InDesign 101 – Learn the Foundations | Peter Bone | Skillshare

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InDesign 101 – Learn the Foundations

teacher avatar Peter Bone, Designer, Author, Teacher

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

15 Lessons (2h 19m)
    • 1. Welcome to InDesign 101

      0:49
    • 2. Before You Start

      3:19
    • 3. Context

      4:54
    • 4. Make Flyer from a Template

      7:12
    • 5. Make a Poster from a Template

      11:09
    • 6. Make a Flyer from Scratch

      15:17
    • 7. Make a Poster from Scratch

      13:42
    • 8. Make a Postcard

      19:35
    • 9. Make a Template

      3:00
    • 10. Combining Text and Images

      11:29
    • 11. About Paragraph Styles

      13:03
    • 12. Getting Text to Fit

      6:03
    • 13. Creating Paragraph Styles

      18:03
    • 14. Preparing for Printing

      11:08
    • 15. Goodbye and Next Steps

      0:35
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About This Class

On this practical hands-on course you’ll learn the fundamentals of InDesign quickly as you’re shown how to create flyers, posters, newsletters postcards and more - either starting from scratch or from a template that you’ve been provided with. Along the way you’ll learn some key contextual knowledge, such how InDesign works alongside other programs such as Illustrator and Photoshop, terms that designers will use such as tracking and leading, and terms like resolution and bleed that you’ll want to know before sending your finished work to a commercial printer.

By the end of the course you’ll have the skills and understanding to create your own flyers, posters and postcards, and be able to send them to a commercial printer. This is the perfect course to give you the foundational skills you need to use InDesign.

Meet Your Teacher

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Peter Bone

Designer, Author, Teacher

Teacher

Peter Bone has worked in graphic design for 25 years. During that time he has taught thousands of people to use Quark Xpress, Indesign, Illustrator and Photoshop - at every level from complete beginners through to experts in their field. He has taught designers, marketing people, creative directors, writers, editors, illustrators, fashion designers and photographers for companies as varied as the BBC, the British Museum, Cond? Nast, Paul Smith, Price Waterhouse Coopers and The Designers Guild.

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Transcripts

1. Welcome to InDesign 101: mine design. One of one video course is the perfect way for anyone to get started using Adobe in design . On this practical hands on course, you'll learn the fundamentals of in design quickly is you've shown how to create flyers, posters, newsletters, postcards and more. It's starting from scratch or from a template that you've been provided with. Along the way, you learned some key contextual knowledge, such as how in design works alongside other programs like illustrator and photo shop terms that designers will use, such as trucking and leading in terms like resolution and bleed that you'll want to know before sending your finished work to a commercial printer. By the end of the course, you'd have the skills on understanding necessary to create your own flyers, posters, postcards and MAWR, and to be able to send him to a commercial printer, says it's the perfect course to give you the foundation of skills you need to use in design . 2. Before You Start: so there's a couple of things to mention before we get started properly. Firstly, I'm recording this in the 2014 cc version of In Design. Which isn't to say you couldn't use an earlier version. That's absolutely fine. Or indeed, if ah later version comes along and you're looking at this later on, then most of what we do. We're looking at Ralph kind of fundamental things of in design on Do. They haven't changed very much in recent years, and I'm not really likely change much either. So in terms of versions, that should be fine. I'm recording it on a Mac version rather than the PC version. Again, there's very little difference. The only difference really you need to be aware off is that when I use certain keyboard shortcuts. So, for example, there's a keyboard shortcut for a new document, which on a Mac would be command and on a PC. The command key would be replaced with the control key, so it be control and so you'll need a version of in designed to work on. If you haven't got one, you can get one from the adobe website, and if you go to adobe dot com and look at their products. Find in design. You can get a 30 day version of in design, which will work fully for 30 days, so that's an option for you in terms of what else you need to get working. You're gonna need access to the this in design 101 folder if you want to participate fully , and by that I mean create exercises along as I create them. So I recommend you do that on day. Depending on where you bought the access to this video from, You may well have access to that on that site. If not, you can get access to that site from the design intuitive website so that design intuitive dot com And then if you come toe store and then look under downloads and you'll find access to that folder there, so there's one of the things that you'll need to participate fully on. That is some of the fonts I've used. I mainly use fonts that will come install within design, but there's certainly one possibly two other ones that you, uh, my need, and you can get those from front squirrel dot com. So one of these funds is called Amati or mentioned this as we go through the course. But you just type in the search box there, find the front and then you can download it. And if you need help installing it, then one resource for that is fun. Scrolls own website help installing free funds which you can get to buy going to fund scroll forward slash help. So it has the course. My recommendation is that you go through in order. I'm I appreciate that some exercises may well be more interesting. Others but toe save time. I'm assuming that something you look at later will have been is based on something you would have covered earlier. So you get more out of if you start from beginning and then work with way through. And then in terms of cementing what you're learning, I would encourage you a swell as using the three images and text and someone from this course you do it using your own work 3. Context: Essentially, an in design document is something that contains a certain number of pages, and on each of those pages there'll be a number of frames. Now, this is just a one page document, but it contains several frames. I'm going to use this selection tool here to click on different frames. They can see there's one, which is a friend that contains text. This is another one that contains an image. There are several other ones here that contain in which is that also is an image. And here's two more that contained text. So again, in a nutshell. In design, you create documents that contain pages on the pages. You have a certain number of frames. Those frames will contain either text well, an image. But to take it further than that in terms of the kind of images you'll bring in, there are basically two different times. So all of these on this these are all photographic images. Now They're likely to come from Adobe Photo Shop, which is in designs. Sister program, if you like. Let's take a look at photo shop, so this is this photograph inside photo shop, and I zoom in on it I want you to notice how, even though it's a picture of a church against the blue sky as we get closer and closer in , I hope that you can see that. Actually, all this image is really is a bunch of little squares, which you may well know called pixels. So these pixels capture the information that was in front of the camera when the photograph was taken. So essentially this kind of image of photographic image and whether or not you take it with a digital camera or if you take it with a conventional camera that's been scanned in the scan does the same thing, and it breaks the image down into these pixels into these squares of color. So photo shop is used to do all kinds of things. So if you want to make the image black and white, for example, if you wanted to retouch a bit, if you wanted to remove a section that's what you'd use photo shopped for in in design, you would. You can adjust the size of photo. The position of the photo in terms were just in the photo itself. That's photo shop. Now, this image down here this is different. You might see straight away that it's much Chris Birth and the other images. It's Ah, logo for this fictitious company. Discover cultural tools. So Logo's infographics graphs, illustrations often a much much simpler and let's let's take a look at what the program that's used to create those. It's illustrator again, a sister program of in Design a notice. As I zoom in on this, you're not seeing any pixels, nor are you seeing any loss of quality. I can keep zooming in. In fact, it won't let me go more than 6400%. But you can see it's still crisp on this because unlike Photoshopped, which uses pixels, Illustrated uses things called paths, which, defined by Uncle Points like these uncle points on the's air done mathematically on. One of the benefits of that is that you can make this is large as you like, so it could be a A logo on a business card. Or it could be on a huge poster. There will be no loss in quality, so this is perfect for something simple and clear, like a a graphic, for example, so again in design, you could bring these things in. You can resize them. You can reposition them. But if you wanted to edit the colors, for example, in a logo that is the job of illustrator, as opposed to in design. Okay, so that's the images, and then it sounds of the text. You can type that in yourself in and design. You can copy and paste from an email, for example, you could bring texting from a word document. It doesn't really matter, so long as you're comfortable with formatting the text once it's in, then Ah, that would be pretty straightforward, and we'll definitely cover that later. So there's in design. In a nutshell. You create a document that will create that will contain a certain number of pages on this page. Is they'll be frames in the frames that we text or images on what's the text can come from the places I just mentioned. The images are likely to come through at least photo shop and or illustrator 4. Make Flyer from a Template: This is the first document that we're gonna create in in design. But rather than starting from scratch, Ah, halfway house is often to be given a template to work from. And this is what often happens when a design agency designed a whole bunch of assets for a company to use so they might include templates. So let's see. Now you've seen what the finished product looks like. Let's have a look at the template. So here it is, and it Ah, it looks a little different, I realized. But let's look at what the ingredients are. So with the selection tool here, I can click. Firstly, there's a large frame, and the X in the background tells us that it's on empty frame, so that's where the photograph is gonna go. You can see this to separate frames if the text, which is currently the wrong color and it says the word Cuba at the bottom. But the three Xs now you might wonder why what that's for. That's to indicate that the person using the template is gonna have to replace that text so they don't inadvertently use the text that was there last time and finally there's the logo at the bottom that's ordinarily would would have the Visit Cuba logo in there with a little question mark there seeming on. That's a concept. You might have noticed that any clear, but there's a question mark where saying that it's actually missing, so we'll deal with that shortly. So firstly, just taken, get a sense of what's happening here is I'm zooming in and zooming out in the view. Many. It was a keyboard shortcut on the Mac, which is command plus on command, minus so on the PC that be controlled plus control minus. So if I click on something to select it and then use that keyboard shortcut, I can zoom in was in out. Additionally, Commander Control zero would let me see the whole page so in, out and zero the whole page. Okay, so the template has been given to us to work from. First thing we'll do with the selection tool is to select the big frame in the background and use the command file and place. It's what you always do when you're bringing something in, whether it's text or image, and it looks toe where you last brought something in from which, in my case, was the text folder. But if you go back to the urine design one a one folder look inside images, then this is Visit Cuba. Vignali's a five J peg. Jeff Peck is an example of kind of fire you might get from Photoshopped. Now I'm keeping this nice needs to start with so these images will come in and they'll fit perfectly. So they ago we can see that we're starting off there. Let's just compare compared to where, where heading to? So we got that in into the logo that should appear at the bottom. So there's the frame there. The what was that last time is kind of missing. We'll talk much more about that later on. So again we can go file in place. So that was the images folder. If we go back to the in design one at one folder and it's a folder called Logos and so this is gonna be visit Cuba that there's a red one on a white one. The yellow one is what we're looking at. This is an E. P s file. Both E. P s files and dot II files come from illustrator. That's a clue that it's a checking out of the vector graphics. Something uses paths and anchor points has described earlier rather than pixels. So we bring the end. That that looks well, actually doesn't look very good the qualities that isn't that great. But that's because when you're bringing something in, which is a vector graphic by the fault, it doesn't look good. But if you want to see what it looks like when you go into presentation mode, which will do when we finished, you'll see that the qualities actually finding it would print fine. Okay, so more than a bit. So that's the two images brought in. So in terms of the text, when you want to work with text, you use this tool here. Call the type tool. So currently, with used, the selection tool on the back is the type two. That's what we want so we can click and then drag through that text. And so this is one of a series of posters for Visit Keyboard, and they figured different locations in Cuba, and this photograph was taken in some call Vignali's. So we just talked about in the I N a l E s and put a comma after neath after it. Okay, technically, that should have a little accident above the end. But you won't get a get into that right now, so that's that's fine. The Texas. Okay, except for firstly, the color such a drag over it. If you've used Illustrated, you'll be familiar with swatches. But there's one of these panels here on the right. Answer. If you click on it, it opens up swatches. Then you can apply the yellow color. We can do that here, too, so we can select well, the text change again from red two yellow. Okay, so we're nearly there. But if we compare it with the finished one, you might notice to the text fills the whole width of the poster, and that's what I wanted to hear. So if I select all this text in the top frame on up here, we've got the name of the fund on the size. This is the area we're looking at here. So if we press the up arrow, keep going until you can't go any further. If you go too far, is the amount Betsy conceal again? You'll get little plus there tell you that you've gone too far. He just bring it down until it all fits. So that's 148 point that text. That's the size I want this one to be. So one highlight. It'll because I know it's 148 point. I might just hi like that by dragging out over it with a type two and type in 14 Right? They want to hit return. What's that? So we changed the text, the color, the size and the actual text of words that themselves. We've brought in an image which goes in the frame that was there. We brought in the logo that goes in the frame. So let's see what that really looks like. Because sometimes you need to kind of imagine what it would look like with these frames and things. So if you go to view and then screen mode and presentation, it fills the screen and you can see this is what it really looks like. And Howard print so you can see the quality of that logo at the bottom is absolutely fine. And if you look carefully, you might see that actually, the court of the photograph isn't great because he's a, uh, images that I've kept deliberately small. So there you go. That's how you can use a template and starting to use in designs, tools. So the selection tool, the type tool and starting to edit text and bring in logos and photographs. 5. Make a Poster from a Template: Here's a slightly more complicated document that we're gonna put together from a template. So here's the finish one. And here's the template. So if you want to try this, you can do file and open, and you can open up the Discover poster template, which I've done here. So firstly, let's still with the images. So we've got this image here, and as you recognized, this is the large frame with the X in the background to tell us that is empty so we can do file in place and bring in this image here. So discover Greece making us Jay Peak. Not at first glance, it looks like nothing much has happened. You can see the screen that's a little bit dark here. This is unlike what you've seen previously, and this is a little bit more realistic in that the image is too large, actually to fit in, Ah, in frame. So let me, firstly show you a kind of a quick, rough fix which you can do by going object fitting and oops, fit content proportionally. Now what? You can see that if it you can see the extent of the whole image, that's the whole thing, but it doesn't quite fit in the frame. So let's try another one object fitting Phil frame proportionately. So this will be better now filled frame. But you might wonder where the extra ah bit of the image is gone. And to see that if you click once on this little circle here, that might be a bit tricky for you to see it. So try and see him in notice. There's a brown edge to the frame now on that brown edge denotes the edge of the actual image. If I zoom out a bit by doing control minus command minus, you might notice, it is actually quite a bit more to this image now. So to say this, if you click on, hold down on that circle and keep your mouse down before you move, when you then move, you can just about see that it's sort of ghosts out the bit. That's outside, and you can move this up or down, so this might be enough in terms of what you want to do just to move the image around. So the important thing to grasp from that is that there's a difference between what you ordinarily see when you click on a frame, which is blue. That's the frame itself, as opposed to when you click in the middle, you get the brown frame, and by clicking on that circle in the center, you can move the image up or down or left or right. We can also do by grabbing one of these handles, so long as you keep the shift key down whilst you're dragging it, you can make it larger or smaller, and you'll do that in proportion so long as the shift key is held down. So if I do that and then go back, I can reposition that and kind of make a bit more of the image because it's not always crucial that you get the whole image in. Sometimes it matters. Sometimes it doesn't. Personally, I think I'm just gonna control zero Command zero that that image would look a bit better like that's We just got off a bit of sky, a bit of church, but we've zoomed in a little bit on the detail, and one final thing here is that if you've got an older version of in design, you won't see this circle so you'll need to know how to get access to the brown frame and the way you do that. To be honest, the way I normally work is the old fashioned way, which is you simply double click on an image and that changes from the blue frame to the brown frame and also vice a versa as well. If I double click now goes back to the blue. So but simply double clicking, you can change your focus from working with the frame itself as a poster working with the image. Okay, now, when you do find in place, ordinarily you would select a frame first, and you can see we've got a whole bunch of frames down here on would be entirely possible for me to select these one at a time and bringing these images. But if you got more than one image to bring in, this is a kind of sort of preview to something a bit more advanced. If you have nothing selected, it also deliberately click off the edge and then do fire in place. If you're following along, you'll need to locate inside the Images folder that discover poster images folder inside there, There are six images, and if you click on the 1st 1 hold down the shift key and click on the last one that will be selected. And when you press open, they will attach to your cursor. Just say, Consider, see more detail. I'm gonna zoom in. I can't quite see. I'm afraid of Zoom in. But there's a number six there next to it, which tells me that I've got six images attached to my cursor. If I press the up or down errors on my keyboard, what should happen? Clearly, what isn't happening? What should happen is that it will cycle through those images that some reason that's not our. Sometimes I only adjusts. If you move the cursor, you can see months happening a bit slowly, so anyway decided that's not working brilliantly. Hopefully will work better for you. So I got these six images here, and I can simply click and decide which one is going to go where on it goes very nicely here. A wolf fit in clear. This has been designed to work picked images that work, and I've also made him quite small. But I heard that gives you a sense of what you can do if you've got lots and lots of images in the work that you're doing so again, the trick there is toe have nothing selected, and then when you do file in place, it attached them to your cursor, and then you can click on empty frame. Okay, that's what about the text. As before, the x x X is a suit is a signal from the person who created a template that that this text needs to be replaced. So this is one of many posters for Discover cultural tours, and this is for their Europe poster. So we replaced X Expects with Europe and then most select the text by dragging through it with the type, tool and change to the paper Swatch. You might wonder why it's not called white. It's called paper because it was simply that they'll be knowing printed there, and the color you'll get is the color of the paper. It's click down here, and then, with my curse of flashing here, I'm gonna press command plus or be controlled, plus in the PC, just a zoom in a little bit and then I don't put the word Europe in as well. Final site have to now you can see also thes three lots of exes again. There a bit of a clue from the person that designed a template to tell us that we need three lines of text to go there. You might also see that there's some little symbols here now. Ordinarily wouldn't see these. The hidden characters. They're the things that don't print, but never less useful. So that's a space. Their fight to hit the space bar a few times. You can see it shows me that there are spaces. This one denotes the end of a paragraph which will be spending much more time on shortly on . This denotes a new line. So basically, this is telling me there are three lines of text. So we're gonna do is select all that now. So far, we've only type texting. We haven't actually imported any. So to do that, I'm gonna do file in place and then locate the text folder, which is in the inside one on one folder and you can see here there's an ordinary text file , that kind of thing you could save from any kind of word processing document. However, simple, straightforward text file. I will not bring it in. There's the text goes across three lines. That's the good bit. The bad bit is it is coming without any formatting. You can notice that this is using a serif typeface. If you look up here, it says we using Minion Pro. Where is this one here? The typeface used for ah Discover cultural tours his myriad pro, which happens to be one of the ones that comes within design. So this type here is myriad pro 12 point Andi, that's the front side. And then this is 17 point. That refers to the leading, which is the vertical space between the lines. So what I'm gonna do is select along this text. Firstly, change the font from 1,000,000 pro to myriad pro. This is one that you should have installed anyway, and it's actually picked up the the settings, which I wasn't expecting. So it's picked up 12 Point is picked up a 17 point in your case that the likelihood is it might just say water like that. Then you can just press the up arrow here to get up to 17 noticing as you do that the space between the lines of text increases. So I'm gonna zoom out by doing Come on, minus. And that looks better. But I would suggest if we look over here the right hand side, it comes a bit close to this text so we can just grab the handle here into much with handles yet. But the this is what allows you to resize the frame. Onda, Uh, I was just something like that on labels. The texter read a bit better. So I'm gonna de select that. I'm gonna go into presentation mode again. So view, screen, mode, presentation. And there we go. So we've done that from the template. We've learned how toe once we brought an image, how weaken resize it. We've learned about how to tell you could bring in several images at once. We learn how you can import text on also start toe change, different attributes of the text, like the size on the front on the leading 6. Make a Flyer from Scratch: So you've already seen how to create the key, the fly from a template. Let's now look at how you can create it from scratch. So this is the finished version. This is a five. So we'll create a new A five documents, so the way to stop is to go to the final menu. But from that she's new and go across the document. You'll notice that the shortcut there on a Mac command end on the PC control in. So then that opens up the new document dialog box. There's a whole lot of really useful stuff here, but for now, to keep things simple, we'll just change the things that we absolutely need to change, which are, firstly, the page size from a four a five and in the margins. Now, if we just look at the finish version, you see, there's a gap here between the edge of the document and where most of stuff starts happening. So in other words, whether photograph is so, this is one way you might use margins. So the margin that we're going to use its five millimeters, you might notice here that we've got top bottom inside and outside we want those all to be five millimeters. You might also notice the padlock here in the center. That means that if I change any one of these values, for example, the top folly, you're not just a will change. So keep doing that until they all say five millimeters now in design. Sisi, as of 2014 any right? If you turn up, there's a preview that you can turn on and see exactly what you're gonna get now. If you're using a version of in design prior to this, you won't see that. But it's a really nice feature that they included here. So if you are using the 2014 onwards version of Sisi, you'll see that either way, whether you see the preview or not, press OK and there is your blank document. So the first thing today is to bring in the photograph. Now, as you've learned already, photographs, logos, text or live inside frames. Of course, on the template, the frames were already there. Now you need to learn how to create a frame and a tool that you will most likely used to do that. Is this still here, which is the rectangle frame to just show the other tools that you might use. If you click and hold down on there, you'll see there's other shapes, but most things most the time will be rectangular or square sets the rectangle frame to, so this tool is always used and only used to create frames. So we're gonna create a frame that covers not quite the whole page. But inside these margins, the first thing to do is move the cross hair to the intersection of the guides at the top of the page. And you might notice. There there's a tiny little white arrow to the bottom, right of the Crossair, which means that the cross hair is lined up with either one or other of those guide or possibly both. Just to show that more closely. If I move that away slightly noticed, the white arrow disappears. Move it back again. It shows things are lined up, so that's a good place to start. So prissy mouse button down track away to the opposite corner. Don't let go until you see again the same cross here. In my case, I can see the cross there with that white arrow showing me that things are lined up, and also you might notice that it says doubly. 138 age, 200. So that's saying the which is 100 38 millimeters. The height is 200. The fact that the numbers are round numbers and not, for example, 134.5, for example, gives you a clue that another clue that things are lined up. So what did that get of the mouse? There's my first frame. You can see the X in the background means it's an empty frame. So now I'm ready to move on on important photograph Before I do that, what may well go wrong for you, either now or in the future, is if you forget to change from this particular tool and keep working. So what might happen later on is when you click and drag, you might wonder why another frame has appeared. If you try and select that again, another frame has appeared, or if you even just click once the dialog box comes up asking you the size of a frame. So, in other words, what I'm saying here is that when you use the frame tool in design is convinced that you want to create more frames because that's the tool you've selected. So to stop that happening, once you've used the frame tool for what you want, you're then changed to a different tool, and the chances are the tool that you were changed. It would be the selection tool, which is the tour, as you know, already right at the top of the tools power. Should anything go wrong in design, including accidentally creating a frame, all you need to do is go to the edit money and shoes undo. So this is undue. Add new item because that's what I've done. You might also notice the short cut is, Control said on the PC or Command said on the Mac. So if you're used to that, people shortcut, feel free to use that. So I'll do. I just click that once, and you can see it gets rid of that, and I'm going to use the keyboard shortcut, Command said. A couple more times, let's get rid of those extra frames. So now, using my selection tool, I make sure the frame is selected. Now I can see it is selected because of these handles in the corner just to remind you what that looks like. If it wasn't selected by the select like that, you can see that is not selected. Look back on it. It is so that's important. And then the command, you know, already file on place. It remembers where we have been to previously, so it's looking in the correct folder. So all I need to do now is society. Visit Cuba. Avignon is a five, unless you can probably guess from the file name. This is designed to fit in quickly and easily. Later on, it will get more complicated. So that's the first thing we've created. A new document. We created a frame inside. The margins were brought a photograph inside that frame. So the next thing will do is create a frame for some text. So we'll use the same rectangle frame to this time. We'll just move slightly inside of the Martians, just creating something a little bigger than what I anticipate. I need. So there's my new frame, but this time rather going to the selection tool. Why Now? I'm gonna type something in there, so I go to the type two so the empty frame there, denoted by the X when I click on it once next disappears because it's no longer empty. You may just about noticed there's a flashing cursor just here telling me that in design expects me to type something, said, As with the template, I will type video analysis of the eye and healthy s comma and then, as previously, select well the text and, of course, want to change the size. But previously in the template, the fund had already been decided. So the funder here that started front you'll you'll get. But Faulcon in design is Minion Pro, the front that is used as part of the visit. Cuba Branding is popular standard now. I've chosen this because it is one of the fonts that comes with in design. So if I highlight 1,000,000 pro there and start typing, P O. P, you can see popular standard appears, and that should be the case on your system as well. So that's the front chosen in terms of the size. Well, let's look here. You can see this is the font size 12 point. You know already that you can use the up and down arrows to make that bigger or smaller. But rather than going through quite a lot of pressing the up arrow, you click on the arrow to the right. Here, you'll see you got some presets sizes. Let's just go to the biggest 1 72 points, so that gets us about halfway there. So by my guest, the front science isn't gonna need to be 140 or so. So just click in the font size area there, highlight it. Type 1 40 hit the return key, and that's pretty much there. Depending on the size of the frame you drawn, you might find that you got more or less space to fill. You might find you gone too far. In which case, as with the template, if you see something like this little plant for over set mark, you know that you just lied toe. Make the front a tiny bit smaller. Now what I have selected, you can see it's highlighted in white was that actually means that the text right click when it once is black. So as with the template, if you select all the text, go to the swatches panel, change that to the yellow color that you've used previously. There's the first part of that done, so you'll recall that the finished version, if we look at the finish version, it says Vignali's and then Cuba underneath, so I could go through the same process and create another frame inside the empty frame type and then change the farm, drink the size, change the color and so on. But as you know in the second frame, that type wants to be exactly the same. So there's a really useful quick way. You can copy a framework to say, duplicate a frame but tease the selection tool. And then, rather than clicking and dragging it to move it, just make that back. If you hold down the old key, notice how the black cursor that you could see at the moment changes from black to black and white. So that means that when you click and drag, you were drinking a copy. If I just lined that up on the Nathan, you can see that pink guide ping into place to tell me that I am lined up underneath. They'll be more on that shortly. That's when I let go of the mouse. I've created a quick Jupiter of the 1st 1 So as you can guess, I was just going out of the type tool. But I can click inside there, select or the text, and just replace it with the word keeper. So so far, so good. We've created a new documents, created a frame for the photograph, created a frame for type adjusted type, duplicated the frame when the final step is to bring in the logo. Now, most time when you bring in photograph or logo, you would create a frame, as we've done previously. So he used the frame tool to create frame, determine the size there, then bring in the image. But I should say that sometimes, and with logos in particular, it could be easier to do it a different way, said. This different approach is to not actually select anything at all to start with. So I need to be careful here because, as you can see the handles on the edge of this frame in this frame of selected, if I d select and then go straight to file and place, find a logo that I want. So I'm bringing in the logo here, and I haven't determined the frame. It's gonna go in. So you might notice that we get some indifferent here. The logo is attached to my cursor. So as I click and drag with my cursor, which will do in a second, you're noticed that the frame is constrained to the shape of what I'm bringing in, in this case, the shape of the Visit Cuba logo. So what? I'm gonna imagine that the logo is going to start about here and finish roughly down here, So I need to be careful where I position my mouse to start with. So roughly in the center, and then when I click and I keep my mouse down is like drag, you can see the frame is constrained to the shape of the logo, so that's roughly what I want. I want to let go of the mouse, and it comes a couple of problems with that. Firstly, I should have probably started to drag a little bit lower. I want that a little bit lower. So with my selection tool, or just drag that down so that the bottom of the logo is roughly the same as the distance on the right hand side. of the gap is roughly the same. At the first issue, the second issue, you might notice that the logo looks a little bit rough. I just use Command Plus to zoom in. You might recall that when you bring a vector graphic in so that's likely to be an E. P s or a dot ai file. The image won't look great on the screen, but it will if you go into presentation mode. So if we get a view screen mode presentation, you'll notice that's how it will look when it prints. So even though by the fault, it doesn't look great on the screen. That is what it looked like when it prints. So press escape to leave presentation mode. I'm going to do view fit page in window just to get that back. So there you go. That's how you can create a document from scratch. 7. Make a Poster from Scratch: So the next thing we're going to create is an a three poster. So there's the finished version. You can see that the text at the top is a little more complex than what you've seen before for just get out of presentation mode. A couple things to notice before we start. Firstly, how the margins of being used here, textures lining up with the margins. Also, if you look down here, the logo is lining up with the margins. So that's how that could be useful here. You know, the thing I want you to notice is we're making use of thes read guides here. These alone is bleed guides, and I don't wanna get into too much detail here. But just to say that when you print something right to the edge of the paper and in design , you have to allow for something called the Bleed. This is essentially just because of the way that things have produced when that when they're printed on what happens after they've been printed. So I want to get into too much detail that now, except to say that if you're what's a line something up right to the edge of the page. It's best not to line up like that, but to this bleed guide. So let's look at how we would set that up. That's before will do a new document. This time it's gonna be I three size. That's something I didn't mention last time and possibly I should, but I didn't talk about facing pages then. So let me say briefly about facing pages. You may have noticed that previously you've seen that it said margin, top bottom inside and outside that thing inside and outside because this is we're asking for a facing pages document, which essentially is a document that features a spine. So something like a magazine or a book or something like that. Now what we've done so far hasn't featured a spine. So have been single pages so far down one, since it doesn't matter that much whether you have this setting on or off for something as simple as if, but it is better to have facing pages switched off. So if I switch that off, you'll notice that now it says, top bottom left and right. So that's what we really want here. So it's a three. We're gonna leave the margins as that and then, as discussed briefly at previously, we need to create a bleed guide. Depending on which version of in design you're using, You may just see bleed and slug down here. You may see it closed, in which case you press the little triangle to open it. On previous versions of in design, there was a little box up here that said more options, which you may need to take to get bleed and slug showing Once you got me shelling, put your cursor somewhere in one of those values, highlight it, change it to three. Then when you click in one of the other fields that you'll notice that all those values get copied. So 63 then press. OK, so there we have the page that we need. We're going to use the frame tool, So draw frame on which we're gonna put a photograph this time we need to make sure that rather than lining it up with the edge of the page, we line it up with the bleed guide. To do that, I might just zoom in a little bit, so control or command, plus a couple of times I'm gonna just use the Stovall, some learning up deliberately on the corner of the red rather than the black guys. That's the lead guide. Click. This is gonna be a little awkward as we zoom down because we've seemed in a little bit. I'm not suggesting you do it this way. I just want you to see what I was doing. Problem lining it up there and then to get back so we can see the whole page. It's either view fit, page and window or the shortcut, which all years now, instead, which is command zero. So there we have our frame that covers not only the whole page but out to the bleed guides as well. So without selected fall in place as he realized, will be doing this quite a lot now. So if you want to learn the keyboard shortcut for that, it's well worth doing. So that's command or control day on, then the image to bring in. And here is the visit Cuba. Vignon is a three Dr J. Peg again. It fits perfectly, but that's not typically real world situation. So you will see things get more complex later on. Well, we're here Let's just bring the logo in which we've done before, so make sure nothing selected. So if that's still selected, click off the edge of the page and again, Fire in place this summer will use the keyboard shortcut, which is command control. D. So visit Cuba white dot a p s. So, as you've been seeing, the photographic images typically will be J pegs. The logos will typically be either dot e p s files or dot ai files II for Adobe Illustrator E P s for encapsulated post stripped. That's not crucial that you remember that, but just that you recognized E p s and dot II files, so we'll bring that with him. Okay, So, roughly at the center for many of the bottom kicking, drive like that? No, I want that tow line up with the bottom guides, as you saw previously. So with my selection tool, I just notch that down snap because looking good so far, send out with the text. We'll create a frame using the rectangle frame to again. It's gonna line up to the margins. No, just to say that about the margins. Really, What you're doing with the margins is trying to make them as useful as possible so you can ignore them. If you want to, You can use them if you want to throw stage. I'm just using the default ones. But in subsequent videos you'll see how you can be quite creative with the margins. Okay, so there's a frame again. The X shows that it's empty. So let's go to the type tool Click once in there yet disappears because the friends no longer empty. The flashing cursor appears because we can type into it and we're gonna bring if we just look at the finish one. So the more we adapted to the Cuban pace of life, the more relaxed we became. So I'm gonna just type that in quickly. I should say that I'm typing this all in. Lower case. It's one of those fronts where it looks better if you stick either an upper case or lower case, so I'm gonna keep it in lower case. So selecting all the text on the front I'm going to use here. This is the first example a front that doesn't come install within design that you need to install yourselves if you haven't watched the video on that already. I suggest you go back. Look at that now, because we're using this front called Dramatic. It's a free fund. You can get from someone like my funds, but you're Nieto. Download it and install it, so go back and watch that video if you need to. If you don't want to use this form, fine, use a different one. But if you want to use that phone, you need to install it. So let's changes that the size that I want is 100 point. So you might remember from other things you've seen here. The default goes up to 72 so I'm gonna just ignore that type in 100 hit return. So that's a look at that. You can see the text has changed clearly, but it's the wrong color. So let's select the text. Go to swatches. You might be expecting a conical white in design doesn't give you one of those. It gives you a color called paper could affect everyone that's printed. The white will just be the paper underneath, showing through so the text that it looks OK, But let's just compare this to the finished one on notice a couple of differences just so you can see that. Let's take a look at the finish one and you can see the text. The lines of text much closer together from the are in the version that you go. So let's take a look at what I have. You said it's on a text again. If you look in this area up here, you can see that the area that you've changed So the text we've made 100 point what is underneath, just hover over that you'll see it's his leading. This is an important typographical term. You might think of it as line spacing in other programs that you might have used letting is so called because in the old days, when type was a physical property, he would physically be separated. The lines of it would be separated by lead, so the more lead you have in between, the more space there was. So this is called leading and notice how the value there is 120 points, but it's in brackets, and the brackets denote that this is an automatic value. You probably see this elsewhere and in design. So what design does by default is. It takes the font size that you've put in and as 20% to it. So that's why we got 120 point. And that's absolutely fine for many purposes. And for ordinary what you might body text, that sort of 20% increases. It's fine. You may want to change it, and we'll be getting more into that later. But just being where that for certain typefaces, particularly large typefaces. So when you're looking something, a really big society might want to reduce that a little bit. So I would suggest you reduce that, and that's what I'm gonna do. We gonna just lunch that down so right about there, so that makes that look a little punch here. That's one thing that's quite subtle. So that's leading another thing that will look at morning ones, is tracking. This is this area here just over a Rex trucking. And just to show you an extreme example of tracking, if I was to say, plus 200 you can see it puts unlawful of space in between the characters. So I take that back toe that was previously so. That's the default value. My feeling is this type would be slightly easier to read if there was just a subtle spice between. So I let's just try 10 for example. That's a bit easier to read. So the final tweak that we might make it subtle, but just look at the beginning here, compare it to the finished one. Can you see how, in this case, these lines all line up? Where is by default? They don't. They will line up with the opening quote mark, so this is quite a subtle feature. What we'll do is put the cursor just after the quite knock and then in the type money we're gonna use and a special character. There are many, um, but the one that will uses this one indented two here. So that's insert special character, other intent to hear the type money. When I do that, you're not just to the text now alliance so that we help. There's ah, finished poster picturing bleed featuring photograph logo. It's a text that we changed the font size off, used a new fund, change the leading on the trucking and also subtly indented the text 8. Make a Postcard: So this is the document that we're gonna create next. It's a postcard. It's a double sided postcard. So it's the first document that we've created that's got more than one side 11 page would just use that terminology for the time being. So I just used the word side and page. So in designs, word for what you might think off as a side of paper is a page. So this will be one sheet of car that this post couple we printed on front and back. But in printing technology, that would be a to page document. So Page one front Page two back. Nothing to say before we start to create. This is noticed the white border around the edge on the first page on notice where the edges of all the lines appear on the second. So that's deliberately designed that way and to take a look at how that comes about, I just remove myself from presentation mode as you're pretty not greatly surprised by you see, it's the margin guides again, so the margin guides give us something to line up with, and that's how we can achieve the accuracy there that's used on the second page and also on the first page. So will start to create this from scratch. So we'll create a new document using file any document starting from the top here. The number of pages is not one but two, So that's already highlighted for us, so we can shows up, too. This is not a facing pages document. There's no spine so that could be switched off the page size. This is on a six postcard that's typical here in the UK postcards or from a six. If we look in the page size dialog box, we got a four and a five and a three. So, sadly, no, a six. So you're gonna have to know what size that is in millimeters. That's easy to find out with a quick Google search. But for now, I'll just tell you the values we want for a six. So the width is gonna be 148 millimeters. The height is gonna be 100 and five very good margins. So you know already from as we've just been discussing the gap that's used to define the white space around the edge of the photograph on Page one and also whether lines start and finish on page two. That's the we're going to use the margins for. So I'm gonna change those 24 millimeters. And I'm just going to show you another way of doing this rather than highlighting and changing the number. And then, you know, you don't see that immediately. A good trick here is just a highlight and then used the up arrow on the keyboard or the down arrow on the keyboard that will change all those values at once. So they really is for shortcut. You can use it in most dialogue boxes in in design. Also an illustrator also in Photoshopped. So that's really, really good, particularly when you've got a preview. So maybe just to look at that if I switch preview on. If I was designing this from scratch and I wanted a visual idea of what what that margin would look like, you could see that as I adjust. That gives me a sense of what I'm gonna get still with measuring with a router if you want designing from scratch, I would say, but nevertheless, that's a really useful shortcuts of the up and down arrow. Once you put your cursor inside one of those fields. So I got a two page document, a six with those useful margins. So we compress. Okay. Okay, So on the first page, as you might guess, we will use the rectangle framed till this time. We'll make sure is lined up to the pink purple margin guides again. You can see the little white arrow at the bottom, right of the cursor that tells me that's lined up click and drag again, releasing when that lines up. But the bottom right, So those are empty frame but to the selection tool. So we don't inadvertently creating more frames and then file in place. Or as I'm gonna do now, come on day. And this is for another fictitious organization called Go Adventures, and this is the image we're gonna bring in. As you can see, it's a J pick. It's a photograph of somewhere in the Bolivian doesn't. So that's that. So now for the logo again, we're using the previous technique of not selecting a frame, not creating a frame first again. Come on, day will fireplace, so notice the dot ai file. So go adventures. White strap line bring that in and then click and drag so you don't know the shape of the logo yet, But you can see it's constraining to that almost square shapes. One of that that go again. You can see the quality there isn't as we'd like it. And you know already that you can go to the View menu and go toe screen mode and changed the presentation. And that's fine. Trouble is, sometimes you actually wanna work with this and maybe changed position accurately and you can't work in presentation mode. So another way around it is this still in the view menu. If you go to display performance and change from typical display toe high quality display, that will mean that when you see a vector graphic, you'll see it will look like it's in presentation moats and, like it will look when it prints. One slight word of caution here is that while this is a really good thing to do if you got not that many images, if you've got lots and lots of images, it can start to slow things down a bit. So by all means, use high quality display. But if you're finding things getting a little sluggish, you might want to go back to typical display. So let's switch to high quality display and you'll see that logo appears in decent quality and then to move it or click and drag. Not as you could see. I'm wanted to get the gap there to the right, the same as the bottom roughly. Let's suppose I've done that. I want to make to be a bit larger. This is a trick he wouldn't always use. What we're gonna look in more detail later, how to make images large inside their frames, which is what you typically do. But in this case, what I want to do is make the frame and the image large at the same time. Now, we haven't really looked at making frames larger on their own year, either. So if I just was to click and drag the frame, all that does is make the frame. Beckett doesn't make the image bigger at the same time, so that's really not particularly helpful. So if I do undo so if you want to make the frame on the contents larger at the same time, we can need to use to keyboard modified case to the 1st 1 is part of the command Kill control key depending you, depending on if you're on a Mac or PC. So in my case, I'm back. So that's the command key, and then another finger is going on the shift key. So this command or control and shift with those two keys down. When I now click and drag, you could see the frame and the image gets larger or smaller at the same time. So that's a really handy keyboard shortcut, useful particularly for logos. Small images pileup. Okay, so there's Page one. Sort it out. Let's look now at page two. One way to move from one page to another is to click on the pages panel. When you do that, you might notice. A small thumbnail of Page one that's already been created is one of page two, but double clicking on page two. You're now looking at Page two Motus down here. This is useful to this tells you for sure which page you're on in case you would get confused then one of the thing with pages if you find the page panel is getting in the way , like any other panel. You just click on the name off the panel and that closes that back down again. So before we proceed, let's just look at the finished version. Let's look at Page two. Sure, let's look at it in presentation red so you can let us hear the whole series of lines all lined up accurately. And there's a frame here which, as you can see, has got a black line around the edge. So to be a to do this, you're gonna need to learn a little bit about how in design applies colors. Let's get back to our document. So just temporarily, I'm gonna create a frame lining up with the top right corner before I do anything else to it. I'll just make sure I'm using the selection tool. Now let's look at this in presentation mode. You might be slightly surprised to see that there's nothing there, but that's not quite true. It is actually there. It's just that you can't see it. You can't see it because there's no stroke. You might think of that as a lying around the edge in designs. Term for this is a stroke. Now, when you create a frame by default in design assumes you don't want the frame itself to have a color on it. So either in the middle, which is known as it's Phil around the edge, which is known as a stroke. If you think back to the Vignali's visit Cuba Flyer the frames there, whether they contained a logo or complain text, for example, they didn't have any colors there. And that's not what we wanted. Now, though, we do now. If you look at this area of the screen, this describes the fill color, this air act. But scraps of Phil. This describes this stroke now. You might notice if you look carefully and I pushed thesis kind of tricky. So pay close attention to this, but I click lair that brings the fill to the front. When I click there, it brings the stroke to the front, which, ever one of these is at the front will change when I apply Swatch. So, for example, if the film is at the front when I go to swatches and apply color, let's say we can apply the yellow color. You can see that the frame of selected this the middle of it or to use the proper terminology, it's Phil changes. Clearly, I don't want that. So I'm gonna change the color. Pachter None. And the nun there. That's what you're seeing in the fill. Whereas when it was yellow, you could see was one on the page you could see here that that was yellow. Now let's go back to the finished version. So when I click on this frame, you can see that, Yes, the Phil is none. But this stroke notice is black. So what I've done there, I've brought the stroke to the front, and might it black? So let's go back to our unfinished one. But selected the stroke is at the front. If it wasn't, it would look like that said. Now that's what the front click on the Blacks watch now. One final thing to say about that is that even though this is quite hard to see, I've moved away now from the default view that you'll get in in design. Normally it looks like this and the area we've been looking at it's really, really small. So my advice is that you change your screen so it looks like the one I just had just to show you again how I did that. This is tiny or button here looks a bit like a fast forward button. If you click on it once, it makes the tool panel two columns wide rather than one, which I appreciate, does use up a bit more screen real estate. But I would argue it makes it easier to see. So that's what I've done there to change the filter, Carlos or not, the fill color, the struck color. Next stop, but line to We used the line tool to make a line. Now I'm gonna get this tow line up perfectly in a second. But for now, I'll make sure the top lines up using the aforementioned cursor, I come to show me it lined up with a guide at the top. Now, of course, I want this to be straight, but I'm deliberately making this not straight just so that you can see how to make this perfectly straight said. Currently, that clearly is not a straight line, but what I'm doing now. Before I let go of the mouse, I'm putting one of my fingers on the shift key. I noticed that whilst the shift keys down, the line goes perfectly straight. If I let go of the shift key, the line goes back to not being straight. So the trick is keep the shift key down when you let go of the mouse. So I thought, Let go the mouse, which I'm doing now because the shift key was held down, that line was straight. Not gonna just do that one more time for you. Just delete that. So use the line tool he lined up at the top. Click and drag. Don't let go until the shift key is held down. Keep it down as you let go of the mouse. Okay, so so far, so good. It lines up on the top. It lines up on the bottom, and it's straight. But it's not in the center of the page. As I drank this line, notice firstly, that there's Ah, horizontal pink guide going from left to right that tells us that vertically, this line is lined up. If I made up a tiny bit, that would disappear. But as I move it back into the center of the page, I'm talking center of the page vertically that goes back as it should be. So that's fine. What I wanna do is drag this to the right really slowly. I'm waiting for one of those pink guides. There we go to go from top to bottom. That means one of that go the mouse. That line will be perfectly centered on the page. So those pink guide on our smart guides, they're pink ones and there are green ones and we'll see the green ones in a second. So using my line tool again, I'm gonna draw the first of several lines this time going across So you can see I've already lined up on the right hand side again. I'm gonna hold down the shift key to keep that lined up. Now I want several more lines on. I want TEM Alter lineup and I also want the gap toe between them to be equal distant. So what I'm gonna do this is, firstly, to go to the selection to and then goto a rather obscure command but really useful one in the edit menu called Step On. Repeat. Now, because I've done this before, it's remembered the settings that I used and you'll see this is pretty much what we want. Let's go through the settings and you'll see what they are. The 1st 1 is the count. So this is the number of repeats. So with preview notice switched on, if I was to reduce that, you'll see that you simply get less copies or for increase that you get more copies and the amount that each one is offset from the original. Each copy is offset. Is here the vertical value. So if I was to increase or reduce what I like about this is you can see exactly what you're gonna get before you have to commit to it. Now, in this case, the horizontal value is zero. If it wasn't and they will be duplicated in a kind of diagonal fashion, which isn't particularly helpful here now, when you start, you might find that you got larger numbers here. My suggestion is don't turn on preview until you put these numbers in and then turn it on and then tweak them subtly as you wish. And then finally, once you happy press OK, I mentioned the green smart guides these useful if things accidentally get moved, for example. So I've just nudged out of the way. What? What happens when I try and move it back so straight away, what you might see there on the right is the in design is measuring the gap between the line I'm currently holding on the line above it. It's saying that gap is the same as the gap between the line above on the frame in the top right corner, which is a good suggestion. But it's not really what I want. So if I keep dragging that two more or less where I think it should be, then that is showing me. That is exactly what I want, because the gap above it is the same as the gap below it. So that's perfect. So I could live like so that's the other type of smart guides. That's the green ones as well as the pink ones. So let's take a quick look at how this really looks in presentation mode. So there we go. Everything lines up there very nicely. If we go back to the first page, I'm changing this, by the way, by using the up or down arrows so nothing too tricky on the first page. But you can see that really that the heart of this is all about using those smart guides and making a decision of the beginning about how you want the smart guides to Sorry how you want the margins to appear. It was, as I mentioned before. A useful thing to do that is to measure that with a pen and paper. If you're starting from scratch or if you're designing on the computer you're using in design CC 2014 onwards, you got a preview there that will help you do that. 9. Make a Template: Now that you've had experience of putting documents together from templates on also creating documents from scratch, it might be a good time now to look at how you can create a template from a document that you've created. So here's the postcard that you've created earlier, and that's supposing you wanted to create several more postcards like this, but you didn't want to have to create the whole thing again from scratch, particularly older, fiddly stuff with the lines and soul. So what we'll do is much like the templates that you've seen will get rid of the stuff That's particularly to do with just this, uh, just this place Carter, this postcode about Bolivia. So what we'll do with our selection tool? You might recall that if you click more than one to double click, that's one way of accessing the brown frame. Well. The other way was to click on that central circle. Either way, you can select the image as opposed to the frame than if you simply press the delete. Clear the backspace key on your keyboard that will delete the frame. So sorry it was to leave the image so the frame is still where the image is gone. So that's perfect. Not quite so perfect is that you can't really see that this logo is here. But I think we're gonna just have to live with that. That will stay on the second page. All that stuff is going to stay as well. So that's ready to save us A a template. So simply it's a case of file. And Silas, just save this on my to stop. So what I'm gonna do is call it go postcard template on that the word templates just to help me or someone else. No, that's what it is. But the crucial bit is that you change the format. So instead of it being an in design document, you make it an in design template. So save that, and you might just like to see it. If you compare other documents that we've worked with so far. There I and D D. That stands for in design document. This stands for I d. T stands for in design template. So if I close that now and then reopen it so fire and open and open it up only to notice that the file name is untitled So, in other words, what a template does is it creates a new document based on that template. So you're not in any danger of over writing, so all I do now, if I wanted to bring in another photograph, of course I do find in place. I'm gonna bring in this doors image. You can see it almost fits. But I might just do object fitting Phil Frank proportionally. And you can see we've got a postcard. They're pretty much ready to go. So I haven't done all the hard work. Strip out the specific details. Savers a template and thin. You can do that much more quickly. 10. Combining Text and Images: So this is the next project that will look out. If you can see it's a single page document, it's got a lot more Texan. Anything else you've currently seen? If we look at it in presentation mode, you can see that more clearly back out again, back into normal mode, a couple things to point out. First, he the text is in one big frame here, broken up into three columns. The image is featuring a really clever feature called Text Rap. But what happens if I move the image away? Text flows back to where the image wars so I could reposition the image offensive, the images, pushing the text out of the way. It's a very, very flexible way of working, often used in newspapers and magazines. Just don't do that to get it back to It was the second again. Okay, let's try this from scratch. So the new document I for non facing pages three columns have done this before, and in the margins gonna be 15 millimeters all the way around. The exception that is the top. You can make that 40 millimeters just to show you why that is this the area where the body copy is gonna go. So this is the area for the main body. The text to go. That still leaves this area up here for the heading. But very often, the way you use these margins, particularly with very text heavy documents, is they can work very well. If you sort of, say twin design, I want the Texaco inside the area. So that's the reason why we're doing that. So, firstly, let's bring some texting. So create a frame with the rectangle frame tool that snaps to the margins. Get back to the selection tool Do file in place to bring the text in. Now this text is not usual. I've already formatted it so that you will see it comes in with full marching already applied to him. Normally it would come in and you'd apply style. This is just to speed this process up a little bit. So notice that even though we've got three columns because we drew the text rain, we kind of ignored them. The text ignores it too. So it goes, as you might notice away from left to right was what we wanted this to appear in the columns. It's the way we do that is having select the text frame, choose object text frame options. And we simply changed the number of columns from 1 to 3. Come with us. Okay, that fits like that. So now you can see there's a lot of space here to fill, and we're gonna fill that by using the photograph so it will create a frame across the second and third column back to the selection tool file. In place. Stumble, Use Command D and the images folder. Visit Cuba Havana Side Co. Now the which is looking good. Sadly, though, it covers up to text, that's really no, we won't. So the way that you saw me working on it was using a feature called text rap which, as you know, forces the text toe wrap around a given image. So we select the image now to use technology access the text wrap panel. It's the first example of a panel that we haven't actually had here. So what we need to do is going to find it on all the panel for live in the window menu. So it's window text rap Now, we could just leave this out here But actually a good plan here is to Doc. Listen with these other panels, if you think you might use it a fair amount, which I suggest you would. So rather than clicking on the top there you click on the name of the panel. Drug it across that you see that blue line there let go and it snaps underneath. So then, like any other panel, simply cook on the word it opens out. You got a whole array of options here. The one that is currently being used is no textract. That's the default. Where is the one we want to use is wrapped around bounding box, which, as you can see, forces the text to go around the edge. That's assuming little bit using. Come on, plus, so you can see that's fine, except for they're really, I would suggest, wants to be more of a gap underneath that you might notice the padlock in the middle here, meaning that if I change one of these values top bottom, left or right, it will affect all the way around. Actually, I don't want that. I just want to affect the bottom value. So if I turn the padlock off. In fact, it was off. It's, ah, increase the bottom value. That seems a bit counterintuitive. Increase increasing the value. But that's what I'd like today. So I'm gonna just have four millimeters text rap, and that's starting to look better. What kind of where we're here with nothing selected. So click off the edge. Let's bring in the logo we want to try and do Here is bring this across the second and third columns like that, and then I'm gonna apply text rap to that as well. But this time I want to make sure that that text trap is all across it. So going in every direction, just move that down the bottom. So my play with these ideas, the reason why I wanted in every direction is that if I decide to make that smaller, So, for example, if using the command shift shortcut to drag make the frame and the text more of the same time, because if I wanted to do that, I want a bit of texture upon the left to be ableto get that to flow with the text. I said that I don't really like that looks or just with that more or less back where it waas so with a command zero or control zero. So we look at the whole page, you can see it's coming together. No, I want to create heading at the top, and I really like the heading to be consistent. So we've got this 15 millimetre space here and here and here. I'd really like the text to appear that 15 millimeters starting at the top now because we've already used the margin guides here. We can't really have another one of the top here, but we can do is drag what and then is ruler guides out. So with the selection tool, but clicking on the guide there, notice the black arrow changes toe white when I snapped the edge of the page or the margin guides. There's one guide drug, another one out to snap to the right hand margin. That's great. And then finally, when I tracked the one down from the top, you might notice there's a little Y value next to the cursor. Want to stop that on 15? So if I do that, there's my guy that's 15 millimeters down from the top. The friend of reason that didn't work. If you click back on the guide, you can change the guide using the I Rose here, the wife and he was What hereafter? There we go, it's and now I can create another frame. The text away across here changed my type. Tool. Click inside that in upper case, so I'm gonna press the caps lock key down to do that, Do that Cuba coat on space. Essential info and select all that text Change the front two popular slandered Trace the size to 60 point For now, change that's watched a red that I'd like that to fill the space so I'm gonna make that bit larger. So it's a combination of font size and the trucking, so that's 66 point that fits nicely. If I decided that I wanted the tracking to be a little bit less tight, I could select. It'll increase the tracking value here. Let's later five. If I do that, of course, it's we're no longer fit in the frame because it is now too large, so I then need to reduce the front side so you might continue to play with that combination of features. So there's are finished document, but just to say one more thing before finishing that is that clear. This text has been written so that it fits and the images that that said that it fits and so on. So these exercises are designed to work in reality. What you would have to spend time doing is juggling the relationship of the images to the text. So if we're to look at this, be more careful here now. Typically, the Czechs would want to get right down to the bottom, and that would probably need to be rewritten slightly, so that fits. Alternatively, you might want to make the image slightly larger or slightly smaller if you want to accommodate yet more text or, if you wanted toe have other elements larger or smaller. So we're just starting to get into an area that will need to look at in more detail. Onda. And we'll do that in a subsequent video 11. About Paragraph Styles: So this document is more complicated than anything else. Ive yet seen Pittston a two page document in a presentation mode. It can use the up and down arrows to jump between one page the next. So you can see it's a information sheet for a particular tour for this tour company here again, a fictitious company. So that's one thing to notice. The text flows from Page one to page two. The 2nd 1 is if you just consider you got day, one day, two day, three day four and so on, and then the sort of title of each day and then the text that follows it. That's consistent. So, as described previously, if you've used the eyedropper or if you just text manually just the formatting, the text money, that sort of works. But for a longer document like this, it's really no as efficient or I would suggest as creative as it could be if you use paragraphs styles. So we take a look at what I mean by that, so I'll leave presentation mode before we get into that, just to show you how the text flows from one page to the other. If I click on the main text frame. What I haven't pointed out yet. Just see Ryan beginning there. So with the selection tool, notice this little square here. This is different from the handle around the edge that defines the size of the frame. This is known as the import, and it describes whether text is coming from because that's empty. That means for sure. This is the beginning of this particular story, what is known as a story of text That isn't going to mean that much at the moment, I suspect. But if we look at the second page so I'm gonna just go to the pages panel double click on page two, click on the top of the second page. Now, I appreciate this is possibly quite hard to see, but hopefully you can see that that rather than being an empty square, you've now got a little arrow which says so in this. In this case, the import is saying an arrow is saying that the text continues from somewhere else. So this is not the beginning of the text, but it continues, obviously from page one. So that's what the import is gonna just do. Command zero dizzy amount down here. We have the out port. So this is where the Texas going to and you've already seen that When you run out of room for text, you get a little plus there. So, for example, if I was to just justice here, make that two small, you've seen that before. So that's, of course, the over set mark, which is what it is. But actually that appears in the out port. You might notice there's an import there, too. We just don't do that. So every text frame has an import out. Port Weather's gets useful is where you have text that flows from frame to frame or page to page. Really handy here is that I know for sure that is the end of the text. It doesn't go anywhere else, So we go back to Page one. Look at the out port there. Then again, the arrow much like the import that saying this text continues on. So there's a really useful close if you're trying to work out where Texas going, particularly in longer documents. Okay, so that's the first thing. And then, secondly, the other thing I want to point out is the paragraph styles in use. So let's just go to the title to come where it's just day one. If we just look at this, this is using mirrored probe. Old 20 letting is 23 in terms. The paragraph formatting. We've got space above of five millimeters. There's no hyphenation, so the kind of things that you have seen before, but first, to click on Day two or Day three or Day four, it's gonna be exactly the same. I can tell you that because this is making use off a paragraph style, which is it was just the key way of working with texting in design. So this is another panel that doesn't feature by the fort like text wrap. You have to go and find it yourself. So you go to the window menu, which, remember, is where all the panels live, come down to styles, then to go across the paragraph styles. Now there are other types of styles as well, but I would suggest that paragraph styles are by far the most important, and that's why we're focusing on them now. So when I click on that toe, open it, there appears on the page like we did with Textract panel on a drag latte. Drop it in there. Character styles I'm not gonna focus on now, but if you get the hang of paragraph styles, want to look further? What you can do to for my text? I was just character styles will be well worth looking at, so let's have a look at the paragraph styles panel. So I've named these according to what I will do with them. So this is the days paragraph style, which is used there, and it's on all of the day's paragraphs. As I was suggesting in the next paragraph. It's called Places. So again, that's for the places on the trip and then the next one just called body. That's a termite used before, So that's the main body Copy. There's two more. This one is for the introductory text on the one called Strap Line is just used here. So for the vast majority of this document, the text will either be day. We were using the days style will be using the places for the body, and it just repeats over and over again. Let me give you an example of that. Let's suppose that I wanted toe at another day in here And you can see, by the way, just even made a little bit. The hidden characters are showing This just makes it so much easier to see what you're doing. So when you try this, make sure that in the typed money that the hidden characters are showing notice the option there is to hide them because they are already showing it's gonna hit return notice. I'm still using the body style so I would change the days style. So let's suppose I said I wanted a day one dash afternoon, for example. So what? I hit return. I'm still using the same style like changed places on. Let's suppose we had a trip toe Messiah, for example. So when I hit return again, it assumes I want to keep using the places style, but I would then go to the body style when I would type whatever I wanted to type. So you get the idea. So once you've brought some text in whether it had starting it or not to start with, you couldn't very easily just change the text so you can change it toe any of these styles that you like, and that works really, really well. What I'd like to look at now is a more complex example of a template. So we seem templates already. But let's open up the template for this particular document which, as you can imagine, might have been created by desire agency for somebody to create multiple different versions of the different trips to this company offers so we can open up template. We just mentioned in the file type here, mostly in design documents you create will have a suffix. So after the dot of i N d d for in design document if you credit template normally that they have the suffix of i n d t in design template the reason that these are I d m l. This is another way of saving a file, which makes it more usable for older versions of in design. So I've created this as an I. D. M. L file, not one you'd normally come across. But this just makes this particular far more accessible for older users of in design. So when I open that up, this is what a template would look like. So starts is a new document, and you haven't seen templates yet that you styles so notice that what designers often do is that they name the style the paragraph style, so it's useful, and then they type in the area where it's gonna be used. So as you can see, it's a strap line there, which gives me a clue that I'm using the paragraph style of strap line again. Same. They're using the introduction style, same their days, places and body. So for me, if I'm creating a template for myself or somebody else very often used that approach because it makes it far, far more straightforward. Okay, so if I was gonna bring in the text for this document, I would just select all that. Get rid of it. Noticed that when I get rid of it, the paragraph styles still remain, So I'll bring it in using fine in place or in this case, come on. Day you get discovered. Nicaragua highlights seven. It comes and noticed that the text does not look remotely exciting. It's all just coming, using very default styling. Now, this is very simple to fix, so long as you can see where the paragraphs beginning where they end. So this is the first paragraphs weaken, See, because of the end of paragraph Simple here. So I can do four clicks if I want you to select the whole paragraph. But to be honest, it doesn't actually matter because when you apply a style, automatically look at the paragraph urine and apply it. So I'm gonna go for the introduction style, then move on to the next paragraph. I'm just gonna zoom in a bit. Say can see. Hopefully more clearly, I'm doing so that's gonna be using the days style Next paragraph uses places that's one will use body notice. There's a plus there. That just means that there's a difference between the the way the style has been applied in the way it should be. That's more complicated when I get into right now, but if you want to get into the if you want to get rid of that plus to make sure that the style is completely the Texas completely consistent with that style, as you might just see there, it says option, click to clear. To clear the override of their called on. The way you do that is simply hold on the or key click ones, and it changes it. So just repeat that throughout so days. Places then ought click on body. So I think you get the idea again or click on the body style. If I kept going, the whole document would end up looking like that. The only other bit would be typing in the name of the tour there. Bringing in the map on the map features text rap so you can see make the map smaller, makes the text come back. So that gives you an insight into paragraph styles. How they used. I'd like to now look more closely at the process of editing text. Once you got into in design, you can see the Texas will be brought in. The staff were being applied, and this fits absolutely perfectly. So when we look at the end of the text, we can see it fits, and that's all looking great. That's really the kind of thing that you'd be looking for now, of course, I've made this to be nice and straightforward, but in reality things that never quite a simple of that. So I'd like to give you an insight into how you might need to change things. In a more typical situation, 12. Getting Text to Fit: site. This is almost the same. But if we look at the end of the document No. Just got the over set. Mark. So this is telling us that there's extra text now, we don't really know how much extra text there is. So one way to change to check that is to just a press on the ever set mark. Then click somewhere off the edge of the page and you might be out of just about See there that we've got 1234 lines. They're too long. So we want to get those back. My suggestion is, if you are gonna check the length of the text this way that once you've done that, make sure you delete the frame. I'm hinting that there is another way of checking. This doesn't show you how many lines you've got. But if you put your Cassa inside the final paragraph, then in the edit money, she's at it in story editor. It's a different way of viewing the text. And what's really useful here is that this red indicates the text that's over set. So that's a nice way of doing that. So you can choose either way toe so you can see the text that is over set. Now, if you want to edit the text and literally make it smaller, you can work. In this mode. You can cut text so oversee, depending on your role. If you're allowed to edit text, then the first thing you should probably do is go in and just tweak that text. But things were from more complicated and that some people are often allowed to change the design, but not the text or vice versa. Or maybe neither of those things. So I'm going to look at some options. First thing. We should do it, go back and read through the whole of the document and try and see if there's any other places with six. Doesn't quite look right. I would suggest that this paragraph here is one such example. Notice how that whole paragraph, virtually all of it, it stays together. But then one final line of it appears it goes across the column and then appears underneath there. I would suggest that doesn't look as good as it could do, and it's generally the kind of thing that designers and editors and sup editors would try and avoid. These are known as widows and orphans. So again, if your role is one that allows you to rewrite the copy, I would suggest that that's exactly what you do. But if that's something that you can't do or you aren't allowed to do, you know already that we can use trucking. We've used it to change the generally the look of text, but the way it's used in a more editorial context is to make text fit. So what we do here, clearly, we wanna make that takes a little bit shorter to try and make it appear within the same column. So if we try minus five tracking, I was hoping that would have worked. Which one? Minus 10 tracking That hasn't worked now. Clearly, you could use any value on we could get it to fit, but I would suggest that going beyond about 15 or 20 depending on the front that you're using, it might start to really be quite obvious. So I'm gonna try typing minus 20 see if that works. Now that does, that has worked. Let's just see if we can get away with any less than that. So let's try minus 15. That's good. Zoom in on that. So comparing this paragraph, let's say, with this one, it doesn't look that obvious that we've might detect a little bit shorter. It is one of those things that is acceptable. Some things really are acceptable in this sort of design and production world. This is, to a certain extent, so personally, I wouldn't go beyond plus or minus 15 or possibly 20. But that's up to you, So I dearly rewrite it, if not used tracking now, as you can see, that has work to a certain extent. Let's look at the end of the document and see. You can see it's got one of the lines back, but there's still a few more on. Look, there's another example here. Now. One of the things that you might do is edit the text or adjust the tracking. But let me show you the other thing that you might do. You might change the depth of an image just like debt from and how far down the page it goes. So you know about text rap? Just make that a little bit shorter. There we go. Just putting it back enough so that the whole paragraph fits in. That clearly wouldn't do this with every image, but I would suggest you can still see enough of that map to get a sense of the karaki or the on look at that that's given us enough spice. So that gives you an example of three things that you can do if the text doesn't quite fit , whether you need to make it shorter or longer, my dearly rewriting or he's tracking to make it shorter or longer. But do yourself a favor and don't do more than about minus or plus 15 or possibly 20 and then the other option is Teoh. Change the texture up, so those combinations of things are what makes text fit. 13. Creating Paragraph Styles: in this document, we're gonna look at creating paragraph styles, You know how to apply them. But you don't have to create them yet. So in this document, you'll learn how to create them from scratch, and he will do the whole document from scratch. So if you want to create the whole thing from scratch, just continue. But if you'd rather just skip to the point where we create the styles, then fast forward to about the four minute mark where that process will begin. So stop but doing a regular new document. It's just the one page. It's not facing pages. That particularly matters. Right now, we're gonna have a primary text frame, which will mean that a text room will automatically appear and it's gonna appear within the margin area, which we're going to look at next. So I want all the margins to be 15 millimeters, except for the one of the top. I want to be larger, so I'll unlock the padlock, and that's actually gonna change to 45. Now the creepy switched on. You'll see this is gonna be the area for a body text. And just in general, I find that if I work out where my body texts gonna go. So that's the kind of main body of the text that people are going to read. If I set my margins up According to that, I find things go Orloff enough A lot more straightforwardly. That's one thing. That's where the margins are going. And then in terms of columns, we've got three turn a pretty pic on so you can see that. I think that's what we need. So let's just press OK so you can see the relationship between finish one on this one. You can see this is where the body cop is gonna go. But of course, we need something going on up here. So because the margins start here, you might wonder how we're gonna line up the heading. It's above the body copy, and the way you can do that is by clicking on one of these rulers and dragging out. So you should have thes routers showing, if not, you'll find them in view, so that in my case, it says hide rules because they're already showing. But if it says show, realize you can choose that so could drag a route if the left on a router for the right. In terms of the one from the top, I actually want the gap from the top to be the same as the gap from the right. And you might recall that the gap was 15 millimeters. So the easiest way to change that is simply to click on it once and then just change the value up here. The Y value is the distance down the page from the top. So 15 that means that I can start my text rain there. Which lt now. So that heading is, uh, Cuba coat on essential info. You seem a little bit on that. I'm gonna select out on, uh, change the frontier two popular. Sure, if he used recently on, I just make it a bit larger. That is it. Lower case. I won't. The final into the upper case site in the type money you can choose change case on upper case, and then let's try it. 60 point. Okay. Used to be a little bit bigger than that, So I'm gonna just press Thea pira a few times, looks about right, and then in terms this watches that's gonna be using the red color. Okay, so that's the heading, but separate from the rest of the text. So the next thing is to bring the text in. So still, my type toe klik in the main frame choose file in place. And then from the text folder, there's two options here you can either use the plane option, which is what I'm gonna do on that will force you to create the styles. If you'd rather not worry about creating styles for now, you could use this one which has the styles built in. But my suggestion is you learn how to create styles because it's such a useful thing, useful skill to have. So when it comes and, uh, I'm gonna just zoom in a touch so you can see I can see the hidden characters, I can see where the paragraph returns are. If that isn't the case for you, remember to do type and show him characters. Okay, Before we go any further, let's look at what we're trying to create. So there are four different paragraph styles used. There's one for the paragraph of the top. Now let's just look at the paragraph stars panel. So that window styles, paragraph styles. So this is the drop cap style. This is the body Indian style in the beginning. Next is the subhead style and finally the body. No in Dent style. So it's the same as this one, but with no indent. Whereas here there is. It's essentially through these paragraphs of very similar eso no indent with Thean Dent on the drop cap and then the sup it. So by the time most four stars have been created, they can be applied all the way through. So that's what we're gonna do. So But to our document, of course, we've only got the one style which they just the one you get for free called Basic paragraph Onda. Uh, we weren't used that, but we'll create the style that we need. So what do the drop cap first on their forced steps to creating a paragraph style? The 1st 1 is to select the whole paragraph, and easiest way to do that is with four quick clicks. So 1234 that's select the paragraph. So that's step one. Step two is to adjust what's known as the character former thing. I noticed that I'm hovering over Ah, Button cascades me, which has character formatting controls. So you've probably seen that before, but this is way you can control, the font size, that kind of thing, anything that you could apply to a single character or letter you can think of as a character format. So let's firstly change the font to myriad pro regular the size to nine of in the leading 12. Okay, so that's that. That's the character form, I think. And then this button underneath it is the paragraph formatting controls. This is for the third step. We're gonna do two things here. Firstly, uncheck hyphenation, Which will mean that the text one automatically hyphenate have been Secondly, adjust the value for drop cap number of lines. So as you hover over it, you should see it. So I appreciate that there's lots of little icons and they will look pretty similar. But it's the drop captain number of lines. We'll make that three lines and noticed that it inserts the first letter, give some space for it and makes it larger. Okay, so there we go back is now formatted, but it now needs to be turned to a style, and that's the fourth and final step. So making sure that your cursor is in the paragraph or indeed the paragraph is selected, then you can go to the drop down menu in the top right corner of the paragraph styles panel and choose new paragraph style. Then you just need to do two things. Firstly, name the style. So in this case, drop cap and secondly, make sure apply style. The selection is checked, and then you can press OK, and there's your first dial. So those four steps will repeat over and over again. So by the time he done it four times, hopefully that we pretty much in your head. So for the second paragraph for Step four clicks and then Step two character for my thing. So back to that button again and again, that's gonna be myriad pro again. It's gonna be nine points on 12 point, letting Step three paragraph, four month thing again. Uncheck quite relation. This time where I'm hovering, there is the first line left in Dent. We're gonna give that on an in dent of three millimeters, so notice how it just makes it very easy to read. If someone is reading it. They can see that there's a new paragraph for easily the case of the final step. Let's capture that a style so we can call that body indent the apply start. The selection button should still be checked. That's fine, said Press. OK, okay, so two styles down. Two to go 3rd 1 again selected in terms of the character for writing. This time we're gonna use Poplar Standard, which we used a minute ago. It's just refer to the other one so you can see that what I did there. This is upper case and this is 20 on 20. That's the way a designer would describe the font size 20. The leading 20. You might notice the T T button here, so that means it's all caps. So that's what I'm gonna do. Site just leaving. So you can see the T t. And then 20 from 20. Ivan, use the red swatch. Okay, so the 1st 2 steps it selected and we've applied the character for mounting enters the paragraph for my thing again, we might as well check the uncheck the heifer night box. Not that it will really matter, but it's worth doing anyway. And then I noticed that the space above that you could do with a bit of space above on that you will find is here are just hover over it for your space before, let's say three millimeters before Just leave me so you can see that one. So space before, right So we can capture that as a style called sub Heading said in the final style is simply myriad pro again. Nine on 12 That intense the paragraph formatting no hyphenation but actually nothing else told because typically off the heading it doesn't need in denting in a way that you might want here. Okay, so that's gonna be called body No indent. So I appreciate that was a little bit of work, but the upside now is that to apply this to the rest of the text, you just simply need toe click on one paragraph of the time and apply the appropriate style . In some cases, when depending on the kind of text you've got, it might be that you can apply it much, much more quickly. You. But in this case, the text does change quite a lot. So we're going from a drop cap to subhead except for except for accession. Nevertheless, you'll see that within a few clicks, all that Texas gonna be nicely on Consistently style. Okay? Sorry. When will think to say about paragraph styles is that if you select a paragraph with paragraph styles on that, you should have a nice plane. Um, list there. So it should just say body no indent. But if you make a change to it, say, for example, what I want to do here is repeating the same way that we've repeated the color. I want to repeat this fund here. I'm gonna use the popular fund here instead of the myriad pro. So I'm gonna do that here. I'm gonna change that from Europe pro too popular. And I'm also going to change the color there to read So you can see that The idea is that I'm deliberately repeating something to make whole thing feel like it belongs together. I could even do that here. I could even make that read. I could even make that popular as well. Now the idea here against to make it look consistent. The problem is, if I do that, I've manually kind of overridden this style. And that's when you see a little plus. It tells you that you've made a change so it doesn't prevent you doing it. And it's not necessarily about idea, but but it can turn into about idea if you do it consistently. So try and avoid doing that. Unless it's a really good reason Teoh override the style. In this case, I would suggest there is. And if you realized later on that you want to take that out, you would simply hold down the key and click on the name of the style, and it will go back. So if I zoom out, you'll notice this. So if I hold down the or key click once the whole paragraph goes back, Actually, I don't really want that now, so I'm gonna undo that. That's useful feed to know for for a long run. Okay, so that text is Texas there. So now all we need to do is bring in a couple of images. So first see the motorbike inside car image, which, of course, is a deliberately red image, which is why I went for the red color in the first place on then, like you said the text right panel Notice that the text could do with being pushed away a little bit here. So it will increase the space after not not leave the open because that could be so that a second or close the paragraph styles panel for a second and then with nothing selected, I'm gonna bring in the visit key blogger He's textract. Make sure that goes down to the text flies above it. Maybe just increased the text wrap finally above it, which I think has just made it so that there's not quite enough room for all the text. Yeah, just reduce that little bit good. So what have you learned from that? Is that when you have got a lot of textile work with on when you want consistency, then being out a crater paragraph style ihsaa really, really essential way to work. So in combining that with what you learned the beginning about structuring the document so that the text lines up with the margins where the margins provide the area of the body copy and then again using that for other things, like whether with images of going and someone, hopefully that all comes together and gives you a real sense of how to put together not only simple document like this, but if you were to go forward and do more complicated work, using these kind of ideas as a basis will stand you in pretty good stead. 14. Preparing for Printing: once he finished creating urine design document. You want to send it to a printer? Most likely now this is a big subject on itself or will do. Here is look a three absolutely fundamental things that you have to check before you turn your document to a PdF, which will do afterwards. First thing you should check is with the document will bleed so as discussed previously, if any element goes right to the edge of the page, it should bleed over the edge to allow for the slight movement of the of the paper when it's trimmed so you don't get an ugly white gap around the edge, whether whether you photograph, for example, should go right to the edge. Now this document here, if we look at this in preview mode, it's designed to have a white edge there, so there's no need for it to bleed, so that's simply not an issue with this particular document. But let's look at this one this poster because the photograph goes right to the edge on every side. So top bottom left and right, that should have a bleed. So if we his name in here, it looks as if there's no bleed guide there, and in fact there isn't. But the way we can check is if we go toe the file menu and she's documents set up, it gives you a chance to have a look at this. Look on the bleeding slug. Open it if you need to. As there's nobody there, then that guy, it needs to be at it. So click in one of those fields, Presti A. Pero three times to get a three millimeter bleed for Just turn on the previous See the diet that you get. It's a present, so creating the BLEEP cover it isn't enough. You still need to adjust the frame and possibly the photograph inside it. So I'm gonna just line us up here. In this case, the image has already been zoomed in slightly, so I don't need to just that that looks like that's fine now. Another way you can check for Bleed is you can change him preview mode to bleed mode. It's subtle, but you can just see the difference. You've got that extra amount of photograph around the edge of the document, so know whether something needs to bleed or not put bleed guides on, if necessary, using file document set up. The second absolutely essential thing you need to know before you send something to print is to check the resolution of the image. Now this is a term you may have heard before, and it's a term that gets thrown around quite a lot. What people will often discover when they sent me to a printer is the principal. Contact them and say, We can't print this. It's low resolution or it's low res or the images and high quality. Enough now, what they mean by that is that each photographic image for each bit map image. Each image that's made out of pixels inside those kind of images at the number of pixels per inch is is a factor. Let's show you this in in design. So if I click on this photograph here about the links panel, so if thats not open, just click, you might notice that image is highlighted. Some numbers down here. I'm going to zoom in on the sake and see them clearly. So there's two numbers here. The actual PP I. That's the actual number of pixels per inch, and then the effective PP. I in this case they're both the same. But if the image has been scaled in and designed to make it bigger or smaller than the effective number would have changed. And that's the important one. Now that you're seeing here, 72 you'll see quite commonly, and something will look reasonable on the screen if it's got at least 72 pixels per inch. So you might look at that image and think that looks fine. That will print OK, but that's not the case. So step number 72 refers toe. OK, that would be fine when you look at it on screen. But for that to look okay when it prints the number of pixels per inch, need to be round about 300. I say round about because if you want to be really old school about it, that is the number that you always would have looked at. But certainly the context I'm coming from in London, where there are freed newspapers distributed all over the place on their on printed on fairly cheap paper, often featuring images using camera phones. Our expectations really of what is good quality. I believe I've sort of gone down a bit. So what I'm not saying is if the resolution is a tiny bit below 300 it will be terrible. But I am saying that if the resolution is 72 it really will be so personally, I start to get a bit nervous if the resolution is lefton sort of 260 something like that. But that's a fig you need to be aware off. So if you check that before it gets to print, then you might discover before you you've gotta play a large printing bill that the image needs to be replaced so briefly. If you realize that the image is not high resolution enough, then what you should do is contact the photographer that sent you the image and say, Have you got a higher resolution version? They may have. They may not. If I haven't, my suggestion would really be to try and source another image. So this is a good check to make. If you decided on the image that's gonna be used on your big poster campaign or the front of your magazine or whatever, then check that out fairly early on. So in this example, and the other examples. If we look at this one here for the purposes of this course, obviously their files that need to be downloaded and so on. So these are deliberately low resolution images. So that's 72 again. But if this was being printed commercially, that would need to be more like 300. You might wonder why I'm not mentioning the logos here. You may remember that the logo's are not made of pixels at all, so they dont have a resolution. Now, there are other things that you might want to check as well. For the purposes of this course, I'm gonna just going out and look at turning your checked documents, the one that you've checked the resolution off and check bleeds and look at how to turn it into a pdf. Because, to be honest with you, most the other problems that might crop up, you're likely to start with you create the right kind of PdF. But I am skirting around a few issues. If you'd like to know mawr about that, and I know a great deal more detail about things you might want to check before you sent to print, I'd recommend you look at our e book called Preparing in Design Documents for Print that goes into that in a lot more detail. But for most people, thes two checks that we've made and tracing the right kind of Pdf is probably OK, so long as you discuss with your printer before you go to print. Okay, so if I wanted to create this as a PdF descend to the printer, I would finish the design. I'd go through the two checks that we've made. If you don't know anymore, that's fine. Then go to the file menu and shoes export. Choose pdf Markets print Chris safe. At this point, you get a dialog box appear and we're gonna focus on the presets you get at the top, so notice that these are all in square brackets. This means that their default ones that come within design and if your intention is just a quick PdF for your colleague well, your client I would go for either smallest file size, which, as you might guess, is very small file size or high quality print, which is a little bit higher quality and find for printing out on a desktop printer or something like that. But if you're gonna be sending us to a commercial printer and you want high quality than that, then my suggestion personally would be this one here. Pdf x one A 2000 and one Unless your printer says otherwise, this is a fairly old, established standard, which is known to work reliably, so if you've checked, your document bleeds. If you check the resolution of the image is, then this should handle most of the other things that might crop up. But as I said before, if you want to know a bit more about this than please do talk to your printer or if you want to read R E book on it, then have a look at that. So you simply press export and the PdF is created in the background. Now do the same here, a PdF but this time on a modified slightly. And I use the PdF settings as described before, but this one wants to have bleed on it on this pdf setting doesn't include bleed, so my suggestion would be go down to marks and leads, choose all printers, marks and turn on the document blade settings. Just go back into general and choose view pdf After exporting and you'll see what these printers marks our and you also see the bleed. Just make a little bit larger for you, closing down a bit so you can see this is the page around the edge. So this is where the document will trim, so this area around here just bleed. So this is whether the knife lines up the guillotine lines up of these colors around the edge of useful for the printer when they're printing it, just to check that everything is as they should be. So what I should have mentioned on the previous one is because we didn't put the marks and bleeds on in the print would have to do that themselves, which is probably absolutely fine. But if you want to do that, you can have that. So you're getting the sense that there is a bit of a dialogue required between you and the printer. It's There'll be a commercial printer you'll be paying them. So for that reason, it's a good idea to take an interest in how this is working. So if you're lucky enough to have a printer that you can talk to that you can trust, then to ask them about the process to ask them what you might sent to them different ways. You can tweak your work to make it easier for them, and, uh, and you learn a lot about the process so that we go, we got to enter the process. So during this course, you've created a whole range of different documents. So posters, flyers, and so on and then finally have learned a little bit about some of the issues around senator print so that the most common ones that come up so bleed reservation, you know how to create a pdf. So you went on the way took using in design like a professional. 15. Goodbye and Next Steps: congratulations on finishing the course. I hope it's given you the skills and confidence you need to get you happily working with Adobe in design. Now that you've got the basics, the main thing to do is to keep using it to develop your skills and keep your eyes open. As you read magazines and look at flyers, see what others have done. Try and know what you like and, if appropriate, try incorporate them into your own work. I'm hoping that in the future I will be developing an in design to one course. So do make a note and let me know if that will be something of interest and I will get on. Put that more on the front burner toe, get that developed all the best.