Adobe InDesign CC - A Complete Introduction

1. 0 InDesign CC 2018 introduction: Hi, My name's Mark Gadda and I'm a confessed in designer holic. I lived in California for 18 years and I came back to the UK in 1998. Have won awards for design and photography in the USA and the UK on have written five books . I've worked extensively in the commercial print industry. I was production manager for the biggest print shop in North California, and I've been training in design, photo shop and illustrator for almost 20 years. I'm in Adobe certified Instructor, and I hold the A C E qualification at all these programs as well as being a trainer. I'm a freelance designer, and I still get stuff printed all over the world. This course one able either complete beginner or someone who already knows their way around and design a bit to raise their skills levels so much they could go and work in a commercial graphic studio tomorrow. No kidding. At the end of this course, you'll know exactly how to produce everything you want, from business cards to glossy hardcover books with absolute confidence. After showing you some basics, the course dives into four vital areas that you absolutely need one is creating editing and applying color to is formatting types. Styles three is cute dog alert textract how to wrap text around other objects on the page on four images. Importing, sizing, cropping, rotating whatever will also cover loads of extras, including automatic page numbering, master pages, exporting documents in PDF format and a whole lot of other seriously useful information. By the end, you'll be an expert, so I really hope you'll sign up for this course because I think it will enable you to do everything you want with Adobe in Design CC, the best page layout program ever. 2. 1 Adobe InDesign CC getting started: So this is the in design screen. Now. All of these icons are things that I've had open recently, and I could open any one of them just by clicking on them. Or it could come over here and say, Create new. Or it could open an existing document that didn't have an icon representing it here on the screen. This is called the start work space. There's a list of workspaces up here, and this is the start workspace, and as you can see, we've got quite a dark into face. So there's a few things that I want to change. So first thing I'm going to do is to go into preferences and change that. Now on a Mac, Preferences are always underneath E in Design CC menu, which you don't even have on Windows Machine on a Windows machine preferences is always right at the bottom of the edit menu, so I'm going to click on in Design CC and go to Preferences and then started the top general. And that's why I'm seeing the start workspace, which I've got to say I don't particularly like cause it fills the screen and I can't see in design behind it, so I'm going to turn that off. Then I'm going to go across the interface because I also don't care for the dark background . If you work in the dark, colors look brighter than they actually will in daylight, and most my work has looked at in daylight, so I prefer to use a much lighter interface now. Some of these changes will happen as soon as you make them. Some of them will only take place next time you started. Been design. I'm going to go down to units and increments because when you install in design the default measurement system, our water called pikers, which you may have never heard off. There are six bikers to an inch. There are 12 points to a piker. There, therefore, 72 points to an inch. No one that I know uses pikers anymore as a measurement system that we still do. Use points to measure the height of type and also to measure the width of strokes, which is what adobe now call outlines. So it's not an outline, it's a stroke. So I'm going to change the horizontal units two millimeters and the vertical units two millimeters kind of you so you can have them set two different things if you want. Now I'm going to go down to display performance, and I'm going to change default view to high quality and a just view settings to high quality, which puts all the sliders over to the right and Greek type of law. Used to say seven. Now it says zero. So what do these mean? Well, these mean that any image you bring into in design is now going to look as good as it possibly can, which is important to me because I don't want to be designing something on looking at grainy images on this. If you zoomed out of a page that had type on it, that's a point where all the type we turned to grey bars and now it won't, no matter how small it is, Even if it's too small for you to read. It'll still look like type, and I prefer that to, and that's it for preferences. So I'm gonna click, OK, and there's in design, So the first thing I'm going to do is click on that Drop down this and shoes advanced. Now the advance work space is pretty good by me. But there's one thing in it that I don't think should be. And there's one thing vital thing that's missing, So I'm going to deal with those first all Grady int. Now, if you click on greedy int, it opens like this. If you click on that double arrow, it'll close again if I open it again. And then I wanted to see swatches and I clicked on swatches. Swatches would open. Ingredient would close so one window could be opened at a time. I don't actually want Grady in because of the ingredients are great. If I use the Grady Int window to create them, it's much more difficult to save them. Whereas if I used the swatches window to create them there immediately saved. So I'm gonna pull Grady in doubt, as I've done and close it. Now there's one window that I want in this stack stuff that isn't there, and it's listed under the window menu. Everything is this. The control bar runs across the top of the screen. It's very useful. It will show you things connected with a tool of the object you have selected down here. We have. The tool box, which is also listed, is open. The application frame, which you don't have on a Windows machine, is what's giving me this nice, bland gray background. Otherwise, I could see straight through to my desktop not very useful. This is what I want. Text wraps. They're going to click on that adobe, cause all of these things panels, even though they list them under the window menu. So I prefer to think of him as Windows. But it's up to you. I'm gonna grab it by its name and drag it into this stackers stuff, and you see, as I drag it around, it turns blue or wherever it's turned blue. That's gonna be where the textract window lands when I drop it. There it is eventually. If I wanted, I could pull this down into a condom of icons like that. I recommend you don't do that until you've learned what they actually do. Now this is my own customized workspace. It's no longer the advance work space. I'm going to save it. So I click on that and then go down to new workspace and type in my name and then click. OK, I've now got my own named workspace on the benefit. That is, if I'm working, I tend to be a bit untidy, especially over time. So let's say that I have pulled a bunch of these windows out onto the page and then the taking up too much space what it said. Okay, I'm gonna close a few things down, make a bit more space, and suddenly I think, Well, where's my swatches? Window was my pages window. And of course, the default setting is panic. Well, there's no need. What they need to do is this Mark reset, Mark Bang. Everything comes back. Just start was when I saved it. So that's the benefit of saving your own workspace. And that works in Illustrator and Photoshopped as well. Now we've got the whole thing set up. We could look at creating a page 3. 2 Adobe InDesign CC setting up a page: So now we've got the preferences in the workspace figured out we're going to set up a page , and to do that, you go file new and look at that. There's a shortcut now on a Mac. The short cut is always command something, and on Windows it's always control something. And so, for a new document, its command and or control. And so that's what I'm gonna do because I prefer short cuts. And there's the new document window it opens up with recent, and it's similar to this start workspace. The idea is that there's a lot of formats say that I've used recently already enough ordered them that pretty much the same anyway, this one selected custom to 10 by 2 97 which is recognisable to me and hopefully use in a four. I'm gonna click on print and print also includes in a four and the American equivalent a letter and other formats as well. And he we've got lots of templates that you can download for free from Adobe stock should you wish, and that will get your good at start on a lot of different layouts. If I wanted just to start with an A four over here, I could customize it. So let's have a look here. We've got the dimensions to 10 by 2 97 Here we've got the units that I set up in preferences. His orientation. You can choose portrait or landscape facing pages. That's important. You should know when you start working on the design. Whether it's going to be facing pages or not on facing pages is like a book. You open the book, you've got a left on the right page, whereas if you've just got a bunch of loose sheets that's not facing pages, you want to get this one right. Because if you get two for into your document and then you realize you've got to change it , it may be tricky or downright impossible to do. If you know the number of pages that you're gonna want, you can set it up here, but it's easy enough to add them or delete them later. This I'm gonna leave till later, and now we've got columns, which I'm also going to leave. But just for a minute, let's deal with margins, So this is a weird measurement. It's the metric equivalent of our half inch. This is an American program. After all, this is a link icon. So if I decided that I wanted the top margin to be 13 they're all going to change together because they're linked. If I unlinked and by clicking on that now, I can change them individually to whatever I want. These represent the position of a guide that far in from whichever edge of the page it's talking about. The guides don't print that. They're just to give you something tow line things up against so that you've got a consistent page area, perhaps toe lay stuff out on. They're there to help you. Then we've got bleeding slug not bleed and slug or a little bit tricky. If you've got a page and you want an image to go right to the edge of the page, you've actually got to extend it a little bit beyond the page. Otherwise, the print is not going to be able to trim right on that edge. They'd have to trend inside the edge on that would mean you would not get an a four sheet of paper back. You get something a little bit smaller. The default setting in Europe in the UK is three millimeters, so I'm gonna put that in. I've got facing pages checked, and that means that my bleeds a cool top bottom inside outside the top is obviously the top , the bottoms, the bottom of the page. The inside margin is the binding edge between the two pages and there to outside margins. The left hand edge of the left page on the right and Jesuit the right page. Now this can lead to a lot of problems, as a friend of mine found. So a friend of mine is a freelance graphic designer, and he's working on a potentially lucrative project. It's the program for a first division football club, very nice. And he's got the front, the back cover, both covered in pictures of people kicking stuff. So he decided to set up a four sided bleed. He's gotta bleed on the top. He put a bleed on the bottom. He put a bleed on the two outside edges, and then he put a bleed on the inside edges. And that's the mistake. Who is? That means that the front cover might extend onto the back cover on the back cover might extend onto the front cover, so that shaded area down the spine there is a potential problem. What he should have done is take the bleed off the inside margin. Now, not many graphic designers know this, but if you're doing a facing page document, do not put a bleed on the inside margin. Just do it like this, where the bleed on the top and the bottom and the two outside edges and then you're not gonna have a problem. So I'll now unlinked that and take off the bleed on the inside edge, and now everything would work. So what about the slug? The slug is another interesting area. It's an area outside the A four page that you can specify in and design. And then when you make the PdF, you can say include the slug on. That means you can use it for notes and things. It's a great opportunity to transfer responsibility to the printer. Sometimes I've used it for note saying, Don't screw this one up like you did the last one. But usually I use it for things like Fold marks because fold marks can be very important. Let's have a look at an example. So let's say you're working on the production of a trifle brochure. Now that's a format that we've all seen. I'm sure it's an a four page folded into three panels, so there are two folds. How it got the name trifled is beyond me. But there we are. If this is the inside of the brochure, are all three panels the same with And the answer is no, because the panel on the right, this one is going to fold in. And if that edge it's that fold, then when this panel folds in across the top of the whole thing, there's going to be a problem. Also, if that panel, when it folds in lands exactly flush with that edge on the right, it's going to be tricky toe open. So printers know that that panel on that edge has got to extend just a little bit beyond the back panel. When the things folded up, then it's easy to open. How are you going to tell the printer? You can put the full of marks in the slug, so I'm gonna length um and tell it to give me a 10 millimeter slug and I click on that again to make it all the way around, and then I can click. Okay, create and you can see there's a thin red line. I'll get the selection tool so that you can maybe see the point a bit better. There's a thin red line there, and it runs along the top on down the side, here on the right and along the bottom. But you can't see it off here on the left cause that is the spine. That's the inside margin and just beyond it. Almost impossible to see. There's a thin blue gray line. Maybe if I zoom in a bit, you can see that a bit more clearly. Yeah, no. Anyway, it's there. That's the slug, so I can put stuff out to the slug without any problem. A tool and command zero or control zero gives me a full page view, and that is my page 4. 3 Adobe InDesign CC colour 1: If I click on the swatches window, you can see that I've already got quite a few colors in there. I've got cyan, magenta, yellow and black, so I've got C M Y que the printing colors. I've also got red, green and blue down the bottom. But these are not RGB versions of red, green and blue There C M Y que versions. They're not actually that useful. How about if I want to make a new color? First of all, what? I'm going to draw a rectangle. That's the rectangle tool. You see. There's another one just above it. The only difference really between them is that the one above it will give you rectangles with Big X is in. And I prefer not to have that. You also see there's a little dark bottom right and corner. He A lot of the tools have that. If I right click right in the middle of the tool, I get a fly out menu, and that's what that indicates. Now, if I just slide along to the tool I want and click on it, that tool stays selected until I go choose something else. You don't have to keep come clicking on the tool, then I'm going to come over here and draw a rectangle. Now, oddly enough, even though it's selected so it's got corner handles and handles halfway along the sides. I cannot touch those with this tool. I can't move the object. I can't resize it all. The rectangle tool does is draw rectangles. If I want to move it, I've got to go back up to this tool at the top, the selection tool. And then I can click on a handle and pull, or I can click in this dot or I can click on the edge somewhere else. I can't click inside it to move it, cause there's nothing there. This box with a red diagonal line through it is the Phil, and the fill color is absent. There's no fill color on this black frame beneath it, which also shows up in the top left corner. The swatches window, and is also visible on the control bar, is the stroke Now. Adobe decided to call outlines stroke so they're not outlines anymore. They're strokes. Okay, if I click on the Phil icon and my object is selected and I can click on a color. It fills the object with that color in all three places. If I click on the stroke icon so that rises to the top and then I click on say, green. Can you see it? No, you can't because that blue selection frame obscures it because that green stroke is only one point wide 72nd of an inch. Hardly visible it all. If I make that 20 points wide now you can see it. Incidentally, you don't have to use these numbers on the list. You can put in any number you want. You can put in increments of numbers as well, Like 20 point to something like that if you want. How about if I want to create a new color? Well, I'm going to first will take this stroke off by clicking on none, and then I'm going to de select the object. Now if you did control a command A. If you had a lot of objects on the page that would select all of them. If you're working with text, that would select all the text. If you throw the shift key into that, it reverses its so command shift. A actually says don't select anything A tool. Do you select? That's the safe option. If you make a color or you change a paragraph style and you've got something selected, probably it's going to be affected by what you're doing. So the best way is de select everything before you start messing around with a style, and these are color styles as you'll see. So I'm going to click on the options button and choose new. That's new color. Swatch. The top item in the options button, is almost always knew. Whatever that window happens to do, and even though it's come up with black showing on black is on it 100%. I'm not gonna be affecting black by doing that. This is the new color Swatch window. It's not going to affect existing colors in the swatches window. So now I'm gonna mix and orange and for orange, I want full on yellow and a percentage of magenta. If I wanted to go on a mix, other colors I could click add, and this would add my orange to the swatches window, but it would leave this window open. If I'm done, I can click OK, and there's orange Now, if I select the object by clicking on it and make sure the fill icon is above the stroke icon on, then click on orange. There we go. That's it selected. I'm going to de select that again with command shift A on let's Say, no one to edit that orange, so double click on it, and that opens up the Swatch options window Preview is on. You may have to check that to make sure that means that as I change these values, this object on the page is going to change. And in fact, every object in the document that I've applied this color to will change, even if their own pages I can't see. That's why it's a style. It's not going to increase the magenta and look at that. So that's how you create and edit and apply colors. Flat colors. Now we're gonna look at Grady INTs 5. 4 Adobe InDesign CC colour 2: in order to create a Grady int. All I have to do is go to the options button, but this time choose 1/3 option. And there's my Grady Int Swatch window, and these are called color stops there, hanging off the Grady Int ramp of the bottom. If I click on the white one, I get my sliders back and I can choose a color to go at that end of the Grady int. But as soon as I click on the black one, everything changes. And now my sliders have gone and it says Stop color swatches. Well, if the swatch I want is in their great But if not, I want to make it and to make it I want my sliders back. So I'm gonna choose see him like a turn off black because that's the black color stop, of course, and then choose another color for that end of my Grady int and then click OK, and there it is. And if I click on the object and tell it that I want the fill color to be my Grady int, that's it. Now, if I go over here to the toolbox and choose this tool. The Grady INTs watch tool. While the object is selected, they can click and drag on it, and they can change the direction and the spread of the Grady Int. How about if I want to change the Grady into something else, so I'm going to double click on it? And instead of linear, I want radio, and that's a radio Grady Int and again with the Grady INTs Watch tool. I can click and drag on it and change the focus and the spread of the Grady int. And I can also add other colors. If I double click again and I'm going to click between these two stops, not on the radiant Rampart just below it on there. Let's see or think. I'll have bright magenta right there. Then we'll have another one, and that's going to be green like so on. Before long, you've done something so horrible that you're in danger of losing your job, so you might want to take those colors off, and that's easy as well. You just dragged the offending stopped and pulled down, and it's gone, so it's very easy to do. Grady INTs. How about if you want to work with Pantone colors. Now Pantone colors are special print colors. There mixes of ink that you can put on a press and print. If you're doing digital printing, it'll just convert a Pantone color into CM. Wake A as best it can, and you get that. But if you don't offset printing using ink, it's important because if you've got a Pantone color in your job, then instead of just being a CME like a job four colors it's going to be five colors on that fifth color can cost you a lot of money. So then you probably want to be able to sort of change it into see, um, way Kay. So that's what I'm going to do. First, I'll add a Pantone color on, then will duplicate it and change it to see um, way Kay. So I've got the object selected, which means that as soon as I choose a color, it's going to change and you go new color Swatch. And then, instead of seeing like a, I'm gonna choose Pantone solid coated, and there's the list of Pantone colors. There's a lot off them on all the ones at the top of the list comes straight out of the can and these the ones that used to mix of the colors. If I click in there and type for a five, this sort of fire engine red So I'm gonna click, OK, and it immediately applies itself to the object. Now I'm going to create a duplicate of that. So I'm gonna drag that out the way a little bit and d select it and then I'll go to the options button and say Duplicates. Watch! Now it says, you've already got one. Are you sure you want another? Well, yes, I do. There's my new one not going to double click on that one so I can edit it. It comes up in what's called lab color, which is not particularly useful for me, cause that can go way beyond colors that you can actually print with. So I'm gonna change that. To see him like a on that is a conversion off my Pantone color into C M y que components before he okay that I'm going to change a couple of other things. Pantone colors a regarded as spot colors and spot colors generate their own plates. Process colors don't And instead of having this name of the top, I'm gonna backspace over that and add capital M y que How's that for Lazy? And then I click. OK, so now I've got these two versions. Now let's see how similarly are I'm going to draw another rectangle and I'm going to set the stroke value to zero. And then the fill, Connor, it's gonna be my pant on C N Y que. Now select this other rectangle that has a fill in no stroke on this one has a fill in those stroke. They just got different fills. This is the Pantone. This is the CME. Wake a conversion. Are gonna put this one overlapping that one and then de selected by clicking away from it. And then I'm gonna press the letter w on the keyboard on that is print preview, which is pretty good. It's how it would look if you printed it. All the guides disappears. Just you're a four page. Can you see a difference between those two colors? I can't. If I press w again non back in layout mode. It's a very useful. So some Pantone colors convert really well, but only about 20% of them. The other 80% convert pretty good or I'm not very good at all. So you've got to be careful when you convert Pantone colors, there's only one other kind of color that you can do with the swatches window. I'm going to delete both of these now I could say Command A, which will select both of them. Or I could click on one and then shift click on the other, and that selects both of them. That's a toggle. I could shift, click on one again and de selected. Or I could start off them both and click and drag on. This is what's called a bounding box. Anything that touches will be selected. And then if I press backspace or delete, they're gone. So I'm gonna make a new kind of swatch, and it's cooled. A tent swatch. Now, if I want to make a tense watch, I've got to choose a color first. So I'm gonna choose my orange, and I'm going to make a tent of that. You can ignore this tense watch over here. It's not what I'm going to make. That's the full color that I've got, and I'm going to set this to 50 and then I'm going to click, OK, and that gives me a tense watch. If I pull this left hand side of the swatches window out, you can see it says 50%. So if I draw a rectangle and I've got the tents watch selected, it will fill it with my 50% orange. So now I show you the difference between a tent and opacity. I'm going to select the full strength. Orange again is the fill color, and then I'm going to draw another rectangle here and up here on the control bar can now set that to 50% of its original strength. Then we're going to switch to these selection tool and drag it so that it's overlapping the tent rectangle above it, and you can see through it. However, if I select the tent rectangle and move that to the front with object, arrange, bring the front you can't see through it at all, so a tent is completely opaque, even if it's a 1% tent. But if you change the opacity of something, you can see through it 6. 5 Adobe InDesign CC text 1: in order to work with text, I'm going to go to a new page now. I've only got the one page right now. There it is in the pages window. You've got this lion and above that of the master pages, which we'll get to later and below that of your document pages. If I click on the options button here, then as with swatches new whatever is right at the top here it's called Insert Pages. So I'm going to tell it. I want another seven pages after Page one, and they're all controlled by the A master, which, as I said, I'll explain later. So if I click OK, there they are now. The reason they're showing up in this layout, which is quite efficient, is because I've already clicked on the options button and gone to view pages and chosen horizontally. The default setting is this vertically, and then you get a vertical string. Well, if it in a lot of pages that will go through the floor, and I prefer to choose horizontally because the pages window tends to be pretty big, and this means you can make it take up less space if you want to get around in in design. Don't scroll with a scroll bar to get from one page to another, open the pages window and DoubleClick on the page you want to go to, then you'll be there and I'll show you why. That's important. If I double click on Page one on, let's say I want to copy something and paste it somewhere else. So I've copied the object and then I scroll down with a scroll bar and there's Page eight and I go across to it and I paste and nothing happens. Well, if I click on the pages when, though it's still think someone page one. Okay, now I'm going to go to Page two. There it is, and I'm going to get the type two and I'm going to click and drag and in this case, on drawing a small tax train and now the filling the stroke icon at the bottom of the toolbox and in the swatches window and up here on the control by their different. It says, no stroke. And there's a black letter T for the fill on. All that means is, my type is going to be black until I do something about it? No, I want some text to work with. I'm going to go up to the type menu and down second from the bottom, filled with placeholder. Text on that is garbage. Let's zoom in and have a look. I could click in the text and then go command or control plus plus plus plus. And that means I'm zooming in on the object that I'm actually selecting and you can see it's garbage. Text in design has, as much of this is you'll ever want. I'm going to click here and press enter, which means that top line is now a separate paragraph. Obviously, there's some formatting already taking place. This is a particular typeface of particular size. If I highlight a bit of it, the control bar tells me it's aerial, its regular. It's 10.5 point. The leading, which is the space between the lines, is 12.6 points on. Then there's lots of other stuff across here. If I click on the paragraph stars window, it says it's basic paragraph, and this is a paragraph style that you get with every document. You don't have to create it. You can edit it, but you can't delete it. Any style that's got these square brackets around you can delete. So that means that even if you put text on the page and you haven't come up with any formatting a tool, it's gonna look like something on basic paragraph is what it currently looks like. Well, I want to turn this into a heading, so I'm going to highlight it and then work on it up here. Now, this is because as far as I'm concerned, there are two ways to make a paragraph style. One is if you know what you're doing on one is if you don't know, I usually assume that I don't who is? I don't know exactly how the typeface of my choice is gonna look, but now I've got it highlighted. If I click up here, there's a list of typefaces and on the right, there's a sample. How good is that? So I'm going to scroll down and find Let's see. I'll find something. I'll scroll down a bit and I'm gonna find who I don't know. Let's go down to G. There we go. Gil sounds lovely typeface, and there it is, and it's a bit small. I want to make a heading first. I'm going to change that. To be bold. These are the styles. If you got a lot of styles, it's probably what's called a book fund. If you've only got the one, it's probably what's called a display front they might use for the name of a shop. Something like that. Not going to change the size to 18. And then I'm going to go after swatches and choose a color will have green today, I think, and then I'm going to click in it, and that looks about how I wanted to look. Now I can turn that into a paragraph style just because my curses flashing away in there. So I'll click on the paragraph styles window on the options button, new paragraph style, and I'm going to call it heading a couple of things you want to make sure of apply style to selection. I'm going to check that, and I don't want at the C C. Library checked, because if I did, it's going to slow us down. The idea is, at any time you create a color swatch or a paragraph style. If you've got this box checked, It will add it to the C C library Creative Cloud Library on. That would mean that you could go straight into Illustrator or Photoshopped and use it. Well, I'm not doing photo shop or illustrator on this course. I've got that unchecked. Now I'm gonna click, OK, we'll come back and have a look at this in a bit more depth soon. I've now got a paragraph style called Heading and it's supply to this line of type. If I want to put another heading in somewhere else, I'm gonna press Enter here and then a good press enter again. So let's say that's going to be a new heading. I just have to click inside it because paragraph styles apply to entire paragraphs and click on heading. And there it is. And now we should probably have a look at the heading style in a bit more depth 7. 6 Adobe InDesign CC text 2: So if I want to look at the heading style in a bit more depth, I'm going to do command shift A first of all, which means that my cursor is no longer in the text, which means there's no danger of me changing something I don't want to, and I'm going to grab this with the selection tool and pull it over here a little ways on de Selected. The paragraph style is already applied to these two headings, So all I gotta do is edit the heading style. And if preview is on which now it is, any changes I make will be immediately reflected on what you see on the page. So there's my heading style name apply. Started Selection is only available when you create this style. After. That is not something you need to click on based on would mean if I had another set of styles already. So maybe I'm going to do a heading and a subheading and body copy. The subheading could be based on heading. The body copy could be based on sub editing. They would all then respond to changes in the heading style like color changes and next sound means that if I'm typing a heading and then I press enter, I could be straight into body copy style wherever I have chosen to go here. And that means that I don't had to actually go click on it in the paragraph Stars window. So first of all, let's go to basic character formats, and everything I did is already here. This is the big benefit of creating a paragraph stand in the way I just showed you. I've got my list of fronts here is before, but there's no sample, so it's a good thing. I use the control box. There's my style. There's this size. There's the leading space between the lines. If it's in parentheses, it's auto letting 120% of the type size. There's two ways of spacing. The type one is Kern ing and one is tracking. Now, if I choose a positive tracking numbers, say 100 everything is going to spread out, and if I choose a negative number minus 100 it's all gonna scrunch up. And zero is probably just about right, because the dough is very good at this stuff. Turning refers to the space between individual pairs of letters. You can't deal with all those combinations here in the paragraph style window, so you've got three choices. Metrics optical and none don't choose none. Metrics is based on the metal block in the days of mental type, and it's a linear expansion or reduction as you increase or reduce. The size of the type was optical. Looks out how your type actually looks on the page, and it's very, very good. And if I'm using 18 points or above, I'll usually choose. Optical Case refers to things like I could have all caps, or I could have small caps where the lower case letters a smaller versions of the caps. If I'd use what was called an open type font, then then maybe genuine small caps in there that are not scaled down reduction off the full caps. As you can see, that's what I've got here. So open type small caps would have the same weight as the full capital letters. Now, here, I'm just going to choose normal and position. Ah, superscript is like that, too. In four squared, small and lifted up. Subscript is like the two and H 20 is small and dropped down. I'm not going to choose either of those. I'll leave it on normal ligatures. What a ligatures. Well, for that, I'm going to go over to photo shop and show you so I don't refuse photo shop or not. But don't worry if you don't, because you're not gonna need to. In order for me to show you this here, we've got two letters f followed by I and that would have bean, perhaps the metal block that the I was on. And you can see that the width of the eye pushes it away from the F, so they're kind of spaced quite far apart. So ligatures were invented in order to deal with that. And here's a ligature of F and I two characters turned into one. And if you're working in in design and you check ligatures and you've used F followed by I and you're in an open type front where the ligature actually exists, it will automatically remove the F in the eye and substitute a ligature for them. Advance character format. This is cool. Horizontal scale. How about if I wanted the condensed version that type face, but I didn't have it. What if I change the horizontal scale from 100 to 80 on press the tab key. It looks like it's condensed type, but I'm actually gonna put that back up to 100. Pressing the tab key is great because it sort of says do it. But don't close the window. Where's if I clicked? Okay, it would say do it, but it would close the window. How about if I wanted italic, but I didn't have it. If I set that to a 15 degrees skew on, then again, press tab, it looks as if I've got a Talic. Actually, I don't, of course, but who's going to know? I'll set that back to zero in. Press the tab key again, and we'll continue this in depth look at paragraph styles in the next video. 8. 7 Adobe InDesign CC text 3: No. I'm going to continue going through the heading paragraph style. This is what you choose. The dictionary that you're gonna have control Spellcheck indents in spacing. This is a very important window. Very useful indeed. If I thought that my headings were a little bit too close to the type below it, I might increase the space after by clicking on that arrow. Now, this one looks a little too close, the type above it, so I could increase the space before. And then every example of these paragraph styles would have that kind of spacing around it . His alignment Probably more than you ever thought of. How about towards and away from spine those actually for lining page numbers? You got four different versions of Justify which deal with what's usually a short line at the end of the paragraph, kicks it to the left, centers it and so on. Here, we've got a left in dent. And if I increase that, it will IND out the entire paragraph and the right end. It would do the same on the right and edge first line, and then will end in just the first line of a paragraph. Very useful. When you're doing books, you can also do a last line in which has never been any use to me. But there it is, and you can set up a grid under the view menu. You can specify how you wanted to behave in preferences, and then you can choose here whether to attach all the lines of your paragraph style to it , or just the first line in a block taps. I have an example that I'm going to show you so I don't need to do it here. Same with paragraph rules. Paragraph, Borders, paragraph shadings. Keep options. That's an interesting one. Let's have a quick look at that here. We've got a scenario that is sort of frowned upon, and it's the last line of the paragraph. Can't fit on the left hand page and has to go across the page. And that's kind of a no no. So you can use keep options to force the bottom line of the text here to go over the page and join it on. That avoids a situation called a widow. Now that's easy to remember because widows go on alone like this line did but keep options prevent that from happening, but it means that the left hand pages now one line short. Now there's another scenario, which I've got on Page two, which is the other version. These called orphans and orphans get left behind, right? So here's the first line, the paragraph. There's space for it on the left hand page so it doesn't go across to the right and page. But if use keep options, you can force it to do that, keeping the paragraph together. But again, it prevents you from controlling the page. Step on the left and page. As a result, I don't usually use keep options. I use something else. So here I've got two blocks of type and it's the same type in each frame. But this one on the right is obviously one lane shorter than this one on the left on. This is a widow going on alone. If I highlight that whole block, then up here in the control, Bryant says it's 100% which means every character is still its original, worth full with 100%. If I had night this frame, you can see that it's 99%. So by reducing the width of every character just by 1%. By doing it up here on the control bar, it could pull that word back up onto the last line and avoid a widow situation. And that's how you can get away with it. Best not to tell anyone, though. I'll highlight that, and it says it's 100%. I'm going to increase that to 101 102 103 and no sent a lot more words down to share that line. And again, it's no longer a widow. It's one line on its own at the end of the paragraph. Will you always gonna have that? But it's not one word on its own. I reckon you can go between 103 and 97 but don't go below 97 or above 103 or it starts to get really quite visible. If that won't work, you can also increase the tracking or decrease it. Now. If you do it with the arrows, it's going to be 10% increments each time like this, and that's a lot. But if you do it by one or than two or than three it's not so bad and people won't notice and you could do a combination of the two. Next one is hyphenation. You don't want your style hyphenated. Turned it off. Easy justification. I've got one recommendation here. If you have to type your own copy into in design, set of a paragraph style and choose Adobe single and composer who was. It treats each line on its own merits. If you do it with Paragraph composer, then it will keep on trying to adjust the length of each line to make the line. Endings for the entire paragraph looked better, and that's going to be constant jolting of your attention. So I would recommend you don't do that. Span columns. I've got an example of drop caps, the same grip styles. I'm not gonna bother with bullets and numbering. I've got an example of character color. Well, that's easy, and that's it for paragraph styles. Now you know pretty much as much as I do 9. 8 Adobe InDesign CC text wrap: Now we're gonna have a look. A text rap, which is the third of the four biggest that I mentioned right at the start. So here's the layout, and I want to put an image into it. But obviously I want the text to get out of its way. If you want to bring in image into in design, which we're going to cover in more detail very soon, the shortcut is command or control de or filed place. If you want to use the menus and there's my list of images, that's when I'm going to get. This is a PST file that's a Photoshopped document might imply that there's more than one layer here, but you can put him into in design. When I click open, it's gonna load it into the cursor, and I can click and drag on, Make it as big or a small as I want. If I let go now, that's how big the image is going to be. I'm in print preview now, So what's running off? The edge of the page becomes invisible. Print preview shows you what you're going to get at the end of the print process, which of course includes trimming. If I put that over here on, line it up with the text. If I tap on the arrow keys on the keyboard, I can move this up or down. Now, while it's selected, I'm going to go to the text right window and choose the second icon because the 1st 1 no tax trap, text and image ignore each other completely. 2nd 1 rectangular tax trap. The type gets out of the way, but only just you can see it's right up against the image here on the right hand side at the bottom, it's OK, but on the right, it's not now. These are offset values right now. They're linked. I'm gonna unlinked, um, because I don't want any nasty surprises. And this is where I can push the offset further out on the right and side just by clicking on the up arrow like that. And there's my tax trap. Now I might want to make the image a bit more visible on the left hand edge by selecting it again and then going to swatches and saying, I want a stroke of white that looks pretty good on That's a textract. There's more to it than that, of course, but that's not a bad start. Now that's look at some other examples here. I've got a bunch of placeholder text garbage, in other words, and this is a rectangle and this is an ellipse, and I've already put a textract value on them. You can see on the right there is click on the text right window. I've already got enough set on the right of two millimeters, so I should be able to distract that into the text and put it where I want on. The text will get out of its way Now There's a big space at the bottom, hardly any of the top. If I tap with the arrow keys, I can move this around a bit and maybe even that up. And if I wanted to increase the offset on the right, There we go have done it. How about if I wanted to put a caption underneath this? So maybe the image is completely in the text like that, and there's no space underneath it for a caption. Okay, so I'll make one. I'll click on this arrow. Andi, I'm gradually making space for caption, but of course, that space has got a text rap in it. So I get the type tool, and I'm going to highlight a little bit of type and then do command, see or control see, to copy, click and drag Commander Control V to Paste. There's my bogus caption. And if I try to put that in the area where there's a text wrap, it kicks it out of the way straight away. However, while it's selected, I could go object. Tech Stream Options Ignore text wrap This is a very useful window. Who is? It means that you can put a caption wherever you want, even where you have played the text drop and it will be okay. There is a shape and a lips, and you get ellipses by choosing the Ellipse tool, and then you click and drag and you get in the lips. If you hold down the shift key as you click and drag, you get a perfect circle. If you don't hold down the shift key, you just draw on the lips. So I've already got a tax. Write a play to this off three millimeters all the way around. This is a shape text trap, which means it's not going to be based on a rectangular object. It's a shape on the text gets out of its way all way around. What you don't want to do with this is pocket in the middle, cause then the readers will hate you because you got to read the first but the line that jumped the object, then read the second it. The only way you could get away with this is if you divided that text Raymond two columns and you can You can divide a page into columns and you can divide a text rate, and it's in the same way that you set up. Ignore tax trap. You go object text rim options. I've got my type selected already, and I've got preview on and then you adjust the number of columns, and now I got away with it on. That pretty much covers everything you're likely to need to do with Textract 10. 9 Adobe InDesign CC images 1: Now we're gonna have a look out. Images and images are probably the trickiest out of what I call the Big Four. And of course there was a color and then text and then text, rap and images. But that's not really saying a lot. There's still pretty easy and fairly straightforward, so I don't want to discourage you. First of all, though, I'm going to go into Photoshopped because there's something that you need to know before we get started. So here in photo shop, I've got a new document. It's not being saved, It has no title hope of the top, and it's RGB, and the eight refers to a single bit depth. But as I'm not doing a photo shop course, I'm not going to get into that. I'm going to fill this with RGB blue in just a second. But before I do that, how do you get yellow out of RGB? So RGB is the computers method of showing you color. Everything on your screen is shown in terms of RGB color. How would you get yellow out of red, green and blue? It's tricky, isn't it? If I said, how do you get orange out of C M Y que. Well, that's really easy. You've got magenta, you've got yellow. Therefore you've got orange. But to get yellow out of RGB sounds kind of impossible, but in fact it's pretty easy. Now. I'm going to click on this colored ship on that owns the color picker window, and here's a sort of a rainbow, and at one, into the rainbow is red on the next. Color is orange, and the next colors yellow, and the next colors green. So yellow is between green and red. And if you mix red and green together at full strength, which in terms of photo shop is 2 55 look at that yellow. I'm going to turn both those off, and I'm gonna fill it with blue rgb blue like that. Beautiful, isn't it? For those of you who use windows, if you have ever seen the blue screen of death of this is it and the first time I saw it, instead of bewailing the fact that I had lost all my work, I sat there mesmerized, thinking This is the most beautiful can I've ever seen. The problem is, you can't print it. And if you do. This is what you're going to get rather different, isn't it? So if your client is expecting that and this is what they're actually expected to pay for, there are going to be problems now. That is one of the most useful shortcuts in Photoshopped that I know and its command or control. Why and what that does is it tells you how something's gonna look when it's printed. So the problem with RGB color is that it goes way beyond what you can print. The brightest thing you can print depends on how white the paper is. The brightest kind of light you can have depends on how far you turn the lights up. You could turn them up. So far, it hurt your eyes. So this color has its own light source. It glows in the dark. Where's this? Color won't and that's the problem. All images start life in RGB, former, because light is used to create them either a camera or a scanner. Light is the source material, so if you bring an image into in design, it may show colors that you're not going to be able to print. So my advice to anyone using in design is get Photoshopped because photo shop allows you to use this toggle commander control. Why, any time you bring an image into photo shop, you can do that and find out what changes are gonna happen when you print it. And sometimes the changes are so dramatic you'll decide. Well, I'm not going to do this and go find a different image. Instead, that's the warning about C M. Y Que versus rgb. No, we'll go back into in design and actually look at bringing in images. So any time you want to bring something into in design, whether it's text, document or images, whatever, it's always the same thing. It's Commander Control D, and that lives under file place. It's the place command. There it is, Command D, in this case, because I'm on a Mac. So if I click on that, then it takes me to a folder. I've got some images and I'm going to bring in this one. There's a preview click open, and it kind of loads it into the cursor. If I click and drag, I'm drawing a box that's proportional to the image, and I could make it a small auras. Bigas. I want just by clicking and dragging on When I let go, there's my image. If I click somewhere other than on this circle in the middle, I can move the whole thing around. There is a problem if I click on the circle in the middle at the moment, if I grab one of the handles and pull, I can crop the image. I'm not distorting it. I'm making the viewing window smaller because there are two objects here. There's a viewing window, and there's the image that we can see through it. And if I click on that circle in the middle, that is the image. Now when the curses over the image, it looks like a grab a hand. And if I click and wait for a second, I got a live preview of what part of the image is going to be inside the viewing frame when I let go. If I don't wait for a second, if I just click and drag, I don't get a live preview so in design will teach you patients. No, I'm going to delete this image, but I'll bring it in again in the next video 11. 10 Adobe InDesign CC Images 2: so now in place in the image from the last video for a second time. If I don't click and drag and if, instead I just go click on that puts it in at full size. And full size means whatever size it was saved out in whatever program it was saved in. Now the moment on while it's selected, if I go to the links window, there it is, and it says it's on page one. That's, Ah, hyperlink. By the way, Link means it's not actually embedded into the in design document. It's linked that lives somewhere else on the hard drive. There's a reference to it in the document. If I printed the document or made a PdF out of it, it would go find the image and put the real thing into the result. But it's a way of streamlining your in design document. It means the file size stays smaller. If I embedded this, the file size of the document would increase whatever this image is. Probably several megabytes. If I click on the options button here in the top right corner, one of my choices is in bed. Link on. That would mean now it's part of the in design document. Now I can go back on unembedded, So now it's linked again. So in this area, the bottom of the links window, it tells me what the name of the file is. Want format? It is. It's a J. Pick what page it's on and also what color space it is. It's an RGB image. Status is okay. It's not being modified since it was put here and it's not missing in design those where to find it. If it needs it, I've got to resolution settings here, actual pp I is what it was saved at in Photoshopped, Effective PP. I is what it is here on the in design page. So it's much smaller in terms of physical size. And it would be if the whole thing display that 72. It's displaying a to 88 because it's smaller, so there are more pixels to Lydia inch. The other stuff down below is less important. It's scaled a 25%. The most important things here are the effective and actual PP I and the color space. So I know that all these lovely shades of blue are not going to survive. If I print this now, I'm going to delete it again and bring it in once more. And this time I'm going to click and drag again. If I click on that circle and I hold down the shift key and click and drag on a handle here , I just expanded the image you concede now it doesn't fit completely in the frame, and if I click away from it and then click back on it, but not in the middle now that allows me to select the viewing window. How about if I wanted the whole image to fit inside this particular size? I would go up to the object menu and down a fitting, and I can choose Phil frame proportionally or fit content proportionally. Now, if I choose Phil frame proportionally, it fills the frame with the image. The image is probably bigger than the frame, and you can see it is, but it fills the frame. Let's try that again. Object fitting. This time I'm gonna choose fit content proportionally. That means the entire image will fit in the frame, and if it feels the width first it stopped. And if it feels the height. First it stops, which probably means it's not going to fill the other dimension. And sure enough, that's the whole image, and it doesn't completely fill the width of this frame. You want to try and keep images proportional at all costs, because if you don't the pixels and no longer square and then you're gonna have all kinds of fun. Now I can fit the frame to the image object fitting fit, frame to content. So now, once again, the viewing window and the image of both exactly the same size. How about if I want to resize both together, put the cursor over a corner, hold down the control or the command key and the shift key, and then click and wait for a second? Because then, as you drag, you get a live preview of re sizing whole thing. I don't let go with the keys until after you've let go of the mouse, because they are what is forcing it to stay proportional. There's another way to do it as well. While it's selected, I'm going to go and get this tool. This is called the free transform Tool, and if I now click and hold the mouse down on a corner. I can resize the image course. It's non proportional. If I hold down the shift key. That's a proportional resize of the viewing window and the image together. And there's another way to do it. Object fitting, frame fitting options Auto if it automatically uses the fill frame proportionally choice. Okay, and now, if I grab that corner and pull, I can make the frame any size I want on. The image is going to insist on fitting into it proportionally, which may mean the whole image doesn't fit and I could then go back and click on the circle in the middle and use the arrow keys on the keyboard to move the image around in the viewing frame. You can also just draw a rectangle or any other shape, And then while it's selected, go file place and find the image you want to bring in. And there it is. Of course, the images kind of small here is Get the selection tool, click on it and then say objects fitting Phil frame proportionally. There you go. There's a few other things I want to show you about images, but that's a good start. 12. 11 Adobe InDesign CC Images 3: Here's a little list that I hope is going to be helpful to you. It shows on the left suitable image formats for print and on the right suitable image formats for Web. And you can see the J. Peg belongs in both lists. But on this side, my Jay Peak preference would be that it was high res and CME. Wake a. Connor was on this side. I'd need lower resolution and RGB color because if it's going onto a website, it we looked at on screens and they are RGB was. If I'm gonna print it, it's going to be printed in terms of C M y que in Cortona, and it will be more helpful if the image was cm. Wake A to begin with. Plus, I won't get any surprises. Print is a much less forgiving format than your screen, so you do need high resolution up to 300 dp I for print. Where's for Web? You don't usually need a resolution above 96 because that's what most screens are right now . Tiff over here is not suitable for Web is an un compressed so usually high quality print phone. It can be grayscale or RGB or see um way Kay. So you need to check PDF Portable document format. It's a valid image format. You could say file place and in design and go get a pdf and put it onto your page, and that would work just fine. PST. Photoshopped document. We're gonna have a look at those in a few minutes. That usually implies that there's more than one layer, and the good news for in design uses is you can turn the layers on and off in in design. So is some great design potential there? E. P s encapsulated postscript. I have to say I don't really like thes if I'm given an image in this form and I usually open it and Photoshopped and save it as a tip for Ajay Pig Adobe Illustrator files often saved any PS format, and I have to ask why? Because you can just as easily savers ai and then you can bring them straight into in design and they were great. Whereas I have had trouble with GPS files on the website. Gift is a file format that gives you up to 256 colors or if you compare that to the J Pigs limit of 16.8 million for an RGB J peg is quite a difference. So GIF images are not usually good enough for me to put into a print document on P and G's , although the very nice. And if you do a screenshot from your computer, it's probably going to be saved as a PNG there RGB format. They may go way beyond what you can print, so they're potentially dangerous. Not at the top. You can see there's a tabby of the name images for print and web. That's the name of this document. It's an in design document, and it's in a saved state. There's no asterisk. Next to the name was on this one, which is what I was working with in the last video. I didn't bother to save this. It's still called untitled because it hasn't been saved yet, and there's an asterisk next to the name, and that means you've got to save it. If you close it, you're gonna lose it. Let's have a look at a PST file, so I'm going to click and drag across these two and select them both and then hit backspace and they're gone. And now choose file place Commander Control D and I'm gonna bring in this PSD file and I'll click and drag and put it there kind of nice. And it's selected. And while it's selected, I can go upto object and down the object layer options on that shows me the names of the layers that were created in photo shop. And there's one here called sheep that is not visible right now, So I'm gonna turn that on and click. OK, and that's Lily. Lily was one of my sheet, went out of farm in Wales. She wasn't actually 40 feet tall and didn't usually hang out in canals. Let's go back in object object layer options, and I'm going to turn off this layer called Background on. That is actually a truly transparent edge that fades from opaque to nothing. And if I draw a rectangle now, normally when I choose the rectangle tool, then I choose a color. But I'm going to show you this slowly. Swatches fill color will have magenta, and, of course, it's in front of lily the sheep because I draw it. After I had worked on the image so it lands on top. But if I go to the object, many went down to a range. I can choose center back, and then I'm going to do command shift A, which de select all and then a press W. And that's print preview on. Now you can see that is a truly transparent feathered edge to the background behind Lily. Now, until it was possible to import PST files into in design, I would have had to create that entire appearance, including the Magenta bar, as one image in photo shop and then bring it in, place it. So that's what I meant when I said it opens up. Designed potential PST is a great format, but it can be RGB as well. So again, you got to be careful. 13. 12 Adobe InDesign CC PDF export RGB: So once you finish your document, how do you successfully output it as a PdF? There are basically two kinds of pdf. There's one that you might want to put on a website or, alternatively, center to somebody so that they could approve your work so far. And then there's another that will be high resolution for commercial printing. So if you want to do it for a website or for somebody else to approve, that's going to be RGB, especially if they want to approve it. They might want to print it as well. So we're going to make it high enough resolution to print. And if it's gonna print on a death star kind of printer like they're stopped laser ancient machine those even though the only print using C M y que toner or ink can only understand incoming RGB information, which is pretty silly. But most people don't have photoshopped, so we have to allow for that. So that kind of pdf is gonna output. Is RGB the one for commercial printing, On the other hand, is gonna output high rez See, um, way kay, and the hope is always that that document is finished and won't require additional editing because pdf's are a nightmare to edit. And you almost always better off and your armor and your almost always better off going back to the original document and fixing that and then out putting it again thin, trying to add it A. Pdf. Anyway, here we go. We'll do the RGB one first, so you go to file so you go up to the file menu on Down to Export, and then you've got to tell it where you want to put it. So I've already put in. I've already created a folder called Out Putting as a Pdf and there's my in design document . This is one I've got open on. I'm going to put the PdF in the same place, so I'm going to call this one balloons RGB. And then down here you choose Adobe Pdf Interactive. Now, there is nothing interactive in this document, but the interactive preset guarantees RGB output. So now click. Save on. There is the export to interactive PdF window on the General tab allows me to do the General tab, allows me to say with Rowan pages or spreads, I usually choose pages because if this is going to appear on screen. A two page spread will mean that each page is only half size, so usually choose pages view fit page. That means it's going to fit in the window, and it won't appear super large and have to reduce its stuff like that. Default layout is fine view after exporting. That's great, then we don't have to go find it. And actually, there's really nothing else in here that I need to worry about. So let's go to compression. Compression is how your image is going to be dealt with. Anything made of pixels. Jay Peak quantity Maximum trying to avoid using any of the others. Maximum is your best bet, Resolution PP. I pixels per inch. And if I click on this arrow, there are four magic numbers there. 72 96 relate to websites. 72 is the resolution of old Max screens. Things have moved on most desktop machines. Now, in 96 1 44 is pretty much the maximum resolution that laser printers desktop in jets can deal with. I mean, you can give them or but you won't get any more detail in the output, so if you want someone to be able to print it, choose 1 44 300 would only be used for commercial printing. And I don't use RGB interactive exports for that. And I don't use RGB interactive exports for commercial printing, then click on Advanced. The good news is you don't need to do anything in this window. Adul security. I recommend against password protecting your files because it's just another thing that everyone's got to remember, and it might mean that you lose. And it might mean that you miss your deadline or irritate somebody you don't want to irritate. So whenever you can, don't password protect it. No, I'm going to click exports, and in a few seconds, your pdf should appear. And there it is. It's a two page PdF on on Page two. Are just got a bit of text rubbish texts. As usual, I can zoom into this. A lot still looks good, doesn't it? Text is vector. It's not made off of pixels. Vector is supported when you make a PdF and because there are no pixels, there's no sort of step. Step. Step edges two things. It's sharp and crisp and clean no matter. Even if you zoom into 1600% look at that. It's still sharp and crisp and clean. It's great. So type will be fine, no matter what. The same thing can't be said of images, but if you've chosen 1 44 the resolution here is going to be pretty good, and as you can see, the quality is great. 14. 13 Adobe InDesign CC PDF export CMYK: so I've already output. This document is an RGB Pdf No, I'm going to go through the process for help. Putting It is ah, high rez cm like a pdf and you start in exactly the same way filed export, and then you give it a name and I'm going to call this one balloon cm Wake A and it's not Adobe Pdf Interactive. This is going to be adobe pdf print and then click save, and then you're faced with the export adobe pdf window on up at the top. There's a drop down list of export profiles. The ones with square brackets around them are included in adobe in design, and you get them when you install the program. The others below it I've added since then, for my own use on the one that is invariably picked is the one right at the top high quality print. I really recommend that you don't use it if you use high quality print and I'll just show you by going to output. It's not gonna make any kind of conversions to your document it all. So if you've got RGB images in there and some of them may be the colors are going to change when it prints. You're not going to be able to see any difference at all in them. When you look at the pdf because they'll still be RGB. I like to be warned. So I'm not going to use high quality print. In fact, there are only two that I ever use. Pdf x one A or press quality. Press quality is a really good straight ahead. Nothing special. Export profile. It doesn't do very well with things like drop shadows or transparency, but if it's a really straight ahead document, this will be fine, and it will convert the colors to document C M I K. So will pdf x one a, which is a little bit more like the Ferrari compared to something else, it can deal with drop shadows. It can do with transparency, but it needs a little bit more care, and it may bother you in the output When you see a little thin white lines on it. Those little thin white lines on your resulting pdf never print. They're put there by one of the preferences in Acrobat. You can actually go in and switch him off, but they never, ever print. Let's go back to general. And, as usual, I want all pages, but I want them as pages, not as spreads, even if it's a facing page document out. Putting his pages is a little bit easier for the printers to deal with when they're putting them together in the order they need for how they're going to print it. View pdf. After exporting Good idea, I'm all in favor of that. Then I don't have to go look for it. Nothing else here needs changing. Now I'm going to go down to compression. There are a few things here that you should change. You don't have to. For instance, this number 4 50 could be 300. So could this, and this one could be set to 1200 not 1800. If you make those changes, it means that your pdf will be a lot smaller than it otherwise might be. And the bigger the pdf, the more likelihood there is a something going wrong, and it's also going to take longer to go through whatever process it goes through. These two boxes should be checked, compressing text and line out is a non lossy form of compression using this compression utility and cropping image data Two frames. Well, if you've got a viewing frame and that's quite small, but the image of looking out through it is huge. This will crumple the extra stuff away again. That makes for a much smaller PdF file. No go to marks and bleeds. All printers marks used document bleed include slug Now the end. I'm going to say this is a preset. If I output a document that doesn't have a bleed doesn't have a slug, it just won't include them. But if it does have a bleeder, a slug, they'll be there. That would go to output as long as it reads something about converting to the destination profile and that your destination is documents C m y que. You're on the right track. There are a lot of choices, depending on what kind of printing or doing whereabouts in the world you live, but I'll leave it at that for now. Advanced. This number of the top just says that it's going to include every character of every fund that you've put in your document and don't change transparency. Flattener. Leave it on the high res security. You cannot password protected. Pdf x one A. You can password protect press quality, but you can't password Protect PD affects one a and summary as before, nobody ever reads it. If you want to save a preset, you can click on that and put in a name that means something to you. I'm going to cancel this, but then when you're done, you click export, and there's a pdf. The Taliban are so the printed can measure the density of magenta in your pdf and also measured the density of magenta in the sheets coming off the press on when they match, they know they're printing what you've got in your pdf. These are trend lines. When it's trimmed to those, you'll get your final trim size. There's no bleed on this document, so I don't have a double set. Probably trims these air registration marks they print in registration colors. They're actually here in all four. The process colors one on top of the other. It just looks black as one of them is black. Then if I go to Page two, there's all the type. As before, here's how you can do a little bit of testing on your pdf document. If you click up here Oh, it says tools. And then in that space, start typing the word output. And pretty soon this appears. And if you click on that, that's a link on that will open up the output preview window. You can turn off black. And if everything in your document that you thought was black disappears, then you know you're on the right track. If it stays around, there's something wrong. So you go to hope that it just disappears When you do that, if that works 95% short, your pdf is fine, and then you can send it off to print and sit there biting your nails until it comes back. What fun? 15. 14 Adobe InDesign CC Using tabs: setting up times and in design is one of those things that seems to drive people nuts. So I've got an example here that I hope will help clarify the situation a little bit. Here. We've got two examples of some text. I'm in print preview. You can't see any of the guides. So first I'm gonna press W to come out of print preview and then I'm gonna go to the type menu and down to show hidden characters. No. Whenever you're working in tabs, I recommend that you turn on hidden characters, but was now you can see at the end of each line, there's a sort of backwards looking p that signifies the end of a paragraph. And between each of these, we've got a whole series of dots. Each dot is a space. So for this junk of type, somebody has tried to turn it into what looks like tabs using the space bar. And the result is inaccurate. You can see things don't line up perfectly. So what you want to do if you get an example of text like this and I'm going to zoom in command, control and space bar is you want to replace all of the spaces with single tab commands like this. To do that, you get the type tool, and it's a little bit tedious. But, hey, it's worth doing. You highlight all the spaces on while they're highlighted. Press the tab key once, and you've got to go through and do that. Unfortunately, Now let's have a look at this one. First thing is, you've got to highlight all of the text that you want to effect with tabs. I don't need to bother with heading for the rest of it. Yes, then you go to the type menu and you click on tabs and times usually has a pretty good idea of the width of column that you working with. Sometimes not. But mostly it does. There's a ruler, and above it, there's a white space. Then, over here on the left, you got four tab markers left aligned, centered, right, aligned a line on a decimal point. This will show you the position of the tab Marca and Leader. I'll show you in a second. So if you click in the white space above the ruler and just hold a mouse down the line that drops down through your copy is telling you where it's gonna line up this first columnist stuff. So if I let go there, we are not going to move along and do it again. We'll have the 2nd 1 about here on the 3rd 1 about here and the 4th 1 about here Now. These three center columns would be better off if they were centred rather than a line to the left, so I can select the tab marker on while it's selected. Click on the second marker up here that centered and it moves it. I don't like the position I can adjust it. Then I'll do this one the same way centred, and I'll do this on the same way centered. And no, I could move that one to the left a little bit, and I'd say I'm done. Tabs are actually pretty easy. Main thing to remember. Don't get flustered. Carry on to the end of the operation because it may all just suddenly fall into place at the last second. Another thing. If you want to edit the position of the time markers, you've got a highlight. The whole chunk of text again, if you only highlight a bit of it. You're gonna end up with what I called ghost tab markers up here. They're in grey, and they only format a line or two because that's all you had highlighted. When you change things, now I'm gonna show you about the leader. I'll bring this column over to the right a little bit more. And if you've got a tampon selected and you enter some characters into the leader window, those characters will run up to that tab marker. So I'm going to put in a space and a full stop, and then I'm gonna press the tab Key on. There they are. That's a leader. So taps really aren't that difficult. You just got to keep your head. 16. 15 Adobe InDesign CC Rules, shading, and borders: There's a very cool formatting that you can apply to paragraph styles, which will result in things like this. This is what's called a ruled style. So I'm going to go to the paragraph styles window and open up rules, and you can see that I said, a rule above to be on. It's 32 point and it's black, but it's only a 60% tent. The rule above appears behind the rule below on the rule below is set to be magenta 27 points. It's also a tent. I set the character color to be white paper so that it shows up in the way that I want. And I've given the type a left indent of one millimeter so that it's not flush with the left hand edge of thes rules that appear behind it. I've also applied a space before of five millimeters in the space after five to give it enough space above and below this wide band of color, you can set the width of a rule to be either the column or you can change it to the text, but I usually prefer column. The offset is what allows you to move the rule upward down to put it exactly where you want in relation to the type, and you can set the width of the rule in points, even fractions of a point, so that you can get that exactly how you want it to be a swell. Now let's have a look at Page two because Page two contains paragraphs shading. Now this is newer than rules, and I'll open up the paragraph shading style so you can see how that one's done. Actually, I still got an indent on the left hand edge of the type, so I'm gonna take that off. You see the type move slightly to the left there, then we'll go to paragraph shading and we shading. You can't specify two items like above and below. It's just one bar colored bar, which appears right behind the type, but you can expanded. You can give it offset values, which in large, above or below, you can also change the corners so you don't have to have rectangular corners if you don't want, and you can see that I have extended the left margin to 17 millimeters. I could have extended this right off the page if I wanted. And again, I've applied a tent of 60%. So that's paragraph shading. Now let's have a look at Page three. This is the newest of all, and this is Paragraph Borders, and I've got two columns here. The column on the left. I've applied the border as part of the paragraph style. The column on the right. I just applied it as a local edit toe. One paragraph. Let's have a look at that one. First, I'll highlight this paragraph and then go window type and tables Paragraph. And there it is, down here. That's the color that I've chosen now, in order to see the specs for it, I've got to click on the options button in this window and then go down to paragraph boards and shading. And this is why I can set up my paragraph. Border so bored is on shadings. Not here. I specified the width of the border. Two points. It's a solid lion. It's green. It's 100%. It's not a tent, and that gives me square corners. I could have rounded or beveled corners as well. If I chosen a dotted line, I could have a gap color could get really lurid corner size and shape. So it's a rectangular corner of three millimeters except the bottom right hand corner is not. That's a rounded corner, and it's been set the seven millimeters. Now. In order to do this, I've had toe unlinked the link icon there in the middle. The offsets which are linked is three millimeters on all four sides on. That gives me a space between the text on the border. You can also change how the border is positioned relative to the type for the paragraph style, which applies to the left hand column. I was set up a style called Borders, and then here you can go straight down to paragraph border and set it up the way that you want. And I've done it in exactly the same way that I had set up the local edit for this single paragraph on the right. But of course, because it's a paragraph style here, it applies to everything. I've also had to apply space after otherwise, the borders would overlap between paragraphs, so that's paragraph rules, paragraph shading and paragraph borders 17. 16 Adobe InDesign CC Zoom controls: when you're working in design, your very often going to need to zoom in and scrolled the page around and zoom back out again. So it's very useful to know how to do this so that you don't really have to stop and think about it. You just do it. There's a few ways of doing it, and I'm going to show you some of them. Now Here we have a green question mark. As you can see enough, I select that frame. Wouldn't it be nice if I could close the frame down around its contents? Somehow it's easy. You double click on the corner and there we are. It's closed down now. I'm gonna enlarge the frame and its contents simultaneously. He hover over a corner and you hold down the command or the control and the shift key together. And then you click and you drag. And if you wait a second before you drag, you get that lovely life preview, which otherwise you weren't. Now, when you've got it the size you want, you let go with a mouse first. Who is the keys are constraining it. The shift key constrains the proportions. The command or the control key tells it to expand the frame and the contents simultaneously . So there's our question mark. Now if I want to zoom in on part of that, one thing I could do is go get the zoom tool, click on it and then click and drag. And that's one way to zoom in. Now I'm going to zoom out, too. Full page view again with Commander Control zero. And if you want to know where that is in the menus, it's under the view menu, and there it is. Fit page in window. However, there's another way of doing it. I'm gonna go get the selection tool. So now I'm gonna just press the letters ed once. And there it is. That's a short cut. And then, of course, I consume back in again. I'm going to do Come on zero again. The shortcut for the selection tool is V or escape, so I'm gonna press the letter V. There's the selection tool selected again. How about if I don't want to bother having to go get Zoom Tool? I just want to use it. If you want, you can use a keyboard shortcut to zoom in. That's Command or Control Plus plus plus assumes U. N. Command or control minus minus minus, zooms you out again. Come on, zero gives you a full page view. That's another way to zoom in. If I move this over to the left and then de select it and then do command Plus Plus Plus, I zoom into the center of the page. If I've got an object selected and I do command plus plus plus, I zoom into the center of the object. Here's the quickest way vaulters human, but there is a problem. You hold down command or control key and the space bar together, and the cursor becomes the zoom tool. Now you could just go click, click, click, But it's much quicker and easier if you just click and drag and designate the area that you want a zoom into. When you let go with a mouse first like that, that's the best way to zoom in. If I hold down the bulky while I've got the zoom tool visible, it becomes a zoom out. You see that it turns from a plus to a minus, so that's the Ulqini as well. Now there's a problem using this particular keyboard shortcut on a Mac on a Windows machine . You'll be fine. But on a Mac that's going to fire up a thing called Spotlight as well. And spotlight is one of the system preference search tools, and you can see it up here on the top row. Second from the right, it's a shame it uses the same shortcut, but you can easily disable that. So first of all, you click on Spotlight and that'll take you to this screen bottom left hand corner keyboard shortcuts click on that, and then you've got this screen and it says, Show spotlight, search and show. Find a search window on both of those boxes checked. Uncheck them, and spotlight will never bother you again when you're trying to zoom in in a design. The harbour if you're working in text, and I just happened to have a little chunk of garbage text right here, if I get the type tool and I click inside that not surprisingly, if I hold down the command or the control and the space by together on the space bar goes down just ahead of the commander the control key, I am going to get a space in my text. So what you have to make sure of is that as you learn this shortcut, make sure you learn it so the command or the control key goes down fractionally ahead of the space bar and you'll be able to zoom in every time, even if you're working in text. 18. 17 Adobe InDesign CC Libraries: There are a few very cool ways in which adobe will help you to not have to recreate the wheel and dual the work again. So if I go to file new document, the 1st 1 that you're likely to encounter is when you can save a preset. So when you set up your document, you click on that and you enter a name. And once you say safe, preset, it's listed under the saved tab up here. How about if I have gone further in that I've created my page? If I've got corporate colors or paragraph styles that I want to include in every document I create so that they're ready for me, I can create them now and put him in a library. So go to swatches and I don't have orange. So I'm going to create an orange options button. Newcomers watch drag black back to zero, turn yellow full on and give it some magenta. There's orange. Okay, now that particular orange doesn't live in any other document right now, if I get the rectangle tool and I've already got orange set up is the fill color on draw a shape. There it is. Okay, Now I can go file new library and you tell it where you want to save it and you give it a name and then you click save and there's my library window in. It's empty, but if I drag this subject into it, there it is. It's untitled right now. I could double click on that. I could give it a title. I could give it a long description if I wanted in. Designs usually got a fair idea of what kind of object it is, and then I click, OK, and I'm gonna leave the library window open. But I'm going to close this document so I no longer have that document open. And in this one that was ready and waiting. I don't have that orange color, but if I drag this out of the library onto the page and then immediately delete it, I've already got the counter my swatches window. The same would apply to paragraph styles, character styles, object styles where I could have specified things like text wraps and drop shadows and things like that. So it's a very, very useful way of not having to do all the work again. If you have no documents open, and you go to the swatches window and you create a new swatch. There it is, and now you make a new document, command and control and and one page portrait facing pages. That's fine. I don't really care. In this case, create. There's my swatch already here, and that's watch will be there for every new document I create. So if you've got corporate colors and you want to have them available to you all the time, you don't need to put him in a library. You can put him straight into a swatches window. The same is true of paragraph styles and character styles and object styles as well. And here's another cool tip. If you've got a document that does contain swatches or paragraph styles or whatever that you would like to include into a current document, you can click on the options button and then goto load swatches and then navigate to the document that they're in. And you can load all the colors, paragraph styles and so on from that document just by doing this. So Adobe really trying to help you not have to do all the work again that this method of adding all the colors to swatches and paragraph styles. And so on doesn't work so well for me because as a freelancer, I've got lots of different clients. So I've got a library for each off. Um, if I put all of this watches into the swatches window, that would be really confusing, so I have to keep him or separate. But if you're working for a company and they have corporate colors that you need to use, this is the best way to do it. 19. 19 Adobe InDesign CC Scrolling around: scrolling the page around is easy enough or you have to do is hold down the space bar and the cursor turns into the grab a hand, and with the grab a hand, you can click on the page and pull it around. However, if you're working inside text, there's a little bit of a difference. One way to get into the textile is just too quickly. Double click on the type, and there's my type tool already flashing away inside that word. If I'm working in type and I hold down the space where obviously scrolling isn't gonna work , I'm going to get a lot of space in my text. So when you're working in type, you hold down the Ault key and that gives you the grab a hand instead on allows you to drag things around. However, if you're not working in type, so now I'm gonna press the escape key to get back to the selection tool. If I accidentally hold down the bulky and click on drag on my type I created duplicate. If it's any consolation, I am constantly adding space to text that I don't need and creating duplicates that I don't want. It's just one of those things 20. 20 Adobe InDesign CC Span type: this next video focuses on something called SPAN type. It's particularly useful if you work on things like news letters, where you may have a story that's divided into two or three columns, maybe more. And you gotta heading maybe a subheading and really like those headings to run right across and ignore the column boundaries. Prior to this feature being included in in design, you would have to copy the heading into its own tax frame, which didn't have any column subdivisions. And then he could run it across the full width of the body copy. But now you don't need to. I'm gonna go into the paragraph styles window, and you can see I've got heading subheading body copy. So these are already being applied. I've also got body indented, which is a copy of the body copy style, but it's got a first line indent body copy is applied to the first paragraph, but the indented style has been applying to the others. I'm going to double click on heading on, open it up, and I'm going to go down to span columns here and choose instead of single column spanned columns. How about that? I'll OK it. Then I'm going to go to subheading and do exactly the same. Spanned columns tell it to span the columns, and it does. No, it's not perfect because I've got an extra line of space here, so I'll take that out by clicking at the beginning of the paragraph with a type tool on back spacing ones. No, I'm going to switch back to the selection tool because I'd like to answer more space underneath the subheading. It's too close to the text, so I'll double click on subheading to open it, then go to indents in spacing and preview is on. So I should just be able to click on the up arrow for space after and add a bit more and I'm done. 21. 21 Adobe InDesign CC Split type: around the same time that Adobe introduced SPAN type. They also introduced split type. It's less commonly used, but it's really powerful. So here I've got a block of type who have got six items. 123456 and a big space on the right Now. It might be nicer if I could say 123 on the left, 456 on the right. But at the moment I can't because everything is formatted with this one paragraphs. Local body copy. So what I've got to do and I'm gonna press command shift a would de select all is created duplicate of this. So while it's selected, I'll click on the options button and say duplicate style, and I'm going to call it body copies split and then go down to span columns and say, I want a split column and I'm just going to leave it as is. Let's see how it looks on a plant to this block of type party Copy split. How about that? Let's go back in and have a quick look at that. You can specify how many columns you want to divide it into how much space you want before or after it. You can change the inside gutter and you can change the gutters on the left and the right very powerful technique. I hope you have the chance to use it. 22. 22 Adobe InDesign CC Adding bullets to text: How about if I wanted to add bullets to this block of text? Now what I really wanted it was put a bullet at the beginning of each paragraph and I could create a separate text rain just outside this one down the left hand side and carefully put my bullets in and make sure that they were in the right position. What a drag. How much easy would it be if I can put him right inside this frame? But in order to create the appearance I want, I'd have to do a sort of negative first line indent in order to put the bullet after the left. And you can't do that. It's got to be inside the frame, so I can't give it a negative left and in debt. The whole This text right now is in a paragraph style called bullets, and I feel a little bit of space after for each paragraph. So this little bit of space between them, but now I'm going to edit it so that I can add bullets within the frame, just how I want. So first, I'll de select command shift a and then I double click on the bullets style to open it. Then I'm going to go down to bullets and numbering. So it says this type none. I could choose bullets. I could choose numbers, which would number each paragraph consecutively. So I'm gonna choose bullets and immediately horrible things happen. It's chosen this bullet, and there's a big ugly in Dent after it. This is not what I want, a tool. So the first thing I'm going to do is choose the bullet I want. And to do that, I'm going to click on Add. And this is a cliffs window, which shows every fund on your system. I'm going to scroll down and see if I confined wing dings to, because that's a really good fund for bullets. There it is. And if I scroll down a bit, there go the bullet of my dreams, Okay, and there it is, and I can click on it. And now the bullets in the frame have become that. So how to deal with a horrible in dent left in Dent is said it. Zero first line indent IHS said it zero. I can't give this a negative first line in that until after I've given it a positive left end. And so I'm going to click on the up arrow here and give it a positive left indent of five. Now I can give it a negative first line indent off up to minus five, and that is the appearance that I wanted. How about if you want to change the color of the bullets, let's go back in again, double click and go back to bullets and numbering and says Character style none. But I can create a character style right here, and I'm gonna call it bullets. And then the only thing I'm gonna changes character color and I'll choose Magenta. Okay. And look, they've already become magenta. Best of all, I've got this character style available to me. Should I wish to apply Magenta anywhere else? So I'm going to use a shortcut of command or control and the space bar. And, of course, because I'm in the tight tool, I want to make absolutely sure the command key goes down slightly ahead of the space bar. Then you click and drag and you let go, and there we are. If I single click on the word, there's a cursor entry point. If I double click on a word. It selects the word. If I triple click 123 it's elects the lion quadruple clicks elects the entire paragraph and five click select all the text. I can just double click on the word and then click on the bullet style and it instantly becomes magenta, so bullets are actually quite easy to do. If you know how otherwise they'll drive you nuts. 23. 23 Adobe InDesign CC Linked vs embedded images: When you put an image into in design, it's up to you whether you want a lengthy image to the document or whether you want to embed it. Now, it's pretty simple if you link it, there's a reference to it in the document, but the image isn't actually included in the document it somewhere else on your hard drive , and if you printed it or you made a PdF at the relevant point, the program would go get the image and make sure it was put into whatever you're doing. But if you sent that file to somebody else and you didn't send the images when they opened it, they wouldn't have the images. Thean Midge would appear. They're probably, but there'll be a red circle with a question mark up in the top left corner. And if they clicked on the links window, that would tell them that the image was missing on what you've got instead is a 72 d p I screenshot in rgb color, which is not really good enough. Almost everything. However, if you embed the image and the copy on the right is embedded, then however big that images in terms of file size. You just enlarged you in design document by that much. So it's a 10 megabyte image. Your document just got 10 megabytes bigger. I'm going to select the immature on the left and then go to the links window and that's it . And there's no icon here, which means this is linked and down below. It says status is okay. It also says it's rgb color, which is a no, no, But I'm not printing this, so I don't care. Status is okay. And if the image was modified in Photoshopped, perhaps and then saved in photo shop, I would get a little yellow triangle up here saying that the image had Bean modified. I'd also get a little yellow triangle up here on the top of the image, and if I double clicked on it, that would update the image to its new modified state. This one, however, is embedded. I can't open it in photo shop and edit it and then save it on. Have that reflected in any way in what's here on the page. However, if I click on the options button in the top right corner, I could choose toe un embed the link so you can link it. You can embed it, and then, if you want, you can turn it back into a linked image. This one. My only option is to embed it as to which one is better. They both worked perfectly well. If it's linked and the links when it was happy that that link is valid, you're not going to have any problems. If it's embedded, you're not gonna have any problems, but you might have a much bigger in design file, so it's really up to you. The bigger your file becomes, the more unstable it possibly becomes, the more likely it is to have a problem. My personal preference is wherever I can. I link things, but if I need to send something to somebody else, I may embed them. 24. 24 Adobe InDesign CC Using layers: so I thought it be useful to take a look at the layers window, which is definitely your friend. If you're putting in blocks of color in the background, such as this one now there's a representation of the layers window down here. But I've also got the rial layers window up here, and that's what I'm going to use. Mostly, I think so. I'm gonna drag that bottom down again. I want a toil this layer open other stuff, and this is a list of all the objects that I've got on this layer. If I click on that, I would normally be able to select everything on that layer. But it's locked, so I can't If I unlock it and click on that Now, I have selected all the objects that are on the blue layer, the dark blue layer. You can see that that color effects the selection frame. Everything's got that same blue color. If I turn the I icon off, all of that stuff will disappear. You can see that I got three images here. We've got Larry the Whippet asleep on the couch over on the left. We got a landscape in the middle and we've got a monastery over here on the right Tibetan Buddhist monastery. Now, if I select that one, for example, you can see there's a red color associated with that layer. That's this one. If I select this one, there's a blue color light blue, and if I click on this one, there's a green color associated with it. Any time I've got an object selected, the layers window tells me what layer that object is on. So, for instance, if I've got this list selected and I drag it so it's slightly over the top of Larry, that's on the red Land. If I drag the whole layer down below the left image like that now, this picture goes behind Larry. If I drag that dot onto the same layer as Larry, then I could decide whether I wanted it to be on top of Larry or below. So there's a hierarchy within layers, and there's a hierarchy between layers. The I I can't tells you whether those objects on that layer of visible or not. If you click on the little arrow, it opens up earlier, and you can see the objects on it. If you click on this little box of the end, everything on that layer is selected, and if you click on an object just that one object is selected at the bottom of the layers window. You got this new layer icon now you can either just create a new layer by clicking on that , and there it is. Or you can go options button new layer, and in that case you get some options. You can name it. You can choose a color. You can do all that with this layer as well, but I'd have to double click on it in order to do that. The pen icon indicates that I concurrently work on this later because it selected its highlighted in blue, and it's visible on the padlock Tells me whether the layers locked or not, this one, the background block of color is currently locked, and that means I could create or do anything on top of it without disturbing it. But if it was unlocked, for example, and I was on this green colored layer on, I decided I want to put a text frame somewhere. So here's attack. Well, I thought there was gonna be a text rain. Where is it? Well, the problem is that as soon as I clicked on that background block of color because it was unlocked, it thought I wanted to put type into it, and that's exactly what it did. So if you want to stop having to deal with that while you're working, put background colors in place and then luck that layer on. Then you can put a text, bring whatever you want, and that's where your text will go. If you want to change something on the background, of course, you unlock the layer, change it, then lock it again. Otherwise, you'll be continually fixing stuff that you don't need to waste time on. In photo shop, I might end up with up to 200 layers in a single image. In in design, I rarely go beyond to or three 25. 25 Adobe InDesign CC Automatic page numbers: I always enjoy showing people how to do automatic page numbering because it's so much better than doing it manually. It's really fast, really easy, and it's accurate. So to show you on first, we're going to create a new document. Commander Control N and I want 16 pages, a four portrait facing pages That's fine create. And there it is, and I'm going to go straight to the master pages on the most of age window I've already got the type tool are click and drag and draw a small text rain and there's my flashing cursor . Then I'm going to go type insert special character markers. Current page number on that puts a small letter A. And I'm gonna make that a lot bigger just by turning it into 72 points. A lot of people think, Oh, all I've got to do is type the letter A into that frame. No, that will put a letter a on every page of your document. This is not just the letter A. It's representing the master Pai J, and it's kind of code for a new automatic page numbering icon. Now there's quite a few ways I could duplicate this for over on the right and page. If you go to the view menu and check to see if you've got smart guides on which I do, then if I hold down the old key, you see that turns into two curses and start dragging. And as I start dragging, I hold down the shift key, which keeps it a horizontal. You'll see that there are green lines connecting the two objects. The smart guides will show me green lines to indicate an alignment between two or more objects on the page. Doesn't work off the page only works on the page. Now, if I want to align that letter to the right, I could do it without choosing alignment options or highlighting the type when I have to do is command or control Shift Our on that aligns the type to the right. See would align it to the center. L would align it toe left and so on. That is automatic page numbers. If I double click on Page six, there it is. There's Page six, and over the way is paid seven. So those objects on the master page have turned into automatic page numbers within the document. 26. 26 Adobe InDesign CC Paste vs paste in place: if you've got an object selected and in design, and I just go ahead and select this object and you go to the edit menu, you'll see that you got a copy and paste, and you've also got paste in place. Now this is a really useful shortcut to learn, and I'll show you why. This is a master page on a 16 page document. There it'll is, and I put page numbering icons in place, and I've got Master Page A. That's the only master page that I've got. I don't have any others. Well, how about if I've got a layout on Master Page A. And I want to add a new most of age with a different layout. Master Page B. But I want to run page numbers through A and B continuously, so the page numbers on be on exactly the same place as they were on a This is how you do it . If I select both, these objects are just used command or control A that select all. And then I could use command or control. See, And that's copy. Now. If I did command or control V it, just paste them into the middle of the page, and that's what pace does it lan Chile. Paste it into the dead center of the screen. Whatever part of your pages showing, it'll just go straight into the center of the screen. I don't want them there, so I've already got them carpet. I don't need to copy them again. If I go to the pages window and click on the options button, I can say New Master, and it's going to name them, you know, a B, C, D and so on. So this one's going to be be and it's a two page master and it's a four portrait, and I haven't changed anything, so there it is. But now, instead of using paste, I'm going to use paste in place in the shortcut for that is Commander Control Ault, Shift V. And there you go. No, I've got them in exactly the same place on the B master as they are on the A master. And to prove it, I'm going to apply the be master to a couple of pages in my document. Now there's a quick and easy way of doing that as well. So let's say the 1st 4 pages are title page, half title page, copyright page and contents on What I Did there was to click on each page in turn when I held down the commander of the Control key. What I could do instead is click on one and shift click on four on the shift key kind of means that you're designating the beginning in the end of a list. Another cherry pick I could command click on additional pages and that's a total lie could click again and de select the page So there I could just go through the documents selecting pages around them. No, I want to apply the beam master to order them simultaneously. You see that they've all got an A in the top outside corner. Well, if you hold down the old key and then click on the B monster Bang Now there's all formatted with the beam master. So let's go look at this one. This is Pages four and five. Our double click on four, and I got the number on page for on the number on page five, and nobody would ever know that there are two different master pages. Formatting it If I go back to the B master and I draw an object on the left hand page. So I get the rectangle tool, go to swatches and choose a fill color of green on. Then draw a shape and I'm going to draw a slightly different shape on the right and page, and you can see that the objects I have drawn on the master page and now follow through into the document. The object on the left page goes only to the left hand. Pages on the object on the right page goes only to the right and pages. I'm going to double, click on the A master and then switch to the lips Tool and I draw a tool, narrow a lips on the left hand page and a wide, flat ellipse on the right and page, and you can see the result. Every page now holds the items there on the master pages, but the left hand master page can only for matter left and document page, and a right and faster page can only format at right and page. If I wanted to update, let's say I want Page nine to become the be Master. I could drag the words or the left end page or the right end page onto Page nine like that and drop it and immediately. That page is now controlled by the Beam master, and it shows the object that is on the right hand page of the B master. And if I go into the document, so here's pages eight and nine. I cannot select those objects. They're locked. That's the default there. In fact, if you command or control shift, click on an object, you can select it. And if it's selected now it's on the document page. It's no longer really a Master Beija object, and you can do whatever you want to it. But here's the interesting thing. The pages. Windows still says that the Beam master controls Page eight. What doesn't like it does to me. If I drag the beam master back down onto Page eight and drop it again, it reasserts its control. So that's some of her monster pages can help you out when you're doing a layout 27. 27 Adobe InDesign CC Drop caps and nested styles: No, we're gonna have a look, a drop caps and nested styles. At some point in my in design courses, I usually stop and ask everybody who doesn't know what a drop cap is. And usually quite a few people put their hands in the air. I'm always kind of surprised by that, because I think the words drop cap sort of tell you what it's supposed to look like. But anyway, I'll show you what they are. I've got a static or drop caps, a nested styles, and it's applied to all the text in this frame, even though I don't actually have any drop Capital India nested style applied just yet, But if I double click on that and then we'll go to drop caps, invested styles and it says drop caps How Maney lines do I want. Well, let's have three one character, and I'm going to choose a character style off nested style, and that applies this nested style character style just to the drop cap. I'm going to go back and say none, and then down here, I'm going to apply the same style as a nested style, so you click on new nested style you've already got your character style waiting in the wings here it says none on. I'm going to click on nested style. But then I got to tell it what I want to apply it to, and I've got various choices here, so there are all kinds of options, and I can tell it how many words I want to apply it to in this case. So I say through and I'm going to choose five words, and as soon as I do that, the preview kicks in, and they're the 1st 5 words in my nested style, as well as a drop cap kind of neat. 28. 28 - Adobe InDesign CC - Adding and Deleting Document Pages: If you want to add pages to or delete pages from an in design document, it's really easy. What I've got here right now is a 16 page document facing pages. Page one, of course, is on its own. At the beginning. It's a right and page. Then we've got spreads left and right hand. The pages window like this takes up quite a lot of space on the desktop. So if you want to make it a bit more efficient going to the options button and then go down to view pages and click on horizontally, and I'm going to drag this power up, and now it takes up a lot less space. So if I want to add a page to this document is one page I could grab one of the A Most of age icons doesn't matter which one and drop it between any two existing pages. And by doing that, I'm saying I want to add a new page to the document, so 16 pages would then become 17. If, however, I dropped it right on top of one of the pages, then that's how you format a page with the A master so that wouldn't add a page to the document. If I want to delete pages, I could click once on page one, hold down the shift key and click save on Page four. And because I've used the shift key, I've designated the end of a list, and so it also select all the intermediate pages on. Then I could click on the trash can and they're gone on my document. Just got four pages smaller orca Click say here on page eight and then hold down the command or the control key, which allows you to cherry pick individual pages here and there of you want them. And if you click on them again with a commander control key held down, then they're no longer selected and then click on the trash can. Then the document will get two pages smaller cause those two pages disappeared. So that's all there is to it. You just add and delete. There's another way I could add, and I could say double click on Page seven. Now I'm on page seven in Design, knows him on Page seven, and then it could click on the Options button and say, insert pages, and I want five pages after page seven and they're going to be formatted with the A master now I could choose after, therefore at the start of the document at the end of the document, you can put them wherever you want. Ondas. Soon as I click. OK? And if I'd put page numbering icons on the master page, they would have fit right in. So that's how you do it. Dead easy. 29. 29 - Adobe InDesign CC - Master Pages: in this video. Gonna have a look at master pages, And I've already had a look at automatic page numbering. I'm going to cover that briefly again here, So I'm gonna go to the pages window. First of all, I've already created um, 16 page document and I'm going to go to the A maester page here By double clicking on that , you can either click on the words or the icons. Doesn't matter. And these are the a master pages. At first, I put automatic page numbering icons on them. So I'm going to create a small text rain here. And I've already created a paragraph style called Would you believe page numbers? And in that paragraph style, which I'm just going toe open, I'm gonna go to in dense and spacing And you can see that I've chosen is the alignment away from spine. Now these two towards spine and away from spine. Kind of weird, maybe therefore ever on guard poetry? No, they're for page numbering icons. So this means that on each page the left hand page, the number would be alone to the left and on the right. It'll be lying to the right. So to put the icon in I go type insert special character Marcus Current page number, and there it is now going to select that and copy it and just paste it. And when you paste the pace that objectors lands in the middle of the screen, not the middle of the page, the middle of the screen not gonna pull that over here and you'll see that letter A will immediately move to the right like so. And I'll park that down here. And I just put this one down here, and that's it for page numbering. OK, so I'm going to choose the rectangle tool, so I'm going to draw a shape on the left hand page. Now you see that immediately because it was working in it. This page numbering frame is selected, so command shift a control shift a D selectable. Now I can go ahead and create a rectangle field with color on what a suggested people is. You choose the tool, you set up the colors and then you draw the shape because the stroke the default setting is half of it is inside the object boundaries, and half of it is outside. So if later on, you suddenly realize oops that shapes got a stroke, and it's not supposed to. When you take it off, the size of the visible object changes. So I'm going to draw a vertical rectangle on the left hand page in a horizontal rectangle on the right hand page. And now, if I click on the pages window, you can see every single one of these pages has the appropriate icon showing on it. They've been put there by the master pages. If I go to one of these pages, say Page four, I cannot select this object who won't let me. Master Page elements as a default are locked. However, If I hold down command or control and shift and click on it now it's unlocked. I can change its size. I couldn't move it. I could change the fill cutter. But if I decided I wanted to reapply Master Page A. And you see all these pages have an A in the top corner. I want to reapply most of age ater this page. That object is going to return to its default shape so I can either drag the words or a contract. The page icons If I want to drag the right and page icon, I can. But it will make any difference because this is a left hand page and you can only put a left hand master on a left and document page like that. So then the magenta rectangle disappeared completely. In fact, it's reverted to this the green wester page element. So that's what master pages do. You put stuff on the master pages and they in turn format all the document pages to which that master pages applied. If I decided I want to create a new master, so I'm just gonna drag this down of it and go to the options button and say, New Master and there's nothing there I need to change. It's going to be the Beam master. So a B, C D. And so on two pages a four. Fine, OK, and there it is. And there it is, on the screen as well. Now, instead of drawing a green shape, I'm gonna produce a red shape on the left hand page and another ridge shape on the right and page, and then I'm gonna go back to the pages window. Now let's say I want to apply the beam master to page seven, so I'll drag now. This time we're going to drag the words down onto Page seven right in the middle of it. Drop it and you can see instantly that the Beam Master page has picked up this object and put it on page seven in the document. I didn't get the page numbering icon with it on. This could be a problem, so I'm going to go back to Page A most of a J on. I'll select this frame on the left hand page and then shift. Click on that frame on the right and page commander control seed. A copy now will go to the B most of page, and the short cut her paste in place is command shift. Old V. Well, you can just go edit paste in place, and those two frames have landed in exactly the same place here on the Beam monster as they were on the A master. And that means that now, on page seven, I've got a continuation of the numbering system, and that's essentially how master pages work I've never had in design say Oh, you've got too many you can't have anymore. And I've had over 40 meister pages in a single document, which is kind of pushing it. So as far as I'm concerned, you can have as many as you want on their pretty useful. 30. 30 - Adobe InDesign CC - Object Styles: Most people who use in design get to know paragraph styles, and they usually also get to know character styles. But the one that they often don't get to know of these objects styles. And, as usual, you've got some default objects, styles to work with should you wish. So what are they? I'm going to draw a rectangle and I'll give it a fill. Connor off magenta. And there it is, and I'm gonna add a few special effects to it. So if I go to object effects, drop shadow, let's give it a drop shadow. There's the default drop shadow, but here I can change it if I want. I can change the opacity, make it lighter. I can change the angle that the light is hitting the object from. If I had two or three effects that used the light source and I use global light, it would mean that the light source was counted as being the same for both of them. Right now that's not checked. So if I go to Beverly in in Boss and that is the default bevel, I'm gonna make it a bit more pronounced. So choose chisel hard and increase the size of it. There we go. Now I'm going to change the angle. So the lighting for the bevel is coming from the bottom right? And the lighting for the drop shadow is coming from the top left on. That looks downright strange. So if I click on Use Global Light and then go to Beverly in in Boston, also say here, use Global Light now they're both the same. Now that makes a lot more sense, and I'm gonna okay that that combination of attributes is now worth saving as an object style. Assuming that I might want to use it again, let's give it one more thing. Let's give it a textract. So click on Textract and then I'm going to give it a tax write according to the bounding box, which is the rectangular shape in this case. And I wanted to push a little bit further out on the right, so I'll give that to millimeters and I'll pull it into the text and find out how it looks. Well, I would probably want Mawr space around it in order to accommodate the drop shadow. So let's do that. Agreed a bit more space on the right. I'll give it a bit more space underneath. And, of course, I can move the object around by tapping on the arrow keys. So that's pretty good. How about if I wanted to apply those same things? The drop shot of the bevel, the tax trap to another object? So I get the rectangle tool again. This time I'm going to give it a fill color off green, and I'll draw a green rectangle. No, I didn't save the attributes of this magenta rectangle yet as objects style. So I'll do that now select it. Goto object styles, options, button, new objects style. And that's the list of stuff it's gonna pick up. I mean everything. Transparency, drop shadow, bevel and emboss you name it. It picked it up, including the fill color. Well, if I left that selected and I played this subject style to this green rectangle, it's going to go magenta. So I'm gonna uncheck Phil. I'll leave stroke because they're both the same click. OK, it's just called objects style. One click on this subject Click Bank, exactly the same as I got for the magenta object above it. How about if I want to play that to a different shape. So this time I'm going to draw in a lips and we're gonna have a sand filled ellipse this time. So there's my lips, absolutely flat, no drop shadow and nothing. So while it's selected, if I go to my objects styles window and click on objects style one, it gets the drop shadow. It gets the bevel. It didn't get the color change because I didn't tell the object style to pick up the fill color. However, the text is exactly the same as it was for the rectangles. It's set to the bounding box. So when I put that shape in the text, of course, it doesn't look quite right. Well, the good news is I could go back now to the text right window and edit it. I'll go to the shape text rap, and I'll give it a three millimeter are set all the way around. So even though it's basically set up by the attributes in an object style, you can then select it and continue to edit it and adjust those attributes. So that's how objects styles work there. Seriously useful, they really will pick up an amazing amount of stuff 31. 31 - Adobe InDesign CC - The Pen Tool: Now I'm gonna show you the pen tool. I kind of dread doing this cause everyone hates the mental. I don't I shouldn't say everyone. I love it. Using the pen tal was very helpful to me because I came to computers because I loved drawing and painting. And actually, I wanted to be able to draw and paint without having to clean up my brushes. So generally programs that on computers are not that great if you want to really do sort of drawing and painting there. I wanted to, but the pencil seemed to be pretty close in some ways. So I practiced a lot with it, really a lot, and as a result, I was able to take on work and produce it in such a way that none of my contemporaries could do because they hated the mental. So it's really worth it. No one problem with a pen tool is if I look at the fly out here, that'll these tools on the fly out. The good news is you don't need the fly out and you don't need these shortcuts. Now the Penta lives in photo shop and illustrators well, and the short cuts are different in each program. That's one source of confusion right there. Now I know, and I'm going to show you now. A set of short counts their works in all three. So that should help, shouldn't it? And I'm just going to start with a pen tal. The shortcut for the pencil, if you want, is just the letter. P. I'm going to draw a line with No Phil. It's black line. I'm gonna make it a bit bigger so you can see it more easily. Two points and it's a solid line, I recommend. If you want to get good with a pen tool, you just practice with it a bit. And we're not going to do just random practices. A few things you can do to help yourself developed with a pencil. Don't do them until you get frustrated, just doing for a few minutes when you have time, and pretty soon you'll find that you're getting really good with a pento because you're used to it. So here we go. So I'm just going to click, and that puts down an anchor point, which is going to be the end off the line segment. If I click over here, there's a straight line. I'm just gonna go up and click and then across and click down and click and a crossing click. So I'm drawing straight line segments. There's nothing to it. Quite often. I'll draw a more complicated shape in straight line segments, and I'll come back and put the codes in afterwards because it's tricky doing them at the time. Anyway, This is, you can see follows me around continuously, So if I want to stop that, I don't want it to follow me around anymore. If I hold down the control of the command key, the pan turns into the direct selection tool, and if I click in white space, I just let go of that line, which means I can now draw something else. Now the next line, I'm going to introduce a curve, so I'm going to click to begin with, move across and click straight line, come up here. But I've moved to the right cause I'm going to click and drag to the right, and these are busier handles. This is what's called a busy a curve. You cannot move the handles with the pen tal, and you never click where the lion already exists. So the line's already here. I'm not gonna click here. I'm gonna come down here. The left hand handle is what's produced this curve. The right hand handle is already to produce another curve. Depending on where I click like that, then I come over here. Hold down the control. Come on, Key. Click and white space on. I've now let go of that one as well. The 3rd 1 I'm going to click and started off. There we go. There's a straight line. Now I'm going to click and drag again. But how about if I want this side to be curved? What? I want this side to be straight So I'm gonna toggle into what's called the Convert Direction Point tool, which looks like an upturned V. We're holding down the old key, and if I click there, it removes the handle from the right hand side. Now let go. The old key, which means the next part of the lion is going to be straight like that. Then I'll hold down command or control click and white space, and I'm done. So it's that easy to draw stuff. Now how about If you want to edit it afterwards, I'm gonna come on or control click on this one again just to wake it up. Now it's awake. No. If I hover over part of the line where there's no anchor point, you see that little plus sign. Yeah, if I click while the plus signs showing I just got a new anchor point and I could hold down the command or the control key and move it. In fact, you could move anchor points just by holding down command or control even while you're still drawing and edit the path. If I hover over an existing anchor point, you'll see a little minus sign. See that if I click while a minor sons showing that anchor point is history. If I hold down the old key and click and drag on an anchor point, I pull handles out of it, creating a curve. If I'm working with a curved by holding down the commander control key, I can move the handles, but I can't move them individually. They insist on acting like a kind of a seesaw going through that life handles could be different lengths, but they can't move independently. of each other. However, if I hold on the old key, they can. Now. If you can delete anchor points and add anchor points and change straight lines to curves and look, I'm going to change curves two straight lines. By all clicking on that, you can create any shape you want. All you need is time and patience. Unfortunately, you can't buy either of those now. The more you're familiar with a pen tal, the less time it's going to take you so that can take care of the time issue. And so long as you don't allow yourself to get frustrated with it and you stop and do something else. Before that happens, you'll have enough patients to do the work. I really recommend you get used to this tool. It's great. It's a really, really good tool. I decided to tag a few examples of things I've done with a pen tal mostly years ago, but in hopes that they would maybe be some kind of inspiration to you. So this is a book cover that I did. This is entirely done with a pen tal than a little bit of type. This is a nad I did for a winery in North California. I spent a lot of time on their logo because I knew they'd really check that out. That got me a lot of work. This is an ad I did for an auction. I put the auction catalogue together, so I got a full page ad. I got a huge amount of work from that, and that's all mental, either working with a pencil in illustrator or actually sitting out in the garden with a pen drawing foliage. And this is an illustration for a book about traveling in Ireland, and there's no reason where you couldn't do stuff like this to all it takes, as I said is time and patience, and if you put in the practice, hey, you got it. 32. 32 - Adobe InDesign CC - The Pencil and Line Tools: How about if you want to draw lines in in design, there are several tools which allow you to do it. There's this one which allows you to draw a single straight line segments is the pen tal, which is the tool I call the tool everyone loves to hate. And there's the pencil tool. So let's have a look at the straight line segment tool. First, I'm going to click on the tool. And then, as usual, I'm going to come and set up the line that I want to draw. No straight lines don't have a fill. It doesn't matter if you have one, but I tend to be a bit obsessive about stuff like this. So I'm gonna have no Phil. Then what kind is my line going to be? Well, it's going to be magenta. How thick is the line going to be? It's going to be 10 points and what style of line. Now, this is where you've got to be a little bit careful. Who is there some pretty wild lines here, so I'm just going to go for a solid line. Then you click and drag and you let go. That's it. Tricky huh? I'm going to delete that one. How about if I want a horizontal or vertical line or line at 45 degrees? If I hold down the shift key first and then click and drag, there's a horizontal lion. Here's a vertical line and there's a line at 45 degrees. And if I extend or contract this line with the selection tool, I cannot. Even if I move the curse a way out of line with it, I cannot drag it out of being horizontal. However, if I use the direct selection tool, so first I'll de select it, then I'll click on it. And now that the anchor points at each and a hollow so I can click on that one and grab it and move it. And I no longer have ah, horizontal line. So that's the straight line segment tool. Pretty straightforward. Now I'm going to go straight onto the pencil tool because the pen tal deserves its own little video. It's that bad. So there are three tools on the pencil to a flower pencil tool. Smooth tool erased. All. I'm going to start with a pencil tool on the idea with a pencil tool is it just creates a free hand line as you draw now, the number of anchor points in it. The complexity of the line depends. If I double click on that tool, this window opens. I've got a tolerance with fidelity and smoothness. Right now, Fidelity is 1/2 a pixel smoothness. Is it zero? Which means that is a pretty accurate reflection of the path I took with that tool on the page. However, if I turn this up to 20 pixels and smoothness up to 100% and then draw another line and I'll try and make this one really sort of Jaggi, well, it really kind of smooth it out. So it follows the major direction changes, but it doesn't follow the subtlety. Now. If I decide that my lion is far too complex, I can get hold of thes smooth tool. Now the smooth tool. Also, if I double click on it has fidelity and smoothness. So fidelity and smoothness set to right here on the left hand end should result in a simplification of the path. So I'm gonna zoom in a little bit here, so we conceded a bit more clearly. There's all the anchor points. So then you just drag thes smooth tool along the path. And there you go. It's taken out a lot of the anchor points, and it's tried to retain the shape. If I thought it had changed the shape too much, I could change the fidelity in the smoothness settings and try again. Sometimes if they're way up with the other end, you will actually add anchor points when you intended to smooth it out, which can be a bit of a surprise. The third tool, the race tool, does exactly what you had expected to. You click and drag on the path, and it erases a chunk of it. And now, if I get the selection tool and click on that bit, that's one object. This is another object. This is another object, so it divides the path up into separate objects. If, on the other hand, I use the scissors tool and I just hover over a path and you don't even need to have the past selected and click. I cut it, but I didn't erase any of it, and I've now got two separate objects, but I didn't lose any of the path. I'll just show you one quick thing with a pencil, which is kind of useful. Let's say that I wanted to join up these two ends and these two ends, and neither part is selected. If I get the pen tool and I hover over this end, there's a little diagonal next to the pen nib. If I click, I just joined onto that path, and if I come down here, there's little sort of square with a line through it. And if I click, I just joined up those two ends. Here's the diagonal again, and here's a little circle with no line through it. Now I've got an enclosed shape, and I could fill that with a color if I wanted. Go to swatches. Pick on the Phil icon. Pick on green. Lovely. So that's the pencil tool with a little bit of help from the pen 33. 33 - Adobe InDesign CC - Preflight: in this video, I'm going to show you about pre flight The pre flights. Intention is to help you while you're working on point out any things that you might have done wrong? Unfortunately, the default preflight settings that come within design. Um, not great. Now I'm going to set up one for a print document. This would not be appropriate if you're gonna output stuff for a web document. You could set up your own for that, but I'm sure you'll get the idea as I go through this. Down here is where you see preflight right now. I've got the basic working profile in place and there are no errors. Well, if I click on this image and then go to the links window, there it is. And down here, it tells me lots of useful stuff about it. It's called Land to Tiff. Tiff is a great print format. It's no good for web. You can't put a tiff image on a website. It's kind of spaces. RGB. Now, if I'm gonna print, that's a no no, I would not allow an RGB document into my work, especially one that showed lots of lovely shades of blue which may change when they convert to see um I k. The status is okay, which means in design knows where to get it. It's a linked file. It's not embedded. It lives somewhere else on the hard drive. And if I printed the document were made a PdF in Designed to Go Off and get it, it's actual PP. I is the resolution. It was saved out wherever it was last save where this was generated. 72 pixels per inch. Not great, certainly no good for print, Effective PP. I is 77 which means how many pixels to the inch are actually being displayed in this document. Now that's variable. If I hold down command or control and shift and then click and hold on that corner for a second, then I'll get a live preview As I enlarged or reduced the image size, I'm going to reduce it on Let go of the mouse first and now the effective PP has gone up to 136 because all the pixels got smaller, so now more of them will fit in a linear inch. It's still not enough for print. If I was going to go for offset printing, using plates ending I would want roughly 300 pixels per inch. If I was going to do digital printing, I'd probably want at least 150. So what do I do? Because this is still giving me a green blob and saying no errors. And obviously that is not the case. I need to define a new profile suitable footprint by clicking on this arrow and then defined profiles and I'll add a new one. Cold new links. I'm not too bothered about color kind of spaces emerge, not allowed. I'm gonna click in that box and that Waksal these up rgb I definitely want to be warned if I accidentally put an RGB object into my document. Seem like a no. I don't need to be warned. That's what I want. Spot color, things like Pantone Colors. I may allow them, but I'd want to know, just in case they have made a mistake. Gray, this is the K the black out of CME. Wake A Remember, it stands for key, so I don't need to be warned. If I've got a grayscale image of my document, that should be fine. Lab color. Lightness A and B is a slightly wider range of color than RGB, and you can put it in an in design document and you can print it, but just the same as for RGB. If you do, Conners made change because there's some colors in both the lab and the RGB color spaces that you cannot print. So, yes, I would want to be warned. Let's move on down Images and Objects Image resolution Again. I'll click on that and that will wake up all the contents. Kana Image minimum raise to 50. Well, if I was going to go offset printing using plates and ink, I would prefer 300 but I could get away with a bit less, so I'm going to put in to 80 for that. Less than that I probably wouldn't allow, but at that point I would want to be warned. Same for grayscale images to 80 for one bit. Images that means black and white. 800. It's a bit like you do need much high resolution for those because there's no shades of gray to soften the edges. So I think I'd want at least 1000 known proportional scaling the placed objects? Yes, please. That tells me instantly, if I squished something accidentally. Minimum stroke. Wait, Let's have a look at that. The minimum stroke weight is 0.125 of a point on the point is a 72nd of an inch. This is an eighth. So an eighth of a 72nd is roughly of 560th of an inch, which is finer than a lot of human hair. So that's far too light. So I'm going to change that 2.5 now. I may allow less than 0.5, but this will warn me anytime I put in a line thinner than 0.5. There's nothing else here that I need to worry about under text. It will tell me if I've got over set text or a missing front. Great, that's all I need. So now I'm going to say, OK, now I've got to put in place because you can see the Blob is still green, and we know there's problems with this image, so I click on the arrow again on this time, go to preflight panel, where it says my basic working profile is stood in place. If I click on the options button and go to pre flight options. The working profile is now going to be new. I don't need to embed it in new documents. All I needed to do is check them when opening documents used the working profile. That's good. I'm gonna click. OK, but it's still not in place, so I'm gonna put it in place. New, working. And as soon as I do that problems, the blood goes red. There are two errors. One is about color. Let's open it kind of space. Not allowed is the problem. And it's about land to content. Uses RGB, which we knew. That's a problem. Images and objects. It's open up that image resolution land to problem Color images must be at least 2 80 PP. I this one's 78 not quite enough. So now it's doing what it should, and it will continue to do what it should. And every time I change things in the document, it will re evaluate them. So if you fix it, pre flight is actually seriously useful. Just keep remembering to have a look at that blob every so often and deal with the errors before you end up with, like, 300 off Um, and it's going to take you all day 34. 34 - Adobe InDesign CC - Saving InDesign Documents: If you want to save a document and in design, you've got three different options. Now here's a picture of a canal and note up here. It's already Bean saved his canal picks I n d D. And the reason I know it's already been saved because there's no asterisk appearing next to the name up here. If I move that picture just a little bit now, it's a new, unsafe document. And there is an asterisk Ophir next to the name indicating it's not being saved yet. So if I go to file and save as now, I've got three options. First of all, I can name it whatever I want. Now go to call it canal picks to and down here. I've got in design CC 2018 Document in design, CC 2018 template and I D nl. Okay, so document would just mean I save it. I can open it up again. Carry on working. Save it again. It's just a nen design document template would mean I couldn't open it again. I can open up a copy of it, and that means the original stays safe. So when you've got all the layout for, say, a newsletter that you're gonna work on every month you create the layout, you maybe put the colors you need in the swatches window, paragraph styles in the paragraph styles window, and then you save It is a template. And then when it comes round to be worked on again, you open up the template and it opens up on unnamed copy and then you work on it and save it is a document very useful. The last one idea Mel is pretty strange. It says in design. CS War later. So this is the way that you can back save a document for someone using an older version of the program. In fact, older right the way back to in Design CS four, which is quite a while ago. The other weird thing about it is it gives it this I d. M l extension in design markup language, and it'll be a fraction of the size that it would bean had you saved it as an in design CC document. I mean, it can be really alarmingly different. If it's a document, it would say 200 megabytes as an idea. Mel, it might be seven or eight and I do not know where all the additional stuff is gone. I've tried to find out what the differences are between them doesn't seem to be any Everything that I put in each document is there, whether I save it as a 2018 document or an idea, Mel. So if you want to archive stuff, I'd email is a really, really good format goes. It'll take up a fraction of the space on your hard drive that it would if you saved it as a C C 2018 document. And in fact, when you package a file which used to be collecting everything together to send to a print shop. But it's also very useful. If you want archive stuff, you go filed package. And first of all, you designate of the folder that you want to save everything into, and then you can tell it you want to save all the fonts you want to save all the linked files, the images. It's going to re link them inside that folder, and you can also tell it to create an idea Mel version of the document for you as well as a PdF. And you can specify what kind of pdf you want. So you tell it you want an idea, Mel. Then you create the package, then maybe been the in design file from the idea mail package. And there's your archive, everything that you need to carry on working with it in the future, taking up a fraction of the size in your hard drive that it otherwise would have done. So they're your three options for saving an in design document. 35. 35 - Adobe InDesign CC - Numbering Options: in this video, I'm going to show you how to re number part of your document. So as is quite often the case, I've got a 16 page document here, but they've all got page numbering icons on them. How about if I wanted to treat this as if it was the beginning section of a book? So Page one might be the title page on page to the hive title page three copyright page, Page four, Table of contents, None of which would have a page number on them. Then I've got the authors. Intro pages 56 and seven actually need to become Roman numerals. I II II Page eight is blank, and Page nine needs to be re numbered as Page one because it's where Chapter one begins. I usually start as far into the document as I need, because if I changed page five to Roman numeral one, I, then the rest of the Rocket will become Roman numerals, and I might not be able to easily find what Page nine used to be. So I'm going to start with page nine, so double click on it, and that tells in design I want to do with Paige. Night Page one is already the beginning of a section. And the section means you can redefine the numbering at that point. So now I start a new section on page nine which will allow me to redefine the numbering there. The next thing is go to the layout menu and then down to numbering and section options. And in this window, yes, I want to start a section, but I've already got automatic page numbering. I don't need it. So instead I'm going to click on start page numbering at one. A lot of people make the mistake of changing that toe a nine. Or if you do that, the nine isn't going to change. Leave it at one now, as soon as I click OK in designs. Going to say you've already got a page one in this document? Are you sure you want another? Yes. OK. And page nine becomes page one not only here on the screen, but up here in the pages windows. Well, now we can go to page five by double clicking on it. And again, I want to define a new numbering sequence here Roman numerals. So I go to the layout menu down to numbering at section options and as before, start section Yes, automatic page numbering No start page numbering at one. But down here in the page numbering area, I've got different options for what kind of numbers to use. And there are two for Roman numerals. Upper and lower case. While the Romans didn't use lower case, so I'm not going to either. I'll use upper case, so it's going to be I i V and so forth assumes I click. OK, Page five becomes I followed by I I I I Unfortunately, though Page eight is now Ivy, I don't want a number on page eight. I don't want a number on page one or two and three or four, either. So how do I deal with that? It's actually very easy. You just click on one once you don't need to double click. Then you hold down the shift key and click on four, and then you hold down the command of the control key and click on what used to be page eight Ivy. You can cherry pick by holding down command or control. Having selected all the pages that I want to delete the page numbering from I'll Hold Down the old key and click on the word None on that applies The Nun Masters simultaneously toe all those pages and you can see the A disappears from the top corner. The Nun Master Page cannot hold any information it all. So all of these pages now blank like that, it's no longer ivy. It's the blank page opposite the beginning of Chapter one, So that's how you can add different numbering sequences in a single document. 36. 36 - Adobe InDesign CC - Drawing Shapes: you know, it suddenly occurred to me that I never showed you how to draw shapes. That's pretty basic. So now I'm going to show you how to draw shapes and bear with me. If you already know this stuff, I bet there's something here that you haven't seen. So here's the shape tool. Now you got to. This is called a frame tool, and this is just the shape tool. So that's rectangle frame. This is just the rectangle. Basically, they are synonymous. Adobe recommends that use this one to create frames on the page as placeholders that you're going to put stuff into you could just as well use this one really doesn't make any difference. These shapes has a big diagonal X in them, and personally, I prefer not to clutter up. My work with Big Diagonal X is so I tend to use this one. Now there's a fly out menu Comptel that little dark bottom right hand corner. If you want to see the fly out, there's two ways you either right click on the tool and then the flat appears, or you just put the cursor on the tool and hold it down for a second, and then the fly out appears. You slide along to the tool you want to use and click on it, and that tool stays selected until you choose something else. You don't have to keep coming back and clicking on it. So I chosen the tool. No, I'm going to choose the colors, and that means you choose the fill color and the stroke color. So I'm going to give it a fill of green, and only if the stroke crows black. That's fine. I'm happy with that and I'll draw the shape. And there it is. And up here on the control bar, it tells me the width and the height where it is on the page. Exes. Health Horan for the left wires. How far down from the top? And it's measuring this point, the middle off the left hand side. If I click on a different reference point, the numbers change. If I click on all of these top reference points, the X field changes, but the wife feel doesn't because they're all the same distance down from the top of the page Now. I can't move this shape with this tool. The rectangle tool will only allow me to draw rectangles. Even though this shape is selected, the only way I could change its dimensions now are in the control bar. If I wanted to draw a perfect square, I could hold down the shift key and then click and drag, and there's a perfect square. There's the Ellipse tool as well, which is identical. You draw the lips or you hold in the shift key and Eudora Circle. Now with both these tools, If you want to tell it what size you want, you choose the tool, and then you just click on the page and this window appears. And here's the width and the height. This is taken from the last shape that I drew. If I want another one that's identical, I click OK, and it appears where I clicked to open this window. You don't really need to do that. It's usually just Azizi to draw the shape you want and size it. How you want, where the exception is with the third tool on the fly out, and that's the polygon tool. No, I do recommend that you click on the page before we draw this one because as well as having a width and a height. It's also got the number of sites that you're gonna have and a star in said, If I say this is gonna have five sides and no star in set, that's the shape I get. If I say it's gonna have five sides and a 50% star in set, that's the shape I get now. For a long time, I thought, the once you've got the shape like that and you'd let go of it, you couldn't change the number of sides. Not so I only found this out recently. Nice. You keep on learning with this stuff. It's pretty cool. I've got the shape selected. I'm gonna double click on the polygon tool on this window, opens. And if I change the number of sides to nine on the star inset to 90% as soon as I click OK , that's what happens so you can update shapes once you've drawn them before we leave shapes behind. There's one other thing that I think he'll get a kick out of, so I'm going to go get the rectangle tool and over in the swatches window, I'll choose Red as the fill color, and I'm going to draw a rectangle like So Now I'm gonna go get the Ellipse tool and I'll draw a red filled ellipse over here. Now if I wanted to combine those two shapes, let's say I wanted to put this the lips like that, but I want to combine them so there's only one outline. So this black stroke on the Ellipse would not be visible. This is how you do it. You select both shapes, and then you go window objects and layout. Pathfinder, the Pathfinder window contains all kinds of good is, but this is there. I'm interested in the Pathfinder icons. This one is add on. It will add those two shapes together, leaving me with a single outline. That's No one shape. Cool, huh? Now I'm going to do commander controls Ed. To undo that, the second icon would cut the top object away from the bottom object like that. The third icon will leave me only the area where they overlap. The fourth icon leaves me with everything, but where they overlap on the fifth icon cuts the bottom object away from the top object like So now you've got a lot of options there, which can really save you a lot of time. Pathfinder came originally from illustrator. I actually prefer it in in design. I think it's a little more intuitive. Anyway, There you have it. Have fun. 37. 37 - Adobe InDesign CC - The Stroke Window: in this video, I'm going to show you the stroke window, so I'll go and open it, and then I'm gonna go get the lion tool and draw a line. Now, what I normally do is I choose the tool. Then I set up the colors. Then I draw the shape and for lines, I like to set him up on the control bar, so lines have no Phil for the stroke color. I'm gonna give it yellow and for the way to the lion, I'm going to choose 20 points. Course you can choose anything you want. You don't have to choose from the list. You could highlight that number and type in whatever you want on. The style is going to be a solid line. Then I'm just going to click and drag and there's my line. The weight of the stroke is also shown right here at the top of the stroke window. Then we've got the cap. If I choose the direct selection tool, you'll be able to see this more easily because now you can see the thin line down the middle, which is the actual line I drew and the anchor point of the end, which is solid. It selected, and a but cap means that the end of the line is flush with the anchor point, and that's the default setting. But I could also choose rounded, and you can see that around it. Cap extends beyond the anchor point, and this projecting cap also extends beyond the anchor point. But then it cuts it off square. So those are the three types of line endings you can have now for the might appoint. I'm going to use the polygon tool, so choose the Polygon Tool and then click on the page because that means I can tell it how many sides I want. I'm gonna go with seven and let's have a 60% star in set and there's my shape, and you can see that order. These points is sort of cut off square. Let's make sure it's selected, so go back to the selection tool and I'm going to increase the miter limit by clicking on the up arrow. Look at that. Change it to five, and suddenly I got points again. So that is what the miter limit does. It gives you your points back. If I draw a rectangle. Then I'll be able to show you the corners. So the default corner setting is this one. It's a square corner, but I could round it or I could bevel it. And the default setting is also that the stroke is half inside and half outside the object . But I could set it so that it's all inside the object all outside the object. I'm gonna go back to the line. There's lots of different types of line. For instance, there's dotted, and if you've got a dotted line, you could choose a gap color, and you can also change the tent of the gap color. You've got to be a bit careful. The world may not be ready for things like this, and if you do them in your work, you may find yourself unemployed. How about arrows? You can put an arrow at the beginning or the end of your line. Will de select that one. I'll draw another line. This one's going to be black, and it's only going to be four points like so. So this was the beginning. This was the end. So while it's selected, if I click on the end list here and choose that There's my arrowhead, the scale windows below. Allow me to change the size of the arrowhead without changing the size of the line. And again, it's beginning on the left and end on the right. So if I highlight that number and change it to a two and press the tab key, that arrow had just got twice as big as it was before. I can also change the alignment. In this case, the arrowhead is flush with the end of the line. This one theory road projects beyond the line like that. So you've got a choice, this one or this one, and that's essentially what you can do with the stroke window, so it allows you to really customize any lines or shapes that you've drawn. 38. 38 - Adobe InDesign CC - Importing Text: this video is about importing text into in design from some of the source, and it could be word or text whatever. So I've created a single in design page. Now this is going to be page one off facing page document, but I've only got one page right now. And if I want to place the text into in design, I've got three different options. There's manual semi automatic automatic and it's nothing to do with the en El Rey. So here we go. First of all, I'll do commander control de cause that's how you import. It's a place, and that's the place command and I've already identified this file in this folder is being what I want. Loads are dot txt. Now this is a bucket load off placeholder text, so I'm gonna import it. It's many, many pages open, and the coast have becomes loaded with text. Now, if I just put it up here just inside the corner, the margins, and then just click, it puts in a whole page load of text. My cursor returns to its normal unloaded appearance and at the bottom of the frame here, has a Red Cross indicating that is more text. It's not being placed yet. I'd have to click on that, go to Page two and continue. So that's manual. Undo that with Commander Controls, Ed. Now I'm going to do semiautomatic, so I'll put the curse in the same place Top left corner. Now I'm gonna hold on the old key and you see that appearance of the cursor changes. So if I hold on the whole key on, then click then as it did with manual, it loads the whole page. But the difference is I still got text loaded in my cursor. I could now go straight to page two if there was a page to to go to There isn't yet. But I could create one at this point. Go to it and continue to place the text on page two. So that's semi automatic. The difference between that and manual, obviously is it keeps the cursor loaded with text. So again, I'm gonna undo that with Commander, Controls said, and this time will do fully automatic. So for that up with the curse of back up here. But now I'm gonna hold down the shift key and the difference between that and The old key is with the bulky. It's a sort of broken arrow with the shift key. It's much bolder this parentheses around it. So now I'm just going to click once. And then they go and then I'll wait and click on the pages window and it's automatically created and filled every page it needed to put all the text in the document. That's the whole thing. Now that's pretty clever and very useful. If you're doing page after page after page of text, how about if you're not? How about if you've got a layout that you want to flow it into? Well, this is how you could do it. I'll do, Commander controls that again. So now I'm back to a single page. There's my text loaded. I don't actually want it loaded right now. I'm gonna come back to it. If you've got text loaded in a cursor and you want to clear it, you just go click on the selection tool and it's gone. Now. I'm going to go to the master pages now you could, rather than doing this on the master page. If you wanted, you could create a whole Siris of linked tech streams on document pages, But I'm just going to do this on the master page. Now. I'm going to get the type tool and draw a text frame on the left hand page. Now I'm going to draw another. Then I'm going to come over to the right and page Andrew or a few more. Now I can just about see them, but they're their own thing. They're not linked to anything. The individual text rains, so that's length, Um, so get the selection tool and click on the first frame. The import is empty. The out port is empty. One. Of course, there's nothing here. But if I click on the out port, the cursor turns into a link. I can if I hover over the next frame. And if I click on that now, these two friends are linked. The import has got a little blue arrow in it, and the out port on this one has little blue arrow in it. So I click on the out port of frame number two and go across to frame three link, then go to frame four link, then go to frame five link and finally go to frame six link. So they're all linked, even though there's nothing there. No, I'm going to go back to Page one, and I can just about see the outlines of those frames on page one. Of course, I can't select thumb their master beige objects. You can't select master page objects in the document unless you hold down control or command and shift and then click on them, which I'm not going to do now. I'm gonna go get my text commander Control D. There it is. Open on my text is now loaded in the cursor. If I hover over the first frame, it changes. You see that change square appearance rounded with text in it Appearance. All have to do is click once in that frame. Don't have to hold on any keys. Just click and it found it and then wait a second. How about that? It's used that layout that I created on the master page, and again it's created an entire document for me. So if I had gone through and used placeholder frames by getting the type tool and drawing the frames on all the pages, exactly, I wanted them, I could then flow the text into a whole lot. How about let's say that on page 13 I want to have a new chapter start on on Page 13. The way a chapter looks is the top half of the page is empty, the bottom out of the pages filled with text. And then I want to continue with its layout. I'm gonna need a new master page, so pages window options button New Master. This is all fine. It's going to be called be no problems two pages And there it is, and I'll get the type tool and draw the frame that I want on the bottom half of the right hand page chapters kind of always begin on the right and page. It's just sort of convention. No, I'm gonna go to Page 13 now. I'm going to apply the Be Master to Page 13 just by dragging and dropping right on top of it, and you can just see now the line there, the dotted line that's the top edge of my frame That's on the B master, which, of course, I still can't select because it's the most of age object. But I can now select thes frames because Now they're part of the document, so I select them all and elite thumb. And then I click on the frame here on the preceding page, Page 12 click on the out port, hover over my frame on page 13. There's the Link Icon Click. It linked that frame back into the threats would know Hitch. If I go to view extras show text threads, then it now shows me the direction of flow, and you can see that it goes from page 12 through page 13 on. Then it continues on page 14. Easy, very, very useful. If you're doing loan documents, this could save you a huge amount of time and sort out all your formatting. 39. 39 – Adobe InDesign CC – The Little Red Cross...: So this is a video which I completely forgot to make first time round, and it's how to connect up text frames and what that little Red Cross means at the end of a text rain. So I'm going to go get the type tool, and then I'll draw a small text frame, and I'll fill this with placeholder type. So this is nothing special. A whole bunch of garbage. If I get the selection tool, you'll see that up here, near the top left hand corner. There's an empty square that's the import, and there's another one down near the bottom right hand corner. That's the out port. Now the import will tell you of text came in from somewhere else, and the output will tell you if it goes out to somewhere else. But it will also tell you if I make this frame of its smaller, that there's too much text to fit inside the frame and that Red Cross says over set text, there's more. Texan will fit now if you want to flow this text onto another page or into another frame on the same page. This is what you do with the selection tool you just go pop on that loads the text into the cursor. Now you can either just click and drag on this page, and that's a continuation of the text, or you can go to the next place. If I click on that, go to the pages window double click on Page two. I can now continue the type on page two that's linked to the frame on page one. If I go up to view extras show text threads, it will show me a blue line connecting the two pages. So I'm gonna hold down the space bar and click and drag, and you can see that Blue Arrow connects the two frames on the two pages. Now I'm going to delete that for a second and put that extension on page one because I want to show you text flow if I do this again. But I keep the extension on Page one. If I've got three lines here that I don't really want is not enough space, perhaps so there was three lines and I want to move them along. If I click on this rape and then click on this handle and wait for a second until that gray box appears. No, Aiken. Drag it up, and as I do, I get a live preview of what's happening. So as the text disappeared from Frame one, it appeared in frame. Two. If you wait for a second, you'll get live previews for all kinds of stuff in in design, and it's very, very helpful indeed. Also, if I wanted to find out how much text I've got, if I go back to the type tool and click inside it, so the curse is just flashing away inside the text and then go window info. This window tells me how many characters how many words, how many lines, how many paragraphs? No. If I deleted that second frame and then click inside the first frame with a type tool, it still tells me what I've got. But now it's a slightly different appearance. 1000 and 64 characters in this frame 1569 that have not yet been placed. 175 words in this frame. Another 241 that I didn't place yet, So it's still giving me the total, but it's telling me what's here and what's not being put here yet. Here's another thing. I'm going to grab this frame and drag it up on the page a little bit and I'll click on that Red Cross and I'll do a continuation here and then I'll do another continuation here now if , for example, I decided where I don't actually want this frame, I'm going to get rid of it. So I select it and deleted. I didn't lose any text. It just re flowed. And then maybe later I decide what actually you know. I do want a frame here, so we get the Type two and our drawer frame. But then I went to link the Texaco Goes 123 selection tool. Select the first frame, click on the out port and then hover over this room. You see that link appearance? Click and there's my link text. It's like Lego. You can't really go wrong