, - something that's unexpected, - that something so simple as just choosing a corner option and calling that done. - Now say this card in game gives you one heart. - So, - for example, - this card is you one part. - Now it's just Azizi to say that it gives you one heart. - But what's common in Euro games and more modern games is actually use icons when whenever - you can, - eso that there is consistent element across across the entire car across the entire game, - sometimes kind of in play. - Switching between verbal cues and visual cues can sometimes be a little bit confusing in - particular, - if you don't exactly. - If you're icons are unusual. - Hearts are pretty simple toe translate heart to heart. - But if you have something unusual that's thematic in your game, - that that is less common than you probably want to use as many icons as you can as - consistently as you can. - Eso In this case, - instead of saying hurt, - I would grab this icon and I would either do something like this and say, - Plus hurt. - I addressed this textile a little bit so that it's bigger. - So now this card now have two ways to view this. - That this card gives you one heart, - and this is plus. - And the nice thing is that if you bring an image like this into into a text line, - this image can still be variable. - Even if you've give you at spaces here or moving around this one image frame is still going - to be a variable. - If you do it that way, - that's that's the simplest way to do it. - If you want to get a little bit fancier, - this is a little bit more difficult, - but I'll show you how to do it. - Um, - say, - for example, - you want to say this card gives you one heart, - but you also have this piece of text here that this period Onley the text that is before - the icon will be a variable and Onley the text that will be after the icon will be a - variable, - and the icon itself will be a variable of its own. - Unfortunately, - you can't embedded variable within a variable in a spreadsheet released. - I haven't figured out how to yet. - I've tried a couple of methods, - but none of them seem to be consistent as what I'm about to show you. - Unfortunately, - this means is that you got to make this one variable so you would make a column that says, - for example, - affect one and in in design. - It would look something like this Effect one, - and even this period would just be called effects, - too, - and the reason I would I would make that a variable instead of just dropping a period in - the hard copy of this text is because if I wanted to add any a text that comes after the - icon not just a period, - but say, - for example, - if the if the if the text said something like, - If you have one heart, - then you gain one. - And again I'm good. - Drop this here. - Nudged this down a little bit. - I'm just selecting the actual image frame and nothing it down a little bit. - So these could be, - uh these could be separate variables in the spreadsheet. - Or that could be the same variable so that they're there. - They're always consistent. - If you have any cards in your deck that have text without any icons in them, - I would recommend actually copying this text frame and pasting in place so that you have - basically the same text, - the same size text frame in the exact same space. - But this text frame, - the only variable here, - uh, - well, - will be plain text. - It won't have any icons in it, - and you won't have any icon placeholders there. - Unfortunately, - this means that you won't need to worry about awkward spacing if you have. - If you have text it up and there's room for icon placeholder that actually hasn't text - around it. - Um, - unfortunately, - what this also means is that you have you have to deal with that many more variable. - So in this case, - uh, - this is a variable. - This is another variable. - This icon is a variable. - This text is a variable. - This icon is variable. - And this this Texas variable too. - So that means each one of those would have to be their own column in the spreadsheet. - Things could get pretty complicated here. - And I'll show you how to set up your spreadsheets in case you need to do something like - that. - Now, - your cards in the title, - of course. - So, - uh, - this is a title. - I've styled this with a white outline stroke just so you can see the text normally would - not lay out a card this ugly. - But I just want to show you, - by way of example, - how that how that might work 21. Variable Art: - Now you also have some art that you probably want to put into the middle here. - So I'm gonna set up a new layer that's called Art, - and I'm setting it up so that art layer is behind the border, - but above the background. - What that means is that when I bring in some artwork like this sheep resize that you can - see that the any layers that are above the art layer are going to appear in front of the - art. - So that means I can have a little more freedom to extend the art beyond the edge of the - border, - just to make sure that there's no weird white gaps or anything between the two objects. - Again, - if you turn off the border layer, - you can see how far the art extends. - So lining this up. - Okay, - so now we have a very simple card format already ready for us. - Let's see how this might work in the spreadsheet 22. Setting up a Spreadsheet: - So again, - we have a number of different variables here. - Looking at the card. - We have the border. - So let's start there. - It's called this at border. - I'm gonna call this for this variable border one or two. - Border three. - I'm gonna make seen nine cards, - three cards of each. - Um, - uh, - I'm going to freeze the top row again to make sure that it doesn't get messed up. - When I reorganized this. - So have reorganised. - We're gonna reorganize this alphabetically. - So border one are the first to encourage border to are the 1st 2nd 3 cards and in border - three are the 3rd 3 cards. - I'm gonna go ahead and tell these because we do have a variable title right here. - So let's call this title. - There's no need for an at symbol because this is just text. - Let's call this, - uh, - rid sheep green feet yellow. - And I got stone here as well. - So let's call this, - uh, - red stone Green Stone. - No. - Now, - if you want to get really complicated here, - you could make each of these words a separate variable. - So you could say even that this is just color. - And this is, - uh, - resource and so this would just be sheep. - And this is just the red, - for example. - So, - uh, - this and this together are going to be thedc all of the card over here. - The next variable of that I have is this icon, - and I'm gonna go ahead and call this like, - top icon. - Or you could even just call it or you could call it cost. - It doesn't It doesn't really matter what you call it. - What really matters is what you placed there. - Eso, - uh, - say I call this cost because, - say, - for example, - say it would cost a heart to play this card, - for example. - All I would do is has cost the speed or this costs diamond. - Now say, - for example, - you wanted some cars that just didn't cost anything in the spreadsheet, - you would leave that cell empty. - Say, - for example, - also, - you had a car that may have to costs are rather it costs to resource is s o again. - A couple ways to do this, - you could set set up a very fancy custom made font that would have dingbats or symbols that - you could make a text frame out of, - and all I would do is just replace Ah, - normal letter with a symbol believe magic. - The gathering does this because they have so many icons that have to be placed in line with - text so often. - But for your purposes and for the resource is that you probably have available. - This is gonna be the easier way to do it. - So I've set up a white circle here that is not a variable. - It's just going to always be there. - So no matter what, - if there's a card with a single cost, - this is gonna be empty. - But if there's a card to costs than both icons will be there. - So say, - for example, - the yellow sheep cost heart and ah, - diamond. - Now I have to make sure that I have named this column. - So I'm gonna call this cost one, - and I'm gonna call this cost too Trump consistent with capitalization, - because they this cost a spade and this cost a heart. - And let's say this costs a love and this cost three spade. - So when I bring this into the card is going to replace one of these icons depending on the - variable that I got set up the next variable I have is this art, - which I'm just going to call appropriate hurt. - And that is where I will call in some of the artwork that I've got set up already. - Uh, - nice thing I can do here. - It's just honestly, - just take thes names and drop them in. - And had Jay picked all of them. - So that's the art variable set up the next variable I have. - This is the complicated one have to text frames. - One of them is for any text that has no icons in line with the text. - The other is a text frame that has that houses any text that has icons two icons. - Even so, - it's always if you have blank, - then you can you gain blank and then followed by a period or perhaps some other text. - S O. - This is the plain one. - So let's start. - Start with basics there. - Let's call this one on. - One thing to note. - Here I am removing the background color for this text frame, - so when you're actually laying this out, - it's gonna look really weird as you start having overlapping text here. - But because only one text frame at a time is ever going to have Texan it depending on the - variable, - it won't have any overlapping text like that. - But it's it's useful just so you can see everything that's going on. - And also because any attributes that you apply to the text frame, - like like a white background, - are going to be there regardless of what the actual text variable is. - So if I were to have set this up and I would have made the text frame and opaque white even - if I had a text going on in this frame, - you wouldn't be able to see it because I've got this other frame in front of it. - That is a pig. - Quite so. - I'm gonna turn off that background to be quick. - Let's just say, - uh and gain us and gain do that again for these free ones. - Now, - these are these cars were special. - They have to costs. - I'm gonna add a little bit of a special effect to them. - Ah, - Now again, - uh, - the special. - The special fact that I'm talking about is that there is an if then statement with with two - icons, - actually, - in between them, - eso say I'm gonna call this frame, - uh, - effect to I'm gonna call that a line of text affect one. - I should say sorry. - And that's just always going to say you have one. - And I'm adding a space to that variable, - so I don't have to put that put that space in the actual text frame. - And this is where the first icon is going to be. - So I'm gonna call that I call him one, - and let's say so in this s o. - Looking through this, - uh, - again, - the yellow sheep costs a heart and a diamond has a piece of sheep art in there. - It hasn't has the variable. - If you have one followed by an icon, - then I'm going to put the 2nd 2nd effect, - which is this line of text, - including the comma and any spaces. - Then you gain space again. - And this is the second icon, - something called Icon, - too. - And then s O that this is like onto making a separate variable. - And now, - lastly is this little period, - which I am going to for now. - Just make that a period in the spreadsheet. - But you can replace that period with some other text, - like if you had any other conditional elements or some further text that you want to put in - . - That's where you do it. - So effect three. - And that's just going to be period now. - That pretty much covers everything, - I think. - So. - Let's go ahead and save this spreadsheet. - Remember, - you always save your spreadsheet in the support folder, - along with all the other assets that the spreadsheet are going to be calling on when you - date emerge this so saving. 23. Linking a Spreadsheet: - going back to the design document. - I'm going, - Teoh, - go to date, - emerge and select data source. - I'm selecting the spreadsheet that we just exported. - Now you have all these variables listed here. - When I noticed that one of these is called Effect 21. - I'm gonna look into that. - Where did that sneak in? - Uh, - so I named two columns effect to eso in design has interpreted that TB affect to and in - effect to one. - So I'm gonna make sure that this is legal effect three, - I should say. - And this should be affect for no. - My mistake. - Let's go ahead and export that again. - You went into the some of these issues. - Ah, - lot on Whenever you're making it a steer spreadsheet eso I've updated the link to the - spreadsheet here, - and the date emerge panel has updated accordingly. - So now there's affect 123 and four. - So you'll notice also that they're listed in the order that they appear in the spreadsheet - . - So border color resource cost the one caused to our border color resource cost one cost to - our and someone. - It's just following whatever you tell it to. - So starting off, - I'm making sure that I've got just to keep things straight. - I'm gonna lock all the other layers except the board earlier, - which made sure I had selected I do this just to keep things straight. - And so I don't accidentally credit variable where I don't intend to keep it s so I'm gonna - call this. - I've got the border, - uh, - placeholder selected. - I'm gonna select the border element in the data, - merge mental, - and again, - it looks like it disappeared. - But in fact, - all of sun has replaced it with a variable is just not in preview mode, - So you can't see it next up. - We've got the title, - which again is going to be broken up into two words. - Say, - for example, - or a sheep going to call. - I'm going to select this word and add the color variable. - It's like in this world and adding the resource variable and you again see that in design - replaces replaces your word with this special tag that that it uses to recognize that this - is a placeholder for that text. - Variable. - Now we have cost one and cost too. - So I'm gonna select one, - and so cost one will usually be their cost to is optional. - So I'm gonna go ahead and select this to be cost one so that it's always something on the - far right and then cost to is optional something I'm gonna select cost to here and while - selecting this icon placeholder image frame thing. - And again, - it looks like those icons disappeared. - But also, - this is just simply be replaced with the variables. - And again, - if you need to see this just to be absolutely sure, - you can go to extras and then show frame edges and you'll see the names of the variables - that I've been applied so far on the image frames. - So and this I've got a border variable. - I've got cost two and cost one Here, - Let let's go to the art next, - some unlocking the art layer. - When selecting this our image frame, - I'm selecting the art variable in date emerge, - I get it. - Looks like it disappeared, - but you can see that, - uh, - the arch tag has been applied to this image frame, - and it appears that I have accidentally made these text frames in the wrong layer. - Eso I am copying and pasting them and dropping them into the appropriate layer. - These were all set up in the border later, - Unfortunately. - So there first text frame that we've got is the one that has just one one line of text with - no icons in it. - So I'm selecting that entire line of text and replacing it with effect one Cool on moving - this up a little bit so I can see what I'm doing now, - in this, - uh, - this other text frame, - I've got a more complicated set of variables. - This line, - including the space I'm going to call effect, - too. - And selecting the date emerge this icon, - I'm flying Icon one. - And as a matter of fact, - I noticed these icons are a little bit big. - So before I do that, - I'm gonna reduce these in size just a tad. - Okay? - Those are nice and small. - Uh, - so once more, - I'm calling this icon one. - This line of text, - including the common, - including the space I'm going to call effect too. - This I'm going to call icon too. - This I'm going to call effect four. - And I'm gonna remember to move that first text frame back down to its proper place. - So let's see how all this works. - This is the moment of truth. - When you click on preview and see if everything you've done is actually correct, - you could see how some variables are are changing. - If there's nothing in the cell on the spreadsheet, - then it's just blank. - You could see the some elements are always going to be there because they're not variable. - So in this case, - though, - these white circles are always going to be there and let's export. - This has its own document, - and now you can see that there's nine pages here, - each one with its own car, - and you could export this as a PdF export this as flattened J pigs if you want to make a - printing plate file, - so that's basically how you make a a CCG or deck building card. 24. Variable Text Front and Back [Trivia Cards]: - Hello. - Uh uh. - This is Daniel. - Again. - I got some requests to, - uh, - have a tutorial about how to make variable cards with variable backs and fronts on the same - card on. - I thought a good example of that might be trivia cards, - since they usually have a question and a serious of possible answers on one side. - And then the final answer on the back S O. - I thought I would just do a quick example of that. - So first off on the spreadsheet, - I'm just typing question as the variable name before I get too far in and I'm gonna freeze - that road. - Don't say, - uh, - answer A is the first option, - and serve B is the second option in Answer. - C is the third option. - And then this is the This is the final answer that's going in the back. - I am going to say, - uh, - cancer now because these roll text based variables I'm not going to put the at the at sign - in front of any of these names because they're all just texted. - I don't need to bring in any images, - and I thought this would be a very simple way to do this So say, - for example, - uh, - who is the captain of the enter rise D And you could say work you could say are good. - Say Cisco. - But the final answer is the card. - Or you could say, - But is the best through And you could say out pull or banana or, - uh, - guava, - and you would be right to say guava. - It was intended. - It isn't there, - right? - Thinking like Polyjuice, - um, - and say, - uh what, - dude? - Hard her drink. - You could say synth whole. - Or you could say Jews I could smell right Or you could say tea Earl Grey not. - And of course, - T would be correct. - So you've got this final spreadsheet and you're gonna save it and download as and see it's - b saving that into a, - uh, - just a loose support holder. - So for as they got there, - it's good in design. - I've got my templates set up again. - I've got, - uh, - 2.5 by 3.5 card size. - This is a little big for most tribute cars, - but I wanted to keep things pretty pretty consistent for the previous lessons. - All the margins and bleeding to the same. - Technically, - this would have any bleeds This it wouldn't need. - Please. - I should say, - since there's no graphics going going to the other side. - But one thing I'm gonna change is gonna make this landscape. - Since most tribute cards are held sideways. - Aside from that, - it's all pretty much the same. - So I'm going, - okay. - And it's gonna open up a new thing. - So the trick with two sided variable cards is that you're in fact having two pages. - Eso I'm gonna insert one page. - Uh, - you saw that? - That was in the top, - right? - Menu over here and the pages palette. - And you could just insert pages there. - So you have one page here when paige here. - I'm not saying this is the This is the side that has, - uh, - excuse me. - This side has the initial question and the three options, - so I'm making a text window here. - It's just one big text window. - As a matter of fact, - yeah. - Excuse me. - One big text window and I'm setting the text frame options to center. - And whenever I have something like text based like this, - I just go ahead and copy this whole deal and bring it back into design. - is type of the whole thing. - Or rather, - instead of having about the whole thing, - I'll just copy paste a typical, - uh, - example of a they insert. - Like if I need to bring in images or if I need to bring in text on and the text can be long - , - I'll go to the spreadsheet and pick that the longest question. - So, - for example, - this is the longest question here. - I'll use that as the placeholder on then for this. - Now, - this is the longest possible answer. - So I'm gonna go to the other side of this card, - make a new text window once again, - type that answer in. - I'm gonna addressed the text frame options so that it is centered. - And the reason I I do this using the longest possible option that would be in the Aubenas - Tex window is mainly so that I can, - uh, - really make sure that I'm not gonna get over set text errors. - There are some tricks that you can do Teoh reduce or increase the size of a certain amount - of text. - If it is justified on, - I'll show you that just really quick here. - So say, - for example, - you want to set this up to be justified. - You can you have a little a lot of justification options. - You could make it justified, - left justified center just the right to the right. - Or you could force testify, - which means that all lines would be justified and dress if I just to be clear means that it - would take up the full width of text window say, - for example, - you were too. - Make this really big. - The doctor is a big be honest and you were toe. - Justify that. - You'll notice that the turning that that that is the space between letters is getting - tighter here. - The space between words is variable Here, - it kind of is much wider in the first line and much smaller in the second line. - You can control these options by going to the paragraph pellet and then going to - justification. - You're gonna just the minimum size of the letters and any justify piece of text, - or even set the maximum size as well. - So in this case, - for example, - the current settings by default are that the word spacing at minimum can be 80% of normal, - and the maximum could be 100 33% of normal. - You could see these two extremes in this in this question. - In the second line, - the minimum is easily within the 80% on the top line. - It's easy when 33%. - Now this is kind of a coward. - Read ugly. - I don't usually justify text that is this short, - But for the sake of example, - let's assume that this whole thing is four. - Stressed If I okay on, - go back to the justification window and you could set up something like this where the - minimum size of the of the cliff that is the letters are 50% of maximum sizes 160% and you - can see in the preview gradually that that the size of letters increases you can produce - the minimum or increase the minimum minimum eso at minimum, - the 100% word space is 100% on this line maximum. - You could even lower that actually make it smaller. - So the only the only thing that's changing here is that the size of letters is changing the - words spacing is not changing on, - and, - you know, - that's just how you do that. - Did you, - um, - let's go back here dipped into taking money. - All this alright. - So back to basics. - So you have a question. - You have three options and you have the answer on the other side. - So, - uh, - just gonna date emerge, - You select your data source, - and that would be the Let's find it. - Tribute cards support such in that spreadsheet. - Okay, - select your question on, - then. - Select question in the data Merge pellet and you're something replaced with the text. - Variable answer A is that answer? - Be an answer C and then replace the financer with All right, - eso uh, - that's basically what you do. - And then if you click on preview, - you can see that preview is is actually two pages. - But on this, - this is where the key difference between what data merge calls a record and what what you - would call a page is quite different. - Because in a spreadsheet, - every line every row is a record. - And where you placed these individual variables doesn't even matter like this in design - doesn't care where whether this variable is on the is on one page by page one or on page - seven, - that can change her. - Really, - Whatever you want. - Eso that could do some interesting things for, - like, - safe booklets, - mailers, - things like that. - If you want toe play someone's first name throughout a brochure, - for example, - you could do interesting things like that and swap things out. - But for our purposes, - really, - all we're doing is making a two page in design document that represented one car to the - front and back of the card. - And so this is the front. - Page two is the back page One is the front which do is the back. - And so say you were to export Uh uh, - multiple records. - Okay, - now it's exporting. - And here's what happens when you go to page one of this exported document. - And I can extend this out so you could see it a little bit. - Page Woman is the front of card one page two is the back of card one. - Page three is the front of cartu. - Page four is the back of card to page five is the back of is the front of carp. - Three patients. - Six is the back of car three. - So you can see because your original document had two pages. - When you export out all this, - it exports the entire deck what with alternating front and backs for each card. - And so I want to show you really quick, - another example of this using actual images and also sort of a case study of how I set up - cards and koi pond. 25. Variable Art Front and Back and Prepping for DriveThruCards Print [Koi Pond]: - Lou again. - So I wanted to talk to you a little bit about variable card backs and fronts. - On in particular, - I want to show you an example of a more finished game. - I know that some of the cars that have shown you, - actually most of the cards have shown you in a spot of this class have been really - unfinished and have ugly looking. - So I want to show you something a little bit more polished. - So this is a game that May designed cards for actually designed the game, - too. - But more importantly, - the cards uh, - this is for a game called Koi Pond, - and I want to show you just as a finished version variables that I introduced here. - So on this page, - you can see the cart fronts on, - and you can see some of the variables already when you switch between just 22 cards. - Eso The main difference is that you see are around here that's suitable very between four - different colors, - actually. - So red, - yellow, - red, - blue and white. - Uh, - the ranks over here will vary from 1 to 3 s 01 and two and C three up. - So trust me it goes from 1 to 3 and that's independent of the suit eso these air to gonna - be to separate graphics, - the suit and the rank. - Also, - the background art will vary eso if there is, - it's a white one. - Then there is one particular piece of art that I will use their if it is a blue to. - I'll use this. - This piece of art there it's a red one will use this piece of art there. - So I've got ah, - whole bunch of case or context sensitive art that I've already made been set up in my - support folder that I'm gonna draw in with the spreadsheet. - In addition, - there are these ribbons that will be tucked in under the suit icon if the I am. - If the animal is is not official, - it's rather a crane. - A turtle. - This is a cat, - uh, - or turtle. - So crane cat and turtle on. - Then on top of all that, - there are these hybrid fish that are always just one, - but they carry two suits eso for so it's all had to figure out how to actually make make - this variable suit work. - If it's just splitting half without necessarily making a whole set of new icons for each - possible combination of those four suits, - the way had to do with art. - Actually, - I couldn't figure out a way to make make the art itself variable like the actual drawings. - So I did have to make a special cases where that but a spy was, - the suit goes, - I think this was probably easier to do, - and on top of that, - for anyone who is visually impaired. - I've also added a border around any hybrid suits just to make it absolutely clear that this - is a special kind of fish on. - But I don't have any other, - uh, - the other markings around the suits in any of the other cards, - so I thought it would be pretty clear that this indicates it's a hybrid. - So with all that said, - let's take a look at our support folder. - You can see there's a whole bunch of stuff you're actually, - but we have the card back as a Photoshopped file. - That is something I'm going to save. - As a r. - I have saved as a flat tiff here. - I'd like to import flat tips whenever I don't have any transparency, - ease in a card because they just load faster in design. - It's and they usually produce fewer errors. - If I actually, - if I actually go to print. - So but if I need some kind of transparency, - you're gonna think that I will go with GPS or or a layer PST that has a transparent - background or a flattened tip that has saved transparency's. - But I'll talk about that another lesson so you can see all of the art that I've got set up - here. - I've got Blue three and go read one of God's white one got a white three. - You see all the art that I've had to put together just for this and mixed amidst all this. - You also have six possible hybrids that I've made. - So I have all that art set up beforehand. - Um and, - uh, - you can see you can see another. - If you look my YouTube channel, - you can see how I put together some of this art, - but that's kind of outside the scope of this class. - But if you're working on a card game, - chances are you're going to have an artist that will provide you with you don't have to do - it all yourself linkage, - schlub like me. - So this is all the art and assets that I have going beyond that. - I've got a bunch of icons here, - so I've got three the E. - P. - S files for the suits. - These were gonna like us. - Like I said about GPS is these air vector and they're going to stay sharp regardless of the - size, - which is about them. - And on top of that, - I've got a hybrid border, - which is really just a solid white circle with a black outline around it. - You can see that better in this preview on, - um, - in the finder window, - since you can actually show the transparency, - is there all I'm going to do? - There is Make that make that the border around, - uh, - on the suit and just that's just gonna be another variable element. - Um, - the, - uh the ribbons that I've made are here the ranks that have made our here after this other - stuff. - I ended up making that that I never ended up using because it was just too complicated on - the page, - but and it's keeping some of this stuff just in case I ever need Teoh. - Refer back to it and you see a bunch of spreadsheets that I've put together. - Each of these was made for a different generation of the of the game. - It's a matter of fact this is thes or some old designs that made way back in the day. - But you see how how also the the design has has changed over time. - A little bit. - It's much more clean now. - Kind of the plain white. - No bleed off the edges, - on the front and on the back Eyes pretty is pretty standard. - So, - uh, - right, - let's go to the spreadsheet. - Um, - each one of these rose again is one card icon. - One is, - Let's see, - one is the yellow suit. - So there's gonna be a yellow card. - I've got a another variable here called to suit. - I'm Onley using that if I need to import a second half of an icon in the case of a hybrid - so you can see that here and here that this is a hybrid of icon one and three that would be - a yellow and it blew on. - I'm bringing in a hybrid border. - That's the outer circle thing. - Uh, - in that particular case, - under the art variable I've got all a bunch of different stuff. - So if it's really simple, - if it's just a yellow one, - I just bringing in that cooler yellow one dot if that I got set up already. - And if it's just it's just want I just bringing the rank one. - But it's a say, - for example, - a yellow to I'll just bring in the icon there and the rank I come there There is. - I got a separate thing here called Predator Rank on that. - All it is is just those ribbons that I was showing you. - That's what these are. - Predator River 12 and three bringing in those there. - The reason I don't make these just the same in the same space as A Z rank is because thes e - shape that is the size of the image placeholder that I'm using for rank is a square, - whereas the predator ribbons are a rectangle and if you, - if you depending on your settings, - when you export a um, - a variable variable image in design, - the image that gets imported into the image placeholder will change its size, - depending on the on the side. - It'll re scale, - I should say, - depending on the dimensions of the placeholder. - So, - for example, - of this was square and I had moved these variables over to this column thing that would - make a very, - very tiny ribbon because it's it's being re scaled to fit the size of a square. - Um, - and finally, - I've got these ribbon cards, - which are kind of a unique thing. - Uh, - see the cars up? - Yes, - ribbons. - Eso I've got I've got some of these things. - This is actually the Photoshopped file that used with Reuben cards. - I've got some different background art for for each ribbon card, - and I change out the big suit on the top. - Here, - Let's see if I could find Oh, - actually, - no. - All right. - I'll show you how this works in the actual in design file. - But again, - I've got a big, - big ribbon background here for for the for the front of the ribbon cars, - and I've got a big suit icon that goes up in the front that have looks like a little seal - on top of bourbon. - I've also got a ah cover that is sort of required from the from the publisher. - They wanted one card in the deck that would be essentially the front, - the front of the entire deck. - So I've got one set up over there. - I'm using it in the place in the art variable column, - mainly because art variable columns already set up in my design file to be full bleed eso I - thought you know why I use one more variable? - They absolutely need to, - um and so I just used that their star player card is the same thing. - Also got some reference cars here. - Now the reference cars had this goofy idea of making it so that the back of the reference - cards are all the same. - And there a diagram of the play area, - whereas the fronts of the reference currents are actually unique. - Page one and page to page three and page four of the rules as a rules for review so you - could turn is over to the rule side and put them all together and get a quick overview of - the rules. - Or, - if you're already familiar with the game, - you just turn him over to the diagram side. - So you have a quick reminder of how your play area is set up. - That was kind of a goofy idea. - I'm not sure if it actually worked, - but but that's just kind of what I did. - Right now, - all these cards are set up as a as just card fronts, - basically, - and I don't have any distinguishing marks. - Teoh any variables here to show that they are? - They have any variable backs. - And one of the requirements that the publisher had was that I provide a pdf that has - alternating pages that show the front and the back of each card. - With that being the case, - I went ahead and, - uh, - I went ahead and did this the hard way and exported out flat tips of all the card fronts. - Made a separate spreadsheet, - which I'll show you here. - I made a separate spreadsheet here that that had all of the, - um, - uh, - the exported J pegs Angus of of every card and alternated the backs in the fronts in the - spreadsheet and made a brand new spreadsheet that was just that was just important. - These trips thes J pegs and tips. - It was a really complicated way to do it, - and I found a much, - much easier way to do this. - Now show show to you it's basically the same thing as as what I did with the tribute cards - in the previous lesson. - Eso in this case, - I'm going Aim back image variable on. - And I'm gonna move this cover and the star player card. - And actually, - uh, - yeah, - I was going to do this cover and the start player card over to the top of the stretch Just - so that the first card that Prince and the printer knows ideally what they're what? - They're actually writing the cover and the the cover has the same image on the front, - in the back. - So just copy paste covered up tiff onto the onto the back variable. - Same thing would start, - player. - Now, - all these coy cards, - these hybrids and individual employees, - they all have the same card back on that card back is actually called card back. - So I'm actually going to call this car back down to and I'm gonna copy that and go all the - way down to the last section of koi. - Make sure I got that right. - Yes. - And just going to paste that now. - All these cards have the same variable card back the reference cards because thes air 123 - and four. - I can just go ahead and make the consistent back to all those cards, - the anti play diagram. - And let's see if I can find out here. - Yep. - Reference zero, - conveniently enough. - Thank you Passed Daniel for making that very simple. - So I'm gonna add those backs to to these cards and in the actual ribbons also have - identical fronts and backs because I want those to be very, - very clear. - So it's gonna copy, - paste everything that's on the front on to be back. - Credible. - So, - um, - just to be clear, - this entire column has it has a bunch of variable images, - but those variable images are not gonna be on the front of the card. - They're going to be on the back that way. - We do. - This is if we go to my existing koi pond image are in design file. - You can see now that because I have the preview turned off and I've got the pre measures - turned on. - You can see all the variables I've already got set up on his cards. - You can see the hybrid border. - You can see the suit into that rank. - You can see the variable are you can see the suit ribbon in case that is a ribbon card. - Um, - there's a bunch of stuff here, - Uh, - and just a kind of good to give you a quick preview of that. - I'm turning on preview. - And, - uh, - and just so you know, - I got these cards set up to be a 2.75 by 3.75 just incorporating the bleed into the actual - page itself. - That was a weird requirement that for some reason, - the printed relented eso That's just what I did. - But with with all these frame and has turned on, - you can still see all the other variables that are on this page that are just not bringing - in anything because there's nothing in the in the spreadsheet that that brings them up. - So, - um, - this is all the the cover page and all these other late. - All these other variables are just empty because I didn't need to bring anything into them - . - So continuing to preview the next stuff, - this is the start player card. - Is there the the rules reference cards? - And as a matter of fact, - I'm gonna go back to the spreadsheet and make sure I've got those rules references up in - near the front to because I like the idea that you would actually open up this entire you - open the package and the first cars that you see are the covers are player card and the - actual rules reference cards. - So revising that I haven't exported that that spreadsheet yet. - I'm just showing this preview just for just for kicks and giggles. - Um, - now you can see how I've got the ribbon cards set up, - unlike a lot of these layers. - So I got this variable a big, - big suit icon here that will change depending on which card ribbons is. - So there's actually two variables in this patient's. - One is the background art, - and then the other is this suit icon. - So clicking through all these and the reason these air all pixelated is because I've got - previous I got the they display modes set Teoh be pretty low rez. - Just everything will load faster, - and I think we get to the big Walters thes air. - Actually, - they caught the actual coy cards on these air where I have so many burials. - I've got this as the rank variable of, - uh, - this as Theseus. - Variable behind that. - I've got the hybrid border variable, - which is empty right now. - And I got the 1/2 of the suit to variable here and canned all that. - I've got three again. - The art variable, - which is still just a full bleed piece of are Even though that the graphic I she doesn't go - over the edge, - Let's skip ahead to, - uh, - I think 50. - I want to assure you some of the actual hybrid cars just to show you how those were set up - and how you can use image masks. - More or less. - I measure of what design calls them exactly, - but But I call the damage masks eyes. - Basically, - when you take one image and you paste it inside a shape, - um, - the Let's see. - Come on. - Yeah, - here, - here we go. - Hybrids, - Right? - So, - like I said, - this is suit, - too. - You can see that it's actually just this this one variable that's on top of the suit - variable. - But it's half the size thing. - Is your copy paste this It's still the whole icon I haven't made like a special half icon - for this stuff. - All I've done is just copied and pasted the the icon made a a rectangular shape that is - exactly half the size of the icon. - Aligned it to the right edge of that I can and then pasted in this new image. - Placeholder. - Not now. - It's important to note that you're not pacing in the image you're pasting in the image - placeholder that happens to have the image within it if you paste it in just the image. - Like I said, - this would this'll icon would resize to be the width of this rectangle, - which means that it would be this weird tiny, - a tiny suit icon within this larger icon. - So instead that the trick that I did was basically I made a variable icon like this. - So this this is one very but like on you can see it highlighted here. - Um and I assigned it, - for example suit to which is blue. - Um and I basically made a rectangle like this. - This is just a quick example. - So I I'm not selecting again. - I'm not selecting the image, - which is what you would do if you had if you had, - like, - the hand selected or that white arrow. - No, - I'm selecting the actual image placeholder, - which is the black arrow. - And you can tell because I've got blackout set up and it's also the outer border of that - image. - Placeholder is the same color as the layer that it's on. - So this case, - it's green. - So all indications say that I'm actually selecting the image plates placeholder or the - image frame, - and, - uh, - and then I paste it into this rectangle. - And the way that you do that is just after having cut it or copied it, - you paste in place rather sorry you paste into there you go on. - And if I turn off this stroke and I just go to, - uh oh, - and one other thing, - too, - is that you can tell I copied this a couple times now because under suit, - it shows three places where I've got it placed instead of just two eso. - If our Teoh taco through all this, - you can see all the hyper cards. - This variable is changing up with everything else. - Eso That's basically how I set up the half icon and you weigh alot. - That was kind of a digression. - That's basically how it set up the koi pond front cards. - Now what I want to do is make a whole deck of cards that has the front end back. - And I've already got the back set up on the spreadsheet, - so I'm gonna go ahead and down mood. - That's it's that spreadsheet and it's not data source. - First, - I'm gonna update that link. - Selecting a source. - Yes, - I knew. - Go back to clip on Goodbye to support. - It's like base it again. - And you can see that in the updated spreadsheet that I have got a new variable here at the - very, - very bottom called back. - It hasn't been assigned to any page because there's no page for it on the document. - So of course I have to make that this is gonna be the back of the car. - This is Page two and, - uh, - me here. - So I've got a whole bunch of information, - whole bunch of variables here for the fun of the card and the back. - The card is blank right now, - and I happen to know that the art that I'm bringing into the images and bring it to the - back where exactly same dimensions as the art variable. - So I'm just gonna copy paste that are variable here on you can see and date emerge that - it's showing that this variable is present on page one and page two, - which is kind of kind of a cool thing on you can see how things will change if you start as - long as you start making very multi page variable in design files. - That was a mouthful, - but we don't want the art to be on the back of the card. - We want the back to be on the back of the part, - so I'm just while I have this thing, - this variable place while they're selected, - I'm instead of instead of making it hurt, - I'm gonna make it back and just gonna click on back. - There you go. - You can see at the top of the A frame the image placeholder that's now the back variable. - And you can see that this variable is also on page two. - Uh, - when we preview this Uh huh. - So one thing I forgot I neglected to do on these ribbon cards. - I had copied and pasted the the artwork, - but I did not copy and paste the actual images. - So, - uh, - on these, - I'm just gonna cut base the suit and technically, - you know what? - Not I think about it. - A simpler way to do this would have been not even Teoh. - I wouldn't even have toe place thing. - This is kind of weird, - and it's gotten kind of have a little weird, - advanced thing. - But technique that just left this blink saved this spreadsheet. - Let's update that. - So that's kind of weird, - But follow me on this one. - Um, - I could have, - uh Well, - no, - actually, - no. - You know what? - Forget figured all that was a bad idea. - What? - Um okay, - that was a digression. - I had his weird idea in their mind. - Um, - this is this is what you get when you don't have any edited videos. - Seriously, - you get heat on my weird, - wacky ideas. - All right? - Going back to where we had it before. - Okay, - so again, - we have the back variable. - Let's preview on that. - All right? - So getting back very well here. - The weird thing the good idea that I had was that I could just copy paste the art variable - to the back of the back of the card for the ribbon cards. - And the problem there is that I don't want like, - I said, - I don't want all the art to be on the back. - I just want the back to be in the back. - So I had this weird idea that I could that I could just like that saying it was a real - anyway. - But what I'm gonna do is copy paste this this image variable suit ribbon because it is a - separate variable. - It's already separate column. - If you look in the spreadsheet, - I've got super event that only plays this variable appears is on ribbon cards. - Eso you can see it just, - you know, - one for one. - So I don't have any worry about this very well appearing on the front of the card or - inexplicably on the back on the back of card. - So I'm free to just copy paste that onto the backs. - Because if it ever goes to a non written card was front page. - This is the This is card one. - And this is Page one. - Uh, - this is page one. - This is a page two you can see once I turn off all those frames and stuff, - they're exactly the same. - Let's go to card too. - Page one and page two are exactly the same because again, - on the spreadsheet I made the art variable one thing and made the back variable the same - thing. - So in both places have made covered up tiff on the cover page through the graphic that is - the variable, - graphic and art. - And on the back, - let's go to something a little bit more complicated than go to the next page. - So now we get to the reference pages, - and on page one, - I've got the actual rules set up and on the back of Got the consistent background, - the play diagram. - Again, - This is Reference one and then reference zero. - You can see that there. - Let's go to the next card and again the same front, - or rather the same back, - but a different front. - Um, - let's go something a little bit further deep into the card. - Here we go. - Okay, - So now this is a koi pond card. - This is this is a quite card brother on. - I've got all those variables in place. - Nothing's changed there. - Um, - the only thing strangers now have a second page. - And on the second page, - I've got card back and maybe easier to see if I pull out this pages palette. - And But it did emerge so you can actually see how if you look closely at the at the preview - preview page here Ah, - you can see as a toggle through the rest of these cards that the fronts of the cars are are - are varying. - But the backs were staying the same because because I have assigned the exact same card - back to all these cards. - So once again, - just just kind of recap that it's it's variables that are all on one row of the spreadsheet - . - What design calls a record. - But the placement of those variables will very if you put them onto Page One and Page do or - beyond to be doing something besides cards. - So, - uh, - you go talk going through all this, - you can see how everything is. - Still, - despite whatever differences are in the front, - it's still pretty consistent on the back. - Eso I'm pretty comfortable with the way all this is set up, - so I'm gonna go ahead export this into a, - uh into a combined record or multiple record documents. - So it's merging records now, - emerging records, - merchant records, - taking apologised because there's a lot of high res art and a lot of images that that it's - putting together on. - It's kind of a complicated spreadsheet, - to be honest, - not as complicated some some car decks that I've done the Chad quite a few relate different - variables and so kind of made this very broke record thing. - But regardless, - no verse. - That text was generated because of the prison of text in the cards that technically on you - can see on the page preview that it's made just this one long document, - and it's actually start alternated the front in the backs. - Basically, - it's imported. - It's made a new document that takes Page one and page two of that original document here - and made it a new document that just that brings in Page one and Page to repeatedly just - changing out the variables here so that you have this one long document that has 180 pages - . - That's that's 90 cards starting from the top, - the cover card, - which is front and the back of the star player card. - That's the front in the back of the rules card. - That's the front in the back, - front and back, - front and back, - front and back. - Quite hard back regard and back quicker in the back Quick card in the back. - You get the idea going down to the written cards, - you can see these other fronts and backs of yellow ribbons front of the backs of the white - ribbons, - which are identical. - So I guess you can see the differences except that I'm talking through these pages here. - So once this is all exported, - you can just save this as a rather you can export this as a PdF. - Uh, - it's called Call it Kuip on print. - Make sure it's in the right folder, - all right. - And save that. - And the settings that I'd like to use for most printers is P. - Dfx won a 2001 my personal before 2008 cause it handles some of the design transparency - effects much better. - But for some printers, - they haven't updated their their their settings yet, - or their machines are just so old that they tend to tend to lean towards the lows come - denominator. - And that's that's 2001. - Um, - I'm not sure the technicalities of all the things of what changes there. - I just know that some things just do not render as well. - So that someone So you have to be particularly careful about how fancy you get with some - drop shadows and effects that you do in design. - If you're exporting in 2001 pdf print Make sure of my, - uh, - compression is set to 300 for any color images and grayscale images. - Any monochrome images that 1200 all these settings are presets of the 2001 pdf preset. - Usually, - I would make sure I have used the the document bleed settings turned on. - But because the way that the print of requested that the files be set up included the brute - on the bleeds in the actual page dimensions I don't necessary I don't need to do that. - And you'll notice that as soon as you check in anything that that is not part of the basic - 2001 preset, - it will add this little parenthetical note that it's been modified. - So I'm gonna go back to the regular 2001 preset. - Um, - you can, - uh, - do some interesting things here. - For example, - if you go to window on and output and I think it's separations preview. - Yeah, - Separations Preview. - If you have a printer that has a peculiar problem, - like with printing stuff that that they haven't implement. - For example, - some printers. - They don't like to layer on to many of the inks together, - and if it goes beyond state 240% then they get some problems. - I guess it takes a while to dry or something so you can preview under separations and the - separations. - Pollitt in Climate and you can set the inclement to simulate anything from from 100 to 300 - . - So let's say the printer that I work with has this problem with anything over to 38. - So I'm gonna say that 38 and what this does is Aziz go through each page. - It highlights any any sections of the cars that have a, - um, - Higher Higher Inc limit than 238. - And you could see a lot of the blacks that I'm using have a higher implement. - Now I've there's a There's a couple things you can do here. - You can reduce the risk. - You can reduce the saturation of some of the flat tape images that you've put together so - that they are less saturated on and in the case of E. - P s is, - I would just go into the original CPS files and reduce the ink mixture that I'm using for - for those blacks from from, - say, - like to, - you know, - a 203 100 mix to something like 200. - Let me backtrack on that. - Um And so instead of say, - for example, - mixing a little bit of saying a little bit of Madrid tell a little bit of yellow and then a - bunch of black to make it a super rich black, - I would reduce a lot of those sand yellow on the magenta on and really focus on just the - black. - So it s that's only the one layer of ink that is or limit less than when. - There there may be a little bit more than one layer ink onto this section. - So, - uh, - you can see just talking through all this. - There's a bunch of little problem areas, - so I would have to go through all that and fix all that relatively simple to do. - Just go to photo shop and reduce the saturation of some of these things. - Do it in small increments and test it out, - see how it effects that print quality of your images. - If it affects the color too much. - Talk to your printer and you can hash out all that stuff. - This isn't very much an optional step, - depending on the printer, - the may not have any issue with implements at all. - The printer that I happen to be using does. - So that's that's the stuff that I go through and you may have. - Teoh stumbled through that yourself. - So that's the spreadsheet I've exported that pdf on and this thing is ready to go to print - Teoh to my friend here, - which is not which is nice. - This is all one thing. - Other places. - They may require you to make a whole like I card sheet, - putting together all of your all of your cards into 12 sheets of 16 up. - So all 16 front of 16 cars on one sheet tiled together and in the front of the backs of - those six same 16 cards on the back of the sheet, - and you've got to make sure that you've lined up the backs and fronts correctly. - The nice thing about this printer that I'm using Thea drive thru cards printers that all - they need is the Is this pdf that has the front and the backs of the cards set up so that - you can you provide this PDF and they'll handle the front and back a day. - Will eso uh, - that is how to create a deck of cards that has variable images in the front and the backs. 26. Variable Line: - Lou. - Uh, - so Jonathan Walton had interesting question. - He was asking about how to make a variable line in in design using did emerge. - And unfortunately, - I only know of a way to make this happen and kind of like a roundabout way using some - paragraph styles and some interesting stuff that that may not be what you necessarily have - in mind, - but I thought would be easier to actually just show how I would probably do this just with - the basic tools that that I'm aware of. - There could be some simpler way of doing this with some kind of Java script or something, - but unfortunately, - I'm not 1/4 so I don't know how to do any of that stuff. - This is what I would probably do, - though. - So first off, - I've made a text window here that goes the full length of the of the of A card, - and it's empty right now, - and I'm just gonna drop in Just some texts here regularly text, - and this doesn't have any paragraph styles applied to It s so I'm gonna make a new - paragraph style in the paragraph styles palette. - So make a new paragraph style, - and I'm not even gonna bother with any of this text or anything like that. - I got were about phones or anything, - because, - really, - what? - I'm focused on his paragraph rules. - I'm setting a paragraph above and turning that rule on. - And I am going to set that text color to be the same text color. - I could set this to be any other swatch that I've got set up right now. - I don't have any any set up, - so I'm just gonna make that text color. - But it could just as well be black if I wanted it to be Andi. - Let's see. - Got that set up there. - Okay. - I must make this, - uh, - just one point thick, - and just so we can see what this looks like. - Okay, - so you've got a basic paragraph rule set up here. - It's not pretty. - It's not really what what we need, - but it's there. - Um, - I'm gonna call that, - by the way, - so you can adjust all sort of stuff with paragraph rules. - You can make them go higher if you want to adjust the going to adjust offset so I can make - us go as high up as this are as blue as this, - um, - you can even go outside of the frame. - If you check that keeping frame option, - then it will not go outside the frame. - So I can only set it up to go so far before it. - Actually being a text down eso I'm checking, - keeping frame. - Uh, - the key thing I want to point out was that you can actually set the width of a paragraph - rule to be the same length as whatever text the rule was applied to. - So back in the paragraph rules, - options. - You could set this with to be the column, - which, - which means that it's basically the column, - uh, - the text, - uh, - block that I have made a text, - a frame. - Oregon said It said the with to be text. - And now you see, - um, - here that I've got as much text as I need. - Whatever. - Whatever I have, - I just keep adding more tax. - We're taking a text away, - and the paragraph rule will match whatever it is I've said, - you can even add negative in dense. - If you want the line toe like Teoh, - peek out a little bit to one side, - or, - if you want to be indented to go in a little bit to one side. - And you have all these, - like, - kind of cheesy in design stroke options. - If you If you want to get Frank something silly here, - you can play around. - Does that as you will. - I'm less interested in some of these options. - Sometimes there. - Sometimes they're nice, - but generally just stick to the same old, - same old. - So a nice simple one point stroke is fine. - I'm not going to sit, - Uh, - an Indian. - I am incident and, - uh, - maybe a negative. - Yeah, - it's Ah, - this is a positive example. - I guess that a Ativan intendant on both sides. - But regardless of what you've got set up as you progress rule, - if if the witness set to be I said to mention text, - it'll be a mesh in text. - Um, - and in hindsight, - actually think I'm gonna go ahead and make this zero just just so you can see what is like - , - what I'm doing. - So right now we've got this. - Really? - What's that? - What's a dynamic line that adjusts the length of the text? - So if you had, - for example, - text this paragraph will is gonna is gonna stick with you as long as you put paragraph - breaks there. - If you just have multiple lines of text, - though, - the paragraph rule will stay at the top of that block. - And you know whether you want that to be there. - That's another thing, - too. - But But if this is the kind of look you're going for, - say, - for example, - if you're making us a collectible card game card, - you want to separate out something that's in top area from from the text Over here, - you can insert a line like that. - And in fact, - the key thing I want to point out is that you can make this text. - You can make this paragraph style but make the text completely invisible. - Eso, - for example, - say I want to make this paragraph fool, - and I said it. - So that's right, - dead center of the text line. - And I am not actually even going to make any text in this block that I actually want to be - read. - I want all of this text to be invisible, - so I am going to make this paragraph rule. - I'm goingto go to character color here, - and I am going to set that Carter color to none and you can see why I actually went. - Why earlier, - when I chose the color for the paragraph rule, - I didn't choose text color because that would make that would mean the text color would be - blank. - And and so I make the corresponding stroke blank. - Eso said I went with you to make the whatever color you want as a song is it's in your - swash palette. - So right now you know I've got text here on this is this is all all I'm doing here and this - line is much cleaner than if you were to do some something silly like a like a just a - series of underlines or series of hyphens, - depending on your font of that kind of treatment will sometimes be a little irregular - depending on this, - the Kern ing or the fix and thins of your particular fund. - So now that you've got this this paragraph style set up, - you can go to a spreadsheet and you can do something cool like this where you all you do is - just You know, - if you want a long line, - you make you just add a bunch of ex is here. - I like to use excess just cause they're they're very predictable. - Letter form capital Exes in particular. - So little medium size. - Or if you want something short, - eso you just download this CSP save it to your holder that has your, - uh, - design file Select data merge on. - Let's go to class. - Selecting that and the only variable I have here is a line eso I'm gonna While I have this - entire block it texts selected. - I am going to select the line text variable and previewing this a little bit bigger proving - this on the first card. - You can see that I've got a very short line. - Just as I indicated. - Only two X is long on the next next line, - it's a little bit longer. - Justice I've got set up in the spreadsheets a little bit longer. - Several more access. - And for the big, - long one, - I've got this here, - and you can go back and forth between your spreadsheet and your on your in design pile to - just add more exes to get it just right. - Or you can simply adjust your paragraph style and say wants just make those letters bigger - . - Uh, - making the text bigger and point size would in turn make your lines generally wider because - they're trying to match the whatever text you got set up. - So that's basically have I would probably set up a variable line. - It's not the most elegant option. - You don't have a lot of flexibility in terms of what you can actually do with that line. - Aside from the basic stroke options that in design provides, - hopefully that's still something that is useful to you and something interesting on good - luck. 27. Making a 3x3 Card Sheet (Multiple Record Layout): - Hello, - everybody. - I'm just gonna go through a quick tutorial here on how to convert your already date emerged - a single car delay out into a three by three layout that you can export to a pdf so people - can print it out at home on their home printers. - You saw earlier in my presentation on some of the earliest videos that I had a three by - three feet of cards that I use for my prototypes and to cut out at home. - Eso I've had a lot of requests to show how to make one of those. - And there's a couple different ways you could, - like most brute force way. - Do it by just exporting these individual pages after you've could emerge document, - um, - into J pegs and then placing east Jay Paga has individually as a three by three great onto - a page. - But, - you know, - way we do things in a more automated fashion here, - so I'm gonna show you how to more quickly. - Just take the actual data merge document you are already have, - and you've already set up through data merge here on and make a three by three page that - that will work just this well and a bit faster. - I think so. - First thing I want to show you. - Just a quick overview of again how this date emerged. - Document is set up. - So this this card is from my new game nine lives available on tractor Kurds, - eso each page here that I'm previewing and the data merge. - Palate is actually different card, - and it's showing what design calls a record on. - And that's basically a row in your spreadsheet. - So for each row of my spreadsheet, - I've got variable elements, - including the number of scratches on the cards of the pattern background through the art in - the foreground. - And if I show you, - uh, - the frame edges and turn off preview, - you can see the little tags that that around each of these placeholders as I built the file - so you can see that Power icon, - for example, - our preview that there's a placeholder here that's called Power Icon. - I got a preview mode and go and skip ahead to that 20th card. - You can see that that's actually a variable E. - P. - S file that that I have built on going through page by page. - You can see that that's actually very moment that'll change in each card and just again to - kind of recap the basics of date emerge. - You'll note that there's only one page in this document when I'm going through preview here - . - What my master doing is talking through each record and showing what each what each page - would look like in an exported merged document. - Eso Once this merch document would be created pay 25 which would show this card for example - . - Now, - that's just the basic stuff we already going through all that stuff. - So refer back to those videos and how to make it. - Right now, - what I want to show you is what happens when you try to make a multiple record document. - So first things first, - you'll have to make a new page a new document that will accommodate theme number of cars - that you want to show per page. - So in this case, - I'm just gonna go with a standard letter size turn off margins. - And, - uh and I don't need multiple columns on this and was gonna make that one column no gutter - clearly on. - Actually, - no bleeds because there's gonna be pretty that home. - Um and no one's gonna be, - uh, - uh, - bringing bleeds at home on the home printer. - Usually s O. - I am gonna set all that up on bond. - No facing pages. - Just one page. - All right, - so let's just make that document now. - Sacred. - Um, - Now, - the next thing you gotta do is account for these extra bleeds that you've set up in a file - in case you've said a please, - if we haven't said a document that you have to worry about this part of it. - But I made this file eso that it was ready to go and send off to a enough to a publisher or - rather, - printer. - And here the terms air sometimes a little confusing. - And usually if I'm referring to a printer that you have in your office, - then that would be an office printer, - a home printer. - But under normal circumstances, - when I say printer, - I mean an actual like you send off a file and you pay someone to actually print thes cards - . - And they sent back to you these nicely formatted cards. - Eso I set form into this to send to a printer so they can handle bleeds. - They do all that other stuff on what they request is one card per page. - If it's a double sided card that, - then it would alternate front and back, - front and back, - front and back. - That's what Dr Cards prefers Their formats. - Other printers prefer, - prefer their files a different way regardless. - Sorry, - that was a bit of a tangent. - You can see that. - I've got basically all these variable elements on the same on just one layer, - which is mainly is under normal service, - since I would have all spoken to separate layers building the smile. - But the reason I have more than one layer so that I can actually group them all together. - So all these elements, - these variable data elements just just so you can see I'm gonna turn a preview. - So all these variable data elements that I got here, - I'm selecting them all with apple A on I'm gonna group them with Apple G. - And I'm gonna canoe rectangle here. - That's gonna be 2.5 by 3.5, - and I'm going to align that a center of this page. - I'm selecting the group that I just made and cutting that and that taste into this new - rectangle that I made. - And you can see that despite having done all the grouping and pasting inside, - the actual records still still hold true. - And And what's nice now is that I haven't had to to reformat or resize any of these - individual image place holders, - which could cause some sizing issues. - Once you know what, - you actually start making emerge document and had to do any of that because it's all kind - of just cropped into this very, - very standard format. - So I'm gonna select this rectangle groupie image thingy that had just made That's a very - technical term. - And, - uh, - and see here Magic turn off preview because that's that's more important. - If you copy paste, - this will previews turned on. - Then whatever is showing in the preview is what you call a paste, - some turning off preview, - selecting, - uh, - copying and pasting it here. - Okay, - great. - Um and I'm going to select data source on this on this new document because I want this to - be connected to the same spreadsheet that I used to make my my original deck of carpets. - So I've done that and just a double check. - I'm in a preview, - and yet It looks like everything's good. - Sweet. - Okay, - so, - uh, - I've got basically a 2.5 by 3.5 a standard cards up here, - right in the middle of the page. - And the key to making a document that has multiple records on the same page is to go here - on the bottom of the data, - merge palette and cook on this drop down menu and select multiple records. - And as you can see in the film diagram look like to show you that what you get is one. - When you start with one record laid out for with placeholders and all that stuff, - it will actually duplicate that on and create 1234 or however many records it could fit - onto that page. - So if you were to make a very large poster sized thing than it would make, - just like I, - uh, - eight by three, - for example, - uh, - sheet of cards. - But just a preview this You can see that there are now nine by nine cards here. - And just to make sure these air centered on, - I happen to know that that, - uh uh, - way to center. - These is by a certain measurements. - So it's gonna have to be, - um, - eighth of an inch from the top and 1/4 of an inch from the left side. - So 0.1 to 5 inches from the top that register on and then quarter of an inch from the left - . - Or, - uh, - sorry. - Got that wrong by half. - Sorry. - That is actually 0.25 from the top and 0.5 from the left. - Sorry. - You know, - you make these videos live, - you may make some mistakes sometimes. - Okay. - See, - now, - that's that's the nicest entered, - uh, - thinking, - thinking, - barber. - Um, - so as you can see, - when you just preview this that, - uh, - if you go if you were to emerge this, - it would create all these cards in one sheet. - And if you actually just click OK, - it's gonna make a merged document. - Now it's gonna have multiple pages. - It's gonna have nine cards per page. - That's sick. - No. - Over set. - Texas generated well, - merging these records and you'll note that the resulting document doesn't have a date - emerge connection, - because this is just a flat, - non rather hear a flat, - static document. - It's not. - There's no variable moments in here. - You see, - that there's multiple pages now that if you go through page by page, - you'll see there's nine by 99 Um, - did you hear? - And that's basically how you do it now, - for example, - if you wanted to make die cuts, - for example, - um, - of say, - uh, - you don't want to necessarily bleed, - but you want you want to give people some some lines and long on the outside edge of the - sheet so that they could have a way to measure or toe refer their straight edge. - Well, - doing some hand cutting. - There's a simple way to do that. - And I'm gonna turn off this, - uh, - this merchant document Close it rather on and just super simple way to do it is you go to - your master page and you basically anything that's gonna be on this on this base. - This first page is gonna be duplicated whenever you could emerged are multiple record - document. - So you instead want to go to the master page to do anything that is going to appear on - every page, - but you don't want duplicated nine times. - So in this case, - what I'm doing is I'm just gonna make a 3.5 rectangle. - Make sure that it is, - uh, - on the starting on the correct side. - Uh, - did I get that right? - Yes. - OK, - so it's 1/2 an inch from the left and quarter range from the top on. - And then I'm gonna go step on, - repeat and create, - as agreed now in earlier versions of a design step repeat didn't have create as a group as - a option. - And so you'll just have to make each row and column separately. - But, - um, - I've got this set up so that my grid is three by three that the vertical office, - it is 3.5 that the course loves. - That is 2.5, - basically the exact same dimensions as the original card itself. - I don't want toe increase that at all, - because it will eventually just move the cards off the page. - And I don't want to make it less than because then car just start will overlap each other, - So I'm gonna click, - OK, - And for now, - this is fine. - This this just shows you a three by three grid of rectangles. - We have battery exact dimensions of a state protective cards. - But the thing that you really want to do is extend these lines beyond this outer borders - that they appear outside the outer edge of the card layout. - So first things first, - I'm gonna actually, - uh, - copy. - Copy this whole grid, - Uh, - and a group it here just to make it nice and simple. - And I havent pasted that great yet because when a man do is first used the white arrow tool - select Onley these points on the rectangles on the left edge even extend them to the to the - edge of the page on the far end. - So extend that Extend that, - um and that will essentially create the dye. - The guy lines that I'll need for Theo, - the left and right sides. - Now I will paste in place that original grid and I will select those lines. - You agreed to extend those to the top? - Sure. - OK, - do you? - So this looks like crap. - But what will happen is when you, - uh, - preview multiple records. - Give this second. - Now, - you have these die lines that are outside the edge, - and they don't quite line up, - which is a little bit unfortunate, - I think, - um and, - uh, - I'm gonna do a little trick here just to see what is up. - Oh, - right. - When you look okay, - it's gonna create emerged document. - Uh, - let's give this a sex of it. - It'll go through the motions. - And yes, - God is just gonna close that emerged document because I don't need it yet. - Okay, - here's what I'm gonna do. - Um, - first off, - I'm gonna turn off the strokes for this rectangle, - uh, - that I got and do that just really simply by turning up strokes, - making it making zero point. - Now, - um, - I'm gonna go back to my master page and make sure I've got everything centered as it needs - to be, - so Oops. - Okay. - Making sure everything is centered. - I'm not sure that it actually is, - but we'll double check going back to the basic page. - That's a master baiter. - Gonna go back to preview more records, - and you look like that. - This is a lot cleaner now because I turned off the stroke around the rectangle that - contains the actual variable data. - Um, - and because of that, - it's looking a lot simple about cleaner on the edge that if someone were to, - uh, - basically create a we'll zoom in on this its own words actually set up a straight edge in - an any and exactly blade on this, - Uh, - when this line, - they could make a clean cut across the entire row of cards here, - or a long entire column Carts here without any of the black edge showing on the edge of the - cart. - Now, - you could do go once that further here, - say we mitt made emerge document and you actually wanted to have a bit of a bleed along the - outside edge of the card. - It's not gonna be perfect because there's only so much room on 1/2 11 sheet. - But this is one thing you can do once you've made emerged document night how these - individual rectangles that are still contained, - the full bleed image that you originally created. - So in this case, - you can see the outer edge of that group shows through when you sucked the contents of any - particular rectangle, - you said that out of red here and once again, - daughter it here. - So you could, - um, - in this merged document, - actually, - just select those points and nudge up with your arrows. - Well, - im it's like these and natural left with your arrows, - and it's like these and nudged down with euros. - Now, - most home printers are not gonna be able to print this close to the edge. - Some of them may and in particular, - some high end office printers. - Laser printers are able to do this, - so use this. - Uses consciously some people. - It's in their home printers. - If you've set up your files this way, - they will not even see the bottom or top edge of the page. - And so they'll miss thes die cuts that you've gone to. - The trouble of actually creating on that kind of makes the whole the whole point of this a - little bit mood. - Also, - you'll have If you were to do this, - you have to do it on every single page. - Eso uh, - you have to do it on page one all the way down to where are many pages you need to do it. - Um, - not such a big deal, - I suppose, - if you have, - if you know for sure that you're using your own laser printer that can print to that close - to the edge, - and that's that's all well and good. - But if you're saying this up for maximum compatibility for as many at home printer, - just as he calls it, - because you'll probably want to just stick to the basics and just do a standard multiple - record. - Merge in the manner that have shown without any bleeds all around and just device it with - die cuts that that show the bottom and top edge of each card to make cutting easier. - Hopefully, - all that was clear on. - And I hope you enjoy this video and a good luck making your own carts, - Thanks.