Transcripts
1. Welcome!: My name is a plchinich
and I've been a design geek for
over 20 years now. And I've been teaching for
nearly just as long with courses on everything from
photography to Photoshop, and in design to Illustrator. Earlier in my career, I was a full time wedding and
portrait photographer. And I used in
design regularly to create everything for my
business and my clients, things like interactive
pricing guides and marketing pieces to high
end wedding albums. In design is where
all the work created in Illustrator and
Photoshop come together. With text to layouts
for everything from newspapers and magazines
to textbooks and Epub. I like to think of it this way. If Illustrator and
Photoshop were members of a band in design, would be the stage they
come together to play on. It's like the mixing bowl, where you blend graphics
and images with type to create
something entirely new. In this beginning
in design course, I'll introduce you to the
fundamentals as we walk through the process of building a six
page layout step by step. Whether you've never touched
in design in your life, and you are totally new here, or you've dabbled
here and there, but you feel like you might
be missing a few things. This class has something
for everyone, of course. No course of mine would
be complete without going at least a little
above and beyond, right, So we'll also wade into some exciting stuff like
paragraph and character styles. How to thread and
unthread text frames. Set drop caps, work with
parent pages and troubleshoot. Some of the most common hiccups
that you might run into. Everything you need to follow along is included along with a principle guide of some of the most useful in design shortcuts. I'm so glad you're here. So what are we waiting for? Right, join me in the next video and let's get this party start.
2. Setting Up a New Document: When you launch in design
for the first time, you're going to get something
that looks like this. This is what Adobe
calls the home screen. Up here at the top, we have some presets we
could start working with. Down below we have
recent documents. From here we can create a new file or open
an existing file. Let's go ahead and
click New File. Here along the top we see various presets so that we're
all on the same page here. Let's click print. Depending where you
are in the world, you might see some
different presets here. I'm going to choose
the US letter, that is 8.5 by 11 " over here. That will show up for our width and our height with our
unit set to inches. But you can change this if you prefer to work in
something else, like millimeters, go for it. We can flip flop the
orientation here. But we're going to go
ahead and leave it set to the vertical or
portrait format. Below that, we have this
option here for facing pages. And we'll see what
that means later. But for right now,
let's uncheck that. We'll start with just one page, no primary text frame, one column down here, we have our margins. And they're currently set
by default to half an inch, but let's go ahead and
change this to 1 ". So I'm going to put my
cursor in any one of these four and I'm just going
to type the number one. And I'll hit Tab and you'll
see that they all updated. That's because we've got this
link right here enabled. If we wanted to
change, for example, just the bottom margin, then we'd want to unlink this. And then we could make
the bottom margin something like three. We'll go ahead and leave that
set to one and I'm going to keep that linked down below. We have this area for
the bleed and slug, and you might need to twirl it open by clicking the
little carrot icon here. We're not going to
worry about slugs. That's mostly a
print shop thing, but this is where it is
if you ever needed to. But up above we definitely
want to add a bleed. So what is a bleed? Well, in this case, our finish final pretend
printed document is going to measure 82 by 11 " but it's not going to be printed on paper
that's 82 by 11 ". Actually, if this were being printed at a commercial press, this would be printed on
something slightly larger and then it gets trimmed
down to this size. If we look here in some of these little template previews, and we see like this one, where the black color block is reaching to the
edge of the paper. Anytime you have a
design element or a photograph that you want to reach all the way
to the edge of the paper, you actually have to design it so that it goes a little
bit further than that. And that way, when the finished
document is trimmed down, that leaves a little
bit of wiggle room for whoever or whatever is
doing the trimming. So that's called the
bleed down here. We have right now
a bleed of zero, But a typical bleed here anyway
is an eighth of an inch. So depending on where you are in the world,
this may vary. I'm going to leave
the set to 0.125 ". And again, because
this icon is enabled, anytime we make a change
to any one of these, the others will update. So you can either
type right in here or I just click the little
up arrow button. All right, then we're
ready to click Create. So here we have our document. We can see the white page area. This area with the
magenta guideline. This is our margins. And this outer area
here that is red, this is our bleed. Now, none of these lines
are going to print, so we don't have to
worry about that. But if at this point you
realize you made a mistake, maybe you forgot the bleed or you need to
change the margins. You can make adjustments
after the fact. Anytime by coming up to the file menu and
choosing Document Set up. Basically you see the
same options here. We could change the pages, we could enable facing pages. Change the size, margins
bleed, et cetera. Up here at the top, you'll notice something called intent. Right now it's set to print. And that's because
the preset that we chose was a print preset. This tells in design that
we intend to print this. But we don't really have to
sweat whatever it says here. Because no matter
what our intent is, print or web or mobile, any document can be output for print or for screen or mobile. We'll see more how
that works when we get to exporting
for right now, I'm just going to leave
it set where it is. If I have made any changes here, I would then click Okay. Since I didn't change anything, I'll just cancel it
before moving on. We should definitely
save our document. We'll come up to the File
menu and choose Save As. Give it a name like
Doughnut Digest. Down here for format, we really only have
three choices. The one we want is the design, whatever year it is. And document template is basically just an
design document that anytime you open it, it opens as a new
untitled document, which prevents your
original template file from being overwritten. And this one here, an IDML file, is a legacy format for
older versions of design. So we'll go ahead and
stick with document. We want to make sure
that the previews will be saved with the
document and hit Save. That is how to create
a new document. In the next video, we'll
take a look at setting up our color swatches and
creating some basic shapes.
3. Working with Color: To take a peek at
our swatches panel, Let's choose window
color swatches. Your swatches panel
might look quite a bit different than mine,
and that's okay. I have a lot of extra swatches built in here and
I can get rid of them by just clicking and shift clicking
and hitting Delete. And we can change how we
display our swatches. If we come up to the burger menu for the swatches panel
and click right here, we can choose to display a large or small list as well as a large or
small thumbnail. Right now, I'm going to
leave it where it is because I want to
point out something. You'll notice here that we
have a Swatch called nun. We have something
called registration. We have something called paper, and we have black. It might look like registration in black
are the same thing, but they are very much not. Registration is a
printer related thing. You pretty much don't
want to be using this. When you are in thumbnail view, the registration appears like this and it doesn't look
like a black swatch. That's helpful in
preventing you from accidentally using this because you definitely don't
want to do that. But if you are in list mode, just make sure that you're not clicking on registration when
you mean to click black. One of the things that can
be helpful is if you take this registration swatch and just drag it down to
the bottom and drop it, maybe you're less likely to grab it by mistake, that
might be helpful. So this swatch right here that
is white, is called paper. That's because typically you're probably printing
on white paper. But just know that this
Swatch is not white ink. By choosing the Swatch, you are telling in
design that you want the existing natural color of
the paper to show through. So if you were printing on purple paper and you selected something and
filled it with this color, that would allow
the existing color of the paper to show through. So just something
to keep in mind. So what if we want to add
some new colors to this? One way to do that is to come
back up to the burger menu, choose new color swatch. If you are working
with spot colors, you can designate that here. But most of the time, you'll probably be working
with process colors down here. You can choose whether
you want your color in CMYK mode or any number
of other things, or RGB. Generally speaking, CMYK is referring to ink
on paper, right? Cyan, magenta, yellow and key, which means black ink. Anytime you're using
a four color press, generally you'd want
to be working in CMYK. Rgb is typically reserved for viewing designs and
colors on a screen. But like I mentioned
earlier in design can easily convert these
things back and forth. So even though our
other colors in this document are
currently CMYK colors, we can go ahead and add
RGB to the same document. In fact, let's do that. We're going to add some
custom watches right now with RGB mode selected. Let's dial in a color of brown, which is a red value of 64. And we'll hit Tab, and move down to the
green value of 31. Tab again, and enter
a value of 24. And then hit Tab. We see we
get this nice brown color. We'll go ahead and click Add. You can see that that swatch shows up now in our
Swatches panel, because this check
here is selected, that says name with color value. That's what the name
of the Swatch is. If we uncheck that, we could
have just called this Brown. We'll change that maybe in a minute for the next
one we're going to add. Let's come down here and
type in a value of 243, tab 59 tab, and 140 tab. And that gives us this pink
color. Let's name it pink. I'm unchecking name with
color value and we'll type pink and click Add. Thirdly, let's add a blue color, red value of 33, Green value of 94, blue value of 158. We'll call this
blue and click Add. We have brown, pink, blue. The other color that
we're going to use is This yellow, If you don't
already see this yellow swatch, you can create it by coming here and choosing CMYK for the color. And setting the
cyan value to zero, the magenta value to zero, the yellow value to 100, and black to zero. And then click Add, because I already
have that color. And I'm done adding
these three here. I'll go ahead and click Cancel. Now if I want to change this one that I
didn't name brown, I can just double click on it. That will pop it open and I can uncheck name with
color value and call it. And then click Okay. All right, now that we
have our color set up, let's take a look
at how we create with them for the
cover of our piece. Here we're going to be
putting a giant rectangle, Fill on the cover. To do that, we can grab
the rectangle tool. The keyboard shortcut
is M for marquee. With the rectangle tool active, we can just click and drag
and draw out a shape. It really doesn't
matter how it looks. My rectangle is automatically filled with brown
because two things. One, my brown swatch was
active when I drew the shape. Two, if I look up here
in my swatches panel, I can see that my
fill color is active while my outline or stroke
color is in the background. That means that as I click
on different swatches here, I'm going to be changing the fill color and not the
outline or stroke color. If I want to affect
the stroke color, then I need to make it active. And you do that by
clicking on it. Now we see that this little
icon is in the front. Which means if I give it, let's say a bright can
stroke and we zoom in, you can that the rectangle now has a bright pink fill
and a blue stroke. Whichever little icon
here is on the top. That's the one that you'll be affecting when you click
on different colors. For now, we want
our shape to have a brown fill and no stroke. With the stroke active here, I'm going to choose none. Then I'll click to select the
fill and set it to brown. Once we've drawn our shape, if we want to adjust it, then we're going to come up here and select this tool here. This top tool is
the selection tool. The keyboard shortcut
is the letter V. It's kind of like
Photoshops move tool, so I think that's where
the V comes from. Either press V or just click right here
to grab this tool. And now we see that our box has these little
nodes around it. And we can click and drag on those nodes to change
the size or shape. Can make it taller or thinner. And we can move it up
and down for right now. Make yours about this size. We can adjust the
positioning later, but something about this size. And the key here is that
you want to make sure that it stretches all the
way across the document, not from the edge of the paper, but from the left bleed. All the way across
past the right edge of the paper and all the
way to the right bleed. That is looking great. Let's save our work. Since we've already
saved the document, we don't have to
create a new document. We can just update the
existing one by pressing command or control S to save it. In the next video,
we'll take a look at how to get around
in the workspace.
4. Getting Around: Knowing how to get around in design or any application is so helpful so that you can work easily and not
feel clumsy, right? So let's talk about
that a little bit. First of all, like
any other Adobe app, we can totally adjust
our workspace, right? We've got our tools on the left. We have our open document in
a tab up here along the top. And we have our panels
over here on the right. While I'm thinking about it, if you're on a Mac and you are seeing bits of your desktop
through the application, you can come up to window and
choose application frame. So you want to make sure
there's a check there. It's a funny Mac thing. But I find it really helpful to not be so distracted
when I'm working. All right, as far as the
rest of the workspace, if we come up to
window workspace, you can see that there are
some default settings. And when you first
work with in design, it's going to open up with
the essentials workspace. So I'll go ahead and
leave this here. But just know that as you work, you might find different
workspaces helpful. And when you find an arrangement for all your panels
that you really like, you can always create
a new workspace that is totally custom for you. But right now, I'll go ahead
and stick with essentials so that we're more
on the same page. The tools are over here and
you may notice that some of them have this
little white triangle in the bottom right corner. And that means that if you
click and hold on that tool, that means there are other tools that are nested with that tool. So I like to think of
these as tool families. So we can see the rectangle
frame tool also is nested with the
ellipse frame tool and the polygon frame tool. If we wanted to switch to
the ellipse frame tool, I would just click and hold
on the Rectangle frame tool and then release my mouse
on the tool that I want. They're nested
together like that, and they all have different
keyboard shortcuts, which are shown here. The keyboard shortcut for
the ellipse tool is L, the rectangle tool is M, and the polygon tool doesn't
have a keyboard shortcut. But if you find yourself
using it all the time, you can create your own by choosing Edit
keyboard shortcuts. Some people like to
work in different ways. In design has a properties panel which is probably
on your screen. If not, all the panels can be found under
the window menu. Here you can see properties. And the idea for the properties panel is that whatever you're doing here in design tries to show you related things that you might need in the
properties panel. So a lot of people
like to work that way. Of course, I come from a time before this
was really a thing. And I've always
done everything up here in what's called
the control panel, which you can see is not even
on the screen right now. So I'm going to open my control
panel by choosing window and control because this
is how I like to work, but it's a little redundant. If you like the
properties panel, you will find a lot of what's
in the control panel here, in the properties panel, although never quite enough. And that's why I don't use it. So I'm going to keep
my control panel open. Like the properties panel. The control panel is dynamic. So what you see displayed
up here is going to change depending on what tool you have selected
and if you have any objects and what kind of objects are selected
in your document. Other really important things to know are how to zoom in and out. Zooming in is Commander
Control plus, you can do that repeatedly. Plus, plus, plus, plus, plus, and zooming out as
you might expect. Commander control minus,
minus, minus, minus. To fit the document or
page on the screen, you're going to press
Command or Control. And the number, not the
letter but the number zero. Of course, knowing how to
undo stuff is super key. That is command or control. And the letter for Z, if you need to scroll around
within your document, you might be able to
use your Trackpad and move your document around. Like on my Mac book, I just use two fingers and I can
drag it all around. You can also come over here
and use the scroll bars. That is a massive pain, right? The way to scroll and pan around is either to use
two fingers on your Trek pad. Or if you press and
hold the Spacebar, your cursor will turn
into this little hand. And then as long as you're
holding the Spacebar down, you can just click and
drag your document around. Finally, if you want to preview your document
without all of these non printing lines and highlighted objects
and stuff like that, you can press the W key for
what I call wonderful mode. Now I can still see that
this object is selected. Even in wonderful mode,
whatever you're selected, you can see the outline of
To deselect everything, I can either switch to my move tool selection tool
with the keyboard shortcut V for or the very
important selection tool and I can click away
to deselect that. Or if let's say I still have my polygonal shape tool selected here and I
want to deselect, I can press command
or control shift A and that will
deselect everything. And that's really handy
as you'll see later. Sometimes if you
accidentally have something selected while you're trying to do something else, it can cause a little
bit of a headache. So that's a good
keyboard shortcut to know command or control shift A. Now we can see
what this document would look like printed
and you'll notice that the bleed part goes
away in wonderful mode. To get out of wonderful mode, you just press W again and then you can see
how it would print. So hopefully that
helps you feel a little bit more at
home in the workspace. In the next video, we're
going to jump right in by adding an image to our cover.
5. Working with Images: In the last video,
you got to look at the workspace and how things
work and how to get around. And in this video,
we're going to go ahead and jump in with placing our first
image on our cover. Let's come up here to the
File menu and choose place. You'll notice the keyboard
shortcut is Command or control D. Navigate to wherever you've got
your course files and the one you're
looking for is number 11. Then here down below, we can uncheck Show
Import Options and go ahead and click Open. You can see that we now have a loaded cursor and design very kindly shows us a thumbnail of the image that is
loaded to our cursor. So it's waiting for us to now draw the frame that we
want to put the image in. Because we want this image
to be a full cover image, we need to actually place the frame all the way
in the top left bleed. So I'm going to click
there and I'm going to drag down to the
bottom right and you'll see that I'm not able to get it exactly the
right size, right? Like if I stop here
at the bottom, the frame is not reaching
all the way to the right. And if I go to the right, it's stretching past the bottom. That's because the frame
right now, by default, is going to be proportional
to the actual image. If we want to adjust the frame so that it's not
proportional with the image, we can hold down the
shift key while we drag. And now you see I
can actually adjust the frame so that it's
exactly from bleed to bleed. And this is only
adjusting the frame, it is not distorting the image. When I'm happy with the
placement of the frame, I can let go of my
mouse and my keyboard. And here we see the image
is now in the frame. I'm going to scoot
out a little bit so we can have a better look
at what we're doing. So I'll press command
er control minus, just so I can really
show you here. When you work with
images in design, there's a difference between the image frame and the image itself that
is within the frame. Just like in the real world, if you take a photograph
and you put it in a frame, you've got the frame and
you've got the photograph. In design, we have
that same thing to see a little bit better. What I'm talking about, I'm going to turn on
my content grabber, which here you can see
I've turned it off, and I'll show you how
and why in a minute. But I'm going to
turn that back on and grab my selection tool. And you'll notice now that
if I hover over the image, this circles popping up and yours is here
probably by default, unless you've already
turned it off, because End Design thinks everybody wants the
content grabber. What that means is
if I click just on the image with my
selection tool, I get the blue frame and
I can adjust the frame. If my auto fit is enabled, which it is by default, then no matter what size or
orientation I make the frame, the image will adjust within
the frame proportionally. That can be cool. Maybe I want a long, skinny frame like this where
I can only see one doughnut. Or if I stretch it taller now I can see all
three doughnuts. Okay. In that case, we're adjusting the frame in design is auto adjusting
the image within the frame. That was with the
selection tool, just clicking on
the frame itself. But if I click away
to deselect it, and I hover over the center, now I get this
content grammar here. And if I click on that,
something different happens. Instead of the blue edge
on the frame itself, we get this rust colored edge around the image
within the frame. With this rust color object
selected, I can now click. In order to
proportionally scale it. I do need to hold shift. Now I could enlarge the
image within the frame. Now we can see that
the image is massive, even though the
frame is smaller. And I can then move the image
around within the frame. Maybe I want something like that or maybe I don't want to
see the top doughnut. Maybe I just want them
over here. Okay, that. That's how the content
grabber works. But personally, I find it messy. And I end up
accidentally selecting the image and not the frame when I really intended
to select the frame. I'm going to show
you a better way. I think what is a better way? I'm going to click away
to just get out of there and I don't want to
see this content grabber. I'm going to go to view extras and I'll choose
Hyde Content Grabber. Now how do we get that content? If we can't use the
grabber, there's two ways. One with the regular
selection tool. If we double click, we now have the content within the frame. Okay, You have to hold shift
to scale it proportionally. Otherwise you're
going to get yucky, stretched out doughnuts hold shift to scale proportionally. And we can just go
on with our life. If we hit escape, we're back
to selecting the frame. Okay, so that's one way. Double clicking with the selection tool
gives you the content. Pressing Escape goes back
to give you the frame. The other way is instead
of the selection tool, you can press a for the
direct selection tool. If I press A, and
now I click on this, I get the contents. And I can do all the same stuff. I can resize it, I
can move it around. I can again hit Escape to
get the frame selected. Of course the problem is if I'm using this tool
and I click again, I'm just re selecting
the content. If you're not using
the content grabber, you can use the
selection tool to select the frame or to double
click to get the contents. Or you can use the
selection tool for the frame and the direct
selection tool for the content. As things stand now I have
the autofit option enabled. Which means if I decide I just want a little
narrow frame here, it's going to adjust
the frame and it will auto fit or auto
adjust the image within it. If I don't want that, I can click to
turn off auto fit, and then I can just
drag the frame like this and the image
will stay as it was. In that case, I'm
using the frame to basically crop the image. In order to make
it work like that, I have to turn off auto fit. It takes some getting used to. Admittedly, it can be a little bit frustrating when
you're new to this, but I definitely
recommend turning off the content grabber and using the selection tool to select the frame or maybe to double click and
get the contents. I think that's going to be
the easiest way to operate. And then just keep an
eye on auto fit and whether you want it on or not. If your image in your frame is looking funky and very pixel, then your preview might just
not be set to high quality. And you can adjust
that by coming to the view menu and choosing display performance and
making sure that you are working with a
high quality display. All right, a couple
more things here. Is that this image needs to be behind that
brown triangle, right? Excuse me, rectangle. We need this brown rectangle on top. So what is happening? Well, because we drew
the rectangle first, it is behind, right? As we add new things to
our layout in design, puts them on top of
the other things. So if we want to
arrange things so that this image is
behind that rectangle, we can do it a couple of ways, three ways that I can think
of off the top of my head. We can go to object arrange with the image selected,
right, Object, arrange, And then send to back that will move the
doughnut image all the way to the back, putting it behind
the brown rectangle. Or you'll also notice there's a keyboard shortcut
there to bring something all the way to the back shift command
or control left bracket or another thing you can do if you just can't keep all those
shortcuts in your head. You can select the image, right click or control. Click and choose arrange, send to back, there we go. Now when I look at this, I
like where this rectangle is, but I want to see the little bit of the hole in this doughnut. I'm going to double click
on the doughnut picture and scoot it up. Just a little like that. Or maybe shift drag inwards. So we can see a little bit more of the doughnut
here at the top. Maybe we scoot this
whole thing over. These are the tough decisions. All right? I like that.
I think that looks good. The last thing we're
going to do right now to our cover is to
add a little logo. The file is in the form
of an illustrator file. We'll choose file place,
just like before. Find the option called
Doughnut Digest. You'll see then, because this is an Illustrator file
and we want to make sure that we get
transparency with it. We want to check out the
special import options for Illustrator files. So we'll click to enable show import options and
then click open. And here it's going
to be like, okay, how would you like your
Illustrator file placed? And we want to choose with
a transparent background, otherwise we're just going
to get this white box. So make sure we
check transparent background and click okay. Now it looks like a white box, but you'll see when we
click and drag and let go, we actually get the logo with
a transparent background. Now I want to show
you a trick about working with Illustrator Files, so this looks great. But let's say that we decide we want to
put it somewhere else, like up here and then maybe
we don't want it white. You'll notice that no
matter what I change here, I'm just changing the
fill color in the frame. Right. I'm not able to actually recolor the artwork itself. So I'll set that back
to none. That's fine. We're going to use it like this. But just to show you
a cool little trick, if you have
illustrator installed, you don't have to follow along, but just know that
this is possible. If I go to bridge and I open
the Illustrator file in, Illustrator could see
that it's right here. Instead of placing
it like we just did. Instead I'm going to copy
it by pressing Commander Control C. And then I'll
go back over to design. We'll get rid of this one. I'll press Commander
control V to paste it. Now it's exactly the same, it's the vector file, but let me scale it down here. I'm shift dragging from
the corner to scale it. But let's say now we wanted to change this to a different
color, like yellow. Now I can actually
change the color of the vector artwork from
Illustrator in design, because I copied and
pasted from illustrator. Right. Again, not necessary. The file I created is white. You can just place
it like we did. But for future reference, this is a really had
a handy little thing. Tuck that in your back pocket
to remember for later. And meet me in the next
video where we'll take a peek at the basics
of working with type.
6. Working with Text: In the last video, we learned
how to work with images. And now we're going
to take a peek at the basics of working with type. So what we're going to do is add a little tag line here under
our logo in your toolbar. You want to grab the type tool? Of course, the easiest
way to do that is by pressing for type tool. Before we create anything here, let's just style our font. We know what we're working with up here in
the control panel. I'm going to use a simple
sansa font of Montsot. You could use aerial,
you could use Helvetica. It's not terribly important, but let's just grab a
simple sanserap type face. And I'm going to go
with Montsot Light. I'll set the size to 12 points. Now we can draw our text
frame with that type tool. Just come over and drag and don't worry
about how big it is, et cetera, Just
something like this. And you should see the cursor flashing in the top left corner. The reason that we
set all this first up here was just so we
could see our cursor. If you draw out a text frame and you
don't see your cursor, it could be that it's so micro tiny that
you're not seeing it. Or if I make my font really
big, like 300 points, then we're not going to see the cursor at all because
it's too big for the box right now that we
have that there. Let's go ahead and type
out from space Don World.com The default for the
color of our type is black. And that's what
I'm getting here, which is really hard
to read. Right? I'm going to highlight all of
that in my Swatches panel. I'll choose paper.
I'll zoom in here. I forgot the period. So I'll put my cursor
in there and hit that. Looks not bad, but I would
like this to be in all caps. I'll highlight this.
Highlight all of this. And come up here in
the control panel, we see these little
buttons right here. This one with the
two capital T's. If I just click on that, it's going to convert all those characters
into capital letters. You should know that doing
this is more like applying a filter or an
effect in designs, not actually converting the text to actual capital letters. To turn the effect off, you would just click
up here again. To get our cursor out of
the box, we can hit escape. Let's position this
here under the type. Wow, that fit better. I got lucky here that
this all worked out. So let me show you a couple
of things we can do to adjust the type for the real
world experience when it doesn't line
up quite so nicely. First thing is we have our text, and we have our box,
which is really large. We can shrink the size of
the box by hovering over this anchor point
here and just scaling it down to something more
reasonable like that. If we make our box too small, the text will
partially disappear. And you will see
this little red plus sign that indicates what
we call overset type. Which fancy way of saying there's more type
than fits in the box. To fix that, you just drag right here to make the
box fit the text. To scale the text, if you have your properties panel over, you can come over here and
change the sizing right here. Or if like me, you prefer to do it up in your control panel, then you just have to make
sure you have the type tool so that you can access
the type tool controls, you could change the font. But I think an easier
way to work is actually to just select the box using your
selection tool. If you hold down command or
control shift and you drag, you can scale the text and
the box at the same time. That's typically how I work, because we don't always know exactly what
font size we want. It's much easier to just scale the text along with the
frame to get what we want. Some other things to know
about working with text R. If you want to edit the text within the frame,
you need your type tool. And you can click within the frame to insert
your cursor and then you can make whatever
changes you need to make. You can also, as we saw, you can recolor the text, but you can also do that
without your type tool. If you select the
text frame itself, and then if you look at
your swatches panel, Now here's where you
have to be careful. If I just select the
frame and I come to my swatches and I hit
yellow, For example, I've got the same white
text that I had before, but now I've added a yellow
fill to the frame, right? Remember that this
controls the fill, This controls the stroke. If we're trying to
affect the text, then we need to come over
here and click this. Let me set my fill back to non. If I want to change
the color of the type, I need to tell in design that I want to
format text, right? Otherwise, this is the default. This is the
container, the frame, this is the fill and the
stroke of the frame. And this is now the
fill for the text. If I wanted my text
to be hot pink, now I can change the
text color. All right? But I'm going to leave
that set to paper. And the other thing I want to
show you is just where you can find all your
formatting controls. Again, you've got some of them here in the properties panel, just can't work with this. I like to do it in
the control panel. I'm going to press for my type tool up here
in the control panel. All of the type settings are
split into two categories. What we see here, these are the character
formatting attributes. If we want to change
other settings, we can click down here for the paragraph
formatting controls. And we'll learn more
about this later. But just wanted to point it out. You've got your character formatting and your
paragraph formatting. You can see that
those things co, exist here in the
properties panel as well. But it never fails that there's some attribute
that I'm trying to adjust that doesn't get displayed in the
properties panel. If you're looking for
something that's not here, you're going to want to come in your control panel to find it. That is a look at the basics
of working with type. I'm leaving some space
here intentionally because we're going to be adding
a line here later. For now, this is looking good. Let's save our work file
or command or control, save our cover is
looking really good. In the next video, we're
going to talk about adding more pages and working
with parent pages.
7. All About Pages: Now that our cover looks good, let's add some additional
pages to our document. We work with pages in our pages panel which you can
find under the window menu. By selecting pages. Right now we've got
just the one page. But ultimately for this document we're going to need six pages. If we come down to the bottom of the pages panel and we
click this little plus, we can create a new page. There's two pages, 3, 45.6 Now remember, way back when we first
created our document, and we had that option for
what's called facing pages. This is what a document without
facing pages looks like. Instead of a magazine or a book where you have a
left page and a right page, this is just a stack of
single individual pages. They're not what
we call spreads. Facing pages basically means spreads To convert our document
so that it has spreads, we can come back to the
File menu and go down to Document Set Up and
enable facing pages. If you have preview
checked down here, you can see how that automatically adjust
here in the pages panel. Now we'll click Okay. By default, when you have
your document like this, the first page will always
be a single right hand page. That's the cover right now, because we have an
even number of pages, the back cover is going to
be a single left hand page. Right now, page six is selected because we can see that it's blue here
in the pages panel, Which means that's
what we're looking at. To get back to, let's
say our cover page, we could either
scroll up like that or if you're ever working with a really long
document and you just want to jump to a certain page. If you press command
or control J, then you can type
in the page number you want to go to and hit, Okay. Or hit Enter or return. If you think of a magazine, there's certain things that
appear on every page, right? There's things like
the page number, the name of the magazine is probably included somewhere,
things like that. Anytime you have
items or objects that you want to appear
on multiple pages, rather than actually
creating them and copying or pasting
them on different pages. A better way to work is to take advantage of what's
called parent pages. Parent pages can
be used to place certain elements that
you want to appear on all of the pages by default. In design has what
it calls a parent. You can see on these
little thumbnails that there's an A in each corner. By default in
design applies this a parent to every page
in your document. We're going to be making some
changes to the a parent. The first thing we need to
do is give it a left and a right side in the pages
panel appear at the top. This is our parent
page section, right? Our documents down here, and this is our
parent page area. Let's right click on a Parent and Choose Parent
Options for a Parent. Down here where it
says number of pages. We want that to be two. Then we'll click okay. Now we see we have a spread,
and that's what we want. How do we get here and
how do we edit it? To select it, we're
going to double click on the spread up here. It doesn't really matter
which one you click, because we're going to
look at the whole spread. I want to make sure I'm
not in wonderful mode. I'm going to press
W so that I can see all my margins
and all my lines. We're just going to create those items that we'd like
to see on every page. We'll start by adding a textbox. I'm going to grab my type tool. I'm going to come up here
in the top left corner. Let's actually add a couple of guidelines to
create the guides. We just hover here
over our ruler. And if you don't
see your rulers, press command or control R, that will bring up your rulers. And if your rulers are not in inches and you
want them to be, you can right click and select inches to create these guides. I'm just going to
come over here to the ruler and click
and drag out. I'm holding shift which makes it easy to snap right at
that half inch mark. We'll drag a half
inch guide here. And we'll scroll over a little, grab another guide
and hold shift. This time we want
it to be at 16.5 ", a two inch and 16.5 Then let's drag them
from the top two, from this top ruler
I'm going to drag down and adding shift, let's snap. Now you can see that
that only created a guide for the right hand page. We could repeat over
here. That's fine. Or if we want the guide to
apply to the full spread, then press and hold command or control
drag from the ruler. Also hold shift. It's so much, isn't it? Hold shift to snap it. Commander control
tells in design that we want the guide to apply
to the whole spread. And shift helps it snap right
to this half inch mark. We'll do the same thing now to create a guide on the bottom. I'm going to come
up here and click. And as I'm dragging, you can see without
commander control, it's just the one side
commander control. You don't have to press it before dragging. You
can start dragging. Then add commander control and shift and drop
that at ten a two. Okay, now we have all these
guides with our type tool. We'll come over here and
click and draw box like so. We are going to type the
words, the doughnut digest. And that's going to
be in title case, capital first letters,
and the rest lower case. Now we're going to
change the font to match the logo
that I created, the first word, the
Let's highlight that and come up into your
font options here. If we click the font that
we're going to use for, this is an Adobe font. What's cool is if
you don't have it, you can get it by coming
over here where it says find more then you're
going to type script pro. This one here, you see I
already have it active. This is what my icon looks like. If you don't have it active, you'll see the cloud like this. All you have to do to activate
it is click on the cloud. The one we want is this one, the caps, but the Bello script. Click to activate it. We're going to do the same
font here for the word digest. Once it's activated,
you can just type it right in
here to set that. Next we'll select the
middle word doughnut, and come back up here
to the font options, and we'll use
another Adobe font. So if we go to find more, the font is called has H, O, S, S, round ultra. And you can see here, I've
already got it activated. My icon looks like this. But if you don't
have it activated, you'll just have a little cloud. And if you click on the cloud, that will add it to your fonts
and you'll be ready to go. And then let's select
the whole thing and set the font size 230. Then we can press Escape to get out of there and see
how that looks pretty good. Next we want to add page numbers right in the bottom
of these two pages. With your type tool,
we'll come down here to this bottom left,
guide intersection. And click and drag to make a little box type
the word space. And don't worry about the
font right now, page space. Then we're going to put in
a page marker character. Then we'll come up here to
the type menu and choose Insert Special Character
Markers, Current page number. And you'll notice that in design added the letter A and that is because the current page is
the parent, so don't worry. In the document, it
will say page five or page three or whatever
it needs to say. For the font here,
I'm just using Montserrat Light at
12 points again, but you can use aerial, you can use Helptica, you can use whatever you want. But I just wanted a
simple san seraph here. So that's what I'm
going with and I'll use switch over to
my selection tool. And then I'm just going
to tuck this down in this bottom corner and adjust the size of the
text box like this. Now we want the same thing over here with my selection
tool active. I'm going to hold down
the Alt or Option key and you'll notice we get
this double headed arrow. That means we can
click and drag. And if we hold shift, it'll even stay aligned
for us and we can just drag that over there to
this right hand side. Then we want to change the alignment of the
text in the box. That is a type feature we
can press for the type tool. And if we look up here
in the control panel, we see that this button
right here will right align the text to see how this
is looking. Let's return. Out of parent page land
and back to our document. Let's just double click on page two here to jump to page two. And we can see page
two says page two, over on page three it
says page three, bravo. One last thing I want to
point out, let's do this. Let's press M for
our rectangle tool. And let's just add
a color block here. If we fill it with anything
even like a bright yellow. So we can see we have
a little problem. We can see that
whatever we put on this page is covering
up the parent page, things that we just added.
What is up with that? We want to be able to
see that sort of stamped on top of whatever we
create for this layout. And this time we
can't just select the yellow shape and tell
in design to send it to the back because it can't even interact with the items
from the parent page. The only way to edit
or interact with parent page items is on
the parent page itself. So we need to do one more thing. Let's go back to
our parent pages. Our a parent page,
we'll double click. We can double click here too, on the words a parent. And then we'll see
the whole spread. So what we're going to do is
take advantage of designs, layers, unlike
layers in Photoshop, where everything goes
on its own layer. And in design, you really
don't use layers as much, but you do use it for
things like this. We want these items
of the parent page. We want them to be on
a different layer, on a layer that will be above
any of our layout pieces. We need to open
our layers panel. We'll choose window layers. We can see we only
have layer one, right? And the color code
for it is blue. That's why whenever
we click on anything, the outline around it is blue because it's
part of layer one. But we want all of these
things to be on layer two. I'm going to select
this and then we'll hit Shift and click
the little page left. A holding Shift. Click this page, right A. All three of these
pieces are selected. Then in the layers panel, let's click to add a new layer which will
be called layer two. Now how do we move these
things to layer two? We take this little, or this represents the selected
items on layer one. To move them to layer two, we just click drag the little dot and
drop it on layer two. Just like that, we
see layer two is red, and now we see that these items have a red frame around them. Just to help ourselves
keep track of this, let's rename layer two by
double clicking on it, and we'll call it Parent
pages and click okay. Now if we go back here and double click on page two T. Now those items will
forever be on top of any of the layout
things that we add, because those are always
going to be on layer one. Before we forget,
let's make sure we click to target layer one. This is where we'll continue to build the rest of our layout. All right, we can get rid of this big monstrous yellow block. Now we'll delete that. One last thing, if we come
up here to our cover page, we're seeing we have page
one showing up on the cover, of course because this
is the right hand side of this two sided
parents page spread. But we don't want these items on the cover. So how do we do that? We can see that the a parent is applied to the cover and
we don't want it to be. So we're going to come up here
next to a parent up above. We have none, which
means no parents. This page doesn't
have any parents. So we're going to
drag the non icon and drop it here on the cover. You can see that
the little a went away and so did our page number. Let's jump down to page six. We haven't designed
yet, but we can see this is going to be
our back cover and we definitely don't want
these parent page elements appearing on our back cover. We'll apply the
non parent page by clicking and dragging it down
to page six. Now it's gone. If we look here in
our pages panel, we've got this a parent
applied to the spreads, but not to the front
or back cover. Pretty cool, right? We put all of those parent elements up on a second layer so
that they will sit on top of the design and layout elements that
we build on layer one. Pretty sweet. Right.
And just so you know, in the event that you need it, you can create
additional parent pages. So maybe you have
a parent pages. Parent pages and so on. So you can have a mix of different parents that you can apply to different
pages as you need it. I'm telling you in design is so awesome to show
you what I mean. Join me in the next video for another look at more
we can do with images.
8. More with Images: Now that we have our
parent pages set up, let's work on the layouts
for our other pages. We're going to start
with page two. Here in our pages panel, we can just double
click on page two. We're going to place
an image here, but I'm going to
show you another way to work besides choosing File Place because there's a better way and that
is to use Adobe Bridge. Don't worry, you
already have bridge. If you have in design,
you have bridge. If you don't want
to work this way, you can keep doing
it with file place, but I think you'll like
this better to open it up. You're going to
choose File and then select Browse in Bridge. Bridge is going to look
something like this for you. You can use this
path bar at the top to navigate your way
to your image folder, wherever you saved the
files for this course. And we're going to
come down here and find file number 13. And we can select
it here in bridge. If you have dual monitors
or you don't mind juggling, you can move this over and you can drag it and drop
it right into design. Now it's not going to look
like anything happens until you click to
reactivate design. And then you'll see that
your cursor is loaded. Another way is to select this file and then
choose File In Design. You can see that I created a
keyboard shortcut for this. I created this not within, this was a Mac OS
keyboard shortcut. Hopefully someday, Adobe will just let you create your
own shortcuts in bridge, the way you can create
your own shortcuts in all their other applications. But for now, this is
what it is in design. And that will pop
you back over to end design and it will
load your cursor. Then we're ready to draw
the frame for this. This is going to be
another full page image, so we want to come all
the way up here to the bleed and click and drag. And again, it's not going
to proportionally fit. We can change the proportion of the frame without affecting
the image by holding down the shift key coming all the way down to
the bottom bleed and right to the center line. Here we're filling
all of the left page. We let go of our mouse, then the keyboard, we
get this lovely result. It's making me hungry already. Are you hungry?
Maybe it's just me. All right, so this looks good. But I would like to have this doughnut on
the left side of the spread so we
could double click and grab the contents
and try and move it. But you can see that the edge
of the image is right here. So that's not going to
work like how we want. Instead, we're going
to take advantage of the flip command in design. So with our frame selected, we'll come up into
the control panel, and you see this little
icon right here. If we click that, it will just flip the whole image horizontally.
Pretty slick, huh? So this looks good,
but I would like a little more space at the top before we
get the doughnut. So I'm going to press
command or control minus, just to scooch back a little
bit so I can see better. And with my selection
tool, if we double click, we get the content
within the frame, right? So now I can click and
drag down like so. And I think I'll make
this a little bit bigger. So with the content selected, we hold shift and
we're going to drag this bottom right node
downwards into the right. That's why I zoomed
out a little bit, making sure that the content reaching all the way to the top. And then I scooted it to
the left a little bit. I want the doughnut to
reach past the bottom, but I still want some
room here for a headline. And I want some room
down here for some text. Something like that. Should
be, I think pretty good. And hey, we can always
adjust later if we need to. Right. All right, so
let's press escape next. We're going to create a
series of frames over here. So far what we've
been doing is we've been selecting the image
that we want to place, then we've been coming in
and drawing the frame. But we can also do
the reverse of that. Let's grab our
rectangle frame tool. The keyword shortcut
is like frame. Earlier we used
the rectangle tool when we were just
adding the color block. The rectangle frame tool
is essentially the same, but it tells in design that you intend to
put an image in it. Okay, Rectangle Frame tool, let's come over to
this page this time. Instead of clicking and dragging to draw a
frame this time, let's just click this. Gives us the chance to
input a specific size. Let's enter a width of 2.5 I N and by the way, you can have in design
convert on the fly. So if I wanted to type
in, I don't know, 12 centimeters or something, I could type 12 centimeters. And when I hit tab, you'll
see in design converts it to whatever your preferences
are set for anyway. So we'll do 2.5 I N
by 2.5 I N and click. Okay, so here we
get this square. So I'm going to switch to my selection tool by pressing V, and I'm going to position
this about here. And now I would like
two more of these. Let's hold down Alt or Option, and we get that
double headed arrow. Now if we click and drag, we can position this
here in the center. And then we'll add a
third one down below. And you see these green
smart guides are kicking in, letting me know when I
have the spacing equal. This is showing that I've
got the alignment left and right is all
squared up, ha, ha ha. And then those little
funny marks in the gap in between is indicating
that the gaps are the same. We'll go ahead and
leave this there, and now we have
these three blocks. Now what if we want a
bigger, a bigger gap here? There are so many
ways to do that, but let's keep it
simple for now. I'm going to just take
this bottom one and hold shift so that it doesn't accidentally
scoot like that. Holding shift keeps it, it slides up and down
in a column like that. And I'm just going to give it a little more room
that's a little bigger, then we can take this one and click and drag it until
the smart guides kick in. And now we know that those
are all evenly spaced. Another way to do
that, let's say that this one gets out of alignment. And let's say it's up here, It's out of alignment this way, and the spacing is all jacked. How could we fix that
if we select all of these by just
clicking and dragging to throw a net over
all three things. We come up here in
our control panel. We have some alignment
options here. Before clicking on any of them, we want to know what this
guy right here is set to, because we can tell in design to align objects to themselves to a selection, as
we'll see in a minute. We can designate a key
object to align things. We can align things to margins, or align to a page
or to a spread. For this, let's go ahead and
set a line to selection. If we come up here and for example we click a line,
horizontal centers, it's going to take
all of these shapes and it's just going to find the center and
move everything to it. And you'll notice it's not
the center of the page. It's just the center of
how they were distributed. I'm going to undo that. Instead, I don't want
to center these, I want them all to be
aligned on the left. Instead, I'll just come up here and choose align left edges. And that's going to take
anything that's not aligned with this left
edge and it will align it. There we go. Then to distribute the spacing between
all of these shapes, That's what these guys
over here are for. The button that we
want is this one right here to distribute
the vertical centers. Then in design is
going to look at the top and the
bottom most shapes. And it will distribute any
other shapes in between all. Now we've drawn
the frames before, we've gotten the images
to drop the images in. We could choose
Commander Control D, which is file place. But I'm going to
go back to bridge. We're going to
choose images ten. I'll click to select ten, just a single click ten. And then I'll hold down
command or control to add number 12 to that number 14. I've got images 1,012.14 selected and then I'll
come back to file. Place in Design. Now we see our cursor. We see the number
three in parentheses. That means that we've got
three images on our cursor. What's cool about this
is if you're like me and you already forget what three images
you just grabbed, you can use your arrow keys on your keyboard to
cycle through them. You can make decisions about
which image should go where. I'm going to take image
three and I'm going to click to drop it
into the top frame. I'll put image two in the center frame here and
image three in the bottom. It just worked out that way. But if we undo that, I've got my loaded cursors. I could take this image
and I could put it here, and I could put this one
here, and I could do this. Whichever preview you're seeing is the one that you're going to place that looks pretty good. I think I want to
adjust the placement of this with my selection tool.
I'm going to double click. And we see the content selected. I'll hold shift and I'm
going to scale that up. I'm going to scale
that up and move it to something more like this.
This one, same thing. I'm going to double
click and adjust that. I'll leave this one as it is. Awesome. Down here
on pages 4 and 5, we're going to add a
bunch of images here, but we're going to do that
later as a fun, cool bonus. So for now, all that's
left is this back cover. So I'm going to go
back to bridge. And by the way, I'm flipping
between these apps by pressing command or
control and the tab key, I'm not sure what
it is on Windows. But that toggles between your current app and the
most recently used one. You can put whatever image
you want on the back cover, but I'm going to
go with ten again. It's so great, I'm
going to use it twice. So I'm going to have this
selected and we'll go back to file Place in Design. Again, if you have
the ability to create operating system
level shortcuts, you might want to do that. So here we are with this
last image on the back. And again we're going to just
all the way to the bleed. Click and drag. I'm
going to hold shift so I can change the shape of the frame without hurting
the image inside. If you need to reposition
the frame on the fly, as long as you're still
holding your mouse down, you can add the spacebar and
then you can reposition it. I think I missed the
top left corner. I should zoom in right Then I'll let go of spacebar
and keep dragging, withholding shift to change the shape of the frame
but not the image. And when I let go, we get
this and I can double click. And I think I want to just
move it up about like that. If we zoom out where
we can tell that this is shaping up really
well before we move on, it's really important
to understand how these images are being used in design because they are not actually embedded
in the document. What's happening is
when we have an image, we've got a frame
around it and we see the image here
because it's a preview. But in design is grabbing
this preview from our actual image file that is
on our disc, on our drive. This image is not in design. That means if I just saved this and sent
you the indesign file, you would open it up and
in design would be saying, hey, you have missing images. Missing links. What is going on? Let's take a look at something
called our link panel. Under the window menu,
you'll find links. And when you pop it open, we got a lot of
stuff going on here. When you pop it open, you're
going to see that all of the images in your document
are going to be listed here. You'll see their file name, and over here you'll see the
page number that they're on. If I want to see this
file on my hard drive, I can come up here to the burger menu and I can
choose Reveal and find. Let's Reveal and Bridge. Or if you're on Windows that you can reveal in Windows Explore. But I'm going to choose
Reveal and Bridge. It's going to go find this
image here and bridge for me, That's this one. That's what I have selected. There we go. Yeah, this one. This is what it's showing
me now in bridge. Let's do something sneaky. Which is what Move this
file to a different folder, or what if we rename it. I'm going to rename it
here in bridge and just call it like purple doughnuts. And I'm going to
go back to design. And this is what happens
in design is confused now because it's looking for file number 14 and it's not
finding it, it's easy to fix. First of all, try not to move or rename files behind
designs back. But of course, if that happens, which it always
happens, it's okay. Don't panic. We just need to point in design to that file, wherever it is or
whatever it's called. That is as simple as
coming down here and clicking this little button to re link. We'll click on that. And now it's saying, okay, where is that? I'm going to go to my folder
where I have all this stuff. Here you can see
purple doughnuts. We don't need to
see Import options. I'll turn that off. We'll
just select purple doughnuts. And when we click open in Design thinks for a minute and then it's like, oh yeah. Okay. Now it updates this file. It now says purple
doughnuts design is keeping track of
all of your images. And this will come back, you'll see how this
all works later when we package our document. But for right now, just know that these images
are not embedded. But another cool thing about
all of this is if we want to take this image and
edit it in Photoshop, all we have to do
is Option or Alt double click that will bounce
us right over to Photoshop. Let's say. I'm just
going to adjust the hue and saturation
here so we can see, I guess we'll make it green. And I'll click okay. Now watch what happens if I hit Save. I'm going to leave this
open in Photoshop, but I'll go back to in design, and you can see that it
updated the file already. In design is always
on point, right? It is watching,
paying attention. It knows if you move something,
it's like Santa Claus. It knows if you move something, it knows if you
rename something, It knows if you edit
something with the shortcut. If I had edited this
outside of design, let's say this one here. This is file number 12. So let me go back to
bridge, we'll find 12. And I'm going to open
12 in Photoshop. But I'm not opening
it through design. I opened it behind designs back. Now Let's do something silly
here too, with the colors. And I'll save this same way. I'm going to leave it
open so I can undo that. But now, if we go
back to design, this one did not update
like this one did. Instead, it says this
little caution here. So this means that it knows
where the file is, right? It's not the red circle with a question mark that
looks so scary. This one's going, hey, I know where this file is, but you've made some changes
to it behind my back. So we need to update the link. And to do that, we just come down here and click Update Link. And now we see the current
version of that file, which is heinous, right? So the moral of the story
is if you move or rename or edit a photo outside of
designer behind designs back, you may need to update or
relink the image in design. I'm going to alter option, double click on this to get
back to it in Photoshop here. I'm going to undo that, save the change and close it. You can see it already updated. And I'm going to alter option, double click this guy
and we'll undo it and save it and close it
and go back to design. We can see that it has already refreshed these previews
and updated the links. And that's because of that
alter option double click. Another thing people often ask about when
we're talking about images is how do I know
what resolution this is? Great question. Most of the time with today's
digital cameras, it's not an issue unless you're really enlarging an image to like zoom in on a particular sprinkle on
one of these doughnuts. But it's always good to
think about how can we tell with the particular image selected in the link panel. And by the way, this
one is appearing twice, because we've used it twice. It appears on page three, but it's also on page six. In design groups them like this, just to be nice. How can we tell what the
resolution is of any of these? Well, we select it. Let's say the swim down to
the bottom of the link panel. If we open this little carrot, we can see even more
information down here. We can see that the image, if we opened it in Photoshop, it would be 72 pixels per inch. But at this size, the effective resolution is 366. Which if you're familiar
with resolution, you know that 300 is dream
world, good resolution. We've got more than enough here. That is this image over here. Even at this large, full page, enlarged size, we're still having
plenty of resolution. If we take this, let's take a look at this little
purple doughnut. We see that this resolution
is 1,498 pixels per inch. That's huge, but check out what happens if I grab this and I'm going to hold shift to keep the whole thing proportional. But let's say I enlarge it. Now we can see that the resolution has dropped down because we've
made it bigger. So those pixels had to spread
out to cover a larger area. Now the pixels are only
595 pixels per inch deep. Okay, so that's what's going on here and
as we'll see later when we talk about exporting and pre flighting our document. You can give in design certain limits that
if your images, if the resolution falls below
any limit that you set, then it will warn you. Down here we can see that
I've got a green light, so I don't have any issues with any of my
predetermined limits. And we'll learn more
about that later. The short of it is
you don't have to worry because designs
got your back. In the next video, we are
going to add the text into our layout and learn some
cool ways to work with it.
9. More with Type: We've got most of our images in place and now we're ready to add our actual body copy to our
fictitious doughnut digest. We're going to do that
by copying and pasting. If we look over in Bridge or you look in Finder
or Windows Explorer, wherever it is, you want
to find your course files. You will also have
three text files. We've got one called Page 21, called Page 3.1,
called page five. Let's open up page two. Just put your cursor in
there, select everything, copy it, and then
go back to design. And we want to make
sure that we're not in wonderful mode because we want to be able to see our
margins and everything. Let's press for the type tool. We're going to position the
cursor somewhere around here. And just click and
drag to draw a box from that starting point to
the bottom and right margins. When we let go, our cursor
is waiting for us and we can paste by pressing command
or control V. Nicely done. Let's go back to your
file browser of choice. We're going to open
up page three, text and copy that. Go back to In Design. And this time we've got
our type tool still. And we'll draw a box about
like this and let go. And then we're going to paste. Now this is a
different situation. Here we can see a
couple of things. One, we have this little
thing popping down here. This is in design's
way of saying, hey, did you want to just
paste plain text? Or if we click on this, do we want to paste text
with formatting this case, it doesn't really
matter, we're just going to hit this X here
to get rid of that. But the other thing
that I wanted to show you is we've got this
little plus here. If you recall from earlier, this means we have overset type. If we switch to the
selection tool, we could fix that by taking this box and making it bigger. We can see, okay, now
we have more text here. This text is three
different chunks, right? We have a little
chunk here about glazed doughnuts that
belongs with this photo. We have another
little chunk about sprinkled doughnuts
that belongs here. And then we have a little chunk here called powdered,
which belongs here. Never mind that this is not an image of
powdered doughnuts. Play along. Okay, how
are we going to do this? We are not going to copy and paste this text into
three different frames. That's way too much work. Instead, I'm going to undo the fact that we elongated that and we are going to
thread the text boxes. What does that mean? That means we're going to take this text and any bits that
don't fit in this box, we're going to load them up by clicking on
this little plus. See that now it's loaded up. Then we're going
to come down here and click and drag
to draw another box. And we can pay attention
to the alignment, to the smart guides And
let go and look at that, this text flowed from
here into this box. We still have overset type. Let's thread another
box together. We'll click to load up
our cursor and come down here and draw
yet another box. And when we let go, we see that now it all fits and there's
no more overset type. What does it mean that
these things are threaded? That means that all this type is really one chunk of type, and it's just got three
frames to fit in. If we take this top box, I want the word sprinkled to be the first word in this box. If I take this
frame and I pull it down like one more
line, check that out. The text flowed back
up into this box. Now this box starts
with the word sprinkled that also
aligned this now powder, just in case that wasn't clear. If we take this box
and I shrink it up, you can see that
the text will just flow on through as needed. These three frames are
essentially connected. We call that being threaded
together. We can view that. If we go to the View menu and we choose Extra show text threads, then we can see how
this text flows out. This is called the outport. It flows out of that port and into the import on this box. And then it flows out this
outport and into this import. These are now threaded. Text frames. If we wanted to cut this frame out so it's not
part of the thread, then we just click the
outport from this frame. Click that outport and
just click back to itself. Now this frame is empty and the rest of the text
is stuck in this box. If we select these two
frames, for example, and we delete them, now all of that text is
back in this box. And as we can see, it's too much text for
one box by itself. That's what we call
threaded text frames. Sometimes it's nice to see
the threads, sometimes not. I'm going to go back to view
extras and this time I'll choose Hide text
Threads still threaded, but we just don't
have to see it. Don't worry too much
about this formatting. We're going to change all
of this in the next video. But right now, let's
just move on down here to this spread and we'll
go back to our files. And let's open up this last one, which is the page five text. So we'll select all of that. Go back to End Design and grab our type tool and click and drag a frame like so and Paste. If this guy bugs you, you
can click and close it. Our cursor is still active
in this text frame here. And if we want to make some
adjustments to this text, like let's say we want to
break this into two columns, we can come up to object
text frame options, or you'll notice the
keyboard shortcut. And this is one totally worth knowing is command or control B. And I remember it because this is how you
make things better. You make the text better. Command or control B. Here, move this out of the way. We want to turn on preview so we can see what we're
doing in this case. We just want to break
this into two columns. Look at that nice right. There's other cool things
you can do in here like inset spacing and
alignment and stuff. This is just a really
helpful handy place to be. But that's all we'll do
for now. Let's click Okay. Okay, this is
looking pretty good. Let's get our cursor out of
this box by pressing Escape. Let's come back up
here to page two. Wouldn't it be cool
if we could get this text instead of just being
in a rectangle like this? Wouldn't it be if we
could get the text to flow around the doughnut? That'd be cool, and guess what, we can, it's really easy. With this text frame selected, we need to open what's
called the text wrap panel. If we go to window and we choose text wrap, it's
going to pop open. And I'm going to dock it over
here by dragging this tab. I'm going to drag it, let's
see if we put it here. It's going to be nested
with all of those. I don't want that, I don't
need to see it all the time. I'm going to tuck it in this
little mini column here. I can see when I get this
little blue line right here, if I let go, it's going
to pop right in here. Now I can pop it open or close by just clicking on
this little icon. So here we have our
options for the text wrap. We don't want to apply
this to the box of text, we want to actually
apply it to the frame. We need to click the
photo of the doughnut. Okay, click the doughnut image. And now we want to
apply a wrap to this. Which means we're going
to tell in design, hey, we don't want text
on top of this doughnut. Let's look over
here. This option is going to wrap text around the entire bounding box of this image, which
would not work. If we do that, our text
disappears completely because in design is repelling it from this whole
frame, not what we want. Instead, we want this
option here which tells in design to wrap the text
around an object shape. We'll click on that still we can't see it
because right now, the shape that it's wrapping around is the shape
of the photo itself. But here under Contour
Options for Type, we can click this drop
down and we can say, hey, in design, you're smart. You have Adobe Sense technology. Why don't you figure out
what the subject is of this photo and then wrap
the text around it. Ta da. Look at that. Amazing. Right now the text wraps right around the
edge of the doughnut. It's so great. It's so precise, but it's a little too close. Right. Like we should
have a little bit of a gap between the letters so they're not touching the doughnut because
that's uncomfortable. So how do we do that? Up here
in our text wrap settings, we can use this field
right here to increase the distance between the
subject and the wrap. So if you look really closely, you can see all these
little white dots that represents the magical
do not cross line. This is the rap line, so what we want to
do is bump that up so you can see
as I nudge this, you can see that it expands
away from the doughnut. So I'm not sure what
looks good here. You do whatever you think
looks best, go with it. I'm going to go with whatever
silly imperial fraction, this works out to be America. I'm going to go with
this value right here. And that looks pretty good. So now I'll press
Escape to just get out of having my image
selected over here. And let's press W and
see how that looks. Wow, in this quick video, you learned how to copy and paste text from
an outside source. Could be a word doc, it could be rich text file, whatever. We learned how to thread
text frames together. We learned how to make text better by splitting
it into columns, and we learned how to
apply a text wrap. In the next video, we're
going to take a look at how to use paragraph styles and character styles to make formatting and editing our
documents a piece of cake.
10. Paragraph Styles: Now that we've got our text more or less in
place, in this video, we're going to learn
about styling it and taking advantage of
design paragraph styles. What is a paragraph
style? What is a style? A style is essentially
a preset for anything from text
to image frames. You can even create
table styles in design. The advantage to styles is
that once you set them up, they make editing
and maintaining your document super easy. The easiest way
to get started is to style the type the way you want and then use that type to slurp up all those settings
and create the style. We'll start with our body copy. Let's grab our type tool and click to insert our cursor into this text here on page two. And we'll press command or
control A to select it all. Then we'll come
up here to change the font to an Adobe font. We'll click Find More to access our Adobe fonts that are included with our Creative
Cloud membership. We're searching for a font
called Gimlet Text Light. Gimlet Text Light. You can click to apply that and activate
it if you need to. We'll set the size to 12 and
leave the color to black. So this is already
looking pretty good, but we need to figure
out how we're going to handle the paragraphs, right? Readers need to be able to distinguish one
paragraph from another, and you typically do
that by either indenting the first line of each paragraph or adding space
between paragraphs, or sometimes maybe a
combination of both. And if you're one of those
people who, like myself, spent many years putting a double return
between paragraphs, that is not how things work in the design world
as you will soon see. So that's considered a no, no, and I'm going to show
you better way to do it. I'm guilty of that for
many years myself. It takes some getting used to, but it's a much better
way to do things. Where do we control an indent, a first line indent,
or paragraph spacing? You might be able to see
it up on your screen in this area in your
character formats. If you don't see it here, then click your
paragraph formats and you'll find it
here on the left. This option right here is
the first line, left indent. That's what the little
picture is showing. We can make it happen by just bumping up
this number here. And you can see there
goes the first lines are in denting. That's
one way to do it. I'm going to leave
mine set to zero. In this example, I'm going to instead add
what's called space after this little
icon right here that shows some text with a
little space after it. This is where we can control
the space after a paragraph. I'm going to click to
bump this up a bit. Whatever you think looks
good. I think we have it. This is how we want our body copy to look like throughout
our whole document. With this text selected, we can now create
our paragraph style. And we can suck up
all the settings out of here and use
them in the style. To do that, we need to go to window styles and you can see there's lots of
different styles. The one we're looking for is paragraph styles that
is popping up for me with both the character and paragraph styles nested
in one window here. And you know what, this is so handy that I'm going
to keep it open and dock it in my little tool
bar here or my panel bar. This is the character
style button and this is the paragraph style. What we're creating here
is a paragraph style. And to create it,
as long as we have our styled text ready
to go and selected, we can just come over to the paragraph style panel menu and choose new paragraph style. And then we want
to give it a name, in this case body or body copy. And we don't really have
to do anything else. Over here on the
left is where we can tweak the
settings if we want. These are all different settings that we can also find up here, but because we had this text styled and selected when
we made this new style, those settings got
slirped up right here. All we really need to
do is make sure that apply style to
selection is enabled. And that will tag
all of this text with the body copy style. That way if we edit
the style later, all of this text will
automatically update. We can click okay here We can
see with our text selected, that the body copy
style has been applied. Let's move over
here to this text. Let's apply the body copy, not to the first line here. This is going to become a
second level headline later. Instead, let's just click to put our cursor in the
paragraph below. And then we can
apply the body copy paragraph style by
clicking on it. Same thing down here.
Same thing down here. You can see that's
so much easier than selecting a bunch of stuff and having to tweak
all kinds of settings. Right, finally, let's
come down to page five and select all of this text
except the very first line. And we'll click Body
Copy. That looks good. All right, Next we're going
to create our sub head, which is sometimes referred
to as an H two style. Let's select this
word here, glazed. We'll go up to our fonts. This time we're going to
use another Adobe font. You want to click Find More. And you're going to
search for something called Has round Ultra. Click to activate
it. If you need to, let's change the
size to 24 points. Let's change the color. We can either go to
our swatches panel. To do that, you want
to make sure that the type formatting is selected, or another way to do it is to come up here with
that text selected. We can come up and this little right here
represents our type color. And we can select the pink
that we created earlier. And there we have it. We might want to
add a little bit of a space after just to give
it some breathing room. Let's come up to
our control panel and find that little
icon for space after. And I'm just going to
give it one little smidge whatever fraction 0.0
625 works out to be. Now we're ready to create our next paragraph style
with this text selected. We'll go back to our paragraph
style panel, to the menu. Choose new paragraph style. We'll give it the name of two, that's our second level
head, our subhead. We want to make sure
that we again apply the style to the
selection and click Okay. If we click away, we can
see that looks great. Next, let's put our
cursor down here. And just anywhere in
the word sprinkled, we'll fix the spacing
here in a minute. Let's apply the H two to the sprinkled line and
also our paragraph really, And also to powdered. That looks great. All right. Now we need to adjust
our boxes a little bit. Let's switch to the
selection tool and we'll pull this up till
all of it fits. This one fits all of
that. And there we go. And I'm just going to
make sure that this is aligned with the center
of the image next to it. I'm just dragging this
up and down until I see that green line down here. Because it's the
center of the page, I'm going to see
the magental line. Same thing down here, it'll show me a green line. There we go. Now this is awesome, right? How does this work? What if we want to make
changes, et cetera? One way that we can make a change is if we
use our type tool. Let's select the word glazed
here and let's go up to the color for the text and
just make it this cyan color. Now instantly we see this little plus sign gets added to the H two
paragraph style. That is letting us know that this text has the H
two style applied. But then it has something extra. This is called an override. In this case, the style
calls for pink text, and we've overridden
it and made it blue. Now we have to decide how
we're going to handle this. We could ignore it and
just leave this text blue, but that's not really in line with good design
practices of consistency. If we decide that we
did this by mistake, we don't want it,
we can select it. And if we come over
here and right click, we can choose apply the H two style as it is and
clear the overrides. And we'll see our text
goes back to pink. And if we click on it, our little plus sign
here goes away. But what if we want to make all of this text
a different color? Well, one way to do that is to go back and change
this back to blue. We see our little plus here. And now another option
is to right click. And this time, instead of
clearing the overrides, let's just use the
current settings to redefine and update
the whole style. If we choose that,
now all of the text that was tagged with the
H two style will update. All right, another
way to edit this is to just come over
here to the style right. Click on it and
choose Edit H two. That will open up our
paragraph style options and I know this box is
overwhelming, right? There's all this little
cody looking text. You would think that the
color would be up here under general or basic character
formats, but it's not. It's way down here
under Character Color. We can click here to
set it back to pink. And if we have our
preview enabled, you can see that everything will update and we
can click okay. It's pretty simple,
pretty straightforward. The only time people really get into trouble is if they have something selected or an active cursor somewhere and
they don't realize it, then they come over
here and let's say you double click on H two. Well, that'll let
you edit H two, but if you look what's
going on, oops. It also applied it
to all of that text. Whoops. A better way to operate is instead of
double clicking on these, you want to write click
and then choose Edit. That way even if your
cursor is who knows where, you don't accidentally apply the style to
something by mistake. All right, next let's create our headline type
with our type tool. We're going to
actually click and draw out a new text frame here and we're going
to type in title case. A taste for everyone. We're going to use
the Bello font that we used earlier on
our parent page here. If you don't have it activated, you can go to find more
and search for it here. But it's called Bello script Pro and that's what we want to use. We're going to set the
size to 44 points. Let's set the color to pink. Up here in the control panel, we can choose to
center align the text, Put it in position if it bugs you that your box may be too big for your type. A nice little
shortcut is command or control and Alt or option, and the letter C. We'll shrink wrap the frame
to fit the text. Now that we have our text here, let's use this to
create our H one style. You want to click to
insert your cursor. Come over to the
paragraph style panel, up to the menu, new
paragraph style. And this one will call H one. And we're going to not
base it on anything. There's some really
cool advanced stuff you can do that we're not going
to get into in this class, but it's pretty
slick in this case. We're not going to
base it on anything we want to make
sure it's applied. We've given it a name,
We'll click Okay. Super. Now let's scroll
down to page five, where we have this text. This is going to be
our headline here. Click to put your
cursor somewhere in that line in that paragraph. And then click H One. Oh, no. This doesn't
look good, does it? What is happening here? Well, this text is in the same text frame
as our body copy, and we have it set
to be two columns, whereas this headline is
just in its own text box. This is just one big
column, you might think, let's just select this, cut it out of this text frame
and make a new text frame. And we could do that,
but we don't have to. Then you wouldn't learn about
this cool setting called span columns with our cursor in this type that is
currently tagged with H one. Let's come over to our
paragraph styles and right click and
choose Edit H one. Remember that down
here on the left, this is like our salad bar. It's like our buffet
of all the things we can apply to our text. One of them you'll
notice right here is called span columns. If we click on that,
now we'll look at the settings for
spanning columns. Right now, our text is
just in a single column. This text, the whole frame
is divided into two columns, but the text is just the
width of each column. What we want to do is we want this text to break
out of the column. We want it to span
all the columns to, and if we have our preview on, we can see how that looks. It's in the same text frame, but it got a hall pass. It got special permission to span across the whole text frame and not be limited to one
column even cooler down below. We can even add in some
space after the span that this text is not
like right up on top of it, space after span. Let's bump that up to maybe
a quarter of an inch, whatever you think looks good. And then click Okay. Now we have not only
fixed this problem, but we also updated the style. We don't have an override here. This also, if we were
to put this in columns, I'll just show you if we were to make this two columns,
and click okay. It's still going to span
both columns because that is baked into the settings
for our headlines. And this is part of that, It's tagged with that
style pretty slick, right? So there's more than one way to do just about everything
in, in design. And part of the fun is learning all those
different ways and applying them in
different situations and figuring out what
works best for you. There's still a ton of fun little tips and tricks
that I think are handy, even when you are just getting
started with in design. And they really
didn't fit anywhere in my outline for this course. So I'm dedicating the
entire next video to cool tips and tricks that I think you're
going to love.
11. Tips and Tricks: Gridify & the Line Tool: All right, are you ready
to have fun with some of design's coolest
features? I hope so. Get ready for something
known as Gridify. Gridify allows us
to take a bunch of images and instantly
dump them into a grid. We could select the images first and then create the grid. And design would
automatically place them, but as a designer, it's nice to have
control over which image goes where We're going to
create the grid first. To do that, we're going to press the letter for the frame tool, right here, the
rectangle frame tool. We're going to come up here to the top left corner
of our margins. Click and drag, but don't
let go of your mouse. We've got this big frame here, and I'm still holding
down the mouse, or in this case, my track pad. While I'm still doing that, I'm going to tap the up
arrow on my keyboard twice, and that will split the
frame into three rows. And if I tap the
right arrow twice, it's going to split it
into three columns. We have this nine by nine grid. You'll notice the
gaps in between the images that is editable.
We can change that. We can change it here on the
fly by playing twister with our keyboard and holding
down a bunch of keys. But I'm going to show you
a less complicated way, but it's based on the gutter
settings for the document. For now, let's go
ahead and just let go so you can rest your hand. Let me show you where
that's based on. If we come up here
to lay out and go to margins and columns, this gutter setting right
here, this is the default. I never really change it. That's where this
is coming from. If you do this forever and all the time and you like
a certain gutter, you can change it here with
your margins and columns. That is also what
determines the gap here, or the gutter between columns like this when you are
building a text frame. Anyway, the point is you can use the frame tool and if you click and drag, but don't let go. While you are holding down
your mouse or track pad, you can use the arrow keys
to instantly create a grid. Next, we're going to
add images to this, and then I'll show
you how to adjust or close these gaps if you want. Of course, my favorite
way to operate is to grab images from bridge. We're going to grab
images one through nine. Again, we'll come up to
File Place in Design. You can also choose the File Place command
from In Design, or press Command or control D. Here we see our cursor
loaded with our images. Remember that we
can use our arrow keys to cycle through them. If we want, we can find the one we want and put
it where we choose. In this case, I'm going to drop this image into this frame. By clicking, we'll see it
just fits right in there. I'm going to drop
this image over here. This one in the top right. This one in the center. This one in the top left, middle right, bottom left, top center, and bottom center. All right, now the
images are all in place. If we like it,
great, we're done. If we want to change something, we have some options. We can choose our
selection tool. And remember we can grab the contents by double
clicking on any frame. If I wanted to scale the
image up within the frame, I can hold down
the shift key and grab the frame like that
and move it around. I can even rotate it. If I hover outside the edge
here and click and spin, I can rotate it
and reposition it, maybe something like that and click away to set
that or press Escape. You already know that, right?
You can edit these images, but what you probably
don't know is that there's something cool
called the Gap Tool. And if you press the
letter U on your keyboard, you'll see it selected
here on your toolbar. And the Gap Tool is for
working with these gaps. And you'll notice if you
hover over one of the gaps, like this vertical one here. If we click and drag, we can adjust the width
of these columns. You'll notice they all move and the images adjust and
it's a magical thing. But what if we want to just take this piece of the
column and move it? Well, then we can hold shift. You'll see that the minute
that you hold shift, it goes from highlighting the whole column to just
this little section. Now I can just
adjust these things. Maybe we'll make her frame a
little bit bigger over here. If I hold shift, I
could drag this way. Or maybe I want the
middle one to be bigger. That works as well for the rows. I can adjust the whole row. Or maybe I just want
to adjust this piece right here to crop this
frame down a little bit. Another thing we can do with the gap tool is we can reduce the size of the gap by holding
down command or control. Then if we click, and in
this case if I pull down, that's going to
decrease the gap. If I pull up, it will
increase the gap. You can go ahead and play
with this however you want. That is a look at
the Gridify feature with the rectangle frame
tool and the gap tool. Next, let's take a look at
how we can use the line tool. Let's jump all the way back
up to our cover image. And I'm going to press
W for wonderful modes. We can see how nice
that's looking. I feel like I really would
like a little line right here, probably from the left. I'm going to have
it come all the way and bleed off the
page on the right. There's a whole
tool just for that. It's right here
called the line tool. The keyboard shortcut is the backslash key
on your keyboard. All you need to do with this
tool is click and drag. Now I can try to draw
a straight line, or if I'm a little bit wobbly, you can hold shift
and that will snap it in 45 degree increments. It's easy to get a
perfectly horizontal line. We want to make sure that
it goes all the way. It should be out of wonderful
mode here so I can see. But we want to make
sure that it goes all the way to the bleed, at least. Now to edit this line, we can grab the selection tool and adjust it like
that if we need to, but you'll notice it's
not showing up at all. That's because it currently
has a brown fill, which doesn't show on a
line and it has no stroke. And this is the part that
does show on a line. In this case, I want
a white, white line. So I'm going to
set the stroke to paper and I'll tap to
activate the fill here. And we want to set that to none. Now let's click away and
go into wonderful mode. And here we can see our line. I'll zoom in on it. And I need to reposition it. For one thing, I'm
going to click it with my selection tool
and tap down with my arrow keys until
it's halfway between our text down here and
the rest of the logo. But we can also control
how this line looks. And that is done by
adjusting the stroke design. Actually has a whole
panel for strokes. You can find it by
choosing window stroke. The little shortcut
button looks like this. Sometimes we'll take a
look here in a minute, but for simple adjustments, that's also up here
in our control panel. As long as that line selected, we can come up here and
increase the weight. If we want to thicken it up, I might go with two points. Then let's take a peek at our stroke panel for
some other options. Here we can see that we can adjust what's called the caps. These are basically what the ends of the
stroke look like. And since this is a piece
about donuts and we have rounded fonts and we
have the rounded donuts, we should probably have
rounded caps on our line. So we'll click to enable that. You can see right here, it's very subtle, but
it makes a difference. All right, so let's
copy this stroke. So I'll select it and
press Command or control C. And then let's use our keyboard to jump
down to page six. By pressing command
or control J, type the number
six and hit Enter. And that will bring
us down here where I just realized we have not
put anything else yet. Let's jump back up to page one. We're going to
select all of this, not just the line
but the brown frame. I'll click to select that Shift, click on the logo, shift click on the line and shift click on this
little text frame. Let's copy it, Commander
Control C. You can jump down to page six with that Commander Control
J keyboard shortcut, or you can double click
here in the pages panel. We're just going to do paste. That's going to bring
it in like this. Now we have it here. Let's
click away to deselect it and then click back to select
just this rectangle. We can rotate it by either hovering outside
here and spinning. If we hold shift, it will snap in 45
degree increments, so we can get it right
to 90 like this. Or you can come up here and
rotate 90 degrees clockwise. Then we're going to take this
and put it all the way up. Let's get out a
wonderful mode here. I have a bad habit of working in wonderful mode and then that's
where you get in trouble. You got to keep an
eye on those bleeds. We'll stretch this
down to the bleed and then we're also going
to widen it a bit. You'll notice as you
drag to widen it, you can see the width and height changing in
that little fly out. In this case, it seems like
the width should be changing, but it's actually
the height changing. And that's because in design knows that this
block was rotated, it's flip flopping those things. I'm going to drag this
to a width of 3.5 ". We can also come up here and
change the width to 3.5 ", which is really the height. How do we know that in design
knows that this is rotated? If we look right here, we can see that this
letter P is rotated. This is showing that this object that's selected
has been rotated. So it's just a
funny little quirk. All right, now let's
select our logo and shift click the line and shift click the little
text frame below, and we'll move this
whole thing here. You know what? We're not seeing our half inch guides that we drew because we didn't apply this parent page to page six. Maybe just for a minute. Let's drag this parent
page to page six, the left parent page, so we can see these guides and make sure this
is all selected. And then we can nudge this down and over so that the bottom of this text lines
up with the bottom guide. And this lines up
with the left guide. Then we want to go back and
apply the non parent page, otherwise we get page
numbers and stuff on here. All right, finally we want to adjust this line
so that it lines up on the right edge of the text and bleeds off the page all
the way to that bleed mark. We're going to add
two more lines on our parent pages up here
in the pages panel. We're going to double
click on a parent. And that brings us here. I'm going to get out of
wonderful mode and I'll press that backslash key for the
line tool one more time. This time I'm going
to click about here in the middle of this text. And click and draw this line holding shift all
the way. You know what? Let's go off the page. Let's
go to the bleed again. When you're working with a line, there is no fill, right? Because there's no shape
to fill. It's just a line. So we can set the fill to non. And let's set the
stroke to pink. Let's go to our stroke
panel and we're going to bump the weight up
and down here Next to type, we can choose what
type of line we want. If we click the drop down, we'll see that we have
some dotted options. We've got Japanese
dots and dotted. I'm not sure the
difference I think is just that one is
closer together. Let's try Japanese dots
if we bump the weight up. Yeah, those are pretty
close together. Let's just go with dotted. We go, I'll bump the
weight to maybe five. Let's click away to deselect that and go to a wonderful mode to get
a peak. Yeah, not bad. I'm going to move it
down a little now, we're going to just
duplicate this, Select it with the
selection tool, Then hold down Alt or option to drag a copy of this line
down here and we're going to put it in
between our page numbers. I've got it down here and
using the selection tool, we can stretch it out so
that it reaches across. I think I eyeballed
it pretty well, but just to be sure
we can select this, then if we come up here
in the control panel, we choose this little
drop down here. We can tell design
that we want to align this to the spread. Now when we hit the
Center Align button, you can see I was a hair off. Now it's going to align itself to the center of
the whole spread. Let's jump over to page two. Do you see the problem our lines didn't go across because, and I knew I would forget. It's a teachable moment. Let's go back to
the a parent page. They didn't go
across because look, when I click on this, it's blue. That means it's on
that lower layer. I'm going to click and shift, click down here so
they're both selected. And we need to go to
our layers panel. So window layers, you
see it's on layer one, so we're going to
drag this dot up to layer two and
now they turn red. And now when we go
back to page two Ta, now they're on top of the
layout as they should be.
12. Character Styles, Drop Caps, and Hyperlinks: Next we're going to take
a look at the difference between paragraph styles
and character styles, and how we can use them to
customize our text even more. We've seen that a
paragraph style defines the attributes
for paragraphs of text. We've seen how if you make changes within those paragraphs, you create an
override situation. Each paragraph can only have one paragraph
style applied to it. You can imagine if we
grab our type tool and we come in here
and we select a word like sprinkles and
we change it from Gimlet text light to light
italic, that seems great. But if we look at our
paragraph styles O, no, of course we have
an override here, but we don't want to make
the whole paragraph italic. That would be silly. We just want this little
word to be italic. We want to take the
existing paragraph style, and we just want to customize this little word right here. That's when we reach
for a character style. So let's go to our
character styles panel. To the menu, and we'll
choose new character style. And this time we'll
just type italic. We're not going to
base it on anything, and you'll notice
that the settings are none except for the
fact that it's italic. All that this is
going to do is take whatever text is in
that paragraph that's selected and italicize it. We'll choose Apply To
Selection, and click Okay. Now we can see if we go
back to paragraph styles, hey, look no more override. Now this is a regular
body copy paragraph. This italicized word is
part of that paragraph. It just has some fancy
customization applied to it. So we could come down here and let's find another word up. Here's sprinkles again,
we can select that, apply that same character
style to italicize it. So believe it or not, in design, this is how you italicize or bold text in a large document. You don't just set the text
up here and italicize it, because then all of
those paragraphs with italicized text would
end up having overrides. Instead, you create
a character style to handle those overrides. Another example could be, maybe we want the first word in our article or in this
paragraph or whatever. We want that to be a different
color so we can select it. And if we come up here and
change the color to pink, and we look in our
paragraph panel, oh no, of course, we've got another override, because this paragraph
is defined as having black text and we
just changed this to pink. What do we do? We select this and we go to our character
styles panel menu. Choose new character style, and we call it pink. And it doesn't have any
settings applied to it. But if we look under
character Color, we see that it's
designated as pink. So we can click okay. Now when we go back to
our paragraph styles, we don't have any
overrides here. That's the difference
between paragraph styles and character styles. My friend Erica Gamet
explains the difference between paragraph and character
styles as like a house. She says that the
paragraph styles is like the foundation
for your house, and the character styles are like the window dressing that you can use to decorate
different areas of your house. I think that makes
a lot of sense. Now let's take a look at how we would create that drop cap. Let's select the first letter, in this case M. The
drop cap attribute is controlled by the
paragraph formatting. We'll click to grab our
paragraph formatting. And right here we can see this setting controls
how many lines deep our drop cap
is going to go. This controls how
many characters are going to be
included in that drop. In this case, I'm going to
set this to 55 lines deep, but I only want
the one character to be part of the drop cap. Now a lot of times
when you do this, you may find that
the text next to your drop cap is
encroaching on it. It's too close. If
that's the case, with that drop cap selected, you can go back
to your character formatting and you can
boost the tracking. That's this value right here
that would push out all of those other lines of type so that they're not crashing
into your drop cap. But in this case, I don't think we need anything
special there. The default I think
works just fine. You can see, of course, that
we have an override here, even though we created the character style to deal with the fact
that this is all pink. We then made this a drop cap, that's a paragraph deal. To get rid of this
override and to be able to replicate this in
other parts of our document, we need to create
a paragraph style for any paragraph
with a drop cap. We'll come over to our
paragraph style menu, choose new paragraph style, we'll call this to Drop Cap. And we can see that
that's going to be based on our body copy. That means if we later change the font of our body copy style, this drop cap body copy
style that we're creating now would also automatically
update, pretty magical. In addition to the
body copy itself, the style will also
have a drop cap. If we want the drop
cap to always be pink, then we can come down here to drop caps and nested styles. We can tell it to apply
the character style. Then we can click okay. Now we have the drop cap
paragraph style applied. If we scroll down
here to page five, and we click to insert
our cursor into this first paragraph
and we choose drop cap. We're going to get the same
drop cap, the same color. Now you'll notice the
rest of the word is not pink as it is up here. We could tackle that
one of two ways. We could manually come
in and change that, using our character
style to make it pink, or I'll switch
that back to none. Now this is really advanced, but I'm just showing you
because we ended up here. Another thing we
could do is edit this paragraph style that we
just made called drop caps. I'm going to write, click
and choose Edit Drop Cap. This is fancy and advanced. Don't worry about making
perfect sense of this, just know that it's possible. Let's go back to this area for drop caps and nested styles. We've already told it how the drop cap should be and
that it should be pink. But then we can tell
in design that we want to bundle in or nest
another style into this. If we choose new nested style, we can click right
here and say we want that pink style to not just be applied to the drop
cap as it is here, but we want to apply this
style through the first word. And these you can
click on, right. We could say the
first sentence or to a certain character or
any number of things, but we just want the first
word to always be pink. If we have the preview on, look at that, it
automatically did it. Now we can click
Okay, that's awesome. Just to test it, let's
put our cursor here. And if we made this a
drop cap, paragraph, tea, we get the
drop cap and we get the first word in
pink, so cool, right? We'll go ahead and
put that back to body copy, but that
is really cool. So that is how you can combine paragraph styles with
character styles to either have simple overrides like italic or just text
of a different color. Or you can even nest a
character style within a paragraph style to create
not only the drop cap, but we can even apply that
style to the first word, in this case of the
paragraph, amazing. One other cool thing
we can do with text is apply paragraph shading. Let's click to
insert our cursor, and this is tagged with
the H one paragraph style. If we want to add some
fancy business to that, we can right click on that
style and choose Edit H one. In the paragraph options, you can come down to something
called paragraph shading. Let me move this so we
can see all of it at the same time we're
editing that H one style. Specifically the paragraph
shading options, we're going to enable shading. We see by default
it's shading with a 20% tint of black,
but I don't want that. Let's change it to yellow, and let's change it to 100%
It's just full on yellow. And check that out. Now we have a little yellow background
behind our headline text. If we don't like how it looks, we can customize it
down here, for example. We can adjust offsets. Maybe we want it to really be huge behind our
text, probably not. Not like that,
right? But we could, we can adjust the offsets for the top, bottom,
left, right. We can keep it the
same, or we can unlink it and adjust each of
those individually. And we can adjust the width. We can have it set to the
width of the full column, or we can change it to
the width of the text. I really like that because then even if we
changed the whole, the headline to be
just like one word, then the shading
would adjust with it. But now I do want to bump it a little bit on
the left and right. So I'm going to link
these and we'll bump the left side maybe to 0.125 And the right side the same like it, just like that. Now that we've edited the style, when we click okay and
we scroll back up here, we see that same style has
been applied here as well. That's the magic of styles. Anytime you make a document with any decent amount of text, it's so much easier. It feels overwhelming at
first to have to set up all those styles and keep
track of it in your head. But I promise you that once
you get in that habit, it's just so much easier. It's like taking your vitamins. You just got to do it, trust that it is for the greater good. Okay, This is getting long, but one last thing I wanted to show you that's super important, is how to add hyper links
to your document, right? So if you were printing this, obviously those links
would not be clickable. But in our pretend example here, we're going to export
this not only for print but also for PDF, right? So people would be able to click on it. So
how do we do that? We're going to use
our type tool. We're going to select any text that we want
to turn into a URL. Then we're going to go to
Window Interactive Hyperlinks. I'm going to dock this over here too because
we use it a lot. At least I do in the
hyperlinks panel. We'll come down to the bottom and click to make
a new hyperlink. You can create different
kinds of hyperlinks, but in this case we'll
just choose URL. Here's where you would enter the URL you want to
link to down below. It's a good idea to uncheck
shared hyperlink destination. It sounds good in theory, but it can cause problems
In the final PDF. We're going to uncheck
that down here. There's a character style
that in design automatically creates whenever you start adding hyperlinks,
called hyperlink. And basically it just
changes the color of your text to blue and
it adds an underline. Generally you want to use this hyper link
character style. In this case, I
really don't want this blue underlined thing on
the cover of this document. In this case, I'm putting
in these hyperlinks. Just as a nice surprise
for anyone who is reading this on a PDF and
what's to click on it. But otherwise, I
don't really want to broadcast the fact
that this is a link. I'm going to say none. Click Okay. Now this looks the same, but we can see over here
with my cursor in this text, we can see that it has a hyperlink that
we're on page one. This is the text that
is hyper linked. This little green ball
means that this is a valid URL that we've typed
in for our hyper link. You should know that
sometimes this will be read, even if the link is valid, if it's behind a paywall, or there's a number of factors. If this is read, don't panic. You can always test
it by clicking on it, and that will launch
your browser, and you can test
the link that way. Then we could do the
same thing down here. We'd highlight this text, Create, add a new hyperlink. Make sure the URL is correct. Uncheck the shared hyperlink
destination option again. Usually you'd leave
the set to hyperlink, but I'm going to choose
none in this case. And click Okay. We'll see how that works when
we export this. Oh, and now we see that
our links have turned red. It may indeed not
be a real website. I'll have to check
that out later, because in the next
video we're going to learn how to export
our document.
13. Exporting: All right friends,
we are ready to talk about exporting this thing. First thing is, before
we export anything, we want to do a bit of a
quality check on our document. Of course, we want to
check our spelling. We can find that
under edit, spell, Check spelling here we want to tell it to the
whole document. Sometimes it might say that it's going to
search a single, what it calls a story, which is like a text frame. You want to make sure you're searching the whole document, then you work through
this as you would expect. You click Start and it's
going to find things. It will stop for any
number of reasons in this case because it's
calling this uncapitalized. And that's because,
if you recall, we typed this in
lower case and then we put a magic spell on it
to turn it into all caps. But in design, sees it as technically still
lower case anyway. Then you can choose skip here, it's going to stop on the URL. We could skip, we could
add it to the dictionary. Or if there was a suggestion for a correction down
here, we could select it. And then we would choose change. In this case, I'm
just going to hit Done because this is
all with dummy text. I basically just want
you to know that spell check exists in
design. Of course. The other thing we want to
do though is we want to check for all kinds of
different problems like overset text or an image that is low resolution or that is maybe distorted or any
number of things. The way we do that is by taking a peek at our preflight panel. If we look down here in the
bottom of the workspace, we can see this
little circle here. Often it's green, which is an indication that
everything is looking good. But right now it's red. It's telling me there's
an error somewhere. Now what in design counts as an error can be configured
however you want it to be. First, we need to open
the preflight panel. You can find it from
the window menu under Output Pre Flight, or you can come down here. And if we click
The Little Carrot, then we can choose
Preflight panel. This is going to pop open, and it's telling us that
there's a problem with text. What could it be?
Let's find out. We twirl this open and we
see there's overset text. There's one instance
of overset text. And if we twirl that open, we can see that it's in a
text frame on page five. And we can even click right
here to go to page five. And lo and behold, there is some overset text here. So we can fix it by, of course, retooling all
of our font settings. But that's probably not
what we want to do. In this case, we can adjust
the size of the box. I'm going to grab my
selection tool and grab the top of the box and
move it up a little bit, and now all of the text fits. The error is resolved. We can tell in design what settings we want
it to keep an eye on. By defining a profile, we can see that I have a variety of different profiles here, but we're going to
create a new one. We'll choose the
panel menu and select Defined Profiles Down here, we're going to click
to add a new profile, and we'll call it
The Best Profile. We can open up the general
tab here if you want to type any notes about
the best profile. But we can also come
down into this area until in designed to either
keep an eye on links or not. If we do want to keep
an eye on links, do we want it to notify us about problems with
all of these things? Or maybe just let us know if any links are
missing or modified. In this case, let's just
leave it all checked. That sounds good. We can
have it warn us about color. Here's any number of things we can have it look at for us. I'm going to leave that all off. Down here under
images and objects. This is where if you're
worried about resolution, we can enable that. We can twirl this open and
we can say, hey, in design, I want you to let
me know anytime a color image drops below
175 pixels per inch, for example, and so on. So you can scroll
through here and see about all the different things you might want it to check. Here's where we can have it. Tell us about any
problems with text, whether that's missing
fonts or overset text. Those are the basics to have
in design. Watch for us. Then when we're happy with our settings for the best
profile, we can click. Okay. Then over here we have
to activate that profile. Right now, the preflight panel
is watching our document, but it's watching according
to the basic profile. If we want to enact our profile, we have to select it here. And then it's going to
look at it and it tells us there's no
errors. Nice thanks. In design, now we're
ready to export. We can export lots
of different things. In lots of different ways. We're going to keep it
simple and just look at the, I would say the main three ways that we might export stuff. First thing, let's
save our document. I'll press command or control. S. Then we're going to come
up here to file export. Let's just do a good
old fashioned PDF. Now you'll notice when
we check PDF here, we have two choices,
interactive and print. And you might think,
hey, we've got URL's. We want interactive. But surprisingly, that's not what an
interactive PDF involves. An interactive PDF has
things like rollovers and buttons and stuff that is
beyond just hyperlinks. We actually want just
a regular print PDF and we can give it a name
Up here, we'll click Save. Here's where we tell it how
we want to bake that PDF. And at the top we
have some presets. A good place to go for a screen intended PDF would probably be
smallest file size. Say if you're trying
to e mail this thing, you want it to be as
small as possible. Or if you want people to be
able to print it at home, you might want to choose
a high quality print. I'm going to go with smallest
file size in this case. Here's a little description that says what these settings
are all about. Down here. We want to tell it to export not individual
pages but spreads. Otherwise it will separate
the left page from the right. Maybe if that's what you
want, you can choose pages. But if we want to maintain
our spreads as they are, then we would select spreads, we can set viewing options here. I'm mostly going to
leave this on defaults, but the key is, I
don't know why, for whatever reason, hyperlinks is never turned on by default. That boggles my mind, but let that be your reminder to always check to
enable hyperlinks. All right, so those are
the general settings. We can come down here
under compression. And you can see, because we
chose smallest file size, it's already going
to scale down. Any super high res images, they'll be scaled down
to 100 pixels per inch. And that's what
makes this a smaller file size for e
mail, for example. You can tweak those
settings here. We want to take a look
at marks and bleeds. If we're intending
this for a screen, we don't need to include bleeds because it's
not being printed. This is a print specific thing, so we'll just leave
that off under output. If we want to
convert the color to any specific profile,
we can do that here. These are baked in. Again, with this preset
for smallest file size, it's pretty much assuming
you want this on a screen. It's going to make everything RGB and convert it
to this profile. If you don't know what the
right settings here are, you can always make a test right and then check it
out on your own device. Or if you're preparing something for professional printing, then you should be able to check with your
printer and they should be able to
tell you exactly what all these settings should be. Don't feel like you
have to totally understand all of this stuff. There are some extra
settings here, but I'm not going to
worry about them. We'll go back to general. This is a nice one,
you can click to view the PDF after exporting. That's a great way to check it without having to go
digging around for it. I'm going to go ahead
and hit export. We can see here, it
pops up in acrobat. Here is page one. If we go down, we're going to see page 2.3, as a spread, because
that's what we told it. Here we see as a spread. Here we see this
as a single page, because that's how it was. Also, if we come
up here and check, you see if we hover
over this URL, we can see that it is clickable. And the little tool tip pops up and shows us that
will take us to down at World.com Go ahead and close
this and pop back to design. Okay, that's great. That is a small file for e mail
for screen viewing. What about sending
this to a printer? Press a professional press. Then we would
choose file export. Pretty much the same
thing again, PDF print. Maybe we call this
one different. We'll call this print so we don't get confused.
We'll hit Save. Here for the preset, we would choose press quality and that's going to
trickle down All kinds of settings that are typical for professional press printing. And again, this is
really going to depend on your printer, so I can't pretend to tell you all the
correct things here, but you always want to double check marks and bleeds
and we would want to enable us document
bleed settings because we definitely want
those bleeds included. And I'm not sure why, just like the hyperlinks for
PDF or for screen viewing, I'm not sure why this
is not enabled by default when you are choosing
press quality preset. But that's what it is, it keeps you on your toes. So keep an eye out for that. Check through everything
else You'll see here that because this is intended
for a offset press, it's going to convert
everything to CMYK. This is why you really don't
have to sweat too much about whether your color
swatches are RGB or CMYK, or if your images are converted to CMYK
ahead of time or not, you just let in design, handle it all right here
in the export process. Good to know. Looks good and we don't have to worry about
hyperlinks in a print document. And we'd want to view it. And we may want spreads. But let's say the
printer says no, we want individual
pages, actually, that's why you got to check with them just to see the difference. Let's go ahead and
export this as pages, and we'll make sure we
view it after exporting. And here we see the
press ready version. And if we flip
through this now we see that the pages
are split apart because we told it to export individual pages and
not full spreads. As we flip through this,
this is how that would look. And I'm not quite
viewing the whole thing. I was zoomed in a little
bit. Here you go. So you can see that those
pages are separated so you have a lot of control
about how this works. One last thing that
I find helpful in design is being able to export Jpegs of my
documents, right? So a lot of times, like even in these videos, you are going to be seeing
a mock up of this document. So how do we create that? Because this is a PDF. And if I'm creating a mock up, I'm probably working
in Photoshop. And yes, we can open PDFs and
Photoshop and all of that. But what I do instead is I
will export this as Jpegs. And I can do that
by choosing Edit, No file export down here. We can choose J pegs. And I'm going to put
a folder in here, because otherwise they'll
just get tossed in. Wherever. I'm going to make a
little folder called Jpegs. We'll put it in there. We're choosing format. We'll go with this for the
name and design will append the name with numbers
for each page. We'll here we can say, do we want to export
the whole document? Or maybe just a few pages. I'm going to go ahead and
say the whole document, but I am going to
split it up into individual pages because it
works better with mock ups. That way I don't need
this at full quality. So I'm going to just drop
this down to like 150 maybe. So it's not huge color space. Rgb. And I'll click Export. It's not going to
preview anything for me, it's just going to do it. And then I can see it
if I go in bridge, I go to here. And here's that Jpegs folder. And if I open it up, we see here are all
the individual J pegs. What is going on here? Did our image get bumped? There's a white line here. Why is that happening?
Because look at that. The image didn't go all the way to the
bleed. Oh, you see. There we go. Let's export this one more time so I can show you how we
look for that stuff. So we'll go back in here, We'll do Jpeg. It's
going to replace it. Yes, I had used document
bleed settings on it was exporting the bleed and
therefore we could see that this document wasn't reaching all the way, which
was good to know. However, for my J pegs, I don't want the bleeds so
I'm going to turn that off. But I'm glad I fixed
it and should be good. So now we'll re export that. We will overwrite
those other files keeping it real friends. Now let's see. There we go. Now we can see that that
problem is resolved. Good job team. All right, so that's a look at how
we export this stuff. But what about packaging
it? What does that mean? And how would we share
this with a colleague, or a friend, or a
client if we need to? We'll look at that
in the next video.
14. Packaging: So remember when we learned
about working with images and we learned that the
images are not embedded. They are linked, right? So as you can imagine, if we sent this file
to someone and we only sent them the
actual design document, they would not have any of
the images that they would need to be able to work
with this document. So how do we deal with that? And it's not just images,
it's actually fonts. To the way we deal with it is
by packaging the document. And I'm actually
going to show you two ways for dealing
with this because I feel like packaging can
sometimes cause other problems. So let me show you what I mean. If we come up to file and
we choose package here, it's summarizing what
we're working with. It's freaking out
that our images are RGB because this document, we originally told
it was for print. So it's like, hey, your
images are not CMYK. But that's okay because we
deal with that in port anyway, so don't worry about this. We're going to go ahead
and choose Package, and it's going to ask us where
we want to package this. So I'm going to create a folder called
Don't Digest folder. In fact, I'm just going
to call it packaged. Just to be clear here, we can see that it
is going to copy the linked graphics and it will update any of those
graphics as it copies them. Over here, if we
were using fonts that were allowed to be copied and included,
we could enable that. But even if we enable it here, it's not going to include Adobe fonts or any
non Adobe Chinese, Japanese, or Korean fonts. Copying fonts honestly ends
up not really happening, but we can cross our fingers
and hope for the best. Down below, we can choose to include an IDML
version of our file. That's good in case
whoever we're sending this to is working on an
old version of design, maybe we want to include
a print PDF as well. And what kind of preset
would we like to use? Maybe just smallest file size. Okay. So this is how we
would package this up. If we are sending
this to someone else who needs full enchilada. Right? The whole thing. The whole kit in Budle. Then we'll just click package. And this is going
to warn us that we can't be copying fonts
we don't have rights to. Which isn't really a problem
because it's not going to do that because we're
using Adobe fonts and they won't be
included anyway. We'll just click Okay.
And there it goes. What it's doing is it's making
a copy of the document, it's making a PDF. It's making a legacy
version of the document. And if it could, it
would copy the fonts, But it's also rounding up all
of the images and copying them and relinking
everything and putting the whole
thing in that folder. So what does that look
like? Let's take a peek. If we go up to our Work
in Progress folder, we can see here is the folder
that we just made for, don't it Digest packaged. And if we take a peek inside, we see the actual
design file here. Here we have the PDF version that was the small file
size that we selected, and this is the legacy version for older versions of design. Then we do have a folder
for document fonts. But if we open it, we're
going to see two things. We're going to see
that it packaged the Montserrat font that's
here, so that's good. That is a free font
that's widely available, so whoever is getting this
probably already has it. But if not, it's here for
use for this purpose. And we have this
list of Adobe fonts. And what's cool about
this is whoever opens this design will read this
and it will know, oh, you have these different
Adobe fonts in this document, and it will automatically
activate those fonts. It's pretty slick over here. We have the links. This is then all of those
images copied over. And this document here links to this folder with
all of these things. Whoever you give this to
should be able to open up this document and
not get any errors. That's how you package
a document, right? And then you would zip this whole folder, this whole thing, and then that's
what you would give to whoever you're
giving this to. The thing I don't like
about this is that you have to remember that now you have
two versions of the file. You have this version that we just packaged and
put in this folder, but we also have this
version right here, which is the version that's currently open that
we're working with. I can't tell you how many times I've gotten so confused
by all of this. I also like to take my documents Once I'm
pretty much done with them, I like to package
them for myself so that I don't have to worry
about files disappearing, like the images and stuff. But I don't like dealing
with a duplicate. Version of the document because then you edit one and you have to
update the other. And it's just very messy.
Here's what I do instead. Let's go back to design. And this is the document that we've been working
with all along. It packaged it up and
put it in that folder. But this is the only one
that I want to deal with for myself when I'm working on stuff and I'm ready
to be done with it. I just want to know that if I come back to it
six months later, it's going to work and
not give me errors. This is what I do. I
go to my Links panel, that's under the Window menu. Where are you links
in the link panel? I'm going to click
on the top link. Scroll all the way down and
shift, click the bottom. I'm selecting all the links. If we go to the panel menu, here we go to utilities. There is a little utility
script called copy link two. Of course, in this course, all of your images are in a nice tidy folder because
I made that for you. In reality, these links might be pulled from scattered
locations all over the place. Right? Here's how I fix that. Select all the links and
I copy those links to. Then I decide where I
want to put it and I'll make a new folder and
I'll just call it Links. We'll click Create,
and I'll choose it, Copied all of the links there. However, these links are still linking to their
original location. Once I get all of
them copied over, then I like to come in here
and I like to redirect in design to that link
folder that we just made. We do that by coming up to the link panel menu once again, but this time we're going
to choose link to folder. And then we'll go find our
links folder right here. It's going to match
the same file name, the same extension,
everything just the same. And I'll select choose. Nothing's going to
happen like we won't see anything really other than
this little progress bar. Now we have in those two steps, we've taken all these links, copied them to a
single location, and then we pointed in design to that new singular location so that when we open this
file six months from now, a year from now, whatever, we're not going to have
any troubles in the end. I have the actual
document and then I have a self made
folder called links. And I don't have to worry
about this package anymore, so I'm going to delete that. We're going to wrap things up in the next video with a look at some simple basic
troubleshooting in, in design.
15. Trouble-Shooting: The last thing I want
to show you before we call it a day is
how to deal with some of the error messages
that pop up more often than you would think when opening
an end design document. In your course files,
you're going to find this file here called DD. And if you double
click to open it, you're going to get this
message that says it contains a link to a
source that is missing. Okay, that's one problem. We click okay, then we get this message
about a missing font. What the heck? This says that we
are missing a font called say, Comic Regular. This lets us know
that it has been substituted with a default font. If we're cool with
that, we can just hit Skip and we can always
change this in the document. This document is a
simple one page document with two little text
frames and super simple. Not really a big deal, but if you're working with a
more complicated document, you might want to come down here and choose, replace fonts. Here we can say we want say, Comic regular, which is
missing to be replaced. And here we can specify a font. Maybe I'll try loops here. If we have any type styles like paragraph styles
that used this font, we can check right here. And that will edit the styles
to include our replacement. That's pretty slick,
but this document doesn't have any styles,
so we can ignore it. We'll choose change all. Now we can see that the new font has replaced the missing font, and we would click Done. That solves the font problem. If you're ever
working in a document that has missing fonts, you'll see it when you put
your cursor in the font, you'll see brackets
around it up here, and that tells you
that it's missing, or sometimes it'll be
highlighted in pink. That's another way that you
know that it's missing. All right, we fix the font, but we still have
this image problem. The red circle over here with the question mark
means that file, that link is just
totally missing. Let's investigate
if we click on it. We scroll down below, and we widen this panel, it shows us the path to the original file that was linked here, if that's helpful. That is there. What's actually happening here is
you have the file, it's right there
in course files. However, after I created
this document for you, I went behind in designs
back and changed the name from to dog. All we have to do is
point in design to the renamed file and
all will be well. We'll click the
image right here. We'll select re link. That will navigate
to somewhere we want to go to our course files or wherever it is that
you've saved all this stuff. This is a file right
here called dog. We'll click on that
and click open. It will re link now it's
happy and we're all set. You can see it's pretty
easy to fix the stuff. The key is just not panicking. Slow down, take a breath, read what design is telling you, then respond appropriately
and you'll be fine. That's a look at
how to troubleshoot some of the problems
that you can run into when opening
an design document.
16. Wrap Up: You did it. Oh, that was
a lot, right? I know. But you learned the basics
of working with text, images, graphics, and
more in, in design. What was your favorite part? And was there anything
that surprised you? Hit me up and let me know. I hope you come away
from this course feeling confident in, in design. This class gave you a taste of some of what
in design can do. And it is such a powerful and sophisticated program
as you've seen. Now that you've built a solid
foundation of the basics, you're ready for
whatever direction you want to do a
deep dive into next. Thanks for joining
me. I hope to see you again in one of my
other courses soon. Until then, I'm
Kara Plichinitch, helping you shine with indesign.
Khara Plicanic, Photographer, Designer, Adobe Educator
