Adobe InDesign CC - Essentials Training Course

1. Introduction: Hi, I am Dan Scott, and I have teamed up with the brilliant designer, Carol mechanic for this InDesign Essentials course. It is the best in design course on the planet. You're gonna love it. InDesign is everywhere. It's behind the books and magazines that you read. It's behind brochures, menus, forms, and all the other documents you interact with every single day. And while it doesn't get the attention or the glory that Photoshop and Illustrator often do, InDesign is where all of those things come together. And once you understand how it works, you'll see why it just might be the coolest tool of them all. My name is Carol Putinich. I'm an author, educator, and designer who has spent decades geeking out on all things Adobe and helping creatives like you. Turn confusion into confidence. In this class, we'll be learning real world in design. So instead of just thinking short term and learning the minimum required to get the job done, we're going to be learning how to build documents that are flexible and easy to manage. Together, we'll build a portfolio worthy collection of real world document, starting with a simple event flyer and working our way up to a 12 page magazine layout. Packed with the kinds of must know features and techniques that pros use to build documents that don't just look good but are also well built. We'll also create fillable and interactive PDF forms and even a multi format social media campaign. Each project introduces and reinforces key concepts for working with text and images from how to use Styles, text wrap and Anchored Objects to clipping path, dropcast and automated tables of content. When we're done, you're going to have a portfolio of real world projects that you can be proud of. This class is for everybody, whether you're brand new and you've never opened in design in your life, or maybe you poked around a little bit and thought, Nope, maybe you're someone who knows enough to be dangerous, but you still feel like you don't truly get it. Either way, you're in the right place. All you need is in design. The free trial will work just fine. An adventurous spirit and a willingness to click on stuff. This isn't about memorization or drudgery. I mean, it's designed, not Excel. Am I right? It's about fun. Discovery and empowerment. So, jump in. The water's fine. And let's go. 2. Getting Started in InDesign: Yay. You are here. Welcome. And thank you so much for joining me. We are going to have a fantastic time. Before we get started, let's take a quick minute to talk about the course files because you're definitely going to want to download those. So there is a link somewhere on this page or within the course where you can grab those. And then make sure that you unzip the zip file. And on the inside, you're going to find a very tidy, if I do say so myself. Tidy collection of project folders, along with a color swatch file. That's the one with the dot ASE file extension. There's also an in design shortcut cheat het. So if you are someone who appreciates having a visual reference, feel free to print it out and stick it up someplace handy. And, I mean, if you really love it, you could frame it, and, you know, it can double as wall art. So there you go. Eat your heart out. Now, in addition to the course files, you're obviously gonna need design. So if you don't already have access to it, you can download a free, fully functioning trial from Adobe. Just know that last time I checked the free trial was only seven days. So if you're someone who appreciates having a little fire under you as motivation to keep working your way through the course, then you're going to be all set. Now, I'm going to be working in a completely default design workspace. So I will show you the preferences that I like to mess with as we go. But at any time, if you just want to reset your ensign and get back to those defaults, all you have to do is relaunch the software while holding down a very secret key combination. Are you ready for this? Okay, Windows people. You're going to hold down Shift Control and Alt while you relaunch in design, and then just keep holding it down. Mac people you're going to hold Shift Option command and control. So Windows people hold down three keys. Mac people are holding down four. And then click when you see the little pop up that asks you if you actually do want to reset everything. Okay. Lastly, I just want to remind you, this is actually a recording. I mean, I am live with you in spirit in the moment. But this itself is actually a recording, obviously, right? So that means you can rewind it. You can slow it down. You can speed it up. Whatever is most useful to you, we are going to be covering so much stuff in this course. But the pace that we move at is totally up to you. So don't be afraid to adjust the playback however you need to. So there's a little cogwheel in the video player down below somewhere where you can click and adjust the speed. Alright, so I think that's about it for now. Take a minute to prep all the course files and get yourself sorted, and then meet me in the next video, and we will be ready to rock. 3. Kickstart Project - Mantra Poster: Alright, so here is a little peek of what we're going to be making. It's a simple little project that will cover a whole bunch of basics of creating an in design document. So let's fire up InDesign, and the first thing you see might look like this, or perhaps it looks like this. Either way, we're going to come up to the file menu and choose new document. Over here on the right hand side, the default unit is PCAs, and we can talk about changing all of our preferences later. Right now, choose whatever unit you prefer. I'm going to work in inches, and I'm going to build a document that is vertical. So the width is going to be 8.5 " and the height is going to be 11. If you want to use this mantra poster as wallpaper on your phone or another device, you can also set this to pixels and then enter those dimensions here. We can leave everything else as the default down under margins. I'm just confirming the default of one half inch and everything else can say as is. We'll go ahead and click Create. Then first thing we're going to do in here is place an image. So we'll come up to the file menu and choose place and you're going to want to navigate to wherever you saved the files for this course. Once you get in that folder, you will see a folder called Oh one Kick Start. So inside that folder, there are two images that you can choose from for your mantra poster. So I'm going to choose this colorful one, and we'll make sure Show Import options is not checked, and go ahead and click Open. You'll see that this gives us a loaded cursor. So it's ready to place the image. We just need to create the frame that it's going to go in. So let's come up here to the top left margin, and we're going to click and drag down to this bottom right margin, but you'll notice that the frame is locked to match the proportions of the image. So to unlock that, just hold down the Shift key, and now we can drag a frame that fits perfectly within the margin. And keep holding shift while you let go of your mouse, and that will drop the image in just like so. So you can see that when we unlock those proportions, we're unlocking the proportions of the frame, but we're not messing with the image. So don't worry that you're going to distort it. So InDesign has placed that image within the frame, but you can see that it is still scaled, so it didn't reach all the way to the edges here. To fix that, we want to change the way that that image is fitting within the frame. And for right now, the easiest way to do that is going to be in our Properties panel. So this should be open on your screen. If it's not, you can find it from the Window menu under Properties. But down here under frame fitting, we have a number of little shortcut buttons, and we can just go ahead and click this first one right there. That tells in design to fill the frame with the image proportionally. All right, so this is looking really good. Next, we're going to add our text. To do that, we'll need to draw a text frame with the type tool. So you can press T on your keyboard to grab the type tool, or you can come over here to the tool bar and find the letter T right there. So with the type tool selected, we're just going to come in and click and drag a box, maybe like about like that. And you'll also notice over here in the Properties panel that you can choose a font. So, I am going to choose Montserrat. But you can use anything really that you want. Helvetica, aerial, impact, all those will work great for this. Something Sanseraf that has a thick weight. So I'm going to choose Montserrat black. So it'll be nice and heavy. Then we're going to come make sure our cursor is active in this box. I'm going to click to put the cursor back in the box, and I'm just going to type, it's not an I'll hit return a disaster period. It's a hit return again, draft period. To convert all of this into caps, let's go ahead and select all that text. And over here in that Properties panel, under the character settings, you'll notice that there are these three little dots. This is going to give us additional options. So let's click on those three little dots. And here we can see all these little buttons. And this very first one here if we click on that, it's going to convert our text to all caps. And now we can scale this up also in the properties panel right here is our font size. So there's a number of presets we can choose from. I'm going to just go with 48. And we can see that that's a little too big because now it broke into four lines, and we want to keep that just three lines. So I'm going to tap the down arrow key here to just nudge that. And yours might vary depending on how big you drew your text frame and what font you're using. But I'm going to set this to 47 points so we can maintain our three lines. Next, let's select this top line of text. And go back over here in the properties panel, and we want to increase the size of the top line of text so that it fits across the whole text frame. So rather than hitting this up arrow a bunch of times, if we hold the shift key down and tap the up arrow, it will jump in ten point increments at a time. So I'm going to hold down Shift and keep tapping until I get it close. Now, it's almost filling the width. So now I'll let go of the shift key and just keep nudging until it reaches. So for me, that's at 104 points. Yours might vary slightly. Alright, then we're going to do the same thing for this bottom line of text. So I'm going to hold the shift key again, tap the up arrow bunch, and when I get close, we'll let go. I'm at 121 points, but if I do one more, we see that it actually disappears, which means it is too big to fit in the text frame now. So we can drag that to 121 points. If we need to make the text frame a little bigger, down at the bottom, you can switch back to the selection tool here and you could just drag the frame a little taller if you need to. Finally, we want the spacing between the second and third line of type to be about the same as the spacing between the first and second line of type. So to do that, we got to make sure we have our type tool. So we can highlight this whole line of text. Let's come over here to our Properties panel, and this area right here, this controls our leading, which is the spacing between lines of type. So to reduce it, we're going to click the down arrow button, and you can see we're just slowly nudging it. Just like with font size, if we want it to move a little faster, we can add the shift key and tuck it up there until it's close. I'm not going to worry about trying to make it perfect. But we can see that that looks much better. And finally, let's make all of this text white. So we're going to click and drag across all of it to select it all. And over here in the Properties panel under appearance, we'll see that there's a T for type, and it's telling us that this is the fill color for the type. So if we click on this little T icon, it'll pop up our swatches panel, and we can change it from black to paper, which will make it white. Lastly, under the paragraph alignment down here, we can click to center it. It probably won't change it much, but for those of us who appreciate that, now it is centered. All right, to get out of this text box, let's go ahead and press the escape key so that gets our cursor out of there and switches us back to our selection tool from the top of our toolbar. And now we can drag this so that we see our purple smart guides popping on. That lets us know that this is centered horizontally. To center it vertically, we need to first snatch up the bottom of the type frame. To do that, we can double click right here at the bottom center node. Now we see it snatches on up to the text itself, and we can position this up or down until we see those smart guides kick in, letting us know that this frame is centered. To really make this text pop and increase the contrast, we're going to make use of blend modes in in design. Yes, believe it or not, InDesign can work with blend modes, similar to how Photoshop does. Before we change the blend mode, we have to tell in design what kind of color space we want the blends to happen in. We can do that from the edit menu by choosing transparency blend space and changing it from document CMYK to document RGB. It's going to look like nothing happens. The next step is where it shows up. We're going to want to open our Effects panel, so we'll choose Window, effts. Here all we have to do is change this dropdown from normal blend mode to exclusion. Then we can actually just close this panel, and that's it. Now, this white text actually changes color by interacting with the graphic behind it. You can see here in the middle where it's orange, the text is a brighter shade of blue than on the outside of the edge where it's a dark blue. And if you placed that black and white graphic instead of this one, then you will see an entirely different look. So if we were to move this around, you can see that the text color will actually change. If we drag it off onto the pasteboard here, it just looks white. So this is a cool little trick that works when the text is white, there is something of contrast behind it. And we're in an RGB transparency space setting, and we've changed the blend mode to exclusion. So don't worry. If this all feels like a lot of gibberish, it'll all make more sense later. For now, let's save our work by going to file. Save as. Since I'm going to save this on my local machine, I'll click on your computer. And I would suggest we make a folder to store all of these saved files in. So, wherever you want to put it, I'm going to make a folder called finished work we'll hit Create, and we'll call this mantra. Under format, we'll choose InDesign document and click Save. If you love this so much, you want to make it a PDF and share it with a friend, go to File Export. For format, choose Adobe PDF Print. Hit Save. Don't worry about all of this wild looking stuff. Just come up here under Adobe PDF preset. Choose high quality print and hit Export. Finally, if you want to put this on your screen, let's go to File Export. And this time, choose JPEG or Ping click Save either one that you choose, you'll see very similar options here. We're going to make sure we're exporting all pages, which is really just one. And under image quality, we can choose maximum, the resolution. We could also set to any number of things. But if you have built your document to be the size that you need your wallpaper to be, then it should just be fine to leave it to 72. We want this in RGB color space, and we'll click Export. All right, my friends, if we go to our folder now, we can see here is our in design document. Here is our PDF, and here is our pink. How cool is that? You already made your first in design project. Now, to make more sense of all of the things we just did, let's dive in with the rest of the course. 4. What Exactly Is InDesign?: Now that you've done the kickstart project, you've had a taste a little glimpse of what InDesign can do. So at this point, sometimes people start asking questions like, so, okay, but why InDesign? Like, I could have made that poster in Photoshop. So let's have a little chat about it. What is InDesign really, and how does it fit into the rest of the Adobe ecosystem? That's a really great question. So at its core, InDesign is layout software, right? It's used by pro designers to build all the kinds of things we've talked about, like books and magazines, catalogs, and other longer, far more complicated documents and publications. So there's definitely some overlap with other Adobe apps. For example, you could make a flyer in Photoshop. Or Illustrator or InDesign, or even something like Adobe Express or Canva. And any one of those tools would be pretty okay for a flyer. But when it comes to multi page documents, InDesign is in a league of its own. So if you think about building a catalog or a yearbook, I mean, you could maybe pull it off in Photoshop or Illustrator. If your life depended on it, but Wow. I would I would not be fun. So it would kind of be like trying to write a novel using the Notes app on your phone or washing your car with a squirt bottle. It might technically be possible, but once your project gets bigger or it needs more structure, you're going to wish you had a tool specifically built for that task. And that's what InDesign really is. So while Photoshop is built for pixel based image editing, an Illustrator is built for vector artwork. InDesign is where you put all of that together with text. So it's kind of like a big old mixing bowl where you combine images and graphics with text in a systematic way with the goal of creating robust multi page layouts. And now you know, thanks for the chat. Hope that was helpful, and I'll see you in the next video. 5. Your Design Brief: All right, friends, are you ready for your first client? Allow me to introduce you to the Random Project generator. So there is a link here in your project guide to the Random Project generator. And when you get there, you're going to see all these different courses on the left. You're going to find in design essentials, and then just follow whatever instructions and click Generate My Project. Then you're going to see a one of a kind brief giving you background on who your client is and what they are looking for. So here, in my case, you can see that the client is a Chic Letterpress studio in Nairobi. It's called Hillside Letter Press Studio. It's a well loved pillar of the local community. And this is what they're looking for. Their vibe is very chic and reflects their specific low cal. So yours is going to be different, and that is part of the fun. Everyone's is different. And that way, no two people in the course will be approaching the projects from the same angle. And also when everyone's finished, their portfolio pieces are going to be different. It's pretty slick, right? Now, you might be tempted to come over here and hit retry until you get something that sparks an idea or just feels like it would be easy. But in the real world, that's not how it works, especially when you're just starting out. So don't shy away from whatever you get just because it feels unfamiliar. Ultimately, the briefs are all going to be pretty similar anyway. They just have a few different variables in the mix. Whatever you do. Don't click Retry more than twice. Okay? Do not click it three times. I'm just going to put that out there. Alright, so when you're ready, you can download your brief as a Ping file, or you could copy and paste the text into whatever other app might make sense where you want to save it for easy reference. When it comes time to find images and other assets to use for your projects, my two suggestions are to check out stock.adobe.com, and you'll have to login with your Adobe ID. And then down here, by default, this is set to all, but they have a massive collection of images and video and all kinds of things that you can license for free. So, for example, for this Letterpress studio, I would come in here and search the free collection maybe for Letterpress. And I'm going to start to see all of these images that I could use in the project. So over here on the left, you can filter for the kinds of things that you're looking for. And then, you know, just have fun exploring. And when you find an image that you like, you just hit Download, and that will actually add it to your Adobe account for free and download it to your system, and then you can use it. Another source that I really like for images is Unsplash. It's just unsplash.com. Here again, we could search for Letterpress. And here we see a bunch of additional Letterpress images on Unsplash. Of course, a lot of what they have is free, but they do also have some paid stuff. Up here under license, you can just switch from looking at all of them to just looking at the free collection. So between the free collection on Adobe Stock and the free collection here on Unsplash, you should have an easy time finding plenty of great stuff you can use for your project. When it comes to fonts, if you are a Creative Cloud subscriber, you have access to GazillianFons here at fonts.adobe.com. So you can search for whatever you're looking for, and then all you have to do is click on a font that you're interested in, and then you can just click Add family, and it will actually just add it to your system, and you will see it in InDesign. Sometimes it takes a minute, so be patient. And of course, you have to be signed in. Another option is fontsquirl.com. So these are all free fonts that are available to use for commercial work. So this is a great resource. And one other one that I really like a lot you just have to be a little more careful to check the licensing, but defant.com is also really great. What I like to do is when you are searching, let's say you're looking for a typewriter font. That might be good for a Letterpress studio. Once you're in the area of where you are looking for fonts, you can come over here and filter for public domain fonts, 100% free fonts or free for personal use since you're just using this for your own learning. It's not for a real world client just yet. And then when you hit Submit, you can see we've got 11 pages of totally free typewriter fonts that you could use. And then you just click over here to download it. So here, this one, this is kind of a fun, different typeface. So I'm going to click and download that one and then to install it, it comes in here as the zip drive. So I'm just going to unzip it and open it up and we see it is a true type font right here. So all I have to do to install it is double click. And I'm on a Mac, so it's going to open up my little font book app, and I would click Install. On a PC, the process is pretty similar. You basically just unzip the file and double click it, and it should automatically add it to your system. So that's it. That's your first client, and let me tell you they are so excited to be working with you. And I just wanted to make sure you didn't hit retry more than twice, right? Don't do that. Alright. So before we move on, we should talk about the brief that we're going to be doing in this course. So my brief that we're going to do together is for a bold and spicy plant shop called hot sauce Botanicals. They're a bold and spicy indie plant shop known for bright colors, bold decor, and statement making plants. They're looking for a whole bunch of new things, including an event flyer, a trifle brochure, a fillable PDF form, a promotional magazine, and a social media campaign template that reflects their bold and spicy style. So I know I'm up for the challenge, and I know you are, too, because that's why you're here. So we're going to work through this brief together in the course, and I think we're gonna have a pretty good time. With that, I think we're off to a great start. 6. Understanding the InDesign Interface: All right, friends, here is a peek at what we're going to be building in this section. But before we do that, we need to get a lay of the land so we know our way around and we feel comfortable in the workspace. So when you first launch it, you're going to be looking at a screen that probably looks like this. Adobe calls this the home screen or home page. We can get to the actual software by clicking the little in design icon right up here. This brings us into the workspace. If for some reason you want to get back to that homepage, that's what this little house icon is all about. So you can click on that and we're back here. So let's get into the workspace. Now, yours might look different. That's okay. The workspace is completely customizable. So I just want to show you a few things to keep in mind and know. And then as you go, you can change the workspace to be however you like it. And that can evolve over time, and that can also vary depending on what you're working on. When I say workspace, I'm talking about how everything is arranged on your screen. The workspace consists of panels. So that could be the toolbar. It can be this properties panel. I have a pages panel here, a CC Libraries panel. However these things are all arranged, that's what we call the workspace. And if we comp up under the window menu and we come down to workspace, we'll see there's a list here, and I've got a few extras because I've created and saved some of my own workspaces. But by default, InDesign opens what is called the essential workspace. So feel free to move things around, make a big mess, test out different things. And if you panic and get a little lost, you can always come back down here and choose reset essentials, and that will reset everything back to the defaults for that workspace. So how do we move things around? The panels themselves can be moved by just dragging the name of the panel. If you click and hold and drag it out, you can pop the panel out of the dock. So this area here is called the dock or I call it the dock. So panels can be clicked and dragged out of the dock. So you'll notice I have one dock here, one column of panels. And then there's the skinny little column right here because each of these docks can be collapsed to be a skinny little column like this, or it can be expanded like this one. So, for example, I can collapse this by clicking on these little double arrows right here, and now it's collapsed. And I could even shrink it down more if I drag this bar here. I could shrink it down. So instead of looking at the tab with the name of the panel, instead, each panel gets its own icon. So if you're really wanting to free up space on your screen, you can collapse these columns. But then you got to remember which icon is which column. So that comes with practice. We can also move things around. Like, I have two columns here, so I could expand this one, or I could drag this icon into this column, and now I just have one column. So maybe people like that. And you can see that the history panels down here. So it's like two rows in this column. But I could also take the history panel and drag it up here. And if if you notice this blue box around the panels, that means if I let go, now they're all nested together in a single column. Okay? So bottom line is you can move panels, and you can make columns, and you can collapse them or expand them. You can pop them out, so they're free floating like this, or I could take this and drag it in here. Maybe if I put it down below, now I'll have two rows. And then we can just close the whole thing down by clicking those arrows. So that's a little bit of a look at panels. You should also note that each panel has a menu. For example, the History panel right here has a menu. That's what these little lines are. Some people call this the Burger Menu. If you click on that, you see options relating to that panel. The History panel menu is different than the pages panel menu. So if you ever hear me say, go to the Pages Panel menu, you go to the Pages panel and then you go to the menu. The other thing to know just about panels is that if you're ever looking for one that you can't find, it almost always lives here under the window menu. So this is just a list of panels, and you'll notice that some of them have multiple additional panels. So there's multiple panels related to type and tables, for example. So that's basically what's here under the Window menu is panels and different workspace options. So, for example, if we go to Workspace and we choose advanced, now things look a little bit different. So everyone works a little bit differently. Some people change workspaces depending on what they're doing. I personally don't. I just move things where I want them. So let's go back to essentials. And you see, now we're back right where I left it. You'll notice it's not the default essentials. It's the one that I just made by dragging my libraries over here. So it remembers that. If you want to get back to the default, you got to come back to Window and then choose workspace and then reset. Essentials. Otherwise, it remembers any customizations you made to the panels while you're in this workspace. If you get your workspace set up just how you like it, you can also go to Workspace and click New Workspace, give it a name. Like, in this case, I called mine Cara, real Clever. And that way, no matter what mess of things I've made, I can jump back to my saved system anytime that I want. A couple of other things I'm going to point out while we're here, let's go over to our tool bar. Here on the left. Some people like to move it to the right, so you could do that if you like that. But I do like mine to be in a single column instead of this two column situation. So I'm going to click this double arrow right here, and that will collapse it down into a single column. The other thing that I think is really important, but again, everyone's different is I like to have my settings and control panel options up here at the top of my screen. And for whatever reason, Adobe doesn't do that by default now. So let's go to the Window menu, and I'm going to turn on my Control panel. So this is where I'm going to be doing a lot of things because that's just how I like it. Most of the things that I'll be doing up here also exist in the Properties panel, but the Properties panel gives you a lot of these controls, but it's more limited than what you get up here. So, personally, I don't use the Properties panel very much. So you'll see me working up here, but if you love the Properties panel, you can use that, too. Alright, up here under menu items, we've got all kinds of things. I just want to point out that you'll notice a lot of these commands have these codes right over here. These are the keyboard shortcuts. So as we go, I'll call out a lot of these that we use a lot over and over. And they're just here for reference. So if you find yourself doing something over and over again and you want to be faster at it, you can see, Oh, here's how I edit in story Editor is Command or Control on a PC and the letter Y. So these are here if you need them. And also, if there's something that you do a lot that doesn't have a keyboard shortcut, you can come down here to keyboard shortcuts and you can actually create your own. So that's just something worth knowing. And finally, let's take care of some settings adjustments, some preferences. So we're going to go up to InDesign preferences on a Mac. On a PC, it's under the edit menu. Somewhere down here. I'll say preferences. Another way to get there is to press command or control and the letter K. If you change your preferences a lot, that is so handy. All right. Let's go down here to units and increments. By default, InDesign works in PCAs. So for this course, I'm going to be working in inches for both horizontal and vertical settings. But obviously, depending where you are in the world, you may prefer any number of other options. I should point out that when we're making these changes to our preferences, you'll notice we're doing it with no open documents. And that means that the changes we make will apply to everything going forward. If you change your preferences with a document open, then you're generally just changing the preferences for that document. All right. Go ahead and click Okay. To make sure we're all working with the same color profiles, let's just go to Edit, color settings. And I've got mine set to North America general purpose too. You'll see there's lots of different options here. But if you're ever working with a printer who tells you to set things a certain way, this is where you can find some of that. So take a minute, explore the workspace, play with panels, make a mess, and then go ahead and reset everything. Make sure you feel comfortable here, and I'll see you in the next video. 7. Working with Color: Let's talk about color. First thing is, let's open our colors panel, like all the panels, nearly all the panels. It lives under the window menu. So we're going to choose Window color. And we've got several options here, but let's open up swatches. So here is a look at our default color swatches, not terribly exciting. You'll notice that there's something here called registration, and it looks like black, but it's called registration. This is something kind of special that's used in a printing process that can really get screwed up if you use this as black. So to kind of just maybe avoid using this when you mean to choose black, let's grab the registration swatch and drag it down and drop it at the bottom. So you're less likely to reach for it. So what do we have here? We've got some default colors. You'll notice they're all CMYK colors. We know that because we can see the CMYK values here, and this little icon means that it's a CMYK color. So you'll see here in a minute that InDesign can handle CMYK colors and RGB colors all at once in the same document, and it's not a big deal. The colors can all be handled, converted, sorted, whatever you need when you are exporting. So try not to get caught up in worrying about this too much. Other than those colors, we do have black. We have paper, which is white. Even though we're not talking about white ink, we're talking about the paper, which is generally white. But if you were printing something on purple paper, then anything that you've applied the paper swatch to would just appear the color of the paper. In that case, purple. And of course, we have none. When we're talking about colors in design, they can be applied to objects or containers, or they can be applied to text. So this is where we designate what we're trying to effect. And here's where we can specify either the fill color or the stroke color. So we'll learn more about that later. For right now, let's load the swatches for the course so that they are available here in the Swatches panel. One way to do that is to come up to the Swatches panel menu, and we'll come down here to load swatches. When that pops open, go ahead and navigate to wherever you saved the course files, and you'll notice that there's something called hsbswatches dot a. You're going to select that and click Open. And you'll see that these colors get added here, and these are RGB. And we know that because this icon shows red, green, and blue, although it is hard to see, isn't it? So we've got this tiny little icon versus this little icon, which represents CMYK colors. Why do we have these different kinds of colors? Generally speaking, CMYK colors are meant when we're talking about ink on paper. It's cyan, magenta, yellow, and the K is for key, which is black. So generally, we use these colors for print. And RGB colors for things that are going to be displayed on a screen. But don't get too stuck on that because there are conversions for all of this, and all color profiles and everything can be converted or assigned when you export your finished pieces. So the bottom line is InDesign can handle it. Don't worry about it. I make documents all the time for print and screen that contain CMYK and RGB colors. So I kind of want to say it's not as important as it used to be. When in doubt, you can always chat with your printers. For right now, we're going to happily let all of these colors coexist. I do want to quickly just reorder these. So I'm going to click on this color down here, the pink one, and shift click on the more red one. So these are all selected. And then I'm just going to click and drag up here till I see this line just below the black swatch. And then when I let go, we've reordered them, so these are at the top because those are the ones we're going to be using. We can also put color swatches in groups. So just to clean up our swatches panel, I'm going to select the group of CMYK swatches. So again, just click on the first swatch here and Shift click the last one. And with all of them selected, I'm going to click the folder button down here to put them in a color croup, and we can double click to rename this defaults. And we can close that folder so we don't have to look at it. Of course, we can always add our own custom swatches at any time, and we'll learn more about that later. And since we know about panels now, let's arrange this maybe a little differently. So we've got this text to image panel here. I'm just going to click and drag that out so I can close it. I don't want that on my workspace right now. Now I've just got my swatches here. You can drag it wherever you want it, but I kind of like it right there, so I'm going to leave it and just collapse it down so it's out of our way. So now we've got our preferences set. We've imported some color swatches. And I'll also point out that because we imported those color swatches without any documents open, those swatches are just going to be like there all the time now. Unless we delete them, they're going to be part of our default. So that is a great thing to do if you've got brand colors or just colors you use a lot is to load them into your swatches panel with no open documents, and that way, they'll be there for you all the time. 8. Setting Up a New Doc: Let's go ahead and set up our new document, shall we? We'll come up to the file menu and choose New document. You'll see the keyboard shortcut is Command or Control N for future reference. In this new document space, we have some tabs over here, including one called Print. If we click on that, you'll see some presets. So because I'm working in inches here in the United States, my presets include US letter wide and US Letter, in this case, tall. We've also got a bunch of templates and cool stuff down here, and of course, you can create your own presets, et cetera. For the sake of learning, let's come over here and make sure that we are working with inches, and we want our width to be 8.5 " and our height to be 11. So we can either type those in or because the dimensions in here are correct and we just want to flip flop them, we can also click this little orientation button so that our document is tall instead of wide. Down here, we can specify the number of pages we want our document to have. We're going to just stick to one in this case, and facing pages means that if we're going to have a document that has a spine like a book or a magazine, and we want to have a left page and a right page, we can turn on facing pages. In this case, we don't. We're just basically making a flyer, so we can turn that if we keep scrolling down, we'll notice some settings for the margins. By default, it's just a half inch, and that's fine for right now. Down below, you'll notice this area called bleed and slug. If we twirl that open, we can see that we've got a bleed of zero right now, and that's fine for this document. We will learn more about working with bleeds coming up. At this point, I usually just click Create, but I've had people point out to me in the past. Why didn't I name it? So we can actually give our document a name right from the get go if we want. So we can go ahead and call this flyer. That looks nicer than having it, say, untitled. And then we can come down here and click Create. And with that, we are off to a great start. 9. Placing Images & Graphics: Our flyer is ready for an image. There's a lot of ways to place images. For now, we're going to come up to the file menu and choose place. In our course files folder, we're going to be working in the Oh two flier folder, so open that up. And you'll see this image here of these leaves, courtesy of a fabulous contributor over at Unsplash. Again, we don't need import options on, and we'll go ahead and click OP. So when we are working with images, you can either draw the frame first and then place the image into it, or you can go grab the image, and then InDesign will give you this loaded cursor that you can then use to draw the frame to hold the image. So just like we did with our mantra poster, we're just going to come up and drag this out to fill the area within the margins, and you'll notice that, again, it is maintaining the proportions of the image, and we want the frame to have different proportions. So to unlock that, we're going to hold the shift key so we can make it stick right within those margins and let go. So when we place images and graphics in InDesign, they consist of two parts. We have the frame itself so you can see here that I'm clicking and dragging on this little node, and that is adjusting the frame. So we can drag the frame. In this case, I've made the frame bigger than the picture. So the picture stops here, but the frame keeps going. So we can adjust the frame, but we can also adjust the image in the frame. So we could, for example, let's come up and grab these corners and drag the frame like so. So in this case, you'll notice we adjusted the frame, but the image within it did not adjust. If yours did come up here in your Control panel. Again, the control panel was enabled from the window menu by putting a check here next to control. And up here in the control panel is this option for autofit, and we can talk about that in a minute. But right now, I've got it off, which is why I'm able to adjust the frame, and the image doesn't move. It just sits there in the frame and the frame adjusts around it. We can also adjust the image within the frame. One way to do that is to double click on the image. You'll notice I've got the selection tool active up here at the top of the toolbar. And when we double click, you'll notice that instead of the blue frame that we had, we're now looking at this rust colored frame. So this rust colored frame represents the actual image itself. So we can see the image is much larger than the frame. If I double click again on the image, now we're looking at the blue frame, and if we double click, again, we're back to the rust frame. So with that rust frame selected, I can click and drag and you'll notice we're moving the image around within the frame. And we can also scale the image within the frame. So if I want to make the image smaller, I can hold down the Shift key and drag inwards from one of these corners, and the image will scale within that frame. Okay? So it's really important to know that frames and the images within them are, in fact, two separate things and they can each be adjusted separately. And you can toggle between them by double clicking to control the frame or the image within the frame. Another way to let go of the image here and just get back to the frame is to press the escape key. If we click away from the frame, so just click in an empty area on the page, you'll see that we deselect the frame. We know it's deselected because it doesn't have those little nodes anymore. That allowed us to change the size. And you'll notice with it deselected, if we hover over it, we're seeing this funny like doughnut in the middle here. This is called the content grabber. And this allows you to just kind of quickly without having to get in here and select the frame or select the image within the frame, you can just come over here and if you grab the content grabber, so I'm going to click and hold it gives you quick access to the image within the frame, and then you can let go and nothing remains selected. It makes it really easy to just swoop in, grab this and reposition it within the frame. If you start to find this troublesome because it almost makes it a little too easy to grab the contents when you just meant to pick up the whole frame. So if you don't like this content grabber, you could turn that off from the view menu, surprisingly, under View extras. There is an option to hide the content grabber. So I'm actually going to do that because I find that I grab the content far too often by mistake. So I like to have more control over which I'm selecting. So I'm going to hide that, but if you like it, you can leave it on, or maybe you just don't know if you like it yet. So leave it on if you want to find out. I'm going to go ahead and turn that off. Another way you can switch between the frame and the content is with the tool. So the selection tool up here will select the frame for you unless you double click, then you get the content. But if you have the frame selected and you want to select the content, another thing you can do is just press the A key on your keyboard. That gives you the direct selection tool. And then if you click with that tool just once, you will get the content within the frame. Okay, so lots of different ways to get in here and switch between them. Don't worry about memorizing it all right now. The important thing right now is just to understand that any graphic or image that you put into InDesign is going to have a frame, and then it's going to have the content within the frame. So that's the key takeaway here. The other thing is that there are some buttons that can help us control how these things relate to each other. So earlier, I mentioned the autofit option. And it looks like it's off now by default because I've reset my preferences, but it used to be on by default. So either way, you can toggle it on and off really easily on a case by case basis depending how you like to work. So if we come up to this top right corner, for example, and we pull it up like this, you'll notice the image did not scale with the frame. So if we undo that and we enable autofit and come back and do this again, now the image is scaling with the frame. So depending what you're doing, you might like that. The only way you'll know is to play with it and see. But for the purposes of this course, I'm going to go ahead and turn that off. There's also these buttons up here, which will tell in design how we want the content to fit within the frame. And there are keyboard shortcuts for this stuff, but just so that we see if we drag this frame bigger than the content, and then we're like, I just want the content to fit in this frame. Most of the time, the option that you'll be looking for is this first one right up here, and all of these are proportionally. It's never going to distort the image, so you don't have to worry about that. So most of the time, this is what you'd probably be wanting. So if we click on that, you'll notice that the image just snaps to fill the frame proportionally. And if we double click, we can see that there is a little bit of an overhang of the image up here and down at the bottom. And that's great, because we want this frame to be, let's say, this size, and we want it filled with the image. Then we could decide if we want to come in and maybe drag it down so that all of the overhang is at the bottom, or we want to drag it up so that all the overhang is at the top. So we can make those types of compositional choices. So, over time, you'll get used to these, but just know that they are there. And then, of course, we can also just scale the image, how we want it, make sure that when you are scaling the image, you do want to hold shift to avoid squishing it like that. So for right now, I'm going to zoom out a little bit so we can see better. So zooming in and out is done by holding the command or control key on your keyboard, and then tapping the minus to go out, you can see the more times you press it, the more you zoom out or Command or Control plus to zoom in. So I just kind of wanted to scooch back a little bit so I can see the whole document here. And I'm going to drag the frame so that it's, like, something like this. And if I want to take both sides of the frame and drag them inward together, you can hold the Alt or option key. And you see that, then it'll scale both sides in at the same time. So that's kind of nice. I'm going to go ahead and center this by just dragging it until I see those purple magenta lines coming on the screen. That tells us that this is now centered. Those are our Smart Guides. If you don't see them, come up to the view menu and choose grids and guides, and then make sure there's a check next to Smart Guides. I think I might bump this up a little bit. So something like this on the bottom and the sides, and that looks great. But we're not done yet. We're going to get fancy, so buckle up, and I'll see you in the next video. 10. Understanding Links: One of the things that makes working with images a little bit different in design than what you might be used to is the fact that these images are not actually being embedded into the document. They are actually being linked to their original location on your hard drive or your network drive or wherever it is you're pulling the image from. Can embed graphics when it makes sense, but by and large, most of the time, you are working with linked images. So what we're looking at here is just a proxy of the file on our hard drive. And all of these things are managed in the Links panel. So let's open that up and take a look. So again, panels live under the window menu, so we're going to go to Window and Links. Now, mine added itself to this little flyout panel here. So I've got, again, my two columns, and one is fully expanded, and the other one I've got collapsed down to icons. And I kind of like this one this way. So I'm okay with that. So the icon for the ink panel is inks. And you'll notice that it came along with a friend. I brought along the Layers panel with it. This is the icon for the Layers panel. So you can switch between them by clicking on the icons or clicking on their tabs. So they came in here as buddies, and that's fine. In fact, I might drag the swatches up to be there with them because it's kind of nice to have those three things together. So to do that, I'm going to click the Swatches icon and just drag it till we see that it's joining this little group here, and when I drop it, now they're all three in one little nested group. Very cute. Alright, but let's focus on the Links panel right now. So here in the Links panel, we can see the name of the file and what page it's been placed on. And we'll learn more about how to work with Links later and how if the link gets broken, how to fix it. But for right now, just know that because these images by default are not embedded, if you go to share this file with a colleague or a friend or whoever, they're going to get an error when they open the file because they will not have the image. They should still see the preview, but it's probably going to be really pixelated and they wouldn't be able to properly output the file. So there are ways to handle that when we go to export things and we'll talk about it. But right now, just know, every image that you placed is not embedded in the InDesign document. It lives on your hard drive. That also means that if you go what I like to call behind InDesign back and you move this file or you rename the file, then InDesign is going to get confused because it's keeping track of it. From the location where you placed it. So you can see here if I hover, it's showing me the file path to this file. You can see it's in my documents folder, in my Bring Your Own Laptop folder. So if I went and dragged this file to my desktop, for example, then I'm going to get a missing link notice here. And we'll see later how you fix that. It's not a big deal, but you just want to know how it works. So we'll take another look at that later. But for right now, that's just the basics of how links work in design. 11. Image Resolution Basics: Let's talk really quickly, too, about resolution. So back here looking at that links panel one more time. You'll notice if we come down to the bottom and we twirl open this little carrot, we can see more information about the links. One of the things we can see here is the color space. So we see this is an RGB image. Again, not a problem, even if you're outputting this to CMYK. But down here, a little lower, we see what says actual PPI and effective PPI. So this is talking about pixels per inch. If you're not singing this down here, come up to the Links panel menu and choose panel options. And then there's a list of all the things that you can tell InDesign to display here in this bottom section of the Links panel. So you just want to make sure, I've got a check here next to actual PPI and effective PPI, and click Okay. So this just means that the image, like, as it sits on our hard drive, has 72 pixels per inch. That's normal. Even the most Hiras images in the world come out of the camera at 72 pixels per inch. But if you are familiar with how all of that works, there would be a lot of inches, right? So, ultimately, there's a lot of pixels in here. And if we scroll down a little further, we see the dimensions. So the total dimensions of this image is fine. We've got a lot of pixels. So this is not a problem. The most important thing to keep an eye on is the effective resolution, right? The effective pixels per inch. And in this case, that's a value of 319, which is great. Generally speaking, for quality prints, you want that resolution to be 150-300. So this does it. That means that at this size on our page, the resolution of this image ends up being 319. So, for example, if I scale this down, and here's another good tip to know, if I want to scale the image and the frame on the fly at the same time, I can hold command or control and shift. And then if I click and drag in, you'll notice I can scale them together. And when we do that, when we make it smaller, we're taking all those pixels and we're cramming them into a smaller space. So if you think about like balls in a ball pit, if you have a giant ball pit, the balls are going to be shallow, right? But if you make the ball pit smaller with the same number of balls or pixels, then the number of balls that you're going to have in a certain given area is going to be higher because they're crammed tighter together in a smaller space. So you can see that the effective resolution just shot through the roof, and now it's over 500 pixels per inch. So this is not something you really have to stress about these days. Digital cameras are so high res, it's almost It's almost too much, honestly. And you don't really get bonus points for an image being over 300 pixels per inch. You really don't get any additional benefits from that. So this is really just here, for your information. But honestly, I pretty much never look at it because it's pretty much not ever an issue, at least not in my work. Another thing that you can know that might bring you peace of mind is later when we talk about exporting, I'll show you how to pre flight your document, meaning that before you send it off to print or send it to the press, whatever, you can establish certain limits that you want it to check for. And one of those things is effective resolution. So you don't have to get hung up on this, but it is nice to know, so I wanted to point it out here and now you know how it works. And knowledge is power. So ya. 12. Working with Corners & Strokes: All right. Let's get this image properly set the way we want it. So I'm going to drag the frame. If we want to scale the image within the frame at the same time, the keyboard shortcut, again, for that is command on a Mac or control on a PC and shift. So I'm holding those keys down, and then I'm going to scale this to maybe about here. And again, I'm going to center it. There's that guide to center it horizontally. And now I'm just dragging it up a little bit. So that the vertical space at the bottom is similar to the space here on the sides. Again, if you want to make the image fit nicely within the frame, you can come up here and click this little button to fill the frame proportionally. And there's also a keyboard shortcut for that. We'll learn it later. It's kind of a handful, but it is great to know. So here we're going to talk about corners and strokes. So right now we've got this rectangle, right, with four corners. But one of the things that's really cool in design is that we can also change the corners and we can change them all, or we can change them one at a time and individually. And the way we do that is by clicking this little yellow square right here. So I'm just going to click once. And you'll see now we've got four little yellow diamonds. So they look like this on each corner. And if we grab any one of those four yellow diamonds and we drag in, we get rounded corners, which is pretty cool. But what I actually want to do is just round some of the corners, not all of them. So to do that, we need to add the shift key. So I'm going to hold down shift, and then I'm going to drag the same corner, and I'm going to drag it in until it won't drag anymore. So it's going to stop when it gets to the center. And then I'm going to continue to hold Shift, and I'm going to drag this guy all the way in like that. So now we have this cool arch. And again, we are making all these changes using the very top tool at the toolbar, called the selection Tool. The keyboard shortcut for it is V, or you can also just hit the escape key. It's kind of like InDesign move tool if you're familiar with Photoshop. Next, we are going to add a stroke to this frame. There's a lot of different ways to do that, but let's come up here into my favorite place, which is the Control panel. Again, under Window control if you're not seeing this. This is one of those things that you can often also do in the Properties panel. So if you have your Properties panel open, you can see it here, too. But you'll notice we have two options. And right now, they both have this little red line through it. So that indicates that this frame that's selected right now does not have a fill nor a stroke. So this one is the fill. This one is the stroke. So let's say we want to apply a black stroke to this. We can click the little carat right here to pop open another little mini version of our Swatches panel, and then we'll come down here and just select black, making sure we're not choosing registration. So we just want regular black, and we can click away to dismiss that. Now, we're not going to see it really well if we click away to select it and we zoom in with Control or Command plus plus plus. We're just not seeing it really well because it's really quite thin. So we can control the weight of the stroke up here in the Control panel. We can bump this up to, let's say, ten you'll also notice that right now mine has the stroke centered along the edge. So that means that half the stroke is on the inside of the frame and the other half is on the outside. But we can also change the alignment of the stroke. And to do that, let's go to our strokes panel. So I'm going to go to the window menu and open up stroke. And here we see not only can we also change the weight here, but we can also come down here and align the stroke. So right now, it's split down the center. If we click this middle button, you'll notice it will align to the inside. So now all ten points of that stroke are on the inside, or, of course, we can align it on the outside. And if we scroll down, we can see that the corners as well, all of it is on the outside. Incidentally, to scroll down in your image, I'm doing it on a track pad with just my two fingers. But if you're working with a mouse and you want to drag the best way to do that is to hold the space bar, which gives you the hand tool temporarily, and then you can just click and drag like that. So you don't want to be messing with these spars over here you'll give yourself seasickness. So just hold Spacebar to get the temporary hand tool, and then you can move up or down or over or wherever you need to drag your document. And then when you let go, you'll just return to whichever tool you had last, which in this case, is that selection tool. Alright, so let's leave this set to align to the outside. And we can also choose different types of strokes. Now, this can be done here in the stroke panel or also up here in the Control panel. But down next to type, if you just click the little down arrow, we see all kinds of different options. So in this example, I'm going to go with the thin thin option by clicking that and I think that gives us a pretty nice look. So to fit the document on the page, you can press Command or Control minus and scooch back a bunch, or if we hit Command or Control and the number zero, not the letter O for open. That'll open a new document. Commander Control and the number zero, we can scoot back and see the whole piece on our page at once. So this is the spacing that we're going for on the left and the bottom and a little bit extra space up here, and we'll see why shortly. That is a look at how to work with strokes in design. We changed the weight, we changed the alignment, and we changed the style of the stroke. Are you feeling fancy yet? I hope so. We'll keep it going in the next video. 13. Adding Text: Ready to add some text. Let's do it. Alright, so when we add text, we start by making a text frame. For that, we'll need our type tool. You can press the letter T on your keyboard for the type tool, or you can come over here and grab the T from your toolbar. Then we're going to come down into our image here and just drag a box, something like this. And we're going to type out the words propagation. And then return, and then work, return shop. Alright, so we've got three lines of type here. Let's select all the type, and you can come to your Properties panel if you want to. I'm going to do it up here and I'm going to set this to Montserrat and scroll through the long list of options. And I think I'm going to go with Montserrat black. You can see in this little preview here that that's a really heavy typeface, and that's what we're going to use for this. I also want this to appear in all caps, and that's not the way that I typed it. So we're going to come up here to the Control panel and click this little all caps button. And now we need to scale this up to fill our space. So I'm going to hold Shift and then tap this up arrow a few times. Again, you'll notice if you go too far, you're going to end up with hyphens, et cetera. So adjust it, so propagation fits all the way across. Then I'm going to come in and highlight work and shop. These ones, I want to be bigger. I'm going to hold Shift again, and then we're going to bump that up until work fills the space at 90 points for me, yours will vary depending how big you drew your frame. And then shop can be even a little bit bigger. So now that I'm getting close, I went too far. So now that I'm getting close, I'll let go of the shift key and bump this up one point at a time. Whoo. And for me, that ends at 1:05. And the line spacing needs adjusting, so I'm going to select the bottom line and the middle line. And we'll come up here into the Control panel, and our leading is controlled right here. So right now, we can see it set to default. Let's come in here and type something like 90 and then hit Enter. In order to bring the middle line of type up without also bringing the bottom, we want to just highlight the middle line of type, and I'm going to reduce that about to 77 or so. I will point out if you're ever trying to adjust the leading of a line of type, you'll notice it won't change. If you just have your cursor in the line of type, it won't change. You actually have to highlight the entire line of type, and then you can adjust the leading. So maybe I'll go with 78. The other thing that I run into a lot when I'm trying to do this is if I highlight what I think is the whole line of type, but maybe there's a space somewhere that I left off, it also won't work because it works as a whole for that line. So you have to make sure you've got the whole thing selected. Then we want to change the color of this type. Ah, we can select it this way and change the color, but I want to show you one other thing. So let's get our cursor out of there by pressing the escape key. So now our text is not active. Our text frame is active. And if we want to change the color now, we have to be a little bit more careful how we do it. We can come up to our Control panel, and what we want to change is the fill, not the stroke, that would add, like an outline to our text. So we want to come up here to the fill, and if we click the little button to pop open our Swatches panel, and we choose paper. This is what is going to happen. We're going to end up with a fill, not on the text, but on the container or the frame of the text. And that is happening because right up here, the container is selected instead of the text. So what we want to do then is set the fill for the container back to none. And then we need to click on this little T right here. That will tell in design, we want to affect the color of the type. And you'll notice that now instead of just a box here, we now see a and it is filled with black because our current text is black. So to make our text white, once we've selected and targeted the text, now we can click paper, and the text will change. So just something to keep in mind. That can be avoided if you have your cursor in here and it's highlighted. Then in design knows that if you're coming up here, it's going to select the type for you. Alright. I'm going to press Escape just to get my cursor out of there. So I've got my box active. And I can see that it's not centered. So I'm just going to drag this over until we see that magenta line, letting us know it is centered with the page. I want to make sure that they're both centered with the page. We'll learn more about easy ways to align all of this stuff later in this course. But one way to do that is with those Magenta Smart Guides. And again, if you're not seeing them, you can find them from the view menu by choosing grids and guides and making sure there's a check next to Smart Guides. It's looking good so far, and it's only going to keep getting better. 14. Formatting Text Frames: Alright, so this flyer for our propagation workshop for our client Hot Sauce botanicals needs a little more information about the date. Let's tuck up the bottom of this text frame so it's not in our way. So I'm going to click to select it and double click this bottom center node on the frame, and that will just snap it up so it's not in our way. We're here, you may have noticed this little floating gem of a toolbar. This is our contextual task bar, and it can be really cool. It's kind of like if the properties panel had a little brother that likes to follow you around everywhere and try to be helpful. And it is helpful sometimes, but it's also really annoying in the way other times. So if you click this little three dot menu, we can also hide it if we want to get rid of it. We could also drag it to a position where it'd be less annoying, and then we could pin it. But in InDesign, I just don't use it that much. Maybe like in Photoshop, maybe a little more, but in in design, not so much. So I personally am just gonna hide it. But if you prefer, you can drag it somewhere else, you have to kind of grab it over here on the handle. There you go. And then you can drag it out of the way, and then you could come back to the three dots and just pin it or unpin it if you want to. And then it'll quit showing up. Buy your cursor. But otherwise, the way it behaves is it just follows you and it's like, right at your cursor all the time. And I just don't care for that. So I'm going to click the three dots, and I'm going to say to hide it. You can get it back at any time from the window menu by choosing contextual task bar down here. Next, we're going to make another type box. So I'm going to grab the type tool here and click and drag to make another little box, and I'm going to type SAT, period, April 7. And then I'll put a little pipe character Museum ins you can see. And we'll change the color in a minute. But it's a Saturday SAT abbreviated period. April 7, half pipe, which is shift and the backslash key on my keyboard to get this little divider line. And then I'm going to type two, and I'm not going to type just a little dash. I'm going to actually make what's called an dash which is what we use when we're spacing out numbers like this. And the keyboard shortcut for an dash is the Alt or Option key, and then you press that little dash, the minus on your keyboard. We've got different size dashes, did you know? Alright. So we've got two dash and then the number four, and then space and we'll type PM. And then we'll hit Return for another line, and we're going to type Hot Sauce all one word Botanicals because it's a URL. Hot saucebtanicals.com. Okay. And now, just to show you a different way of doing this, we don't have to highlight the text to adjust it. Since we want to affect all of the text in this frame, we can just press the escape key to get our cursor out of there so that our frame is selected. And now to change the color of the text, we can come up to our Control panel up here. Again, we're going to talk about fill color. So that's this swatch right here, and we'll click the carat button. And right now you can see we've got that container selected. To select the type and effect the type color, we need to click the T to target the formatting for the type. And we're going to come down here to this neon color. We can see the RGB values here. It's also worth noting, if you want, we can also rename these color swatches. So let's actually do that. If we right click on this color swatch and we choose swatch options, it's going to pop up this window here. It shows us that it's process color, that's RGB, and we have this option checked, which says to name it with the color value. Sometimes that's handy, but in this case, let's not. I'm going to uncheck this and that allows us to name this. Let's just call it lime. We can see the corresponding hex code value down here as well, and then we'll click Okay. Let me pull up the finished file. So here, we've got this lime text, and it's on a black background. There's a couple ways to do that. For right now, we're going to take this existing frame, the same frame that has our text in it, and we're going to add a fill to the frame. So let's go back up here to our stroke and fill settings, and we'll open that swatch panel again. And this time, instead of targeting the text, we do want to target the frame, and we're going to set the fill to black. Alright. Now, let's do a little bit more text formatting. So you'll notice that up here, we're not looking at text formatting options. The control panel, like the properties panel is dynamic. So that means what you see up here changes depending on which tool you have active. So if we want to access our type and text controls up here, we got to switch to our type tool. So the best way to do that is to press the letter T on your keyboard. Now we can do things like center our text within the frame, so we'll click to do that. But again, let's come over here and set this to all caps. Then let's come over and change the font to Montserrat Bold. Over here, this is the leading. Again, that's the spacing between lines of type, and this here, this value is the auto value. That's what is indicated with those parentheses there. So let's change this from auto, let's set it to 18 points to give the text a little more breathing room. Then let's swoop in and we'll grab this top line of type and set the size to 18 points. And the bottom line of type, let's drop that down to 11. Next, we need to select the frame. So to get our active cursor out of that text frame, we compress the escape key. Now we've got the frame selected, and we're going to do two things. We're going to go back to set the stroke to that same thin, thin stroke on the outside. Since we have our stroke panel added to our workspace now, it's represented with these little lines. We can pop that open, and we'll set the weight to let's see how it looks at ten again. And we want our alignment to be outside, and we want the type to be thin, thin. And actually, let's make this half. So it's ten on this one and five points for the weight on one little bit thinner. Lastly, we want this text to be vertically centered in this frame. One way we can do that is to come up here to our Control panel. And now I'm not looking at type options up here because we've got the frame selected with our selection tool. So now we can do things like align the content of the frame to the top or the middle. Then if we want to position this in the center of the page, we can move this over till we see that Magenta guide. And if I want to reduce all this extra space here, from the left and the right at the same time, we're going to hold down the Alt on a PC or option on a Mac and drag this in. And then, again, from the top and bottom, we can do it at the same time by again holding Alt or option. Now, those of you with an eagle eye for details may feel like, Hey, the spacing here at the top is more than the spacing here at the bottom. And, yeah, that happens sometimes. So when we use this method to just align it to the center, it aligns the text within the frame vertically, but it uses some default settings that probably aren't great. So we're going to make it better. And the way we do that is by bringing up our text frame options. So we can right click and choose text frame options, or the keyboard shortcut is Command B on a Mac or Control B on a PC. And I like to remember that the B is for better because it gives you better control and better options for your frame. And here you can see that the vertical justification has been set to center. That's because we enable that up here. But it's using the wrong baseline option. So let's come in here to baseline options, and you'll see that it's using the ascent to calculate this. So we want to drop that down, and let's see if cap height fixes it. Now, it appears like nothing happened because InDesign has this frustrating little habit of not enabling a preview. So you can do all kinds of changes here and you're flying blind because you can't see. So we want to come down here and click on the preview. And there you go. Did you see how it just scooched up a little bit? That's what we're talking about. So we're basically adjusting which baseline we're talking about and basing this all off of. So by default, when you just come up here and say line to the middle, it's not looking at the cap height. So you kind of have to come in here and play with it. So again, we got here by either right clicking and choosing text frame options or using the keyboard shortcut command or Control B to really give you better options. So in this video, we added this additional text frame here. We set our text within it and made it this green color which we renamed the swatch to call Lime. Instead of creating a second frame to hold this black fill behind it, we just added the black fill to the same frame as the text because that is clean and simple. It's a nicer way to work most of the time. Then we added a stroke, we aligned it to the outside, and we chose this thin, thin option. Let's press command or control and the number zero to scooch out. This is looking really great. We're nearly finished with this project, but there's one more thing to go. 15. Placing Vector Graphics: All right, we definitely need to add our client's logo to this piece. So let's take a look at how we place vector graphics. It's the same as how we placed this photo image. So we're going to go back to file. We'll choose place. And in that same folder, so the 02 flyer folder, you'll notice something called HSB Logo, and this is an Illustrator file. We don't need to show import options right now. We'll just go ahead and click Open. You may see this pop up that's asking if we want to place the Illustrator file. Or open the Illustrator file as a new editable in design document. We just want to place it. And I don't care to see this again, so I'm going to click to Not ask. We'll click Place File. And now, it gives us a loaded cursor, just like we had when we were placing this photo. So I just want it to be up here at the top of our arch. So something about, like, here, I'm just going to click and drag. And then when I let go, there we are. So this looks good, but of course we should probably have a black fill behind this. So to do that, let's come down here to our rectangle tool. The keyboard shortcut is the letter M. But otherwise, it's this second square. We've got two. We've got a rectangle frame tool and a rectangle tool. And I'm just going to click and drag a little frame around this like so, and it's defaulting to whatever colors I have selected up here. That's not what we want. So we're going to set the fill to black. And the stroke to none. So that's the one with the little red line through it. Now, the problem is that this frame is sitting on top of the logo. So what we need to do is send this frame back so that it's behind the logo. One way to do that is to right click, and that brings up our context menu here, and we can choose a range, and we want to send it backward. That moves it one level back. If we send it all the way to the back, it's going to end up behind the arch, as well. That means it's the very bottom of everything on our page. So I'm going to right click again, choose a range, and we're just going to choose Send backward. This is something that is definitely worth learning the keyboard shortcut for, maybe not right this minute, but this is something that we do a lot. So to move it backwards, you hold command or control, and you tap that left bracket key. That's the one next to the letter P on your keyboard. So you'll notice now it just moves it one level back. So by default, everything you add to your page gets added on top of what was there before. So the next thing in the stacking order was the logo. And we can select these two objects. So I'm doing that. A couple of ways. You can select one and then shift click the other to select them both. Or if I click away to deselect them, you can also just click and drag across both of them. So you're making a little marquee or you're lassoing those two objects. Just make sure you're not also including this frame down here. So just these two things, and we can center them with each other by designating a key object. So I want the logo to be the key object. So to do that, we just click it once, and you'll notice it gets like a stronger highlight around it. So that's the boss object now. That's the key object. Now, if we come up here into our Control panel, we have these alignment options. And now we can click to align the centers horizontally or the vertical centers this way. So you can see, I was pretty close. But by making this the key object, this one won't move, and it's the black frame that will move around to center itself to the logo. I don't like that there's more space on the edges here, so I'm going to click away to deselect everything, click once more, select this frame. And I'll press Command or Control plus so I can zoom in a little bit. And then I'm going to hold down Alt or option so that I can scale from these edges at the same time. And I like how that looks. Alright. Now, you may notice just to point out this is looking jaggedy. That's just the preview. So it's not going to print that way. Sometimes, when you're at certain Zooms, it just renders that way. If you're freaking out about it, you can right click and choose display performance and choose high quality display, and that will get rid of the jaggies. Alright, I think this looks pretty great. To really see how it's looking, we can hide all of our non printing stuff by hitting the W key. I always like to say it's W for Wonderful mode because it makes our design look great by hiding all that extra stuff. Of course, to get out of wonderful mode and back to regular mode, just press W again. One thing that can also be helpful is to group this logo with the black box behind it. So again, I'm going to throw a net over the whole thing, and then let's group it. You can go to the Object menu and choose group, or you'll see the keyboard shortcut is Command G on a Mac or Control G on a PC. And now we get this dashed line around it, and that just lets you know that it's grouped. So now that we have these grouped, I think I want to scale it a little bit, and I want to scale the unit as a whole. So you'll notice if we just hold the shift key and scale in like that, we're not getting the effect that we want. We want to hold shift to maintain proportion, but we also want to hold command, and that will scale them together as a group, but now we have to recenter it again. So I'm going to undo that one more time, and we're going to add a third key to this. So Shift key keeps it proportional. Command or control scales this whole group and everything in it as a single unit. And then the Alt or option key scales it from all sides at once. We'll see this again, so don't panic, but just to repeat. So that was the shift key to keep it proportional, the command or control key to scale it as a single unit, and the alt or option key to scale from all four sides at once so that it maintains its center position. Oh, that's a biggie. Don't worry about memorizing it right now. We'll be doing it again and again. Then let's just drag this up a little bit and also this up. And maybe this down. So something about like that. And there is our flyer. 16. Saving & Exporting to PDF: Of course, saving our work is super important, right? So let's do that. First, we want to save this as an in design document. So we're going to choose File, Save as. And if you want to make yourself a folder for your finished projects, I suggest doing so. And then we can leave it with the name flyer. And for format, we want to make sure we choose in design document. We can leave this option checked. That'll save the preview of the image with it. But again, it's not going to embed those links. We'll learn more about that later. But right now, as long as you don't move any of your links and stuff, you'll be fine. So we'll go ahead and click Save. Now, because our client isn't going to want to deal with our design document, they're going to want a PDF. Let's do that, too. So we'll choose File, Export. For format, we'll choose Adobe PDF print choose Save. And here's where we get a ton of options. For the most part, we can use the presets up here at the top to really help us out. So from this drop down, high quality print is perfect for when you just want to print something at home or send it to the office print shop, give it to a client. Basically, if you're printing it, but you're not having plates made at a professional offset press place, and we'll look at that later. And we'll click Export. So now we have our InDesign file that we work with here in InDesign, and we have a PDF file that we can send to our client. If you want to easily share your work on the class projects page, it can be helpful to actually have a JPEG because depending where you're watching this video, it may or may not let you upload a PDF. So let me show you how to make a JPEG quick. We're just going to go to File. Export down here under format, we're going to choose JPEG. Call it whatever you want. We'll go ahead and hit Save. And here, we're going to need to give it some settings. So we only have one page here, so we can just export all. But if you're in a situation later where you want to export individual pages, you can or you can export all. You can also choose to export single pages, like a left side separate from a right side, or you can export the left and right side together as one single JPEG. This document doesn't have spreads. We'll learn more about that later. So we'll just leave it set to all and pages. And down here, we can choose the resolution, and I think 100 is fine. If you end up exporting it and you need it to have more pixels, then you can come back and use a higher number here. I want to embed our color profile, anti aliasing is good. And since this is just for the class website and we don't have any bleeds, we don't have to worry about this. So then we'll hit Export, and that's it. That was fun, right? Are you feeling good? Remember, you don't have to have this all memorized yet. We're gonna keep repeating, doing things over and over in different ways, and you're going to get more and more comfortable as we continue. Right now, just pat yourself on the back for nailing your first flyer. 17. Class Project 1 - Design a Flyer: Alright, so now that we have built this flyer together, now it's your turn. So I'm here in the project guide, and I'm looking at the class project number one, which is a flyer. So you're going to use whatever you generated with your random project generator. You're going to use that as your brief, and then you're going to build a flyer for your client. So then down below, I just added a little screen grab from the project we built together because I don't know, I find it helpful to just trigger my memory about what we did and all the things that you learned. Hopefully, you find that helpful, if not just ignore it, but the idea is that it just reminds you of all the different things and techniques that we learned in that section, so you can figure out how you want to incorporate them into your own design. Um, and so the requirements are, it's just a single non facing page. You want to include at least one image, some text. And again, when you're looking for images to include, I've got links here to Adobe Stock and Unsplash, your client's going to need a logo. So you can find all kinds of things to help you with that over at Adobe Stock. Also, you'll want to figure out some fonts that you're going to be using for your client per the brief. So here are links to the font sites that I mentioned earlier. And if you need help installing fonts, you can find more details here. So down here for the deliverables for the client and for, of course, your portfolio, you'll want to export as a PDF using the print preset. As always, you would include any hyperlinks or bleeds if they're applicable, but they're not in this example, we'll get to those later. And then for the course project, to be able to upload and share on the course site, it's not always going to take a PDF. To be safe, it's just easiest to export a JPEG, then you can upload that. Or, of course, you can also make a screen grab and take a screenshot and post that to the class project and assignment section of the website. And of course, we'd love for you to share on social media and look forward to cheering you on. Okay, so there you have it, your very first project for your very first client. I can't wait to see what you come up with. 18. Not All Panels Are Created Equal: So here is a look at the brochure that we're going to be creating. But before we design anything, you always want to know how it's going to be used, how it's going to be printed, what the requirements are, what the specifications or specs are. And if possible, you want to use a template from the printer. So we're going to be building this brochure from scratch, but I want to just show you how it works if you are looking to work with a printer template. So many of you might be familiar with moo.com. They are an online print shop, and they among other things, they print brochures. So if we scroll down here on this page, we see that they do offer design guides. So I'm going to click on that and you'll see it's downloading a zip file. And if we open that up, we see that their templates come in a variety of formats. So they have an Illustrator template, an InDesign template, a PDF template, and a PSD Photoshop template. So let's open up the InDesign document here, and this is what you might see in a template. So we can see they've got two pages. Here, they are non facing pages. We'll learn more about that later. We can see here this looks like gibberish. So if this is happening to you, this is just a default setting that we can change. So let's go to our view menu and choose display performance. And instead of just typical display, which just makes it garbly just to save computer power, we want to choose high quality display because we need to be able to read. All right, so here they're showing us what a bleed area is and what size all of this should be. It shows you where the fold lines will be. That's what these lines here are. They're explaining how to use a bleed, which we'll talk about when we set up our document. Here you can see they're saying it should be a CMYK document, what the resolution of the images should be, and they're even telling us which PDF preset to export to. And they want the artwork for the inside and the outside pages to be uploaded separately. So this is the kind of stuff that varies from printer to printer, so you always want to check. So this page here is the inside page. This is the outside page, with this being the front panel. So you can see, they have the guides set up in here. If we look in our Layers panel. So if you don't have that on your screen, it's under Window layers. So I've got it right here. It's this little icon. We can see that they want us to build our artwork on this layer here and we'll talk more about layers later. These are all of the guidelines. So we can toggle their guidelines on and off here and you can see they've locked it, which if we need to, we could unlock it, and then they have this kind of info stuff here. We would want to make sure before you output anything on this template that you hide this kind of stuff so it doesn't end up in your artwork. Now in this document, they've set up the bleeds a little bit differently than what we're going to do. They have essentially baked them into the page size. So even if we're here in wonderful mode. So again, I'm pressing W to get in and out of wonderful mode, which hides all of the non printable stuff. But we can see here that this is the edge of the page, and this in their template setup, this includes the bleed, and they're the printer, so they built this how they want to. But in our document, we are going to set up an actual separate bleed, which is pretty standard. But this is nice, particularly if they have a lot of clients who don't know how to work with bleeds, then, it just kind of makes it easier for them. But the thing that I really want to point out about this template and brochures in general is that these three different panels are not equal, which is why it's so important when you are designing a brochure that you try to get a template or at least the specs so you know where to put the fold marks and your margins and everything. Just to show you, I'm going to draw a shape to just fit and we'll just fill this with black real quick. So I'm just showing you that this width is not equal to this one. See? Now it's a minuscule difference. That? It's tiny. The difference is tiny. And this one, look at that. This difference is even greater. So I point this out because I remember one of my first jobs when I was really getting started with this was to make a brochure, and I did not understand this, and it took me forever, and I wasted a lot of paper and ink and just frustration. Okay? So the important takeaways from this are just that before you design, you always want to know what you're building, what the specifications are, who's going to print it, if they have any templates available that can just save everybody a lot of hassle. And no matter what template you're using or who's printing your brochure, those three columns here are not going to be equal. They're going to be so close to equal that you're going to think they're equal, but they are not because you have to accommodate the folds. And if you know all that stuff, you will be a step ahead of me when I started. So ya. 19. Setting Up Bleeds: Alright, so we are going to be building our brochure from scratch so you get the full experience, and we're going to be setting it up with bleeds. So the first thing we're going to do is come up to the file menu and choose new document. We'll set our pages to standard US letters, so 8.5 by 11, but we want it landscape. So we can either re type all this or we can just hit this little button here to flip it, so it's landscape. We are going to have two pages, as we'll have an inside and an outside to the brochure, and we don't want facing pages. We'll work with facing pages later, but basically, facing pages are what you get anytime you're working with, like, a book or a magazine, where you have pages that face each other when the documents open. Like they're bound in the middle with a spine, and a brochure doesn't have that, so we're going to turn that off. Down here for our margins on a brochure, this is typically going to be smaller. So let's say 0.25 ". And down here below in this area for bleed and slug, so you may have to expand these to see them down here. We're not going to use a slug. That is a printer specific thing, and for the most part, you'll never have to worry about that. But we do need to talk about bleed. So before we set up our bleeds, let's talk about what it is because it's one of those things that kind of sounds scary. It's really pretty simple. So unlike when you print something at your home or your office, when you send a document to a professional printer for press printing, after it's printed, it gets trimmed down to its actual final size. Now, of course, if you have ever tried to trim something perfectly along the edge, you know that it's tricky to be exact with it. And even with fancy powerful and wildly precise machines, it's not exact. And so what happens is, you end up with these little white wedges along the edges of your document. That is definitely not cool. To kid around this, we build bleeds into our documents, and then we extend our artwork past the edge of the page all the way to that bleed. This is what creates enough wiggle room wind trimming to get nice clean edges and avoid those dreaded white wedges. So bleeds can vary depending on the printer, so you always want to check. But the standard that most go with in inches is 0.125 ". So that's an eighth of an inch. And I believe for the rest of the world, I think the standard bleed size is 4 millimeters. But again, always check with your printer. So we're going to use this 0.125 ", and we should be good to go. We'll go ahead and click Create. So here is our document, and you can see this magenta line here. This is our quarter inch margins all the way around. The edge of the white page here is the edge of the document itself. And then this red line here, this is the bleed. So this is where we want to extend all of our artwork to so that when the document is trimmed along the edges here, we're not going to end up with those white wedges. So, simple, right? Now you are ready to rock a bleed. 20. Setting Up Guides: That we have our document setup, we are going to set up our guides, and I based them on the template from Mu just so we have something. But where you put your guides varies depending on who's making your stuff and the paper you're using and all that. So let's create a layer for our guides, just like they did in that Mu template. So again, we want to have our layers panel open. You can always find your panels under the window menu. Here's layers, or the icon looks like this. And this layer one is going to be where we put stuff. So to make a new layer for our guides, we'll just make the little plus right here. And this is not necessary, but the advantage is that we can then just lock it or unlock it easily and not worry about accidentally moving guides later. So, as we'll see later, there's lots of different ways to create guides. For this project, we are going to create them by just dragging them out from rulers. So here on page one, let's first create our fold guides. So those are going to be vertical guides, which means we drag them out from this vertical ruler over here on the left. If you don't see your rulers, you can find them under the view menu here by choosing Show Rulers. If you've got them on, it says, Hide rulers. And you'll notice the keyboard shortcut is command or Control R. So we're going to come over here and just click and drag. And we want this ruler to be precisely and in inches, this is really fun. We want this at 3.62. So we can try and nail that. We can look here. You see a little flyout that's telling us where it should go. But we can also once we drop it, we can also come up here and type 3.62 and hit Enter. So there's one at 3.62. And the other one we can drag out, and I'm just going to drop it loosely, and it'll come up here and we're going to type 7.295. Obviously, if you're working in millimeters, this is so much easier. Alright, so those are going to be our page folds. Now, we want to make the margins here. So like, we have the margin here on the outside of the whole page. We need to have another margin for that buffer between the content on this panel and the fold. So let's go grab another guide and we'll drop this one at 3.38 ". And we need one on this side too, so that's going to be at three point oh, I was close. 3.86, and we'll put two more over here. Drop one and come up here. This is going to be Oh, I nailed it, 7.06. I wasn't even trying. Look at that. And this one, I'm just eyeballing here. Let's see. And we'll drop this one at 7.545. All right. So these are our fold lines and inner margins for the panels on page one. Now we're going to go down to page two where we basically have to reverse that. Our folds on page two will drag out 23.7 and 7.39. Those are our folds, and now we need the quarter inch margins on either side. So this one should be 3.44 you can see why templates nice, right? So you don't have to do all this. 3.9, five, two more. 7.14. And Oh, I nailed another one, 7.63. Awesome. So let's rename this layer instead of layer two, let's call it Guides. So to rename it, you want to click and then click again. If you click twice in a row too fast, you cancel it. So I've had this described to me as, like, a Southern click. So you click once, and then you just kind of take a breather and click again. And then we're going to call this guides and press Enter. And then if we lock it by clicking in this little empty space right here, that will prevent us from accidentally grabbing and moving any of these guides while we're working. So there we go. We just set up our very own brochure template. 21. Aligning Graphics & Text: Alright, so we're going to ease into this by starting with just placing some graphics like we have been doing so far. Now, we want to make sure that before we do that, that our active layer in our Layers panel is not the guide's layer because that's locked. And if we try to place something on here, it's not going to work. So we can make layer one active by just clicking to select it in our Layers pan. Now, previously, we've been choosing file place, but you'll notice the keyboard shortcut is Command D on a Mac or Control D on a PC. So I'm going to click out of there, and let's just practice using our keyboard by pressing Command or Control D for dropping in an image. In the course files, you're going to want to navigate to the file folder called 03 brochure. And we're going to actually select two images to place at a time here. This photo by Doug Kelly from Unsplash, and then we're going to hold down Command or Control to select a second image. And here, we're going to put in our client's logo. Again, we don't need our import options on, so let's leave that off, and we'll click Open. Now you're going to see our cursor comes loaded with both of those images, actually, and you can see right near the tip of my mouse, there's a little number two in parentheses. So that lets us know that we've got two images loaded on our cursor, and we can cycle between them by using the arrow keys. So if we forgot what we just selected, there you go. There's our reminder. So the first image that we're going to place is this one here. So you want to tap your left or right arrow keys until you see this. And we are going to place this on these two panels here. So we're going to be designing our outer page of the brochure, the outer side first in its entirety, and then we'll move on to page two. So we're on layer one. We've got our loaded cursor. And because we want this image to go all the way to the edge, we want to make sure that we're not just placing it here at the edge of our page, but we want to stretch all the way up to that bleed mark. So I'm putting the corner on the fold line and the bleed. And then I'm just going to click and hold my mouse, drag all the way down, and you'll notice again, the proportions are locked to the image, but we want to make the frame have different proportions. So let's hold Shift. We want to make it come all the way down to the bleed lines on the bottom of the page and all the way on the right. Then when we've got it in place, we can let go and it's going to drop in that image. We'll talk about getting that to fit in a moment. And let's take the logo right here and we can place it from about this margin right here on the front. To the margin on this side. Alright, so let's click to select this image here, and we can see that it is fitting within the frame proportionally, but it's not filling it. So if you recall from earlier, we had gone up here and clicked this button to fill the frame proportionally. We don't want to be doing that every time we place an image. So there's a couple of things we can do to change that. One is get to know the keyboard shortcut. So it's basically everything plus the letter C for convenient, I like to say. So by everything, I mean all those modifier keys. So hold down Shift, hold down Alt or option, and hold down command or control, and then press the letter C because like I said, it's so convenient. Now, if we want to make all of our images automatically fill the frame, another thing we can do is click away from there so nothing is selected. And let's come up to the Object menu and choose fitting frame fitting options. Here, if we want to enable autofit for everything, we can turn that on. That will resize the content as the frame resizes. That's kind of a personal preference thing. So you can play with that, see if you like it. Another thing we can do is come down here to fitting and we can just always tell it to fill the frame proportionally. And then click Okay. So because we did that without any particular object being selected, it's going to be the default setting for everything in this document. But going forward, if we want that to be the default for every document that we work on in InDesign, not just this one, then let's take a minute and save this document. So let's go to File, Save As, and put it in your finished work folder wherever you are storing that and we'll just call it brochure. Format should be in design document, and click Save. Now we can press Command or Control W to close it. And then if we go back to our workspace and we go back to Object fitting, frame fitting options. And if we set the fitting here to fill frame proportionally and click Okay, now, every image we drop in anywhere is going to automatically fill the frame proportionally. A few other things that can be really helpful to set while we're here and we don't have any documents open is our display preferences, so we don't keep seeing those jaggedy edges on our graphics. So let's go to view display performance and set it to high quality display. And it can be really helpful to set our default font of choice. And if we do it again, with no documents open, it'll apply to everything going forward. So let's select our type tool by pressing T. And up here, whatever your font is, let's change it to Montserrat. And I'm going to choose bold. 12 points. Then we can switch back to our selection tool. Now that that's done, let's go back and open our document, file open recent, and it should remember it here. So we'll pull that up, and here we are. So next to make this logo more visible, let's add a color fill behind it. So for the rectangle tool, we can just press M for Marquee, and let's just come over here. Draw a marquee that's going to go from this fold all the way to that bleed. All right, so now we want to fill this with the brand green color. I'm going to come up here to my Control panel. This represents the fill, so we'll click this drop down, and here is that nice bright green that we want, and we can see that this frame currently has a black stroke applied to it and we don't want that. So we could click out and click back in here to change the stroke or we can just click right here to pull the stroke up so that it's active and then set it to none. And we'll click that little carat to close that panel. And finally, again, we need to move this shape back one so that the logo is in front of it. So again, we could right click and we could choose arrange, send backward. Or let's practice this keyboard shortcut command or control left bracket. And we want to make sure that the Green frame is centered behind the logo. So let's select both objects. Since this one's already selected, we can just shift click to add the logo to it, and then let's actually set the logo as our key object. So I'm going to click on it one more time. That puts that thick highlight around it and tells in design that we want to center these things around the key object. So now we can come up here in our control panel. These are our alignment options, and we want this one here so that they have aligned vertical centers. Now, we wouldn't want to align it horizontally. Because this margin is going to be a little bit bigger because of that bleed, but it's also going to be trimmed off. So visually, when we're looking at it, it looks off center because there's more space on this side, but you got to remember, it's going to be trimmed here along the edge of the page. So we know that it's centered because the logo is fitting between the margins for the panel. All right. So on this page here, this right hand panel, this is going to be the front of the brochure. This middle panel is going to be the back of the brochure. So here we want to add some text. So let's press T for the Text tool. We can draw a little box down here. And the font that we're going to be using is allotropic. So hopefully, you've already gone ahead and activated that. So it's AO ALLOTropic. We're going to choose boold. And we want this to be all cap, so we can go ahead and set that now and I know that we want it to be 18 points. You don't always know this ahead of time. So usually you just get the type out and then style it. But, you know, I planned ahead. So let's take advantage of that. 18 points allotropic bold. We can come up here and set the color to this brand green, and we'll go ahead and center it within the text frame and make sure our cursors active in here, and we're going to type Gros something spicy. Then to get our cursor out of this box, let's press escape. That brings our controls back to the box here so we can actually set this to be the width of the column here. And that way, we know that it's centered, and we can bring it down so that the text is sitting on that quarter inch margin along the bottom. And I'm looking at this and thinking, I don't love that the text is so close to the stem of this flower. So I just want to scooch the flower over within the frame. So as you will hopefully recall, if we double click on it with our selection tool, that will allow us to select the image itself within the frame. And now I'm just going to click and drag it slightly to the right to just give it a little more breathing room there. And another trick is that when you hold shift while you're dragging, up and down or left and right, it will keep it in alignment so that you don't accidentally drag it up like that. So holding shift and dragging it straight to the right will keep it flush and just keep it moving straight over. So nice little bonus tip. And if we want to see how it's looking, we can press W to pull up wonderful mode, and that looks great. Two out of three panels on the outer page are already done. 22. Intro to Paragraph Styles: All right. Before we add our text here, let's make sure we're not still in wonderful mode. So press W to get in or out. And so we should be able to see all of our margins and our bleeds and the guides and everything. Alright, so we're going to be placing text in here, and rather than having you have to type it all out, we're going to work the way you often end up working as a designer, which is you're building the layout, and somebody else, like in the marketing department, copywriters, somebody else is crafting the text. And then it's our job to make it look good. And that might be delivered to you in any number of ways. The way I've got it for us here is in a text file. So using Finder, if you're on a Mac or Windows Explorer, if you are on a PC or my personal favorite is to work in bridge, navigate to the course files, and you'll find somewhere in there a text file called team dot TXT. So if you open that up, it's just a nothing fancy text file. So we're going to select all of that and copy it and then come back over to InDesign. You can press T to bring up your type tool and then just drag out a little text box and paste in your text. So now we get to begin the fun part of styling and formatting the text. The best way to do this is to take advantage of styles. Styles are like little recipes that save us from having to format similar text over and over again, and it makes it easy. So if we need to change something like say a font or a size or a color, we change it in one place and it updates everywhere. So as a designer and an in design user, you definitely want to make use of styles. The main two that we'll be working with are paragraph styles and character styles. And we'll learn more about what the differences are as we go, but the main main one is paragraph styles. So let's start with what's going to be our header up here. So that's going to be here where it says our team. So let's go ahead and style this the way we want all of our headers in this document to look. So we highlight this text. We're going to come up here and change the font to allotropic. That's our brand font. So specifically allotropic bold. We'll leave the color as black. We're going to set the size to 24 points. We want it in all caps, and we're going to build in something called paragraph shading that's going to go behind this text, similar to how we have a green box behind this logo. But we don't want to be drawing green boxes every time we want to put a headline in here. And because this type might be in a frame along with other text, we can't just fill the frame. So we're going to use something called paragraph shading. That is an attribute under paragraph formatting. If we look up here in our Control panel, we'll notice on the left here that there's a little A. This is for character formatting. If we click the little paragraph symbol, which by the way, if you're ever on Jeopardy, this is called a Pill Crow. We're going to click the Pill Crow and you'll notice that there's an option here for something called shading. And if we click right here and just turn it on, it's going to show up with these default settings that are not really helpful. So what we want to do is Alt or option click right on this little box here, and that will bring up our shading setting. So we'll move this out of the way so we can see what's happening. And remember that in design just doesn't think you need a preview by default, so we want to click to enable the preview so we can see what we're doing here. So our shading is enabled, and we've pulled up our options by Alt or Option clicking on this little icon. And now we can choose the color we want for our shading. And if we click this drop down, here's all of the colors in our swatches panel. So here's our brand green. So we're going to select that, and it's defaulting to a tint. But this brand is bold, so we're not going to be using a tint. We want this at 100%. Down here, if we wanted to change the corners of our little shading, we could, but we're going to leave it. Let's come down here to this offset option. Right now, with an offset of zero, you can see that the shading is happening just like exactly on the text, and that's not very comfortable to our eyes. So we want to give it a little bit of a buffer. So we've got the chain here enabled, which means if we make adjustments, you can see that it's going to expand on all four sides. So let's go ahead and bump that offset on all four sides up to 0.125 ", which is an eighth of an inch, which coincidentally is the same as our bleed. That way, the text that's being shaded has some breathing room around it. Over here, we can control sort of the boundaries for the shading. So we'll go ahead and leave the top edge set to ascent, the bottom edge set to descent. And for the width, instead of having it be the whole column, let's set that to just be as wide as the text, plus the offset that we set over here. Now, we'll go ahead and click Okay, and let's switch back to our selection tool so we can adjust the width of our frame here. So it's going to go from the margin here to the other margin. So remember, this line here is the fold, and this line here is our margin. So that's looking pretty good. But we also want this shading to really just line up with the quarter inch margin here. So let's go back to our type tool and put our cursor in this text somewhere. And let's go back to our character formatting. And it's important to point out that just because this is called character formatting, and this is called our paragraph formatting, there are some overlaps. Like, there are things that appear here, that also appear here and vice versa. So for most of the time, we'll probably be working in the character formatting controls, even though we are actually controlling some paragraph settings. But we want to be up here in character formatting controls. And over here on the far right, we have the ability to set the indent, the left indent, in this case, for this header. Because we made the shading an eighth of an inch all the way around, if we want that shading to line up with this margin here, we need to set a left indent to match that. Up here, this little icon represents the left dent. I'm just going to tap this twice, the up arrow twice, and you'll notice it moved that text over, and now the shading lines up where we want it with this margin. We also need to bump the text below it down a little bit. Another thing we can do also up here, is if we move over to the right, we see some spacing options. This tells in design how much space to put before a particular style of type. And here we can control the space after. Every time we have a headline like this, H one, we're going to call it, our top level header. Every time we have this header, we want a quarter inch of space to come after it. Let's boost this up. Until it says 0.25 ", and we can see that the text below has scooted down now. So this right here is how we want all of our headers, our top level headers or H ones, as they're called. This is how we want them to look. So rather than having to set all of these settings every time that we want a header, we're going to take all the settings that we already put here and we're going to slurp them up and save them in a little preset, like a recipe. For headers. And the way we do that is with paragraph styles. So let's go to our window panel, and we're going to come down here to Styles. And you'll notice there's lots of styles. We're not going to get into all of them, but let's just focus on the two biggies, which are paragraph styles, and we'll see character styles later. So let's open our Paragraph Styles panel. And this is a biggie that we want to keep handy. So I like to drag it into this little column right here along with its buddy character styles because they work together. And then the stuff I'm going to drag out and close. Alright. So paragraph style, you can see the icon is that little Pill Crow symbol, right? The paragraph symbol. Alright, so it's important that we have our cursor active in this text. We don't have to highlight all of it. We can just have it flashing anywhere within this text because InDesign recognizes this as its own paragraph, since there's a return here before the other text. So this is a paragraph. And to slurp all of these settings up into a preset, the best way to work is to hold Alt or Option and then click the Create New style button. And what that does is it creates the new style, and it opens the style setting so that we can double check a few things here. Okay? So if you just click this by itself, it's just going to make a style. Then you have to double click it to open this up. So it's always good to alt or option click right here. Now, we can give this a name. So typically, you'll find that people name their styles with I mean, you can use anything, but since we're going to call this like a level one header, we'll call this style H one, and styles are great because you can base them on each other. We'll learn more about that later. Right now, the only other thing we want to do here besides give it this name is that we want to make sure that the style that we're creating gets applied here. So, yes, this already matches visually the style that we're creating, but we have to tag this with the style so that if we edit the style later, it will include this bit right here. So we'll go ahead and choose apply style to selection. So you'll notice if we come through here and check out our basic character formats, here you're seeing, it's sucking up all the settings, allotropic bold, 24 points, all caps. If we come down to the other categories like paragraph shading, it slurped up those existing settings, too. So we've got that green color at 100% with the eighth of an inch offset and the width set to the text itself rather than the column. So this is a great way to create styles because it's just easy, right? Like, you just visually build whatever you want here, and then you slurp those settings into a new style and go back to general, we want to make sure we always apply that style to the selection. So now we can click Okay. And now we see in our paragraph styles, we have our basic paragraph style, which is just there by default all the time. And now we have our H one style. So just to show you what this looks like, if I put my cursor here where it says Tai Kalathea, you'll notice that the paragraph style is now showing that this text is basic paragraph. But if we want to apply that header style to it, we just click right here and boom, it gets applied. A? Now, we don't actually want this applied here, so let's press Command or Control Z to undo that. But you'll see when we get to page two down here, we are going to make use of this header in several more places, and now we won't have to be reformatting it every single time. Alright, so that is our first paragraph style that we've created. So, ya, round of applause for yourself. Take a minute, let that soak in. Don't panic if you're not quite sure because we've got plenty more on Styles yet to come. 23. Creating Paragraph Styles: So now that we've created an H one style, we're going to create a couple more styles, an H two and a body copy style. So what we have here is a little blurb about the team at hot sauce Botanicals. We see that we have a name, and then we have, like, a little blurb for each name. We've got Erica Jade, Liz Flowers, Lynn Stem, and Ti Calithea. If this is our top level heading, H one, we're going to create a secondary level heading called H two for the names, and then we'll add some body here. The easiest way to create a style is to go ahead and make the text look the way we want and then slurp those settings into a new paragraph style. I'm going to highlight our first name here, Erica Jade. And for our H two heads, we're going to be using Montserrat. So if yours isn't already set to Montserrat, go ahead and set it. Specifically Montserrat Bold. We'll use 12 points, and we also want all caps. So we'll click right here to enable that. That's pretty simple. That's all we want for our H two. So with that selected or at least with our cursor in that paragraph, we're going to come back to our Paragraph Styles panel. We're going to hold Alt or option and click the Create New style button. Again, the Alt or option creates the style and pops it open here so we can give it a name. So we'll type H two. It's our second level heading. And we want to make sure that it is applied to the text right here. Then we can go ahead and click. Okay. You see here is our H two and because it was applied and our cursor is active here, it shows that this text has the H two style applied to it. So check it out. If we put our cursor here in the Liz flowers text, you'll notice right now that is just a basic paragraph, but we also want Liz flowers to be H two, so we can just click. There it is. We also want Lin stem. Age two, Tai Kalatha. H two. See how that works? Pretty sweet, right? All right. And finally, for this text, we're going to create that body style. So for the text here under Erica's name, this little blurb, we're going to highlight that because again, we're going to make the text look the way we want and then slurp those settings into a style. We'll also use Montserrat, but this time, we're going to choose light. And we're not going to put it in all caps, and we're going to drop the size down to 11 points to create a little more room after the paragraph before we get to our next heading, let's come back up here in our Control panel. We want to set the space after our body paragraph to a quarter inch again. And we also have this cool setting right here. This allows us to control how much spacing is between paragraphs that all have the same style applied. In the text we have right here, right now, it's not going to make any difference whatsoever. So for now, we can either ignore it or let's put in a value of 0.125. So we can just type that 0.125. So that's not going to change anything here, but in some of our other texts, we'll see where we have multiple paragraphs that are all the same style, and we don't want this much space after each paragraph. So that's what the setting is for. All right, so now we've got this setup looking good. So as long as our cursor is somewhere in this paragraph, we're going to come back to our paragraph style panel, and we're going to hold Alt or Option. Click that new button, and we're going to call this body. We're not going to base it on anything. We're not messing with any of this yet. You can see it slurped up all of the settings, and we want to make sure that there's a check next to apply style two selection and we'll click Okay. Now, all we have to do to style out the rest of this text is click to put our cursor in this paragraph, and then come over here and click to apply the body style. Put our cursor in this paragraph, click to apply the body style, and finally put our cursor in this paragraph and click to apply the body style, and we can see that for some reason, it is showing up bold. So I don't know why that is happening here just now, but it may not happen to you, but if it does, let's talk about it. We'll look at this more later, but you'll notice if I put my cursor back in our proper body style, you'll see it just says body. But this text, if we put our cursor here, we get body, and we see this pesky little plus. So that means something about this text has an override applied to it. So something's different about it. I don't know where that came from, but it's easy to fix, and we'll look more at this later. But to clear this override, we're going to right click someplace here next to this body style, right click. And we're going to choose apply body style and clear any of those pesky overrides. And when we do that, we get what we are expecting. Aren't styles cool? I think they're really easy to work with. It's just takes some practice, and you have to get into the habit of using them. And it might seem like it takes a little more time to set them up. But really all it takes is styling the text, or option clicking here, and giving it a name. And once you do that, you save yourself a boatload of work and time later. We've got a lot more fun things to learn about styles as we go. So this is just the beginning. To make sure we don't lose all the awesome work we've done so far, let's update our saved document. You can choose File, Save to update what we've done already, or we can also just press Command or Control S. Nice job so far. More good stuff ahead. 24. Threading Text Frames: So far, all of the texts we've been working with in this particular story, as InDesign calls it, is in a single frame. But one of the cool features of InDesign is that text can be threaded between multiple frames. And we'll look more about this later. But just to give you a little taste of it, let's take this text frame. And drag this bottom node using our selection tool. Keyboard shortcut is V for very important. And we're going to drag this up until we only have the H one text in here. So you'll notice that all of the other texts disappeared. Of course, it's not gone. If we drag this down, it comes back. But it doesn't fit in this text frame. And we can see that there's more text in this frame than fits in its current size because of this little red plus. So we call this text overset text, because the text in this frame is over the amount that can actually be displayed. So this lets us know there's overset text. So rather than expanding this and then like cutting and pasting this text, instead, what we do is we click the little overset text button. The little red button, and that gives us a cursor that is loaded with the rest of the text. And now we can come down here and let's say actually we want this text frame to start about here. I'm looking at the left edge of this M right here, and now I'm just going to click and drag out another type frame. And when we let go all of the text, that was overset in this frame. Flows right into this one. But it's not the same as if we just copied and pasted. These are actually connected. InDesign calls this a story. This is a story, albeit a pretty short one that is split from this text frame to this one. We know that these are now threaded a couple of different ways. One, we can see this little blue triangle here. We call this the in port or maybe just I call it the inport. I think it's actually called the inport. But this little blue triangle shows us that the text in this frame is coming from somewhere else. And if we click up in this frame, we see we don't have that little icon over here, but we do have it on this bottom right side. So this shows us that the text in this frame is flowing from this out port. Into this import. Now, if we want to actually see, if we dragged our frames around and got them all jumbled, we might be confused about what order they actually go in. We can always check that. If we come up to the view menu and we choose extras and we choose show text threads. When we click on any one of these two frames that are now, as we would call threaded, we will actually see a little string connecting them. If we move this around, the string moves and this is just a visual way to see that this is all one story and the text starts here flows from this output to this input and onward. If we had a series of more frames, if we shorten this up a little bit more and we click the little output again and we drag another box over here, now our story is split across three frames. What that means is if we grab our type tool, and let's say that we add some more text to Erica's little blurb right here. So I'm just going to type some Gibberish. But you'll notice that as I am doing that, it's pushing the text down, but it's not becoming overset. It's just flowing into the next text box. So we can actually highlight text from one frame to another because they're connected. They're all part of the same story. That also means if I go back to the selection tool here and I select this third frame that we don't actually want, and I just delete it. The text doesn't disappear, it just flows back up into this frame where now it's overset again. We could either click the overset button and port it into a new frame or we could just grab the little corner down here and expand that frame. These little indicators are always here. If you want to unlink these, for example, this one, we would click the Import on this frame. That's right here. We click that and then we click back on itself. Click again. Now we're saying, Hey, this text frame should have text coming in from just itself, which is empty. So you'll notice that put all the text back up here. And we'll learn more about how to work with this stuff later. So we can undo that for now. And if I have this loaded cursor somehow, we can just press Escape to delete that. So what we want for now is this text frame up here with our H one, and then we're going to have all this other text in this frame down here and to keep things tidy so we don't end up with these threads all over our screen. Now that we know how the threads work and that we can turn this on anytime we want, we can also turn it off. I'm going to go back up to the view menu and choose extras, hide text threads. I'm going to undo all of this and get rid of my gibberish, and we're going to be learning more about working with Threaded Text Frames later in this course. Right now, just know Threaded Text Frames are a thing, and now we have two of them. We've got one simple little story split across two threaded text frames. 25. Working with Anchored Objects: Next up, we're going to learn about Anchored Objects. To get started, we're going to create a series of frames to hold the profile pictures for each of our team members. Now, up until now, we've been selecting the images first and then bringing them in and drawing the frames. But this time, just to spice it up, we're going to do it differently and draw the frames first. We've also explored looking at the rectangle tool for drawing frames. This time, we're going to use the frame tool, the rectangle frame tool. For our purposes, for this course, for here and now, you can really use these interchangeably. What's nice about using the frame tool is that you're telling in design that you plan to put an image in it, although we can put an image in these frames, too. But the other thing that's nice is when we draw with these frames, we get this little X in there and just makes it easier to see and is a little mental reminder that we intend to put a graphic there. So let's grab the frame tool. If we click and hold, you can see that the keyboard shortcut is F. We're going to come over here and draw a little frame, so I'm clicking and dragging and because we want it to be square, let's hold the shift key while we are drawing it. Something about this size should be good. When we're happy with the size, it looks like mine's just over an inch, and I know that because I can look in the top leftish area of my control panel, and it's showing me the size, and I even have this little flyout down here. So you can keep an eye on things as you go, which is pretty cool. So I'm going to set this to be about this big. And when we let go, we see the frame and the little X through it. Basically just means we drew it with this tool and that we plan to put an image in it. Now, rather than having to draw out three more frames, let's just make copies of this one. We're going to do it on the fly, which means we need to grab our very important selection tool. The keyboard shortcut is V for very important. And to make a copy of this on the fly, we're going to hold down Alt or option and then drag out a copy and let go. And we need two more. So we could just drag across these two to throw a net over both of those, hold down Alt or option again, and drag down Alt or option tells in design to make a copy. And you'll notice it can be tricky to drag it straight down gets a little wobbly. So to force it to be straight, you can add the shift key. And we can even see these little green guides turning on right here and letting us see when the spacing is equal. Let's go ahead and get our images now. So we can press Command or Control D to drop in some images. And this time in our oh three brochure folder, we're going to grab this one by gaining visuals, courtesy of Unsplash. This one by Jennifer Marquez of A Unsplash. Here we have urn Aranas. Not sure I'm getting the names right, but I'm trying, and we've got this one from Oswald El Saboa. Don't need any import options, so we'll uncheck that and we'll just click Open. Now, this is going to give us a loaded cursor and you'll notice that there's a little number in there with the four. We've got four images loaded on our cursor and just like we saw earlier, we can cycle through them with our arrow keys on our keyboard. This is going to be Erica. We're just going to click to plop that right in the frame. This is going to be Liz. This is going to be Lynn. And this is going to be tie. And before we get too precious about composing them within the frames, let's actually imagine that we decided we wanted these to be circles instead. How would we do that? Do we have to start over? No. Throw at over everything to select all four of these, and we're going to come up to the Object menu and choose convert shape, and we're going to choose ellipse. Nice, right? And now we can click away to deselect them. Now, ultimately, we want each of these profile pictures to be sort of connected to the person whose name they go with. And while we could just drag these around until they kind of line up something, I guess, like this. The problem, then, is, let's say we change this tech frame. Well, now it's narrower. So now, like, Liz needs to be down here, and then we need to move Lynn. And then we need to move tie, and this starts becoming a real pain in the behind. So, going to undo that. And a solution for that is to anchor these objects. That's different than grouping because one, all of this text is in a single frame. So we can't just group this image to this whole text frame because what about all the other images? So that's where Anchored Objects come in because anchoring things allows graphics like this to actually move and respond to the text. So just like an anchor holds a boat in place, here we're going to anchor this graphic so that it's always in the right position next to this text, no matter where this text ends up flowing. So how do we do that? We're going to come up here to this little blue dot and look at that. Even if we hover InDesign is helping us out. It says, drag into text to anchor the object. We can shift drag to make an inline object or we can option or Alt drag to open the dialog with more options. So for right now, let's just take this little blue dot. We're just going to drag it until you see the cursors right here to the left of the E and Erica, and then when we let go, boom, it's anchored. How do we know it's anchored? Look at that. We got a little anchor right here. Cool, right? Now, we don't have any options. We didn't get to set any particulars about our anchoring. And when you anchor objects like this, you definitely want to be specific about it. We can right click on this object and choose anchored object options. Or by the way, you can also un anchor it by choosing release. Here's what the options look like, but if we command or control Z to undo that whole thing, this is what InDesign was trying to tell us with this little flyout. If we hold down Alt or option, while we drag the little blue.in here and when we let go, not only does it get anchored, but it also opens up our options. There's several different types of Anchored Objects. If we click this drop down, we'll see that there's inline Anchored Objects, there's above line Anchored Objects. In this case, we are custom making this because we want this anchored image to just float around out here. So we're going to set this to custom. And down here, under reference point, in design always defaults to some goofy setting. But it kind of works best for my brain and I think a lot of people's brains. If we think about this object here, kind of talking about this top right corner and that the settings we're going to put in here, we want to apply to this top right corner. So let's set that reference point here in this little matrix, top right corner. Down here where it says the X value should be relative to. We're going to choose from the strap down and choose anchor marker. So this value should be relative to the marker that we're putting right here. So don't freak out if this sounds crazy. I promise. In design is making it seem more complicated here than it is. Now, we can move things around with these numbers down here. Now, how do we know the right numbers here? Well, for one thing, we want to turn on our preview. And look what happened. I jumped way down here, and that's not what we want. So now we just make adjustments until the image ends up where we want it. So let's start with the Y offset. We've got this set to be relative to the baseline. And because it's the Y axis, when we make changes here, it's going to move the graphic up or down. So we just make adjustments until we've got it in the vertical position where we want it. So now let's work on the X axis. Just like in math class, this is telling in design the coordinates for the reference point relative to the anchor marker along the X axis. So when we make changes here, the graphics going to move left or right. Let's set the X offset value to 0.18 75. All right. Then we're going to click Okay. Now, what does that mean? Let's come over here and take our text frame and watch what happens if we make it narrower. So instead of the text frame lining up with the left side of this M, let's drag it in till it lines up with the right side of the M. Look at that. This moved along with it because it is anchored to the invisible little anchor here. Actually, if we zoom in on this, you can press Command or Control plus plus plus and zoom in. If we want to see the actual anchor that's in the text, we can go to the type menu and choose show hidden characters. And look at that. Now we can see all the invisible things that are actually in our types. So, for example, here is a little Pill crow, paragraph symbol, which lets us know that there's a return here. This is the end of a paragraph. Here we see another one and another one here. And if you really look in here, we can see all the little dots. These are spaces between words. So it's really easy to tell if you've got double spaces anywhere. And this right here, this little symbol, which looks like the symbol for Japanese yen this symbol, in this case, is the anchor. This is the spot where this image is anchored. Cool, right? Now, don't worry, we're not going to repeat all that tedium for these other images. Like with many things in InDesign, there is a better way. Before we move on, let's save our work Commander Control S, and I'll see you in the next video. 26. Using Generative Fill: Before we move on, I wanted to jump in real quick and show you something that we just didn't need in any of our projects, but I want to make sure that you know it exists for those moments when you may find yourself needing it. And that thing is called generative expand here in in design. So, as we've learned in in design, we can have frames like this, and then we can put images in the frames. And so far and throughout the course, actually, the images are all going to work great in the frames the way we need them. But that's not always the case. So let me show you what I mean. If I grab this picture of Tai Kalathea and I put him in this frame, this is a very tall and vertical photo and the frame is the complete opposite. It's very narrow and horizontal. Sometimes that works, sometimes it doesn't. So let's just say, for the sake of learning that we have this picture of Thai alithea and we need to use it in a layout where it needs to be horizontal like this. And we need to fill some area over here. Obviously, we can enlarge the image, but then we may not like the composition. So generally, if we wanted to keep the composition as it is, but basically just fill in this area, normally we would go to Photoshop, and then we would, you know, try and edit this and then bring it back over and all of that. Don't have to do all of that anymore. So we can select the frame here in Indesign. And if we go to the Window menu and we choose text to image, we'll get this little menu here, and then from this drop down, there's a list of several options. The one we're looking at here is called Generative Expand, and we can just leave the prompt blank and we'll just click Generate. In Design is going to give us three variations to choose from, and it's going to keep the image like this, but it's going to fill in this empty area. All right, so here is the first variation. Pretty good, but I don't know what that is. Here is a second option, nice and a third option. I definitely think this second one is the best. So that's kind of all there is to it. We've got these three different versions here. So that looks good. Sometimes, you may notice that if you click through on these different variations and then you mouse over your image, you may end up with a loaded cursor, almost like it's going to place a second instance of the image on top of itself. So I don't know. I think it's kind of buggy yet Uh, so I can't say I really use it a lot, but I just wanted you to know about it. If you end up with a loaded cursor, I'm trying to get it to do it now. Oh, there it is. See this. There's my loaded cursor. So you can either press escape to clear the cursor or just Alt or Option click to place that image in the frame replacing the previous one. So yeah, kind of goofy. But the important thing to know about what's happening in the background is that we have not altered our original photo of Tai Kalathea. That is still safe on our hard drive in our project folder. So if I go back, here it is. So you can see it's still vertical, and it still ends before the shadow right here. So it's not editing that file. What it is doing is making a copy of it in a super weird place. And the way we figure that out is by looking in the Links panel. So here in the link panel, we can see that this file name does not match this one. Our original file name can be seen here, and now it's called GenaI and a bunch of Gibberish. Also, this file is here in my course files folder, and this image that's in In Design now is located. If I hover here, you can see the file path. It is in my documents folder in a folder called Indesign Gen AI Assets. So if I write, click on this and I choose Reveal in Finder, it's going to show me this folder alongside all the other images that I've generated in Indesign. And I know I just told you I don't use it a lot. This has all been for just testing, and playing with it. But if we go up a folder, you can see it just made this folder in my Documents folder, put it there. So it's kind of awkward how that works. It's not a big deal, and coming up, we're going to learn about how to package up all of your links and all of your graphics and things that are in your image. So it's not a big deal that this isn't a random folder. It's just I pointed out so that you're aware of it 'cause I didn't expect that. I don't know what I expected when this feature came out, but I didn't know it was going to be that. I guess I would have thought it would have just generated this and put it next to the source image that I placed in the beginning, but that's not how Insign handles it. At least not now. So there you go. That is a little overview of generative expand here in Insign. 27. Working with Object Styles: So just like we created paragraph styles to handle our text, we're going to create an object style to handle this anchoring business so we don't have to go through that again for these other three images. So with this image selected, let's open up our object Styles panel. So we'll go to the Window menu and under styles. Just like we have paragraph styles and character styles, we also have object styles. And because we're going to use this again, let's dock it somewhere over here, in whatever spot you like, this is the little icon for it. Okay. So now that we've got this set the way we want, we're going to slurp up those settings into an object style. The process is just like we learned for paragraph styles. So to save us an extra click, we're going to hold down Alt or Option while we click the new style button. That pulls up this dialog here and we're going to call it anchored object. We're not going to base it on anything. Now, here's what's kind of fussy about end design is it's asking us which attributes we want to slurp up into this anchored object style. And by default, it wants to suck up everything. So if we scroll through here, you'll see that there's checkmarks next to almost everything. And we don't want that because we want this object style to only be about the anchor settings. So we don't care about fill or stroke or corner options, et cetera. So we could come through here and manually remove all these checkmarks, turning them into dashes. So the checkmark means that those settings are going to get slurped into the style, and a dash means in design is going to ignore them. But you can see there's a lot of settings here. So that kind of sucks. So I'm going to put these back and what we can do instead to save a little time is if we scroll down here and find the one thing we do care about, which in this case, are the anchored object options that we set up already. So instead of unchecking everything except this, if we hold down Alt or option and we just double click on the setting that we do want to slurp, it's going to set dashes to everything else except where we double clicked. That is a huge hidden trick. I'm not sure a lot of people know about this, but that's pretty awesome. So this is the one we care about. We can ignore everything else. Then just like with our paragraph styles, we want to make sure that we do apply this style to the object that we slurped all the settings from because we want to make sure that it also gets tagged with this style. And then we can just click Okay. So now that is our anchored object style. So our next step is going to be to anchor these other objects. But don't worry. It's going to be super easy now. We're going to click to select this frame. And because we have these anchored object settings already in place, we don't have to worry about alt or option clicking to get our options here, we're just going to anchor it, and it's not going to be right for the moment. That's okay. So we're going to click and drag that blue little anchor until it's here to the left of the L in z. Nothing moves or changes, but we see that it is anchored. Then we'll come down here for Lynn, click and drag that blue little dot right over there, and same for tie, click and drag the blue little dot. Now they're anchored, but we haven't applied the style to them yet, and we want them all to be anchored with the same settings that this one is. We'll just go through them one at a time. We'll select Liz right here. Instead of having none for the object style, we're going to click anchored object, and boom, it moves into just the right spot. Then we'll grab Lin's picture, which has already been anchored, but the options haven't been set. We'll apply the anchor object settings, boom. And, of course, tie, same thing, anchor that object. So the benefit of all of this is, let's say that we're going to add some more text here to Liz and her little blurb. So I'm going to put my cursor in here, and let's add a space at the end. And let's type Rumor has it. Her collection numbers in the hundreds, period. Like her collection of plants, right? And did you notice what happened that as we typed that out, instead of having to manually go and reposition everybody else down here. I just they flowed along with the text that they're anchored to. Let's come down here to Lynn's text, and if we click to put our cursor here and we add a space, let's add another sentence for her hasn't met a plant she couldn't tame, period. Awesome. Let's press the escape key to get our cursor out of there, and now we have our frame selected. And now, if we drag that frame a little bit wider, the graphics will move with it. So this is different than if we had just simply grouped them. So that's the benefit of anchored objects. We'll look at two other types of anchored objects later in this course. Right now, though, let's quickly do a better job of composing these images within their frames. So with our very important selection tool, we can double click on Erica Jade here, move her up, so that that's a little better. I'm holding the shift key to make it easy to just drag straight up and not get out of alignment like this. Same over here with Liz Flowers. We're double clicking to select the content within the frame, and I'll hold the shift key so I can just pull her straight down a little bit so she's not falling out of the top of the frame. I think Lynn Lynn seems like, pretty good where she's at. Tie. Double click on Tai. Tie needs to move up and probably be scaled. So let's hold the shift key while we drag from this top right corner to enlarge him a little bit so we can see him better. And let's see how we're looking. Let's make sure we don't have anything selected by pressing Shift Command or Control A, and then let's get into wonderful mode with the W key. Nice. Page one is Rocking. Press Command or Control S to save your work, and I'll see you in the next video. 28. Editing Object Styles: Before we move on, let's take care of two housekeeping things. One, if you like looking at all of these little hidden characters, awesome. I like to turn them on when I need them and off when I don't. So I'm going to go back to the type menu and choose hide hidden characters. The other thing is, you'll notice a couple of these paragraphs, at least in mine because again, yours could be different if your text column is slightly a different size than mine. But here I can see that I've got some hyphenation happening in two of these paragraphs. And I don't want that. And we definitely don't want to come in here and manually break lines. So this is an example of where all we have to do is update the paragraph style for this text. So if you recall, this text here is our body copy. Let's make a simple one click edit to our body copy to turn off this hyphenation. One of the ways to do that is to come into this paragraph, and we come up here to the control panel and we go into the paragraph formatting controls. Here we'll see an option for hyphenate. Let's uncheck that and you'll see that the hyphen goes away. Of course, we've made a change to the text now that was previously tagged with the body copy style. Let's look at our paragraph style panel, and you'll notice that it's still tagged with body, but now it's got this little plus, which of course, means override. That means there's something different about this paragraph of body copy than this. If I put my cursor up here, it says, Hey, body copy. But here, it says, something's different. And yeah, something's different because we told it not to hyphenate. Previously, I showed you what happens if we clear the overrides, but in this case, what we want to do is we want the settings for this paragraph without the hyphenation. We want those settings to replace the current settings for our body style. One way we can do that is with that override, we're just going to right click and we're going to say redefine the body style based on this text that our cursor is currently in. So we'll say redefine and not only does that make the override go away, but now it has actually redefined the style, which means that the other hyphen that was down here is now gone because we've incorporated that non hyphenation setting into the body style. Pretty cool, huh? We'll learn more about editing styles later as well as more ways to work with different types of anchored objects. But for now, let's check out how awesome page one is looking by making sure we don't have anything selected. We'll press Shift command or control. A, and then let's press W to check it out in wonderful mode to hide all the guides and margins and all that stuff. And, Wow. Make sure you save your work by pressing Commander Control S, and I'll see you in the next video. 29. Placing Graphics Across Panels: Moving on to page two, there's a couple different ways we can get to it. We can toggle to our hand tool by pressing and holding the space bar, and then we can drag down to page two, and when we let go of the space bar, we are back to our very important selection tool. Or another way if we've got our pages panel open, which can always be found like all the other panels for the most part, under the Window menu right here, we can jump to different pages in our document from the pages panel. So in this case, we could just double click on page two, and here we are. Now, of course, you might be wondering, Hey, what happened to all those guides that we spend so much time placing here? Well, we're in wonderful mode, and that hides all of those things like guides, so we need to get out of wonderful mode by pressing W on our keyboard. So just like with page one, we're going to start by placing our graphics first. So you can choose File Place or use the keyboard and press Command or Control D to drop in our graphics. So the images we'll be using this file called blackeaf.ai. That's an Illustrator file. I'm going to hold down Command or Control to also select this picture of the flower petals by Eugene Golovs. Also, that's an unsplash image, as well as this leaf PSD file. We don't need to include import options and click Open. Let's use our arrow keys and arrow over till we've got this image active. Now, this image, we're going to place it so it fills this whole left panel. So this is going to be the inside of the brochure. And if you're looking at the brochure, you have the whole thing opened. This will be over here on the far left. So because we want this to reach up here to the edges, but we also want a well trimmed edge, we're going to go all the way to the bleed right here and then click and drag and we'll hold Shift to unlock those proportions and come all the way down to the bleed at the bottom. And then we want to reach this all the way up to this fold line right here between the two panels, and then we can let go. Next, I'm going to arrow over till I see this little black leaf. And something about here ish, I'm going to click and drag. And I want this one to spill over a little bit into the other panel. So I'm holding Shift to unlock that, as well, and maybe about like that. And finally, this one's going to go up here about like this. And here's another little tip is, if as long as you're still holding your mouse down and you decide you want to scooch this over, don't let go of your mouse. And if you add the space bar, it kind of unsticks it, and then you can drag it around and then wherever you are when you let go of the space bar, then you can continue to resize it from there. So the trick is to just not let go of your mouse until you're done. It's a lot like a game of Twister. So maybe something like this and I'll let go. Alright, so this is pretty good. The idea here is that I want these to cross over from one panel into the other. So you can fine tune them a little bit, and we may end up moving them a little more once we get our text in here. Now, this one, I want to rotate it a little bit. So with the selection tool, I've got it selected. All we have to do to rotate it is hover our cursor outside one of these corners, and you see how you get this double headed arrow, then you can just click and drag to give it a little spin. And I think I'm going to move it up a little bit, something about like that. Again, we'll fine tune all that later. So this is great. We placed a JPEG, a PSD, and an Illustrator file down here. And I just want to show you just for your own knowledge and know how because when you are placing images, sometimes it makes a difference the way you bring them in. So because we brought this guy in through file place, you can see when I select it here, I am not able to access any of the color information in this vector file. So it's here the same way this JPEG is here or this PSE is here. I can't access this. But just so you know, so you don't have to do this, but I just want to show you. If instead of placing this, if I had first opened this in Illustrator. So now I'm looking at Illustrator here, and if I had selected it and copied it and gone back to In Design, and then pasted it. I still have the vector data. So this is still a vector file, same as this one. But look at this. Now when I select it, I get the color info, so we can see here that it has a black fill or up here in the Control panel, it has a black fill. And that means if we wanted to change it for whatever reason, maybe we want to give it a different color. We could come in here, and now we could change the color. It's the same file. The difference is this one was placed and this one was copied and pasted. So both of them have their advantages and their drawbacks. For example, now that this is copied and pasted, it doesn't show up in the Links panel, which means if this file got updated somewhere, it wouldn't update here in in design. So if we look at our Links panel and pull this down a little bit, you can see that this version of it doesn't show up here. So it's a free agent. It's unlinked, whereas this one is right here and it's linked. So if this was a logo that got updated somewhere, it could very easily be updated here and in design. Like I said, both scenarios have advantages and disadvantages, but I just wanted to point that out. So I'm going to go ahead and delete that. We'll leave this guy here, so we all have the same setup, regardless of whether you have Illustrator or not. Pretty cool, though, right? Let's save our work and I'll see you in the next video. 30. Paragraph vs. Character Styles: So in this video, we're going to place some more text and learn about the difference between paragraph styles and character styles. Previously, up on page one, when we brought in this text, we copied and pasted it from a text file. This time, just to learn another way of doing things, we are going to place the text file itself. So we can choose file place, or we can press Command or Control D, and we're going to navigate to the text file called official. So official dot TXT. This time, we do want to enable Show Import options, and then we'll click Open. So because this is a text file, it's showing us some text import options to go with it. For example, we can choose which character set we're going to use to bring in this text. We want to set it here to Unicode UTF eight. Everything else can stay the same. Just want to point out when you bring text in this way, you can do some extra things like if you know you've got extra returns at the end of every line or between paragraphs, you can have that cleaned up when you bring it in. So that can be really helpful sometimes. Then we'll go ahead and click Okay, and here's our loaded cursor. So we just need to draw text frame, and we want to make sure that the text frame reaches all the way from this margin here on the left to this margin on the right. Now, let's zoom in a little bit so we can see what we're doing. I'm going to press Command or Control plus to scooch in a bit and check out how easy it's going to be to style this text because we've already created the paragraph styles that we're going to use. To assign them, we need to insert our cursor into the text. So we want to make sure we have our type tool, and then we can just click to insert our cursor into this text right up here. It's official. That's going to be the H one style. So we can open up our paragraph style panel. If you've lost it somehow, you'll find it under Window styles, paragraph styles. Then all we have to do to style this is click H one to apply that style. Next, we're going to highlight all of the text here from welcome to your plant era all the way through the end of the line where it says, Need support. We're here for you. This is going to get the body copy style. So we'll come over here and click to apply the body style. We can see that there is somehow an extra space right here, so let's put our cursor in there and delete it. And there seems to be another space right here. So let's delete that too. We're going to style this chunk of text in another video shortly. So if we right now, we're just going to focus on this. So we've already applied the H one style and the body style. So what happens if we come in here and we decide we want this welcome to your plant era to be bold. So we're going to highlight it and if we come up in here to our Control panel, we want to make sure we're in the character formatting options. And we're going to change the font from Montserrat Light to bold. You'll notice the minute we did that, we got one of those pesky little override symbols showing up next to the style in this paragraph. So that tells us there's something about this paragraph that does not fit the attributes that are assigned to it. If we click in the second paragraph, you can see that override goes away. Before we address that, let's add another bold right here where it says, keep it simple. Again, highlight this text, come up to the control panel or the Properties panel if you like to work that way, and we're going to change that from Montserrat Light to Montserrat Bold. Look at that, we get another override. This is where character styles come into play. Because as we work through this simple document, it's just a little brochure. It's not a huge big deal to manually have all these bolds in here. But the best practice for handling these overrides to our paragraph text is to do it with a character style. So for right now, let's remove the bold right here. So where it says, keep it simple, let's set that back to light. And you'll notice the override goes away. So what we need to do is create a style that we can use to make things bold, even when they're within a paragraph like this. Now let's go back up here and let's highlight this bold text, which is throwing us an override to the paragraph style. But now we're going to create a character style to handle the bold. For that, we need to go to our character style panel. Conveniently, and design usually groups them together. So you'll notice we don't have any character styles right now. So we're going to create one. Just like we've done with paragraph styles and object styles, we're going to select the text that we've already styled with the attributes that we want to slurp in to our style. We're going to hold Alt or option and click the new style button. And we're just simply going to call this style bold. That's all there is to it. That's all it's going to do is it's going to take text, and it's going to bold it. We don't even care what font is selected. We don't have a font selected. We're not even specifying a font because actually the font choice is being handled by the paragraph style. We're only specifying that whatever the font is, it's going to be bold. So back here under the general settings, now that we've named it, we want to make sure that we click to apply this character style to that selected text, and we're going to click Okay. So now we have a character style called bold. This looks the same. It's just bold. But check this out. If we go back to the paragraph styles, the override is gone. Because now in design knows this is a paragraph style that looks like body, and this bold little bit has, like, special permission from the character styles panel to be bold. And so it's not upset anymore, and the little override is gone. So now if we come down here and we highlight, keep it simple, and I'm going to include the period here at the end. And now if we want to make this bold also, instead of coming up here and just manually putting in some bold, instead, we go to the Character Styles panel, and we tag it with bold. And now, again, if we look back with our paragraph styles, there's no override. In a way, these character styles are kind of like giving your text a free pass to do something a little bit different than what's going on in the rest of the paragraph. So let's do one more up here and highlight the word lot. But this time instead of bold, let's italicize it. Again, the easiest way to set up styles is to just make it what we want to look like here and then slurp it in. Let's come up to our Control panel and instead of Montserrat light, we're going to change it to italic, which, of course, if we go to our paragraph styles, oh, pesky pesky, we have got a little override. We're going to take care of that by making a character style. Again, with our text styled and highlighted, we're going to hold Alt or Option. Click to make a new style, and we'll call this one italic. And again, under basic character formats, doesn't matter. All we care about is that it's italic. The font choice is being handled by the paragraph style setting. Got to make sure under general, we got to go back and make sure that we have it checked here to apply the style to the selection. We click Okay. And if we peek back at our Paragraph Styles panel now, the override is gone. So that is how paragraph styles and character styles work together. You style the overall text using paragraph styles. And anytime you want to have a little override, like maybe you want to change the color of a few words in a paragraph or make it bold or italic, you can give it permission to behave a little bit differently by creating and assigning a character style. Don't forget to save your work, and I'll be waiting for you in the next video. 31. Creating Bulleted Lists: All right, are you feeling ready to tackle bulleted list? Let's do it. First thing we want to do is give this text frame some more room. So I'm going to grab the selection tool and just extend this text frame all the way down to this margin. Next, this text here that says join us for this needs to be styled with an H one paragraph style. So let's press T for the type tool. Click to insert our cursor anywhere into this line. Now, we think of this as just a single line, but it is a paragraph. So we want to insert our cursor into that paragraph. Open up our paragraph style panel and tag it with H one. And these are the list items that we're going to turn into a bulleted list. So let's select these items, and for now, let's just assign them the body paragraph style. So far, so good. All right, so for this next part, it's really important that we actually don't highlight the whole item, the whole list item, we just want to insert our cursor into this paragraph. If we want to make this a bullet, we could come up here in our Control panel, and in the character formatting, it's way over here on the far right. So I'm not sure if this shows up on everyone's monitor or if it depends what your setup is, but I can see the bulleted list item right here. If you don't see it, you can also find it in your properties panel right here. Or up here again in the Control panel, if we go all the way to the left and switch over to paragraph formatting options, then it shows up here in about the middle. So take your pick. You'll notice if we just click and make this a bullet, two things happen. One, that is a terrible looking bullet, and it doesn't appear we have any options to change that. And two, of course, we get an override because we've just tagged this as body copy, and now we've gone ahead and bulleted this. So what we're going to do is make a better looking bullet setup, and then we're going to create a new paragraph style for a bulleted list. So for now, we can unbulet this by clicking the bullet list again. And instead of clicking and unclicking to make that bullet, we're going to reveal some additional options by holding down the Alt or Option key and clicking on that bullet button. So this is going to add a bullet, but here we have all kinds of ways we can make a way better looking bullet. So for starters, make sure you can move this over so you can see what we're doing over here and see this panel at the same time. So up here at the top, where it says list type, it's currently set to none. Not very helpful. Let's change it to bullets. And here we get that ugly, tiny microscopic bullet. You really need like magnifying glass to look at that thing. So we have some other options here that we could choose from. So maybe you want to have a little diamond bullet or this double arrow bullet. Those are all cool. But we can actually add any character from any font that we want. So let's click AD. And down here under font family, we're going to type ITC space Zap ZAPF. So this is going to bring up the ITC zap ding bats, font, and then press tab. That will change over the font. Now, this font, if you follow it along and set up everything at the beginning, you should already have this font installed or activated. So now we're going to come up here and I like this really big, thick, chunky, bold X. So if we hover over this, we see that this character is called heavy multiplication. And I think that's perfect for this bold brand. So I'm going to select that. Now, it's tempting to just say, Okay. But if we do that, this window closes and nothing happens. So what we want to do is click Add, and then we can click Okay. And now we see that that bullet character shows up in our little list here, and we can click to select it. That looks a lot better already, doesn't it? This area here we'll learn more about when we do numbering. So right now, just leave this alone. But what if we decide that we want this bullet to have a different color? And a color that's different than the text for the item itself. So we're going to leave this text black. But it turns out the only way we can style or change the color of this bullet is with a character style. Because remember, ultimately, this whole bullet setup is going to become a paragraph style. And if we want the bullet to be a different color than the text itself, that creates that override situation. Then we're going to need a hall pass or a permission slip. So we do that with a character style. So if we click our dropdown, of course, we see a list of options. We've already created an italic style and a bold style, and here we get the chance to create a whole new character style right here and now. So that's what we're going to do. We'll give it a brilliant name like pink bullet. And from the list of options over here on the left, we're going to choose character color. And now we get access to our color settings, and we can scroll down and pick this pink color here. You'll notice if we drag this out of the way, we're not seeing any of this. Even if we turn on preview, we're not going to see it right here yet. But we will click Okay, and then it will show up. Look how much better that looks already. So we created a bulleted list by Alt or Option clicking on our little bullet button. We added our own bullet. We created a pink bullet character style to give it permission to do something different than the rest of the paragraph. And it's also the only way to change how the bullets actually look. And now we're going to deal with the positioning and alignment and all of that. So down here in this area, let's bump the left indent to 0.25, and we're going to change this tab position here to 0.31 25. And then we'll click Okay. Now, just as expected, we've got an override situation because we tagged this with body copy style, and then we went all fancy and turned it into a bulleted list item. So, of course, we've got an override. And in this case, we're going to deal with that by just creating a whole different paragraph style for our bulleted list items. So all we have to do is alt or option click the create new paragraph style button, and we'll call it bulleted list. Now here's something we haven't done yet before is down here where it says based on. All the paragraph styles we've created so far have been based on no paragraph style. So they were totally independent. But in this case, we want this text here to be the same style as the body copy, right? I mean, we want it to be bulleted, but we want it to look like bulleted body copy. And let's imagine that sometime down the line, somebody some art director, a client, somebody somewhere says, Hey, we don't want this to be Montserrat anymore. We want it to be Helvetica. Well, then we'd have to change the body copy style, and we'd have to come and change the bulleted list style unless we base the bulleted list style on the body style. See what I'm saying? Then if we change the font in the body style to something else, it will automatically update in the bulleted list style, too. And that is an example of how powerful these styles are. So I know it can sometimes feel overwhelming and you're like, Oh, this is crazy. I just want to format things my way. But you will quickly see that working with paragraph styles and character styles saves you so much time, and it really makes less room for error in your documents. So this is a good habit to get into. All right, we want to make sure that this bulleted list style gets applied to the active text where our cursor is, so we're going to click Okay. And now we can select the rest of this text and apply the same bulleted list style. Tada. That looks awesome. Our client is gonna be so impressed with your fancy pink bullets. Save your work and meet me in the next video. 32. Numbered Lists: Questions: Alright, we are getting close to the finish line for our beautiful brochure. This next little section is going to have a fun little multiple choice quiz to help educate new plant parents or potential plant parents. So we're going to drop another chunk of text in here, and I can see before I do that, I can see I have my cursor active over here. So I want to get it out of there before moving forward. So I could press Escape. That will get my cursor out of there and select the type frame. And if I want to make sure I don't have anything selected, I can hold down Shift, command or control, and tap A. Next, let's bring in another chunk of text by pressing Command or Control D to drop it in here, and the text we're looking for is called leafylearning dot TXT. We can show our Import options. And just like last time, we're going to make sure we set this to Unicode UTF eight. If you place this in here and you end up with some unrecognizable text, then this could be Y. So you want to make sure you have it set here. We can leave all this stuff alone and just click Okay. There's our loaded cursor, and let's click and drag from these inner margins to make a text frame. So the top line right here, Leafy learning is going to be another H one head. So we want to insert our cursor here by switching to the Type tool. So I'm going to press the letter T rather than going all the way over here to grab the Type tool and click to insert our cursor there. And in our Paragraph Styles panel, we're going to click H one. And just like we did over here, let's select all of this text and tag it as body for right now. So the idea is that this is going to be like little multiple choice bit. So here we have a question. The first question says the number one killer of house plants is, and that's followed by three multiple choice options. Then there's another question and three more options and a third question and three more options. And then these are the correct answers down here. So what we're going to do is create a pair of list paragraph styles to handle the different formatting for the questions and the answers. So ultimately, we're going to work with one list with two levels it's going to have one level to handle the formatting and the numbering for the questions, and it's going to have another level to handle the multiple choice answers. So it'll say A, B, and C, just like when you were back in grade school. And each level gets its own paragraph style. It'll make sense when we get into it. So we're going to start with the question right here. So we can just insert our cursor in here. And just like before, when we added the bulleted list, this time, we're going to go to the numbered list. So wherever you decided to access the bulleted list button, you'll find the numbered list right next to it. And instead of just clicking on it, again, we want all the fancy features and options, so we're going to hold Alt or Option and then click on it. And look at that. We even get the same dialogue box. So now we can choose what type of list we're trying to make. Last time we made a bulleted list. This time we're talking about a numbered list. We'll leave the list set to default. In Design gives you the opportunity to define multiple lists within a document, but we're just going to be working with the default list. And as we will see later, we will be creating a list with two levels. This that we're working on right now is going to be Level one. Leave that set to one. We want the format to just be numbers like one, two, three, four. And here we can specify what kind of character we want to follow the number. The default is to have the number followed by a period. But I'd like to change that to a parenthesis. The way we do that is we come in here to what looks like GarbGook, but this is code, and we just put our cursor in and backspace to delete the period, and I'm going to put in a parentheses there, and as soon as we hit tab, you'll see it update over here. Assuming you have that preview option turned on. Alright. Now, just like with the bullet, it's asking us what character style we might want to apply to this number. And in this case, I just want it to be bold. And we've already created that bold character style so we can just select it from the list. Here, where it asks us the mode for the numbering, we can either give it a specific number to start at or we can choose continue from previous number. So we're going to leave this set to continue from previous number. Down here, we can adjust the alignment options again. This time, I think the number is okay where it is, but I do want the text to be closer to it. So let's drop this tab position down to 0.25 ". That looks good. We can click Okay. And just like we saw over here with the bullets, because we've now taken this text that was previously tagged with the body style, and we've applied numbering to it, we get an override. So before we make this into a new paragraph style, let's select the text here and let's make that bold. But this time, we're going to bake the boldness into the paragraph style. So let's come up here to character formatting and make it bold. And now we're going to slurp all of this into a new paragraph style. So that will include the fact that this is bold and that it is numbered. So in our paragraph style panel, with our cursor active right here, we're going to hold Alter option and click to create a new style. And we're going to call this one numbered List Colon Ques for questions. And just like we did with the bullets, we want to base the style on the body style so that, again, if we change our body style font, it will automatically update in both the bullets and our numbered lists over here. We want to make sure we apply the style to the selection, and we'll click Okay. So now we've created our first numbered list. For now, let's save our work. And when you're ready, join me in the next video. 33. Numbered Lists: Answers: Previously, we built our numbered list here to tackle our questions in our little multiple choice section. In this video, we're going to make a numbered list to tackle the answers. But instead of numbers, they're going to be letters like A, B, and C. But even still, they're still considered a numbered list. So let's check this out. We want to start by putting our cursor in this first option for the answer. So in this case, under watering is going to be our answer choice A. And just like we've done before, go back to where we have this button for bullets and numbering and Alt or Option click. To bring up this dialogue. And again, we're going to choose a numbered list. Again, the list is going to be the default. But here, this is where we're going to change it to be Level two. So the question is the part of the list that's level one. And the answer is going to be level two. And instead of formatting the answers with numbers, as you expect in a numbers list, we're going to click this drop down, and you'll notice we can also choose letters. So we can actually have a numbered list with letters. This time, I do want to keep the period. So let's do that. And for the character style, we'll leave that set to none. So here we want to make sure the mode is set to continue from previous, which means this answer will be A, the next answer will continue, meaning it'll be B, and this will be C. But we also want to make sure that that numbering or in this case, lettering starts over again after the next question. So because this is Level two, if we go back to level one, you see it's grade out. But because this is Level two, there's this option to tell it to restart the numbers, in this case, the letters anytime that the list is interrupted with any previous level, in this case, level one. So this is what's telling in design to restart the lettering after every time there's another interruption by a new question. Down here, we want to adjust the alignment a little bit. So let's bring the left indent, bump the left indent up to 0.25, and we can leave the tab position where it is, and we'll click Okay. So now that we've got our style created, we just have to apply it. So this is already tagged as being answers. So these two paragraphs, these are also answers. So look at that. They automatically become Bs and Cs. This right here is another question. So we'll tag it as numbered list. Question. And these three things are again answers or possible answers, so we'll tag them as answers. And here's where remember this magical option that was in here to restart the numbers at this level after basically being interrupted with any other previous level. That is what is telling this to restart. So it continues from the previous number or letter. So A, B, C, and if we hit return, we would get DE FG, it would just keep going. But the minute it gets interrupted by this right here, this level one from the same list, when this interrupts, this option is telling this level two section to start numbering over again, which in this case, means lettering. But isn't it amazing? Okay. Let's keep going. This right here will also become a question, and these right here, these three things are answers possible answers. Now, we have some overset text down here, and what we should really do is tidy up the spacing of this a little bit. Let's put our cursor up here in the question. And what I'd like to do is actually reduce the spacing between the question and the answer that's down here. So to do that, let's come up here into the Control panel. And I'm looking at my character formats. And over here, we see this little icon representing our settings for the spacing following a paragraph. And I'm seeing we've got a quarter inch of space there. That's too much. So let's reduce that down to, let's say, 0.0 625. So now we've made a change to the styling to the settings for that paragraph style. So we've got that override. But because we just want to actually keep this override and rewrite the style, all we have to do is right click and choose redefined style. Not only will that get rid of the override, but now we've updated the style to include the new spacing, and everything else tagged with that style also updates. Now, if we put our cursor here, I think the answers have the same issue. However, this and the spacing between these are all spacing between paragraphs with the same style repeating. In this case, what we want to do is put our cursor up here and instead of adjusting the space after, we want to adjust this. This is the spacing between paragraphs that have the same style applied. Here, we can reduce this to that same 0.0 625. Again, we're going to get another override and we're going to right click and we're going to say redefine. And it's going to tuck all of that in much more nicely, and that looks great. While we're at it, I think we can tighten up the spacing here for the bullets as well. So let's click to put our cursor there in our bulleted list. And again, because we're talking about spacing between a series of paragraphs that are all tagged with the same style, the spacing we want to work with is not the space after, but the space between paragraphs with the same style. So if we hover on this, you see, it says space between paragraphs that use the same style. So let's tuck this up again to that 0.0 625. That looks good. But of course, that's just a local adjustment right here. So to apply this to all of the other paragraphs tagged with that same style, you guessed it. We'll need to redefine the style. So we do that by right clicking and choosing to redefine the style. Isn't that neat and it all just tucks right up there. Alright, finally, then we have our answers to our little quiz right here. But we can't make it this easy to see the answers. So let's make it at least a little tricky by putting them in their own text frame, and then we'll turn them upside down. So let's get our selection tool here, and remember how this works? Just drag this frame so that that text disappears. So we get this overset option, and then we can click to take that overset type, and we'll draw a new frame to put it in. And now we can take this frame and rotate it upside down. So these frames are threaded. Remember, here's the output. Coming into the import here. We don't see the thread unless we go to the view menu and choose extras, show text threads. Now we can see it. But that's a lot sometimes. So I'm going to turn that back off. View extras, hide text threads. Alright, so now we've got this box here, and we could hover out here and we could rotate it. And if we hold Shift, it'll snap neatly 180 degrees. So it's like this. I'm going to undo that. So that I can show you that we also have these buttons up here. We can select this text frame and we can just hit right here, this rotate set 90 degrees to the left, and again, we'll make it another 90 degrees, which makes it upside down. Then I think let's actually line this up over here. At least this way, it's a little more difficult to accidentally see the answer before you read through and do some leafy learning. As I'm looking at this, I'm just going to move this little leaf over a smidge. Give a little more breathing room there. Let's zoom out to look at this whole page at once by pressing command or control, and the number is zero. I'm going to click away to just make sure I don't have anything selected, and then let's press W to look at it. And I'm noticing that this text, I think, is wider than I'd like it to be. So, let's tuck this in a little bit. And, hey, check it out. This looks awesome. I mean, wow. We covered so much. These are really powerful skills, and I hope you're proud of what you've accomplished so far. 34. Exporting for Print: Alright, so as always, you want to make sure you save your in design document. Now, when it comes to getting this document to your printer, you always want to ask them what they want. Some printers are going to want in design documents. Others will take a PDF. So always, always, always check with them and be specific. Ask them exactly how they want that PDF baked. So knowing that this can vary dramatically, depending on the situation, here's a general overview of some things to check for when making that PDF. So let's go to File. Export. We want to save this in our finished work folder, and we're going to choose PDF print and click Save. Here, if you are sending this to a professional print shop, you're probably going to want to choose press quality because that's going to have settings baked into it for the optimum output. In this example, I believe, looking at the template from Mu, I think they had a note in there that they want customers to use the PDF x one A preset. So if your printer tells you, yeah, just use whatever preset, then easy piece of cake. In this case, let's look at the press quality options. And so since this document has multiple pages, that's something you want to check to make sure you're exporting all the pages unless your printer asked for each page to be separate, like the template for Mu said, they want the inside of the brochure and the outside of the brochure to be uploaded separately. So then you'd want to come and repeat this process to export individual pages. So always make sure you've got it set, right? I think after you export a PDF, I like to turn on the option to view the PDF to make sure it's the way you expect. If we look here under compression, you'll notice because we set this to the press quality preset, it's going to take any images that are crazy extra big and it's going to downsample the resolution to the standard 300 pixels per inch. Down here under marks and bleeds, you want to make sure to send the bleeds along with the document. And that's only going to happen if you click right here to include the bleed settings we set up for this document. If you don't check this box, which is not on by default, the PDF that you export will not include the bleeds. So you always want to double check this. Down here under output, managing the color, again, you always want to check to see what your printer wants. But we've got RGB images in here mixed with processed black and all kinds of things. So this is where we can tell in design how to handle all of those colors. So here it's going to take all those colors, and it's going to convert them to the destination profile, and the destination profile is the document CMYK setting of US webcdd Swap V two. And if all this sounds like confusing garblegook that doesn't make any sense, it's pretty technical printer output stuff. So remember, when in doubt, just ask your printer how to handle all this stuff. They'll tell you they want profiles included or they don't want profiles included. They fully expect designers to have questions and you're really doing them a favor when you ask these questions ahead of time so you can build your file right, so there's less problems and less drama later. The rest of the stuff, I think we can leave as is. Again, this is all for our fictitious printer anyway. I think they are going to be happy with this. What's also cool is if you work with a particular printer over and over again, once you get everything set up the way that they've asked you to, you can create a new preset and click Save Preset, and then you could just call this Bob's print shop or whatever. And that way, you don't have to mess with this every single time. So yeah, let's hit Export. And because we said we wanted to view the PDF afterwards, it's going to take a minute, and here it is. Look at that. Just what we've done so far, you already know more than a lot of people who use in design every day and have been for years. So pat yourself on the back, be proud of what you've accomplished so far. And then roll up your sleeves, we're not done yet. 35. Class Project 2 - Design a Tri-Fold Brochure: Alright, so now that we built our trifled together, now it's your turn to use your brief for your client and create a trifled brochure. Here is a link to the Mo template that I referenced earlier in one of the earlier videos. So you can use that or you could use these specs or really anywhere where you find a legit trifled template from a legit vendor, then go for it. So here I just have the specs of 8.5 by 11. This is what we used in our practice build. So here, I've just called out where all of the guides go, et cetera. So you want to make sure that you are building the guides that you are setting up and using paragraph style. So some sort of header body and a bulleted list, and then some bold or italic character styles as well. And when you're done, then you can just go ahead and export as a PDF for print. In this case, we do have a bleed, so you would definitely want to make sure you include that. And then you're going to just upload a JPAG to the course site. And, of course, you can share on social media if you want. That's fun. Oh, my gosh, you guys. This was a big, big project. So many things going on in here. But you are building those in design muscles. So good luck, and I can't wait to see what you make. 36. Fixing Missing Links & Fonts: So up until now, hopefully everything in this course has gone pretty smoothly for you. And while I try really hard to make that happen in this learning environment, of course, that's not how things go in the real world. So in this section, we're going to take a look at challenges and little pesky problems that come up frequently and, of course, how to address them. So one of the most frequent problems you're going to find is this. Let's go to the file menu, choose Open, navigate to the 04 cleanup folder in your course files. And we've got a little document here called RRO and we'll go ahead and click Open. The first thing you'll notice is this message warning us that this document contains four links to sources that are missing. Thankfully, it says, you can find or relink the missing links using the Links panel. Okay. Whew. Uh oh, there's another problem. Now it's also saying that this document uses fonts that are either not available or not supported, and we're going to have to deal with that. It's pointing out too. There's one called Motiva Sans Bold, which says it's available from Adobe fonts. And then we have this issue with Lemon Regular, which who knows where that is. So we have some choices for how we deal with this. If we skip them, nothing's going to change, but those fonts are still going to be gone or missing, so we won't be able to really output this file properly. Since one of these fonts is available from Adobe fonts, and I'm a Creative Cloud subscriber, I can just activate that font. So to do that, we could come down here and click Add. The other thing is, we need to deal with this font. So let's come down here and click Replace Fonts. This one, Motiva Sans is the Creative Cloud font. So this is supposedly being added in the background, we'll see in a minute. So we're going to focus on this font, lemon regular. Now, we may be looking at this and thinking, what piece of the document is that referring to? So we can come over here and click Find First, and it shows us the first instance of this font in this document. This is a one page simple document, so this is the only part set with lemon regular. So down here, this is where we tell I design what font we want to replace the selected missing font with. And we could choose anything. I could even type Comic Sans. Yes, I'm typing comic Sands. And down here, we can tell in design if we want it to redefine any styles that might be applied here that contain this font. Then we could go one by one through every instance, so we could change this instance and then find the next one, or we can just choose change all. And we'll have to do some resizing here. That's right. Let's go ahead for now. We'll see if this is happening in the background. Honestly, every time I do this, it behaves a little differently. So we'll explore this together. Let's go ahead and click Done. So now we get this pop up that's saying, Hey, I design can now automatically find and add all available adobe fonts in your document. Awesome. So we can choose to enable Auto Add right now. But it's also letting us know that we can enable that anytime from our preferences in the file handling section. So let's go ahead and choose Enable Auto Ad. And then just to show you where that is, you can get to it at anytime from your preferences by pressing Command or Control K. And here on the left hand side, if you come down to file handling options, you'll find that option right here. All right, so let's see what's happening. This font is now a little too big for the box here, so we could scale it down or we could just hold down the Alt or option key and drag outwards a little bit to extend that text frame. And now let's check here this other piece of font that is set with the Adobe font. If we press T for the type tool and insert our cursor here, we can see some interesting things. Up here in the Control panel, I can see that Motiva Sands has been activated. But I can also see down below that that this text is set to be bold and the brackets around the word bold here indicate that that style is not available. So if we saw brackets around Motiva Sans up here, then we would know that it was still missing. So if your Motiva sans still has brackets around it, then it still is missing. So if we click on this drop down, we can see that the bold style is missing, possibly because there isn't one, but there is a black option. So we can go ahead and click that. We'll notice this does not have those brackets around it. So that looks good. Let's go over and check our paragraph styles. This text is part of a paragraph style called sub, and we see this override here. That's probably because we changed it from missing bold. Yep. If I put it back to that, the override goes away. But the bold font is missing, so we're going to change it to black, and then we know we can come over here and right click and choose redefine style. So that cleaned that up. The font right here, that we changed to comic Sands just because that is part of the paragraph style called Main, and we can see that there's no override because we told in Design to update it, and it didn't have any troubles with that. So it redefined the style already. Whereas this one, it got stuck because the style apparently included bold instead of black. So there was an extra little hiccup. Which is great because that's real life. All right, so that's one way of updating our fonts. If you're ever in a document and you discover something is missing that you didn't take care of earlier, you can always come to the type menu and choose find and replace font, and it's basically going to bring you right back to this dialogue where now we can see that nothing is missing. But this is also a great way that if you suddenly are just like, I need to find every instance of comic sands and replace it with something else, you can. Another thing that you're probably noticing is this picture is super terrible looking, and we know that we've already gone to our view menu and set our display performance too high. So this is a result of the fact that this document has four missing links. So when we opened it, it warned us about four missing links and then hit us with the problem about the fonts. We fixed that. But how do we deal with these links? Well, let's see what's going on in our Links panel. So I've got mine collapsed right over here, but if you don't, you can always get it from Window Links. Alright, so we've see three entries here, but Indesign said there were four missing links. But if we look up here under this link for the leaves because there are two of them, and it's the same file. There's just two instances of it. They get grouped, so we can twirl this open and see, Oh, there's two instances of this file. So I design counts all of these when it says there's four missing files. So over here, this little scary looking question mark is what's letting us know that an image is missing. So remember that these images are not baked into the file. They are linked to whatever drive they're stored on. So the links get broken in a number of ways, it can get broken if the file gets renamed, then I design doesn't recognize it, or if the file gets moved, then the path to the file changes. And so that also breaks the link. It can be really helpful sometimes if you're looking to fix all this, you're like, Where is this file? And with the leaves selected, we can see down here that the file path, you may have to extend this if it's not open. The file path down here shows that the link is on my desktop. Well, for you, that's going to be a problem because you don't have access to the files on my desktop. And apparently, I do, but in design isn't finding it there anymore. So it was there, but I guess now it's not. So that's where that file came from. What about this one? That was also on my desktop, but apparently it has been moved, and same with this. Here we go. So again, if you're not seeing all of this information down here, you might have to twirl this open, and also you can pick and choose what information shows up here from the Links panel menu by choosing panel options. And this is the long list of things that you can choose to display here. So I find it really helpful to see the path. And you can choose to have this show up in the columns up here, which mimics for a really wide panel or down here in the Link info. So I've got mine to display in the Link info. So as far as actually correcting any of this, let's start up here at the top. And if we double click the red error message right here, it's going to pop up Finder or Windows Explorer and it's trying to find the file. So of course, you don't have access to my desktop, but that's not where it is anyway. It has been moved. What we need to do is navigate to the course files, and in that folder 04 cleanup, you'll find a folder called Asset files. If we double click on that, you'll see there's this option here, leaves black, AI. That appears to be the image we're looking for. So we can click once to select it. Then down here, we can choose to show import options. I'm going to turn that off, and there's another option to search for other missing links in this same folder. That sounds great. Let's go ahead and click Open. And you'll notice it relinked the Black leaves image, and it searched the directory and found and relinked an additional link. Let's click Okay. Look what it did. Here's the two instances of the Black leaves, which it relinked. We have no more error there, but it also found and relinked this picture of the dog. That's because we told it to search that folder for other missing links. When it searches, it's looking for links with the same name. I found this one. This one, however, is still missing. So let's double click that one. And it's actually this file here. But you can see if we move this over, in our document, it's called Hot Sauce Logo or it's called Hot Sauce Botanicals logo. This is helpful because sometimes I get in here to relink things and I forget I forget what it was called or what I was looking for when I clicked this. So up here at the top, it'll show you the original file path and the file name that it's looking for. Here, we can see that I know this is the right file, but this one's called HSB logo and this one's Hot Sauce Botanicals logo. Because this file was renamed, Indesign did not recognize it when it searched this folder for other missing links. That's why I didn't catch it. But we can come in here and manually relink to it. We click Open and Who. Now this document is all sorted. We started by replacing two missing fonts, one of which was activated from Adobe fonts, and the other we redirected to Comic Sans. And in doing so, we also updated the paragraph styles. Then we went into the Links panel. We redirected in Design to find the new file path for this link, which was in here twice. In the same folder, it found and automatically relinked this image. And this one, even though it was in the same folder, the name had also changed, so we manually redirected this one, too. You know what's better than knowing how to fix all this is knowing how to prevent it in the first place. That's where packaging your file comes in. Intriguing, right? Met me in the next video for more. 37. Packaging Files for Handoff: So now that we've got this document sorted, how can we prevent all these missing link and font problems from happening again, whether we're talking about our future selves when we come back to open this document two years from now, or we're talking about a colleague that needs to be able to access a fully working version of this file. The solution to all of that is to package the file, which essentially just means bundling up a copy of the file and putting it in a dedicated folder, along with copies of all of the linked images and the font information. And it's really easy to do. We just come up to the file menu and choose package. This is also great if you're working with a commercial printer and they want a packaged version of the in design file. Here's a little summary of what's going on in our document. This little warning is just here because one of the images in this document is RGB. Like I said, most of the time, the color spaces and profiles and all of that can be handled when you export to PDF. So for right now, I'm not worried about this at all. And of course, whatever printer you may be working with, they should be able to tell you how they want your file packaged. So I'm basically just archiving this for myself or for the client or for my colleagues. So not worried about this. All I want to make sure is that it's going to gather up all of these links and deal with the fonts. It can include a copy of Comic Sans, but because this one is an Adobe font, it will just include licensing information. So whoever you would be sending this to can license it on their end. Then we just would click package. It's going to save a copy of this file. So we'll say save. It's asking us where we want to put it. I'm just going to put it on the desktop, and I'll just call it RO. And you'll notice it's creating a folder. Inside that folder, it's going to copy all of the fonts, except Adobe fonts. It's going to make copies of any linked graphics. And here we can tell it that we want it to update the links in the Links panel. So that in the packaged version of the file, the file path for all the links links to the packaged folder that we're about to create. That way, whoever opens the packaged version of all of this later, they are not going to get hit in the face with warnings about missing links. Here, we can tell it to include a copy of the file in the legacy format, which is known as IDML. That can be helpful if you don't know who's going to be working with this, and you want to make sure that they're able to open the file, even if they're using an older version of n design. On here, sometimes it's helpful to include a PDF version as well. That would be a print PDF and over here, you can even select the PDF preset that you want to use. Then you just click package. It's going to warn you one more time about rights and licensing and fonts. Obviously, you want to comply with all of that. Click Okay, and that's all there is to it. If I take a look at my desktop now, you can see here we are looking at the folder that we just created and in that folder, Indesign puts a copy of the file here is the IDML, the legacy format of the same file, as well as a print PDF. Here you can see a folder with the document fonts. If we look in there, we see it included a copy of the comic Science font, and here is the little file that has all the information about the Adobe font. If we go back here, we can see the links folder. And if we look in there, you can see it copied all of the links from the document. So in the future, when someone opens this copy of the document, the links panel, the path is going to point to this folder. So when you are saving this folder or transferring it somewhere else, you just want to transfer the root folder up here, the root folder that contains all of this stuff. And then you won't have to worry about broken links, missing fonts, any of that. So this is a super great solution, which means you might be thinking, Well, why don't I just package everything all the time then? It's kind of like the last thing you do before you archive the whole folder or hand it to somebody else. The thing about it that can be a little bit confusing is that it makes a copy of the file. So the design file that is still open and in design right now is not this. This is a copy. Like, this is a whole self contained ecosystem over here. So what that means is that we basically have two copies now. We have our active file open and in design, saved in our course files folder, and then we have this one. So it can be easy to get confused, and now you're managing two instances of the same document. So it's important to just know that. Because of this, when I'm working in my own environment, I tend not to package things so much. Instead, most of the time, I just round up my links DIY style. And thankfully there is still a way to automate that in in Design too, and the result doesn't include a copy of the file. And because I'm not worried about fonts because I'm just rounding up the links for myself, so I can work on this later without panicking about missing links, This is how I do it. I come over to my Links panel. And we can select all of the links by clicking on the top one and shift clicking the bottom one. And then if we go to the Links panel menu, let's come all the way down here and hidden in the utilities menu is an option to copy Links too, right? Because when I'm designing, I'm downloading stock images. I might be getting assets from a client. Maybe I've made some of my own. I have stuff scattered everywhere, and for whatever reason, I am perpetually not seemingly able to gather them all up before I place them in my document. I tend to just grab them from wherever they are, and that can make it hard later. If I have since deleted them or moved them or renamed them, then I'm going to get those error messages for missing links in in design. So the way I address it is to come here and copy the links too. And then I'm going to navigate to the folder where the document, my active document that's currently open, where it lives, and in that folder, so this is just our course files here. In that same folder, right alongside the active document, I'm going to make a new folder and I'm going to call it inks. And I'll click Create. And so this is where Indesign is going to copy all of the document links to. So I do this when I'm pretty much done with the file and I'm ready to send it to my client or upload it wherever it needs to go. This is my final step. And then I know that I'm free to go back to my Downloads folder and whatever I have the links scattered and then I can delete them because they've been copied here and that's it. And what's also nice is that when we do that, in design redirects all of the paths for these links to the copied folder. So you can see here, if I just hover over this, it now shows that this link is not in the assets folder that we relinked to earlier. Now, it's in the course files in the 04 cleanup folder, but it's in the new folder we just made called Links. And we can see that. If we go back over here, I'm looking at this in bridge and I can see, here's my course files folder, here's my 04 cleanup. Here's the active document that's open right now in Indesign. Here's the assets file folder that contained all of the images that we relinked to previously. And here is the links folder that we just created. And if we go in there, you can see all the files are there. And so, by going over here to the Links panel, selecting everything, going to the menu, utilities, copy Links too, it's essentially a DIY way to package your links. When we package over here, we package the whole document. We get copies of the document. We get copies of fonts, we get copies of links. Sometimes we want all that. Sometimes we just need to round up the links to save ourselves from our bad file habits. So it's basically a slim down DIY way to round up your links, save yourself from yourself and your bad file habits without creating all the extra file copies and all the other stuff. Isn't it nice to know that Indesign has your back? See you in the next video. 38. Using the Preflight Panel: Now that we've got our document cleaned up, fixed, and packaged, wouldn't it be nice to have a way to keep an eye on things as we're working to avoid other issues that might come up? Because there's a lot to keep track of, right? Like, some of the biggest problems like missing links or fonts, design does a pretty good job of getting up in our face to let us know there's a problem. But there's all kinds of other little problems that could go undetected. But thankfully, we've got a preflight panel to help. So you may have noticed down here in the bottom of our workspace, there's a little green light down here, or maybe it's red, but it should be green at this point because we just fixed up everything. So the green light means there's no errors in this document. What counts as an error? Well, that is something that we can customize with something called a pre flight profile. We'll see that in a minute. Right now, let's take this text right here and see if we can introduce an error. So with this text frame selected, I'm just going to come up here and scrunch it until the text is overset. So we notice we've got a little overset indicator right here. But we've also got an indicator down here. So now instead of a green light, we have a red light, and it says that we've got one error. Now, in this case, it's easy to know what our error is. This documents only a single page. But as you can imagine, if you are managing a document with tens of pages, maybe even hundreds of pages, this is crucial. So for more information, let's come down to our little monitor down here, and if we click this carat, we can choose to open the preflight panel. Of course, you can also open the preflight panel under the Window menu. So let's open this. So preflight is what we call this active monitor. So you can see we've got a check here. So that's what means that this monitor is running in the background all the time while we're working. And it's great because it's constantly keeping an eye on all kinds of things that could be going wrong with our document. And if this document was hundreds of pages long and we see an error, we may not know where it is. So what's really cool is once we open the preflight panel, we see a list here of all of the errors. And it tells us we've got a text error. And if we open this, we see it's an overset text error. And if we twirl it open again, we see it's in a text frame on page one, and this is actually a hyperlink. So we could click on this and it will take us straight to that text frame in our document, no matter how many pages long the document is. Then we could come in here and simply expand this to resolve the overset type situation. And you'll notice it updates and the error is gone, and the light is green, both here in the actual panel and here in our little indicator at the bottom of our workspace. So it's nice to know that this document has no errors. Of course, what constitutes an error? Well, that depends on the profile you're using. So here we can see that our active profile is just called basic. And once you get going and you've built your own custom profiles, you can see that they would show up here in a list. So to create a custom profile, we'll come to the preflight panel menu and choose define profiles. Here on the left, we see a list of our existing profiles, and we can create a new one by clicking the plus right here. And let's call it my awesome profile. Now, you can go through here and explore a number of different ways that you can customize your profile and tell in design all the different little things you want it to keep an eye on for you. So each of these categories, you can twirl open and explore the options. For right now, I just want to call our attention to two categories. Here under images. I know a lot of people worry about resolution. So if we enable the resolution option and we twirl it open, you can come in here and tell it to warn you about minimum and maximum resolution values. Now, it would be looking at the effective resolution and letting you know if it's above or below whatever you set as the threshold. So that could be helpful. If we scroll a little further, I find this helpful sometimes if people are not used to having to pay attention to scaling things proportionally. This can be a great one to turn on so that design will let you know if you've accidentally squished or stretched a graphic. And down here under text, here's where we can see that it is set to warn us about overset text and missing fonts, but you can also tell it to alert you about paragraph and character style overrides. So we can turn that on if we wanted and any number of other things. So right now, you may not know what kinds of things you want to keep close tabs on, and that's okay. But as you work, you will definitely discover whether design is warning you about too many things or not enough things, and then you can create your own profile. So then to save this, you would just click Save and then click Okay. Here we see that it's still running the basic profile, but we could switch to our awesome profile at any time. And then this would be active. If we want to edit this, we can go back to the panel menu and choose defined profiles. And just to show you how this works, I'm going to go into our awesome profile and I'm going to tell it not to warn us about overset type. And I'll click Save. Okay. And now we are running our awesome profile, and I'm going to force this to be overset and look at that. It doesn't care because we told it not to worry about that. But if we switch this back to the basic profile, now we're going to get a warning again until we come in here and correct this. So the preflight panel is kind of like a little helper that sits on your shoulder and keeps an eye on things to save you from making expensive mistakes. And even if we don't have the panel open on our screen, we can monitor what's going on from this little area at the bottom of our workspace. It's another way that in design does its best to make things easy on us. 39. Random Tips to Save Your Sanity: So we learned how to fix missing links and missing fonts, how to package our documents, and even how to keep an eye on things while we're working with the help of the preflight panel. But there are so many other little random things that pop up that can easily knock us off track and cause a lot of frustration. So I'm going to try to address some of the main ones in this video. To make sure we're all on the same page, let's just click out in the pasteboard area to make sure we don't have anything selected. And I'll get out of Wonderful mode so we can see everything by pressing W. And let's grab our type tool by pressing the letter and I'm just going to click and drag to drop a box here, any box. I want to point out a couple of things. One, we see that before we even enter type, in Design is assigning this text, the basic paragraph style, which is essentially the default. And if we come up and look in our control panel, we can see that the default for this document is Garamond. And if you remember, earlier in one of our other lessons, we learned about closing all of our documents and setting our default font, and we set it to Montserrat. But here, it's coming up as Garamond because when this document was created, Garamond was set as the default for this document. So that's going to override whatever we've done with all the documents closed. That only dictates new documents going forward. So that can be one thing that's just worth pointing out. But the other thing is, let's go ahead and type something and press escape to get out of there. Alright, so we can change our basic default font in a minute. But let's say that we click away again, and we're working our way through our document doing lots of great stuff. And then we're like, You know what? Let's make a new subheading somewhere. So let's click the sub paragraph style. And again, we'll press T for the type tool, and let's make another box, maybe up here. And now let's type something. And again, we'll press Escape. So you'll notice that was not a good spot to put this because we can't see. There it is. This text is, of course, looking the same as this because that's what the paragraph style dictates. The trouble is not that. The trouble is that now if we click away again, this is still selected. So because we clicked on this before we drew this type frame, while nothing was selected, we've essentially told design that we want this to be our default for every text frame going forward. So by default, every text frame in this document that we create will look like this and get tagged with this paragraph style. So maybe that's no big deal because you got to style it anyway, right? So you could just type it out, and then you could change it to a main style. And then you can look at comic sans. So maybe it's not a big deal, but also maybe it's super annoying. So again, this happens with nothing selected. If you click to designate a style, that becomes the default. So all you have to do is deselect everything and then click back to the basic paragraph. Now, the basic paragraph for this document is that Garamond typeface. So maybe that's okay. But if that is really making you bonkers, again, with nothing selected, just grab your type tool and come up here and change it to whatever. Montserrat. Bold. So now if we draw a new textbox, we're going to see it's Monsrat bold. It's also center aligned. Maybe you want that to be your default. Maybe you don't you don't out of there, deselect everything, go back to your type tool and choose left aligned. And now if we draw a new textbox, it's going to be left aligned. Okay? So the point is with nothing selected, whatever you do up here with the Type tool becomes the default. And with nothing selected, anything you click on over here also becomes the default. So not a big deal, possibly annoying, but also easy to fix if you're aware of it. It's one of those things you can accidentally reset anytime without even realizing. Or if you open older documents or documents created by someone else, you may run into it then, too. Another thing that can sometimes trip people up is perhaps they have one text frame active. In this case, this text frame that's styled with the main paragraph style, and they intend to edit a different paragraph style. So if we have one style selected, but we try to edit another, we can cause mistakes. So what I mean is, if I want to edit the sub style, I could double click on here. And yes, I've pulled up the options where now I could make changes, but I've also reassigned this text frame with that style. So I'm going to press Command or Control Z to undo that. A better, more foolproof way to work is anytime you are wanting to edit one of these styles, instead of double clicking on it, right click instead and then choose edit the style. That enables you to edit the style without accidentally reassigning the style or applying it somewhere you didn't mean to. So that's huge. And if you can really put all of this into practice, your design life is going to be smooth sailing. 40. Class Project 3 - Package Your Brochure: Alright, so now that you know how to package a document, your project number three is to just package the brochure that you made for Project two, right? We want to avoid all of that link drama. So you can do that in either of the two ways that I showed you. You can choose file package. Remember that that will make a copy of your actual in design file. So that's one way to do it. That's the most easy way, but personally, I get confused with that copy of the file and trying to deal with, like, two versions of it. So you can also do it the way that I like to do it, which is just to select all the links in your Links panel and then under the utilities menu in the Links panel menu, choose copy links too, and then you can wrangle all of those copies into a new folder that you designate right alongside the actual just in design document. And then Indesign will automatically update all of the file paths to those wrangled images. It's great. I love this method. And then all you have to do to complete the project is to upload a screenshot of your root folder. So, here is the folder for the my brochure project. And I have the brochure itself right here, and then this is the folder I made that I called Links just to keep with the way that Indesign does it. So when you package it, right, Indesign makes a folder called Links. So when I use this method to copy Links, too, I usually just make a folder and I name it Links because that's what Indesign does, so I'm just keeping the same terminology. So you can just grab a screenshot of all that and upload it for your project. Easy Ps. 41. Print vs. Digital Forms: Alright, friends, you know what the world needs more of? Well designed forms. Am I right? It seems like forms are a nightmare. They're a nightmare to fill out, and if they're not done well, they're also a nightmare to edit. Ideally, you would have a single form that is thoughtfully designed for print and for digital format like a fillable PDF. What's nice is once you know how to do this, it's an area where as a designer, you can really have a big impact. Not only on the people filling out your forms, but also on your colleagues who might one day be editing these forms. In Design offers a lot of tools for creating forms, but some features, primarily for creating fillable PDF forms need to be finest a little bit in Adobe Acrobat after exporting them from in design. So we'll take a look at that, as well. Whenever you're creating a digital form, it's always really, really, really, really important to test it to make sure it operates the way you expect. For our purposes, we're going to focus first on creating a form for real life printing to be filled out in person with pen on paper. Then we're going to learn how we might want to design a little bit differently for a fillable PDF and how if we plan ahead and think strategically, we can design a single form that not only works, but works well for both print and digital. And along the way, you'll learn about what the difference is and things to think about and, of course, how to do it. 42. Tabs, Tabs, Tabs: Alright, friends, before we open the document, I just want to show you in case you get frustrated every time you don't have documents open and you are forced to look at this home screen. If you don't like that, you can change it by going into your preferences. So I'm gonna press Command or Control K. And under the general settings here on the left, this very first option is where you can decide if you want in design to show the home screen whenever you don't have any open documents or not. So make your choice and click Okay. And then we're going to open the form that I've already started for us to save us a little bit of time. So you can choose File open or press Command or Control O. Then navigate to your course files folder, and you're looking for number oh five called fillable Form. And you'll notice there's two versions in here because I wanted you to have the finished version for reference. If you need it, we're going to be working with the Start version. So you'll notice this document has bleeds built in and a number of graphics up here. If we look at our Links panel, you'll also notice that these graphics are embedded. So rather than linking to a file, I've actually gone ahead and embedded both of these photos as well as this logo. So generally, you don't want to do that unless you really have a reason to. In this case, I did it so that I could show you an embedded link. To make any link embedded, you just place it in your document as a regular link, and then you would right click on it and there'll be an option to embed the link. Since these are already embedded, my option says unembed. You'll also notice that this one, the blue one here is listed as being on PB, which stands for the pasteboard. Why is it here on the pasteboard? So I could show you that you can put things on the pasteboard. Sometimes I have entire compositions that I don't want to get rid of because maybe I'll change my mind. I tend to drag them over to the pasteboard. So this is an active area that you can use. Think of it as scratch paper. So for now, that image is just hanging out. You could swap it with the one on the page if you want. And at some point when we decide we don't need it anymore, we'll just delete. Down below here, we have a block of text, and if we open up our paragraph styles, we can see that this text has been tagged with a body style. This up here is tagged H one. Over here, we have what will be a couple of buttons. I created them ahead of time just to save us from those mundane tasks. They're just text frames with text, but we'll use them later when we talk about the things we want to think about when we're making a form that's going to also be used digitally. Alright, so let's bring our attention here to this text, and you'll notice that the document should open with all of these hidden characters visible because the first thing we're going to do is set up our tabs. And in order to really do that well and actually see what we're doing, we want to make sure we can see the tabs. Because unlike when you're just typically working and you hit tab, you don't see a character. You just see empty space. But here, when we're designing the tabs, we want to be able to see them. So if you can't see all these little characters, then you want to come up to the type menu and choose show hidden characters. Because mine are on, my menu says Hide hidden characters. If you find yourself toggling this on and off a lot, you can see the keyboard shortcut here on a Mac is option Command I, and on a Windows computer, that would be Alt Control and the letter I for invisible characters. Alright, so before we put our tabs in here, let's first grab our type tool by pressing T, and let's put name and email on the same line. So I'm going to insert my cursor just before email and hit Backspace. And we'll also put plant species on the same line as mobile. So click to insert our cursor, hit Delete. So now we're going to set our own tabs. If we put our cursor here in between the colon after name before the word email, we could just hit tab, tab, tab, tab, tab, tab, and hope that we end up in a spot where it makes sense to stop. So ultimately, we're going to have a line here for people to fill out their name and a line here to do the same. So we could hit tab a bunch of times to get over here, but that ends up kind of being messy. So I'm going to press Command or Control Z to undo all of that. And instead, we're going to create our own custom tabs. So let's highlight all of our type here by pressing Command or Control A, and we're going to bring up the tab panel. It lives under the type menu right here, tabs. The keyboard shortcut to bring it up if you use it a lot is command or control Shift T. So this generally lines itself up with your text frame. So you'll notice it's appearing right here where zero is the left edge of the text frame, and this aligns with the right edge of the text frame. If we drag this off somewhere and we want to bring it back, you can just click this little magnet. So this is showing us exactly where our tabs are going to go. So to insert a tab, we can choose which flavor of tab we'd like to include. In this case, we're going to create a left justified tab, so we'll click this leftmost button, and then we come over to the area here where we want to put it. So if we're going 0-6 " here, we might want to put a tab right in the middle at three, and we position our cursor in this gray little zone right above the ruler and click. And I didn't get it quite right. Don't think it matters that much, but you can see the X value here. So this is at the three inch mark. Alright, so we've got one tab set here in the middle. It's a left justified tab. We're going to create another tab here on the right, and it can be a little tricky to get close to this end. So I'm going to click well ahead of it right here to play as a second tab. But this one, I don't want to be left justified. I want it to be right justified. So to change it, as long as it's selected here, we can just come over and click this button to convert that to a right justified tab. Because it can be tricky to drag it over here without doing this and getting all messed up, going to undo that and reset this. The easiest way to get this tab where you want it is to come over here and type it. So if we want this at 6 ", we'll just type six and then press the tab key, and it's in place. And if you're confused about what is the difference between a left and right justified tab, a left justified tab means that the text typed after pressing tab is going to align left. Meaning it's going to start at the tab and move to the right. Whereas for a right justified tab, any text applied at the tab is going to align to the right and move left. So you're basically right aligning the text at a right justified tab and left aligning the text at a left justified tab. Eventually, we're going to turn the tabs into underlines, and then this will make more sense. So now we can close the little tab panel. And if we put our cursor in here now between the colon and the E, and we press tab, it jumps clear over here to this tab. And now we want to put our cursor here, after this colon and tab again. And this time it goes all the way to the edge of the frame. Let's do the same thing here after mobile. Put our cursor in here and hit tab, and after plant species between the colon and the paragraph return, again, we're going to hit tab. Tabs are part of paragraph formatting. So because we have now set up custom tabs for the body copy here, we're getting an override. And if we hover over this, it tells us in parentheses, after reminding us that we can option click to clear the overrides, it's showing in parentheses what the override is. So here it's showing that we've got two tabs, one at the three inch mark that's left align tab, and one at the six inch mark that is a right align tab. But we don't want to clear those. We want to update the style to include them. So we're going to right click and choose redefined style and the override goes away. Now, in any paragraph where we hit tab, these are the tabs we'll be working with. So let's save our work. I'm saving mine in my finished folder so I don't overwrite the course files, and with those custom tabs, our form is off to a good start. 43. Adding Lines with Underline Styles: When it comes to creating forms and in design, one of the key skills you need to know is how to create lines. But it turns out there's lots of different ways to do it. If you search YouTube, you're probably going to find a lot of people telling you to use the line tool to draw a line, give it a stroke, and then drag it into your document and duplicate it all over the place. And while that does work, it creates a number of editing challenges. For example, if I change my type here to say first and last name, well, now I have to shrink the size of my line and move it over. If we change the size of our text, well, now we need to move the lines down and space them out. This becomes a real time consuming chore. So that's not an ideal method. The other thing that some people will do is to add underscores in here. And while that works, we can't style the underscore too much. We could adjust the baseline shift to move it up or down, but we can't control how heavy the line is. Or if you wanted a dash line, I guess you'd have to manually put spaces between all the underscores. And again, you just don't have a lot of control. So in this video, we're going to look at some better options. Ultimately, we're going to explore two methods. One method involves character formatting and paragraph formatting. The other involves object styles and anchored inline objects. Are you as excited as I am? Alright, let's get into it. First, how do you know which method to use? Well, in this case, here we're looking at some text that shares a line with the area where we want to put a line. In other words, the text is in the same text line as where we want the line to go. So in this case, we can use character formatting to add an underline to our text. The thing about this method is going to require that we have some characters that we can actually apply an underline to, which is why we added these tabs in here. So if we select this tab, we can actually add an underline to it. So let's come up here in our character formatting in our Control panel and click. Boom. Of course, in in design, we can get fancy. And if we want to control some settings for this underline, then we don't want to just come up and click to apply a default setting. We want all of our options. And you may have guessed that by now, we can do that by holding Alt or option and then clicking on underline, and lo and behold, we get additional options. So here we can click to turn the underline on, and we can control the weight of our underline. So maybe we want it to have a weight of one. We can control the style. So if we wanted it dashed, we've got multiple options for dashed lines, dotted lines, all kinds of things. You can even create your own custom dashed lines. But that's a story for another we can change the color if we want, and here we can control the offset, which determines how far above or below the baseline of the text we want the underline to sit. By default, we've got an offset of one. Great. We'll click Okay. Now, if we look at our paragraph styles, we can see that, of course, this has an override now. We've got body text here, and now we have body text, but it also has an underline. As we talked about, we handle these sort of discrepancies with a character style. That way, this underline and this text can coexist in the same paragraph without any upsetting overrides. So let's come over to our Characters panel. And as always, when we have a selection that we want to slurp settings from, we're going to hold down Alt or Option and then click the new character style button and we'll call this underline. We'll base it on nothing, and we'll make sure we apply the style to the selection. We'll click Okay. So now, all we have to do is highlight this tab, tag it with underline, this tab, tag it with underline, and this tab and tag it with underline. Then we can press Escape to get our cursor out of there and we have our text frame selected. Now we might look at this and think, those are some heavy underlines and they are. So let's make a change. We can switch back to our type tool and highlight one of those underlines and we'll come back up here. Alt or Option click on the underline setting. And let's drop the weight down to 0.5. And for the offset, one feels like not enough, but two feels like too much. So I'm going to put my cursor in here and change this to 1.5 and then hit tab to accept that change. And if everything else looks good, we'll click Okay. Now, of course, we've now overridden our override. So because we made a change to this character style, we have an override here, and because we want this change to just become the new style and apply to all of these underlines, we're going to just right click and choose redefined style. Nice. The other thing I like to do when working this way is, I like to have a little more breathing room between the colons and the lines this just feels uncomfortably tight. So let's put our cursor after the colon. And if we hit the space bar, we can add a space character here, and that creates a little bit of a buffer. I'm going to do the same thing at the end, add a space. But then we'll notice the space has an underline. So I'm going to select the space and change the character style to none. Add a space here. We don't need one at the end there. Come down below, add another space here. Another space here, same problem. It came with an underline, so we'll select it and choose none and put our cursor here and again, tap the space bar. So not only does this technique make it easy to style all of our underlines at once and edit them when we need to. But you'll also notice that if we put our cursor here and type first, last name, because the underline is applied to a tab character and because the tab character can flex with the characters around it, the line automatically adjusts no matter what we do here to the type. Isn't that awesome? It feels like magic. So again, for this technique, we added tabs so that we have a character here that we could then apply an underline to. That created an override in our paragraph style, which we solved by creating a character style to handle the underline. So far so good. Let's move down here to what's your plant emergency. For this question, I envision four returns here, and then I want just a whole line across this whole thing. We could do that. We could tab over twice, once for this tab and a second time to get us all the way to the end, and we could apply an underline. But then you wouldn't learn this technique. And in this case, because we don't have text coexisting with a line, we just want a full paragraph of a line. Instead of the character attribute to add an underline, we're going to add a paragraph attribute called Paragraph Rules. This doesn't mean rules and regulations. It means line. So where do we do this? One location that I like to use for this is to come up to our control panel and again to the little panel menu here. So this basically has all the options and controls and settings that don't fit in our control panel. So if you're ever looking for something you can't find up here, it's probably in this. It's sort of our overflow area for the control panel. And it's worth pointing out that you can come down here and customize the settings in your control panel. But for now, I'm just going to leave it alone. And the thing that we're looking for is called paragraph rules. And again, in this case, you want to think about lines, paragraph lines. So let's click to bring this up. And when we talk about paragraph lines or paragraph rules, there are two flavors above and below. Since we want to use this essentially as an underline, we're going to choose below, and we're going to turn the rule on. Now, nothing appears to happen because our preview is off. So let's click to enable the preview and Tata check it out. We have a line. It's heavier than the lines up here because the weight is set to one point. So let's change that to 0.5 so that it matches. And here, the offset for this line, we should probably have it match what we set up here. But because this was a character formatting option, the offset was measured in points, whereas here, it's being measured in inches. So how many inches is negative 1.5 points? I have no idea. But thankfully, I don't have to know. We can put our cursor in here and just select all of this type, and in design is somewhat of a universal translator. So right now this box is speaking in inches, but we can actually type -1.5. Space PT. So we're going to speak points. And when we hit tab, in design converts the points to inches. Whatever fraction of an inch that is beats me. Alright, so that looks really good. We'll click Okay, and we're set. So now let's go back to our paragraph styles. And of course, this is a body paragraph, but now we've applied this paragraph rule to it, which changes things. And instead of redefining the paragraph rule, which would add lines to all of this text, too. Going to create a special paragraph style for the instances where we just want lines, entire text frame width of lines. To make a new paragraph style, slurping up these settings, we'll hold Alt or option and click to create a new paragraph style and we'll call this lines. Brilliant, right? And we can base it on body if we want. And that way, if we make changes to body, this would also be affected. We could always come back and change this later if we don't want it based on body anymore. Those are all viable options. We'll make sure we apply the style to the selection, and we'll click Okay. And now let's select these other three paragraphs and apply the line style. So now we have a full column of just an underline. We didn't have to mess with any tabs, and anytime we want to add more, we can just put our cursor in here and hit Return. And as long as it's got this paragraph style applied, we're going to get a good looking line. I'm going to go ahead and delete those. We only need four. This technique is really useful if you are creating note pages for students or designing a journal, worksheets, ledgers, that kind of stuff. Now, because this is based on body, if we decide looking at this, like, Wow, we have a lot of texts like crammed together here. If we want some additional spacing between these paragraphs, we can put our cursor up here into the body style. And then let's come up here in our control panel to space after. And let's bump this up to maybe 0.125. As we know by now, that's going to create an override, and then let's redefine the style so everything gets a little more breathing room. We can right click and choose redefine style. Oh does not just feel better. So in this video, you learned two ways to create these lines. One way involved adding a tab character and then applying an underline formatting and saving that as a character style. That way, the underline could coexist on the same line as text. The other method did not require a tab because we set this up as a paragraph rule, which enabled us to have a line span the entire paragraph without actually needing any text or characters at all. So that's two ways to create lines using essentially the same idea. So I call that method one. In and design, of course, there is more than one way to do practically everything, which, as overwhelming as that is, is also great because it gives us a lot of options and a lot of control. But for now, I hope you feel like this is making sense, and you're getting the hang of it. But I also acknowledge it's a lot. So before you move on, if you need to get up and stretch, take a deep breath, touch grass, it's all good. Do what you need to do, and then come find me in the next video. 44. Adding Lines with Inline Anchored Objects: Previously, we learned how to add lines to our forms by applying underlying character styles to tab characters or applying horizontal rules to paragraphs. In this video, we're going to learn about another option, which includes actually drawing lines. But instead of just adding them to the page and then repositioning them all the time, we're going to control their appearance by creating an object style, and we're going to paste them into the text or they'll become in line anchored objects so that they actually flow with the text. So let's come down here to this bottom area. And we're looking for the paragraph of type that we can't see because it's overset. So for the moment, I'm just going to expand this so we can move it up here so we can see what we're doing. So what we want to do is address these lines of type down here and to zoom in on them directly, I'm going to hold the Commander Control key and the space bar that will toggle us to our Zoom tool, and then I'm just going to draw a box around the text, a loose box so that when I let go, we can zoom in right on. Alright, so here, this is a line that was created with an underscore. So you'll see I can back out of here till we're left with the two spaces, one on either side. And here, the same. So what we're going to do instead of an underscore is draw a line. So let's first press escape to get our cursor out of the text, and then we're going to grab our line tool. It's located over here below the type tool. You can see that the keyboard shortcut for it is the backslash. That is the one on your keyboard, next to the bracket keys that are next to the letter P for. Paragraph. So with this tool active, we can just find an empty area to work and click and drag to make a line. You'll notice it can be tricky to get it to be perfectly horizontal. But if you add the shift key, it will snap into a perfectly horizontal line. And then when you let go, there it is. Now, mine doesn't have any color or stroke or anything applied to it right now. So if I just want to apply the default fill and default stroke colors with that line selected, I'm just going to tap the D key for default. That will apply in design's default fill and stroke settings of none for the fill and black for the stroke. So we're currently looking at a stroke weight of one point, and we'll just leave that for now. Let's copy our line by pressing Command or Control C. And now to use this as an inline anchored object, we're going to paste it into our text. So to do that, we'll need our type tool because we need to put our cursor into the text. So I'm going to switch over to my type tool and I'm going to come down here and insert my cursor between these two space characters just ahead of the date. And with our cursor flashing, we can now press Command or Control V to paste. And that pastes this line into our text in a way that we could now cursor ahead of it here. And if we type, it's going to just mosey on down with our text, which is pretty cool. Of course, the underscores could flow with the text, too. So maybe you're not that impressed yet. But unlike the underscores, in addition to adjusting the position or offset, we can also control the weight. Interestingly, even though this line is behaving like type, and it's within the text, we don't use a paragraph style or character style for it because it's still an object. In fact, we would now refer to this as an inline anchored object. It's the second flavor of anchored objects that we've looked at so far. If you remember, back to our brochure, where we anchored the staff profile picks to their respective text blurbs, those were also anchored objects. But to create those, we dragged the little blue box to anchor the image in the text. Here, we cut and paste the line directly into the text with the type tool. And now that it's in there, we need to switch to the selection tool to select it. Then we can head over to the Object Styles panel and slurp up the current settings by holding Alt or Option and clicking the Create New Style button. We'll call this form line. We're not going to base it on anything. And over here in the left, we have this long list of all those attributes. And remember that by default, Indesign wants to slurp up all of these settings, and we don't actually want that. So rather than unchecking all of these boxes, I'm going to hold down Alter option and double click on the anchored object options. And that will slurp in those settings. So let's click to select this now and that way we can see the corresponding settings over here. If it helps, I like to think of this as a smorgas board of settings. And once you select one of the items on the Smorgsbard, then you can come over here and fineness it. And here we can control the vertical offset. So this is another one of those places where we can be grateful that design is like universal translator, because, again, this is speaking the language of inches, and we set our other offsets up above our underlines with points. So we'll come in here and select all this type and type negative 1.5. And then we need to specify that we're not speaking in inches. We're going to speak in points, so we're going to type space PT. And then hit tab. And I'm glad Indesign figures this out because if you ask me how many inches 1.5 points was, I would have no idea. But I design knows, thank goodness. All right, so that's one thing we want to set here. Those are the anchored object options. So up at the top of our smorgasbard, the one other thing we do want to slurp in here would be stroke settings. So let's click to put a checkmark next to Stroke. But then to actually see the stroke settings here, we need to click on Stroke. And if everything looks good, then Super. We'll just click Okay. Now that we've created this line and we've assigned a style to it, we can just press Command or Control C to copy this line. And then the other place we want to paste it in is right here before the word signature in between these two spaces. Again, because we want to paste this into text, we need to switch to our type tool and click to insert our cursor in the spot, we want to paste it. Then we can press Command or Control V to paste it in. To get our cursor out of here, let's press the escape key. And we don't need this anymore, so we can select that and delete it. So if we click on this, we can see that the style is already applied because when we copied this one, we had already applied the style to it. If we think about it, all the other lines in this document have had a weight of 0.5, so we should probably change this. So with this selected, we can come up to our Control panel and change the weight to 0.5. Of course, that creates an override, but since we want to update the style to include this setting, not this one, we're going to right click and choose redefined style. Now both lines are. Another thing to think about when we're working with these types of lines is even though these lines are currently showing up on the same text line where their little instructions are, that might not always be the case. And even here, we see that this is getting broken onto the next line. So we can fix the hyphenation. In fact, let's do that while we're here. If we put our cursor in the text right here, which is part of our body paragraph style, last time we adjusted hyphenation, we did it up here in the Control panel by clicking on the paragraph formatting and turning off the option to hyphenate, just so we can practice doing this another way, let's go back to our paragraph style panel where we don't have an override yet because this still is set to hyphenate, but let's practice what we do when we want to edit the style this way. Because remember, rather than double clicking, we want to right click on the style we want to edit and choose edit. That way, we can edit the style no matter what happens to be selected and regardless of where our cursor is. So when we come into our body style over here in the smorgasbard on the left, you'll notice there's a whole section for hyphenation. So if we click to select it, we can see the options here and you can get really into the weeds here if you want. But in our case, we're just going to uncheck hyphenate and click Okay. So that's nice. We got rid of our hyphen, and because we made that change directly in the style versus creating an override in the text first and then redefining it, we don't even have an override. But now let's address this issue where the signature, the word signature is bumped down to a separate line. And maybe that's not a big deal, but I think it would be nice if we could keep the word signature with the line that precedes it. Well, wouldn't you know there's a way to do that in in design, and it's called and it's a character attribute called no break. So to use it, we're going to select the type, and we have two instances. So I'm going to select the line here in front of date and I'm going to select all the way through to include the coma. Then let's come back up to our control panel and go to the panel menu, where, again, we have our overflow of options, and the one we're looking for is called no break. So when we click to enable that, nothing happens because the text we highlighted didn't have a break in it in the first place. But we can see that we now have an override. And because we don't want this override to apply to the entire paragraph, we're going to deal with it by creating a character style. So let's go to our character style panel. And again, because we're going to slurp these settings into a new style, we'll hold down Alt or option and click to create a new style, and we'll just simply call it no break. We're not going to base it on anything and we want to make sure we apply this new style to the selection here, so we'll click Okay. So, this one is done. So let's move on to this. And I think originally I was just going to do the line and the word signature here. But I think I want I line signature because that's all kind of one thing that just seems like it should go together. So I'm going to select all of that. Again, we're going to apply this no break and because we've already created a character style, we can just tag it like that. Now all of this will always appear on the same line. That could mean that we end up with some not so great spacing here. One way that we might deal with that is maybe this line could be shortened. Because these are objects, the length of them was not something we slurped in, so we can adjust them individually, which is great because we want maybe the signature line to be longer, but this date line could maybe be quite a bit shorter. And so if we shorten that up, we'll see we now have room for all of this on the same line. So to see how this was looking, let's hold Command or Control and tap the number zero. And I have moved my text frame, so I'm going to bring that back. And drag this down. And if we want this to be exactly 6 " wide, we can come up here to the width and type six. That's what it was before we messed it all up. And now we can't even see all of our hard work because all of that text down there is currently overset, but not for long. Alright, time for a recap. At this point, you've learned two different techniques for adding lines to our documents. In this case, we did it with the line tool, which we copied and pasted into our text, creating an inline anchored object, and we could control how that object looks and where it's positioned with our object style called form line. Look at G. You've learned so much about lines and design now. Who knew it was this involved, right? As you've come to expect, we're not done yet. There's more to come and I'll see you in the next video. 45. Bulleted List Reprise: All right, so we still have overset text down at the bottom of our form, but it's going to resolve itself when we format this area here with checkboxes. And in this case, we're going to set it up as a bulleted list, which makes for a nice little review of what we did back when we built our brochure. So what we've got in our form at this point is some basic information up here. We're asking people what is their plant emergency? And then we have a series of questions followed by some potential answers that we want checkboxes with. And one of the things that can be helpful when navigating through forms visually is to have contrast and hierarchy a little bit, and we can accomplish that with some bold formatting. We don't have any bold in here yet. So I'm going to come up here. Let's highlight where it says name and we have a colon. And we'll come into our character formatting and let's make this Maserat bold. And if we look at our paragraph styles, naturally, that creates an override. But because we don't want all of this to be bold, we're not going to redefine the style. We'll create a character style. So let's hold Alt or option, and we'll click to create a new style based on the text right here and we'll call this bold. We're not going to base this on any existing styles, and we want to make sure to apply the style to the selections. We'll click Okay. All right. Then let's just go through here and we're going to highlight this text and make that bold, this text and make it bold. This text and make it bold. And this text and make it bold. So now you're like, why didn't we just update the paragraph style? Well, because down here, when we get to this question, we have the question here, and then we have this part, and I don't want this to be bold. So we're going to highlight this and make it bold. This question, make it bold. Here's another one where we're just going to select the question and not the little instructions. We'll make that bold. And finally, we have this. L. Now we can more clearly see that we have four sections here. So for right now, we are thinking about this form only in terms of print. So we're going to build these checkboxes by creating a bulleted list. So let's start by selecting one section here so we can see how this is looking. And if you remember where the bullet settings are, there could be a number of places. If you have your character formatting options active in your control panel, you might find them way over here. If you switch to the paragraph formatting, they might show up here in the middle, and if you look over in your properties panel, they should be here as well. So wherever it is that you prefer to grab them from, before you click, make sure you hold down Alt or option so that we can customize our settings. For the list type, we'll choose bullets. We want to make sure we have the preview on so we can see what's happening. And if you're looking at this and thinking, where did the text go? We just have to move this a little further and we'll see that it moved way over here. So by default, when you apply a bullet, the tab position will default to your first tab, and your first tab, by default, is not this far away. So remember, a few videos back, we customized our tabs for this whole text frame. And so our first tab lands us here at the three inch mark. So it's no big deal, just so you don't panic and think happened to my type? It's there. But normally, if you haven't set custom tabs, it would be much closer to the bullet. All right. But before we correct that, let's get in here and choose our bullet character. This is good review. If we want to add our own bullet character, we're going to click Add. And this time, we're going to choose a bullet from the font called Minion Pro. You should have this font already on your system. It's one of those default fonts. So once we find it here, we're just going to tap the tab key, and that will actually bring up the Minion Pro font. Now we can scroll through here and we are looking for this character right here. It's called ballot box, and there's both a non checked and a checked version. We just want this version right here, so we'll click to select it now make sure you don't fall for the trap where you click Okay and dismiss this box with nothing happening. We want to click Add first and then click Okay, and that will put the bullet right here. We can click to select it. Now if you remember, back in our brochure when we worked with bullets, we used those big thick X bullets and we created a character style to make them pink. In this case, we want the bullets to just be the same color so we can just ignore this and leave it set to none. Below here, we definitely want to adjust this tab position, we can click this a gazillion times if we hold the shift key, it will jump in larger increments and then we only have to click it half a gazillion time. Of course, you can also type directly in here if you want to. But let's set this to 0.25. That looks pretty good, and we'll click Okay. Of course, we don't want to have to repeat this work all the time. So let's go into our paragraph styles and slurp these settings into a new paragraph style. So we'll hold Alt or Option, click the new paragraph style settings, and we'll call this bulleted list. We can base it on body so that if we change the font that we use for the body style, it would update here. And we'll go ahead and click Okay. Now, let's apply that same paragraph style to all these other options. So just note, this one here, there's only two. And this one, there should be four, I think. I might have to expand our text frame. So we can see all four of those, and we'll make them a bulleted list. A. Now, looking at these, I think it would be nice to maybe tighten up the spacing between these bullets. So let's select a set of them, and let's see what's going on in our settings. So I'm going to come up here to the Control panel, and the space after is set to 0.125 ". And the space between is set to ignore, which means the space between is also 0.125 ". In this case, I think I want the spacing between the bullets to actually be a little bit smaller. So let's manually type in here. We're going to type 0.0 625. We don't have to type I N because this little field here is already speaking in inches, so we can just hit tab. And that's nice. That tightens them up a little bit. So again, the space between means space between the paragraphs of the same style. And then when the paragraph is followed by a different style, then we want a little bit more space. So I think that looks really good. So we want to update this to reflect that. So in our Paragraph Styles panel, let's right click on our bulleted list that now has an override and we'll click Redefine Style and everything will just tuck up nice and neat. So in this video, you got a nice little review of customizing bullets. And in this example, we used a bulleted list to create a checklist. We still need to deal with all this type and the fact that this down here is overset. But have no fear because this form is almost done. 46. Using Span Columns to Split Text: So far in creating this form, we learned about setting up custom tabs. We learned about different ways to put lines into our form while still maintaining flexibility and ease of editing. Then we got to review how to make custom bulleted lists, setting up a checklist. And to finish up this form, we are going to deal with all of this type that is just taken up so much space. And really, we have one line of text, and then we have short little phrases. Right? So I think we could make this into two columns. Typically, in most cases, we control the number of columns that are in a text frame by the settings for the text frame. But we don't want all of this text in the text frame to have two columns. So one way to deal with this would be to shrink this frame down to here, so everything's overset. Then we could port the overset text from that frame into another frame, which we could then set to be two columns. Then we could port the overset text from that frame into a third frame, and we could set that back to a single column. And this would thread all of our frames together, and it would be just fine. But then we have to juggle three text frames. And that's one possibility. The thing about design is that there's not really, like, a right or wrong answer. It's just what's going to be the easiest, the most flexible, the most enduring, and the easiest to edit. Those are the questions you want to be asking yourself. So this is one way to do it, but I'm going to show you another method. This method is going to allow us to keep all of our text in a single frame while still being able to split some of the text into two columns. So let's grab our type tool, and the text that we want to split starts here with this question and goes all the way through to the last option in the fourth question the Self watering so we're going to select all of this type. And now we can use a feature, which is kind of confusing because what we want to do is split this into two columns. And to do that, we're going to use a feature called span Columns, which is the opposite of that, but that's okay. We speak in design. So it'll be right. Now, where do we find this? I like to find it again in that overflow menu up in our Control panel where if we click and come down, there it is right here, span columns. And you'll notice when we bring that up, our choices are single column or span column, which is what the features called. But then there's also this option to split the column. So right now this text frame is set to one column, and we are going to split the selected text into two columns. And then we get this lovely setup here, which actually looks really great. So here we can control all kinds of different things like the space before or after a split. If we want to adjust the size of the gutter right here, we could do that. That might be worth doing. Let's set that to a quarter inch. So 0.25 ", and that looks pretty good. We'll go ahead and click Okay. Now, at first glance, this looks great. We don't have any overrides, but that's because we've got two different paragraph styles included in our highlighted text. If we put our cursor into one of these paragraphs here, like if we put it here in this non bold section of the first question. We can see that the fact that we split the columns is creating an override. So if we redefine the style, then it's going to split the rest of the body copy up here. And because we don't want to just leave an override hanging out, we can actually create a second version of our body style that includes the split column setting. So to slurp up the settings, we want to make sure our cursors here, not in text that has a character style applied to it, but this text right here, then we'll hold down Alt or option and click to create a new paragraph style, and we'll call this body split. We'll base it on body in case we want to change our body font some point down the road. We'll make sure that the style is applied to the selection and we'll click Okay. Awesome. So this is body split. Now let's come over here, insert our cursor, and let's apply our new body split paragraph style over here. Again, body split and over here, body split. And you'll notice that even though we just assigned a new paragraph style, Indesign was smart enough not to mess with the existing bold character style that some of that text has already been tagged with. This may be one of those cases where you get to have your cake and eat it, too. It's just another reason Indesign is such an unsung hero. Okay, so so that takes care of the body part. This is the bulleted list style. And when we created it, we didn't have the split column setting happening. So in this case, so because all of our bulleted text is contained within this split column situation, we don't need a duplicate of the style to handle the split. We can just update the style to include the split. So let's come over to our bulleted list style. We're going to right click and choose redefine style. It's worth pointing out that doing it this way creates one possible snag, which is now we've got two paragraph styles with a split column setting. So that means if we want to edit anything about these columns, maybe adjust the gutter, we'd have to adjust both paragraph styles, the body split and the bulleted text. So maybe we would have been better off threading the text between three different text frames after all. That way, we could control the column settings via the text frame. Instead of using that whole span column setting in our paragraph attributes, that would have totally avoided the situation. But then again, maybe not. Maybe we don't want to juggle all those text frames. So again, there's no right or wrong way, and no two people build the same document in exactly the same way. So you make some choices. And like in life, you'll live and you'll learn. This is how it goes. In the real world, the way you set up your documents is often an iterative process. You build it one way and then you realize, Oh, if you were going to do it over again, you might do some things differently. But learning and internalizing that lesson is just as important as knowing what to click on in in design. Overall, this is looking pretty great. I am noticing, though, that after adjusting the width of the text frame, we still have a funky line break happening down here. And as this is intended to serve as the fine print at the bottom of the form, I want to introduce a little more spacing here and probably make this a little smaller. So I'm going to select that type, set it to eight points. Now it all fits on the one line. And let's add some space before, actually. So up here in the Control panel, we can adjust this. Do we want it way down here? That looks weird. Maybe just 0.25 ". Then let's create a style for this. We'll put our cursor in there and Alt or option click and call it fine print. And click Okay. Let's make sure we don't have anything selected by pressing Command or Control Shift A for anything. And let's hit W mode to look at our form. If we want to move this form down a little bit, we can select it and arrow it down a touch, maybe something. That. Nice work. That is one good looking form. In part, thanks to what you learned in this video about how to split text into multiple columns, even when that text is alongside other texts in a single column text frame. You're getting really fancy with this in design stuff. Still ahead, we're going to learn how to take a form and turn it into a fillable PDF. 47. Creating Fillable Text Fields: So at this point, we have a really good looking form that is ready to print. We could export this as a PDF for print, and our client could start using this right away for people in their shop to fill it out in person. But if our client wants to make this available on their website for download or they want to be able to email it to someone ahead of time to fill out before they bring their plant in for rescuing, then we want to make it easy for them to do that with a fillable PDF. And if we pop over here to Acrobat for a minute to see what this form would look like as a print PDF right now, it looks great, and someone who has skills and the professional version of Acrobat could make this into a fillable form. However, that is not who most people are. Most people don't have the professional version of Acrobat. They're working with Acrobat Reader, which is the free, little downloadable plugin that allows people to open PDFs, but they don't have the same kind of magical PDF power that we would have working in the full version of Acrobat, which is part of the Creative Cloud subscription. So if you are working with InDesign, in theory, you also have access to acrobat. So to really give our clients the maximum benefit here, we want to do some additional work to this document in InDesign to make it print friendly for in person filling out, as well as PDF friendly to make it easily fillable for anyone right on their computer without complications. So back here in InDesign, we're not going to need this image after all, so I'm just going to delete that. And first thing we're going to want to do is create the form fields that people would fill out when they open the PDF. And these fields are not just boxes. They're actually considered buttons and forms. And so the place that we work with those is in a special interactive panel found under the window menu by choosing interactive buttons and forms. So for this process, we're going to be creating a box basically and then turning it into a text field. So we can create the box using our rectangle tool, so M for Marquee, and we'll just come over here and draw box, something like this and perfect. Now, it's not officially a text field yet. It's just a box. Now that we've got it drawn and it's selected, in the buttons and Forms panel, we can designate what type of button or form field this needs to be. So from this drop down here, we're going to choose at the very bottom text field. We see that it immediately gets a dashed line around it. That is how InDesign indicates that this is an interactive element, and we can see what type of element this is with this little icon here that represents the fact that this is a text field. Next, we'll want to come in here to the name field, and we want to name this text field. And this text field is where we expect users to type their name, so we're going to call it name. Down here, we have additional options. If we want people to be able to fill out this form on their computer and then maybe they want to print it, we want to make this printable. We can make it required, but in this case, we're not going to. We can also allow people to type larger amounts of text in here by making this scrollable. But for now, I'm going to turn that off. What I personally love is that we can control the font that this text that users enter appears in. So, of course, we want to make this Montserrat. So I'm going to type Montserrat, and then I'm going to hit Tab to set that option. And then from down here, we can type Light. And I'll set the font size to ten. So I'll press Tab to set that, and I'm going to press the escape key to get out of all of there and the letter V for the very important selection tool. And now we have our object here, our field. Of course, it's just free floating right now. So if we move this around, this is separate, and there's a lot of reasons why this can become an editing nightmare. So as you might have guessed by now, we're going to anchor this. And we've learned a couple of different ways of anchoring. Most recently, we learned how to copy and paste objects into our type. Down here, that's how we put these lines in here. But in this case, we're going to do it the same way we anchored the staff profile pictures in our brochure. So remember that we can anchor things by clicking this little blue dot and dragging it to wherever we want to anchor it. In this case, I want it to come right after the text that says name, so we'll do that. Of course, if we just click and drag, it's anchored, but we don't get any settings. And we definitely want to control the settings because the way this is configured right now, it will not work. Even if we just made an object style out of this on other form fields, it's not going to position itself the way we think it is. For one thing, if I drag this up, you can see, here's the little anchor thread. So it's kind of like a threaded text frame situation, only it's dashed because this is an anchored object. But you can see that this bottom right corner is the one that's currently anchored to this spot. So if we copied and pasted this text box and we anchored it here, the positioning is going to be different because the line here is shorter than this one. So lots of stuff to think about. Okay, so instead of just clicking and dragging this over here where we don't get options, we would want to Alt or option drag this. But now that we've already done it, we can always bring up those options by Alt or Option clicking on that anchor at any time. And if you forget that, you can also right click on the anchor and choose Anchored Object options. So you got options about how you get to the options. Alright, so here are our options. And if this freaked you out last time, don't panic. I think it's going to make more sense after we do this a second time, and we'll do it slightly differently so that maybe this time it will click for you. Here is the reference point situation. So as I showed you a minute ago, when I dragged this away, currently, the reference point is this bottom right corner. And because this box is always going to follow the text of the field that we're attaching it to, we actually want that reference point to be on the left side and probably, I would say the bottom left. So now, you'll see the box jumped because we changed that reference point. So depending on where we put this, you can see that the tether is coming from the anchor and it's going to here. And right now, this is the bottom left of the box. But if I click the top right, well, now the tether didn't move. But the box did so that the top right corner of the box aligns to the tether. Hopefully, this is helping. So in this case, we want the bottom left corner of the box to be the point that the anchor tethers to. Now, down here for the anchored position, we want the X value, so the horizontal value to be relative to the anchor marker. The Y value up or down, should be relative to the baseline, which is the default. So if you can remember to just change this to anchor marker, you'll be in good shape. Now, this is where it gets kind of finicky and we can try and, like, fiddle with all these numbers and move it around. But honestly, this is tedious and not very intuitive. And so we're going to ignore it for right now. Here, prevent manual positioning. If we enable this, we will not be able to manually move this around, which can be nice when you don't want to be accidentally moving stuff, but it also means that it's locked. And so even when we want to manually move it, we can't do it unless we open the options backup and unlock it. So it's kind of a personal preference thing. I'm going to leave this unchecked and click Okay. So now we've set it upright, but the coordinates are not right. So what we'll do is because we did not lock the manual positioning, we can just drag it and position this where we want it. And now it's measuring the position and everything from that little anchor character to this bottom left point because that's what we told it. And we can use our arrow keys if we want to nudge this. So I feel like this is pretty good. So we drew a box with the rectangle tool. We turned it into a text field. We gave it a name. We anchored it, and then we adjusted the coordinates and the position so that it's properly anchored, and it's reproducible. So what do you suppose we want to do next? That's right. We're going to use it to create an object style. So let's go over to our Object Styles panel. We'll hold Alt or Option to slurp up its settings. We'll call it anchored form field. And again, because we're talking about Object Styles, InDesign wants to slurp up everything about it. We only want the anchored object options. So we're going to hold down Alt or option and click once and twice to deselect all these other checkmarks and just have the checkmark for the anchored object options. That is a mouthful. All right, then we want to make sure that we apply this style to our selected object. This is so crucial. Don't miss out on this, and then we'll click Okay. Now we need to copy this for these other three fields up here. Normally, I would say, use your selection tool, hold down all tour option and drag, but that won't work in this case. So what we'll do instead is just use our keyboard. So we're going to press Command or Control C and Command or Control V to paste a copy here. Now, this one's going to become the field for the email address. So in our buttons and forms, let's come here. And because we copied the name field, InDesign calls it name two, but we're going to call it email. So all these other settings, because we copied it, they're going to be the same and we don't have to redo. And we're going to anchor this. We can just grab the anchor and drag it right here and let go. And you'll notice it doesn't snap into position because we allowed manual positioning. So it's okay. It's super easy. So we have an override here. We could right click and say clear overrides, but that's a lot of extra time and effort. Instead, the shortcut for that is to hold down all to our option, as this little flyout tells us, we can hold down Alt our option and then just click. And that will apply the style and get rid of any overrides. So this looks good. It's a little long for this spot, so we'll just shorten it. Perfect. Let's press Command or Control V again to make a third field here. And again, we're don't have to worry about trying to position it because we've got a style for that. So we'll just drag the anchor here so that it is anchored. Of course, it's anchored to our manual positioning because we allowed it. That's okay. We can come over here again in the Object Styles Alt or option click, and it will snap it into place. And I'm going to shorten it up on this end. So that it ends in the same spot. It starts a little bit later because this is a longer word. It's responsive because we set up the anchoring that way. Alright. And this one needs a name. We didn't name it yet. This is mobile. And again, let's paste. And we'll name this one species and drag the little anchor in. I don't know why, but I think that part is so fun. Maybe it's just me. Alright, and then or option click to apply the style, the way we created it and get rid of that override and shorten it up. Tita Did that help? Hopefully, the anchoring business makes a little more sense now. So whether you like to do it all by the coordinates that I find very confusing, or you just want to manually do it as long as you get the reference point set right and the X value relative to anchor marker setup, then you should be really golden. Alright, so what about this field? This one's a little bit different. And for that, we have a whole separate video. I'll see you there. 48. Creating Multi-Line Fields: So previously, we created these form field buttons, right? We tagged them as text fields. We gave them names. They are styled with our fancy anchored object style. And this one's different because in real life, we want people to write, and so we gave them these lines. But if you're filling this out on a computer, the text is never going to line up on these lines, and it's going to be really awful, just ugly and frustrating and maybe confusing. And we don't want that. So we want to give people a place to write, and we want a form, but we don't want these lines. So let's edit this paragraph style, right? In our paragraph styles, this, if we put our text cursor in here, we called this paragraph style line. But now we don't want line. So we could go back and tag this as just body Perfect. Be Lines was based on body, nothing's going to change. But I think what would also be nice is to have a frame around here so that it's clear on the computer that you need to type in here, and it kind of defines a space in the print version in real life for people to fill this out. So let's go back to our lines style, and we'll just edit it. So let's right click on Lines and choose Edit lines. The first thing we should probably edit is the name. So instead of lines, we can call it outline paragraph. That'll make sense in a minute. To turn off the horizontal rules that we enabled previously, let's go in here to the section called Paragraph Rules. And we can see here we have that rule, which in this case, means horizontal line. And we can see it's on because we turned it on, but now we're going to turn it off. We should see this update as long as we one have our cursor active here and two have preview Enable. Next, now that we've turned that off, let's go into something called paragraph border, and let's turn it on. Tata. Now, yours might not look just like this. So let's talk through it real quick. We can set the weight for our stroke. We can do each piece individually or because they are linked here, we can just set one to 0.5, so it matches the line weight of all our other lines. We can adjust lots of things, corners, sizes and shape. We can introduce offsets here if we want. So if we do that, it would look like this. So, you know, the box is growing from the actual lines of text. But in this case, I'm going to leave that set to zero. What's key, and I don't know if this is on for you by default or not. But the key thing here to get one box despite four lines of type is this option here, merge consecutive borders and shading with same settings. If we turn that off, we get a box around every paragraph, and that's obviously not what we want, so we want to enable this option. And now, no matter how many returns we put in here, it's just going to put one nice outline box around the whole shebang. I'm telling you, you guys, paragraph styles are amazing. Alright. That looks good. And so now we can just click Okay. And we don't have to reapply it or clear overrides because we had all of the affected paragraphs selected, and we just right clicked and chose Edit. So we just, like, direct edited this thing. So, of course, now we still need to put a fillable form field in here. So let's press Escape to just get our cursor out of there. And I think if we still have one of these on our pasteboard, we could just Command V and paste it. If it's not still on your pasteboard from the previous video, then just select one of these and copy it and paste it so that we have another one. Alright, so this one, let's go to our buttons and Forms panel here. This one is going to be called emergency. And the difference for this one versus the others is that we want to allow multiline text in this box, and that's it. So we can then anchor this. Now, this is where we also want to be strategic because remember that we set the reference point for the anchor to the bottom left corner of this box. So to help us get this in the right place without having to create a separate object style for this four line situation, we want to anchor this to this bottom paragraph. So you can see how handy it is to have these invisible characters on from the type menu down here. Hidden. I said invisible before, didn't I? Oh, oops. I meant hidden. Same difference, I guess. So hide or show hidden characters to see all of these things. I know why I said invisible. It's because the keyboard shortcut. It's command or control all door option I for Invisible. So I really took it to heart. Okay. Moving on, we want to align this to this, right? So we take this little anchor thing and we drag it over here and we drop it. And here's our little thread. And once again, we need to go back to our Object Styles panel, and we can right click and choose clear overrides or we can alter option click to do the same thing. And boom, that lines it up to the bottom left. And of course, then we just need to resize it to the top right. I like to again, inset it a little bit because spacing because my eyeballs need to breathe. You are on fire. Can you believe what we've made so far? This is so cool. You don't even know. Wait till we're done, and you get to see it in action. It's just neat. Let's save our work. File save, and I'll see it in the next video. 49. Turning Bulleted Lists into Checkboxes: This is the part of this form where we want to make checkable checkboxes, right? We want people to be able to open their PDF and click to put checkmarks in here. To do that, we have to have something that we can select and turn into a checkbox button. So here, we have set up bullets, which are awesome, but they're kind of virtual because if you try and select it like you would select text, you can't. They're showing up because they're part of our bulleted list style that we made, but we can't actually grab them, and we need to in order to do this. So I'm going to show you how you would do this from scratch normally, and then I'm going to show you the most wickedly cool way that we're going to do it. And buckle up because it's a ride, but it's going to be awesome and I think it will blow your mind, and I'm pretty proud of how I set it up. So let's get this party started. To create a checkbox, just like when we created the form fields up here, we could do it a number of ways. So for one, let's grab that rectangle tool, and holding Shift, if we click and drag, we will get a box. We can apply the default style to it by tapping the D key on our keyboard, which will give it a fill of none and a stroke set to black. Then we would turn this into a checkbox button from the buttons and Forms panel. Under type, we would choose checkbox. Tada. Then we could cut and paste this. So don't do this, but I mean, if you want to, you can, but then we're going to undo it. So I'm going to, let's say, copy and paste. Then I could switch to my text tool and let's put it we'll put it I'll put it here, and I could paste it. Now it is an inline anchored object. And we could use our selection tool and select it and scale it. But I'm going to delete that. And somehow I put a space in there. All right. So that's one option, drawing it with the rectangle tool. So if we don't want to draw our own box, we could also come over here to the buttons and Forms panel, go to the panel menu. And there's a whole sample section. So we could click on that. And now we've got several different types of check boxes, and we could pick one and drag it over here, and there it is. I do not care for how this looks. This is basically a group of things. So you could ungroup it and get in there and mess with it, but we're not going to. Okay. But so that's an option, right? So there's lots of different buttons and things in here. None of them are attractive. Okay, so we can just close the samples. So these are two totally legit options. However, it's like, kind of a lot of work because we already have all these bullets here, and we already set up our paragraph styles, and why would we redo all this? So I'm just going to delete all that. And we're going to get a little fancy because I want you to know, to taste the power that in design has. Because I mean, truly, if you think about the most complicated medical textbooks and math and graphics and data and charts and all of the things and references and indexes and everything in design needs to be able to do, if you have something you're trying to do and you can't figure it out, the chances are the design can do it, you just have to figure out. So what we are going to do is turn these non existent bullets. They're sort of virtual like I can't select them, because they're built into the paragraph style. But we can convert them into real text. So to do that, we're going to highlight this whole paragraph with a type tool. We're going to right click and check this out. We can convert the bullets to text. So if you're an Illustrator user, this is kind of like when you expand something, right? Like, if you apply an effect to something, it doesn't actually create the vector paths until you expand it. This is, I don't know, sort of in design's version of that. Alright, so we're gonna click Convert bullets to text. And now check it out. Nothing changes, visually, but now we can actually highlight the bullets and it is text. We see that it is Minion Pro because that's what we chose for our bullet. Let's do that for all of these bits of text. I'm going to right click and choose convert bullets to text. And over here, we're going to convert bullets to text. And down here, we're going to select all this. And again, right click convert bullets to text. So now we're partway there. We can select the type, but you'll notice we can't turn the text into a checkmark or button. It has to be an object. So we've got another step. Now that it's text, we can select it. And if we come up to the type menu, we can choose something called create outlines. So we converted it from a virtual not real bullet into text. And now we're changing it from text into outlines, which basically makes it an object. So let's do that. And now it looks funny, it looks like we just made it blue, but we didn't. If we press W for wonderful mode, you can see it looks just like the others. It did move like a width, like a hair width over. I'm going to let it go for right now, it's all going to come out in the wash. Alright, so back here in Not Wonderful Mode, we've got it selected. So it went from being a virtual thing we couldn't select to text that we can select. And now it's an object that we can not only select, but we can turn into a button or a checkbox, in this case. So, we're not going to go through and manually do all that because that's a nightmare. So we're going to do something totally cool that's going to blow your mind that will take care of it for us. But before we do that, we want to select the thing, the object, and let's make it into the checkbox that we want. So let's go to our Buttons and Forms panel, and we'll choose checkbox. We'll worry about naming it later. For now, we want to come down here to appearance. So check boxes come with two appearances, the on version and the off version. And you can see, kind of, when you toggle here, you can see it showing up here. So when it's on, we see the checkmark. When it's off, we don't let's set this to appear off because we don't want it to be checked unless somebody checks it. Down here, we want to make sure selected by default is not on, and it should be printable. Alright, so this looks good. Now, make sure we still have it selected over here, and we're going to copy it just to our clipboard. We're not going to paste it. We're just going to press Command or Control C for copy. Because we don't want to manually have to go through each of these and go up to the type menu and convert it to outlines and then set up the checkbox. So we're going to use GRP. And I will tell you right now I am not a Grep Ninja. But that didn't stop me. I doesn't stop me, and it doesn't have to stop you, okay? GRP is basically super, super powerful find change. And when I say super powerful, I mean, like, programmable and scriptable and stuff like I don't even know about. So just to give you a taste of what it can do, we're going to use it to go through this text, find the bullet character. And replace it with the object that's currently copied to our clipboard. Here's how we do that. We select the text frame, and we're going to go up to edit, and we're going to look for find change, and I forget what this defaults to, but we want to come in here to grab. This is really powerful and we can change lots of things, and we'll look more about this later. But we're looking at the advanced power part first. Then later, when we do easy stuff in here, you'll be like, Oh, that's easy. All right, so this is code stuff. Basically, we're telling it to find this character. This bullet character, and it's represented by this. And there's, like, code for how you do this. My brain doesn't do code. So if you do code, this makes more sense to you. But we're basically saying to look through our text and find this symbol. You see how it says 2610? So that's basically like the name of this character. So we're telling Grep, we're telling in design to look through this whole text frame, find this bullet text character, and change it too. And this little code means the contents of my clipboard. How do you know what these codes are? Trial and error, experience, Google, hat JBT. Also, you can come here and there are some things that you can pull up. If you're looking for an ellipsis, it's here. You could select this and it'll put that code in. Don't panic. But this is really cool. I had to show you. All right. You can also tell it to search document or just the story, which means this text frame and any text frame threaded to it. But we're going to search the whole document and then we're going to click Change all. Are you ready? Change A. Boom. Look at that. It went through here and it searched and replaced 13 bullets. Bam. Click Okay. Click done. So today, that is my fancy grep trick. If you want to learn more about GRP, that's like its whole own course. It will not be taught by me. But there are books out there about it. There's videos, courses all dedicated to GRP and it's amazing. I don't use it enough to be well versed in it. But I think it's kind of fun when you have a really specific thing that you're trying to do. There's almost always a way to do it with grep. And if you're wondering what GRP stands for, it stands for global regular expression print. So, again, if you're on Jeopardy, Um. Before we go, I just want to point out something for the purist out there. If we click and highlight this text that we so carefully styled as a bulleted list previously, and we look now at our paragraph styles, we're going to see we have overrides because we no longer have bullets. And and underneath the bullets, if we move our cursor here and just put the cursor in there, we still have like an empty minion pro space. And I think if I highlight that whole empty area behind the bullet, the bullet is gone. It's converted into this checkbox now, but it left behind an empty Minion Pro space. And so the fact that we have Minion Pro and Montserrat together in the same paragraph is causing a problem. So there are ways to resolve this, including with find change because we could actually use Fine change to search for any Minion Pro, and then we can have it replace it with something else. But honestly, we're just not going to get into it here. But I just wanted you to know that this is a thing, and there are ways to resolve it, but you got to pick and choose your battles, and I'm not choosing this. Thank you for coming to my Ted Talk, and I'll be waiting for you in the next video. 50. Single vs. Multiple Choice Fields: Okay, so we have actual checkboxes here now. Yay, we need to label them all. So this checkbox needs a name, and we want to name it with the field or question that it goes with. So all of these checkboxes are part of this question. So like up here, we named this text field name. These we're going to give the same name, and then we're going to assign a value to them. When we think of name, in this case, for the checkboxes, we want to think about the question that they're answering. So in this case, the question is the struggle. So I'm going to call these checkboxes struggle. So I'm actually just to make this a little easier, I'm going to highlight struggle and copy it so I don't have to type it over and over. And then let's come down here to the value, and we would want to give this the name rot. And this kind of depends how your client is using the form. If they're going to just fill this out in person, obviously, none of this matters. If they're going to fill this out as a PDF and print it out and bring it in, it also doesn't really matter. But if you want to be able to have this filled out and then, like, slurped into a database or something, then we need to actually name all these fields. Plus, this is also how we tell design that you can only choose one option here. So we wrote choose one, but we don't want to rely on people on their computer knowing that. We want to force them to only choose one by making only one choosable. The way we do that is by naming all of these checkboxes with the same name, but assigning different values. This one, the value would be rot. For this one, we'll check it and we'll give it the same name. I'm just going to paste struggle in there, and then the value would be yellowing. Then we could select this one. Again, the name would be struggle, and the value would be like, whatever we want to call it, leaf drop. And then this one would be struggle, and the value would be growth. Okay? So because all of these checkboxes have the same name, that tells in design, and that tells the PDF reader and all of it. That only one option is selectable here. So here's another case where we only have one. So let's select this button here, and this time, we would name it transport, whatever makes sense. And then we'll give it a value for that button. We'll say no, they don't need transport for their plant. This is a white glove place, in case you wondered. And this one would also have the name transport. Forgot to copy and paste it. And the value would say yes. Yes, they need pickup and delivery. So over here, we want the user to be able to select multiple things. So it doesn't really matter what we name it as long as they all have different names. So it kind of makes sense to just name it pruning. And then the value would be yes so that when they check it, they're saying yes, they want pruning. Then this one would be cutting or that sounds bad. Let's say trimming here re potting. Again, the value for all of these is just yes. And that's default, so we don't have to type all that stuff. And again, here, this one would be pest, treatment, value yes. And over here, same thing, because we want people to come into their store and be like, Yes, I want all of these cool add ons. So the button value for all of these would be yes, and the name would be whatever the item is. So we'll say trellis ceramic pot. Grow light, and we'll say SW for self watering Pot. And that's it. This form is really simple. We're just putting checkboxes in it. But because of how we've named them, we're able to control whether users can select only one option or multiple options. Of course, there's a lot of different functionality we can add to our fillable forms beyond checkboxes. To keep this short, I've saved the demo I created for a separate video. Don't skip it. I'll see you there. 51. Other Cool Form Stuff: All right, so the forms that we created for our client are very simple, clean, modern looking, but there are some additional options that you can create in in design, and I just wanted to make sure you know about them. So right now, I'm in Acrobat and I'm looking at an exported form from in design, an interactive form. So I wanted to show you how these behave and what they look like, and then I'll show you the design settings that correspond to them. So I should point out that this color that we're seeing here, this is not something set by design. This is a function of acrobat or reader, and it's highlighting interactive elements for the user. And there's a way, I think, in preferences, you can turn this feature on or off. The user can. So I'm going to leave it on here, but just so you know that was not something that's created in design. So here's an example of radio buttons. By default, radio buttons work by excluding one or the other choice. So if you have a list of items and you select radio buttons, the user will automatically only be able to select a single item from the list. So this is setup similar to how we did the checkboxes for a couple of the areas on the form where we only wanted users to select one item. These are set up that way by default. So both of these radio buttons have the same name and then their values are different. So this is a yes value and a no value. There's also an option in design to create a combo box. So a combo box appears like this in the document. So it appears as a drop down list. So, to answer the question, how do you feel about combo boxes? The user could come here and click this and they have a number of choices. They could choose Yu they don't like them. That's kind of how I feel, but really depends on the form. M, indifferent. Maybe you love them, and you're like, I Oh, I meant to say can't get enough. Maybe this was my subconscious, 'cause I could definitely get enough of the combo boxes. But what's cool about combo boxes is the possibility that users can input their own text. So maybe we click here and we type, I love them. Exclamation point. So this is an option that's not actually set in in design, this ability to let users input their own list item. This is something that has to be enabled after the fact in Acrobat. So I'll show you where that is later. In Design also offers the option to add a list box. So a List box has multiple lines and it's a box, it looks like this. The tough part is knowing how big to make the box to properly fit the options. With a list box, users do not have the option to input their own answers, and you can set it up to decide whether they can select only one item or they might be able to select multiple. So how do we do this in in design? I'm so glad you ask. Here's our radio buttons. So we simply set them up the same way. You could draw a circle just like we did with the box, the checkbox. You could use a glyph. You could use a bullet. You like we did. We started out with a bulleted list and we converted the bullets. But instead of checkbox up here in the buttons and Forms panel, you would choose Radio button. And here we can see the name is Radio button one, and so is this one. Radio Button one. But the value for this one is no, and the value for this one is yes. Alright, moving on to the combo box. Here, it's just a box. So we don't see the drop down in design. So, in a sense, that's where it gets a little tricky is because you can't you can't see what you're really designing here. Honestly, you can't even see if the text you're putting for your list items fits in here. All right, so for this item, I drew a frame just like when we created the text fields. But this time, instead of choosing TextField in the buttons and Forms panel, I chose Combo Box. Then down here, you can actually type the list of items that you want to show up in your combo box. So here you can see where I meant to say can't get enough, and I made a slip there. So let me just delete these so you can see how it works. To create the list items, you put your cursor here and start typing. So I think one of them was yuck and then if you press Shift Return, it will take your answer, submit your answer, so it creates the first item, and it resets your cursor. So you can type M, shift return. Can't get enough shift return. And then if we intend to allow users to input their own information here, then we could type something like your answer here or whatever makes sense, and then shift return. Now we can sort these items alphabetically if we want, but we could also drag and drop them into whatever order we want them to appear. So if I'm going to start with the worst like yuck, I don't like combo boxes, then maybe, M, I'm indifferent or can't get enough or the custom answer. But again, to make it possible for someone to write a custom answer here, we have to do that after the fact in Acrobat. We'll see that later. Combo boxes are only going to allow people to choose one answer. If you need to be able to select multiple answers and you don't want to do checkboxes, then you might want to use a list box. So here, for type, I've set this to List Box. The default name becomes List Box one. Here's where we can specify if we want to allow users to make multiple selections, then we want to enable this. Then we can put the same options here if we want. Can add additional list items, but no matter what we do later, users will not be able to type their own information here. So that's really the difference with this stuff. Combo boxes, you can only select one option, but one of them could be that your users get to input their own information. With this list box, they can select more than one item, but they will not be able to input their own answer. Now we've looked at checkboxes, combo boxes, list boxes, radio buttons, and text fields. So yet to come, we're going to talk about signature fields and buttons. 52. Adding Digital Signature Fields: In this video, we're going to talk about different ways to build signature forms into your PDF forms. There's basically three different options. So to see what the end result is, I'm showing you this right now in Acrobat. The first option is to allow the user to basically stamp their signature. So with this option, they could come in here and type their signature, and you could specify a font. Like, in this case, I specified Lucida Sans because everyone has it, and it looks noticeably different. It feels signature esque without being a complicated script font that nobody has. So we'll look at how we do that. That's one way users can do this. Another option if the user has the tools and knows how to use it, they can actually come over to a stamp that they could then drag and stamp into the document in order to apply a signature. In that case, what's actually happening is that Acrobat inserts a graphic object. So they're basically placing an image. So in this sense, there's no identity verification. There's no cryptography, there's no automatic document locking. It works on any PDF. It doesn't even require any extra preparation in design, but it also leaves no legal audit trail. It's just a text field like we set up before. So it's great for informal documents and things, but it's not very legally binding. The other option here is Adobe Acrobat digital signature. This is hardcore. This is not something that you would put into a document lightly because it would probably cause a lot of panic and stress and problems for users who don't know how this works and who don't have acrobat signatures set up. It's going to prompt for their identity. It might require a certificate or a token. It's going to lock the document after signing because this is considered a cryptographic digital signature. So behind the scenes, Acrobat is generating code, and it's encrypting all of this using a private key. Somehow, they verify the person's identity with the digital certificate, and any changes to the document after that would break the signature. So this is something that's used in the government with legal documents, finance stuff. But this is really easy to set up. And in design, you just declare a signature field. The third option down here is really to just use a third party signature service. So if you've ever used Adobe sign or DocuSign, those services are fantastic and they make it really easy for users. I don't know how they work, but they work. I've used them as a as the person filling out the form, and it's just super user friendly and easy. And so to set those up, you basically do it the same way you do this. You just make a text field. And their program ignores all of the in design acrobat stuff, and they just overlay their own logic on it. So it's kind of like a modern business friendly middle ground between sure, here's my signature that you typed with a font versus this option, which is super secure and complicated. When you use the third party option, you're working with typically a cloud based business. They verify via email who the identity is. It creates audit trails. There's timestamps. It's legally compliant in most cases, and it's super easy. So depending on your use case, that determines which of these you want to work with. So back to InDesign over here, where we are just asking people to fill this out and say, they're not going to hold it against you if their plant dies, we don't need to be all bringing encryption into this. So, for these instances, I think we could just come up here and copy one of our little forms up here. Come down here. Why do I still have this text frame? So huge. Whoops. I'm going to drag that up. Okay, so then we can paste this and put it here. So this one would be our signature field. So for the type of button and form, we would not change it to signature field. This invokes the super encrypted digital Adobe situation. We would just leave this a text field, and we would name it signature. And then we can shrink this up. And here's where if you want to specify a signature style kind of font, I just kept it simple, and I went with Lucida Sans. I don't even think that's the best choice, but I just know that's often an option, so I'm putting it in here. And I think I went with a Demi bold italic. Alright. And then for this here, for the date, we could just command or Control V to paste another thing in here and we'll drag the anchor here. And I just realized we didn't tag this, did we? We have overrides. Let's go to our Object Styles. Yep. Option click to make it fit the way we've planned, and same with this one. I anchored it. Now we'll go to Object Styles and Alt or Option click and shrink it down to fit, and we're set. Oh, but we won't name this one signature. We'll call it date, but it is just a text field. Whew. So you've learned how to create text fields, multiline text fields. We enabled that option over here, remember? And we added that cool paragraph style outline around it. We added check boxes, some of which only allow users a single choice, and others let them select multiple things based on how we named the checkboxes. And down here, we created another text field that we called signature because we're not trying to get lawyers involved with this. We're just making it simple and saying, Hey, don't hold us accountable if your plant dies. And here we have another text field named date. And we'll see some additional options for styling this when we get into Acrobat. The only thing left is to create the buttons to submit the form. And what do you know? I have a whole video just for that. I'll see you there. 53. Creating Submit & Reset Buttons: Last interactive element we need to learn about are these buttons. So I've already created some buttons down here for us just because we don't want to spend time doing all of that cause you already know how to do this. These are not actual buttons yet. They are just text frames with a black fill and green text. So one says, clear the form, and the other says, submit. So how do we turn these into buttons and how do we deal with them when we export for print, 'cause you don't want to have a button that says, submit on a paper form you're holding in your hand in real life or clear form. That would be hilarious. So how are we going to deal with this? Let's start first with the clear Form button, or it's not yet a button. But text frame. So I've got the text frame selected. We're going to turn it into a button by coming to our buttons and Forms panel and choosing button. You might want to name it, something that is easy to recognize, like, clear. You'll see why it's helpful to name these things even when you think you don't need to. It's helpful. You'll see that later. But let's call it clear. And then down here under actions, this is where we tell in design what we want to have happen when someone clicks on this. So we'll click the plus to add a new action, and the action we're going to assign to it is to clear the form. So that's it. Now we have a button and it will clear the form. The other thing is down here, if somebody's filling this out on their computer and they print it to bring in to the plant shop, they don't need to have this button when they print it. Alright, let's do it for the submit button, too. So we come up here. We're going to make this a button. We'll name it, submit and for the action, we'll click the Plus button, and down here under the PDF section is the command to submit form. Now it's going to say, how do you submit the form, and it could be submitted on a webpage, et cetera. We're going to keep it easy. What we would want here is for this form to just be emailed to somebody at the shop. So instead of typing a URL here, we're going to type a little code that will tell it to email the document. And you have to type it just like this. We're going to type mail two, all one word, no space. Colon and still no space. We're going to type out whatever email address this would go to. So maybe info at hot Sauce botanicals dot C. And that way, if the user fills this out on their computer, when they hit submit, it will launch their email client and attach a copy of the form to the email for them. Again, at the bottom, we don't want this button to be printable, so we can uncheck that option. And that's it for buttons, simple stuff, right? You're a pro already. 54. Setting Tab Order: So now that our form is built, and before we export it for print and interactive PDF, we want to take a moment to complete this last little step. Because this is really the polish that makes this document more user friendly for everyone, and that is to set the tab order. This makes it easy for users to tab through the document in a logical sequence and order, and it's really helpful, especially for people who are using screen readers and assistive technology, we want to make extra sure that this document is easy for them to navigate as well. So as the last step here, we're going to go to object interactive set tab order. And here we just have a running list of all of the fields that someone would be working through when they do this document. We want to confirm that it's in an order that makes sense. So in this part of the world, where we read from left to right and top to bottom, that's basically the structure we would want to emulate here. So we want to start with name. Good, email, yes, mobile, perfect, plant species. Absolutely. So here's another reason why you really want to name your buttons and forms because otherwise it will just say box one, box two, box three, whatever. So this is helpful. Emergency is next and then look at that. You'll notice if a user was navigating this document using the tab key or working through it with assistive technology like a screen reader, they would be jumping from the emergency field here and if they hit tab, it would jump all the way down to signature. That would be super confusing. So signature should be last. So we can click and drag it all the way down before clear. Okay, let's go back up here. Same with date. We can drag and drop it. This one should also move. So we can drag and drop it or if we select it, we can just say move down, and it moves down one item at a time. Now I've lost it. Where did you go? Here? So we want that to go before the signature. So let's see. Then we have our struggle struggle struggle struggle. Yes. And then they would come down here and choose pruning, trimming, re potting, pest treatment. Yes. Then they would move up to answer this question about transport. And this is also great to see we can confirm that these have the same name, so it's a one or the other kind of situation. Same with this. Remember, we called those struggles. So that's why we've got four struggle options there. And then they can choose to add a trellis, a pot, a grow light, or a self watering pot, and then date signature. Then if they tab again, they would get to the clear the form option or finally submit. So once we're happy with this, we go ahead and click Okay. Now we're finally ready to export this magnificent form. 55. Exporting for Interactive & Print: Alright, look at our gorgeous form. We are ready to export it. So because our client wants to be able to use this as a printed version that people can fill out in their shop, as well as a PDF version that people can fill out on the computer and either print and bring with them to the shop or email. We're going to export this to two different versions. So it really pays when you're creating these forms to really, really think about how it's going to be used and design it with both print and fillable PDF in mind, so you can do it all in one single document. Now, all we have to do is export one version for each. So to create the print version, we'll choose File export. I've already got a copy here, but we're going to call it Form dash Print. Since we'll have two versions, it's nice to distinguish them this way. And down here under format, we want to make sure we choose Adobe PDF print. Then we're going to click Save. So under our presets, if our client is intending to send this to a commercial printer, then we want to build it accordingly. For now, I'm just going to choose high quality print. Check the pages we want to include here. Always a good idea to view the PDF after exporting. Down here, this is where we can tell it how to handle non printable things and interactive elements. So we don't want to include non printing objects. We do want to include interactive elements, though, because our checkboxes are considered interactive elements. And if we don't include them, we won't see any check boxes at all. So we do want to include the appearance of our interactive elements. Again, depending on what is happening with this PDF. If you need to include bleeds, that's over under marks and bleeds and you could just enable the document bleed settings, which we've got included over here. So if that is everything, we can go ahead and click Export. This looks good. We can see our check boxes. They're not checkable because we made a print PDF here. But look what is here, these buttons. They're not clickable, but they are showing up. We did tell it to include the appearance of all of this stuff because we wanted the check boxes. Unfortunately, even though in the buttons and Forms panel, these were set to non printable. They still are showing up here. So let's close this and go back to end design and figure out how we can handle this in a different way. Because we do need to include the appearance to get these checkboxes to show up, but we don't want to see these guys. And even though when we select them, we see it's not set to be printable. It is still showing up in our print PDF. There are a number of ways to handle this, but to keep it as simple as possible, we're just going to put these on a separate layer and simply hide it when we create the print version. So let's go to our Layers panel. Like all the panels, you can find it under the Window menu. We're going to come down here to click to create a new layer by default. In Design calls it layer two. We want to make sure we select our two little objects over here. And we can see that they're selected. That's what this little dot means. Means we have a selected object, and we can move it from layer one to layer two by simply dragging that little dot. I think that's so funny. It's so subtle. It's like such a little move. But it's a big deal. So we moved it to layer two. The layers are color coded, and if you've ever wondered, like, why is the text frame and everything blue when we click on it? Well, because it's all been on layer one, and blue is the default color for layer one. So now that these are on layer two, when we click to select them, the dashed outline around them that indicates that it is an interactive object is now red instead of blue. This is a little visual cue that this is on layer two. What's nice is unlike Photoshop, where you really have to be careful about what you click and you have to be in the Layers panel all the time. In in design, we can click any object, really, no matter what layer it's on, unless something is covering it, or the layer is locked or invisible or something like that. In the Layers panel, we do have the option to double click in this empty area here to pull up the options. And you'll notice we could make the whole layer unprintable, but then it's not going to show up even in the interactive PDF. So we'd have to come in and then make it printable again, and it just kind of gets a little messy. So let's leave it printable. And when we export this print version, we'll just hide the layer by toggling the little eyeball there. And now we can go back to File Export or simply press Command or Control E. And again, we'll save this as form print. Set the format to PDF print and click Save. Replace any existing versions. And in this case, we just want to make sure we still have bleeds included if we intend that, if we need them. And back under General, we don't really worry about this now. We just want to make sure we're exporting visible and printable layers. And because this layer is not currently visible, it will not be included. Now under interactive elements, we can make sure to include appearance so that we see the checkmarks here and now we can click Export. There we go. And now we have our print PDF ready to go. All that's left is to make the interactive one. So let's close this and go back to Indesign. For the interactive one, of course, we want to include the buttons down here, so we just enable that layer, and then we can press Command or Control E again. This time, I'm going to call it Form fillable or form interactive. And for the format, we want to choose Interactive and we'll click Save. So here we want to make sure we set up the pages the way we want. We could export separate pages into separate documents if we wanted. Here we can control the viewing. When someone opens it on their computer, we could have it appear fitting on screen or have it set to 100% or whatever. Just know that then we're overriding the defaults that they may have set up. So something to think about. We could force it to open in full screen mode. But for now, I'm just going to leave these set to the defaults. We do want to make sure we view this after exporting. Down here, we definitely want to include all of the forms and media, not just the appearance, but the functionality, too, and we should be set. So you can always check through here if there's anything else that is relevant. And when we're happy with everything, we'll hit Export. And here is our exported fillable form. So you'll notice because I'm in Acrobat now, the interactive areas get this purple blue highlight. So now we could put our text here and we could put in our name. And you'll notice it's styled using Montserrat with the settings that we baked in. If I hit the tab key, it's going to move through everything in the order that we set up. Then it's going to go to the state field and finally the signature. And because it's not an official, Adobe digital cryptographic signature, we could just type here, and we see that we get this specified font to represent a signature. And if the user knows how they can stamp the document with their signature if they prefer. The button down here, if we click this, that will clear it. And if the user clicks the submit button, you'll notice it's going to pop up to send an email, and it will just go through their default email application unless they specify otherwise. And here we see in my Macmil that it comes up to the email address we specified, I put in a subject line, and here is the attached form. So they could just say, Hey, here's my plant. I'll drop it off tomorrow and hit Send. So this is pretty slick and it looks great and it's functioning. I mentioned, though, that there are a few extra things that we can do, not in in design, but after the fact in acrobat to really fine tune fillable forms. So stick around to learn how to take your fillable forms to the next level. 56. Refining Forms in Acrobat: Alright, so here we are in Acrobat. We've exported our interactive fillable PDF form. It looks great. We could call it a day and end it here, but there are some neat things that we can do after the fact in Acrobat to really make this smooth and extra impressive and functional. So let's see how we do that. Honestly, I feel like every time I open Acrobat, it has a new update and it looks totally different. So I don't know what this is going to look like when you're working in Acrobat. So I'm going to show you how to get to things via the file menu, and hopefully that stays put even when other things move around. But let's go to the Edit menu, and we're going to come down to prepare form. So the workflow generally is you design the form and in design, you set it up the way we did and export it to Interactive PDF. And at that point, if you want to Finst you come to Acrobat and go into the workspace for preparing forms. So here we are in the form editing workspace. So yours might look different. You might not have the same panels open. That's okay. We're not actually going to dig into any of that stuff. We're going to access everything through basically the properties for each field that we want to work on. So, for example, if we select this field here, our emergency field, and we right click on it, we can pull up the properties for the field. And here we have all kinds of different collections, different tabs of settings we can look at. If we go under appearance, we can see that, yes, this is set to Montserrat light. Ten point. Perfect. So that setting came through to Acrobat from Indesign. If we want to change it, we could change it right here, and then when we save this form, it will have a different setting. Let's come back up here and go over to the Options tab. Here's where we can see that this is set to multiline. Again, that was a setting that we specified in Indesign. And this is where we can see that, yes, it came through. And if we wanted to change it, we could do so here. We did not set this to scroll text, but if we wanted to add that option now, this is where we could do it. That's good. For this box. Let's go ahead and click Close. Let's turn our attention to the date box down here. We'll click to select it and then right click to open the properties. Another thing that could be handy when you're working with text boxes like this that might have multiple lines, and you never know. Someone might try to write a novel in here. If we go to the appearance, tab, we can see that, yes, we did set this to Montserrat Light and we set it to a size of ten and we don't have it set to scroll. But if we want the text to shrink, if it becomes too large for the box, then instead of ten, we could change the size setting up here to auto. That way, people would type, type in their stuff, but as it gets to be too much type, it will start to shrink. That's a nice way to let people include their text, but also make it obvious that if they try and write a novel in here, it's going to be really hard to read. So that is an option. I'm going to set this back to ten and just force people to be succinct in what they're inputting. All right, we can click Close for that. Let's come down here to the date field and select it. Then right click and choose properties. And here we have all the same stuff, but let's come under format. So we can tell Acrobat what format we expect the information in this field to be. So in this case, it's set to none, that's the default. But if we click this drop down, we can actually tell it that we expect it to be a date, and it's warning us that somehow this must have been set to multiline and it can't have a date when it has a multiline. So let's go back to options. It's not multiline. What are you talking about Acrobat? Let's go back to format and choose date again. And now magically, it works. So maybe that was more of a just FYI message rather than a warning. Anyway, this is real life, right? Okay, so we can now format the date, you know, how we want it to set up. So let's choose I think this is the most standard, right? This means two digit month, two digit day, and four digit year. And then we can click Close. That's helpful if you're needing to standardize the way that people are inputting their information. There's so much cool stuff you can do with forms. It does take some work to figure out, you know, how to build it all, but once you get it set up, it's really slick and can really save you and your clients a lot of hassle and make their lives easier. And as designers, that's part of what we are trying to do. Alright, so once we're happy with this form and the changes we've made to the date and stuff, we can come over here and click Preview to have a peek at it. And now you'll notice when you click in the date field, they get this little drop down that's going to pop a calendar up for them so that it's easy for them to select the date. They could also type in here, and it will hold them to that format. So kind of nice. But who doesn't love a good calendar widget? So cool. Alright, I'm going to exit the preview. And when we're happy with this, we can get out of our special little preparer form workspace by clicking the B button here or just xing out of there. And then we could save this, so we could just go to File save, and that we'll update it with the changes we've made. And now you have two versions of this awesome form that we made for our clients. One is the print version and the other is a fillable PDF. 57. Class Project 4 - Create a Fillable Form: All right, it's project time again. So, for your class project number four, you're going to create a fillable form for your client based on your brief. So it can just be very simple. It could be for a prize drawing. Maybe they are offering some type of workshop that they want to register people for, or maybe it's just to fill out a simple contact sheet so they could be added to a mailing list. Use your imagination, have some fun, keep it simple. The only things that I think are really important that would be required for this would be to create text fields and some check boxes. And so remember how some of our check boxes here only let you choose one item. And then other ones let you choose multiples. So that's what you want to do here is create some check boxes where users can select multiple items, and then some other check boxes where they're limited to one. This time, when you export the PDF, because it's got checkboxes and all that good stuff in it, we want to export it as interactive, and then you can upload that to the course website. Easiest way to do it is just grab a screenshot. And if you want to share on social media, that's awesome. That's pretty straightforward. Have fun with it. Use your imagination and enjoy the process. 58. Magazine Project Preview: Hey, friends, we have reached the fun stuff. We're going to be talking about doing a magazine layout. So this is a peak of what we're going to be building. We're going to be learning how to work with QR codes, how to work with facing pages. So we have a left page and a right page. We're going to learn about auto generating contents. We're going to learn about working with parent pages, text on a path, text wrap, multi column text, drop caps. We're going to learn about drawing simple stuff. We'll learn about clipping paths, working with tables, how to use the Gridify feature, running headers and footers, and how to use above line anchored objects, specifically for things like pull quotes. So that's a quick look at what we'll be building, and I'll see you in the next video. 59. Bridge is for Browsing: Before we jump in, I want to take a minute to talk about Adobe bridge and specifically using it in conjunction with InDesign. So this is totally optional, but I will tell you that a lot of people don't take advantage of bridge, and it's a huge help, especially when you're working with in design, specifically. So you don't have to work this way, but this is what you're going to see me doing, and I want to at least make sure you know that it is an option. So let me just show you bridge real quick. This is what I'm talking about when I talk about bridge. It is simply a file browser, so it is a much more feature rich way to browse your files. Basically, it's a really powerful tool that you can use instead of Finder on a Mac or Windows Explorer on a Windows machine. It's free. You already have it and it's just pretty awesome. So I'm just going to show you quickly if you choose to work this way, I think it can be life changing. So let me show you how you get here. From InDesign, if you go to the File menu, you can simply choose Browse in bridge. That will launch bridge, and your setup will probably look a little different than mine at first. You can also run bridge just as its own program like anything else. So you can see down here in my dock, I have bridge just actually in front of my Adobe apps because that is how crucial it is to the way that I work. So I pretty much have bridge open all the time. I use it for everything, even when I'm not in Adobe apps. It's basically just how I get around on my computer. So just to help orient you here, there are several different default workspaces. So I like to have essentials. So let me reset reset essentials. Okay, so this is maybe more along what yours looks like if you've never used bridge. So I'm just going to show you how I set this up to be the way that I like it. But obviously, you do whatever works for you. So I don't care to have all of these other panels open. So I'm going to close my preview panel. I'm going to close publish. We want to close all of those things. Then over here on the left side of my screen, I'm going to close my collections panel. I'll leave the filter panel and Export. Actually, I can close Export, too. I do like to have the filter panel here. That just makes it easy. If I'm looking at, for example, I know in my Downloads folder, I've got a gazillion files. And so here, I can come down and just filter for a certain document type, and it makes it really easy to find it. Then I like to have my favorite panel open. So if you don't see yours, you can find it from the Window menu under Favorites. And then this is where I put all the folders that I use all the time. So, for example, if I go up a couple levels, here is my course design files for this course. If I want to add them to favorites, I can either right click and choose add to favorites or I can just drag it over here so that I can jump to it really easily. Then your folders panel here will get you your whole hard drive. Anything that's not a favorite, you can also get to from over here, but I pretty much use favorites for everything that I want to look at. Then up here, I have my Pathbr, under Window, this is called Path Bar. And this is like the bread crumbs that lets you jump around. So this area here is called our content browser, and it shows me the name of the folder that we're browsing. And then if I want to look at our magazine folder, I can just double click and I'm in it. And we can adjust the size of the thumbnails down here. And, you know, there's a lot of ways to fine tune this. But this is generally how I like to work. And the reason that it's so powerful is that it gives us previews of lots of different file formats. Like even our PDFs show up with previews here, and you can even thumb through the pages of your PDFs and in design files. Here in Bridge. So if you want to take a closer look at a certain file, you just click to select it and tap the space bar and Spacebar again to close it. But it makes it really easy to just get a quick closer look at something. And then if I want to go up a level, go back. So if we're in the magazine folder, if I want to go back here, I could click up here in my little breadcrumb path bar or I could just tap Command or Control up arrow. And I can use my arrow keys to move around to different folders. And then if I want to go down into a folder, I can hold Command or Control down arrow. So I'm mostly navigating with my keyboard. So that makes it really handy for getting around to see a multi page preview of an in design document. For example, here is our finished magazine InDesign file, and here in bridge, I can use my arrow keys to flip through previews of the pages. And this is actually a setting in InDesign in the preferences. So let's bop over here real quick. I just want to show you where this is. So if you bring up preferences by pressing Command or Control K, and you come down here to file handling, here you can say, always save preview images with documents, your in design files, and you can tell it how many pages you want to include. Obviously, the more you cram into your file, the larger the file size will be. So maybe you only say first five pages or whatever. You could say all, but remember, if you're working on huge documents, that might be a lot. I think it defaults to the first two pages. You can also choose the size of the preview. So that is controlled here. So one of the ways that you're going to see me using Bridge is specifically for placing images into InDesign. And there's a number of ways to do that. For example, if I select these three images here and I want to place them into InDesign, the file command for that is to come up here to the file menu and choose place in InDesign. And when we do that, it automatically switches our focus back to InDesign, and we can place these in. So that works well. Of course, that's a lot of file menuing, which sort of defeats the purpose. So you will notice that I have a keyboard shortcut here. This is a Mac OS keyboard shortcut, not a bridge shortcut. So what's frustrating is that recently, under the edit menu, Adobe introduced the ability to create custom keyboard shortcuts in bridge. Surprisingly, the file place command is not included as something you can make a shortcut for. So, for example, if we look here under the file menu, the place command from the bottom of the menu is not in here. And in fact, if we search place, that is not an option, which seems like a pretty enormous oversight. So the way around this on a Mac is to go into your settings and specifically the keyboard settings to keyboard shortcuts and then scroll down to app shortcuts. And you can see I have this shortcut here where I can tell the MacOS to do something in a specific app when I use a keyboard shortcut. So if I made a new one here, you would choose the application, and then you have to tell it the exact menu. Command that you want it to execute and you can put in a keyboard shortcut. So that was how I worked around it. If you're on Windows, I don't know of a native Windows solution for that. And I've Googled around and tried to figure it out, and I don't know if I couldn't find anything because it doesn't exist or because I just don't know enough about Windows. But there are some other ways to do this. So another way is to maybe select the images, and you can also drag and drop. So if you are working with a multi monitor setup, you can just drag that out of the way. And, of course, you can drag over here. Now, it looks like nothing happened because when you drag, you have to switch the focus back yourself. So then I would click here. Now my focus is back and I can place my files. So that's always another option. I myself, am not working on a multi monitor setup, so all things considered, my favorite way to work besides my keyboard shortcut is to take advantage of a special workspace under Window workspace light table. This is going to get rid of all of our panels except our content bin. And then, however you like to jockey things around on your system, I'm just going to drag this over here so that I just have a little strip, and I'm going to scrunch in design down like so. And then I have bridge operating in light table workspace. And then I can just select my images and drag them over. I'll still have to click to switch the focus, but then I'm free to just do my thing. So this is especially handy when you're working in a very image heavy layout, especially I find if there's a narrative attached to what you're working on, this is incredibly helpful. And to have the two applications side by side like this, you're not fighting for focus. It works even on a single monitor setup, and I love it. And here's a fun little trivia fact for you. There used to be actually a panel in in design. Under the window menu, there was a panel called Mini Bridge, and it was exactly this, a little light table view of bridge. But instead of running to the side in a separate application window, it was within in design itself. Pretty amazing. But then Adobe killed it. So that's that. So all of this is really just to say that Bridge is quite the powerhouse, and we don't have time to go into all of the amazing things it can do here because it could honestly be its own separate course. So I encourage you to take a minute, explore bridge, check it out, see what you think, and I'll be waiting for you in the next video. 60. Document Setup & Columns: Alright, friends, here we are. We're going to start our magazine document. Let's go to File New document. We're going to set our page size to standard US letter, so that's 8.5 " by 11 " in height. We're going to start with six pages. So we'll go ahead and type that so you can see how that works. And we're finally going to use facing pages. So up until now, we've not been using that. And so to get from one page to another, we've been just scrolling down, kind of like in a Google document situation. But here, because this is a magazine, and magazines like books have left pages and right pages, and they're bound in the middle with a spine or a gutter, or there's a number of ways to do the binding, but in those cases, we want to enable facing pages. For our margins down here, let's set them to 1 " all around. So because this little link is here and it's enabled, we can just type 1 " for one of these settings, and they'll all be linked. In this example, we are going to have a little bit of a larger margin at the bottom. So to change now just the bottom one, we're going to turn off the link here, and then we're going to set the bottom margin to 1.25. Down below, if you don't have the bleed and slug setting twirled open, make sure we twirl that open. We'll use our standard bleed. So in inches, it's an eighth of an inch at 0.125. And if we hit tab, it will populate all four sides to have the same bleed because that link is on. And now I'm going to turn on this preview button here because I just want to address something really quick. So here's a preview of what our page is looking like. And you'll notice this top area here this window is so big. Alright. This top area here has the column setting, and we're going to be working with five columns, but there are a lot of different ways to set this up. So some designers like to use a combination of page columns and guides just depending on the design system they're using. But we're going to keep things simple, and we're going to be working with a loose modular grid. So instead of setting up page columns, we're going to actually skip the column setting here, and we are going to set up our columns with guides instead. We're going to set the columns here back to one. I think everything else looks good, and we'll click Create. So here's our document, and you might be thinking, Hey, I thought we just set up facing pages. We did, but it always starts with page one being on the right. So if we look here in our pages panel, we see page one, that's like the cover. Then we start doing the whole double page thing, the spread. When you have two pages together like this, it's called a spread. And then down here is currently the last page. So it would end on the left, and it'd be like the back cover. And as we add more pages to this, you'll get a feel for how this works. Now, let's create our guides that are going to be used to help us align everything in our layout. So we're going to come up to the layout menu, and we're going to choose Create guides. And here we'll enter a number of columns set to five. We can leave the gutter at the default. You'll note that there's an option here to remove any existing guides. So you can either add these guides on top of existing guides or you can use these to replace existing guides. To understand what this is doing, let's enable the preview here. And right now, if we have this set to fit the guides to the page, it's going to divide the entire page into those five columns. But the only area where we're going to be working with text and aligning our things is actually within the margins. So we'd want to change that to be within the margins. And now you'll see we've got five columns, and they are distributed within the margins. So let's click Okay. And now let's just mosey down to the next page. So you can get there. If you have a scroll wheel on your mouse, you can do the scroll wheel, or you can also hold the space bar and drag down here. And now we're looking at our spread. So, page two and page three, how come we don't see any guides here? Well, it turns out when you create them just directly on the page, they only exist on that page. And that is useful sometimes, but for the most part, that's not what we want. We want these guides to show up on every page, and we certainly don't want to have to create them each time. So for now, let's press Command or Control Z to undo those guides, and we'll learn a better way to set them up using parent pages. 61. Working with Parent Pages: Alright, so previously, we learned how if we set up guides on the page directly on any given page directly, then they exist on that page only. And that's a real bummer. So what we're going to do instead is set them up on parent pages. And parent pages, like the name implies, they pass their traits down to their children. So essentially, anything that you want all the pages in your document to have should be built on a parent page. So typically, this is good for things like headers, footers, and page numbering, as we're going to see later, parent pages are super powerful, but for right now, we're just going to use them to create guides so that we'll have guides on all of our document pages, and we only have to set them up once. So you'll notice that all of the pages in the pages panel have these little As in the corner. So by default, all of the pages in our documents are the descendants of the a parent up here. So up above in our pages panel, we have this little separate area where the parents live. So everything down here is offspring. That's our actual document, and the parent pages live up here. And so, by default, these all are the offspring of the A parent. So what we want to do is set up our guides here. So to do that, we need to open the aparent page, and we do that by double clicking on really any one of these. And you'll notice that now we're looking at a two page spread so this is the left and the right a parent page. You can have multiple parent pages that by default, end up being called B parent, C parent, et cetera. So right now, we just have the A parent, which is perfect. You'll notice while we're looking here at the A parent, we can't scroll down or up. Like, it seems like what happened to all of our offspring? Well, they're sort of in their own like, they're away at college or something. And right now we're just looking at the parent page. So it's kind of like a separate world. It's like its own different dimension. So while we're here, we're going to set up our guides the same way we did before. We're going to come to layout, create guides. We're going to tell it we want five columns. The default gutter is fine. If you want to see this while it's happening, make sure you enable preview, and we want to fit the guides within the margins, not across the whole page, and then we can click Okay. And that's it. Now these guides are going to show up on every page in our document. So to get back to our document, we need to come back down here and double click on page one. And now you'll see we're looking at page one, and we can scroll down, and all of our pages now have guides. So that's just a quick look at parent pages. We will be coming back and spending some more time on them later. But for now, we've got our guides set up, and we're good to go. 62. Placing Images & Adding Pages: Alright, so here we are going to place our first six images. So it's going to be good review. Remember, you can always come up and choose file place, and it will accomplish the exact same thing. But I'm going to be using bridge because I'm a bridge junkie. So what we want to do is select the first six images. So I've hopefully made that easier by starting all of those images with the number 01. So if you sort your images by filename, whether you're in bridge or you went through File Place and you're working with Finder or Windows Explorer, you want to select the six images that all start with 01. So if you use FlePlace, you can just go ahead and place them. If you're working here in Bridge, you can come up to the file menu and choose place in in design. Then it automatically switches me back to in design, and here we should all be on the same page where we can now use the arrow keys on our keyboard to cycle through all of our loaded images until we get to this blue image here. This is going to be on our cover, and we're just going to fill the cover with it. So we'll come up here all the way to the bleed. Remember to hold Shift to actually unlock the frame proportions and come all the way down to the bleed on the other side. And when we let go, it places the file. Then let's drop down, and we're going to place full page images here on page two and three, as well. So we're going to cycle through. I'm looking for this picture of the little plant. And we can click. And again, we're holding Shift to go all the way from the bleed to the fold. So it should extend the bleed all the way around. And then same with this image here, we'll start at the fold, going all the way up to the bleed and coming all the way down to the bleed on this side. Scroll down again. Over here, we're going to put on the left, we're going to put this image. So again, click drag hold Shift to unlock the proportion and arrow over. We're looking for this image here. Again, fill the whole page. We'll worry about adjusting the composition within the frame later. And down here, this is going to be our back page. So here we have our document with a bunch of full page images. Now, let's introduce some blank pages into this. So if we want to add a couple of blank pages after page three, let's jump up to page three by double clicking. And then we can tap the new page button at the bottom of the pages panel once to add one page. You'll notice it just shifted everything down and a second time to add a second page. Let's add one more blank page by clicking a third time. Then let's jump to page eight by double clicking page eight and then adding three more blank pages. Click one, two, three. And then, for example, if we decide we want the spread eight and nine to come before the spread that's currently six or seven. If we click here on the numbers for eight and nine spread, we can just drag them up and put them to the left of page six and seven, and then they'll replace it. So it can be kind of tricky in here. To move individual pages, you click individual pages. To move whole spreads. It works best if you click and drag from the numbers. So it's important to know that all of these new pages have also inherited the A parent page settings. Here we're looking at pages 10 and 11, and they were just born with those guides that we set up on the A parent. So that is handy, and it saves us from having to create all that work. If we want to make changes to those guides, all we have to do is double click on either the thumbnail here or if we double click on the actual a parent text. Now we're looking at the A parent, and we could change these guides, and those changes would trickle down and show up on all of the offspring pages. All right. We've got 12 pages, and it's looking good. I'd say we're off to a good start. 63. Cover Setup: Drop Shadows, Color & QR Codes: Next, we're ready to set up our cover. So let's jump to the cover. We can double click the thumbnail in the pages panel or we can use our keyboard to jump there by pressing Command or Control J for jump, and then we can tap one for page one. That's how we teleport quickly. A few things we want to do here. One is, I think we should compose the image page within the frame a little bit differently. So as you'll recall, we can double click on the image here using our selection tool, and by double clicking, we're able to control the content within the frame. So I'm going to zoom out a little bit because it's just hard to see and hard to grab the handles. I'm pressing Command or Control minus actually probably a couple times. And then I want to scale this graphic. I'm going to hold the shift key and scale this up. There we go. I think that looks good. If we are concerned about the resolution, remember that we can always go to our links panel. And if we have it showing our resolution here, it's showing us the effective PPI. Remember, that's what you want to look at because all of these graphics are going to natively just exist in the world at 72 PPI. But this resolution, the effective PPI is showing us what this resolution is at this size. So this is a number you want to pay attention to. And let's say we're aiming for 220. So this is, I think, close enough, but if we scale it down a little bit, then we'll see the resolution go up. So I think this looks good right here. Next, let's place our logo in here. So I prefer again to go back to bridge, but you can also choose File Place, and you want to navigate to the HSB logo. I'm going to use my keyboard shortcut here in bridge, but if you haven't set that up yet, you can go to File Place in Design. Alright, so that gives us our loaded cursor, and I'm just going to click and drag to place that in here like so. I'll press Command or Control plus to zoom back in a little bit. And this is where it's really nice to know that W key. So that we can just look at things without all the guides all over the screen because it can be a lot sometimes, right? So this looks pretty great so far. Let's see, we want to add a drop shadow to our logo, so it just stands out a little bit better against this very colorful, busy background. We can do drop shadows in in design similarly to how it works in Photoshop. So with this graphic selected, let's come up to the effects menu here, and we can choose dropshadow. There's also a panel for effects. If we go to Window, you can pull it up right here. So this is another Smorgsbard situation where we have a list of buffet items on the left, and then whichever one is selected, that is the settings that we can control over here. Of course, to see what we are doing, we want to enable the preview. So here we can change the blend mode of our shadow, but multiply is the default. I think that's going to work fine here. We can control the opacity. So if you feel like that is too much drop shadow, you can dial it down. Here we can control the distance. So you'll see as we increase this, it looks like our text is hovering high above the page, which is a little odd, so we want to probably keep that lower. We can change the angle. So if we drag this around, it moves the shadow. I always think of this as where it's pointing here is where the light is coming from. So if we have it at around 135, then the light is in the top left, which pushes the shadow to the bottom right. And you can fine tune it even more. With these settings here, and you can increase the size, which basically impacts the softness of your drop shadow. So it's like the size of the lighting source, and a larger lighting source is going to create a softer shadow. So there's no right or wrong here. Just set it up so you think it looks good. The idea is not to create a big, hairy, heinous drop shadow. It's to just create a little bit separation so the text stands out against the backdrop. So we don't want it to scream, Look at my dropshadow. We just want to make it easier to read. So when we're happy with this, we can click Okay. Now, of course, if this is something we want to be able to use later, maybe on another instance of the logo, then rather than trying to recreate all these settings, we would want to make an object style for this. So we can go to our Object Styles panel. And remember, we can slurp up the existing settings by command or control clicking on that little Plus button, and we could simply call this Drop Shadow. And then over here, we don't want any of these attributes. So we want to deselect them all, except for transparency and drop shadow. So our little keyboard shortcut trick isn't going to work here. So I'm just going to pick one of these and hold all to our option to double click to deselect all of them, except the one I clicked on. Then I can click that one again. To deselect all of these, and the only thing we want down here is transparency and drop shadow. Go back to general, we want to make sure to apply this new style to the selected graphic, and we'll click Okay. Finally, we're ready to make our QR code. It's super easy to do. We're just going to come up to the object menu. We're going to choose generate QR code. And there's a number of ways you can make QR codes, but we want a web hyperlink. So the idea is that if this is like a printed little publication, it's kind of like it's just a way for them to communicate their brand and give the people who browse their store, like, something to read and learn a little bit about basic plant care. And so we also want to include a QR code so they can get to the website easily right on their mobile device. So we're going to choose web hyperlink, and then down here, we'll type the URL, which is going to be HTTPS colon slaASHTsas botanicals.com. Here, we can customize the colors of our QR code, but we're going to leave this set to black, and we'll just click Okay. And you'll notice it put the QR code in this frame that had the graphic in it because it was active when we made the QR code. So we can just undo that, and then we got to click away to deselect that. So in design is really picky like that, and you're going to do that a lot by accident. So when that happens, here's how you fix it. You undo the thing. You deselect everything by clicking away or Command or Control Shift A to deselect everything. Then we'll go back to Object, generate QR code. Look at that. I remembered the URL, so we don't even have to retype it, which is very nice. Thank you Idsign. We'll click Okay. And now we get this little QR code, and we can I'm going to press W so I can see where our margins are. And we'll just put it in here in the single column. Now you'll notice when you click and drag that these guides here should make it easy to snap the QR code to them. That's kind of the whole point of them. If that's not happening, you can come up to the view menu and then choose grids and guides. And we want to make sure we have Snap to guides turned on. So you should see a little check there. Now, you'll notice our QR code is not really easy to see at all, because they always come in like this. They come in with no fill. So this is vector, by the way. So you could scale this to any size you want. So that's kind of nice, but we do need to add the fill color behind this. So we can come up here to our Control panel. Remember that this top setting here is the fill setting, and this is the stroke setting. So for the fill, we can click the little flyout and choose paper. And you just made a QR code. How cool is that? While we're here, let's set up our back cover, as well by copying and pasting the graphic right here. So let's select our little logo. We'll press Command or Control C, jump down to our back cover, and we'll paste it by pressing Command or Control V. And we can scale it down. If we just hold Shift, the frame will scale, but the graphic won't. If we hold command or control shift, we'll scale the graphic with the frame. And if we hold Commander Control Shift plus Alt or Option, now we can scale from all sides at once, so it's a little faster. And I'm just going to put this actually right here in the center, something like that. And you'll notice that it scaled the drop shadow with it. That is a preference that you can turn on or off. So if you ever scale something and the drop shadow stays huge and now looks totally wild, you want to go into your preferences by pressing Command or Control K. And then it's right here under the general settings, you just want to come down here. It says, When scaling, we want to also include scaling for stroke weights and effects. So most of the time you probably want these on. But there might be cases when you don't, and then you can come in here and turn it off. Of course, now that we have scaled this graphic and that scaled the drop shadow, we now have overrides to our drop shadow style. In this case, let's just get rid of the overrides so that the settings for this version of the logo will match the one on the cover by Alt or option clicking on the style. And let's jump back up to page one. Command or Control J one, Enter. Look at you. So fancy. Hey, so before we go, we should definitely save our work. So let's go up to File, Save As. Find your finished work folder where you've been saving all your projects, and we can call this one magazine. Make sure we choose design for the format and click Save. Then meet me in the next video. 64. Sampling Color & Creating Swatches: Before we move on to design our first facing pages spread, let's talk really quick about color swatches. If you recall, earlier in this course, we added some provided color swatches to our Swatches panel. So if we open our Swatches panel, you can find it on your screen, possibly, or if not, you'll find it under the window menu under color swatches. So these are the colors we added earlier. We went to the panel menu and we chose load swatches. But obviously, you also want to be able to make your own swatches and to also sample swatches from within the document. So if you want to create your own custom swatch, you can come up here to the panel menu and choose new color swatch. And here we can dial in whatever values we want. So if you want to be working with a CMYK color, you can choose CMYK, and then you can dial in the specific values for CiamaGenta yellow and black being the K because it's the key color. Can choose whether it is process color or spot color. Then you would click Add to get it to show up in the Swatches panel, and then you could click Okay to dismiss the window. But I'm going to hit Cancel for now. And instead, I want to show you how to slurp up a color from within the image. And we can do that or within your document somewhere. So to do that, we're going to use our eyedropper tool. The keyboard shortcut is the letter I. And you'll notice it looks like this. It's like a little medicine dropper or eyedropper. And you'll notice right now it's leaning to the right, and the contents of the dropper are all white, which means it's empty. So if we want to sample a color, let's say, this bright blue down here, we can position our cursor so that the tip of the eyedropper is where we want to select, and then we can just click. When you do that, you're going to notice that the dropper shifts to the left now, and now it has a little black tip, which is indicating that it contains a sample. We can see here in the toolbar that because my fill color was active when I clicked, the color that I clicked on got slurped into my fill color. If the stroke had been active, then we would have slurped it up into our stroke color. Then to add this to the Swatches panel, we can just click the little plus down here and it gives us our swatch. And if we want to tweak it or rename it, we can just double click. And we could come down here and maybe we uncheck this name with color value. So instead of naming it R 18 G 197 and B for blue 194, instead, we can just call this bright blue, and we'll go ahead and leave it RGB. Now here, and yours may or may not be showing you this just depending where the tip of your cursor was when you sampled it. But this is letting us know that this RGB value, this current RGB color is out of gamut for CMYK output. We didn't explicitly tell Indesign that we wanted this document to be set for CMYK output. But because we set up this document using inches, Indesign assumes it's intended for print. So when you create documents with pixels, it's going to assume it's intended for screen. And that just basically means it will default to either CMYK colors for print or RGB for your screen. But you can always change it after the fact by choosing file documents setup. And here where it says intent, you could choose from print, web or mobile. So as we talked about earlier, there is a way to handle all of the colors and color conversion at the end of the process when you export. But if you want to make this an gamut color, all you have to do is click on the little box here. So they're very close. So this is the color we sampled, and this would be the gamut color that would actually be reproducible with ink on paper. So if we just click on it, design will make the switch. And now we have an RGB color that is in gamut for easy conversion to CMYK. And now we see that in our Swatches panel. So let's say we want to sample another color. Well, look at that. Our cursor is still loaded, and as long as it's loaded, it is in apply mode. So it wants to apply things. So if we clicked on an empty frame or a text frame, for example, if we just clicked on a text frame right now, it would fill the text frame with the fill color that we sampled. So what we need to do is clear the eyedropper so we can make another sample. We can do that by pressing I on the keyboard again. Or we could come way over here and click on the tool again. Or if we hold down Alt or option, you'll see that it empties itself and reverts back to that right leaning position. And now we could click to sample another color. And again, if we want to add that, we can click the little Swatch, and maybe we want to double click, and you can see that was out of gamut, too. I'm purposefully choosing, like the most neon bright colors that don't reproduce well in print so that I could show you this. So we could click on this if we plan to print this, and we do. So that's fine. We'll go ahead and click. Okay. All right, let's save our work. I'm just going to press Command or Control S to update my saved working file, and I'll see you in the next video. 65. Importing Text from Word Documents: Alright, for the next chunk, the next portion of working on this magazine, we are going to be importing texts to our various stories in this little magazine. Then we'll go back and work on the layout and fine tuning things story by story or spread by spread. But right now, we just want to bring in the text. So as a designer, that might come to you in a lot of ways. Earlier, we learned how to bring in text that was just literally in a text file. Here we're going to be bringing things in from Microsoft. Word. Let's come up to the file menu and choose place. And in the course files, let's navigate to story one, and we want to make sure we put a check here to show import options. We'll click Open. There's all kinds of things in here. We're going to keep it simple. I want to bring your attention down here to formatting. So we have a couple of options. We can do things like remove styles and formatting from text and tables. So sometimes that can be really handy, especially if someone's giving you a document, that's just a total mess. So you kind of want to know ahead of time what you're bringing in. So it helps to maybe open the Word Doc and just look at it first. Another option is to preserve the styles and formatting from the text and the tables. We're going to leave this option here. Down below, we can choose to have the existing styles in the document. Be imported automatically. So here we're talking about any paragraph and character styles that might already be baked into the word document. And if there's a discrepancy between existing styles, in design style will win. All right, we'll click Okay. And we're hit with missing fonts because the document that we're placing this in has some font that we don't have. So it's going to replace with the default font. Of course, we want to choose replace font and we want to make sure we're very specific about what it gets replaced with. We'll start by selecting this first one here and we're going to change that not to Minion Pro, but to Montserrat regular and we'll click Change A. That took care of that one. Then we'll select this one, again, replace it with Montserrat regular and if there was a style involved, we probably should have had that click to redefine it. We'll see what happens. We don't have a style at this point, and I don't remember if the word Doc does. Let's just say change all and done. Now this text is going to go on page five, so we can double click to jump to page five, and we'll just click and drag a text frame, something like this. We'll set our text frame so that it is spanning four out of those five columns and then let go. Let's see what happened with the styles. And you'll notice it brought in two styles, normal and heading one. And if we right click on normal and choose Edit normal, and we go to basic character formats. That one got updated to Montserrat regular 12. If we right click on heading one and Choose Edit, we can see that these character formats are still set to this missing font. And again, we know it's missing because it's got these brackets. So I'm going to click Cancel. We can see if we click in the body text that there's not an override there. But if we click in the header here, we can see that there is an override because even though we updated the fonts when we brought in the text, we forgot to click the checkbox for one of them to also update the style. So even though both fonts are updated, we only updated one of the two styles. So we need to update the style to reflect this, so we'll right click and choose Redefined style. So you'll notice that this text came in here with two paragraph styles. And if we go to our color swatches, we can see it brought in a color from the Word document. So that's good to know. Let's go back to our paragraph style, and let's put our cursor in the normal body. So the style that came in from word was called normal, but let's make some changes to that. So we're going to right click and choose Edit normal. Let's call it body. That's pretty standard. Let's go over here to our basic character formats and change the size to ten. And the letting to 14. Then let's go to our spacing settings here in the smorgisbard. It's over here. It is really hard to find things over here because it's not in alphabetical order. So don't feel bad when you have to hunt because I still have to hunt, and I've been doing this a long time. Alright, so indense and spacing, let's set the space between between paragraphs using the same style. So that means when we have multiple paragraphs of body text, we want the space between to be 0.125, and the space after will set to zero for now. So that means when the paragraphs of body copy are followed by any other style other than body, the spacing would be zero. But when the body copy is just following itself, the spacing between consecutive paragraphs of body style would just be 0.125. Down here, under export tagging, this is a little thing we can do that takes 2 seconds that will help make this document more accessible to anyone who is using assistive technology like a screen reader. So this is a really good habit to get into whether we intend this document to end up in print or on a screen, it's just one of those habits you want to build. We can help their screen readers to navigate the document by making sure that anything with the body copy Paragraph style gets a P tag to designate it as paragraph text. All right, then we can click Okay. We redefined our body copy style. Let's come up here to our Heading one. We could style this and then just update this here. But it's also nice to be able to come over here and just do it directly sometimes. So it's good to know how to do it both ways. This time, again, just like we did with the body, we're going to right click so that we don't accidentally change how some style is applied, and we'll choose Edit Heading one, and let's rename it H one. We want to have it be based on nothing, and we want to set the next style to body. So that means if you're typing here and we type out an H one paragraph, if we simply hit return, it will automatically switch so that the text that follows it is the body style. Now, we have some really specific fonts we're going to be using for the magazine, for our brand. So let's come over here to basic character formats. And instead of Montserrat, we're going to change this to allotropic and then press tab, and then we'll specifically choose bold. We'll set the size to 54 points. And I'm just tapping tab between all these things. We'll put the leading to auto let's set the case to all caps, and then we want to go to the color settings, which strangely are way down here under character color, and we're going to use our bright green here, which of course makes this hard to read. This is not a good contrast ratio between this green text and white paper. So let's add some paragraph shading. We're going to come up here in our Smorgsbard and choose paragraph shading. Now, this is different than adding a fill to the text frame. We've learned how to do that before, and that is great in many cases. But here, we're talking about a story that's going to have headline, body copy, pull quotes, all kinds of things in a single text frame. So we don't want to apply a fill color to the whole text frame. So we're going to handle it instead, in this case, with paragraph shading. So we'll click to Enable shading. That looks awful. We want to set the color to black and the tint to 100%. This basically adds a black background behind the H one paragraph text. Down here under offsets, we'll keep all these linked and we'll just click to bump out a value of 0.18 75. We'll set the top edge to ascent and the bottom edge to descent. And here for the width, let's see if we can see here. Here, we're not going to see really a difference because the text is currently spanning this whole frame. But we can choose to have that shading just go across the entire text frame or column, which in this case, the text frame only has one column right now, so it would go across the whole text frame, but we can also have it just go to the text. Alright, that's looking good. Now let's dial in our spacing setting. So we'll come up in our smorgasbard to indense and spacing. Here we're going to set the space after our header to be 0.5. It's a big one, but that's what we're doing. Space after 0.5 ". Then if somehow we have multiple H ones in a row, then we would set this to 0.375. These can be the same. But remember, if we set this to ignore, then it will default to this setting as well. Now we want to come back down to export tagging. And again, when we export this to PDF, we want to make sure we are remembering anyone who might be using a screen reader, and we want to make sure that this H one comes across as a heading in our PDFs. And then we can click Okay. So this is one way to bring in text from a Word document. Here, we allowed the existing styles in the Word document to be carried over into design, and then we saw how we could update the styles. But of course, that's not the only way to approach it. So we've got more to cover in the next video. 66. Mapping Word Styles to InDesign: If you haven't saved your work, make sure you save it at this point. And then we're going to scroll down here to page seven, and we're going to add another story from word. So we can press Command or Control D to drop in a file. And this time, we're going to go to Story two. Again, we want to show import options so that we can Finesse, the way the styles are handled, we'll click Open. This can all pretty much be the same. We want to preserve any styling that exists. But instead of importing styles automatically, we want to customize that import, and we can take advantage of something called style mapping. Of course, to know what's going on in your Word Doc, before you bring it in here, you really should open it in Microsoft Word to see what you're dealing with. And that will give you an idea of how to map it in design. This is such a timesaver. So let's click Style Mapping. This time, instead of creating a style called normal, we want to take the existing normal style from the Microsoft Word document. We want that to be mapped to our existing style body. The existing style called heading one, we want to become H one. And it turns out if we had opened the Word Doc and looked, we would see that it has a heading two, and we don't have a heading two yet, but rather than just letting it bring that in with whatever and create a heading two style that we have to change them, let's just create our own new H two style right here right now. But we want to make sure we're not clicking this option up here at the top, new paragraph style with brackets. That will slurp in the existing heading two and just bring it into our document. We want the new paragraph style option down here so we can just create our own right here right now. And we're going to call it H two. We're going to base it on body, the next style after it should be body. We want to make sure we're applying it to the selection. Over here in the Smorgsbard, we're going to go to basic character formats, and you can see it's trying to bring it in as that same missing font that we had to replace previously. So we're going to change that to Montserrat. And this time, instead of regular, let's choose Black. The size is going to be 12. We'll leave the letting at 14 for now. Let's change the case to all caps. Let's check the color, so that is down here in our Smorgsbard. Aha. And it's trying to bring it in with that word swatch, and we want it to be black. Make sure you're choosing black and not registration. Black. There is a big difference. And finally, down here, again, under export tagging, if and when it gets output to PDF, we want to make sure that this H two text gets properly labeled as being H two for anyone who might be accessing it with a screen reader or other assistive technology device. So H two and we'll click Okay, and now we'll click Okay again. And now we'll click Okay a third time. And here's our text, and we'll just click and drag to place it in here. Isn't that amazing? It already comes in looking fantastic. All right, so let's do this one more time. Down here on page eight, we're going to click away to make sure nothing is selected, so we don't replace story two with story three. And again, we'll press Command or Control D. And this time, we're going to select story three. Again, Show Import options, click Open. Again, we'll come down to customized style Import. Style mapping. And again, normal should become body. Heading one should become H one, and heading two should become H two. Then we'll click Okay and Okay. And now we can just click and drag to put in our text. And look at that. A neatly styled. So hopefully, you can see how much it can really pay off to map styles from Word. But of course, that only works if the people who are sending you this content, if they're sending it in Word or another application where they can make use of styles. So sometimes, as a designer, part of our job is teaching people how to help us, help them. And sometimes that means explaining to them the value of setting up the Word docs with styles so that we can much more easily map them into our layouts in in design. And if you really want to go next level, you could always create a word template for them to use. But that's another story for another time. 67. Auto Text Threading & Find/Change: Going to bring in one more story here, and this time, we're going to learn how to auto thread multiple text frames and how to use find change to fix common problems and issues that you end up having to deal with. All right, so let's move down to this spread here. Spread ten and 11. Let's make sure nothing is selected. So click away on nothing or use Command or Control Shift. A, and then let's bring up our last story with the shortcut for file place, Commander Control D. This time, we'll choose story four. As always, we want to show Import options and click Open. Down here, again, we're going to customize our style Import. We'll choose style mapping. And again, we want normal to be body. Heading one is going to be H one. Heading two is going to be H two, and we'll click Okay and Okay. And now before we draw the text frame, let's move our cursor over here to the top left margin on the left page. And instead of clicking and dragging, we're just going to hold the shift key and I'll notice, see when we do that. Look what happens to our little cursor. It turns into this little wormy curvy arrow. Check out what that is going to do for us. So we're just going to hold Shift and click. Whoa. Did you see that? What just happened? Okay, text frames automatically recognize and make use of margins. So when we held the shift key and we clicked here, we told In Design to make a text frame within the margins on this page. And then it also automatically made a second text frame for any overset type. And if we go into view and we look at extras and we show text threads, we can see, again, you can't be in W mode. If you're in W mode, you won't see it. But we can see the thread. So not only did it automatically generate enough frames for the story, but it also threaded them. And, guess what? If this story had been 20 pages long, it would have also generated the extra pages to put the text frames on. That just is like magic to me every time. I never get over that. So we'll be fine tuning all this type later. But for right now, I want to show you a really common problem that you're going to see quite a bit. To see what I'm talking about, let's go to the type menu. And turn on show hidden characters. And here you can see, if I zoom in a little bit here, you can see that this text is coming in with a double return. So we have a paragraph return here to create a second paragraph. But then the person hit another return to basically, double space this paragraph. So this happens a lot when people are just using word or something and they don't know how to make use of the things we've learned about like space after or space between paragraphs. And so they end up just using a double return. And for, you know, a lot of things, who cares? But when we're working in design, we need things to be handled in ways that we can control. And having these double spaces here makes it really difficult to control the space between paragraphs because we have all these empty paragraphs. And anyway, we don't want that, okay? So we need to get it out. And in this case, of course, it wouldn't be that bad if we just had to put our type tool in here, put our cursor in here, and then just hit Delete. But you can imagine if you're working with manuscripts and you've got like I don't know. 80 pages of this. You don't want to be doing that. So we're going to use the find change command to fix it automatically. So to do that, we're gonna come up to the edit menu, and we're going to choose find change. You'll notice the keyboard shortcut is Command F or Control F on a Windows computer. So that's handy to know. This is also the same way that we got to grep earlier. Remember when we did that really funky, cool thing, and we had it go through and find all of our bullet characters and replace them with objects from our clipping board. That was amazing. That's a grep thing, okay? So grep is like super powerful, fine change. But we don't always need grep. We can do a lot of cool stuff just within the text tab. Actually, all we really need for this is to come up to where it says query. From this drop down here, you'll notice there's a preset to find multiple returns. And change them to single returns. All we have to do is select that, and you can see, here's what I'm talking about when I'm talking about the GEP code. And look, now it even switched us over to GRP. This is the GRP code that tells in Design to find double paragraph returns and change it to single paragraph returns. Don't worry. This is garble gook to me too. Someday, someday I will become a GRP wiz, but I'm not there yet. Anyway, now all we have to do is click Change A. Look at that. It went through and made ten replacements. So we'll click Okay, and look at that. It totally solved the problem. Then we can click Done. But there's another thing that is also very common that we also want to fix. If we look in here and we look between a period and the beginning of another sentence, we see two spaces here. And I used to be guilty of this, too, because old enough to remember having had a keyboarding class in school where we actually learned typing on a typewriter. And way back in those days, we were taught to add a double space at the end of a period. So we really can't fault people for this. But also, now that we have such a digital world and we are not literally typing on typewriters, fonts are smart enough and everything is designed to just have one space here. So that is a habit that if you are not already in, you got to work on that. Only using one space. I've managed to retrain myself, so old dogs can learn new tricks, but it does maybe take some effort. So work on that. In the meantime, this is a common problem, and we're going to fix it the same way. So this time let's bring back fine change with the keyboard shortcut command or Control F. And this time, from the query, there's another preset because this is, again, such a common issue that we can come down here and choose multiple space. So it's going to find every instance of multiple spaces, and it's going to change them to a single space. So here is the grep code for that, for those of you who are like, bring on the code. That's what that looks like. And again, all we have to actually do is click Change A. And look at that. It fixed 27 instances of that. We can click Okay, and we can click Done, and we'll press Command or Control Zero to Zoom out. And now we have some cleaned up text that will be ready for working into a layout. Let's make sure we save our work, command or control S for save. Now that we have all of our text in here, we're ready to start actually building our beautiful magazine layouts. 68. Working with Text Frames & Columns: Let's jump up here to pages 4 and 5. And the first thing we're going to do is make some changes to this text frame. So let's grab our selection tool so we can click to select the frame. And we're going to take this from a single column frame and turn it into a two column frame. And we do that with our frame options. And I always remember the keyboard shortcut by thinking about how I'm about to make this frame better. So we press Command or Control B. And the first thing that it pops up with and the cursor is already there by default is the number of columns. So we can literally press Command or Control B, punch the number two, and hit Enter, and we're done. Although now we've jacked up our H one, haven't we? Okay, that's okay. We'll fix it in a minute. But you see how it split the text frame in to two column. And because the frame itself is currently spanning four of the columns on our page, it conveniently split so that each column within the frame spans two columns on the page. Okay, but we don't want our header to be in two columns. So let's grab our type tool and highlight the text for H one. And we're going to tell it that H one text should span columns. So over here in our paragraph styles, we need to make some changes here. So we're going to right click and choose Edit H one, and there is a Smorgsbard item called span columns. By default, that's always just set to single column. In this case, we are going to choose span columns. And you can see if we drag this over and we have our preview on, we've basically given any H one text permission to just take up the whole text frame. Don't worry about how many columns the rest of the text has to divide itself into. We're saying H one type, you get to just span the columns. So in this case, this is a two column text frame now, so it is spanning across both of the columns. And then we'll click Okay. And I can see that we have some overset type here. So I'm going to grab the selection tool and we can drag this up actually, let's drag this up all the way like this. So it spans our margins from the top to the bottom, and it spans four of our page columns across. Hopefully, with this example, you're getting a better understanding of the span column setting. Even though last time we used it, we used it to split columns in a single column text frame. Here we've used it to span columns in a text frame with two columns. I know. It's confusing. Take a breath if you need to, and I'll see you in the next video. 69. Creating Drop Caps with Nested Style: We're going to learn how to set up and style a drop cap. A drop cap is a really cool feature that you often see in magazines at the beginning of a story where the first letter of the first paragraph in the story drops one, two, maybe three lines down and appears larger than all the other text. So to set this up, let's grab our type tool and click to insert our cursor in the first line of type here in our story in the body copy. To turn this into a drop cap, we want to come up here in our control panel and I can see my settings right here. What we're looking for are these A icons with all the little type. If you don't see it in the character attributes here, you can also access it from the paragraph formatting. Here it shows up more in the middle. You'll notice if we hover it says drop cap number of lines. It's asking us how many lines do we want the first letter in this paragraph in this story to drop down? Typically, a setting of three is pretty standard. So, maybe this is all we want to do. And, of course, if we look at our paragraph styles because we've suddenly got a paragraph where we have a drop cap. I designs like, Whoa, that's not your standard body style situation. So we could make a new style, a new paragraph style for the drop cap. So we can hold down all tour option and slurp up these settings. And let's call this drop cap. We'll base it on body because it is going to be part of body. It just has this little extra feature with the drop cap. The next style would then just be body. And we could leave it here. But typically, when you set up drop caps, you might want to specify a particular font for the drop cap. That's pretty common. And the way we do that is down here in this smorgasbard option called Drop Caps and Nested Styles. So here you can see the same settings that we adjusted up here. So those got slurped in. So it knows that we want our drop cap to drop three lines down and that we want that drop cap to only be one character. If we want to specify a particular font for the drop cap, we can do that with a character style. So if we click on that, we don't have any character styles in our document yet, but we can click to create one and we can call it Drop Cap and under basic character formats, let's choose our allotropic font set to bold, and we'll click Okay. So now you see we get a fancy allotropic font B. And we could leave this here. But one of the things that type designers and layout people like to do is to help smooth the transition between this big capital letter and the text that follows it by setting the first three words here in all caps. So to do that, we make use of something called nested style. And what that basically means is that we are able to tuck in a character style with this drop cap paragraph style. It will make sense here in a minute. So let's come down here and we're going to choose to make a new nested style. Again, we don't have one yet, so we'll make a new one, and we'll just call it caps. And under basic character formats, all we're going to do is set the case to all caps. If we click Preview, nothing happens yet, but we can click Okay, and now it gets applied. And you'll see a nested style means that, like, as part of this whole drop cap situation, we want to use this character style to actually style the drop cap itself. And then we're saying we want to apply yet another style that we're kind of just bundling in here. And we want that style to apply through and now we can change these through instead of one word, we're going to change this to three and then I'll click out of there to set it. And now we have our drop cap controlled by our new paragraph style called Drop Cap. The drop cap itself is being styled with a character style called Drop Cap, which is telling it to use the allotropic bold font. Then we even bundled in or nested in another style to say, Hey, the first three words of this paragraph should be in all caps. And we did that by creating another character style called caps. So what this essentially means is that instead of just creating a paragraph with a drop cap that is the default body font, here, we've specifically chosen to style the drop cap with a character style we call drop cap. But then, instead of manually selecting the first three words of every drop cap paragraph and applying a caps character style, we can basically program it in to this paragraph style so that it just happens automatically. That's what nested styles are. We're nesting this character style into the paragraph style, and we can tell it we want it to apply to the first three words. And you'll notice, look at all the different things we can do here. This is really handy. And you can apply nested styles to any paragraph style. You don't have to also include a drop cap. It just happens to be grouped here on the Smorgsbard with drop caps, but you can use them independent of each other. I use this a lot when I'm creating step by step instructions for things, and I want the first sentence of each step to be bold. I can come in here and tell it to use the bold style through the one, the first sentence. And then it just happens automatically. It's incredible. So we're going to set it up like that, and now we can click Okay. So let's test this out down here. If we put our cursor here in this body copy and we click Drop Cap, boom. We get the F in allotropic, and the first three words are capitalized. I'm going to set this back to body. Generally, drop caps are only applied at the beginning of stories. But looking at this, I'm thinking, this really needs to be small caps, not regular caps. So let's go to our character styles. Right click on the Caps character style and choose Edit caps under basic character formats. Instead of all caps, let's choose small caps. Oh, yeah, that looks that looks so much better. So small caps mean that it's going to be capital letters, but they're the size of lower case letters. And it much more seamlessly blends in to the body copy. So now let's click Okay. One more pesky little detail that it's our job to notice and fix has to do with the spacing between paragraphs. So if you recall, if we put our cursor here in just a random paragraph with the body style applied, can see up in our control panel that we have the spacing between paragraphs of body style set to 0.125 ". And that works great when we have body style after body style after body style. But when we have this drop cap paragraph, this will always be followed by body, but it itself is not body. It's drop cap. So because we based this on the body style, the settings are the same. But drop cap will always just be one paragraph, and then the next paragraph will always be body. So the space between setting doesn't apply to the drop cap paragraph. So instead, we need to change the space after setting. So let's put our cursor in the drop cap paragraph. And here you'll notice if we change this, we could set this to ten feet. It doesn't matter because the paragraph that follows is a different paragraph style. So we can leave that set, but it honestly doesn't matter. What we need to change is this setting here because this controls the space after the paragraph regardless of what style follows it. So in this case, we want to set this to be that same 0.125. And now the drop cap paragraph will always be followed by a space of 0.125 ahead of the next paragraph style, which will always be y. So we want to make sure we incorporate this override into the style. I'll put my cursor back here in the drop cap paragraph and right click and choose redefine style. Are you having fun? I hope you're having as much fun as I am with this. I remember when I first learned all this stuff, it felt like I was being handed the keys to the universe. Granted, a sometimes very overwhelming and complicated universe. Sort of. Kind of. You know what I mean. It's exciting stuff, and there's more to come. But it is a lot. So it's gonna take time to make sense of it all. So cut yourself some slack and don't feel bad if it feels like a lot right now. We've all been there, myself included. You'll get there eventually. I'll see you in the next video. 70. Using Text Wrap: That we know how to create stylish drop caps, we're going to learn about hextrap. So we're going to be placing an image here, so you can choose File Place, press Command or Control D, or if you have become a fan of bridge, you can use bridge. We're going to be placing this leaf image here. And we're going to be putting it in this top right corner. We want it to be large, something like this. Remember that if you need to scale the frame and the image inside, you can turn on autofit up here or simply hold command or control and the shift key while dragging the frame. So what we're going for is to have something about like this where the leaf is overlapping the text, not a whole ton, but a little bit. Then we're going to make a copy of this leaf. So with this selected, make sure you have the selection tool and hold down Alt or option. You'll notice that turns your cursor into this double headed arrow, and then you can just click and drag out a copy. So we're going to be putting the copy down here in this left corner. So again, we can hover around the outside edge here. And when we see that double headed arrow, you can click and drag to rotate it. And again, to scale the image with the frame, command or control shift, drag from a corner, or you can enable autofit. Down here, we want maybe something like this. Now, of course, this is covering up our text. And if we simply right click and choose arrange, send to B, the text is now on top of it and it's very hard to read. So what we want to do is enable a feature called text wrap, and that will force the text to move out of the way of the graphic. So we have a panel for that. If we go to the Window menu, it's down here, text wrap, and I'm going to drag it into my bin over here somewhere. So this is what the little icon looks like. So the lines represent the text, and then you can see they're moving around the little circular graphic. So if we open up this panel, we have a number of little buttons at the top. So this one means that there's not currently any text wrap happening. If we click this button here, the text will wrap around the bounding box of the image. So you can see here it's wrapping around this. But what we actually want is for the text to wrap around the leaf itself. So then we want this third option here. And if we zoom in on this, you can see what's happening, yours might look different, and we'll get to that in a minute. But you can see that there's all these little anchor points around the leaf now. So this is representing the path that the text is now avoiding. And we can specify what we want to use for the path right over here where it says contour option. So right now, mine is set to select subject. So there is some AI in here that in design can use to select the subject of your image. So maybe if you have a person on a background, like a solid background color, and you want the text to be on top of the background, but wrap around the person, then you could choose Select Subject. Other options include detecting edges. Well, there's a lot of options, but in this case, you could also choose detect edges, and it's going to be similar, but I guess slightly different. Or because this is a PSD and it's on a transparent background, we can also choose Alpha channel. In either case, we don't want the text right up against the edge like this. We want a little bit of buffer, give our eyeballs some space. So here we can control the offset. So I'm going to increase this to just bump that up to whatever feels right, I'm going to go with 0.125 for the moment and zoom out a little bit so we can see. Of course, I'm not loving the way that paragraph is looking, so I'm going to switch to my selection tool and just drag the leaf around until I get a compromise between the placement and the text wrap that I like. That looks pretty good. Now we can come up here and recreate all those settings for this instance of the leaf, or as you would guess by now, we can just make an object style. So with this one selected, let's click our object style panel. And we're going to option or Alt click on the new style button, and we'll just call this text. Rap. And over here, remember, object styles love to slurp up everything. So we're going to scroll down until we find text wrap, and we'll alt or option click twice to uncheck everything except this. Then we want to make sure that we apply this style to our selected object, and we'll click Okay. So now we can select this leaf and click Text Wrap, and it will apply the same text wrap setting. But now we have a new issue. Working in in design is really just about solving issues. Now we have this text wrap interfering with our header up here. So you might think, well, let's go into this heading style and tell it to ignore text wrap. And that would be a very logical idea, except that's not an option for paragraph style. Text wrapping is an attribute connected to text frames. So what we need to do is split this text into a separate frame. Right now, our header is in the same frame with our story down here. So we need to split that. So as we've done before, let's switch to our selection tool, and we can take the bottom of this text frame and simply shrink it up so that it ends with the header paragraph right here. We now have overset type. If we click to port that out, we can draw a new text frame. The new text frame defaults to a single column. So we can set it back to two by bringing up our text frame options, which makes things better. So we're going to press Command or Control B, and we'll set the column here back to two and click Okay. Next, we need to tell this frame to ignore the text wrap, and we do that in the same text frame options box that makes things better by again pressing Command or Control B. And you'll notice down here is the option to ignore text wrap, so we can click Okay. Then it's just a matter of making the boxes the right size and positioning them where we want so that the whole story fits. The final part of this would be to move this leaf to the background. We're going to right click on it and choose a range, send to back. The keyboard shortcut is shift, command or control, and the left bracket. And then we can play around with this placement. Of course, it helps to press W to hide all the non printing stuff so we can really see how this is looking. And I'm looking at this and realizing that this text column needs to be here, not all the way. So this column, we only want it to span four of our page columns, and that is why there was so much extra space. Alright, so now we can see that we don't have overset type, and I'll press W and make a few more little adjustments. There we go. I was just trying to get this dash to not be at the beginning of a line. The other thing we can do that can be helpful later is to turn the Ignore text wrap setting into an object style. So let's select this frame and go to our Object Styles panel. We're going to hold Alt or Option and slurp up those settings, and we'll call this Ignore text wrap. So you would think we would go in here to Text rap and other to tell it to ignore texrap settings. But if you remember, when we initially applied the Ignore instructions to this frame, we did it from the general text frame options, right? In other words, we found the Ignore text wrap option by present Command or Control B to make the text frame better. We didn't find it in the text wrap panel where all these other settings are. So what we actually want is up here with the text frame general options. So we're going to uncheck everything except this by holding Alt or option and clicking once and then twice. So everything else is unchecked except text frame general options. And then down here, this is where the Ignore text wrap option is. If we go back to general, we want to make sure that the style gets applied, and then we can click Okay. So in this video, we learned how to apply a text wrap to an image and that there's different options for how we contour that. Then we realized that if we wanted the header to ignore text wrap, we needed to split this text from a single frame into two separate frames. That way, we could apply the Ignore text wrap attribute to this frame but not this frame. Then we just needed to take this leaf and send it to the back so that the header appears on top of it. For now, the right side of this spread is complete, but of course, there's more to come. I'll be waiting for you in the next video. 71. Working with Blend Modes: Now we're ready to work on the left side of our spread so we can drag ourselves over here and I'm going to zoom out a little bit by pressing Command or Control minus. And before we place the image we're going to use on this spread, we're going to create a couple of just fill frames. So we'll do that with the rectangle tool. The keyboard shortcut is M like Marquie and we're going to draw two of them. One for each half of this page. So let's make the first one. We'll drag all the way from this top left bleed down to the bottom bleed, and then we want to drag over till we're in the middle. And it's alright. If it's not perfect in the middle, we'll fix that in a minute. So when you let go, it'll fill it with whatever your active color is. And we just want to make sure it's going all the way to the bleeds on the top, the left, and the bottom. And then let's switch to the selection tool by pressing V. Now we can zoom in a little bit. Now if we grab this node here, we should be able to snap it right to the center. You'll notice when you're dragging it that it turns pink when it hits that smart guide. So that's where you want to let go. Again, if your smart guides are not smarting for you, you can come up to the view menu, choose grids and guides and then make sure that the Smart Guides option is enabled. I'm going to zoom out with command or control and the number is zero. And now I want to make a duplicate of this. So with it selected and with my selection tool active, I'm going to hold down Alt or Option and drag a copy over here. And if we hold Shift, that copy will stay in alignment. And what we're looking for is to line it up over here on the right hand side with the split between the pages. So like this. Now you'll notice that it's going to be bigger it's going to overlap a little bit because this one, because it's on the inside of the page, it won't need this bleed here. So there's a little bit of overlap. Before we fix that, let's change the color so it's easy to see. Actually, we're going to change the color for both of these. So the one on the right here, let's go to our swatches. The one on the right is going to be our really bright green over here. Again, it's helpful to just rename these. So if we want to, we can right click and choose Swatch Options, Uncheck name with color value, and we'll just call it HSB for hot sauce botanical green and click Okay. Alright, so that's the one we want to use here. And then for our frame on the left, we're going to assign it this color that doesn't have a name. That's fine. I don't know what we call this. You can name it something if you want to. Okay, so our hot sauce botanical green frame needs to align in the center, and you can see it's bigger because it's the same size as this one, but this one has a bleed. So let's select this frame, and this one needs to just hit the middle like that. So they are splitting the center of the page. This one will be slightly larger because it has to fill out that bleed. Lovely. Next, we're going to bring in an image. Before we do that. You always want to get in the habit of deselecting anything. If we place an image right now, whether we do it through design or dragging and placing from bridge, it's going to put the image in whatever is selected. So click away to deselect or press Command or Control Shift A, and then you can press Command or Control D or come over to Bridge. What we're looking for is this image here from Unsplash from the New York Public Library collection. And we are going to place this full page. So right on top of everything, and we'll need to hold Shift to unlock the proportions of the frame. So we want to make sure that it is reaching from this top bleed to the bottom bleed and from the left bleed to the center of the spread. And now we just covered up everything. So what was the point? Well, if you are familiar with Photoshop, then you know about blend modes. And it turns out we can take advantage of blend modes here in design too. So blend modes simply control the way that one image or object blends with everything else. Blend mode setting is controlled in the effects panel. So we can go to Window and choose effects right here. That's one option. Another option is to come up here in the Control panel. And when you have the selection tool active, there's a little shortcut button for the effects panel. So we can click on that. And you'll notice none of the options say blend mode because the blend mode falls under the transparency setting. So we're going to click that, and now we have this little effects panel, and we can change the basic blending mode to Soft Light. And you'll see if you have preview enabled, that changes the way that that photograph interacts with the other page elements, which in this case, are these two color fill frames. So there's loads of options here, of course, besides soft light. So you can experiment with those. But I'm going to go ahead and set this to softight and I'll click Okay. If you went the route of the effects panel from the Window menu here, it looks a little bit different. In this case, you can find the blend modes right here. So I'm going to actually go ahead and I'll just drag that panel just so we have it. Okay, so changing the blend mode is one thing, but it turns out that the blood modes themselves are impacted by the color space of the document we're working in. And by default, when we created this document, because we built it using inches, Indesign assumes that our intention is for print, which, of course, it is. Our client plans to send this to a commercial printer. But because we know that the color conversions are all going to get hashed out later in the PDF export process, we can actually tweak the way our blend modes are calculated before they get converted by changing something called transparency blend space. So we'll find it up here under the Edit menu, and we're going to come down here to transparency Blend space. And you'll see that it's currently set to document CMYK. But because the colors in our color blocks, as well as the photo, are all RGB colors, to get a punchier blend between them, we're going to choose document RGB. So you can see the result is a punchier blend with more contrast and deeper saturation. So by utilizing blend modes, we are able to create this sort of special effect where a photograph, in this case, is able to actually interact with the other objects on the page. So if we move this photo around, you can see that it looks different over here than when it's overlaid on top of these color fills. So using blend modes, you can get all kinds of really cool effects and can take your layouts to a whole new level. But we're just getting started here with this page four layout. So get up, take a stretch, refill your beverage of choice, and I'll see you in the next video. 72. Controlling Photoshop Layers (in InDesign!): Do you know that you can not only access, but you can control Photoshop layers in in design. It's true. So for example, if I open this daisy image here in Photoshop and we take a look at our layers panel, we can see, here is the Daisy and then we have a number of adjustment layers that change the color. So we have one that makes it blue, one that makes it purple. And one that makes it yellow. I'm going to leave the set to blue, and we'll go ahead and just close this file. And over here in in design, we're going to bring that file in. So of course, we want to make sure before we do that we don't have anything selected, then bring in that Daisy image by pressing Commander Control D or coming over to bridge. So we're going to place this in the middle of the spread. Basically, if this is the middle column, we're going to go one column to the left and all the way to one column to the right. So it's spanning three columns. So here's the image, right? It's the Daisy, and it's blue, just like we saw in Photoshop. But if we know that this document has layers, we can manipulate them without leaving Indesign by simply right clicking on this and choosing object layer options. And when we do that, Indesign opens this panel, which is basically just showing us Photoshop's layers panel. In order to see the changes we make here, we of course, have to enable preview. And then we could simply hide the blue adjustment layer, or we could enable this purple one or the yellow one. In this case, let's just use the daisy as it exists without any of these extra layers so that it appears orange. The cool thing about working this way is that we're not actually editing the PSD. So if this file is being used elsewhere in other projects, we're not actually messing it up because we're not changing the file. We're simply saying, Hey, in design, we don't want you to show this layer. We only want to see this layer. And then in design does. Without actually making any changes to the original file. Down here, we have the option. If the original file changes, we can choose to keep our overrides. So let's say someone goes into this file and they enable this purple layer. We can choose to ignore that and keep our current visibility settings, or we can choose to refresh this to reflect the new visibility changes. So I'm going to leave it set here to keep our overrides and we'll click Okay. So now we have this placed, but you can see if I go back to bridge, and even if I open this up again in Photoshop, the Photoshop file has not changed. And let's say that I do change it. So I'm going to hide the blue layer and enable the purple, and then I'm going to save it, and then I'm going to close it. And then let's go back to In Design. And if we look at the Links panel, we can see that the file has been changed. And unlike before when we looked at the little red circle with a question mark that indicated a missing link, in this case, the triangle is just indicating that the link is still there, but there's a new version of it, and we need to update it. And that's as simple as coming down here and clicking this little update button. And when we do that, the warning goes away, but we don't see the new purple color because when we right clicked and chose object layer options, we told it to keep our visibility overrides. So there's lots of ways you can work with this stuff. If the edit that we made just now had been to the daisy layer, like maybe we filled it with black, we would see that because that layer is visible. The message here is simply that you have the power in in design to choose which layers of a PSD are visible or not. And in the case where the original PSD is changed or edited, you have the choice to maintain your visibility settings or not. Powerful stuff. 73. Creating Text on a Path: Very cool, very common text effect is to put text on a path which enables it to flow around shapes like in this example, a circle. In this case, we're going to be adding the quote Bloom where you're planted to this layout, and we're going to have it encircle the daisy. To pull this off, we're going to have half of the quote set along the top part of the circle and the rest of the quote set along the bottom. To more easily see what we're doing, I'm going to slide over here and work on this empty area of the pasteboard just because this is really busy and this stuff can be tricky to see. So the first step in creating type on a path is to create the path. In this case, we're going to use the elliptical tool. The keyboard shortcut is L. Instead of clicking and dragging, let's just click to create an ellipse that's five by 5 ". We'll click Okay. Here it is. So my circle comes in filled with my active fill color and no stroke. And ultimately, we're not going to have a fill or a stroke here. But while we're working on this, it's really helpful if we set the fill to none, and the stroke to maybe HSB green, so it's kind of bright and we can see it. And then I might even just flatten it up so we can very easily see it like this. So because of the nature of text on a path, especially when it's around a circle, it would be right side up on the top of the circle, but then as it wraps around the bottom, it would be upside down. And that's not what we want. So we can't just put all the text on the circle and then tell some of it to be right side up and some of it to be upside down. So one option for dealing with that is to duplicate the circle. So we would have two circles, one with the text on top and one with the text on bottom. And because they'd be on top of each other, it looks like it's all part of one circle. But that can kind of be a lot to manage. So what we're going to do is grab the scissors tool right here at the keyboard shortcut is C for cut. And as soon as we select those, you'll notice that we can see the four anchor points that make up this circle. And what we want to do is cut this left point by just clicking on it, and then we're going to come over here and click right on this right point. And now we can't really tell, but the circle has been cut in half. So if we grab our selection tool here, you see we have a top piece and a bottom piece. We want to leave them so that they are connected. Visually, but they are, in fact, now two separate objects. We're going to remove the stroke later, but when we're working, it's nice to be able to see what we're doing. So let's start by setting some type on this top half of the circle. For that, we want to come over to our tool bar, and instead of grabbing the regular type tool, we're going to grab the type on a path tool. The keyboard shortcut for this, if you use it a lot, is Shift T. So you'll notice the cursor looks a little different. It's got a little squiggle behind it. And now, if we hover this over the center point here, you'll notice that our cursor gets a little plus. So that's how you know you're in the right spot. And then we're going to simply click on this top center point, and it might look like nothing happened. But if we look way down here in this right edge, or possibly yours might be over here in the left, we can see a little flashing cursor. In order to bring the cursor from either the right edge or the left edge to this top center point, we're going to click the center align option. And now we should see our cursor here, and we're ready to type. And don't panic when it comes out upside down. But we're going to type Bloom W. And in my case, it is coming in all kinds of messed up. It's pink because it's defaulting to the font that was embedded in the text files, this aptose font. So the pink indicates a missing font, just like these brackets up here do. That's okay. 'cause we're going to change it to allotropic, bold. And we're going to change the color up here to paper. And let's size it up. I'm going to hold the shift key while clicking this up button, and that way, it increases in ten point increments. So I'm just going to set it to, let's say 60 for now. Now, it's upside down. Yours might not be. But mine definitely is, and this is the challenge of working with text on a path, but it's easy if you know what to look for. So the way that we control the text on a path, surprisingly, is with the selection tool. So we need to switch to the selection tool. And if we look very carefully, it is so hard to see. When we really zoom in here, see this little funny looks like a T. This is like a handle for the center point of our text. So if we want to flip our text so that it's on the other side of the path, so that it's right side up, all we had to do is grab this handle, and you'll notice when I hover over it, I get the same kind of shape next to my mouse, but it's flipped the other way. So that's how you know you're in the right spot. And then you can click and simply drag straight up and let go. And that flips it the other way around. This horizontal line represents the baseline, and this little vertical line represents our text. So when we had it flipped down, you can see the text is below the baseline. And when we click and drag it up, now the text sits on top. It's very finicky, so it's a little difficult. I fully get that. Alright, so this is looking much nicer. The other thing we want for this text is for it to be all caps. So I'm going to put my cursor in here, select this and come up here and set that to all caps. Now we're ready to put the text along the bottom of the circle. So let's put our cursor in here and we'll select all this type and copy it. Command or Control C. Then we're going to switch back to our type on a path tool. And we need to hover down here at the bottom center point. And again, we're looking for when we see a squiggle for type on a path. And we also want to wait till we see that plus. That plus lets us know that we're about to create a new text on a path instance. So now we can click down here. And again, our cursors going to be either on the right or on the left. And in order to designate that spot where we clicked as being the center, we want to come up to our Control panel and center align our type, and then we can paste this in so that we have all the right formatting, then I'm going to select it again and simply type over it with the words your plant it. So we have Bloom where your planted. This text is sitting on the baseline the right way, so that's good. We can see that it's crowded. That is by nature of the fact that it's on the inside of the curve. So what we need to do is set this text so that the top of it lines up with the bottom of the circle. We don't want to flip it over because then it would be upside down, but we do need to move it to the outside of the circle. And we can do that by adjusting the baseline. So let's select all of that text, and we'll come up here into the control panel. And these settings right here with this icon of a big A and then a little A sitting on a little shelf, this is where we control the baseline shift. And so in this case, we need to adjust the baseline down quite a bit. You'll notice as I click to make a negative baseline, it's pulling the letters down. Again, we can hold Shift and move a little faster. So I've got mine set to negative 42. I feel like that's a pretty good match. And at this point, we need to scale the text so we get it to be the right size so that it reaches basically from the center point to the other center point. So we need to scale them. You'll notice if we put our cursor in here and try to select this type, it's kind of funky because we've shifted the letters so far down that even though the letters appear way down here on the outside of the circle, this is actually where we select them. So that can be a little bit head trippy sometimes, but just keep that in mind. And what we're going to do is bump up the size. I'm going to go with maybe 79. Let's see, Let's put our cursor up here and do the same thing. Set that to 79. You'll notice that at this larger font size down here, we need to shift the baseline even more. So I'm going to adjust that to be -55. So my font is 79 points, and the baseline shift for this bottom text is -55. The other thing that I want to do is to put a little asterk character here between the top and the bottom text. And we could just put it in the text frame and then adjust the baseline and whatever we need to do to get it in the right spot, but it's kind of a hassle. So let's actually just put those in a separate text frame. So now let's grab the regular type tool and just click and drag to draw out a little box. Let's put our cursor in there, and we're going to type in that same allotropic bold font. We're going to type Shift eight to get a little Asic. And I'm going to press Command or Control A to select it. We'll set the color to paper and the size to quite big. Can see now it's overset. We need a bigger box. In order to avoid having to switch to the type tool to re select this type and then adjust the font size up here, I can scale this text in the text frame, even with the selection tool active, if I press and hold Command or Control and the Shift key, and then I tap the period button, which is the right carat. So right carat makes it bigger and left carat makes it smaller. I'm just holding Command or Control plus Shift and then tapping those carat buttons. All right, so what size is this? I don't even know because I don't have the type tool. If I want to see, I need to switch to the type tool and select it, and I've got it at 208 points. So now I can come in here and set this in between the text. And now I actually feel like that's too big. So another way we can scale this is just like when you scale an image and a frame together, here we can scale the font size and the frame at the same time by holding command, shift, and dragging. So that's another option. So many options. Alright. So I'm trying to position this midway between these two lines of type. I feel like that's pretty good. And then I'm going to hold Alt or Option and the shift key, and I'm going to drag straight across till I get it over here as well. And it's really hard to tell how this looks, isn't it? And if we hit W, the whole thing goes away because it's on the pasteboard. So I'm going to zoom out by pressing Command or Control minus. And let's use our selection tool to drag a net across all those bits, being careful not to include any of these bits. And then let's group it by pressing Command or Control G. And now we can drag it over and into our layout. And I'm using the arrow keys just to avoid clicking and dragging any of this stuff around. When you've got a layout like this with all these things, especially text on a path that can be really squirly, sometimes it's really helpful in the Layers panel to lock certain page elements so that you don't select them and move them by mistake. So I would suggest that we lock both of the color fill rectangles and the image. So to do that, I'm going to click and drag across the three of them, being careful not to include any of our text. And so now these three things are selected. And if we come to our layers panel, we can see those three objects here with little blue dots, that indicates the objects that are currently selected. And we can lock them by just clicking over here to put locks in this column. And now we don't have to worry about accidentally selecting them. If we want to also lock the Daisy, we can select that and lock that, too. So now everything's locked on this spread, except this text, which makes it really easy to move it around and position it wherever we deem is the right spot. Of course, we still have the stroke here. So how are we going to get into this group to select that and get rid of that stroke. Of course, we could ungroup it. The keyboard shortcut is Command or Control Shift G. Command or Control G puts it in a group, Command or Control, Shift G, ungroups it. And if keyboard shortcuts aren't your thing or they're just too tricky to remember, you can always find the command to group or ungroup under the object menu. But I kind of want to just keep it in a group, and I don't want to have to ungroup it just to make a change and then regroup it again. So what we can do instead is to simply double click on the group, and that's going to allow us to sort of crack it open for a minute and select a piece of it. So you can see by double clicking, I was able to select the top part of the circle. And I'm going to change the stroke from our HSB green to none. And then I'll click down here. To select the bottom half and set that to none as well. Then if we press the escape key, we can close that swatch panel, and if we click away, everything's deselected. But you'll notice if we come back and select again, this is still a group. And we know that it's a group because it has this little dashed line around it, indicating that this is still a group. Wow, this lesson was jam pack, but now you know how to put text on a path. 74. Frame Breaks & Alignment Overrides: Alright, moving on to the next spread here. Before we get working on this, let's flip flop the pages. So here you can see in my pages panel, I have the whole spread selected, so I'm going to click a way to deselect that. And what we want is to get this page that's currently on the right and flip flop it with the page that's here to the left. So we can just take this page number seven, and I'm just going to click and drag. And you'll see when we see that line to the left of page six, then we can let go, and those two pages will flip flop. For whatever reason, this jumps our view down to the next spread. So to get back up here, I'm just going to double click right on the page numbers, and we're back. Alright, so here we are. We have a text frame on the left. And what we want to do is break this up into four separate text frames. One for the H one at the top, and then one for each of these little blurbs. So we can drag from the bottom up here, and this will give us overset text. And, of course, we can click to port this out. And here we want to make sure we're not in wonderful mode so we can see the guides on the page. I'm going to drag the next frame to be from this column we'll go to here. We'll just make them two columns wide for now. We can see how that threads over. Then we can click the output again and this time, I'm going to line it up from this column to this column. Oh, my gosh, I got really lucky with the size of my text frame and then we'll click the output again and go back to this alignment. There we go. So that should be the end of the text frame. So depending on the size of the frames you draw, you may have it break like this. So then just drag it out so that they break this way. So next up, let's shrink wrap the text frame to the text so that we can accurately distribute the vertical spacing between the frames. So we need them to be the right size. All we have to do is double click the bottom center node of each text frame. You have to select the text frame first, and then if you double click on the bottom center node, it will just snap right up there. Alright, so what am I talking about when I say distribute the spacing? So let's take the sun box, and I'm going to drag it so that it's aligned to the bottom margin, and we'll put the top box somewhere here is. I don't know. About like that. Okay? So what we want to do then is take the soil box that's in the middle, and we want to have it be in the middle between this frame and this frame. So one way to do that is we can just click and drag and you'll see when we get to the right spot, these green little guides turn on. So these are smart guides that's letting us know that if we let go of the mouse right here, that this frame will be evenly spaced between the two other frames. So we could let go and, ya, that works. Sometimes that works really well. Sometimes it's hard to see or there's too many things to snap to going on. So for whatever reason, if we need to do this another way, that option is to select these three frames, and we want to make sure we have the top and bottom frames set where we want them because design will distribute the remaining frames, in this case, just one in between the top and bottom frames. Once we get those selected, we can come up here into our Control panel, and here we have the buttons for distributing things. And the one we want in this case is the top center one to distribute the vertical centers. So I'm going to click on that and you'll see it just snaps right into position. Next, we're going to write align the text in this middle box here. So let's switch to the type tool, so we can get in here and select this text and then come up to our Control panel and choose the right paragraph alignment, which is, of course, going to give us an override, but we won't see it right now because we've got two different paragraph styles selected with our cursor. So nothing's showing up here. If we just click our cursor so that it's in the H two here, we see a little override. If we redefine the style, then all of our H twos will be write aligned, and we don't want to do that. So we can choose to either live with the override or we could make a second H two that is write aligned. And then anytime we're in a situation where we want to write line, our H two, we can do that. So that's what I'm going to do. Let's hold down Alt or option, and we'll click the new paragraph style button and we'll make sure we base it on H two. The next style that follows it would be body, and we'll just call it H two, write aligned. We want to make sure we apply the style to the selection and we'll click Okay. All right. Now we're going to do the same thing here for body copy. So here's the override, as we expected. Let's alter option click on the Create New style button and we'll call this body write aligned. We'll make sure it's based on body. The next style would be the same style. Make sure the style is applied to the selection. I will click Okay. So it's not uncommon to have, like, a paragraph style, and then there's situations where you want that style but with a twist. And so, typically, this is how you would do it. So for now, our layout is off to a good start. 75. Using Clipping Paths & Custom Frames: All right, we're ready to add some graphics to page six. We're going to do it using the Ellipse frame tool, which is buried below the rectangle frame tool. So if we press and hold on that, you'll see the Ellipse frame tool right here. Again, we could use the frame tool for this or we could use the Ellipse tool, and I'm just demonstrating that. But really, you could use either one. So I'll use this one so that we have the little X in it, and we can see that. We're not going to click and draw. We're going to click so that we can enter a value of 2.5 " by 2.5 ", and we'll click Okay. And there is our frame. And because we drew it with the frame tool, it has a little X. Oh, we're ready to move this. We can switch to the selection tool by pressing V so we can move v this frame out of the way, something like this. And now we're going to drag out a copy of it by holding Alt or option. We'll see our double headed arrow for our cursor, and we'll just drag one copy over here and keep holding Alt or option and make another copy to drag over here. Alright. Now we're ready to get our images. And because we don't want to just automatically place one of them randomly in here, we want to make sure we deselect everything first. So you can click away or press Command or Control Shift A to make sure you don't have anything selected. Then we'll go ahead and place our image, so you can press Command or Control D to bring up file place or work from bridge. The images that we want are going to be the watering cans, so we'll click to select that. Hold down Command or Control. Click to select the hands with the dirt. Still holding command or control, we're going to click to select the little sunshine coming through the trees. We should see our cursor loaded. Remember, we can cycle through them with our arrow keys on our keyboard. So we're going to click to place the watering can image here, the soil in the hands image in this location and the sun creeping through the trees in this position here. You'll notice the picture of the hands is on a transparent background. And if we check here in the Links panel, we can see this is a PSD. So this has an Alpha channel to support the transparent background. So if we overlay this graphic somewhere in our layout, we can see that the background is transparent and we just have the hands. So let's say that we want the watering can to also be cut out. We could edit this JPEG, save it as a PSD, and then we could bring that in and replace this graphic here, but then we have to do more work. And that's fine sometimes, but when we don't have to, let's not. So what we can do instead is take advantage of an in design feature called clipping path. And we're going to use in design to cut out this image from the background. Before we do that, let's flip the image so the watering can is actually facing the text right here. So we can come up to our Control panel, find the little button up here to flip it horizontally, and then we can see that it's been flipped by the direction that this letter P is facing. And I actually want to see the image within the frame. So I'm going to make the frame bigger. So I do not have autofit on, which means that I can just grab the corner. And if I hold Shift, it will scale proportionally, so it'll still be a circle. But the image won't scale with it, because remember to do that, you have to add command or control or turn on autofit. So we've expanded the frame so we can see the whole image, but we still need to tell in design to clip it out. And we do that from the object menu. So we'll come up here and choose clipping path option. We'll move this over, and we want to make sure we enable preview. And here, we need to tell in design, like, how do we want it to clip this out? How does it know what to clip out and what to keep? If we come to this drop down here, you can see that for this image, because it's a JPEG and it doesn't have a photoshop path, it doesn't have an Alpha channel because JPEGs can't have Alpha channels. The only option we have right now is detect edges. Let's click on that, and it seems like nothing happened. The way that this works is Photoshop is basically trying to read the contrast. It's trying to detect the difference between the background and the water in cam, right now, the threshold is just too low. So we need to increase the threshold. Like a lot. And we can keep going and we can zoom in to try and see a little better. And you can fiddle with this until you feel like it looks good. I have done some fiddling, and I felt like it looked good around 132. So that's great. You can see that by enabling detect edges for the clipping path, Indesign is able to clip away the background and does a great job on this image. Obviously, not every image will work for them. Sometimes you have to go in to photo shop. But here, this is looking good, except, of course, it's not including this little pocket of the background right here. And that's because right now it's detecting the background, and then it's hitting the watering can and it's just stopping. So we need to tell it to jump over the watering can and consider this area as well. And we do that by enabling the option to include inside edges. And just like that, we have created a clipping path and enabled in design to clip our image out of its background. So we'll go ahead and click Okay. So this looks great. We've got the background removed. But I do like how we had a little pop of color behind it. So I still want to put a circle here, and I want the watering can to be able to breach the circle, to reach out of the frame. So to do that, we need to keep the watering can separate from the frame that's going to have the color in it. So we'll simply make another frame. So let's go back to, in this case, since we're not going to put a graphic in it, we might as well use the regular Ellipse tool, and again, we'll just click and put in that value of 2.5 by 2.5 and click Okay. Here is our frame, and let's fill it with pink, beautiful. And we need to move it behind the watering can so we can right click on it and choose Arrange, Send to back. I'll press V to get the selection tool so I can move the circle and also maybe move the watering can. So my goal here is I want to have the watering can breaking out of this. So I think I'm going to scale it up. So I want to scale the watering can and the frame that it's in together. So I'm going to hold Shift to keep it proportional and command or control to scale the graphic and the frame. So I'm going to get something like this. So I want it breaking out here and breaking out here. And to rotate it, let's hover our cursor outside one of the corners till we see this double headed arrow, and then we can click and drag so that it's kind of tipped like it's going to water a plant. I think that looks really good. Let's come down here to our soil image, and let's rotate it so that the hands are coming in from the side. An easy way to do that is to come up here to the control panel. And if we click right here, we can rotate it 90 degrees clockwise. And then let's add a fill to this frame. We'll come up to our Control panel and choose the bright blue from earlier. We need to take care of the fact that our text is running into the watering can right here. So we're going to apply that text wrap style that we created earlier. And we're going to apply it to the sun image. So we'll click to select that. Then we're going to hold Shift to also select our soil image here. And now we want to click on the watering can as well as the frame behind it, which might be hard to select because the watering can frame is completely covering it. So let's go over to our Layers panel. And we can see all of our selected items have these little blue dots. So these are the different images that are selected. And then we want to include the circle right here, and we know we moved it to the back, so the watering cam will be on top. So we can add it to our selection without having to dig through here by just keeping shift pressed on our keyboard and we'll click to add the circle to our selection. And you can see, if you look really closely, you can see we have a little dot here and up here, and so we can tell that that is selected. And, of course, we see the blue dot here, too. Alright, so the point is, it's all selected. Let's go to our object style panel, and we want to apply the text wrap that we created earlier. So let's click to select that. And, ya, not a whole lot happened, but the text moved right here. Nice. But you'll notice we have overrides. And if we hover here, it just says mixed overrides, which sounds like, Oh my gosh, what is happening? And it's kind of tricky, but it's interesting and it's a good learning opportunity. So we're going to dig into it real quick. Before we do that, We point out. So I'm going to click away to deselect all this stuff, and then let's click the soil text frame. And if we drag it into the hand image, the text wrap should be pushing the text away, and it's not for two reasons. And one of them is a clue about why we have that override. One reason we can't even really tell what's happening because the text is behind this image. So let's right click and we're going to choose range bring to front to bring this text frame to the front. And now we can see that the text is wrapping around the hands. But we want it to wrap around the frame. Now, if you recall when we set up this text wrap style, we set it up using this monstera image up here, and this monstera image has an Alpha channel, but the watering can image doesn't. And we built the text wrap object style to contour around the Alpha channel. Right? So we didn't have to clip the background out because this image already has a transparent background. It's a PSD with transparency. So there's no background, and it has an Alpha channel already baked in. So we set the text wrap to contour around the existing Alpha channel or transparency. However, this image of the watering can doesn't have any transparency. And this image, even though it has transparency, we actually want the text to wrap around the frame in this case. So for the text wrap setting, for this image, we don't want to use the Alpha channel. So we're trying to get in design to handle text wrap a bunch of different ways within a single style, and that doesn't work. So we could decide to just not use an object style for our text wraps, which honestly is what I personally do most of the time because every instance of text wrap tends to be really unique, like we've already seen here. So it's really hard to create one style to handle each unique situation. So applying text wraps without a style is a perfectly legit choice. For the sake of learning, let's see if we can find a way to set up our text wrap style so that it works the way we want, whether the image has an Alpha channel or not. And it turns out there is actually a way to do it. And it feels like next level Ninja business. So to see it in action, let's go to our ObjectStyles panel. Of course, with this image selected, we're not seeing the override because this image has an Alpha channel. So in the panel, we're going to right click on the Texrap style and choose Edit Text Rap. And we're going to come in here on the left from our smorgasbard, grab our text wrap and other options. And we're going to come in here where it says contour options. And it's set to Alpha channel, which makes sense because the monstera leaf has an Alpha channel, but the watering can doesn't here we don't want to use the Alpha channel. So let's see what some other options are. If we choose bounding box, it's going to wrap to the square around the whole image. So that's a definite no. If we choose detect edges, we've got so many different frames and different edges and transparency situations. That's just a mess. We can't use Alpha channel Photoshop path. I don't think any of these images have paths in it. We don't want to use the graphic frame. That really messes everything up. But we have this option here. We can tell the text wrap to use the clipping path. And we can specify the clipping path for each of the images right here within in design. So let's do that. And these look great now. So for the soil image, because we never assigned it a clipping path, in design defaults to using the image frame for the clipping path, which is actually what we want. The watering can, we set the clipping path to detect the edges. So that's what the text wrap is wrapping to the detected edges. Perfect. Let's click Okay, and let's see what's happening with the Monstera. Aha. Here we see that because the text wrap style is now set to contour around the clipping path, and we never specified a clipping path for these monstera images in designs defaulting to using the shape of the frame as the clipping path. So the text is now wrapped around that instead of the built in Alpha channel. But we can change that. So if we select the monstera leaf and we come up to object, clipping path options. One of the options for the clipping path is boom Alpha channel. Ta da. So if we tell the text wrap to contour to the clipping path, all we have to do to be able to utilize the same style for everything is make sure we specify a clipping path, which is super easy. So let's come down here. We'll select this monstera leaf, and then we'll go to object. Clipping path option. And again, we'll choose Alpha channel to Da. Look at that. And now we get all the settings we wanted down here. So we may have to adjust these text frames. So let's do that. I'm going to move them. I want the spout of the watering can to be pointing at the word water. So if we move this a little closer, we get some fun pushback from the text. And before we style this too much, let's actually boost the text wrap a little bit. Let's right click on the text wrap object style. We'll go to Edit Text wrap, go back to Texrap and other settings, and I'm going to bump this up 2.25 Seems like a lot, but let's rock with it. All right. So now let's adjust these frames so that the text flows the way we need it to. So the spout is kind of pointing here, and then we see that this is having an impact on the shape of the text. Down here, I'm going to widen this a little bit. We got to make room for all that text. And not have any weird line breaks. That looks good. We have a nice little curve happening. And this will also move up here and bring it in a little closer so we can see that same curve. And if we press W, oh, here's a weird break because it's too close to this. So I think I'm just going to pull this down. That does the trick. So clipping paths are really great. They can not only remove backgrounds, but they can also control the contours of text wrap. So this is some serious business here now, and you are crushing it. 76. Adding Inline Anchored Objects: You remember way back when we were working on our forms, one of the ways that we inserted a line into the form was to cut it to our clipboard and paste it into the actual text. We're going to do the same thing now with some cute little icons to go with the text here. So before we bring those images in, make sure we don't have anything selected and then press command or Control D, and the images we'll be working with are this picture of soil. I know that's not the only thing it looks like, but that's what it's supposed to be soil. A click wants to select that, hold command or control, click on Sun and still holding Command or Control, click on water. Now, we're ultimately going to be placing this in the text. So these are going to be small. Like, basically, if you think of them like Imoges. So let's draw the frames for them. It doesn't matter which one is first, but we're just going to click and drag to make a tiny, little frame and click and drag to make a tiny little frame and click and drag to make a tiny little frame. That way, we're not trying to put a giant graphic in here and then scaling it down. So we'll do the water first. All we need to do is select it, and we're going to cut it to our clipboard. So when we press Command or Control X, we've cut it out of the document, but it is on our clipboard. So now we can press T to get our type tool. We're going to click to insert our cursor next to the R in water. Let's add a space, and then we'll press Command or Control V to paste in the water drop. Now, while we're here, if we want to adjust this so that it's not sticking up above the text like this, we can highlight it just as if it's text because it's text, now. So we're going to select it. If you have trouble clicking and dragging across it, you can also hold the shift key and tap the left or right arrow, depending where your cursor is. And then we're going to come up in our Control panel and we can adjust its vertical positioning by adjusting the baseline shift. So I'm going to move it down, I think to minus two. And I feel like that looks good. So remember, this is called an inline anchored object, and what's great about it is if we type in here, it just flows with the text. Next, we'll get the soil one, so we need to get our cursor out of here so we can tap the escape key and then press V for the selection tool, and now we'll get our pile of soil. Again, we're going to cut this to our clipboard by pressing Command or Control X. We'll press T for our type tool. Click to insert our cursor to the left of the S in soil. Command or Control V to paste in the soil, and then we can tap the space bar to add a space. I feel like that one just landed right for me. So I'm not going to adjust the baseline, but if you need to shift the baseline, you can highlight the little pile of soil and then come up here and adjust it. Last but not least, we have our little sun up here, so we'll cut it from the document, Command or Control X, switch to the type tool, put our cursor here next to the N, tap a space. Command or Control V to paste it in. This one definitely needs a baseline shift. So highlight the sun character and adjust that baseline. Oh, this one, I think I'm going to set it to minus five. Yours might vary depending on how big you drew the frames for these graphics. So if you do decide that you want to change the size of these graphics, you can select them with the selection tool by just clicking on them like that, and then you just scale it like any graphic. So you would hold Shift to keep it proportional, and if you don't want to mess with AutoFit, then you can hold command or control. So Shift command or control, and then you could drag from the corner in or out to scale. But keep in mind that it is going to affect the spacing because it's being treated like text now. This is really starting to come together. One step at a time, we are getting it done. 77. Using the Pencil Tool & Strokes: Sometimes when you're working on a layout, you just want to add a bit more of a hand crafted element. And we're going to do that right here right now using the pencil tool. So the pencil tools over here on the toolbar, like in Illustrator, the keyboard shortcut is N as in pencil. And if you take it and just start trying to draw with it, you're probably going to be pretty disappointed. This tool can really benefit from some setting adjustments. To get to the settings, we need to double click on the pencil tool. So here we have a couple of options. The fidelity setting relates to how closely together we want the anchor points to be on the path that we draw. As in, do we want an anchor point like every 2.5 pixels or more spread out? So with a low number, we're going to end up with a ton of anchor points, and with a higher number, we're going to have less. So I'm going to drag it all the way to the right for now. The smoothness setting is just like it sounds. It's going to smooth out whatever messy, shaky line we draw and make it look better. We put it really high, you might see some lag. So if that is a problem, you can lower it down. Then we'll go ahead and click Okay. And when we draw with a pencil tool, in this case, we're going to be creating an open path. So it's not going to be closed shape like a circle. It's basically going to be a line. And when we work with lines, the color is determined not by the fill as there's nothing to fill, but by the stroke. So let's choose a color here, and I think I'm just going to go with this blue that we added earlier that was really pretty bright. Now, I just basically want to create a little doodle here. So the idea is, these are the main things you need to know about when you're learning about plant care. And so I kind of just want to, like, have almost like a little flow chart. So I'm just going to click and drag and draw a little line. It's got a loop dedo, and I'm going to end it here. Now, here you can see it did not track my loop dedo. So let's undo that and go back and double click the pencil and I'm going to bring the smoothness down to 35. Click Okay. Let's try it again. Over here, a little loop de do, and Tita. That works much better. Let's increase the weight of this stroke, so we'll come up here and just bump that up. And there's a number of things we can change about this, actually, and I think it's best handled in the stroke panel. You can find the stroke panel from the Window menu right here, stroke. The icon when it's collapsed, looks like this. So when we get it open, you'll notice we've already set the weight, but here we can choose the caps. So if I zoom in on the end, you see that this has just a blunt end to it. We can give it rounded end caps if we click on this little button here, this middle option. We can also smooth out any joins so that it's rounded like on the corners. And down here, we could even set this to be a dotted line. I mean, there's all kinds of options here, even two versions of dotted lines, and you can even set up your own custom dash line as well if you really prefer that. But I think I'm going to go with Japanese dots. And at the start of our line, I don't want anything special, but at the end, I would like an arrowhead. And I think I'm going to go with simple wide. So now if we zoom out, we see it just starts with the dot and loops around and ends up down here. If we want to maneuver the individual anchors around, then we want to come up here and grab our direct selection tool. The keyboard shortcut is A, and it allows us to adjust the anchors. So maybe we decide we want to grab this point and pull it up a little bit. We can pull on these handles to shape the curves. And down here, we might want to adjust the curve for this arrow so that it's not crashing into the dots. So maybe something more like this point here could be a little smoother. So if I want to adjust this point, I have to click to select it, and then it'll have a solid blue fill, and then we can pull on the handles, just like if you're using the Pen tool here or in Illustrator. I'm actually going to drop that there and I'm trying to line up the dots. So that looks pretty good. One thing that's pretty cool is if we're looking at this, and we're like, This arrowhead is just too big for this line. We can actually scale down the size of the arrowhead over here in the stroke panel, and you can adjust the arrowhead at the end separately from the arrowhead at the beginning, if you need to. So, of course, this is a style. And if we were going to have these, maybe they recur throughout our document, we would definitely want to create a style for them. So with this selected, let's go over to our Object Styles panel. Let's hold down Alt or Option, click to make a new style, and we'll call this dotted line. And from our smorgasbard here, we're going to come down not just to stroke but to stroke and corner options because we want to include all of this. And if we had scaled the arrowhead here, we also have this align option to align the arrow tip at the end of the path or have it extend beyond. So I think I'm going to also have it extend here, so it actually extends beyond a little bit. So let's alt or option click twice on the settings here for stroke and corner options. And then we'll come up here to stroke options and enable that, too, because we do want to bake in the color, the weight, and the fact that these are Japanese dots. Both stroke and stroke and corner option. Under general, let's make sure that we're applying this to our selection, and we'll click Okay. Then we're going to make one more coming down from the soil text to the sun. Let's click away to deselect anything and we'll go back to our pencil tool. It will remember the settings that we just had. Now we can draw another line over here. And maybe it also has a loop de do and looks like that. So to apply now the style that we just created over here, we can just come in our object styles, panel and choose dotted line, and boom. There it is. So, that's all there is to the pencil tool. 78. Creating Tables From Scratch: Will come a day, maybe that's already come where you are asked to make a table in in design. And it's refreshingly pretty simple. You can make one from scratch, or sometimes people will give you data maybe in an Excel spreadsheet or something similar, and then you could just place that data. So we'll look at that separately. But here, we're going to just create a fictitious table so we can just learn how that works. Let's come up here to the table menu, and we'll choose Create Table. We're going to get this little box, and we can tell it how many rows, how many columns we want. We can tell it if we want header rows. So let's say four body rows, four columns, one header row, and we'll click Okay. And now we have a cursor loaded with a table, and now we can just click and drag to draw out the table, and there it is. You'll notice in the top left, we have a cursor blinking, so it's like ready for us to type stuff into our table. Let's say we want to merge these cells across the top of our table. We can click and drag with the type tool to select them, and then we're going to come back to the table menu, and we can choose merge cells. So let's type the word header in here. Just like regular text, we can center it this way. Check out what happens. If we move our cursor to the left like this, we get a little arrow. And then we could click to select the cell. So we could make the fill for the cell be black. Even switch over to the text by just clicking right here and making sure the text is set to paper. So it appears white. And over here, we can align the text vertically to the center, and maybe we set it to 24 points and maybe we make it Montserrat black, so it's really nice and heavy, and that looks pretty good. We can even apply styles here, just like Like always, in fact, we're not going to get into it. Don't worry. But under the Window menu, there are styles specifically for table. We'll save that for another course. But you get the idea. Let's put our cursor down here into this first cell, and we're going to type out the numbers one through 16. So if we type one and we want to move to the next cell, we just hit tab. So two, tab, three, tab, four, tab, five, tab, six, tab, seven, tab, eight, tab, nine, et cetera. Then to select all these cells, we can click and drag using the Type tool. And we'll set this to monstera regular. So we can center it horizontally and then we'll center it vertically within the cell, right up here in the control panel. That's pretty good. So let's get out of here by tapping the escape key, and then I'm going to switch to the selection tool. So we're just like fully out. And let's drag this over here so get out of wonderful modes. We can see this. So that's a basic table, right? We have a table menu up here with all the kinds of options you would expect to have in a table. The main thing to understand about working with tables is that they like everything else in in design, they exist within a frame. And that can be a little bit weird sometimes, because if you think that you can just enlarge this by just grabbing this bottom right corner and dragging to the right like that, this is what happens. So we have the table here, and then we have the frame containing the table. So all we've done by clicking and dragging from that corner is adjust the frame. So unlike what you might expect, if you want to adjust the table, you do it with the type tool. So I'm going to press T for Type tool. And you'll notice if I hover the type tool, down here in the bottom right now we can click and drag the table. And just like text in a text frame, if we drag the table bigger than the frame, we get the overset situation just like text. So in your mind, you really have to think about tables as being text. So you select them and work with them and all of that using the type tool. If you want to scale the frame and the table together, then you have to do it with the selection tool. So V is the keyword shortcut, and then just like a graphic or a text frame, you know, any object when you have the object selected, the frame. So you want to select the frame with the selection tool and then hold command or control shift. And then you can drag both together. So when it comes to the data or the text inside the cells of the table, there's a difference between selecting the text or selecting the cell. So if you click inside the cell like this, and even if I select the six here, I'm just selecting the text. Then if I tap the escape key, now I've got the cell selected. So we'll look at working with this in more detail coming up. But for right now, just know you can make tables from scratch, mostly edit them using the type tool, and like everything else in in design, they exist within a frame. So if you can hold on to all that information, you're going to be in great shape. 79. Placing & Styling Existing Tables: So we just looked at how to create a table from scratch, so we can select this and delete it. And now we're going to look at placing and styling an existing table. So for this, we're going to go to File place, and this is one I'm not going to drag in from bridge. So we can choose File place or press Command or Control D, and we want to navigate to plantcare dot XLSX. And we want to make sure we have Show Import options enabled, and we'll click Okay. We also want to make sure we don't have anything selected, right? We want to get in that habit. Anytime we're going to place something in unless you have the frame you want to place it in, then you could select that. But I guess I just work backwards. Alright, so here we're looking at our import options. And kind of like when we brought in text, we could choose to bring things in with existing formatting or not. I'm going to choose to bring in an unformatted table. We haven't created any table styles, and we're not gonna, so I'm just going to leave that set to basic. And we're going to click Okay. So we'll just click and drag to draw out a frame. And this is what it looks like. So let's select all the type in here, first of all. So we're going to switch to the type tool. And if we want to select the whole table, if we come up to the top left, we get this diagonal arrow, and if we click, it'll select everything. So we can come up and change the text to M Serrat and let's go ahead and drop the size down to ten. One of the things that can be handy is if we want to, let's say, widen this table, if we come over here and we just click from here and we drag over like this, we're really just widening this column. But if we hold the shift key and then drag from the spot, we're able to stretch out the whole table. So I'm going to zoom in here so we can see a bit better what is happening. And we're going to change this text a little bit. So instead of just the word plant here, let's change this to read plant species. This is a lot of text here, moisture meter range. Let's just select this and we'll just call it water. Here, in our toxicity column, let's just change this to answer the question of whether or not it's safe for kids and pets. We'll just say kids PET. Here under the column for light, what kind of light the plant needs, I don't think we need to repeat the word light here. So it can be indirect light, mixed light, direct sun, but I don't think we need to say indirect light. So if we want to get rid of all the instances of the word light, but we don't want to have to manually do all of that, we can just use find change. So let's bring our cursor, again, with the type tool to the top of this column, and we're going to click to highlight everything in the column. And then let's go to the Edit menu and choose find change. And we're going to be searching for text, so we'll get out of grep. Remember this? Whoo. Let's go over here to text, and we're telling it, What do we want it to find? We want it to find the word light, and we want to change it to nothing. We're going to leave it blank. And then we'll just say change all, and it found and removed ten instances. So we'll click Okay, and we'll click Done. And Whoops. We didn't mean to remove it from the top, so we'll type it back up there. So actually, what we should have done here is not searched for the word light to just get rid of it. We should have searched for the phrase indirect light and replaced it with indirect. And then we wouldn't have removed the word light at the top by mistake. So fine change doesn't have to just be grap. It can also just be simple text. So for example, instead of mix, let's change this to say mixed. So I'm going to just select all the text in the table just to remind us, we do that over here with the type tool by just clicking in the top left corner. And we can open Find change, again, from the Edit menu, Find change, and we'll change the word mix. So we're going to look for mix, and we're going to change it to mixed and change all. And it found and replaced eight instances. Let's do it again. Back to Fine change under Edit. Fine change. This time we're going to search for non toxic, and we're going to change it to no problem, change all. And then what's left? We still have toxic here. So let's change toxic to keep away. Change all. Nice. Looking at this, I can see that this column is still too narrow, so let's hover right here and we'll just drag out that column. The water column can be narrower. I also want to center the text in the water column. I'm going to bring my cursor here to the top. Click to select this whole column, and then we will center that and probably move this over a little bit. We'll bring this one in. Let's select the header rows up here. So we can bring our type tool cursor here to the left and click to select all of that. And let's set that fill color to black. And then to select the text, specifically, we can click the little T right here. And let's set that to paper. And also, let's make it bold. And actually, let's make it allotropic. Let's make it all caps, too. And looking up here in my Control panel, I don't see that option at the moment. So we're going to get it from the type menu by choosing type, change case, upper case. And let's center all of the headers, as well. This is actually looking pretty good. One of the things that can really help is to set up alternating fills. So we're going to go back here, select the whole table, and we'll go up to table options, alternating fills. I want to turn on preview so we can see, even though the fact that it's highlighted makes it tricky to really tell what it looks like. But let's choose that we want the alternating pattern to be every other row. Down here, let's tell it to skip the first row because that's our header. And for the first color, let's choose our pink, the 240-27-5120, and we'll let it default to the tint of 20%. And then for the next color, let's choose our HSB green, and we'll let that also be at 20%. And I'm assuming that looks good. I can't really see, but let's click Okay, look at that. So let's get it off the pasteboard and move it into our document. And now when we press W, we can have a better look. Another thing that I like to do when I can in my tables is I like to get rid of all the strokes. So I'm going to select the table. Once again, we'll come up to table, sell options, strokes and fills. And I'm going to just set the weight down to zero. So if we enable this preview, we see them all just go away. And I'll click Okay. And then if I want to scale the table and its frame, I'm going to select the selection tool. Let me drag the frame to a more appropriate size. And then we'll hold Commander Control and Shift, and we can scale this up. And I would probably want to recompose the way the image is cropped behind it. So I'm going to double click on that with the selection tool so we can select the content. And I think I'm just going to scale that up. I'm zooming out so I can actually grab the handles, and I'm just going to move it here so it's not in the middle of the table. I'm going to grab the type tool one more time because I think I want the text to be green. So I'm going to come up here to select the fill, but instead of filling the container, I want to select the type, and we'll make it SB green. And I think the font size is fine at 18. Yeah, and I just realized, there we go. Just like with texts, we want to make sure we don't have any overset text down here at the bottom. So there's a look at how you can bring in an existing spreadsheet and put together a pretty good looking table right in in design. 80. Using Gridify: Hey, guess what? We are moving on to pages 8 and 9 in this video. And surprisingly, like last time, we're going to flip flop the left and right pages. So in the pages panel, I'm going to click away to deselect anything, and just click once to select page nine here and I'm going to drag it to the left of page eight. And for whatever reason, when we do that, it jumps our view down to the next spread. I don't know why that's happening, but we can just double click here on page N nine to get it back. So we will worry about this text later. For now, let's just drag it out of the way. As a designer, working with lots of images, it's often really handy to create a grid. But instead of drawing a bunch of frames and manually arranging them into a grid, we can just use in Design's Gridify feature, and it is as fun to use as it is to say. So let's grab our frame tool. We can press F for the actual frame tool or you can use the rectangle tool with the keyboard shortcut M. We're going to start by clicking and dragging. And the key here is to just not let go of your mouse until I tell you we're done with the mouse. So let's just put our cursor wherever and simply click and drag and don't let go. So we have this square here or rectangle. If we hold shift, it becomes a perfect square. But you'll notice as we're dragging it around, it's stretching to and from this left top corner because that's where we clicked. And we can move the mouse and change the size. But if we want to reposition this thing after we've started drawing it, we're going to still hold the mouse down. But if we also hold the space bar, it sort of unpins that top left corner. And now instead of changing the size, we're changing the position. So that's pretty helpful. Let's come up here to the margin and don't drop your mouse. But we'll position that top left corner up there in the margin, and now we can release the space bar, not the mouse. And stretch this to be over here and we're going to still hold the mouse. But now we've got this one frame. As long as we're still holding the mouse down and this frame is active, we can instantly split it into a grid by using our arrow keys. So this is the Gridify feature. If we tap the up arrow, we get rows. The down arrow subtracts rows. The right arrow gives us columns, and the left arrow subtracts column. So for right now, let's set this up so we have two rows. So we're going to tap the up arrow once. And then we want four columns. So we'll tap the right arrow three times. And you'll notice if we tap and hold the shift key, we can get a perfectly square grid if that's what we want. The other thing that's kind of wild is a lot of people ask me, What about those gaps? What's controlling those gaps? And I can show you in a minute. But if you want to continue this game of Twister, you can also hold Command or the Control key on a PC and then use the arrows. And you'll notice you can actually shift the size of the gaps. It doesn't do them uniformly, though, so you kind of have to count to make sure you're doing them equally. And now I've lost count, so I don't know, but you can adjust the gaps on the fly as well. So let's be happy with this and just release our mouse. That was a really long time. It was like yoga with my hands. So where is this gap setting coming from? Like, where is that defaulting from? Interestingly, if we come up to the layout menu and we choose margins and columns, this gutter setting here for our columns is where that gap size is being pulled from. So if you have a specific gap size that you just always want, you can put it in here, and then you'll see it in your grids. Now you'll notice in this example, we drew the frames first, and now we're going to go get the images. But you can also just go get the images and you can draw the grid with your loaded cursor of images, and it will automatically when you let go of the mouse, finally, it will just drop all the images into the grid. Of course, the disadvantage there is you're not controlling which image lands where. So if you have eight images on your cursor and you draw a grid with eight frames, it's just going to fill all the frames. That can be handy, but in this case, we want more control than that. So we drew the frames first. Alright, I'm going to deselect everything and go get some images. So the keyboard shortcut is Command or Control D. And what we're looking for is eight images that their file name begins with 02. So it's these fun, colorful images. Here is our cursor loaded with the eight images. Remember, you can cycle through them using your arrow keys. We're going to put this purple one in this bottom right frame. The venous fly traps go up here. This pink image will drop right next to it. The palms are going to go bottom left, the cactus, top right. This yellow image to the left of the very first one we put in, we'll put this image with the black background up here and this purply blue thing right there. To show you how we can take advantage of the gap tool, I'm going to zoom in here and I'm going to press W for wonderful mode just so we can see a little better. So a lot of times, when you're working on designs and layouts like this, you might want to shift things around a little bit. And obviously, if we grab our selection tool, and if I just try and move this, nothing else is going to move with it. And if I try and just reshape this, well, I'm just dragging that frame. But there's this tool right here that the keyboard shortcut is you and I like to joke that it stands for unjacking your gap settings. I don't know how you remember that, but it's you. And when you grab this tool and hover over the gaps, you'll notice we can grab the gap and pull it. And stretch it around, which is really cool. And this is actually a situation where I think it is helpful to have autofit turned on. So I'm going to switch back to my selection tool real quick and select all these images and come up here in the Control panel and enable autofit. And now when we pull these around, the images scale and move with the frame. So using the tool by itself will move the whole gap column. If you add the shift key, you can move individual gaps. So that works, of course, on the vertical running gaps or also the horizontal gaps. So we could drag this whole thing down or if we hold shift, we can just shift these two frames. So you can really customize the grid, and it's pretty fun. So let's imagine that we're looking at this, and we're like, you know what? Let's make some changes here. Let's select this image with the black background, and we're going to delete it. And also, let's delete this one here. And now let's take this frame and drag it over so that it fills this whole space and same with this. So very easy to move things around and adjust. And because we have those smart guides enabled, lining this up with this edge right here is really simple it'll just snap into position, and we'll see that green little guide letting us know we've lined it up. It's really pretty simple. But we can make this extra fancy and fun by playing around a little bit with these corners. We saw this very early on in this course, even in our kickstart project. So this is good review. So, for example, if we click on the yellow little dot here, that will unlock our corner dots. So now we have yellow dots on all the corners. And if we grab them and pull, we can round out the corners. So by default, all the corners will round. But if we hold the shift key, we can round one at a time. So I'm going to round this top right corner and the bottom left so that we kind of have this petal sort of shape. Then let's go over to this image. And again, to access the corner widgets, you have to click the little yellow corner widget. I'm going to shift click and just drag both of the top corners in. And for the cactus, I'll drag the top left and bottom right. I'll do the opposite here, so top right. Bottom left. It's so fun. I don't know why I just love I love doing all the corners. And finally, this one, maybe I'm going to squish the whole thing down. And, of course, it's just autofitting the images. It's not distorting them. If we, of course, want to get in here and recompose how the images are autofit, we can just double click and grab the image, and maybe we want to adjust how it's fitting within the frame. We can do that. Yeah. So I think that looks pretty good. While we're here and talking about image frames, I just want to show you another option that can be pretty cool sometimes. So I'm just going to draw another little grid right here. So I've got three frames in it. If I drop images into this right now, we could have a separate image in each frame. But sometimes there might be cases where you want one image to appear across multiple frames. And in those cases, you can just select the frames. And then if you go to the object menu and you choose path, make compound path, watch what happens to the Xs. Now it's one big X, and it's split across the three frames. Let me grab an image to show you. So now if I drop it in right here, it appears across the three frames because it's basically one frame with three openings. So I just wanted to point that out, it's a cool little trick that can be really fun to play with sometimes. So that's a look at Gridify and some of the really cool stuff you can do with it. 81. Creating Sidebars: Now that we've built this beautiful image grid, we are going to work on the text. And we're going to be setting up a sidebar situation. Before we do that, I do think I got a little carried away, and this grid needs to be a little bit shorter. So we've got room down here for our text. So to get us started, let's break this into one frame for the header, one frame for all this big body area here. And then this and downward is going to be our little sidebar. So I'm just going to scrunch that up so we can have the header, and I'm actually going to bring it over onto this page. Get out of wonderful mode. Alright, and then we're going to click the overset text, and we'll bring that and put it like so, and we'll crop out the bottom. And for right now, we can put that over here. That's going to be our sidebar. This can then be extended down below. But you'll notice when we do this, this text flows right back on in here. So we could keep playing goldilocks with the different text frames and reflowing them constantly. Or we could cut and paste the sidebar text into a new unthreaded text frame. But sometimes you might find that it's helpful to insert a frame break character. So we can force this text into a different frame. So to do that, let's take our cursor, put it right here at the beginning of this header right here and we'll come up to the type menu and choose Insert break character way down here towards the bottom, and you'll notice there's tons of different breaks you can put in here. One of them is a frame break, and when we do that, it just pushes that into the next frame. So now, no matter how much room we create here with the size of this frame, it doesn't matter because if you have your hidden characters on, you can see here is the frame break. So that's what it looks like. So that is pushing the text over here. Now, the only thing to keep in mind is if we shrink this to the point where we lose the frame break, now the frame break is here. We're just forcing the text into another non existent frame. So we're in an overset situation. So we just kind of have to know to leave room for the frame break. Let's take this text frame here and set it to have two columns. Remember, that is a feature of the text frame, and to make it better, we press Command or Control B, and then we can just tap two and click Okay. So that is looking good. This is already tagged with body, and I know that because if I put my cursor in it and we look at our paragraph styles, we can see Yep, that's body. But of course, we want this to have a nice fancy drop cap like our other article. So let's come over here and apply the drop cap style to this first paragraph. And we see it gives us our nice on brand font right here, and it sets the first three words in small caps thanks to our character styles, ya styles. So now let's take this frame and we can drag it all the way to the bottom, and we won't have to worry about the sidebar text sneaking back in here because we have that force frame break character. So we can drag this in here. And we're going to style this frame. So for one thing, let's fill the frame with the brand green color. So if we come up here to our Control panel, make sure we are targeting the container, meaning the frame, not the text itself, but the container, and we're going to come down here and set it to green. Next, let's add some inset spacing so the text is not smashed up against the edge of the frame. And just like the column setting that we just edited over here, this is found in the text frame option. So to make it better, we press Command or Control B. We'll leave it set to one column, but and let's turn our preview on, here is the inset spacing. So we can set this to, let's say, 0.25. And you can unlink them if you want them all different, but in this case, let's keep them the same. And let's align the type vertically. So, you know, it's at the top of the frame, but let's have it be centered within the frame vertically. We do that in the same place here under vertical justification, we'll change it to center. And sometimes when you do this, depending on your font and the text that you have, you may look at it and think, that's not center. And you can typically fix it by coming here to the baseline options. Basically, we need to tell in design how we want to determine center. Are we going to base it on the ascending characters? Are we going to base it on letting? Or in most cases, I find what tends to fix it for me is if I switch to cap height. But again, it's going to depend on your text and font and what you're doing. And then we can click Okay. And just for fun, let's round the corners here so we can click our yellow corner widget and then shift drag the two right corners. So it's like a little petal. Now, of course, we want to style the text inside. So let's grab this little header here, which is currently an H two. Let's change that font to allotropic bold, and we'll set it to 18 points. And we'll create a new paragraph style for that by Alt or Option clicking to create a new style, slurp up those settings, and we'll call it sidebar head. And we'll click. Okay. And before we move on, let's adjust this from five columns in width to four. So I'm going to grab the grid, and that's going to be a four column grid. That is a little better. And we'll take this guy and took him over and shorten him up. Yeah, that way, we'll have a little more breathing room over here. And I can see we're getting a line break here with a hyphen in this heading. So let's put our text in our new fancy sidebar head, and let's edit that to get rid of the hyphenation. So we can right click on the style and choose Edit sidebar head, and we'll come down to hyphenation and just simply uncheck it and click Okay. But I think this leading needs an adjustment, as well. So if we select that header and look up here, the leading is 14, and if we set it to auto, it jumps to 20, which I think is a little much. You'll notice that there are parentheses here, that indicates auto. So if you see a number for the leading with parentheses, that is the auto setting. I'm going to set it to 18, and then we'll update and redefine the style here by right clicking and choosing redefine style. Now, we are going to turn these into bullets, but you know what? We're going to spare ourselves from having to recreate a bullet list style and the character style to go with it and those custom pink bullets. We're going to import the styles that we created in our brochure. Yes, that's a thing, and we can do it, and it's awesome. So let's go to the paragraph style panel. Go to the menu, and we're going to choose load paragraph styles. And we're going to navigate to our finished brochure folder. And if you did not do that and you didn't save it, that's okay. You can open the finished copy in the course files. But we'll load this. So here on the left, we see a list of all the incoming styles. We can see which ones are paragraph styles and which ones are character styles. And we can also see if any of the incoming styles have names that conflict with our existing styles. And then we can determine how we're going to handle that. But right now, we're going to uncheck all, and the only ones we care about are bulleted list. And then we care about the pink bullet character style that goes with it. So you'll notice by clicking on bulleted list in design Auto selected Pink bullet, because this is the character style that we baked into the paragraph style that gave us our cool bullets. So here's a little definition of the style. I can never make sense of this. It's so hard to read. We can look if we're not sure. What did we do? Oh, yeah. Okay. So we have all that set. So we'll click Okay. And now we see that our bulleted list style has shown up in our paragraph style panel. And if we look at our character styles, here's our pink bullet. So we can go to the paragraph panel, and if we have this text selected, all we have to do is click bulleted list. Ta. And there is our text. And I have a bracket here for some reason. So I'm going to get rid of that. But that looks great. And if we want to change it, like, I kind of wish there was less spacing in this case between the bullet and the text. So let's go back to paragraph style so we can right click and choose Edit bulleted list. And from the smorgasbard here, we're going to choose bullets and numbering, slide it over. Down here, let's actually reduce the left indent to 0.125, and the tab position can be 0.31 25. I'll click. Okay. So we could recycle a paragraph style and character style from a different document and then tweak it to work in this document. So cool. And by the way, paragraph styles are like many of the settings in in design. If you load or create paragraph styles that you just want to have in your styles at all times, do it with no open documents, and they'll be there whenever you need them. I'll also point out where we don't have to create it here, but just remember that if you're working on a long document and you are going to have a lot of sidebars, you can save this setup as an object style. And that would make it easy to style and, of course, edit all of your sidebars, no matter how many you have in your document. It's powerful stuff for sure. 82. Breaking Text Threads: Before we move on, I want to show you one little trick, kind of a little hidden feature that can sometimes be really, really helpful. So as you recall, we have three threaded text frames here, right? We have the header that is threaded here to our body, the article itself, and then we have this cute little side bar. So let's just say that for whatever reason, we don't want this one threaded anymore. We've learned before that we can unthread a frame by simply clicking on the port that is bringing the text into it and then clicking again on that same frame. Now this is a free frame, and our text is again overset here because we have that forced frame break character hanging out right here. So in this case, we would need to copy and paste the text to put it back in here. So, that's fine. That's one way to do it, but it's kind of clunky and it might be a real pain depending on your setup. So if you find yourself in a situation where you want to unthread the frame and not mess around with having to copy and paste the text into it, there is a solution exactly for that, and it lives under the window menu. In the utilities panel under scripts. So there's three folders here filled with all kinds of powerful scripts, and there's so many you can download from the web. Amazing brilliant people create scripts and share them with the community. And it's incredible the things they make, truly. So this one lives in the community folder, and it's called Break text Thread. So if we double click on it, it's asking us how we want to break the thread. After the selected text frame, which in this case, is the last frame in this whole threaded story or before the selected frame, which is what we're going to do here, you can have it break all the frames, or there's also an option to have it break things based on paragraph styles, which is pretty cool. But in this case, we'll choose this top option and we'll just click Okay. And it tells us it broke one thread. Okay. And look at that. It broke the thread, but it kept the text in the frame, so it didn't reflow back over here. So this is just a free script. It's already in in design, and in certain situations, it can really save the day. 83. Text Wrap Made Simple: All right, friends, believe it or not, we are at the last two page spread of our magazine. Amazing. To get started, we're going to change the column setting for these two text frames from one column to two. So we can start by clicking the first frame and then shift clicking the second so that they're both selected. Now, you can actually change the column settings up here in your Control panel as long as you have the frame selected with the selection tool. So we could come up here and just click the little up arrow, and that will change the setting to two. But you'll also recall that the column settings live in that text frame options window here that we can get at any time by pressing Command or Control B for better text frames. And you may have noticed that the header here did not split into two columns, even though it's in the same text frame. Because, as you might recall, previously, we set up the H one paragraph style so that it would span columns. So no matter how many columns the text frame is set to have, the H one text will always span them. So this is a great example of where doing that little bit of work ahead of time pays off and saves us from having to do more work. Now. Pretty cool. That's the power of styles. Next, we're going to place an image in here, so let's click away to deselect the frames, and then you can press Commander Control D to drop in an image. The one we are looking for is this lovely Bonsai tree with the pretty purple flowers. I don't know what type of tree that is, but it's very cute. We'll select that, and we're going to drag a nice big frame for it about like so. Next, we're going to add a circle behind the tree to be kind of like a sun. So let's press L for the Ellipse tool. Remember, the circle, like we learned in Gratifi, as long as you're still holding your mouse down, you can use the space bar to reposition it. So I want to have the tree kind of breaking out of the circle, but something like this. Then we're going to add a fill color. So we'll come up here to the Control panel, and let's choose our nice orange color here. Click to close that, and we can send this to the back by right clicking and choosing Arrange, Send to back. This looks so good. Alright. So we obviously need to add some text wrap here. Now, if you were traumatized by our earlier foray into Texrap and making an object style out of it, I think that was a good learning opportunity, but it was also a lot, and I totally get that. This time, we're just going to keep it super simplified. So let's just add a text wrap and not worry about a style. So, in that case, we can select this tree that doesn't have a clipping path. It just has the transparency. So from the TexrapPanel, which I've got over here, but you can find from the Window menu by choosing Text Wrap. Here we want to choose this option, which tells in design to wrap the text around the object's shape. And now it's saying, based on what shape? We could have it detect edges. We could use the Alpha channel, or we could set it to the same as clipping. But because we didn't put a clipping path here, we'll choose Alpha channel. And then we can come over here and add a little buffer. We'll set it to 0.125. So this is totally fine. And, in fact, I think text wraps are not something you would always want to put in an object style because each text wrap situation is so unique and dependent upon the object. So it's okay to not style everything. That's my point. Alright, then let's also select the orange circle back here. And you'll notice it's pretty hard to select because it's in the back. So like, I'm clicking on stuff, and we're not going to get to it because it has the tree on top of it and it has two text frames on top of it. So to select something from the back. There's a few ways to do it. A sure fire way is to come over to the Layers panel, find the object. In this case, it's just called circle and then click to put a little blue dot here, and you can see that now the circle is selected. So that is a sure fire way to do it. I'm going to get out of there, and I'll click to select the tree again. So now the tree is selected. But a little trick for selecting objects in the back using the keyboard is to hold down command or control, and then click. And you might have to do it a couple times. Like, now I've clicked to select the text frame behind the tree. But if I do it again, now I've got the circle. So we can add a text wrap to that, too. We'll come over here to our text wrap panel, and we'll have it go around the objects. Shape and we can buffer it out to 0.125. It's so hard to see. Now, see, I lost my selection, so I'm going to command or control and click twice to get it back. You'll notice if we set it too big, it's going to interfere with the header, which we know we can override, but we'd have to move this text to a separate frame to do it. So we could cut and paste. We can shrink this down and then port it. There we go. And ignoring textAp is one of those better text frame options. So we can press Command or Control B and we could set that to ignore TexrapO we also made a style for that. So we can just click the style. And we can see I've got more text from down here in this frame, so I just need to shrink that frame. Push the text down here, and that looks good. Let's put our cursor in here and apply our drop cap style. That looks good. All that's left is to add some pull quotes. 84. Creating Pull Quotes with Anchored Objects: Pol quotes are a great trick to have up your sleeve as a designer because we can use them to add interest to a layout visually, even if we don't have graphics. So it's great for breaking up long areas of type, and they can really elevate the overall layout. Before we do that, I just realized that when I created this frame here when we were separating this text, I didn't change the setting of the new frame to two columns. Did you Did you catch that or were you along with me on the ride, and you just now notice, too. So let's change that back to two columns. There we go. Pull this up like that. And let's have this text frame the same height like this. That looks good. Right. So we're going to build pull quotes here, and I actually have a couple of quotes down here that we're going to use. So as the name implies, we're going to pull the quote out of the text and then create its own special text frame and paragraph style to help it stand out visually. And that is where the added interest comes from. And we'll be setting this pull quote. Once we get it built. We're going to be setting it as an above line anchored object. So we've seen inline anchored objects up here. Where we have these little guys, these are inline anchored objects. So they flow with our text like that. So this is going to be another type of anchored object that this time we call above line. And you'll see why shortly. So let's grab this text here, this quote, and I'm going to exclude the quotation marks because I don't want them. So I'll just command or control X to cut that from our story here. And I'm going to zoom out and come over to the pasteboard. I need to get out of wonderful mode, and you got to be careful if your type tool is active and you're hitting W all the time for wonderful mode. You're going to have Ws in your text. So you always got to know what's selected, and that's why that keyboard shortcut to deselect everything is so handy. Alright, so let's grab our type tool and just draw a frame and paste our quote into it. Now, we're going to style this by making it allotropic, bold. We're going to set it to 18 points. We'll set the letting to Auto. We want to make sure we don't have hyphenation, so we can grab that from the paragraph formatting controls over here, or I tend to just grab it from the overflow menu. So we'll go to hyphenation, uncheck hyphenate. Okay. So this is how this text is going to be styled to really give it some visual separation from the body copy that it is going to be surrounded by, we're going to add paragraph rules. Remember, we saw those before as the lines that we can build in to our paragraph. So last time, I think we set that up by coming to the overflow menu and choosing paragraph rules. But this time, let's just do it on the fly while we're creating this paragraph style. So with our text selected, let's go to our paragraph style panel. We'll hold down Alt or Option to create a new style, and we'll call this pull quote. We're not going to base it on anything. We want to make sure we apply it to our selected text. And then we can come over here to the Paragraph Rules item on our smorgas Board of Choices. Remember that our choices are above and below. So we're actually going to use both. So let's choose Rule above first, and we'll click to turn it on, so we can see it here. By default, it's one point. I think that's fine, but let's change the color to our hot sauce botanical green. We'll set the width to column, and now we need to increase the offset so that it appears up here. So I'm going to set this to 0.375. So that looks good for the rule above. Now let's go in here and choose Rule below, and we're going to turn that on too. Again, we'll set the color to HSB green, the width to column, and the offset is actually going to be a different value because of just how it's calculated. So whatever looks good to your eye, I think I'm going to do 0.2 and hit tab. That looks fine. I'm not going to obsess. Okay? So we're happy with this. That looks great. We'll click Okay, boom. So here is this cool thing that we have now for our pull quote. And the lines we didn't have to create manually, we just baked it into the paragraph style. So what are we going to do with this now? Let's drag it over here. And what we're going to do is anchor it into our text. So by way of review, we do that by dragging the little blue icon here into the text. And remember that if we alt or option drag when we do it, we can anchor it and also tweak the settings at the same time. Generally, it's a good idea to create a paragraph return for the pull quote. So let's switch to the type tool by pressing T, and if we click to insert our cursor here after this period, we can hit Return so that we get a paragraph here. So this pull quote is going to occupy this paragraph. So now we can switch back to our selection tool, click on our little pull quote. And we're going to hold Alt or Option and drag the little blue dot to the little paragraph return right here. And when we let go, we get this box. Hopefully, remember this from earlier, where we had to set all these reference points and we were doing all kinds of things. This will be a much simpler version. Here, for position, we are going to choose in line or above line. You'll notice it immediately snaps into the text frame, and we'll have to adjust it to make it the right width, but that's easy. We'll do that after. Our choices are now inline or above line. Anytime you paste something into an active text frame, it's going to become an inline object. That's what happened in our forms, when we pasted in the line. It's the same thing that happened when we pasted in our little water drop and the soil and the sun icon. Here, we actually want our pull quote as an above line object because you'll see that creates space for it in the text column. So for the alignment, we want to align it to the left of the column. And here we can tell it how much space we want before or after. So we're going to need a little more space before. And for after, I think it's actually going to depend on the box. So let's click Okay for a minute because I forgot to shrink the box up. So we want the box to be on the text because it's going to play a role in defining the space before and after. So if we have this dragged out here, then we would be choosing our settings based on the box, which could vary, obviously. So we want to make sure that we're basing the settings in the style on the text itself. Oh, we can get back to those settings by, again, Alt or Option clicking on the little Anchor. So let's see. So space after, I think it's okay to leave at zero. And we'll go ahead and click Okay. So now we can create an object style for the pull quote. And we can tell it to bake in the paragraph style so that every time we want to apply this, we don't have to apply a paragraph style, and then an object style. We can just apply the object style, and it can carry the paragraph style with it. So let's go over to our Object Styles panel, and we'll alt or option click, create a new object style. We'll call it anchored pull quote. And over here, in our smorgasbard, we want to include the anchored object options. So we're going to uncheck everything except this by holding Alt or Option and clicking once and twice. And then to also include the paragraph style, we'll come up here and change that from being unchecked to checked. So it's slurping in the paragraph styles, and the anchored object options. And then we can click Okay. We'll come back over here, and here we see we have another one. So we'll select the text, cut it to the clipboard by pressing Command or Control X, and we can delete all this extra returns and stuff in here. There we go. You can press Escape to get your cursor out of there, press T for the type tool, and we'll make another little frame. We'll paste in the text, and then let's bring it up here. So we need to anchor it someplace, and then we'll apply the style. So we're going to put it here after the paragraph ending with the word glass. So let's get our cursor in there. We'll hit Return. Then we can press Escape to get our cursor out of the text frame, so we can press V to get our selection tool and click to grab what will be our pull quote. And we're going to anchor it. We don't even have to alt or option drag the little anchor because we don't care about the settings because we've already baked them in over here. So we'll just take the little anchor, drag it to that return, and then we're going to click anchored pull quote to Da. It applies our paragraph style, which includes these cool lines up here, and it turns it into an above line anchored object so that it just exists in the frame in the text frame with the text. All that's left to do is make sure we have the width set right and drag the bottom of the box so that it's within the paragraph rules so that it's not affecting the spacing. And we don't even have to apply text wrap to this because as an above line anchored object, it gets its own space within the flow of the text. Just remember that these pull quotes are comprised of the actual paragraph style itself and the anchored object settings. But because we are able to bake the paragraph style into the anchored object style, when we want to create these, all we have to do is apply it here. The cool thing is, if we edit the paragraph style for the pull quote, it will automatically carry the changes through. So if we want to change the color of these lines, for example, we could just edit the pull quote, and in design would take care of the rest. So at this point, this layout is also done. Make sure you save your work, and we are ready to apply the final polish and finishing touches to our magazine. 85. Using the Glyphs Panel & End Marks: One of the things that can add a lot of polish to a magazine layout is to use end marks. And we're going to start by setting one up here on page 11. If we zoom in to the end of the text, maybe you've seen, in some magazines where at the end of the story, there's a cute little leaf or some sort of flourish here that indicates the end of the story, and it's just kind of a nice thing. Plus, it gives us an excuse to learn about the glipsPanel. To get started, we want to make sure we have our cursor active here, and I'm going to add a space in here. And I'm going to get out of wonderful mode. Alright, so there we are. So here we see our space character and the little Octathorp or hashtag pound sign indicates the end of the story. So to add a fun little glyph in here, we're going to open our GlipsPanel in every other Adobe up that has a Glips panel, it lives under the window menu. But in design, because it wants to be special, it lives under the type menu. So we're going to choose type and go to Glyphs, and the Glyphs panel is a magical place. So if you're not familiar with it, this is a cool place to hang out and poke around. It's essentially a collection of every single symbol that a given font, in this case, Montserrat Regular has. So we're looking at every you can see all the different language support characters that it has. Here we have a bunch of different Dingbats. There's just all kinds of things in here. This is how I knew about the characters that I wanted to use for the bullets because before recording the video, I had planned it ahead and I had spent some time splunking it around in the Glips panel. So let's go in here to our Minion Pro font. So down here at the bottom, we can just start typing Minion Pro and hit tab. And now we're looking at glyphs for Minion Pro. And Minion Pro has lots of glyphs options. So here are some of the cute glyphs that you might commonly see at the end of a story. So they're all labeled as bullets. If you hover over them, you'll see the little flyout says they're bullets. Oh, I'm going to go with this one. Pick whichever one you like, and you can insert it into the text by just double clicking. And you see, we get the little character just right here. So we've double clicked to add this here. Just while we're here, I'll just point out when you are exploring your fonts, you set the font down here that you want to explore. You can change the size of the previews by clicking on these little mountain buttons. And up here, you can filter to show the entire font or over here, if you have an active selection, like a highlighted character over here, you can see what the alternates are for that selection. You could just look at the numbers in a font or any number of categories. But I will say that my experience has been that font designers categorize glyphs differently sometimes than you might. So if you're not finding something in the category where you think it is, before you give up, always come back and check the entire font because it could just be that they didn't categorize it or they categorized it differently. So you just want to be aware of what you're actually seeing right up here. Along the top, we can see a running list of recently used glyphs. So that's really handy. And now that we've added this, that also appears up there as well. So I like to have my Glyphs panel available all the time. So I keep it docked over here in this column here. So I like to have my paragraph styles, character styles, and then Glyphs. It's easy to mix up the icon because the Glyphs icon is an A, just like the character style icon is an A, but the Glyph A is fancy. So that's how you can remember what it is. It's one way to access amazing font features like ligatures, stylistic alternates, all that kind of stuff. Now that we have this little end character in here, if we look at our paragraph styles, we're going to have an override because this is Minion Pro and this is not. So we can fix that by selecting this, and by the way, you'll notice if we hover over it, we get this flyout. This is a little shortcut to what some of the options are in the Glyphs panel. You might see this with certain fonts. If you highlight a capital R, for example, maybe it shows you three different capital Rs that you can choose from. At this point, if you want to change the color, you could come up here and apply a different color. Originally, I liked having it be green, but now I've changed my mind, and I'm just going to keep it black. But you do whatever you like. And then let's go to our character panel with the regular A, not the fancy one. And we're going to alt or option click to create a new character style, and we'll call it End Mark. And we'll make sure that it's applied to the selection, and we'll click Okay. There's a lot of ways to work with these end Mark characters. You can put them in separate frames and add them as an inline anchored object. We can style them with paragraph styles and object styles and all of that, but we're just going to keep it really simple. So let's just copy this and we'll go up here to page nine where we can insert our cursor and paste it. So that's that one. I don't think we would want to add it to this stuff. But we would want to put it here. So we're only going to put it in three places. So when you're choosing which way you want to handle these things, that's going to depend on your project, and it might evolve over time. So maybe a document starts out being really simple and you do things the simple way, and then it gets complicated. And then you need a more robust solution. So it's good to know lots of different ways to do things so that you can be flexible because ultimately, that is the goal. So now, not only do you know how to find your Glyphs panel and what that's all about, but we just included end marks. So I hope you feel fancy now because you've earned it. 86. Adding Page Numbers: Magazine is really starting to come together, but we're still missing important things like page numbers. So let's learn how to handle that. Because page numbers are something that we want to apply generally to all of our pages or at least most, we want to put them on the parent page. Remember those? They live way up here above the rest of the pages in the Pages Panel, and we can jump to them by double clicking right over here or the pages themselves. So now, when we're on the Pages Panel, you'll notice if you try and scroll can't access the rest of our document here. It's sort of like we're existing in a different dimension. So if you're panicking and trying to think, How do I get back to my document, you can just double click whichever page you want to go to. But while we're up here in parent page and, this stuff is not visible. So to figure out where we want to set our page numbers, we're going to draw a guide, and we draw the guides by pulling from the rulers. And you'll notice if we just click on this ruler and drag, we're getting a guide just on this page. So then we'd have to drag four guides, two for the top of each page and another two for the bottom. That's a hassle. But if we hold command or control while we pull down from the ruler, then we get a guide that goes across the whole spread. And if we hold Shift, it will snap neatly to various increments, and then we're not in here playing this Goldilocks game. So I'm holding command or control and shift, and we're going to drop this at 0.5. And then we'll hold Commander control again and drag another guide and then add shift, so it snaps neatly and we'll set it at 10.5 ". So this is now sitting a half inch in from the top and the bottom. Now let's create the text frame for the page number. So we can just use the type tool and just click and drag out a little box. And to automate the page numbering, we are going to make use of something called a marker. So we'll come up to the type menu, and down here, we're going to choose Insert special character Markers current page number. And when we do that, it's just going to show us the letter A. The reason it says A is because we're currently on the page called A Parent. But don't worry when we're done. This will have the right page number for the respective page that it ends up on. But right now, we can just go ahead and style this. So maybe we start by going to our paragraph style and just hitting body. That'll give us a good starting point, Maserat ten, regular. And actually, I think that's fine. Let's just leave that with the body, at least for now. So let's grab our selection tool, and we'll drag this down to sit right here. So if we zoom in and look at this, the page number is sitting right on this guide. So I'm going to double click to tuck this up and make the box a more reasonable size. Then we can copy it Command or Control C, and paste it Command or Control V, and then we'll put this one right over here on the right hand side. And we need to write align this so we can grab the type tool and change the alignment or we can do it with our keyboard by pressing Command or Control, Shift R for write alignment. Nice little shortcut. All right, we'll worry about the styling later. Let's see how this is looking. So we've got them on their respective pages. Let's see how it shows up on page two. So if we double click on page two, we don't see anything. What the heck? Let's look at page three. Nope. Page five? Up, there it is. Now, why do you suppose it's showing up on page five, but nowhere else? If you answered because the images are on top, congratulations. You win. That's correct. So what are we going to do? Let's go back to our a parent, and let's go to our Layers panel, and we'll click to add a new layer. To move these to the new layer, we need to select them both. We can do that here in the Layers panel two. And then we just drag the little dot up to the layer two, little socket, and that will move it up. And we know that it's been moved up because it appears with a red outline now, and that is the default color for things on layer two. So now let's go back and check page two, and I'll be in wonderful mode so we can see. Okay, so that looks good. Now, it's hard to read here. Oh, really hard to read over here. It's pretty much fine as long as there's not a busy photo behind it. I can't see it at all over here. So let's go back to our parent page, and we need to do something to this to make it easier to read. And I think the best way to tackle this would be to add paragraph shading. If we just fill in this box with a fill color, then we're going to have this big long box, and the text might only take up, you know, the small little bit of it. That's one option. But if we want the shading to be responsive to the actual text, then we want to do that with paragraph shading. So to do that, let's grab the type tool, and we'll click in here to make this active. And paragraph shading, of course, can be found in the paragraph style settings. But sometimes, again, it's nice to just work here first and then slurp it in. So if we want to do that, you can find paragraph shading in the little overflow menu up here under paragraph borders and shading. So let's enable our preview, and the top here, we need to go to the shading tab and enable shading. So this is what it looks like when the shading is black and the tint is 20%. I think we should set the tint to 100%. Oh, not zero, 100%, and we'll make the width be the size of the text, but then let's offset it a little bit, maybe an eighth of an inch on all the sides. So it's going to be text with, like, a little bit of a box around it. Click Okay. Now, of course, we can't see the text because it's black. So let's change that to paper. Now we just have a nice little block for our page number. So let's create a style for this now. Now that we know we've got it set, pretty well, we'll come in here to Paragraph Styles, Alt or Option click, and we'll call this page number. We can base it on body, since we literally did do that and we'll leave it applied to the selection. Great. Now, if we come over here and we do the same thing, we lost our right alignment. We could use a right justified tab here, but because we added paragraph shading, the tab character would also be shaded, and that's not what we want. So let's press Command or Control Shift R to get it back, which gives us an override, which we can fix by making a separate style for page number aligned to the right. So let's alt or option click to create a new paragraph style, and we'll call it page number right, and we'll base it on page number. That way, we only ever have to edit one of them, and it will automatically update this one. And we'll click Okay. So now if we pop back to one of these pages, we can see that our page number now has a little box around it, which makes it so we can actually see it. Finally, we should check real quick. If we come up here to our cover page, you'll notice we have page numbers here. As well as on the back cover, and that's just goofy. We don't need that. The page numbers are, of course, showing up because the page numbers are on the A parent and the A parent is applied to both the front and the back cover. So all we have to do to fix it is swap the A parent for the non parent. We can just take the NN page right here and drop it on page one. We can also right click on page 12 and choose apply parent to pages, then it'll ask us which pages we want to apply and which parent and it's prepopulated with 12, and now we can just say none. And you see, it's instantly gone. So, how are you feeling? Good? I hope. I know. It's a lot. Get up, stretch, take a deep breath, and know that you are learning amazing skills that so many people who have been using in design for a very long time don't even know about. So take a minute and congratulate yourself for working through this beast of a course and making it this far. The finish line is in sight, but we still have some more really great things to go. So I'll meet you in the next video. 87. Editing Images in Photoshop: So our layout is finished and we're feeling really good about it. But we just got some feedback from our client that they want us to do a quick image edit before finalizing everything. So let's jump over to page three and take care of this quick. The easiest way to get an image from InDesign into Photoshop is to simply hold Alt or Option and double click on it with your selection tool. So here we are in Photoshop, and we can make whatever image updates and edits we want to make here. So let's say we want to do a levels adjustment and increase the contrast, I'll press Command or Control L, help this image just pop a little bit more. That looks good. We'll click Okay. If we wanted to come in here and it looks like there's some elastic or stitching or something on the shirt we could maybe edit, I'm going to grab the remove tool and simply brush over it and Photoshop removes it. Okay? So let's say that's it. That's the changes we're going to make. All we have to do is press Command or Control S to save the file. And then we can simply close it. And when we go back to InDesign, the image is already updated. Like, I was hoping I could show you how it automatically updates and you could see the switch happen, but it was so fast, we couldn't even see it. And we know that it happened because if we zoom in on the shirt over here, here's the before and here's the after. We have a lot more color pop and saturation and contrast in this image now. And all we had to do was Alt or option double click. That is the benefit of the interactivity and connectivity between the different apps. Another way to do this is to select the image in the Links panel, and then if you go to the panel menu, there's choices like Edit original, which will just choose your default image editing program, in this case, Photoshop. Or you can choose Edit with, and then you could specify all kinds of different apps. If you edit the image completely outside of InDesign, meaning instead of Alt or Option double clicking on it here, it won't automatically update here, but then you would just see that little caution symbol letting you know that it's been changed, and all you have to do is hit the update button. Working this way makes it pretty painless, even if you have a lot of images to edit. 88. Running Spell Check: That we've got our page numbers in here, we've edited our images, we're ready to run spell check. Pretty straightforward, we'll go to the edit menu choose spelling, check spelling. The main things you want to know here are that you can choose what you're searching. So whether that's the entire document or all of your open documents, or if you have certain text frames selected, you can limit your search to specified text frames as well. So just double check so you know you're checking what you mean to be checking. Whatever it stops on, it's going to also list down here some suggested corrections. So your choices for how you handle all of this are you can skip whatever it's suggesting and leave it unedited, or maybe there's a correction that needs to happen, but it's not anything from this list. You can also just put your cursor in here and type whatever you want it to change to. So maybe you were so wrong that it's not even recognizing what it should be. You can just make the change here. And then you would hit change. In this case, I'll just hit skip. Here now we've landed on Monstera. Let's say that this is one that I know I'm going to run into a lot and I want to add it to my dictionary, so I don't have to stop and skip it all the time. Down here, we can add it to our own dictionary. We can choose whether it's case sensitive or not, and then we can just click. What's nice is that if you make a mistake, you can change the direction. So if you want to go backwards now, you can switch and then hit Start and it'll go from where you were and it'll move in the other direction. That's nice. And you can also actively edit the text while this is open. So if you find something weird going on, and you're like, Oh, it's flagging the Phi from sci fi. You can come right in here and just change it. So you could just keep typing like that, and then when you're ready, you could just hit Start and it will continue. If you make mistakes that you've added something to your dictionary that you didn't mean to, you can click here to go into your dictionary, and here you can see a list of things that I have, and maybe I don't want Monsteras in here. After all, I can just select it and hit remove and then click Done. So we'll just pretend we've spell checked our whole document, so I'll hit Done. And if later, at any time you want to go back and work on your user dictionary, you can always find it under the Edit menu by choosing spelling user dictionary. So obviously, it's always a good idea to run Spell check. I usually run it over and over again because even after I've made all the corrections and got everything cleaned, if I've done a lot of work in the document, it almost never fails that I've inadvertently got my cursor active in a text frame somewhere, and I hit a shortcut key. So I end up with lots of Vs and Ts in my text just from working and in design. So, thankfully, spell check makes it pretty quick and painless to clean everything up. So take a minute to work through this document, checking all the spelling, so you really can get a feel for how it works and make sure you save your work, and I'll see you in the next video. 89. Generating a Table of Contents: Friends, we did it. We are here. This is the last thing we're going to do to this magazine layout before we package it up and call it a day. And that is we're going to create a table of contents. And while it might sound daunting and awful, it's not. Because we've done the work of using paragraph styles, InDesign is going to do all the work for us. So we're going to be placing our Table of Contents here on page two. And in order to make space for it, we're going to recompose the way this image is fitting in this frame. So we can double click with the selection tool. Then we'll hold Shift to keep it proportional and just drag it more. And if you need more room, you can press Command or Control minus so you can really see. So it doesn't have to be far. Our Table of Contents is pretty small. Alright, so to do this, all we have to do is come up to the layout menu. And choose Table of Contents. Here, we want to make sure that we are viewing all of our options. So we want to click to expand this and make sure we're seeing everything. First thing is we need to give our Table of Contents a title. So this will actually appear at the top of our Table of Contents. So InDesign is actually going to generate text and hyperlinks, and it's amazing. And I'm simply going to type the word contents. Over here, we can choose one of our existing paragraph styles to style the word contents. So here, it makes sense that we're going to set this to H one. Now, underneath the title, where it will say contents, we need to have the entries in our Table of Contents. And rather than looking through our layout and trying to figure out which articles are which and typing all the titles in here, we can make use of our paragraph style. So what we want is that every article in our document shows up here as an entry in the Table of Contents. Conveniently, they're all tagged with the H one style. So we can select H one here and click Add. So this is a list of all the paragraph styles whose text will be slurped into our Table of Contents and show up as an entry. So this will make more sense maybe after we make this thing. Down here, it's asking us what style we want to use to format all of our entries because we don't want them to show up as H ones. That's great. In the piece, they should have nice big headers. But here, in the Table of Contents, they're actually going to be listed under the title, which will be styled with H one. So here we want them to look differently. So for the entry style, we're going to choose this mysterious style, which does not yet exist. InDesign includes it here so that it can just easily style the text, and then we can edit the style after InDesign makes the Table of Contents. So we're going to choose that Table of Contents, body style. For page number, we want that to appear after the entry. So on the left, it'll say, welcome to your plant era, and then to the right of that will appear the page number. Then what do we want to have show up between the entry, the end of the entry and the beginning of the page number? The default here is a tab. So that's what this carat T means. Let's go ahead and remove that, and we're going to replace it with specifically a right indent tab. So when we click on that, we see that the code for that is carat Y. So it's really nice to have this little menu here with some common choices to fill this out so you don't have to know in design speak for a writ indent tab character. Here we can choose any character styles that we want to apply to either the page number or the space between the entry and the page number. We'll leave these set to none for now. Down here in our more options, we want to make sure we enable PDF bookmarks. That makes it easy to navigate the PDF version of the document. And that should be it. So all we have to do now is click Okay, and we get this loaded cursor. And now we can come over here and we're going to click and drag out a box. And can you even? Look at that. Let's look at it in all its glory by pressing W. It's all automated. It's not styled yet. This is the default style that InDesign just made up. So we'll take care of that. But check it out. Here is our title for our Table of Contents, and these are all of our entries. And you'll notice they're exactly what all of our articles are. So here where we have exotic blooms, on page eight, it knows this is the title of an article, therefore, an entry because this is styled with the H one paragraph style. And when we built this Table of Contents, we told it to pull the entries and create the entries from text that is tagged with the H one paragraph style. So hopefully you can see how really important it is to actually use styles. Alright, but of course, we want to restyle how this is looking. So let's grab our type tool, put our cursor in here and go to our paragraph style. This is Table of Contents body text. So this is that style that InDesign just made up for the purpose of our Table of Contents. So to edit it, we'll just do it in the paragraph style itself. So let's right click on the style and choose Edit TOC Body Text. We'll come over here to basic character formats, and we're going to change the font Mind defaulted to Minion Pro, but we can change that to Montserrat, regular. We'll leave it at 12 points. Let's change the case to all caps. Can move this over so we can see. Then let's come down to Idense and spacing. And let's add for space after, let's bump that up to 0.125. So you can see that's going to spread out each of those paragraphs. And if you think about every table of contents that you have seen in your life, you've probably seen little dotted lines running between the entry and the page number here. Maybe an earlier version of yourself has created that by putting your type tool in here and just hitting period period period period over and over again. And that works. We've all been there. We've all done that. But there is a much better way to work, and that is to use something called a tab leader to lead the viewers eyes from the entry to the corresponding page number. So here in our paragraph styles, we're going to come down here to tabs so this workspace tends to be awkward and clumsy. At least I find it to be that way. So I always kind of cross my fingers and make a wish when I'm working in here. But I think it's going to be pretty easy in this case. So what we need to do is simply add a tab to this bar here, and we can just do that by having a tab selected here, and we can just come over and just click. That's all we have to do. Then down here where it says leader, we can put our cursor there and we're going to type period space. And there are lots of different ways to do this. But this is pretty much the most straightforward way. So we're going to keep things simple. This means that between the end of the entry and the number, we're just going to have period space, period space, period space, just repeat. So you'll notice as soon as we hit tab, we get all these lines in here. So I'm going to move this out of the way so we can see and you'll notice if we grab our little tag here, if we move this to the left or to the right, it's not even affecting the dots. So it really doesn't matter in this case, where you put this tab. You just need it in here somewhere. And the leader needs to be that period. If you just do a period by itself, there'll just be closer spaced together, and we'll click Okay. How slick is that? Amazing. So again, all we did was come up here to the layout menu and choose Table of Contents. Then we told it what we wanted to call our Table of Contents and how that should be styled. We told it where to pull our entries from. In this case, it was everything tagged with H one. We told it we wanted our numbers to come after the entries that there should be a right indent tab between them. We wanted to include PDF bookmarks, and then we just drew a text frame, and it made this box and created a new style for it, which we then could update to be the right font that we wanted, and we added tab liters. That's all there is to it. The only thing to know about the Table of Contents is that if we make a change to any of this, if we go into exotic blooms here and maybe we change it from blooms to flowers, it's not going to automatically update unless we come in here, we can click it, and then we need to come back to the layout menu and choose Update Table of Contents. We click Okay and look at that. Now it says exotic flowers. So cool, right? Now, aren't you glad that we made use of paragraph styles? I told you they were cool. 90. Adding Hyperlinks: Okay, friends, we thought we had this thing in the bag, but the client just reached out and said they also want to be able to distribute this magazine as a PDF. And because the QR code on the cover that links to the website is intended to be scanned in person from a printed version of the magazine, they want us to add some hyperlinks on the back cover, as well, so people can click on them in the PDF version. Thankfully, this request is an easy one. So what we're going to do is make the logo clickable, and then we'll also add a little URL down here that will also make clickable. So to start with this logo selected, we'll come up to Window interactive Hyperlink. We'll click the Plus button to create a new hyperlink from this little logo right here, we'll set the link to URL, and here under URL, we'll type in our clients URL. So hot sauce, botanicals.com. And we'll click Okay. Here we see a list of all the hyperlinks in our document, which right now is just this one we just created. It's showing us that this logo has a hyperlink associated with it that goes here and it lives here on page 12. The Hyperlinks panel comes with its own preflight situation. So it is monitoring the links to make sure they work. And right now, we see this little red dot, which is telling us that this URL doesn't exist. So in that case, we would want to double check, and we could do that by actually just clicking right here. Here we can see it pulls it up in my web browser and it can't find the server. So we would want to let our client know that there might be an issue with their website. It's important to point out though, that just because this shows red, doesn't mean that it's for sure not working. A lot of times URLs will show red if they are behind a paywall, for example, or sometimes if they have affiliate links baked into them, it may show red, and you'll find that when you click on it, it opens just fine. So this is just a warning. It doesn't mean that there's definitely something wrong. Alright, so that's this hyperlink, so we can click away. And then let's add a little text frame down here. We'll just write out hot sauce botanicals.com. We'll make it Montserrat. We should probably go with bold and all caps, make it white. Style it however you want to style it. I'm going to center it. I think I'm going to actually add a black fill to the box because it is hard to see. And I'll bring up my text frame options with Command or Control B and vertically center the. See and I'm going to change my baseline options to be set to cap height. That looks good. Okay, now if we want this text to be a hyperlink, we can actually just select it with our type tool. In addition to making Objects hyperlinks, we can select actual text and create a hyperlink. In our hyperlinks panel, we would just click the little plus again, we would leak to a URL, and it's remembering the same URL from last time, so that's great. I will point out that there's this button here to use a shared Hyperlink destination, which sounds really great, but it can cause some real trouble with the document when you export it for accessibility purposes. Honestly, I don't fully understand all of the details, but I have been warned by many accessibility professionals not to use shared Hyperlink destination. Down here under character style, InDesign has an automatic style called hyperlink, you'll see that it adds an underline and makes it blue. If you don't want that, you can designate a different style, or you can edit the hyperlink style, or we could choose none. But in most cases, I think you would generally stick to the existing hyperlink because that's what people have come to expect. In our PDF, I'm going to leave that set to Invisible rectangle and click Okay. Now we have two hyperlinks in our document. They just live here in the Hyperlinks panel, which I tend to keep at the ready. If you find out you need to edit a hyperlink, open your hyperlinks panel, if the item is selected, it'll show the corresponding hyperlink here, and then you can just double click on it, make your change, and click Okay. So that's how easy it is to add a hyperlink. The important thing to know about hyperlinks is that depending on your PDF preset, they may not be included by default. So hyperlinks and bleeds are two things you always want to check and then double check when exporting to PDF. 91. Exporting & Packaging Files: All right. Our client just came back to us with final approval. Now that we've added those hyperlinks on the back page, they have given us the green light. To export this for print, again, we would just choose File, Export. I'm going to put it on the desktop and call it magazine Print. We'll choose Adobe PDF print. Under presets, you'd probably want to start out with press quality. We want to make sure to view the PDF after exporting. We don't need to include interactive elements. Let's come down here to marks and bleeds. We want to make sure we include the document bleed settings. Down here under output. Here's where we can see that it is going to convert the colors to our destination, which is document CMYK. We can have a peek through here, just make sure we're not forgetting anything. We want to make sure aha. Right now, it's set to just export page 12, so that's not what we want. We want to export all. Like I said, it is always really important to check and double check. All right. And those marks and bleeds, yep. All right, then we can go ahead and choose Export. Here, it's sending us a warning because if you remember, on page four here, we set the document transparency blend space to RGB when we were working with this blend mode. So here, it's just warning us that that could be a problem. We'll have a look at it here, and then of course, we can always double check with our printer. So we'll go ahead and say, Okay, that's fine. So it's going to convert everything to CMYK, so it might take a minute. You can tell that it's processing. If you look up here and you see the little spinning wheel. That's how we know it's working. And here it is. Oh, and you know what else we did? We exported single pages. Aha. This is why you always check. Let's go back and we'll again choose File Export. Format is still a Doe PDF print. We'll replace the other file, and here we want to make sure we are exporting spreads, not individual pages. I'm telling you, you always got to check. Let's go back to marks and bleeds and make sure that is still included. Alright, so everything else seems to be set the same, so we're ready to try this again. And we're going to get the same warning, and again, we'll just click Okay. And we'll make a note to double check here when we look at it and also with our printer. And here's our PDF. Beautiful. So now we have our single cover page, and then we have the Facing Pages here. And I think this looks great. Well done. Alright. Now we can save this for PDF. And in this case, the client wants it to be as small as possible so they can just email it out or make it available for download on their website, like, just a nice little easy thing. So we'll go back to File and choose Export. This time, we'll call it magazine web or magazine small or whatever you want to call it. We're still going to choose Adobe PDF print. PDF interactive is specifically for documents that have functionality like buttons, checklists, that kind of stuff. A hyperlink does not make this document interactive. Does that make sense? Because people are basically going to open it and just read it, and there will be hyperlinks that they can click on, but there's not buttons, there's not forms to fill out. There's not any of that. So we still choose PDF print. We'll click Save up here for the presets, this is where we would choose smallest file size B here we're not trying to have press quality output. We just need it to be visible on a screen and look good on a screen. If we look here under compression, you can see that it's going to downsize the images. So this is part of the preset for when it's set to small. Any image that has an effective resolution above 150, it's going to downsample to 100, and that's part of how it saves on file size. For marks and bleeds, we don't need them because this is just going to be viewable online or on a device. So for output, here you'll notice that it will be converting everything to SRGB space. So that's a different color space that is more suitable for devices. The stuff we don't have to worry about, but we do want to come back up here to general, and here's where we need to make sure if we want those hyperlinks to be clickable, we need to enable them here. Then we can click Export, and it's going to crank through and make our PDF, and here it is, and it looks great. We did the same thing. Did you notice? Did you catch me? Were you yelling at your computer? Cara, check the pages. So we'll go back and choose File Export again. I'm telling you this is real life. This is how it goes. Still PDF print. We'll replace the old file, make sure again that we output to spreads, not pages. Make sure we have hyperlinks included, and then click Export. You guys think I'm pulling your leg. But maybe I exported it wrong on purpose. Twice. And maybe I didn't. Maybe that's a learning opportunity. You'll never know. You'll never know. Alright, so here's our whole document. It looks good. Let's test the hyperlink. So if we hover our mouse, you see how it turns into a little clickable hand, and then it says the URL and the little flyout, so that one works. We can check this one. Same thing. Horay. Perfect. So our PDFs are good to go. Everyone's happy. The client loves it. The printer says, Well, I've never seen such a perfect file in my life. And we are like, done with this thing. So let's save it. And remember, to package it all up and make sure we don't lose any of the pieces, we can choose file package, and InDesign will make a copy of the file and package it in a folder with copies of all the links. Realistically, let's review another way of doing this that I think might be a better match for most people. So to do that we come to the Links panel. We're going to click the first one, scroll to the bottom, shift click the last one. Then we'll come up here to the Links panel menu down to utilities, and we're going to copy Links two. This would round up all those links. Of course, ours are nicely in a course folder because this is a learning environment, but in real life, they might be scattered all over the place. So then I'm going to go in here because I've got the saved in our finished work folder, and I'll just make a new folder, and we'll call it magazine inks. And click Create, and click Choose. That's it. So now it has copied all of these links from their original location, and put them in the folder we just created, which is right alongside our finished file. And on top of all of that, it relinked them here in our Links panel. So if we hover over any of these links, you'll notice that the location for the link is now on my desktop in the folder called finished work. And then in another folder called magazine Links. So we don't have to relink anything. This baby is all packed up and tucked in for the night. So we can just go ahead, close it out and take the rest of the week off. Why not? Just kidding. But I do think we've earned a treat. So let's do something nice for ourselves and celebrate how far we've come. 92. Class Project 5 - Make Your Magazine: Alright, you guys, this one's a biggie. Class Project Number five is a magazine. Don't worry. Your magazine does not have to be 12 pages. I think anywhere 6-12 is good. So you're going to create a magazine style, promotional piece for your client based on your unique brief. So when you set this up, it's going to have facing pages. You're going to need to build some column guides, make sure it has a bleed. You want to make sure you're using paragraph and character styles, text wrap, threaded text frames, parent pages, put page numbers on them. Have some fun and includes some instance of a blend mode change. So there's so many different ways you can have fun with that. So just experiment. And it's important to put in some type of table of contents. And it's really easy, right? It's an automated thing, but a lot of people don't know how to do it. So good on you. You do. So take advantage and put it in there. And try your hand at putting in a table. I mean, it could literally be for anything. You can just have a table with, like, a schedule on it or something. So don't overthink it. Just have fun. And remember, you can have Chat GPT write articles, pretend articles for your pretend shop or whatever it is, for your client. Or if you just want to use placeholder text, let me add another link in here, which is Lorim Ipsum. It's just Gibberish. It's called Lorim Ipsum, and InDesign will actually do it for you. So let me do that quick. So if we draw a text frame, you can just come up here to type and you can choose fill with placeholder type. So this is called Lorim Ipsum. And yeah, it's just garble Gook. But there's a really fun website where you can get garble Gook that's made from actual recognizable words. And as far as I know, I think it's only in English, but maybe it does other languages, too, and maybe there's other sites like it for other languages. But the site is called Meet the Ipsums. This is so fun. So on this site, there are different ipsums. So there's, like, straight up orm Ipsum, which again is just kind of Gibberish. But then there's developer ipsum. So these are recognizable words. I mean, you can read this, but it's it it's like a whole lot of nothing. So they have different themes. Developer Ipsum has, you know, words like debugging and software programming. There's godfather Ipsum, agency Ipsum. I love coffee Ipsum or Cat Ipsum. So sometimes when I'm working on something specific, and I need ipsum, sometimes I come here and I just find ipsum that's sort of on theme or on brand for whatever project it is. But how it works, then is, let's see. We'll go here to Cat Ipsum. And then what you do is you click the little button below. So that will take you to a different website called Cat Ipsum, and here you can tell it how many paragraphs you want. So maybe it's a long article. I don't know, ten paragraphs. Each different flavor of ipsum has different settings. So you could add a title, et cetera, whatever. And then if we just click this button to make muffins, here it generates just blobs of type. And it doesn't say anything meaningful, but you can see that it's, like, actual words. So sometimes it's just kind of nice to look at your piece with actual words. So this is another alternative. When you need text for your projects, you can have AI write you can fill it with lorem ipsum placeholder type right in InDesign, or you could use a themed ipsum, and then you would just copy all of this, select it, copy it, and then paste it over into InDesign. It's a fun way to play with text. But there now you have all of my fun little tricks for playing around with the stuff and enjoying it as you go. When you are done with your magazine, make sure you export it as a PDF for print. You can use the appropriate preset, right? So maybe your client wants something they're going to print on a press, so you would want to choose a press quality output, or maybe they just want to be able to make it available as a download on the website, so you would choose smallest file size. We do talk about hyperlinks in this case. So if you have any hyperlinks in your project, make sure you want to include them with the export. And of course, we've added a bleed here, so make sure you include that. I got one more cool trick for you just so that you know what's possible. And if it helps you be able to share your document on social media, it can be a handy trick. So here I have my finished magazine that we just built, right? And then here I just have a blank document. So let's say that we would like to have little thumbnails of each of the pages here. And maybe I want to put them on this page so I can just share the page. There's a lot of ways to do this. None of them are really that hard, but also none of them are as streamlined as you would think they should be. So I'm just going to show you this one method. But let's say that we're going to use Gridify. So I'm grabbing my frame tool here, either one of these, and I'm just going to click and drag to draw my frame, and I'm going to make it have like six columns and two rows. And I'm not even paying attention to size. So I'm just whatever looks like the right ratio, okay? So I've made a bunch of frames here. Guess what? We can insert this in design document into this one. So to do that, I'm just going to choose file place or command or Control D, and then I'm going to navigate to the magazine file and make sure we enable show Import options, and we'll click Open. And then we want to make sure we are including all the pages. So we are actually going to be able to place individual pages into these frames. So I'll go ahead and click Okay. And now we get a loaded cursor just like we're used to, and we can click and just pop them right into the frames. Now, they are coming in as individual pages, not as spreads. So I might want to do the placements a little bit differently. So since this is the cover, and it's a single page, I'm going to just put it over here. And then this is the first left page, right page. Left page, right page. And then I'll come down here, left page, right page, left page, right page. And then we have, again, left page and right page over here. So now I have the back cover left, and I guess I'll put it here. Didn't plan that very well, did I? So I just wanted to show you now we could take these right hand pages and tuck them up against their left page counterparts. Same with these right here, can tuck these up. And this guy right over here, tuck up. And then I would say, probably want to group those, group these, those. So I'm just Marquee selecting over here and pressing Command or Control G to group them. And then since this is the cover, maybe I would want to put it, I don't know, wherever it makes sense, up here. And the back cover could be, like, down here. I don't know. I'm not really planning this out. I just thought of it suddenly and thought, Hey, you guys, you might like to know it. So there you go. And then probably I would want to put a very thin black stroke around all this, so I would come up here, add a black stroke and then make it 0.25 weight. And then look at that. I'd probably want to change, I guess, for something like this, I'd probably want my document to be horizontal. Yeah, so something like this. Like, what a great way to show off the layout. Now, this doesn't work, obviously, if we are talking about a massive document, but it works for this case. Now, I'm scaling this here, and in order to scale the frames and all of the images within it, I'm holding command or control, shift and Alt or option. And that will scale the frames and the thumbnails within it. And then you can be like, Look at my little layout. How nice. So have fun with it, and as always, I can't wait to see what you make. 93. Social Media Project Preview: For our social media series, we're going to be using InDesign to create a series of social media posts in different sizes, and we're going to do it all within a single InDesign document. So to show you the end result here, here we can see a square page for Instagram. For page two, we have a vertical page. So you could turn that into a real, for example. And finally, we have a less dramatic vertical page for an Instagram portrait post. So in this case, our client Hot Sauce Botanicals, they regularly put out a series of social media posts every month, where they showcase a different plant species. To make it easy to edit, we're going to build it using text variables, multiple different page sizes in the same document, and we're going to save it as a template so that we don't accidentally overwrite our files along the way. So when we're done, we'll have this lovely three page document that's going to be really easy to maintain. 94. Creating Custom Page Sizes: To get us started with our plant of the month project, we are going to open a file that I've already set up for us. So you can press Command or Control and the letter O for open. And in your course files, you're going to look for the oh seven social folder. And in there, you'll see a file called potm dot NDD, plant of the Month. Go ahead and open that up. And here we are. Right now, we have a one page document. It is a square. We're off to a good start. And because we want to be able to have these social posts in several different sizes in a single document, and we're going to be dealing with this on an ongoing basis for this client, we want to set up some custom page sizes. And we're going to do that from the bottom of the pages panel. This little button right here, this is the Edit page size button. So let's click on that and we'll see a number of presets in here, including custom. And that's what we want. So let's click Custom and we're going to create our first custom page called Insta Reel, and the width is going to stay 1080, but the height is going to be 1920. We'll go ahead and click Add. It's tempting to click Okay, but don't do that yet. Well, click Add because that adds that new preset to our collection here. So you can see I've got a few other ones in place already, but this might be your first. So let's add another one called Insta Portrait. And this will be 1080 by 13 50. And again, we're tempted to click Okay, but we're going to click Add. And finally, even though this page is already a square, we want to set up a preset for the square Instagram size. So we'll call it Insta square 1080 by 1080. And again, we want to click Add, and now we can click Okay. So if we look back at our little page size button, you'll see that we now have some presets up here. And because Insta Square was the last one we added, that is what we also changed our page size to. In addition to managing page sizes down here with this little button, there's also actually a page size tool over here in the toolbar. The keyboard shortcut is Shift P. And you'll notice with this tool selected, you can come up here and enter values up here in the Control panel, and you can also click and drag on the page itself. So if you like to work that way, this is another option. But we should be set now with our page sizes. So let's switch back to our selection tool, and I'll see you in the next video. 95. Using Custom Text Variables: Now that we have our page sizes established, we're going to define our Text Variables. What does that even mean? So, recall that we're going to be making this for this client every month, and they want three pages so that this document is in three different sizes every month. But that means that each month we have three pages where we need to change the month and the plant of the month. And I don't know about you, but I don't want to be having to just come in here and update this in multiple places all the time. So with Text Variables, we can assign a variable to the month and the name of the plant. And then every month, we just update that variable in one place, and it will trickle through the entire document. In our case, that's only three simple pages, but you can imagine what a timesaver this is with larger documents. So our first step is going to be to define our variables. And we do that from the type menu. So we're going to choose type, Text Variables, define. So you can see there's a list of text variable presets. We're going to be choosing new. Now we need to name the variable. So this is kind of like when we named a text field back when we were creating forms. So the name for this variable is going to be month. Down here, for the type of variable that this is, we're going to choose custom text. And for our first round here, we want that text to say January. And we'll click Okay. That's it. We've defined one of our two variables. So we can see months showing up in the list here now. Next, we're going to add variable two. So we'll again click New. This one is going to be called plant species. Custom text. And the text for this first month is going to say Sania. And that is tricky to spell. So if you want to take a minute, I don't blame you. Alright, then we can click Okay. And we've now defined or set up our two variables month and plant species. So now we can just click Done. Alright, we're partway there. So now we need to tell in design where these variables need to show up. So let's switch to our type tool, and we're going to highlight the word January and we'll go back to the type menu, down to Text Variables, and now we're going to choose Insert variable, and this is where we want the month to go. So let's click month. Our first variable is in place up here, and now we're going to select our Sanseia type down here and insert our second variable. So we'll go back to the type menu, choose Text Variables, insert variable, and this time, we choose plant species. So now that we've set this up, let's go ahead and make our other two pages and then we'll see how this works. So over here in the Pages Panel, to duplicate page one, we can click and drag it down to the little Plus button, and we get an exact copy. To learn another way of doing that, let's go to page two to the thumbnail here and we'll right click and just choose duplicate spread. So now we have three pages, but right now, they're all the same. So let's go to the second page here, and we're going to choose it in the Pages panel. And now let's set this page size to the Instagram real size. So we'll go down to this little page size button, and because we've already got the set up, all we have to do is choose Insta Reel. And we instantly have a new page size. So, obviously, we need to adjust the layout a little bit. There are all kinds of fancy ways you can do this with features like liquid layout and layout adjustments. But we're just going to keep things simple because this is really simple. So we're going to drag this frame. We'll hold down Alt or option, and we can drag both ends at once. Then let's select the picture here and again, hold Alt or Option and drag until the bottom of it is halfway into the little pink Sansivia text box. And you'll notice because AutoFits enabled, it's going to adjust with us. And maybe let's make it a little taller up here. And we'll drag the January tag down, and we'll call that good. Alright? So that's our page two, our Insta reel. Now, let's jump down to page three, and we're going to go back to our little page size Dei Bob, and we're going to change that to Insta portrait. And same thing. We can click to select the Black fill, hold Alt or Option and drag it up like that and select this and enlarge that. Okay. So now that we have all of our pages built and we have defined and inserted our variables, let's now imagine that it's February, and it's time for us to update this document for our client. Do we come in here and just replace January and type February, February, February and replace Sansaa with Monstera Monstera monstera? No. We don't do that. Because we built this document with Text Variables. So we go back to the type menu and we choose Text Variables, and we define them. Again, only this time, when we select month, we choose it. Because now we don't want the month variable to say January. We want it to say February and we'll click Okay. And look at that. I already updated. Now let's go down to plant species, and again, we'll click Edit. And this time we'll type Monstera. Click Okay, and click Done. And look at that. The entire document is already updated. The only thing left to do is replace the image. And that is a piece of cake, because even though the image appears three times, it's all linked in one place. So let's go up to the Links panel, and you can see we just have one link. It just appears on three different pages. So we can select this link and we'll simply choose relink, and then we need to navigate to that folder. So again, that's the oh seven social folder. And the file that we're looking for is this one by Chris Lee at Unsplash, and then we'll click Open. And just like that, all three pages have updated. I hope you can feel InDesign power at your fingertips. 96. Saving Templates & Exporting for Social: Now that we've updated this for February, we need to save our document, and we will export it. So if we want to save this document for the month of February, we can do that. We can choose file, save as, navigate to your course files, or wherever you want to save this, I'll put it in my finished work folder here and we'll call it POTM February. There we go. So this is our February file. But sometimes what's nice is to save the InDesign file as a template file. And that way, when we reopen it later, it just opens as a fresh file. It makes a copy so that we don't accidentally save March over February. And it's really easy to set up. So we can just go to File, and this time, let's save as, and we'll simply call it POTM and for format, we'll choose InDesign template. So instead of INDD, it's going to be INDT. We'll hit Save. Now, if we close the template and open the template file. So here you can see I have my plan of the month February, and then I have the plan of the month InDesign template. So when we open the InDesign template, it opens just as we left the other one. But instead of coming in and saying plan of the month, whatever, it just opens up as untitled. So there are some cases where that can be helpful. So now that you know how templates work, let's go over how we would export this to an image format like JPEG or Ping. So we're going to choose File Export, decide where you want to save this. I'm going to put it in my finished work folder, and I'm going to create a new folder to hold the exports we're about to kick out of here. And I'm going to call it plant of the month, and then inside that folder, I'll say February. We'll hit Create. And now we can name our JPEG something sensible like February. Down here for format. Up until now, we've really just been exporting PDFs in one flavor or another. But this time, we're going to choose JPEG. Or we can also export to Ping, but I'm going to select JPEG and click Save. As we've seen, when exporting other formats, we can choose to export all of our pages or just arrange. We can choose pages or spreads, which in this case, doesn't matter because this document is not set up with facing pages. So either of these options would give us the same result. Down here under image, we can set the quality to high and the resolution, we can leave to 72 because this is just going on the web and that's what this whole document was created for. We want the color space to be RGB. We don't need to include bleeds because we're not exporting for print, and we'll click Export. InDesign does its thing, and if we go and check, here we are in my finished work folder in the plant of the month folder, and here's the folder called February and if we open it up, here are the three February file. So yes, even in a world where apps like Canva and Adobe Express exist, I think there are still huge advantages to doing work like this in design. 97. Create a Social Carousel: This out, friends. I have one more cool social media hack for you. That's really fun in InDesign, and that is to set up a Carousel post. So in the document files in that oh seven social folder, look for the file called Carousel dot NDD and open it up. Don't worry. We're not doing layout work here. This will be a quickie I promise. You'll notice if you click on this beast of a layout up here, you can see it's this big long skinny rectangle. And we've got a total of five pages here. So if you're familiar with Instagram carousels, it's a series of images that users can swipe through and view in a series. And what's fun about it is that they can be made to look like they are seamless. And it turns out that that's something in design can handle really, really well. So here, I'm just going to show you how to set it up. I've already got the layout built, so we're not going to mess with any of that. Here, because I've already done the work, it's easy. We just need to drag the pages up so they lay across here and fit under this layout. So we're sort of approaching this backwards because I've already built the layout. But once I show you how we move the pages around, you'll understand why. So what we need to do is basically get a long run of pages. And you'll notice if I take page two right now and I drag it up, well, I can't can't drag it up. And you might think, Well, just enable Facing Pages. That kind of makes sense, but even with Facing Pages, we're only able to have two pages that face each other. So the secret to making this work is actually hidden in the Pages Panel menu. So if we come up here to the Pages Panel menu, you'll notice there's an option that says, Allow document pages to shuffle. And it's kind of counterintuitive because there's a check on it right now and we can't shuffle the pages around. But for whatever reason, when we turn this option off, now we can actually shuffle the pages around, and that can actually mean taking page two and dragging it right next to page one, dragging page three right next to page two, dragging page four, right next to page three. And, of course, dragging page five next to page four. And when we do that and we press W for Wonderful mode, we get this gorgeous layout that is five pages wide. And so when we export this now by choosing File export, and we'll put it in our finished work folder. We'll make a folder called Caras Sell and we'll click Create. I'm going to export this to JPEGs and click Save. Now, here, we want to make sure we export individual pages. Because when we upload this to Instagram, we need five separate images. We want InDesign to chop up this layout and export each of the page pieces individually. We can leave everything else the same and we'll just click Export. What's fun before we take a peek at how this looks. What's fun is when you design a layout like this, you can see that I intentionally built overlapping elements. So there are pieces that cross over the little lines between each page intentionally, and it helps lead people to swipe through the whole piece. So let's go ahead and take a peek at how that looks. So here's my Carousel folder, and here are the Carousel images. How cool is that? They are ready for upload, and I don't know that the shop is going to be prepared to handle the traffic. 98. Class Project 6 - Social Campaign Template: Alright, class project number six is a social campaign template. So think about your client and their business and how you could incorporate a social template for them that they could use on an ongoing basis. So maybe that's weekly, maybe it's monthly. That will be up to you. You want to make sure you set up the document in pixels, include at least two different page sizes, and you can use whatever page size for whatever platform you prefer. Reference, I just included the ones we used in class just so you have them handy, and then make sure you include at least one text variable. So then when you are delivering this stuff here, you're going to want to save the file as an in design template file. That's an INDT. But then also you can export it as a JPEG. You want to make sure that you export at 72 pixels per inch. So because we set up our document in pixels to be a certain size in order for it to Export at that size, we have to use a setting of 72 pixels per inch. Then just upload that to the class project section, and of course, JPEGs are super easy, so share that on social media and we will cheer you on. Look at you. Project number six, you are on fire. 99. What's Next?: Friends, you did it. You made it through all eleventy Bgllian videos. And here we are at the finish line. I'm so glad that you joined me for this adventure, and I hope that you feel amazing for getting through all of that. We did a lot in this course. Remember, way back in the beginning, think back to how it felt. In that first video or when you opened InDesign for the first time. Or the first time that you used a paragraph style, right? It's amazing all the things you've learned. So what's next? Well, as I said, in the last video, this isn't the end. It's really just the beginning. And the best way to build confidence is to keep going. Keep using what you've learned. Try new projects, revisit old ones, keep refining your process. You can join user groups. You can spend time in various online forums, talk to people who do the kind of work that you're interested in doing. Browse your local bookstore. Look at all the different kinds of books and how they are laid out, right? Like, flip through the magazines. Notice what kinds of layouts catch your eye, and then think about how they were built you have the skills now to make all the things. And remember, you don't have to know everything. You just need to be curious enough to ask questions and keep digging until you find answers. The main thing is to keep learning. And to do that, you can find more courses right here in the same place where you found this one. And, hey, if you enjoyed this course, you can share the love by sharing your work. Telling your friends, leaving a review. It helps us, yes, but it also helps other people find the course so they can learn all this awesome stuff, too. And who knows? With enough interest, maybe there'll be an advanced course at some point. Stay tuned. And, of course, don't forget to check out the various, bring your own laptop challenges. You can get your certificate, take advantage of bring your own laptops, group learning options. Group bookings are available if you have others on your team who could use a refresher or if you are a teacher and you want to bring your own laptop learning into your classroom. Before I go, I want to give a shout out to the team behind the scenes who helped bring this course to life. Thank you. And a shout out to you for spending all this time with me. Thanks for being here and welcome to Team InDesign. You are officially part of the crew. So no goodbye, tears. 'cause we're all friends now. We can just have, like, a group hug, right? I hope to see you around, and until then, happy Indesigning.