Easy Setup For Print: Design a Unique Business Card in Illustrator, Photoshop, or InDesign! | Jon Brommet | Skillshare

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Easy Setup For Print: Design a Unique Business Card in Illustrator, Photoshop, or InDesign!

teacher avatar Jon Brommet, Crusoe Design Co.

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

    • 1.



    • 2.

      Project Overview


    • 3.

      Terms To Know & Understand


    • 4.

      Basic Setup In Photoshop


    • 5.

      Basic Setup In Illustrator


    • 6.

      Basic Setup In InDesign


    • 7.

      Using Pantones


    • 8.

      Using Die Lines


    • 9.

      Using Foils or Spot Varnishes


    • 10.

      Font Sizes, Transparency Issues and Other Tips


    • 11.

      Output using Package, PDF, and More


    • 12.

      Wrap Up


    • 13.

      Photoshop Multiple Artboards


    • 14.

      A Message From Future Jon


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About This Class

Knowing how to properly setup a file for print can save you time, frustration, and more importantly, money. Avoid those tricky print problems you didn't see coming, or that setup fee from your local printer.

In this class, I am going to be showing you how to properly setup a business card file for print. Whether you use Photoshop, Illustrator, or InDesign, I will show you the best practices to easily set up files and make sure you get them to the printers without any unsuspected issues.

You may already know how to setup things like Bleed, Margins, or Die Lines, but chances are, you'll pick up a few tricks to improve your workflow. If you've never heard of those terms, even better, this class is for you!

Wow this class must be boring right? WRONG! I've done my best to keep this class light, fast, easy, and fun. Not to mention the project should be fun, and as always, I have an amazing contest!

Why do you need a business card in 2015 with the wonderful internet? Because every once and a while you might just take your body away from your computer and run into a real human being! I know! And when you do, make sure you stand out with a top quality card!

Did I mention there is an amazing contest?

Meet Your Teacher

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Jon Brommet

Crusoe Design Co.

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Level: Beginner

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1. Intro: Hello and welcome to easy setup for print; design a unique business card. In this class I'm going to be showing you how to set your business card up for print, whether you're familiar with designing for print, or if it's the first time you've ever done it. If you're not familiar with terms like bleed, trim, and safety margins, then this class is definitely for you, and if you are familiar with those, I think you'll still learn a thing or two along the way. I'm going to be showing you how to do these in both Photoshop, Illustrator, and InDesign, so if you are only familiar with one of the programs, that's no problem, or maybe you want to learn a little bit about the other one. If your budget is a problem, don't worry, having a new business card it doesn't mean that you have to spend a lot of money. Sometimes it's just as simple as coming out with a few different ideas, and try and make them stand out. Or you can mess around with ideas like craving foils, spot varnishes or in boxing. So I'll show you how to set those up for print as well. As always, I've teamed up with an amazing partner for this content. This time I'm teamed up with jukeboxprint.com, and we're going to be giving away ten different sets of business cards to ten different students. That means your chances of winning are pretty great. If you want to learn more about them, go over jukeboxprint.com or @jukeboxprint on Instagram, and if you want to know more about the contest, just go over to the discussion and you find out all the rules and regulations and fancy lot terms. Click "Enroll" and we'll see you in class. 2. Project Overview: We're just going to quickly go over the project overview. It's pretty straightforward, but I figured I'll show you guys anyway. Obviously as I'm recording this class, the course is actually in a draft mode, but this should basically be what it looks like on your end by now. As you can see here, I've outlined the checkout Jukebox and all that stuff. But the deliverables, that is what is important right now. So just to start with, before you do anything else, just go ahead and post your project and say what your business card is going to be for. Whether it's just going to be for you, or a client, or a friend, or a friend of a friend, or your dialogue or whatever. Just post that first, don't worry about all the other nitty-gritty stuff and then watch a couple of videos and then maybe start to look for your business card references. Then come back, pick your favorite jukebox card, then maybe about your rough Mockups you don't have to, of course, your final business card, that's pretty important. So I'll show you what I did right here. So by following those rules, I put what my design is for. I said my business card is for my own business, which is job raw graphic design and illustration. I showed my reference photos, which I definitely use Pinterest a lot now for this thing, we're creating a mood board. It's just easier. So I'll put a link to that, but I'll split a little quick screenshot of what that looks like. I put my favorite jukebox card, which is this cool laser cut one. I just think it's really interesting and cool looking. Of course, like the photography doesn't hurt, it's overall appeal as I mentioned in my little post. These are my rough sketches. So when I talk about rough sketches, I'm talking really rough. Don't worry about making them really nice. You can if you want to, but a lot of times, once you get another computer and you start moving things around, it's not going to look a whole lot like what you drew anyway. In this case, when it comes to illustration and stuff, I'm definitely more thorough in my drawing. But for the Mockups and rough thumbnail sketches for your business card, just keeping loose. You can do a ton, you can do 50, you can do 10, it doesn't really matters. Try and get some ideas flowing. Even if you want to skip this step and go straight to the computer, I'm not going to yell at you. So this is my final business card, it's going to be two-ply on wood with cotton texture. So basically the front is a cotton paper, which is a nice soft paper. It's got a little bit of texture to it and then the back is actually, I believe, a walnut, if I remember correctly. It's actual real wood, which is pretty neat and pretty unique to jukebox print, which is why I went with them to get my card done. Of course, for you guys, I wouldn't expect your card to actually already be printed since you're trying to do this contest and stuff as well. But in my case, my cards are already printed, so I figured I'd show up a poster or picture, so I have those and just show it to you what the end result actually looks like. So it's neat to see like the rendering versus the real thing, in this case are actually pretty similar looking but, there's something about seeing it in real life and out in the wild. Anyway, I really hope you guys check out the class and enjoy it. I do know that these days social media is all the hit and networking and having really good portfolio online. But believe it or not, once in a while, you're going to have to meet a real human and you might want to have a cool card to give them. Again, if it's for a client or something, that's cool too. Can't wait to see what you guys come up with, and let's get into the class. 3. Terms To Know & Understand: We're just going to go over some terms that you should know moving forward in this class so you'll be able to understand everything. What I'm going to do is to give you a little demonstration quickly, just to show you what everything means in case you're new to the world of print. If you already know these terms, you can go ahead and skip to the next video, but maybe you'll pick one up you hadn't heard before. I have this card open and I'm actually going to show you how to set this up in Illustrator in a minute. But we're just going to quickly go over these terms. The first thing is your safe area or your margin. What that means is that you want to make sure your vital information does not go past this. I wouldn't want this logo to go past this line. If I have some text around here, things like that, I don't want anything basically that's important to me to go past this line. This black line here is the trim line, so that's the actual spot where the card will be cut to. When the finished design is made, you won't see anything past this black line once the card is cut out. The last thing is your bleed. What that means is the color or image or anything you have in the background that goes past this trim line. The reason why you have that there is because sometimes the blade will come along and it'll miss that cut slightly. If you actually had no bleed, what would happen is you get a little white line or if your text is in that way, then you ended up getting your text cut off. With each of these, I have an eighth of an inch margins. An eighth of an inch of bleed area, an eighth of an inch of a safe margin. I'll go ahead and I'll demonstrate that for you. What I have here is a sheet. If I just quickly just delete these two things for a second, I have a sheet that's 12 inches by 18 inches, and the cards are ganged up, which means that you've taken the same artwork and you've repeated it across the sheet as many times as efficient so that when the guillotine or just a blade comes down and cuts these out, you're getting the most bang for your buck basically on that sheet. I'll just quickly demonstrate what this is. This red line is going to be my blade or my guillotine. Obviously it's really thick, but it's just representational. What happens is it comes along and it cuts this first line, let's say. You can see that there's a margin or a trim mark there and a trim mark here. These are trim marks. It comes along and cuts that. Now you have this piece is actually separate from this piece. That's all good. But the problem is that sometimes when printing the sheets will actually shift slightly so the artwork will be in a different spot on each sheet. You have to think of this as say there's 20 or 100 or however many sheets underneath this that are getting cut at the same time. What happens is if this blade ends up missing, it goes too far past this line because we have bleed here we have a safety net. You're not seeing a white line here. You're not seeing anything you're not supposed to see. It makes it so that it tricks the viewer into thinking nothing ever happened, it's all perfect. The opposite can happen when a trim goes or when the cut goes too far this way. If you don't have that safety margin, you can end up losing part of your text or part of things that you don't want cut off. That's why we have these little safety net. We have this bleed area and we have that margin just to make sure that nothing gets cut off and our artwork ends up looking exactly like we want it to. Certain different types of printing, like digital printing is really susceptible to the sheets shifting. Offset press and certain types of printing don't have it as much. But you basically always want to design your artwork like this just in case, because it is still very prominent in our printing industry today. Those are the main terms that you want to know going forward in the class. Now I'm going to show you how to set up those files in Photoshop, Adobe Illustrator, and InDesign. 4. Basic Setup In Photoshop: This is the basic setup in Photoshop. I'm working with the newest version right now, which is Adobe Photoshop CC 2015. If you're not using the same version as me, that's okay. I'm actually using 2014 for Illustrator right now. Just because I was having issues with 2015, that when I saved it would crash. Hopefully, that'll be updated soon and fixed. But in the meanwhile, that's what I'm doing. I have 2015 for everything else, so InDesign in this case. I'm just going to go ahead and I'm going to show you guys what to do. We're going to go over to File, I'm going to select New. There's a couple ways to do this. Like I said in 2015, things are going to be a little bit different so I'm going to show you both versions. Basically, what we want to have is we're going to make our artwork 3.75 inches by 2.25 inches. That's taken into account the bleed area that I've mentioned before in the last video, but really a business card is 3.5 inches by two inches. The resolution thing is really important. Again, if you're not used to printing, then you might have some issues. With this, you might be used to using 72 DPI if you're a web designer or if you're just doing things for the screen. When it comes to printing, you're going to want at least a 300 DPI. I've little less you can get away with, but it's just safer to have at least 300. If you want to go to 600 or something like that, that's fine. You're going to have bigger files, but you're also going to have some better print quality to some degree. Don't go crazy and have 1200 or something like that, because most printers you're not going to be able to notice that difference. The color mode, this is another thing from screen to printing. Basically your screen is actually made of RGB, which is red, green, blue. Whereas when you print something out, it's made of CMYK, so that's cyan, magenta, yellow, and black. Well, a K, it means key and that's just a long explanation, but basically the K is black. What you want to do, is just make sure it's CMYK because sometimes when you're printing things different ways especially in offset press and things like that, you need it to be CMYK. We're going to click "OK". Now that we have our work here, I'm just going to go back over to my layers. You should have all this setup automatically. If not, you can always go to your workspace and then click "Essentials" and you'll basically have a similar layout to what I have here. If yours doesn't like the exact same, that's okay. As far as I understand, this little feature came in 2014 for Adobe Photoshop. If you have something older than that, I'm going to show you another method in just a second. But we're just going to go to View, and then we're going to click "New Guide Layout". What it's going to do is it's going to add in some trim marks for us. It's a little different than Illustrator and InDesign because Photoshop's not really made for print, although there's ways to get around it which is what I'm showing you. The first thing we're going to do is mark out our trim line, so that means that this area here is now going to be our bleed. That's an eighth of an inch which is 0.125. I've got that on my top, left, bottom, and right. You can just make sure if you have columns turned on or rows turned on, just make sure they're turned off because we won't need them for this. Go ahead and click "OK", and now that is a trim lines. So that's where the blade is going to come down and cut your card. But we need to get that margin or safe area that I was talking about, so we're going to do it again. This time we're just going to put in a quarter of an inch, which is 0.25. We're just going to go ahead and copy that, and paste that here. I'm using a Command C and Command V, which is Control C and Control V on the PC. Once you click "OK", there you are. Basically, this inner line here, this little inner area, is your safe area. As long as all your prominent art work is in there, you're going to be okay. This next line is the trim line, which as I mentioned is where the blade is going to come down and cut it, and the next thing is the bleed. You just want to make sure that your artwork or your backgrounds go passed into this line at least, in case that cut line shifts a little bit in Photoshop. What you're going to also have to do, is you're going to have to save each of these separately. So just save the Photoshop file first and then save them as a PDF for print. If you have a back of the card, you're just going to have to do that twice. Whereas in Illustrator and InDesign, you can actually have one file with both. Now I'm actually going to go here and I'm going to clear these guides, because if you're using an older version of Photoshop, those aren't going to work for you. If you're not using the newest version of Photoshop, then I'm going to show you this other method real quickly. We're just going to go down to the Rectangle tool, which is U on your keyboard. We can draw out anything here. We're going to go up to here and make sure if that's already on inches, it might be on pixels. Again, we're just right-click in the box and we'll change that. Make sure it's in the box and not on the width or the height because you won't be able to click on those. I've actually got my own inches, so I'm good to go. I'm just going to set in 3.5 inches wide by two inches tall. Now we just need to make sure that this is actually centered in our artwork. Right here is an Align tool, so we're going to horizontal centers and we're going to do that with vertical. Now we know our artwork is actually center. I'm just going to hide that. If you don't have your rulers already showing that is just command R or Control R on a PC. We just make sure those are on and you just grab anywhere in that ruler, and you pull over and it should basically snap to the edge of your artwork. If it's not snapping, you can go to View and make sure Snap is selected, and that should be enough for you. Then we're just going to do that again over here, at the top and then at the bottom. You can see it's a little slower than the other method. But again, as far as I understand the other method is newer for the newer versions. Now that's our actual trim line, so we're going to make our safe area. We're going to go to 3.25 by 1.75. Then again, we're just going to make sure that we've actually got this centered. Now let's center, we're going to drag in these rulers or get rid of these guides from the rulers. That's it. Then once that's done, you can go over to your layer and just click "Delete". Now once again, we've got the exact same margins, they do the exact same thing as the other way. It's just a little slower method, but it'll work if you've got an older version that doesn't allow the new guide from layout option. That's it. Now we're going to go over to show you some other ways. 5. Basic Setup In Illustrator: So in this one I'm going to show you the basics of setting up your business card in Adobe Illustrator. The main difference is if you're setting your card up in Photoshop because that's what you're comfortable with, that's okay. But it's a little trickier because Photoshop is designed mostly for the web. Of course, you can use it for printing, but its tools are basically set up more for web use. Illustrator is an in-between where it's setup for both. So it's a little easier to set up a business card. InDesign is actually set up mostly for print, so it's really easy to set it up in InDesign. But I know a lot of you are definitely going to be more comfortable with Photoshop, if not Illustrator. If you're using InDesign already, you probably already know how to set up a business card just because it's meant for print. But I'm going to show you that in case you want to try and learn Illustrator or InDesign. A lot of you might have Creative Cloud subscription, so you might want to experiment with different programs. But I'm going to show you InDesign for this one. By InDesign, I mean Illustrator. We're going to go to File New. Most of this I already have set up nicely, but if you just have a single sided business card, you can make sure your artboard is set to one. If you have a second one, you can add two or so on and so forth. You can definitely tell that you can't do that in Photoshop, which is a nice feature in Illustrator and InDesign. You can actually have extra pages, so you can make one simple PDF. It's a lot less light work. As mentioned before, an actual trim size of a business card is 3.5 inches by 2 inches, which is perfect. Then we have the bleed here which is locked; so where I can change all four of these at once. If I just go up one at a time, that's going to increase the size by an eighth of an inch. So we just got an eighth of an inch to start with. So that's 1.25. The advanced may not be showing, but if it is, it's going to say CMYK generally unless you've changed it. Raster effects, you're going to want 300 that's perfect, preview mode default, that's all good. So we'll click ''Okay''. As you can see, we have both; your front and your back of your card. This is all pretty straightforward at least for a normal business card. I'm going to get in a die cuts and things like that later. But we'll just go one more little step here because we need to make that margin. So we use our rectangle tool, will click. We're just going to make it 3.25 inches by 1.75 inches. So that's essentially an eighth of an inch smaller than your trim size. We'll go over here and make sure we've got aligned to our board. We're just going to center it to both vertically and horizontally. Another easy thing to do is if you click and hold shift and/or you can just copy this and that's option on a Mac. You can copy this over to the next page, and then we just have just center it vertically, horizontally. Then once we select both things at once, you can go to and actually use the keyboard shortcut which is Command 5. It's also Control 5 on a PC, but I think it's down here in Make Guides which you can see is grayed out because of they're not selected now. So that's it. Now we've got that all set up in Illustrator. You can see it's way easier in this program than it was in Photoshop. But now I'm going to go on and show you InDesign, which is the easiest by far. 6. Basic Setup In InDesign: So we're in the InDesign now. As promised, this one is the easiest one for studying this part up. So we're just going to go over to File, if my computer doesn't want to be a slow pain in the butt. Okay. Then we're going to to Document. Don't worry about "Book" or Library. So this starts pretty straightforward. Again, we're going to turn off Facing Pages. I'm not going to explain every little thing in here because some of them are just not needed for this. Same thing, Number of Pages too if you've got a double-sided card, if you have a single-sided, just one's fine. We're going to change our Page Size to 3.5 by 2. Don't worry about Columns, you can just leave that as 1. It doesn't really matter. Margins we're going to turn that into an eighth of an inch, as I've been mentioning all along. Then our Bleed, we're just going to turn that also into an eighth of an inch. Don't worry about Slug, don't worry about anything else. Just click OK and then you'll see in two seconds here that that is all you needed to do. So, unlike InDesign or Illustrator, they don't show you both artwork or words beside each other, so you're actually, you have to go over to your Pages and double-click to see the next page. It's just because InDesign is meant for books and magazines and things like that. So we get crazy if you can see all at once. That's it. 7. Using Pantones: We're going to talk about Pantone colors. This particular business card that I designed, it is a little bit straightforward and simple, but sometimes you're going to have a client that wants that, that's definitely something to keep in mind. When I show you my library of work is that if you're designing the business card for yourself, at least you can do anything you want. In my case, as a graphic designer, when I'm designing for clients, of course they have input and sometimes things don't work out exactly how you wanted. Any other graphic design was definitely be familiar with that. But anyway, that being said, so this is a definitely a bit of a simpler design as far as straightforward, but it's got that clean, professional look. This thing actually features a few things, it's got rounded corners. It has a foil and then it also has a Pantone color. But we'll get into the other stuff a little bit later. I'm going to talk about Pantones for this video. I am in Illustrator. I'm actually going to warn you that I'm going to skip Photoshop. If you're using Photoshop and you have Pantones, you can probably look that up online. Or I would recommend definitely if you have a Creative Cloud Membership that you get at least illustrator, because using Pantone and Photoshop is definitely a pain, just to be straightforward with you. Not only do you have to select the thing, make it a Pantone, then you have to make a channel. You have to name that as a Pantone color, and there's a lot of different ways to sort of just to make a simple little Pantone workout. Whereas an Illustrator and InDesign, it's lot more intuitive and simpler to do. I would definitely recommend that if you have to use Pantone and you have to use Photoshop, do some research into it, but if you can avoid it, do because it is definitely annoying. You might be asking, well, you don't have bleed in here, why is this black line here and things like that. This is not what I would call a print ready file, this is just basically used for proofing. A lot of the times what I'll do is faked kind of what macrame might look here just by using gradients. I've added the rounded corners so that I can select this. I'll just go to File Save for web to show my client. Usually I blow this up to at least 200 percent just so that they can see it in the email well. Then when they say is because it's on a white background, they'll be able to see the rounded corners, they get an idea of where the file might look like and so on. This is not a print ready file, but it's pretty close with a few small changes that can be ready to go. Let's just say that this anchor design is actually just a regular old blue. What happens is if you're not familiar with Pantone colors, the problem is that when you use the CMYK combination of colors, different printers will actually print them differently. It depends on calibration, it depends on the paper stock, it depends on a lot of different things. But unfortunately, I can send this file to ten different printers in ten different areas, and the color may not look the exact same even though it should. To combat this, they came up with a color system called Pantone. It's definitely the most popular, there are others, but it's the widest, well-known and most used in the industry. What happens is the best thing to do, is to not look at the color on your screen. You'll have a actual Pantone book that has swatches with all the colors printed out. They are exactly accurate to what the colors will actually look like. You pick the colors out of the books, so you get your clients do that, and then you use that on your screen. It's because your screen is actually made of RGB, so seeing Pantone on your screen is not actually accurate to how it'll print, and so on. In this particular instance, the client actually wanted Pantone 289 C. The way that you do that is you will select your artwork. You're just going to make sure that your swatches panel is open. You go to window, make sure swatches has a little check mark beside that. Some of these will have this thing too, where they can go down. Just click that little arrow and make an expanse a little easier to see. While we're in our inner smart swatches, we're just going to click this little arrow right here, then we're going go to Open Swatch Library, we're going to head down to, where am I going here? Color books and Pantone plus Solid Coated. It will depend, sometimes you're going to have these different ones, there's Uncoated for sure, but those are the main ones. So we're just going to go to that. Then you just type in 289 and you'll see that one comes up, so we're going to select that. If it wasn't already here, it will actually pop into your swatches now because you're using that specific color. You can have as many Pantones as you want in a single piece of artwork. It can get expensive though if they're going to print them using the actual proper process. Another thing to use sometimes is even if you're printing just CMYK, it's nice to use the Pantones. They'll try their best to get it as close to that as possible. Anyway, there you go, you have a Pantone in there. Now that artwork is actually using that. So theoretically, as long as they're using the Pantone proper method, I can send that to 10 different printers, like I said before, but they will actually all 10 of them print accurately and the colors will be very, very similar. That's definitely the best method to use when you want to try and make sure your color is all the same, so that's the Illustrator way. I'll pop in InDesign real quickly, but it's almost the identical thing. I don't have the artwork in here, but we'll just draw a box, pretend this is my shape, so just make sure you select swatches. Once again, we're going to hit that little dropdown menu. This one's a little different, you don't have to actually load the colors, you just go New Color Swatch, and then from here you can change that, but we can loosely [inaudible] process. Then we'll scroll down here to Solid Coated, and that is basically the same way you would just type in 289. It shows you some of the similar ones, but we'll click that, we'll click Okay. Then much like the last one, it'll actually add into the Swatches panel over here, and now you've got that artwork to change. Pretty straightforward, that's Pantone uses. That's definitely going to be the best way to do it for printing, but CMYK is okay as well. At least that shows you the basics of that. We're going to go on to the next video, I'm going to show you some more different things to set up in different specialties. Definitely something to keep in mind anyways, is you can head over a jukeboxprint.com, take a look at all the different ideas that they have and all the different things, especially on their Instagram, they have some great different things to look at. But just keep in mind that the crazier you'd go, you might see their 3D printer cards. You might see some of their crazy cards, they are like little mini skateboard and stuff that is going to get pretty expensive. If you're just looking to start out and have a unique business card, doing little things like I am spot or foil, or maybe just rounding the corners, or just trying to get the design to look unique and colorful or just different from someone else. 8. Using Die Lines: Now I'm going to get into making a dieline. If you're not familiar what a dieline is, I've got some little samples here on my desktop that I've taken from Jukebox prints website, which I will of course, tell you a bit more about them later. But basically a die cut is going to cut a shape of your cards a little bit different than your standard rectangle. In this case, they've made tickets shaped. Sometimes I think these ones are actually made with a laser, but it's the same idea where you've got a special line, and they're coming across and cutting out that shape to that line. So that's what a die cut is. It's definitely a pretty neat way to make your card stand out, and look a little bit different. I'm going to show you real quickly how I would make a dieline. If I want this to look out lean or just be a little bit unique, I would take maybe this shape. Of course, this is just one way. There's lots of ways to do it. I'm just going to change the colors, so that's a little more obvious to me. I'm going to grab that, and I'm going to add it to my stroke. Then I'm going to go over here. Much like the rest of it, I want to make sure that I have at least a 0.125 inch stroke. That way, we know that if the card shifts at all, we're not going to run it in any problems. Let me go over here on my Stroke panel. Again, if any of these aren't open, you can go to window, and then you can have down stroke or whichever one you need. We're going to make sure that our art work is set to the outside which is because if it was set to say, the center, then your size is actually half of what you entered up here. We're going to set that to the outside. To get rid of these crazy little lines, we're just going to put down this limit to five, that should get rid of that. There's a few down here, but we're going to need those. That's pretty good. Now what I do is I go to Object, Expand Appearance. Again, you can go in here to make sure it's open, but you want to go to Pathfinder, and I'm going to go over to the Unite. So that makes it one big shape. Now I'm just going to hit on my keyboard, which is the rectangle tool over here. I'm going to make sure that my smart guide's on, so the things snap nicely. Smart guides are just command or Control U. So that's a neat shape. I would just grab both of these together now, and I go back to my Unite button, and there we go. This is going to be my dieline. Actually what we should do, just for the sake of it is I'm going to make this dieline just a little bit bigger. It goes right to my trim line. It doesn't matter too much, but it's just given it a little extra margin. There we go. Now that we have a dieline designed. Again, you can also do this with a pen tool. If you came along, you could draw. I go in and out, and draw your shape that way. Then when it's connected, you just make sure you hit where you started, and that's how you can make one. You can do that in Photoshop, InDesign, or Illustrator. But sometimes these are shapes is little quicker, a little easier. Now what we want to do is we want to make sure the printer knows that this is our dieline. The easiest way to do that is we're going to make it a bright color. Usually I like to use like a pink or a red. Red is a consistent known as a dieline. But it also needs to be whatever it is. It needs to be a color that stands out really strongly from your artwork. Make sure you don't have that color in your art or might become confusing for the printer. We're going to put that to about a 0.5. That's pretty good. You could probably leave it at that as long as you let your printer know, you'd be okay. But we're going to take it the extra couple steps just to make sure that we don't have any problems. What I'm going to do is I'm going to select it. I'm going to hit "Command X" or "Control X" on a PC. That is just cutting it which is also copying it. I'm going to have another layer. Again, it will Command F in the Illustrator, and that paste it exactly where it was. Now we're going to name this layer dieline. So that way, the printer knows. That's your dieline there. Again, we're just going to make it another step farther just to really drive home the fact that this is not part of our work for the printer. We're going to go to our Swatches, were going to make it a new swatch. We're going to make it a spot color. I'm okay with the pink, and we're just going to actually call it dieline. Click "Okay", and that should be more than enough for your printer to understand that that is the dieline. The odd printer, especially my printer anyway, will want that actually has a separate files. The easiest thing to do is save this now. Then you could lock this layer, delete the other layer, and then resave it now, and just call it the dieline so that you have a dieline separate from your art work. Just make sure your original artwork, it's turned off. That's pretty straightforward, and that's how you make a dieline in Illustrator. I'm actually just going to copy this to save myself a little bit of time, but I'm going to show you how to do it in Photoshop. I have the same artwork here. I cheated a little bit because I made it an Illustrator originally, so I just pasted it here. But you might have a bunch of layers, that's okay. Now I'm going to paste my cut line. Again, you can make this cut line yourself just using the pen tool. If you do, select it to make a path with your pattern. Otherwise, you could draw it using say, the marquee tool, and you can start drawing in these shapes, and things like that. You want to make sure Fixed Size is back off, so you could draw it in here. Then use your pen tool and combine them, and stuff like that. The only issue here is I need to first make this a raster layer, which I'll explain. Because if I command click this right now, which is control-click, of course, on a PC, you can see because of the stroke, Photoshop sees it as two separate lines, one on either side of the stroke. I don't want two cut lines, I just want one. The easiest way to do this now is I'm just going to deselect, so Command D. I'm going to go over here, and I'm going to click my Wand Tool. I'm going to select in the center of that. You can zoom in here real tight, and you can see that you'll get this light line if I were to fill it right now. Then I take it a step further. You got to select "Modify", "Expand". One pixel should be enough. Then I'm going to hit "Alt Delete" or option Delete on a Mac. That's going to fill it with my foreground color which is pink, and we're almost there. Now we just need to select that again, by command clicking on it. Let me easily call this dieline, and then we can actually hide it. Then we're going to head over to our paths. We're going to click this little button here which is going to make a path based on that selection. We're going to call that the dieline by double-clicking on it and typing dieline, and there you go. Now you can save it as a PSD file, and make sure you printer knows that there's a dieline in there. They should be able to use that for you. The last one, and we're going to go over in InDesign. Again, I'm just going to paste it. Let's pretend this is just some random color as if I just made it, and we basically just repeat the same process we did in Illustrator. We're going to go to New Color Swatch, and we're going to make sure it's something that stands out like a pink. You can tell its the spot color. We'll call that our dieline. Click "Okay", and there you go. Now we could just go that extra step and go Command X. Make a new layer, Command V because Command F doesn't work in here, and it looks for someone else. Double-click it. You can tell that it's the dieline, and make sure your printer knows that. It's really important that your printer knows that you have a dieline in here. If you just assume they're going to know that, you could easily end up with our work printed that has a pink line. You want to make sure that they don't do that for you. But it's pretty straight forward, and that is exactly how you make a dieline. Now we're just going to go on, and we're going to show you the next part of the class. See you in a second. 9. Using Foils or Spot Varnishes: I had this artwork open before to show you my Pantone example, but this card actually also had a foil. I get to show you how to make a foil using that. Then I'm also going to show you about spot varnishes and embossing. The cool thing is that most of them are basically the exact same setup as the dieline. It's pretty straightforward. I'm actually not even going to show you this in InDesign or Photoshop because you're just going to repeat the methods that we already showed you. But this will give you the idea. If you're not familiar with those, I'm just going to go over to my friends here. That is jukeboxprint.com. Right here, I have their Instagram open and I have some examples already saved on the side, but you could go to Products. If you want to see a foil, just head down to Foil and they've got some examples here. Then the same thing for spot, you can go over there. They've got examples, embossing, so on and so forth. They've also had some really great examples of what they're doing on their Instagram, which is where I grab most of these images from just to show you. But they've got some crazy specialty stuff like 3D printing and just definitely things that are really going to make a card stand out for you. I'm just going to go ahead and minimize that. I'm going to go over here. This is a foil. If you're not familiar with a foil, basically what it means is that, instead of just printing a gold looking color or something like that on top of a card, it's actually going to print essentially a mirror foil ink. It's going to give you this look. I guess ink is probably not the right word to use for it, but nonetheless. It's going to give you this mirrored look and you can see that this one is actually gold on black. That's unique looking thing. If we go down to embossing, you can see that this flower has been punched into the card. That's what an emboss is. This can be considered a dieline. They actually laser cut these, but nonetheless, that's a dieline example. This is a really good example of a spot varnish. If you look on the background of this card over here, you'll actually see this pattern, but that is only a spot minor, so there's no other ink here. It's actually just a plain black background for a card. Then using a shiny just coded varnish, they've put this pattern on top of it, which allows it to really stand out. If you were to feel the card, it would have a bit of a texture to it where those shapes are. It'll only pop out in certain light. That's like a little hidden go sit [inaudible] effect. All these little specialty prints are pretty unique. They look really different and cool. I'm going to show you roughly how to set them up. Again, it's really similar to the dieline, so I'm not going to spend a whole lot of time on this, but I will show you. Go to Illustrator and you saw this design before as I mentioned. This wasn't really ready to print. This was just to show the example with the rounded corners. I'm going to go ahead and delete that line. I just have to ungroup that first, delete that, and group this. I'm going to drag it up above. I'm going to grab my Rectangle Tool, which is just m. Draw it here. It's got that same Pantone already. You can delete that. Now that's basically already set up for print other than the foil. We're going to go over here and we're going to group this little part. I'm just using quick keys like Command G, that groups. Command Shift G, ungroups. Just little things you can all find all these things in here. There's unselected because I don't have anything on right now. But what you want to do is, if you have a client that wants to see what a foil looks like, you can either get a foil online and then put a mask on top of it. If you want to learn how to use masks, check out my texture class. But another thing we can do is just add a simple gradient. If we assume that this is actually just a plain color. I'll just click, let's say it was gray. You could show it as a gray if they wanted a silver foil, but you can see it's plain and it doesn't give them a good idea of what it looks like. We'll select that. We're going to go to our gradient. Then we're going to click in here. Now, your generic one is going to look like that, which could work, but it's not that interesting looking. We'll go over to the swatches. We're going to hit that little drop down menu, Open Swatch Library. Then we're going to find our way to gradients. From there, for the foils anyway, there's a few different ones you can use, but I like metals. If it was a gold foil, you could select a gold one. You can see it's given out a look there. Or you can go with a silver one. You can pick whichever one you like. Then if you hit G on your keyboard or go over here to the Gradient Tool, you can also move it up and down and really make sure that you get that shine you want. That's just mimicking what a foil is going to look like in real life. But once you've got this ready to set up for print, you're just going to change this color exactly like we did before. We would go over here. I'm sorry, over here, we're going to add a new swatch. We're going to call this our foil. Once I hit a bunch of different random things on my keyboard and make sure it's a spot color. Make sure that the color is something unique standing like that. We're going to go Command X. Add a new layer. Command F to paste it in place. We're going to call that our foil as well. There you go. You can send this to your printer right now. Just let them know that the foil is in there and that's how you want to print it. The exact same thing will happen if you wanted to emboss your card. Just remember that if you're embossing a double-sided card, that it's actually going to be pushed through on one side and then popping out on the other side. If you look at that example of the flower, it's pushed out on this side, but on the other side it's going to look like it's indented where all those shapes are. Make sure that your artwork is going to work well in that space. Now the foil is a tiny bit different. I'm going to show you how to do the foil. Basically, the only difference is that you're going to leave your original artwork where it is and then just add another little piece on top. Let's just say that we wanted the word Port Sandfield to be a foil. We could actually make it a blue, and basically, if we wanted to pretend it was going to be a really subtle foil that when it hits the light, it's going to roughly shine, just like we saw in the background of this. If you're doing that, then the process is going to be the exact same. But there's going to be instances where you want your artwork to be the color it is. In this case, white and then have a foil on top of it. The only difference is we're going to copy this by going Command C, paste it on the top. Well actually, we'll make a new layer, paste on top with Command F. Same exact thing, change the color, go swatch it. You guys have no idea how to do this now. I can call this our varnish. I got a bit ahead of myself. I forgot to tell you of this spot. Varnish, you can leave it red, you can make it spot or you can make it magenta or something. We're going to escape that. Put it on that layer, call it our varnish. There you go. Now, not only are we going to have the varnish where the pink is, but we're still going to have this white artwork underneath. That's the basic setup. The same context will work for InDesign and work for Photoshop, basically exactly like I showed in the last video for dielines. So I'm not going to bore you with the same details over again. Now we're going to get into the design tips and a little bit about transparency issues and how to avoid those. We'll see you in a second. 10. Font Sizes, Transparency Issues and Other Tips: So now we're going to talk about sign tips, and we're also going to talk about something that's really important and that is a transparency issue. So I think what I'm going to do is I'm going to get right into that transparency issue so you understand it, and hopefully that can be avoided when you're printing your files. So I'm just going to turn off these guides here real quick just to give me the idea. So what happens with transparency issues is a lot of times if you're using raster effects, so that's these effects here or any of these effects. Basically, you're adding a raster effect instead of a vector one. Drop shadows are really bad for adder glows or any of these things. But obviously drop shadows are fun to use and they give things a lot of depth. So this is an old business card I made back in 2011. You can see it's got some shadows here. This is for my day job, but I didn't mean to hit that. So I'm going to show you a little example here. It's really difficult to mimic onscreen, which is why it's such a common issue. Certain printers will be able to avoid this for you with their pre-production software, but it's always best if you can just do it yourself just to make sure that you're avoiding those problems. So I'm just going to turn off the stroke. I'm going to add a little shadow to this one. I'm not too concerned about how the shadow looks or anything. So you can see that it looks like obviously, it looks like it's got a nice bland and all that stuff and that's what you're expecting it to print. Well, unfortunately, I'm just going to click this over here. Unfortunately what will often happen? Again, this is a bit of a harsh example, but I've expanded the appearance so it actually separates the shadow from the artwork. So if you can see here, the shadow actually has this bounding box and all of this area is transparencies. So it's fading with a transparent background. So a lot of the times what will happen now is if you actually were to go and print this, I'm just going to draw a box. Again, this is just a crude example, but it is very similar to what will happen. What will end up going on is you'll get this effect when you go to press print or when you take it to the printer, you're going to get what's called a transparency effect. What happens is just that. So because you have a brass or effect, which is what the shadow is on top of a vector element, sometimes what happens is, the software is trying to figure out what this color looks like with the transparency of raster over top of it. Sometimes it'll determine that color is actually different than what the vector color is, and you'll get back how to box. So obviously, that's not what you want it to look like when you press print, you want it to look like this. So there's a couple ways of avoiding this problem. What you can do is say you had some text on top of here. Put text. Sometimes when you rasterize it now you're lowering the quality of certain things, whereas when it's vector it's going to be the highest quality. So probably the most ideal way is to do what I did where you go to "Object, Expand Appearance." Now you take that, you can just ungroup those and you take that raster and you just rasterize it with the background. So if I rasterize that whole thing at 300 now that problem will not happen. It'll actually be all one nice smooth. You won't get this weird box, or sometimes you just want to save everything and just to be sure you just grab the entire thing, rasterize it. You can do 300 or you can go to other and do 600 or 900, or something higher like that. But you can see already that the quality gets lowered a little bit. It won't be too noticeable when printing, but in a case like this, that's what I would do. I would actually probably grad, or I'd at least separate them. What you could do is just grab the whole thing. Rasterize, make sure it's 600 or 300, something high, and wait for it to do its magic. Then just save this as a PR file. So they're just usually at the end of what I'll do is I save a separate file and at the end of it it'll say _PR, and that means print ready. So that way I still have my file that's editable. Another thing you could do is just have your editable file over here, but that makes the file twice as big. If you're sending it to the printer, that's not ideal. That's exactly what I did with this file here. So you can see I've actually separated the background because I had shadows and things like that, but I left all the text on top, nice and clean in vector so they would print really clear. So a couple of little tips, that's the main one especially for transparency. Another thing you want to do is if you're used to designing for the web or you're just not used to print in general, you want to think of a few things. Again, these are just general rules to go by. Everyone's going to have a different opinion, but there's some good ideas in here, I think. So if you're used to using Microsoft Word, you'll know that when you start typing, it's usually 12 point. A lot of people, especially if you're not a designer, you're not used to that, you're just going to let things print at that size, but 12 point is actually really big. So most of the time what you want to do, especially with the business cards, is you want to keep most of your information to either nine point, and some of the small stuff can be even as low as six point. Smaller than that, you'll start to have some legibility issue, especially with an older audience. Then usually names and things are going to be a tiny bit bigger like 9, 10 point, something like that. Again, these are just basic rules, but you can see that most of the time, I've actually unwind those so go over different card. Most of the time I'll be somewhere in that range. So we got a eight point there, nine point again for the title and we've gotten a little bit bigger for the name. The website over here is nine point. A lot of the clients that will just depend on if they have older people reading them because 7, 6, smaller than that is going to be harder for an older person to read than a younger. You can see them using seven for the name. I've got something bigger, and that's basically across the board. Most of the time I'm using that somewhere between that six and nine, and then sometimes for the names I'll go like huge if I think that's going to look the best. That's a general tip. Another thing you can do is if you're trying to make your artwork look unique, you can use a lot of these effects like shadows and things like that if that's your style. Or just doing things like this, like where the artwork is actually on an angle, it's not your average card. When I said unique, I was thinking, not necessarily that you're going to have a crazy 3D printed card or something expensive and difficult to be able to afford, but just something that's got something to it. Either it's got a specialty print of some kind, like a spot furniture, a foil, or even its just designed slightly different with a different idea in mind. Those are the things you want to go for. If any of you have any other questions about what I think is some good general rules for designing business cards, definitely let me know in the discussion in the class because I'm sure there's a lot of things that I've just done for so long now that I forget to actually relay. That is the basic idea for tips, as least with font sizing and things like that. Another small tip I have, again, it's just a personal preference, but for sometimes for some reason, I sometimes find that a card gets a little bland if it's the same color on both sides. I'm not exactly sure why, but it you just flip it over you see the same color scheme again, and it's just seems boring. So something I like to do again, it'll depend on if the client will let you, but I like to have a light and a dark side. Obviously has to complement the card, but we've got the green here, so we made it easy to make a green background. Just definitely a lot of contrast. So you can see I do it in a lot of examples. We've got the darker side here and the lighter side here, and the same thing here and here. I just find it breaks it up and it doesn't have that same blending and boringness. Of course, it doesn't always work. I did it a bit here with the same blues, but that's generally what I like to do. Another thing you can do is if you've got a lot of vector artwork that you've created everything. If you want to just break it up a little bit, look a little more interesting, you can get a stock photo. A lot of the times they're not very expensive now, so you can get them an iStock photo on one of those stock photography sites. You might be looking at anywhere from $5-25, but most the time you can use that or work for all of your branding. Again, adding a picture will sometimes just spruce it up. So that's it for the tips for right now. As I said, if you guys have any questions or anything you want to know that you think maybe I had and that I haven't covered, let me know in the discussion and I will tell you more about it. So we're going to go on to the setup for print. Basically how do we actually output the files in each program? It's pretty easy, but it's a good step to make sure that your print will actually turn out how you want, and you won't have any problems with the printer, not have any fonts and things like that. I just want everything to go quickly, send it to the printer and they press "Print" and it looks beautiful. So I'll see you in a second. 11. Output using Package, PDF, and More: Now, we've reached the final step. We're just going to set up our files so that they can be sent to the printer, and we can avoid any printing problems. I'm going to show how to do that. This is my actual business card that I'm using right now, and what I did is I got it made by Jukebox Print, which is why I asked them to sponsor this class for the contest because I think that they are a really great print company and they do some really unique stuff. I didn't want to break the bank, but I wanted something a little bit different and unique. What I did is I got a two-ply business card and that is what I'm trying to make look like it mock-up here. Basically, it is wood on one side and it's an actual wood, it's not just a printed texture and then it's a cotton type of paper texture on the other side. It's nice and soft on one side, and then it's got that cool. You can actually feel some of the ridges of the wood on the other side. But this is just so that I can see what visually it was actually going to look like when it was done. What I would end up doing is I would delete both of these and I make a print ready file, which I've done here. The other thing I like to do is I will go and I will select it all. I'll go to Type and then I go to Create Outlines. That means that these are no longer fonts, so if the printer needs to open it, I don't have to worry about them having the font or not. Some will say that that actually lowers the quality of the font just a tiny bit, so there is another way to do it, which I will show you in just a second. But if you've got this nice and ready as a PDF and you're ready to print, you would just go to File, Save As. We're going to put it to our desktop, we'll click "Save". Now, I actually have some presets already determined. But if you don't, you'll have some that will actually just come with Illustrator as default. We'll start with Press Quality and then we'll go to Marks and Bleeds. We're going to click this to make sure you use Document Bleed Settings, and we're going to put trim marks. We don't need all these, it's pretty just a little overboard. Just make sure the offset matches the bleed that you have. You can look in here and some of these fancy stuff if you want to do that or if you want to add security, if you're worried about people using your artwork. But I wouldn't bother. Once you've got that all set up, I would suggest you make a preset. By doing that, you just click this little button over here and you could call it whatever you want. Let's say you called it "Press Quality With Bleed". Now what'll happen for me is when I go to do it, it won't actually let me in because I already have a preset called that. I have one that's "Press Quality With Bleed" and "With Bleed & Trim". Trim is the trim marks that I had, so I would just select that. Go to "Save PDF". I'm just going to wait a second for that to save, of course. Once it's done, it'll be on my desktop. I can preview that. You can see it's already got the trim marks so the printer knows exactly where to cut it. I don't have any of the fake wood rain or anything because they're going to be printing it on that. That's how you set it up one way with a PDF in Illustrator. Another thing you can do, which is newer with the newer versions is, let's just say, I'm going to unlock all my artwork here. The Blue Jays follow, walk off to the race. We should be happy. I'm a big Blue Jays fan. Okay, anyways. I will delete those and basically I'm back to where I was. Now you can see that these are actually fonts. What I would want to do, and now it's actually outlined already, so what I want to do is go to File and I'm going to go down to Package. Document must be saved before continuing. That's fine. I'll click "Save". Basically, what it's actually going to do is it's just going to compile all of this into a folder so I can tell it where to save it. I'm going to tell it the desktop, choose that. We're going to say copy links, click links in a separate folder, relink all that stuff. You may as well have it all checked on, that's fine. I click "Package". Restrictions apply because you're sending people fonts, that's not a big deal. You can click show it, do not show again next time. Click "OK". Now what we have here is a folder that we can send the printer. Basically, it gives them the fonts so we don't have to worry about them not having the fonts. It gives them that print ready PDF, much like what I just showed you, and it also gives them a little report on how to print it exactly right. That's going to avoid any issues, and you're not going to have the printer [inaudible] saying, "I don't have the images you used, I don't have the fonts you use. I can't edit this, I can't print this." That's sometimes some really important time that you're wasting. That's it for this version. We can do the exact same thing in InDesign. I'm actually just going to quickly just basically press "OK". Now, I'm going to set it up because all you would do is, and then once we do that, we're going to go down to Package and it is the exact same steps as before, so we can close that. In Photoshop what you're going to want to do is you're just going to want to make sure that if you have type, so I'm just going to type something here, test and pull it up a little so you can see it. Over here, you'll see that it's a font, so we want to make sure that we don't have this problem. We're going to right-click on that, we're going to Convert to Smart Object, similar to Create Outlines in Illustrator and now is actually just a shape. We can delete that because I don't want that in my actual artwork. But if that were the case and you have texts, just convert it all to smart objects. Now, there's a few ways that you can do this. Because you're in Photoshop and you're actually using a raster program anyway, as long as you don't have a Pantone or one of those things, one of those specialties I showed you earlier, you can actually just go to File, Save As, and then you can either make it a PDF, which is here, Photoshop PDF. You can maybe leave it as a Photoshop file if you want to send it or even just make it a TIF. We deselect layers and we'll just click "Save". I'm going to make sure we have no image compression. If you have a transparency or whatever, you can put that on, all these things are fine. We'll click "OK". That's going to give the printer a nice high-quality TIF that they can print and you just let them know that there is an eighth of an inch bleed embedded and they can print it from there. Otherwise, another thing you can do is go back to Photoshop, save that as a PDF. I'm just going to leave it as untitled. That's fine, we leave our layers much like the other one I'm going to put on my things. Don't worry about all those little signs for now. You can see Photoshop doesn't like to actually give you those trademarks, so you're just going to have to let your printer know that there is an eighth of an inch embedded. Then what you would do is let's just say real quickly, let's copy this here on Photoshop because I have a double-sided design. I'm going to save this as 2, that's a PDF again with layers, that's all fine. You can embed colors and stuff like that. But even though I have trimmed on it, it's just that it's saving the preset from Illustrator. I'm going to minimize all this stuff. This is actually what my card looks like by the way when it is actually fully printed. You can see what the wood texture and everything looks like. I made this little handy thing which I put on Illustrator. Another card I want to show you all is that it was this Port Sandfield Marina one, which you can see actually has the foil on it and the rounded corners. It's on a nice thick card. You can see that they look pretty neat when they have a different thing. Of course, if you want to feel free to follow me on Instagram, that's @Jon Brommet. Okay, so once we have both those PDFs, which we have here and here, probably what you're going to want to do is open Acrobat. You should have it if you have the Creative Cloud subscription. Otherwise, you can download it for free, I believe. You're going to actually send both files as both PDFs like a single-page PDF and say this is the front, this is the back to your printer. But as always, we like to try and keep things nice and simple for them. Go over to Tools here, and then we're going to go to Combine Files. Then I can grab those two files from my desktop or I can select them, try adding files up here and I drag them into that dialog box. I click "Combine Files". Now I have a PDF with both pages put together from Photoshop. I would just go File, Save As, you get the drill. That is it. That is how you set up for output for printer. That's three different ways to collect for output the TIF version or just say as PDF with the outlines for the text. Those things should avoid all problems. Of course, you want to try and avoid transparency issues like I mentioned before, so rasterize your artwork if you have those, and that should be all you need. We'll see you later. 12. Wrap Up: All right, so that's it. This is the wrap up. Hopefully, you guys learned something in the class that you can use going forward and you'll be able to set up your files and send into print, and probably save yourself some money, and time, and effort. If you want to, you can follow me on all social media. I'm most active on Instagram, @jonbrommet, and as I've mentioned before, definitely check out Jukebox Print, @jukeboxprint.com or @jukeboxprint on Instagram. Other than that, make sure you do not miss that contest. That's over under the discussion. Again, if you're watching this video too late and you're few months later, don't worry, we still have an awesome discount coupon that you can check out also in the discussion. Thanks very much and make sure you check out my newest class. I don't know what it is yet, but I'm sure it's coming soon. Thanks. Bye 13. Photoshop Multiple Artboards: Hello. Welcome back to a bonus video. Not very long after the class was published, I think it was the day after, Adobe mentioned that you can use multiple artboards in Photoshop. Naturally that's very useful. I believe the features only been added since we did Photoshop CC 2015, but I could be wrong. I'm a graphic designer, I don't really like researching or anything like that. Nonetheless if you have the program that allows you to do that, a newer version or whatever it is, I'm going to show you how to do it. We're going to go over to File, I'm going to click "New", and under Document Type, you can click "Artboard". Now the problem with this as I've mentioned before that Photoshop really favors doing things for the screen, and that means that you basically going to have phone devices, surface pro tablets, webs, icons, and things like that. None of these presets are really very useful. I'm going to go back to Custom. Now when I say they're not useful, they're extremely useful, but they're not useful for print. I'm going to change the pixels back to inches, and we're going to go back to our normal business card size that includes bleed as I've mentioned before. You probably have all these settings memorized now, I've shown you them so many times. But then we can click "Okay". We're going to zoom out a little bit here, and I'm going to Option, or Control click, or Alt click on the layer to unlock it. I'm going to show you, basically what I found to be the wrong way to do it, and then I'll show you an easier way. If you go over to this arrow, and you click and hold, you have your Artboard tool. Now you can click somewhere, and you could drag out your artboard, and then you can change the sizes here, and then you can make another one. You'll see that over here, you have the artboards. The problem with this is I found to go and use my New Guide Layout trick that I was showing you guys. Because of the way that this is set up, it's essentially just masks. They don't snap nicely to the artboard which is very inconvenient. Then you could draw out, you could zero out your rulers down here, and then slowly try and drag out your rulers, but it's just not that convenient. I'm going to show you an easier way to set this up. You just have to do it in a specific set of steps. Let me go back to File, New. I'm going to make that file again. I'm still going to unlock it. Now what I'm going to do is just to make it easier to see, I'm going to Option or Alt on a PC, Delete, which is going to fill my background layer with black. Just going to zoom out to make it a little easier to see. Now I'm going to add those guides exactly like I've shown you guys in the past. We can do the 0.25, and then we'll change it to 0.125. I copy and paste that. We've got our trim, and I've deleted everything there. Now I'll go to the tool, and I'll add artboard. Make sure when you go to View, and you go to Snap To, you make sure your Document Bounds are checked. Now we can basically just click and drag, and our artboard will match what it was originally. Basically you can override your artboard size right now when you use that tool. Now what we want to do, you can see that you have it lined up perfectly, and you've got all your marks already set up. If we click "Command J" or "Control J" on a PC, or duplicating that artboard. I want to make sure that we have our Move Tool selected, and we can click. While I hold Shift, you can drag over, and now your art border is over here, your second artboard. Now what we want to do is draw a rectangle like I've shown you guys in the past. I'm going to go over here to the rectangle tool. I'm going to draw it in. I'm going to make sure that this is an inches. I'm going to tell it 3.5 by 2. The problem is to try and get this to center to this. You can't just easily do it by Canvas because this is basically like I said just masks. The easiest way to do it is because I've got that layer there. I'm going to Command click on the layer, the black layer, which is Control click on a PC, which selects the whole layer. Now because I'm on my rectangle tool to a layer, I can go up to the arrow tool, and I can just use these to center it. You'll see that it's centering into the selection. I'm going to command or Control D to deselect. Now I'm going to drag over my rulers which should snap to the edge of the rectangle. All of this is what I've shown you in the past, but it's still helpful to see it. If we go back over to our rectangle tool, and we're going to change this now to 3.25 by 1.75 just to make our little safety margin. We're going to repeat the process where we Command click on the back, then we're going to go to the arrow tool. We're going to center it again. You can deselect that and drag over our rulers. Now we don't need that rectangle tool anymore. We're going to delete that. This will be closed. You can, of course, delete this background now. You don't need that little black background now. That was just a quick set up. You have to have some layer, so it's not letting me delete the second one right away. We're going to go ahead and change this to Artboard 2, and then now I'm just going to show you one small flaw in it that you can easily override. I'm going to type in Test to make that bigger. Now what you want to make sure you do is you go to File, Save As, and make sure that you have a PSD version of this, so you can edit it later. I'll just click "Save". I'm not worried about the name or anything right now. I'll show you there's a bit of a problem. If you go to File, Save As again, and we want to save it as a PDF, you're going to assume that it's going to save it as a two-page PDF. As I mentioned to get not too worried about these settings right now. But as I mentioned, there's a bit of an issue with how this is set up. Even though these look like two artboards, they're not really two artboards like it would be in Illustrator, instead it's more of like just masked layers. I want it saved. I will just go over to my desktop where I saved it, and I'll preview it. You can see that it has both files, and then its got this weird extra space, and they're both on one page. It's not exactly how we wanted. I'm going to go ahead and delete that file. What we're going to do is we're going to go to File, and then down to Export, and then Artboards to PDF. I'm going to go ahead, and I'm going to choose my desktop. I'm just going to call this one. It's not important what I call it right now. Then as you can see, you can Export Selected Artboards Only. Maybe you have one artboad selected, and you don't want the other one. It has these slideshow options, but we're not going to worry about that for our purpose. We're going to ahead and click "Run". Then if we go over to our desktop, you will now see that we have a two-page PDF file. It is now work perfectly for us, and we are able to send that over to the printer, and they're going to be happy. Pretty straight forward. A little more steps involved than say doing this in Illustrator with two artboards. But it works, and it might save you some time later on down the road. What you could do is just save this file now as like a business card template file, and use the same thing over and over, so they don't have to keep doing the same set up every time you make a business card. It's a little bit redundant if you had to do that. There you go. I hope you enjoy this bonus video. I hope you really enjoyed the class and we'll see you later. 14. A Message From Future Jon: Wait, one more thing. I'm adding this, this is Future Jon Brommet talking to you, I hope you enjoyed the cost that you just watched. Some of these classes have been recorded a few years ago. I just wanted to give a little up-to-date on what I'm doing now. You can see that I've put out a ton of classes potentially from the class that you just watched as you may have been watching one of my older classes. If you go over to my profile, you can click it somewhere on the Skillshare website or go to skillshare.com/jonbrommet, spelled just like that with no h, just J-O-N, and you'll see here I've got things broken down in my newest classes. This may even look slightly different for you because I'm putting out classes once a month. Right now, I've got my most popular classes, illustration, efficiency in Illustrator, Photoshop stuff, and then all of my other classes, and make sure that if it's not already selected, you click See More to see the rest of it. So many different classes. I hope you guys will be inspired to learn lots more and hopefully you're enjoying my classes and want to see more, and if that's not enough, I'm @jonbrommet on Instagram so you can check it out my Instagram as well to know what I'm doing. I post all my new artwork there and of course let you know when I'm doing new Skillshare stuff. I've started a YouTube channel where I put short videos that are instructional, and I obviously advertise it with my Skillshare class, but short videos that I can't really put a whole-class out. I put here on YouTube. I even do things like have conversations with other teachers, like Tabitha Park, plan to do that kind of stuff more often. If you head over to jonbrommet.com, I've newly updated my website. I have a digital shop where you can grab my Procreate Brushes or other things like that. On top of seeing that my different portfolio elements and things like that, I've also got a Etsy Shop, which I'll click here and it would open this. You can buy all of my paints and different art things that I've created. I will ship them to you from me. I've gotten them all produced here in my home and they look awesome and I know that they're cool, and I just recently started a Threadless Shop, which you could click here, courses is about and Skillshare and Contact. Everything is linked from my website, and this new Threadless shop has all my merch that can be printed on demand on a really weirdly wild variety of things. I don't know, let's just click one of these things here. It's going to open a t-shirt, but let's just say, maybe instead of a t-shirt you wanted, I don't know, what? A duvet cover or shower curtains? Why would you want those things? I don't know. Anyway, I've got lots of different things going on. If you'd like what I'm doing and please check out more of that and I'll keep making more things. Thanks everyone. Bye-bye.