Adobe InDesign for Beginners - Design a Lookbook (Complete Guide to Master InDesign, Module 2)

1. Adobe InDesign Course Overview: Hey there, I'm Dr Chad Newman. Please note that this is the second module in a series of in design courses here on skill share that I teach. Make sure you've completed the first module by designing a poster. If you're completely new to in design. In this course, we learn even more about in design by producing a look book. This series is meant to enable students to master in design from basic functions of placing and editing Texan images to advance color and printing considerations and how illustrator photo shop and in design can work together, as well as the Complete guide to Tables and in Design. We also work on projects such as a poster, a look book and Anania will report so that we have some portfolio items as well. Support files are available in the project areas of the various modules. See you in the course. Hi, my name's Chad and I'm a graphic designer in university digital media professor. In this complete in design course, I will guide you as you designed various projects in Adobe in Design, the industry standard graphic design and desktop publishing software that's used by people across the world to design and produce magazines, brochures, flyers, posters, e books, interactive, pdf's restaurant menus and more. In this course, you'll design a poster for a local business. A look book for a ski resort in an annual report for a camera company. And along the way, you learn everything there is to know about Adobe in design. The course comes of support files, so you can follow along with my examples, if you need to. Credible handouts are included, like common in design keyboard shortcuts. This course has over 13 hours of helpful video lessons, and I don't ramble or fill the course of the bunch of silence we get right into learning with no extremist drunk as far as why I'm qualified to teach this course. I've worked at various median design companies, including working as Internet development director at an award winning advertising design firm where we used in designed to produce newsletters for clients. For example, I've also worked as Web master in advertising designer at a regional newspaper where we designed ads and used seem like a plates for printing and, most recently, as managing editor of too graphic design magazines. So for the past decade, while working as a freelance graphic designer of also taught in design and graphic design as a full time university professor. In fact, these are some of the magazine layouts from students in one of my classes, magazine design and production. I love seeing what students can come up with after they master the technical skills and then apply design, principles, creativity and problem solving. And my hope is that in this online course, you will produce amazing graphic designs and layouts that you can produce for clients and for your own brand and add them to your portfolio. Teaching Adobe in design has allowed me to figure out the best teaching methods so university students are successful, and that has helped courses like this as well, because I know what areas students will have. The most questions about having full time professional experience in the graphic design and publication fields has helped me to add real world applications to these lessons. So they're not just a video version of the in design manual. For example, I explain specific uses for spot colors and branding when we go over how to add and apply various types of swatches, and in design. I explained everything you need to know about in design in this course, since this is the complete guide in design. But instead of going through every technique and tool in a list, I still go over everything. But I include them in the context of a class project. And I explained the real world professional applications. So enroll now and I'll see you in the course. Let's get started designing in adobe in design. 2. Introduction to the Lookbook Project: welcome to the next project. In this course, the next few sections will be designing and producing a 16 page look book for a fictional ski resort. Along the way you'll learn how to add and just master pages and other page techniques and considerations, such as adjusting columns. You learn all about adjusting type from formatting paragraphs and adjusting text frame attributes to threading, spanning, splitting, outlining and wrapping text. Special considerations of adding type on a path, custom tabs in a table of contents and adding special characters were also included. You'll learn how to add and apply character and paragraph styles, how to use the story editor and how to find and replace characters, fonts, misspellings and formatting. We will also add interesting effects objects and add color to our designs in a variety of ways. Finally, we will add some interactivity to our look book, including hyperlinks and interactive buttons. We will then go over printing, packaging and exporting considerations and techniques in in design for the Final Look Book project. We might not include all of the techniques that I'm including in these sections, but it is important to know those techniques. So that's why I'm including them. For example, You might not have type on a path in your final Look book project, and you might not add any special characters. But we do need to know how to do that, since this is the complete guide to in design. So I'm teaching that in the context of a project. But in the final project, we might not necessarily include every single technique we have in these sections there. Just get to know for other projects that we work on. Your example might not have interactivity. For example. You might not have hyperlinks or interactive buttons, but we'll still go over that because that is important to know when we're talking about being familiar with everything we didn't know in in design. So thanks and let's get started designing this look book. 3. Managing Pages in InDesign: Let's get started designing the look book and learning more about in design. Go ahead and go to file new document and go toe print and then click view all presets and we'll select a four. It's OK if you don't have that preset. You can type in these values for the inches. We actually need to flip it so that it's landscape orientation. So click on landscape orientation. I'm gonna set this to millimeters, so it's 297 millimeters wide by 210 millimeters tall. Make sure facing pages is checked, and for this example, we're going to do 16 pages. And for now, we'll keep columns. Set toe one margins. Default is fine. The 12.7 millimeters for this example For the bleed For this one. Let's go ahead and go to 18 for 18 points, 18 PT And then, if I tab to the next one, it should change all those to 6.35 millimeter for the bleed for all that and will leave the slug blank for this one. Once we have that a four size go ahead and click create, and if you want to change the unit of measurement upon the rulers. Just goto edit preferences and then units in increments on the PC, or click on in design in the top left hand corner and then preferences, units and increments on the Mac. And instead of millimeters. You could tripe Ikea's points. I'm gonna just set this two inches for this example and then click OK, and it's still in a four size. It's just the units of increments are different. And if you don't have this already, go ahead and go toe up the top. Advanced click reset events to reset it to the default if needed. Want to make sure we have pages panel right here, for example, in a couple other panels and then the object styles, paragraph styles, character styles and so on. So the pages panel is really useful, and we can access that by clicking it right there. Or, of course, we can go toe window and then pages. And so this is an overview of our publication Weaken Scroll and see that we have Page One is the cover and then page two and three or facing pages. So the second spread is made up of these two pages. 456789 So on, then all the way to Page 16 which is the back cover. We can also go toe layout and then pages and then add a page, insert, a page move, a page duplicate and so on. But a lot of this is available right here in the pages panel. You can click the top right hand corner there and go to insert pages. For example, move pages duplicate, delete and so on. If we want to delete pages, you can click and drag them. Teoh the trash can there, or you can just click them and click the trash can. We can also select multiple pages at once, so it would click this and then hold shift and then click this one. They're all selected, so I could click and drag it to the trash record. Click and drag it and move it around to another area of the publication. So, for example, if we had something on page eight, I just double click on Page eight here. That navigates to it. I'm just going Teoh ad something on here just to differentiate it for now. And let's just say we had a photo or a shape here. We wanted that up. Where we have Page six I would have to do is click and drag it up. And then there we go so we don't have to copy and paste content from page to page. We can actually just click and drag these pages to move them around in the publication. We can also hold control on the PC or command on the Mac to select various pages at the same time like that, and on the pages panel here at the bottom. Besides creating a new page delete page, there's also edit page size, and from there we can quickly change the sizes of pages as well. In the next lesson will be adding some master page custom is ations up at the top here. 4. Adding and Adjusting Master Pages in InDesign: when we're creating publications and in design, sometimes will want to have some kind of elements on all of the pages, or at least many pages. So instead of having to insert them one of the time of the various pages, we can use what's called master Pages. You see up on the pages panel where, says a master, go ahead and double click on that and this is the master page. So if I, for example, just click out a shape here and I had some kind of color to it, you'll see it now shows up on every single left side page in the entire document, and then the same thing. If I just all click this one with the selection tool and then now they show on the right hand side as well. So this one's not very practical, because we probably not want just some rectangle in the middle of all of the design. We could set that as the background. Of course, we could click and drag around the entire area to the bleed and make that the background on the entire lay out, and we can also, for example, at page numbers that are automatically updated, which will be doing in this lesson. So let's go ahead and add page numbers to this, a master. And so I'm going to you navigate down to the bottom here, and I'm just going to click and drag directing largest for a background. For this, something like that, I'm actually going to go all the way to the bleed in case we're printing this and the printer cuts the paper, you know, right here instead of right along the page. Border will still have for the Phil here. That's double click on that. Instead of just selecting a color from here, will be talking about color more detail later. But for now, let's actually use a swatch instead. So click the swatches panel and then up here where it says new color swatch. So click on that top right hand corner, new colors watch and then click here under seem like a and go down to Pantone seem like a coded. And for this one, Pantone P. 116-8 See, you don't have to use this specific one. I'm just showing you how to add a swatch to our library. My click add and We can select a couple other colors if we want and click add before we close this out. All right, some one click done. And I have a couple in my library and CC libraries here. So I'm not actually going to set this one here to this when we selected earlier, and I'm aligning it right along the left here, this margin and then also the bottom margin here. I want the same exact thing on the other side. So an easy way to do that since it's aligning right along this margin, I'm just going to hold all on the PC er option on the Mac, click and drag it over and hold shift to keep it level. Or we could just make sure it's along the bottom of the margin there. And then there we go. And now let's go ahead and add our page numbers. So in order at the page number, we need to select the type tool, and I don't want to just click over this cause then we'll embedded in there. I want to make it a separate text frame, so click and drag and we don't enter in the actual page number here, for example. I don't just press four for example, and then put it on top of that and then expect that toe work is now when I just go to page for sure that's paid for by then. Page six also says Page for so back on the A master what we need to do. Instead, Select that, and we need to go to type and then insert special character markers and then current page number. And there's the shortcut there. So now it's just as a and that's fine. I'm gonna make this a little bit larger in this example. Instead of the Sarah Font, I should going to use this one here so cheese, which ever found that looks good. And so we've got this one here. I'm actually going click over it and change it to you. Let's go to swatches. I must sit that paper or white, and then I'm actually going to you click and drag that over here, don't click and drag it. We're option click and drag, and then we want it perfectly centered Over this. We can just that right along the edge there and then when a select it that and then just center appear on the control panel pretty quickly. It's one way to do that and same thing that this one center that there there we go. And if we can tell these are aligned, we could pull a guide down like that and align them with each other. So just make sure it's a spread guide like that. Click this and this one slightly off. We could also use the control panel. Change the location of their but using a guide. It's pretty easy there. I'm actually hold that guide off there and see what we have to have pages so they go to page two. There's Page two, Page four. There's Page four, pay 67 89 and so on. All rights that works by press W you'll see what it looks like on our actual look book there. Once we print it now, it is really close to the edge. Ah, some people might say we need to move it up a little bit inside the margin. We could do that, but I'm actually going to create a digital interactive pdf with this, but we can also create a print version because I've added this bleeds. There's well just to show how we would print this out as well. So it really depends on where we're distributing it. Let's say we're on page one, though. The cover We don't want the page number on Page one right sometimes and magazines on pages that have advertisements. They don't home page numbers and maybe photo gallery might not. There's not always a page number on every single page. How do we get rid of that? Well, we'll go over had a mainly override master page elements, because if I just click it here, it won't let me select it right, because it's a master page element. What I need to dio is good. A page one and I can right click over it and good, uh, apply Master two pages and then go to none. And that will apply Master Page None to Page One man. Now that's that default master page up there that just has no content on it. But let's say we had a photo gallery where we did. I want a different kind of heading up the top, for example, how to do that? We'll click right here, go New Master and it could become B. That's fine. Or we can call it Photo Gallery just so we know and we can base it on specific ones. I'll just have it based on none, and then click OK, and the now shows up here be photo gallery. So on this one, if I added some elements, for example, rectangle tool and let's just say every photo gallery page. I had some kind of color, some kind of rectangle up here that had a color to go to the libraries and just just apply that one there instead of having to apply this style to, say, eight pages of a photo gallery. What we could do if we wanted to add this is go to the pages panel. Let's just say the photo gallery was 10 through 15. We could just click and then click. And then another way. Besides right clicking, we can also up at the top right hand corner. Click that and go apply Master two pages and then it says 10 to 15. That's the range we want to apply it to, and then be photo gallery click OK, so we can have multiple master pages. Page one. We have none. Master page, The other pages we have the A master master page, and then these would be photo galley. They don't have page numbers. Gonna undo that by pressing control Z on the peace. Your commands on the Mac just want to show you how to add multiple master pages. So we should have the page numbers on all the pages by default except Page one, which is the cover and also page 16. We don't need a number on that is that will be the back cover. So another way is click and drag this none down to page 16. That's 1/3 way to apply a master page to a pager spread. So I'm gonna click that click and drag that ever and that applies it. So that's the quickest way to apply a master page styling to a specific page or spread. Now, how do we select Master page elements? Let's say on this example we wanted to change the color of that background for some reason . Let's say it didn't match really the layout of a feature story or a photo gallery or whatever. We can't select it right. It's a masterpiece. Gentleman and we're on a regular spread. We actually can, though, but we have to hold certain keys down its control shift on the PC or command shift on the Mac and then click. And then that lets us select something. So now I can change this color if I want to something else. Because I added, these two are swatches. They're not showing up here, but the top I'll change to that and you'll notice, is actually covering up the page number now. So if I press control shift left bracket, that'll send it to back. So it's behind that page number. That's how we override Master Page elements on specific pages. If we need to. We just control shift or command shift. Click them and then we can move them around or adjust them. Now, what if we don't want to do that? What if we change it by accident or we change? It were like, You know what we need. Actually that to be consistent, we can click in the top right hand corner, the pages panel. I will bring this over so we can see it better like that there and then navigate down toe master pages and then go to remove all local overrides. So right here, remove all local overrides. I click that now. We don't have that override for that page. So that's how we add master pages. We will be revisiting this toe. Add a couple more elements to master pages in this course, but I want to give a brief overview and go ahead and add the page numbers for the look book . Weaken. Delete the second master page by just clicking it in the trash can because for now, we just need the nun and then a master that has the page numbers on it. Thanks, and I'll see in the next lesson. 5. Variable Paper Size in Documents in InDesign: all of our pages of the same size by default, of course, but we can actually resize specific pages, even in the same file. Now. When would we want to do that? Will brochures that air trifle, brochures that fold over and maybe we need to make the left and right hand side pages? Ah, little bit smaller, so folds more easily. So those pages on the front and the back, the very first and last pages can be made smaller. Or maybe we want to make pages larger. For example, some magazines, special issues have a little fold out ad or just a foldout information here. And it's just a litte bit larger than the printer custom Prince it where this first pages cover is longer than the rest and just folds in. So how do we change page sizes? Well, we can go to the page tool right here, and then we can type in with this page selected page one. We can type in specific dimensions, and we can also get a custom and go just say, for example, tabloid and you'll see that's a little bit longer than that one. So I'll just make that even longer there so we can see the difference. So that's example. If it folded in, that's one way to resize it. If we have objects, move with Page. It will try to move the objects with them. Just make sure it doesn't mess up the layout. If we already have some elements placed in, they're going to press control. Z Control Z to undo that. So we're back to the default size. Another way to resize this is to use the page tool still. But instead of using the control panel appear, we can actually click and drag. Now if I just click and drag, it won't resize it. It just previews. It'll tell us in this tool tip, it previews the liquid lamp behaviors. But for this purpose, we just need to resize that we don't need a preview what it will look like who don't have any photos placed on there yet. So hold all on the PC or option on the Mac and then click and drag. And then we can manually resize a page, and then it will tell us specifically how long it is there after re sizing it. So that's how we re size pages in in design. Thanks. And I'll see in the next lesson 6. Adjusting Columns in InDesign: before we start placing and threatening text. When you need to set up some columns here and in the new document dialog box, we can Adam there, but we can also add them after the fact. So this is going to be our cover, and then this will be a table content. So let's move to Page four and five that spread and let's go ahead and select that in the pages panel, you can click one and then hold, shift and click the other so we can select both of those and then up to the top Good a layout and then margins and columns and from here licious ad. So there are four columns, and if we have a preview checked, we can see what it will look like. And a gutter have 40.1667 inches is fine, and we don't have any elements in there. So enable layout adjustment isn't really relevant. Because if we had some photos in there and they moved around with different columns, then we might need to worry about enabling layout adjustment. What that means is, if you have some threaded text in there and some photos and you change it from, say, 3 to 4 columns is the place text then going to react and go through those new columns or stay the same. So will the layout be adjusted with the new columns? So go ahead and press OK. And now we have some columns to place our text. What if we wanted columns in all of our spreads here? The entire document. We could add that to our master pages so we could add new master pages again. If we go to appear, click that in the new Master or we could add it to our default master page here the spread for a master. So the same thing. If I just select both of these and go toe layout margins and columns and if I added them there and click OK, and then now we can see Page 4567 And someone I'm going to press control Z on the peace here, commanding on the Mac to undo that just so that we only have them for now on page four and five. Thanks. And I'll see in the next lesson 7. Placing and Threading Text in InDesign: All right. Now we need to start placing some tech, so I'm gonna close the pages panel there. For now, I'm gonna zoom in control or command Plus on the keyboard. And in the previous poster project, we did play some text, but we'll go into a lot more detail in this project. So let's go to file, place and navigate to the Look Book folder in the support files and go to Text and Click Winner Crest Ski Resort and Click Open. And this is just a fictional ski resort I've made up. I've snowboarded in Wintergreen, Virginia, and also Crested Butte, Colorado. So I kind of combined those two and just made up winner Crest Ski Resort for this course. So again, it does show the beginning of this text, and if we just click and drag, it will place it. I'm gonna press control or command Z to undo that, though, because I want to show you using columns with this. So I just clicking, let go. It'll place that text, but we have what's called over set texts. What that means is there's more text to be placed here. If I click and drag down, we can see it. And so we need to either make this text frame larger or flow this text somewhere else, which is called threading. And down there it says one air. So if I double click on that, it will tell me. Well, we've got over set text and we can click here, and it would navigate to Page four where we already are. So let's go ahead and flow. The rest of this text is called Threading. Some gonna click that Redd plus sign and then click and drag down on this one. I'm gonna make it aligned so it snaps into place right along this column. If yours is not doing that, just go to view and then gritting guides and then make sure snap two guides is checked. You can also unlock column guides there. If I click that, I can actually move column guys. That's how we do that. But I want these to be consistent, so I'm actually going to go back there and click lock column guides. Let's continue to place this in, by the way, I repeat, some of this text were not really placing an actual article. Largest type some text in So we have four columns now knows they're not aligned at the bottom or the top. So one way to do that is hover over the ruler at the top and click and drag down. If you don't have the rulers again in good of You and then show rulers and so these are aligned. Looks like their line at the top here is confirming that another way. The line is we could just click and drag like this. Top line here, me zoom in here and show you what I mean. So that's right along the bottom, all that text. So the top is a line. But there's some innate formatting here from word that we don't really need and will be going over. How to you adjust that there's a little bit of space in between the paragraphs. For example, we really want to control all of that and in design, so we will be adjusting. This text aligns at the bottom as well, but for now we know it aligns at the top, and that's fine. We'll notice we have some space here that could be filled with the article if we wanted, so we could actually click and drag these down and these frames x similar to other types of frames and that we can click and drag a corner and we can click and drag aside to resize it . For example, click and drag the top there, click and drag corner and so on. So if you want to select all these at the same time and resize them, if I click and drag like that and then click, it just moves it right. That's not what we want. We actually want to make sure to click and drag right in the middle here, where that little box is that square click and drag that up. Then we can see how tall these columns should be if we want them to be aligned here and consistent looks pretty good so far. We'll fix this with the formatting, but that's our tech. So the text comes in here, sets input and then the output. Here, this goes from here, over to here. So what's neat about this is that could move these wherever, say, we had a different kind of layout and I click Enter it moves it all down, so it's not like these air separate unlinked text frames. They are threaded together. So it's really convenient An editorial design when we're inserting text, changing the text formatting, making it larger, and then it pushes the rest the text down instead of just not showing up at the bottom there, so that click here and click this arrow. I could actually replace this column here. So if I click that and click and drag something like that, you'll see it actually brought this back over toe the third column because I made the second column larger. Gonna undo that. So I made it smaller like that. Now it goes from here to here to here to here to here. So then we have five text frames, some of that press escape, so we don't re thread that. We want to see where our text threads are. If we weren't sure, we could go to view and then extras and then show text threads. So if I click that now it makes it obvious, then this won't turn out. Obviously, just like the margins and the columns won't print out, either. It's just to show us where Texas going, and this would be helpful if we had a more nontraditional layout, the head less alignment. And it should be obvious to the reader, though, where to read next. So if it's so difficult to know where the rest of the text goes, I would say work on the design. They're so that it's obvious where the rear should look next in terms of the flow of the article. But this is helpful just to make sure where the text is threading. So I'm gonna turn that off because I don't really need that in this example. Hide text threads. That's just one way to place an article. We'll be going over more advanced features. But by the way, if you ever are placing some text in or you need some texts to be part of just an idea of layout that you're creating, you can click and drag a text frame out and then go to type and then fill with placeholder text. And that won't add some Latin eight text just to fill the space. To give an idea of what the design looks like. Glenn and save changes by going to file and then save, and the next lecture will be going over formatting paragraphs 8. Formatting Paragraphs in InDesign: All right, let's start formatting these paragraphs. If I just click anywhere with the type tool in a paragraph and make sure that paragraph icon appear for a paragraph, formatting controls is selected. Then I can adjust the entire paragraph with one click. So if I click right here, says Online, Center, a line right, full justify. So this is different from character formatting where if I, for example, change something, it's not going to change anything other than that one space where the cursor is. I have to actually highlight text for. So if I highlight part of this paragraph and then change it, then it will change just that highlighted text. So I'm going to go back to the paragraph formatting controls and instead of just doing one paragraph we can do to paragraph. So if I click and drag over all of it and then change it and I can also double click, triple click, quadruple click and then click five times in a row. 12345 to select everything in that text frame. Or I can also press control a on the PC or command down the Mac. That's what I like to do to quickly select all the text, and there are some other options up here on the control panel, for example, we could, in dent some of the text from the left hand side. We could end in it from the right hand side, and you'll notice that changes everything we have selected their I'm going to press control Z a couple times to undo that. If we full justify the text, that's this one right here. That can be pretty helpful in terms of alignment, because instead of being aligned to the left and right, ragged or right, aligned and then left ragged, it's just a line on both sides. Except the last line on this one at least, is left aligned. The problem is when we make columns too skinny, for example, if there's something like that, it still looks pretty good. But right here, where we've got too much space in some of these lines and then some lines, the text might be a little bit too squished. So as long as the columns air reasonably wide full, just if I can work fine. Otherwise, we have need toe, adjust the tracking, perhaps which will cover in the next video. Now you'll notice we have some space between these paragraphs that's already in the formatting from being placed in from word. So I'm going to press control a on the PC or commanding on the Mac and up here it says 0.1111 inches. Let's go and make that zero. What that is is it's space after paragraph. There's also space before so we could adjust either those if we wanted some space in between. And right now we can see there's no indent and there's no spacing in between. So all the text runs together and we don't want that. We want it to be evident and obvious where a new paragraph begins. For better readability, we either need to indent the first line or at a space in between. So if we add a space in between, we can adjust it there. And if we want to invent the first line of every paragraph, that's right here. It's right below the left and Dent. There's first line indent, so let's just say one p one pica and that's 10.1667 inches. We could also say 10 PT for 10 points or 12 points. It will convert it to our default unit of measurement there. So if I type in one P for one pica, it'll convert 2.1667 inches. And that's fine for this example. Now it's obvious to the readers where the new paragraphs begin, so these options are also on the paragraph panel. Instead of using the control panel of these air shortcuts, we could also get a window and then type in tables and then paragraph. The icons are the same and notice that we have hyphenate checked. And it's also up there. If we uncheck that it will not hyphenate anywhere in the text So normally and body copy and a lot of text like this, we do want it hyphenated. But in larger text, for example, headlines where the fun is a lot larger. Sometimes we don't want that hyphenated or a pull quote or pull out quote where we have larger text on the page. We can then uncheck hyphenate within, all selected. If we don't want hyphenation that some basic paragraph formatting I'll see in the next lesson 9. Character Formatting in InDesign: Now, instead of the paragraph formatting controls right here, let's go ahead and click on character formatting controls. And we have some of the options we've been using for that this course so far, such as font size, letting font styling and the fun. Over here we have what's called Kern Ing, and tracking and tracking is used. For example. Let's say we have one word on the line right here, and we want to bring that back up to the line above it. We could select a few lines like this and adjust the tracking right here. Just click down and it will adjust the spacing between all of the letters that we have selected here. And we did that to Negative 20 and that makes it so. Shop comes back up onto you, the line above it, and we just want to make sure it's still readable. There's enough spacing in between so it doesn't look to squish there. So I'm gonna undo that just to show you that technique Now the opposite. That is when we would want to add more space. So, for example, if I click this and do plus, say, 25 really stretches it out, right? So the most helpful effects here in editorial design are just They're subtle effects, you know. Negative 10 negative 15 plus 10 plus 15 slightly adjusting the text so we can fit a word. Back up with the other words, for example, or the spacing just needs to be a little bit wider or shorter. Now, Kern ing is the spacing on Lee between two letters. So let's go ahead and click and drag with the type tool here and add a title Winter Crest Press Control A on the PC or commanding on the Mac. And I'm just going to make this say, Go ahead, make it to line someone a click and drag with this selection tool. And let's bring this down a little bit. And I think this text years a little too close to that page number from a click and drag around all of this. Bring it up a little bit like that, press W to preview this all right, and this letting is a little bit much, and we also need to fill in the space so we could tight mawr content or adjust it like so we could have something like this. So what? This we're gonna have to make it a little bit bigger. So let's try 72. That's too much. That looks like 68 points. Works well with this. Somebody click and drag the bottom rung there. And let's say in this example, we thought this X is too close to the tea is just almost touching, right? We'll just click in there so that the cursor is blinking on Lee between those two letters and up here where, says Kern ing and click down. And it will make it smaller and then click up and it will increase it. So I think plus 10 gives it a little bit more space. If you click of a down era, there's optical and metrics. So optical just looks at the shape of each character and tries to fix the spacing. If it thinks that there is some inconsistency or the space and could improve and the metrics use just the font spacing. That's part of the fun itself. It's built in, so optical doesn't work with all funds but does work with this one. So I'm just going to click and drag all of it here and go toe optical and you can see it adjusts it. Then I can go to metrics, and it's just using the specific rule for the spacing so it can help us out. If we think it looks better, we can just go to optical and we can see each one was adjusted. Negative 22 negative one negative. 27th in the optical one takes into consider aeration what it looks like. So what is the shape of each letter, and how does it correspond to the one next to it? For example, it's gonna hear Negative 35. If we go to metrics and I just go to zero. See, it's a little bit farther away, and I can change it back to Optical. We'll make it negative. 35 on its own. And even if we do use Optical, we want to go through there and make sure the spacing all looks right. And while we're here, this title, I think it's a little bit far away from each other as farce proximity goes, we want related things together. We don't want it so close that it's running into each other or to close, but I think we could address the spacing here. So I'm going Teoh from the guides back on here by pressing W just click and drag around both of these and the leading instead of 81.6, which is the default for the 68 point size. Let's go, Teoh stressed, 72. We don't want it to close. Something like that, I think, works up at the top. There are also a couple other options, like sharing and skewing text so it can kind of make it look like it's in motion and some lines over here. So if you wanted something that looks like it's moving, it's not really a tallix, though it's just sharing. So if we wanted a tallix, we could select it and goto italics. There's also horizontal scale and vertical scale, so that'll just distort the text. To be honest, we don't really want to do that. See, it starts to destroy. It doesn't look, is professional. And, of course, the baseline shift we covered earlier. We don't really need it. Adjust the based on shift in any of these letters and we can underline elements is well up here. But instead of just clicking, we can also hold all on the peace here. Option on the Mac and click that, and it brings up underlined options. This is also on the control panel. Let me bring this over so you can see if you click right here and then underline. Options are right there. It's the same menu, but the shortcut is just old or option. Click the Underline. So if we toggle the underlying on there instead of just having a default one, we can have a stylized one click preview to see what I'll look like. And the offset is how close it is to the text that it's paired with, and you can even change the color. It's a lot of different options there. Click OK, just to show you what it looks like. So I'm gonna undo that. But that's just customizing underlying effect so it could be helpful. Another method we want to add, sometimes to editorial designs is a drop cap. So right here we don't want this in Dent. So with this cursor just blinking there, I'm going to go to the paragraph formatting controls again and this first line in debt. I'm gonna set that to zero press enter, and now we don't have any indent for the very first sentence. The first paragraph and what we can do while we're in paragraph form running controls is right here where it says drop cap, number of lines and then drop cap. One of more characters. If I click up on that because the one and then click right here on the 1st 1 and go to 234 five. Part of design is grabbing attention, leading the reader's eyes through the page, and if we make a drop cap design here, then it kind of grabs our attention from the title, some photos and then the beginning of the story to start reading it. So the four refers to how many lines the drop cap goes down, and then one refers to how many letters is included in the drop cap. So if I click that you can increase it, which it won't work on this going above problem, just one. If we had a wider if we had a wider column or a shorter word, we could have the entire word be a drop camp. But for this will just have the first letter B a drop cap. We can also adjust the current ing on this. So if I click right there and go back to the character for running controls and we can make it closer or further away. But I think the default is fine for this example, So thanks. And I'll see you in the next lesson. 10. Adjusting Text Frame Attributes in InDesign: we've won over one way to place on article or some kind of grouping of text into a publication. Let's go over another way to actually create columns Magoo up to advanced and then reset event. So we have our default panels over here and have pages right there. Someone to navigate. This is going to be a look book so we don't want too much text. We're gonna have a lot of photos and whatnot, but I'm gonna navigate to eight and nine. Double click there to navigate two pages. 89 here and let's go to file place. Let's place the same article from earlier in the in design support files Look, book text winner Chris Ski Resort, Click open. And instead of using columns, I'm just going to click and drag this story out like that. And then there's the entire story. Now we can actually add columns a different way instead of just placing them along. Ah column guide. We can go toe object and then text frame options here. And there are a couple options, for example, where it says columns number. That doesn't mean column guides on the pages. Actually just columns in this text frame. It's just bring that up 24 as well, and the gutter is just a spacing in between columns, and that's fine. We can also tell it to line to the top, which is the default or the Middle Cook preview to show it will look like or we can lend it to the bottom as well. So top is the default brings back toe one column. So show you what I mean instead of top their center and then bottom and then justify kind of stretches it out vertically instead of horizontally. So let's make this four columns. We can also add inset spacing. What that means is, if I click up, you'll see there. We have a little bit of spacing from the edge like that, and we can, of course, uncheck this. If we want to adjust Onley certain parts of that spacing, for example, the left and the right we could adjust or keep them all consistent, so that keeps the gutter the same in the middle there. But it adds a little bit of spacing around the edges. If we go up two columns or says fixed number and just click fix with we can adjust some settings for the wit. For example, if I just set that to two inches and click OK, and if I click and drag, it won't let me stretch those columns. That just adds more columns, Right? So another way to bring up that text frames option is to right click on it somewhere. I got a text frame options. You can also said it too flexible with. And then we have a range. So if I increase this a bit, let's just say two inches, 23 inches. That's the range for this. So if I click and drag up the top, if we have our window maximized enough, we have some of these same options. Here you see the number of columns right there for and the with of the gutter in between the columns. Then we have unbalance columns or balanced. If I click balance, you see a transit line it, and there's also leading to the top line to the center. So if I balanced it in the light into the center, pretty good job of aligning it and vertically justifies just tries to fill up that space. So there's some of the same options from earlier, so the default is aligned to the top. You can also click fit frame to content here, just like we could fit Frame Teoh a photo earlier in the course. If I click that, it'll actually resize this overall frame, click and go back to the text room options again. We don't need a just the baseline options in this example. And what if we want to add text to this text frame? But we keep getting the oversight text air because there's not any more room in there. We can actually fix that automatically without having to thread the text into another text frame or re sizing it manually like that. We can actually just go back to the text frame options and then go to auto size. And right here we can set it so that this text frame will actually get taller as we type and add more content or red in line images, for example, or it can get wider or can get taller and wider, and it can also get taller and wider, but keep the same with toe height proportions, so I'll show you the height only, for example, if I click. OK, there And then let's just say I add some text right here. Press enter in as I press enter. See, the text room actually gets taller so it doesn't have the air of the bottom. Where has over set text? So that's for if we have text still place in do a text frame and we don't wanna have to keep re sizing it manually, we can have it resize automatically with the auto size option in the text frame options. We can, of course, at a background color to this. I just added something like that. Ideally, we add shapes behind a text frame instead of just embedding it into the text room itself. But this actually has so spacing around it because we added that in the text frame options coming. Undo that. But just to show how we can add color quickly to a text frame background if we added color to these, though, it is right along the edge. So that's not best practices as far as the color being right on the edge. There we would want to actually draw a shape like a rectangle behind it if we wanted to add some kind of background color. One more tip when we're replacing text. If you go to file place and then select the story here and normally if I just click into a column here or a frame, it will only flow in that column or whatever shape we've clicked on. What if we wanted it to flow throughout these four columns, though Well, we can hold shift, and then it changes the cursor. There we can see. I click and let go. And now what will keep threading? So if we have, for example, a word document that had 25 pages, we can hold shift and click, and it will thread through 25 pages. All right, in the next lesson will go over spanning and splitting text to further customize our text frames. 11. Spanning and Splitting Text in InDesign: Let's go over spanning and splitting text. This can be very useful when we want a headline embedded in a text frame, or we want to kind of have a mini set of columns inside. Another column. It's not quite a column were actually splitting the column, but I'll show you what I mean. Let's go out and go to page 12 and 13. Just work on that. Those pages handless gonna file place. Well, it's like this article again, and I'm just going to click and drag this out like so. And I need this to be two column so we're going to go back to the text frame options. So right click text frame options. And then let's set this to to columns and the gutter in between. Let's increase that a little bit for this example and click, OK, and so we've got two column story here Now. The problem is, though, we want that title up at the top. So I'm going. Actually, zoom in here controller coming in. Plus, we're gonna type of title pretty quickly right here. So I typed in snow skiing lessons now available. Let's make it a little bit larger here so looks more like a title. The problem is, it's Onley In one column here it is in this text frame, but it's only on the left hand side. That's what. If we wanted this to go across both of these columns, well, what Weaken Dio is up on the control panel. Click on the paragraph mood and we don't have the option up here because my window is a little bit smaller on this recording screen area. So I'm going to click and drag this out here so we can see right up here, which says none. Click on that and go to span to now. It spans across two columns. You can also get to this many if you click up here right there and then go to Span columns and they're a couple more options. They're actually so space before span space after span. So if I click that click preview, it will give us a little bit of more spacing. Blow it, click OK, and then bring that back over here. That's how we spanned columns. The other alternative is to do what we did earlier is just create a new text frame and put it above the story, and that's fine. But this is useful because we can actually move this around without having a group at first . Now. Span columns does not work when we have separate text frames. For example, if I went to the first area that we placed text in, I could not spanned columns here. These air four different text frames. They're all threaded together where it has the same story in there. But I can't just span columns there like I can right here, because this is just one text frame now the opposite of span and columns, where we expand some text from one column and just have it go across. A number of columns is splitting columns. Let's say we have a list here of things you can purchase or rent from the resort. So have maps, snowboards, skis, protective gear, goggles and then we appear, have inner tubes. And let's just make this click on that. Just use shift in the arrows on the keyboard and let's just make this a numbered bullet point. So it goes. 12345 and then way appear six, and I don't want to remove any of this text here to pull that six from up there down here, we could adjust the text frame, height and all that. But what if we wanted to fill up the space right here, though? Well, that's why we would split column so we could use the same menu from earlier right here upon the control panel instead of span. All when you go down and where it says split to split three split for just click split two . And then we'll have to kind of columns inside this column. And the other option, of course, is to click here and go to span columns and then go to split column. And there we have a couple more options, like the inside gutter. That's a spacing in between and then outside as well. So I have preview checked on. And so if we gotta split column and then inside getter make that smaller, see how it gets a little bit less space there so I can increase that if increased this outside gutter that just brings this one over gives it a little bit more space here and there as well. So if I really increase that, you'll see this gets pushed over as well. That's how we split columns. We have some river set text here, but I'm just using this as an example. Of course, we have one text frame and said, placing a story in the multiple text frames. We can just place it in one and then add columns at a title by spanning columns and then adding sort of many columns here inside another column by splitting columns. Thanks, and I'll see in the next lesson. 12. Adding and Adjusting Text Wraps in InDesign: What if we have a photo or a shape and we want text in a story to wrap around it? That's easy to do and in design will at a tech strap. So goto file place and in look, but go to photos and then select one of these photos. Click open, and I'm just going to click and drag so we just place it somewhere over here where we can adjust it later. I'm going to set this sorts the width of two columns here. Control shift clicking, Greg Decide. Or we could use the transform tool so it's right here, but it's covering up the text. It's arranged on the top because it's the most recent object we've placed, and it's covering up the text. That's not what we want. In order at a texture, we want to make sure whatever photo or illustration or shape we want text to wrap around is selected. So this photo was selected. So let's go to window and then text rap, and the first option is the default, which means no tech trap. So if we ever have a textract, we want to remove it. We can just click that the 2nd 1 is wrapped around the bounding box, and we can see now this text wraps around the bounding box. So if I click and drag the edge of the bounding box, it will adjust accordingly. So it's not wrapping just around this photo. It's wrapping around the bounding box that it's in, so I could add a little bit of space on the edge, put this in the middle control click and drag to make a little bit smaller here, and then it wraps around it nicely. But we don't have to add the spacing like that. We can actually have the frame right along the edge of the photo, like the default, like when we first place it, and we can just increase the spacing around it. Using these options here. These are all set to be the same with this collect. So if I click this up, it will see it adds the spacing around it. So as far as proximity and effective spacing, we went a little bit of space between this photo and the text. We don't want flush right next to it. Now, what we don't want to dio is have something like this happened where we have one word or less on just one line. That's not readable. So what we could do is just clicking. Drag this over So it's right flush with the edge like that. We could bring this down and so on. If we want just one side toe, have a different padding there, we can uncheck this chain link and then adjust accordingly. For example, I could bring this one over or adjust it like So now this third option here wrap text around objects, shape what that means is instead of the bounding box. And if it's right along the side of the elements such as the photo anyway, it's gonna have the same effect. It actually wraps around the object itself. So I'll show you what I mean by click and drag this photo inside the bounding box over here . You'll notice, even though the bounding boxes right here, this blue line, we have the techs wraps around the photo. So if I move that around and bring that bounding box out, it doesn't matter. It will only wrap around this photo that we could set this down here where we have contour options. We could set it Teoh graphic frame, and then it would actually wraparound the frame that we have there. If we set to detect edges. That's if we had a photo where there was an obvious edge and it would try to detect it. And there are a couple other options and they're like Alfa Channel. I'm gonna place another image here from other projects to show what that does. So go to file place and then in the poster support files and our photos. Let's place this coffee dot psd unless just select show import options. And let's just uncheck this background layer so we only have background copy, click OK and what click and drag. And so if I added texture up to this one with this third option by default is both right and left sides, and same is clipping. And so if I go to, for example, detect edges, see how it detects the edge of this Because we have a partially transparent PST file and this is transparent. It's wrapping perfectly around that shape there, so if I increase that, it will give it a little bit of breathing room. So besides, detectives is we can also go toe Alfa Channel, and for this purpose, it's pretty much the same effect. It's because it's transparent. So there are a couple options there, such as detect edges or Alfa Channel, when we place in a PSD file or a partially transparent image. And we want text a wraparound, not the bounding box or square or rectangular shaped photo, but a uniquely shaped photo that has a transparent background like that. We can also wrap text around shapes. So if I, for example, draw out a circle, just hold shift or perfect circle here, and I'll just set the Phil to you. Some kind of swatch here just said it to that. And if I click and drag it over here and then I add aid Tech trap to this, this right here, wrap around bounding box. If I click and drag, you'll notice it wraps around that box. If I click this 3rd 1 rapper, an image just like it wrapped around the photo itself. This rapture and I'm just the shape. So that's another way to wrap text around elements. We can also go to file place and, of course, selected photo. Let's say this one here and then click open. And I'm just going to click right on top of this shape here. And if I click and drag, it's over here. It's still wraps around, even though we have a photo in there as well, but increase the space in there just a little bit too much. Press w See how this is looking so far to show these techniques in the context of creating actual project. So thanks, and I'll see in the next lesson. 13. Type on a Path in InDesign: one of the fund features of in design as well as illustrator is type on a path tool. So let's go ahead and navigate to page six and seven and let's draw a shape. So let's use the pen, tool, click, click and drag, click and drag. So we've got kind of a wave form going here Now, if we select the type tool, click and hold onto it and then go to the type on a path tool, we can hover over the shapewear adds little plus sign. So if I click that and then I can type in text snowboarding season is here. All right, I'm gonna press control A like normal to select all of that. And then I'm gonna go up to the character four men and controls and increased this a bit so we can see it, and I misspelled snowboarding. There we go. And what's neat about this is we can adjust it after the fact. So if you want more of a curve going on here, we can select this direct selection tool going to zoom in. There we go. So I'm clicking and dragging this anchor point, and I can change the curve of it. And we can also and anchor points if we wanted to and click this pen tool and select Add Anchor Point tool, and you could click that we can click and drag that one I just to individually and so on. So the idea is we would be matching this to some kind of theme like a hill. So that's type on a path. We can really customize how text flows on a page when we add, for example, interesting headlines or stand alone text designs. We can also use shape, so not just custom shapes with the pen tool. But if I click and hold on to the lips tool and then click and drag over here, hold shift for a perfect circle. Then, if they use the type of a path tool, hover over Colorado powder at Winter Crest Resort, I'm gonna select that. Make a little bit larger so we can see it here. And so by default, it starts off wherever we clicked. Someone click this with the white Aero there, the dreck selection tool. I can adjust where that begins, though, so that instead of clicking and dragging these points and the paths like normal. What we can do hover over here and there's a little added error there. So if I click and drag one of these over that way, click and drag this one over that way. This is the beginning of our text, and then this. If if we click and drank that back, it's going to have oversight text. So we want that to be over here, but I can adjust it so that we can really customize where this text is now if we want to do really advanced illustrations with Custom Texas. Better to do that in Adobe Illustrator. But as we can see, there are a lot of fun effects. Weaken do an adobe in design as well. Let's go ahead and go to type and then type on a path and then options. And from here they're a couple specific custom is ations weaken dio. So if I click that for flipping it, it'll actually put on the inside. So if I did that, then we could just click and write this back a little bit and have it on the inside, so I'm gonna undo that. We can also delete the type from the path. Or instead of rainbow, we could do skew, which adds a little bit more of a three D effect and then three d ribbon stair step, where it basically stays vertically oriented, regardless of where it is. And they would probably work better if we had fewer letters there so they weren't running into each other. And if we get a gravity, it's basically the same as Rainbow. The default for this example, cause we're on ah, perfect circle. We can align it that baseline or inside with a sender and then outside a bit with D center than centers right along that, So I'll click. Cancel over this other example here if I select that and then type type on a path options instead of rainbow. If you do gravity, see, that's a little bit different, so it is different on that one. It's not different on this one because it's a perfect circle, so that's type on a path. It's pretty fun technique 14. Inserting Special Characters in InDesign: Sometimes we need to insert special characters or other characters that are not part of a normal typing process. In a fund, for example, it's just a winner. Crest was trademark, and we wanted to add in there normally would not add it in a title like this, it could just be in a logo or in an advertisement, we would have the trademark. But just for this example, how do we add a trademark symbol? What we can actually go to type? And then there's insert special character. And then when we do master pages with page numbers, that's where we have current page number. But there are also symbols up here, so we go to symbols and there's trademark symbol, cooperate symbol and so on. So if I go to trademark symbol, it'll actually inserted in there. So it's a teen em at a superscript style, but it's an actual character, so it's not typed separately. T and M. It's acting as one character, so I can select it, and this one I could adjust as needed. I could make it smaller. Then I would need toe adjust the baseline. Of course I'm gonna delete that. So there are many other examples of symbols we can adhere, and they're also hyphens and dashes. So if you have two hyphens and what you mean to put there's an em dash, that's where we could insert it. There I go to some paragraph text to show you what it means. Let's just say right here We had two hyphens, some of that type that in there, and what we really need is em dash. So instead of that, we can actually go to type, insert special character hyphens and dashes em dash and what I like to do. There's a shortcut there, and I know word. For example, if you have auto correct set on, if we do two hyphens and then a word and then press space here, it actually converted to an em dash button in design. There's the shortcut keyboard shortcut. If we go to type, insert special character em dash. There it is all shift hyphen, or you can copy and paste it so control, see or command see on the Mac and then control V or Command V to paste it. And besides special characters, there are also a couple other options in their related to spacing. So instead of using Koerting to adjust the spacing in between two characters, we can go to type. And then instead of insert special character, we're gonna insert white space. And there are a couple options there. Besides M Space and Space, we get hair space six space, thin space, quarter space, third space. But you can't see all those because of the screen. But just go to type. Insert white space, and they're a bunch of examples there of just custom spaces. Just add a little bit of space between two characters. There are a couple other options under insert break character like paragraph return, but we could just press enter or return on the keyboard for that. But there are a couple other options, like Page Break, and besides the symbols and special characters in this menu, we can also insert what are called Cliffs. So say we had some text here that said Cafe, and we need to haven't accented either. We could do that by going toe window type and tables, and then glyphs and weaken set the font that we want to be pulling a glitch from right here , and we can zoom in right there and we can zoom out just to be able to see more of them or see them more closely. And for this we could scroll down or I can just click, appear press E, and it will search all those. And this is the one I want here. I'm going to double click it, and it inserts it in. So I just need a copy and paste it over here. And there we go. That's the special character, and it's part of this font part of Ariel, and they're a couple ones, like Web dings, for example, that are basically graphics. There's still a fun, but their pictures, different symbols, and you can see it ahead of time so you don't have to guess by typing on the keyboard. We can see the characters here, so every single font it has the default never go to Georgia, for example. It has the normal default characters as well as the specialized character, so those aarggh lifts. It can be helpful when we have a word where we need to add those added embellishments to certain letters or just inserting special characters such as trademark or a custom space. Thanks 15. Paragraph Shading for Background Color in InDesign: If we wanted to add a background to a paragraph, for example, this page here we could select the rectangle tool and then just click and drag somewhere and then changed the Phil. Let's go to swatches, select one of those, and then I need to bring it to the back. So control shift left bracket and we don't want it right on the edge like that. You just bring it off the edge a little bit like so if we wanted to highlight one paragraph , for example Now the problem, though, is if we have this texture and we just press enter, it does not stay with the text. So if we want to add a backgrounds entire page, of course we would draw the shape around the entire page area. We can also adjust the fill of this specific text frame, although then the text is going to be right along the edge there. Better to add a separate shape and just said it behind it. But there's actually way to Shada paragraph, where we add a background that will stay with that text upon the control panel. If you click right here in the top right hand, corner and go to paragraph shading that will bring up these options. Here we in click shading on and adjust the different presets. If I click preview, it now will shave this entire paragraph where we had the cursor blinking. So if I increase the offset, it will increase off the edge a little bit. That's uncheck this and not do that on along the bottom. But along the sides we can add that color so we can customize how far it goes out as far as the offset goes and we can even change the tent, so make it more of a subtle effect. So I'm going to go ahead and press OK. And the cool thing is, if we press enter, it will stay with our text here now. It's also lined at the top there. So if we did this in the middle example, let's add to this paragraph here. Let's go back, Teoh paragraph shading. And for this one it's selected, so it looks a little bit different. It's gotten press OK, and now if I press enter as we can see, it stays with that paragraph, so I'm going to undo that effect with the second paragraph and just keep this one. So highlights it. Just as an example. That's just another way to add a background color to paragraph without having to create a new rectangle or adjusting the fill of the text frame itself. And the cool thing is that it moves along with the text Thanks. 16. Paragraph Borders in InDesign: in the 2018 update Teoh Adobe Creative Cloud in design, they added Paragraph, borders, and so we have paragraph shading that we just went over. But they also have paragraph borders, and that could be useful because the border moves with the text instead of it being a separate shape. However, there are some limitations to it, and I'll show you what I mean. So here's the paragraph panel. Remember that's window type and tables paragraph, and we can click this top right hand corner and go to paragraph, borders and shading. Or we can click somewhere here in the text frame and click the top right hand corner of the control panel here, and we can go to paragraph borders and shading there, and it doesn't matter if we have the paragraph or the character, Mode said. Either way, we can click this top right hand corner. Same option paragraph borders on shading. So either way, so once we go to paragraph, borders and shading, we can click preview to set that and click on border. Actually add the border and will notice it adds it. But this paragraph goes across two columns, So if we click display border. If paragraph splits across the frames or columns, then it will add that border at the bottom here and at the top, up here and there. Some other options in here, like offsets. So if we click that it will increase from the edge of the text there and weaken, decrease it and it will get smaller, of course. And if we want to increase just the top or the bottom or left and right, we can click the chain symbol there. That's the make all settings the same option. Then we can adjust one of those four at a time. We can also adjust whether or not the top edge is set to this sent. That's just a type anatomy term for part of the words there. So if we said it to baseline, it will move down to the baseline of the text. And that's not what we want for this example. And if we said to the Senate will be right at the top there, if we said to the letting, it will go up even a little bit more so the default is a cent the width. If we said it to text, if there are areas where the text is smaller than the column, then it will get smaller on this. It's not relevant because it's set to full justify. So the column width and the text with they're pretty much the same except the last lines and then the bottom edge, like right down here. It's by default the descent, but we can set it to baseline as well. That will bring it up, though. Now we can change the corners two different styles, just like a normal rounded rectangle style so we could click it to round it. Or we could select one of these other styles, and we can increase it and make it a more obvious surrounded corner there. And, of course, the type. So the same style options we have here and we can also set a gap color. If it's one of these that has a gap like that and we can adjust the tent and other settings now, up here, we can adjust the stroke. So if I turned, keep all settings the same off and click the top, only the top area will get thicker and we can adjust the bottom left or right so I'm going to click, cancel for now and just show one challenge with this tool. So I click this where you compress W for a better Previ here. Let's say if I click and drag around all of these paragraphs here So we've got some paragraphs elected and we go to the paragraph, borders and shading and we check. Border knows that we have multiple borders here, though, so if I click OK and click over here, that's not the effect we want for this example. So if I click and make sure it's blinking in this top paragraph, we can go back Teoh the pair of borders and shading and for the bottom. For this part, we could set it to zero, and then it gets rid of that for that top one. And then I could make sure my cursors in this paragraph, the bottom one and go back to paragraph, borders and shading and for the top one, because we don't need that line there. We could set that to zero points, and then for these two middle ones, I'm going to just click and drag so that were affecting these two middle paragraphs at the same time and I go to Parker borders and shading and I don't need the top or bottom. There's so I'll click that 20 and that zero click OK, and now it's a border around just that area. That's a lot of work just to add a border, To be honest. Now we do have a little bit of space in between. So what we could do with those two middle paragraph selected Still, we could increase the offset, for example, the top for that one and then the bottom. The problem is it goes down there a little bit there so we could and it those separately if we wanted. But hopefully you get the idea. Click. OK, and then now we have a border of some paragraphs. And if we don't want the text to touch the edge like that, we could select it all and we could adjust the offset, of course. So on the left and right, we can increase that a little bit like that and we could also click in this top paragraph, increase the top offset and increase the bottom offset their if we wanted. Now it is neat that we can add text here, and it will add more. The problem is, every time I'm pressing, Enter adds this border here. If I click over here, for example, and press enter, it adds another one. Now I could click in here and select all the text in the entire story and go to the paragraph, borders and shading. Now we can set the top stroke to zero point and the bottom stroke to zero point and click OK, and that does add the's left and right borders. And they're only single on the left and right hand column and then double on these, of course. But then there is no bottom border on each column, not just at the beginning, in the end, but every single column. So we would have to mainly go through there and at the top in a bottom border to in their specific paragraphs. The best context for using this, I think, is just using it in paragraphs like this that aren't in a story unless we're just wanting to add borders on the left and right hand side. There is a problem with the top and bottom borders between paragraphs and stories, so until they fix that. I think the best context for using this is say, we have a text frame like this. We can go ahead and add a border and we can increase the offset a bit So it goes off the side like that click OK, and now we have a nice border and we can change it here, of course, but for more settings besides the color here, we need to go to that menu and we can customize it, make it thicker and so on. And now that paragraph border is part of this text frame. So as I move it around, it's automatically paired with the text frame, and if I click and drag the corner, it'll change with it. Now I do suggest just using a separate rectangle shape with a stroke and no Phil and click and drag around an entire story if we need to. That's still a better technique, I think, because adding borders to this would add it after every single paragraph. So again, if I just click and drag it something like that and then we added a border, make it a little thicker so we can see it here, and we can group this border, this rectangle here with this paragraph. Just click and drag around both of these and go toe Object group. The only problem is, if we move this like that, it's not as responsive as just adding the border to paragraph like this technique. So that's something to take into consideration. If we have short paragraphs like this, say is sidebar or it's in a magazine or publication or restaurant menu, and we wanted to add a little bit of a border pretty quickly like this and have that border part of this text frame. We get at it with this technique, but adding borders to longer paragraphs. Unless I do becomes up with a fix for that, I do suggest it's using the rectangle tool thanks. 17. Custom Paragraph Lines or Rules in InDesign: earlier, we went over how we can underline text and customize that underlined. But we can also add paragraph rules or lines using the paragraph rules function. So I'm just going to click in this first line here and then over on the right top area of the workspace on the control panel. Click this right here and then go to paragraph rules and let's click Rule on. You see the underlines of the title there, and we can adjust the weight so it's thicker, of course, and we can also adjust the color and customize it. And we can also add an offset. So it's not as close to that title so we could bring it down if we wanted like that. And we could in denim on either side but actually wanted to be flush with the edge there for this example. If you get a text, it'll slightly adjust it so just aligned with the edge of the text. Or we can align it to the edge of the text frame or the column. So that's the paragraph rules feature. Instead of adding a separate line with the line tool that we would then have to move around with the text. If we adjusted this, it makes it part of this paragraph part of this text frame. So we could, of course, group align with some text frames. But the cool thing about this is I can click and drag and resize it, and that line stays in there with the title. So it's very fluid in the sense that I can click and drag and that line just goes to the edge of the text frame cause we've said it like that, So thanks, and I'll see in the next lesson. 18. Converting to Outlined Text in InDesign: now, there might be some instances where we actually need to convert text to an edible shape that has anchor points and paths on it. Now we can do this in Adobe Illustrator, but a lot of people don't know that we can actually this in Adobe in design as well. Now it will make this tech so we can't edit it anymore, like we can't insert a cursor and type and edit it that way. But it will convert it to a shape that we can place a photo in it and otherwise customized it like a shape. So we would use this for larger text like titles and text. That's a graphic rather than, say, body copy. So with this selected, let's go to type and then create outlines. And there's the shortcut control shift. Oh, on the PC or command shift on the Mac, and what that does is it converts the entire object into a shape. Now, if we had just one letter selected it, would Onley convert that one letter into outlines. But I can now use the direct selection tool the white era and click right here and see Now we've got paths in points. I'll zoom in a little bit so you can see here so I can really customize it. For example. I can click this over here. I could use the Pathfinder panel and use this in conjunction with shapes so I could move this up here, really customize these shapes. You can use the shape tools and combine these shapes with other shapes that we draw with the Pathfinder panel. What's also cools? We can select this Goto file place and then select one of these images and I'm going toe klik open and I'm gonna click right on top of the shape here, and then it embeds it in there. That's a little bit zoomed in. So I remember weaken g o to you object fitting and then filtering proportionately that zooms it out a little bit. And we could do the same thing with this one down here file place, and I'll select the same one and said as clicking on top of it. Remember, we can just do replace selected item. I'll go to fill frame proportionately. But then I'm going to use the white era here and just move. It ran a little bit. I'm gonna make a little bit larger and moving around, so it's a little bit different. So I'm just re sizing that image inside that frame and this frame is a custom frame and we could actually combine these. Let's say we want to bring that mountain area up a little bit, almost like it's combined with this one, and we can still at other effects, like we could add a stroke to this if we wanted to make a little bit larger and so on. So that's creating outlines of text so that it's a shape thanks, and I'll see in the next lesson. 19. Using Custom Tab Stops for Table of Contents in InDesign: to create something like a table contents. We need to know how to customise tabs. And so I have just created a new text frame here and and all I did was type these words in and then just press tab once and then entered in some page numbers so we don't want to just tab Tab, Tab. I have to write and then try Teoh, add some dots, you know, where it's not perfectly aligned. It's much easier just a tab once so it doesn't look right. Yet it's because we need to customize their tabs. So just make sure we have one tab in between the name of the content on that page and the page number. Now we can go up to type and then tabs and you'll notice it lines it up so we can see where we're gonna enter the tab. So if we bring it over here and we're tryingto make it perfectly lined again, just click this magnet icon. Click that fentanyl, line it up for us. So all we have to do is if we click and drag around all of this to select it, and then right here, we need that kind. So I'm actually going to just click in here and put one of our it there so it tells us where it is is at 8.76 39 inches from the left, and it is a left justified tab. That's what we want for this example. But if you wanted to change, it will click center, justified, right, justified or one that's aligned to specific decimal. Now, if I want to add another one, I could just click that ever here and then change the justification of it. And if I want to go back and change this when all I have to do is click it, I'm going to click this one right click over and Do Delete Tab. Or I could click over here and go delete tab either way, and that looks good. But what if we want some dots that connect them? Well, that's got a leader, and with this selected here, we can see where it is and press period on the keyboard. And then there we go. So that's customizing tabs and in design and for that specific purpose of a table of contents. If it looks a little bit busy with these dots. We can actually change that since that at 30 points we could change it to 18 points. If it looks better, you can also change the tracking. So if there just too many dots, we can change it right here where we press the up key and it just spreads. Is that a little bit? Just so there's not as many. It's more subtle effect. So that's customizing tabs in in design, thanks. 20. Bullets and Numbers for Organization in InDesign: What if we wanted to add some organization to a list that we can use bullet points or numbers, and this lesson will go over some or advanced techniques. So I've typed out some text here in two text frames, and let's just go and click and drag. Run all of this. Just be sure we've hit, enter or return after each one. So these air technically separate paragraphs in up on the control panel, make sure Perry ref is selected. And to add some basic bullet points. We can just click this right here, but it's a little bit too close to that edge there so we can customize it and we can even customize this symbol, therefore, the bullet points. So let's select the text and then hold down all on the PC or option on the Mac. And then let's click this again bulleted list, and that brings up the bullets and numbering dialog box. We can also access that appear if we click the top right hand corner and just go to bullets and numbering there. A couple more available characters like this one is pretty good. If we want to add to this, though we can click, add and then select which fund we want to pull a bullet point from. And then we could add it, for example, will play icon at Lined Play Icon Square, another diamond and so on. So click OK, and we just added those four. I'm actually going to use this one, though, and there are a couple more options here. We're going to go over character and paragraph styles in a bit, so we don't have any character cells created just yet, But if we did, we could apply it here. We can also change the indent. So if I increase this, it will increase for spacing from the left hand side of the text frame. And you could, of course, type in something else. Let's just say a tape in two p for Pike in and Tab. It'll convert it to our default unit of measurement once we have it customized how we want as far as the spacing here and then the spacing in between the bullet points and the text when press OK, and then there we go now. Besides this on order list, we can also do an order list. So if we just click that it will apply the numbers to it. And if we add, for example, new paragraph here and add something else, it will go ahead and update the numbers for us. And if we wanted to add a new list of my press, enter here and then just toggle off the numbers there, I can type in some normal text if we want to restart this numbering here. I could also click this menu and then where it says continue from previous number. I can set it toe one and will restart at that one, and a shortcut is we can also right click over it and we can go to restart numbering that will have the same effect. So I don't want that. So I'm actually going to remove that and then just say, Continue numbering. Now let's customize these as well. So press all on the PCR option on the Mac and click the numbers there, and we can change it from 1234 to Roman numerals and letters, for example. I'm going to keep it to the default 1234 there, and we could also apply a character style here, just like with the regular bullet points. We can adjust the alignment, the left in Dent, first line indent and tab position. But I do want to adjust the position of the numbers a little bit. Bring that a little bit over there again. I'm gonna press, okay? And let's say we wanted something to be a sub menu, for example, if I and it. And then I wanted these three items here to be a said many of that. Well, I'm going to select all those and hold on all or option. And click that again and then under level here. Let's make that two. And we also need to indent that in a little bit more so for the number of the left in Dent , I'm gonna increase that. So this is 123 then 123445 What if we wanted this to be a separate character? Well, we can just change it right here. So pretty standard formatting would be a B C d. If we're using 123 for that format, and then we could also make this three a three. B three c. Three d With this coding here, we don't need to memorize this code, and we can click this arrow here and go to insert number placeholder and then level one because that's the level over here. And now it's three a three b three c three d Going to actually remove that from the coding , though it's the first digit there. Three. So we know that that's this carrot one meaning level one. So if I delete that manually and then it will just have the regular lower case letters, some going to press, okay, and then there we go. We could also convert this to edit herbal number, so if I click on it, I could actually manually change it. The problem is, it won't be updated then. For example, if I added something there, it won't act like bullet points anymore or automatically numbered lists. But if we wanted it to do that, I'm gonna select all of that. And then we get a type and then bulleted and numbered list and then convert numbering. That's also a quick way to remove numbers, for example, and you still have the tabs or we can convert number into text. And now it's edible text so and go in here and manually change it if we want now. The problem, though, of course, is if I click down, it won't add another one there. It doesn't have that automated affect anymore, but it's more edible manually by clicking and dragging over it. So that's how we add bulleted and numbered lists. 21. Adding and Applying Paragraph Styles for Consistency and Efficiency in InDesign: I thought this course we've been editing text and changing the font style, for example, changing it to different fonts, changing the sizing, letting and so on. But what if we want more consistency in a design where we don't have to take all that time and manually change? For example, the font of all the headlines in a publication change the font style and size and so on will. There's a way to save time and also make sure we're more consistent in our design and branding. And that's character styles and paragraph styles. So I'll navigate up to this paragraph here, and it just has the default fund that we have when we placed it in. And what if we want to make this a specific type of fun and size and styling? And then we want to say that as a style so we can apply to other paragraphs? So then all of our body copy looks the same, and perhaps there's some consistency between pull quotes, story headlines and so on. What we can do is make some changes to some text. So, for example, I'll change this to a specific style of text, and I'll make it 12 point for this example, and I'll slightly adjust the leading. And let's also make this full justified instead of just left aligned. I'm gonna move this graphic over a little bit. And so we've customised this text where we have a specific fund, some leading, and we adjusted the alignment. So it's at that as a paragraph style we can go toe window, and instead of going to type and tables paragraph, we can go to styles and then paragraph styles. And there's object styles that we applied earlier in the poster project. And there's also character styles, which will also get into so with paragraph styles. Let's bring that over windows. We have just basic paragraph, and then we have normal. Plus that plus is sending that. We've added some adjustments to this text, so one way to turn that into a style is to you. Click this create new style, and now we have paragraph style one someone double click on that, and I'm just going to call that it's a feature story body copy. So all of our feature stories we could make sure they're similar. So now if I right click over that and go toe edit feature story body copy. It brings up this dialog, and we've got a lot of different options so we can adjust it after the fact. So, for example, basic character formats. If I wanted to change the font, I could do that. If I want to make it a little bit larger, I could do that once I click. OK, it wouldn't change just this one that we have selected. It would change all of the paragraphs and all the text frames that we've applied this style , too. So it's kind of like CSS coding, as opposed to just HTML coding. If you have a Web designer Web coding background as well, instead of just mainly adjusting everything we can set a style to, it meant save so much time to say we have a magazine with 14 feature stories in it. We want to change the font style and all of them at once. We can do that if ah style is assigned to them and just adjusting the style instead of adjusting each text frame. So if I went over here and I just click body story copy, it changes just that paragraph that's because I didn't have it all selected. I just had this cursor blinking in the one paragraph, so I'll undo that. And that shows that we need to be careful if we have text selected or we have a cursor blinking somewhere. If we click this just to edit, it is going to go ahead and apply it toe wherever we have our cursor blinking. Just like if we had, for example, the selection tool and we click this text frame and then click feature story body copy, it will apply it to that entire text frame. So I'm going to undo that. Another way to add a new paragraph style is just a click right here and go to new paragraph style, and we can also with the type tool selected, make sure we're on the paragraph formatting controls and right up here where it says basic paragraph, we can quickly apply paragraph styles up here as well, but right here next to it, there's also a new paragraph style there, too. So if I click that and then we could create a new one. So let's just say headlines and we can go to basic character formats and Let's just change this. About 36 will keep the scale. The same alignment will keep that it left and we can add an underline if we want. We can add paragraphs shading many different options there. Hyphenation. I'm going to uncheck that because this is a headline. So I don't want to hyphenate the headline. The large text there. So now we're gonna press OK, and now we've got a new paragraph style. So I'm gonna go up to this text here. This headline and I will click headlines and then it applies that notice that it doesn't go and span across the two columns. That's because that wasn't in that paragraph style. So I'm gonna undo that. I'm just showing how to apply that. And yet another way to get to paragraph styles is to just click it over on the right hand side. Just make sure we have advanced, checked and just go to reset advance to reset it to the default. And then there it is right there. So we click paragraph styles and then click up here and go to new paragraph style we can duplicate and so on. Now, if we have a paragraph that has a style set to it. For example, I click here and it's got feature story body copy, and I don't want that style applied to it. Let's say I want Teoh apply to a bunch of other text frames and other stories, but whenever I change, I don't want it to change this one. What we can do is up here right in corner, just go to a break linked to style. And so now when I select it, it doesn't have any style applied. So if I change this feature story body copy, if I right click over and go to add it or if I just click up here and go to style options and change something, it won't change it in this text frame because it doesn't have the style applied to it anymore. If we do have some text selected like a text frame, or we have our Kercher blinking in a paragraph and we don't want it to be linked to that style, we can just right click on the style and go to edit, and then we can edit without applying it to wherever we have selected. So with one click, we can add a lot of different aspects of a style, and we can also adjust the style of numerous articles at the same time by using paragraph styles. Another benefit is that it really helps a consistency and branding in a publication. It's one more thing to consider. If we have this right here, see it says basic paragraph, and then a plus sign. That means we've edited it from the default, but we haven't really created it as a style. If we wanted to, we could do that and click the new icon there. If we want to clear those overrides, if I all click that, it will clear that at so now it's the basic paragraph style. So in a press control or command Z to undo that in the next lesson will go over character styles. 22. Adding and Applying Character Styles in InDesign: Sometimes we want to add styles to specific letter or word or sentence instead of an entire paragraph, and for that we can use character styles. We don't want to take character styles and just apply it to entire paragraph. We should really use the paragraph styles for that. But character styles can be helpful for editing shorter areas of text. We can add a character style by clicking over here on your character styles or, of course, window styles, character styles. And we don't have any so far, so we can actually click, create new style and double click it. And instead of basing it on some text that selected, we can just start one from scratch. So if I type in bold headline and then when Goto, basic character formats and whatever we don't change here will not change from the default text that is already placed. What I mean by that is, if we don't change a specific size, then it will stay whatever size it is. Whatever text were planning this too. So let's just go Teoh impact for this example in for fun style regular is fine and then see how these have a hyphen there. That means they won't have any changes. It'll just have the default. So if it's already underlined, it will stay underline so it won't remove it or at it. Now, if we check it so it's checked, then of course, it will underline it. I'll keep that as the default, no changes. And just to do something different from what we did earlier, with the paragraph panel licious at a color and underlined options, let's just go ahead and add on Underline. That's four points, and the offset is one point. I'll just add as an example. So let's click. OK, and now we have bold headline. So if I double click it, we can edit it after the fact, and we can also click right here and adjust as well with style options. So I like how this looks right here. But let's just say hypothetically, we wanted to change it again. Character cells are good for applying Teoh a word or sentence or two, just not entire paragraphs. So click bold headline, and then it changes it. And again, if we double click on this and change it, Teoh, say another font and click OK, it will change it. Along with that earlier with paragraph styles, we went over how to break a link so un apply a style to a text frame or a group of text. But we can also redefine. We can also redefine styles by editing the text here. So let's just say we selected all this and we remove the underlying now has that plus sign . So we have two options. We can create a new style based on that, and it would add it here. Second click here and we can see it doesn't have an underlying right there. So it's pretty much the same. Except this one doesn't have another link, so we could call that bold headline. No underline, but I'm gonna delete that. And so we have the plus sign. So what if I want to read to find this style, using the changes we just made? In other words, we don't have an underlined anymore. We can just right click on it and then go to redefine style. And then now it's not an adjusted style that has that plus sign their remaining. We've addressed it after applying the style. It actually is part of the style now. So when I click and drag something over here, I've been some text. And if it was none by default, it would just have the text like that. And then if I apply the bold headline, There you go no underlying just the text there now, besides clicking apparent going to break link to style If we want toe not link that text frame to the style or that text of the style anymore, we can also redefined style right there as well. So in instead of just right clicking here. And just so you know, we can add these paragraph styles and the character styles to the our Creative Cloud library. So you just click there and at it, just like we can add color and graphics and other elements to our library. Then it would be available in the CC libraries panel here 23. Using Story Editor for Easy Edits in InDesign: breath This course we've been placing these word documents that have already been edited inward and written word. So what if we want to edit the text? What we could edit it inside the text frame, and that would be fine. But there's another option where it's geared more toward word processing, as opposed to the layout. And the design of the text is well, and that's the story editor. So I have the cursor blinking in here. Let's go out and go toe edit and then edit and story editor. You can breast control why or command one as well. That's a shortcut, and it has a default fund. This is not the fund that will show up in the layout. It's just a default fund doesn't have a lot of the formatting it does have. For example, if we had some bold text bold italic and then we go to at it and in Story editor, it does show right there you see the italics so some styles are visible in here, but most or not, it's more about the actual words and editing them like a word processor, rather than adding style to them and laying them out. So if you don't like this font, if you want to try a different one, we can click on the word in design and Goto preferences on Mac or on the PC, edit, then preferences and then go to story editor display. And then, from here we can change the default font. So if I wanted to change this, for example, to times New Roman and we couldn't adjust the size and whether it's single space or double space and then even the color of the text and the background if we uncheck enable anti alias ing, the text will just look a little bit block here. I'll show you what I mean. We can also customize the cursor if we want it to blink and be a bar bell or just thicker than the standard or block. So whatever it is, you just click, OK, and then there we go. So see how it kind of looks a little bit block here. If we don't like that, we can fix it at preferences story editor displaying and turn on anti alias ing. So this is really helpful when you want to add to a story where you want otherwise edit the text like a word processor. Another cool feature is that it shows how much texts and what text is over set so you can see here on our layout. We have some oversight text. We see that plus sign. It just means there's more text be threaded there. Or we can resize that fourth column so the text can fit in there and it shows right here how much Texas left to place. So that's the story. Editor. Try that out. In case you are, another editor needs to edit some text after it's been placed in in design, Thanks. 24. Finding and Replacing Characters, Formatting, and Fonts in InDesign: the fine change command in in design is very powerful. It's very helpful when we wanna fix text, whether it be a grammatical or punctual air or just a style guide issue. So go ahead and open up the fine Change dialog box. Just goto edit and then find change or control or command F. And from here we can, of course, find some kind of word and then change it to something else So we could change the British way of spelling color and change it to them the American way of spelling color, whatever it would be, then you can change all, and it would change it throughout either that document or just the story that we have selected, or all documents that are open so I'll remove that. We can also say ever you two spaces. Let's just change the one space, for example between sentences. If we have that otherwise would have to go through manually and just delete spaces after every single sentence of this weaken, just click change. All of that will change all of them. And besides text, we can also adjust specific punctuation formats, for example, that so we have two hyphens and it's really supposed to be an em dash between click here, this little at sign, and it will Endler the coding for us so we can go down to hyphens and dashes and then em dash, and it will add that for us. So there are a lot of other options in there. You can find bullet characters, replace some with other characters, even specific types of spaces. So this isn't quite the same thing, is Kern ing, but it's kind of similar if you have a custom space in between. Two letters, two words. We could really customize that as well and quotation marks. Sometimes you have the double quotation marks, single quotation, mark the other types as well, So there are a lot of different options we have there. We can set it to also include lock layers, things that aren't supposed to be edited, things that we have locked in the layers panel, for example, where we don't want them moved, also locked stories, and we could find that, but then it couldn't change. It would have to manually change it after unlocking it, and there are other couple options, like if you have hidden layers and hidden objects, even searching the master pages. So if you wanna adjust the page numbers, even searching footnotes and then whether or not it's case sensitive. So if you have a capital proper name, does it only search for that one? Or does it search for all instances of that name even when it's lower case? And then also, whole word option is important to consider because if you were looking for, for example, two hyphens and you had a whole word selected, probably not find that unless it was by itself it had a space before and after it. And then down here we can replace formatting styles, so that's pretty interesting. Besides just finding, replacing specific words and punctuation marks or spacing, we can also click here and say, Well, wherever there is, for example, impact. And then I'll just keep this example simple. Let's change it to another font. Say that one and click OK, and now I can click find next, and then there. It highlights it. I can say change, and then I can say fine next or I could just click Change. All of that would change all of them so you could find next, and it doesn't have any more areas where we have impact in there. We can also see where we've used specific cliffs, these specific characters. So if I click that and then go to these cliffs, we can go through and see if we've used those throughout the document. Besides finding and changing Tex text formatting special characters and spacing, we can also change fonts if we go to type and then find fun right here. It tells us that we have four funds in this document so far, and we have them all right here. Calibri Bold Regular Obree MMA Thank him and Minion, pro Regular and weaken. Select one of these and then change it. Just like the earlier example. This is just a little bit simpler. It's on Lee changing the font in the style, perhaps, but not changing a bunch of other formatting options. And if we want to redefined the style, there's a style applied to some text. When we're changing it, go ahead and make sure that's checked. You collect, change all or find first, I'll press escape to close that dialogue box. All right. In the next video, we'll go over a checking, spelling and in design 25. Checking Spelling Effectively in InDesign: Of course, we want to check our spelling even when there's hardly any text on design, such as a poster but publications. It's especially important toe Have someone look at the spelling and the various articles and what not? Usually a copy editor does this at a publication. However, we can also use in design as a layer of spell check, so to spell, check in in design at work similar to some word processing programs in a way. So if we're gonna edit and spelling and then check spelling, I have the cursor blinking in this story here so it will search through all these text frames for any words that in design thinks are misspelled. So Winner Crest is a proper name. So what we can do is either skip this one instance so it will ignore it and not correct it . We can click, ignore all just within this spell check so it won't pause next time we get to win a crest again in this story. But if we run spell check again or in another document, it will pause again at Winner Crest. So what? We Canoes Click Dictionary, and you could add it to the dictionary as a custom added word, because it's a proper name and we know that it's properly spelled for our hypothetical ski resort here. So there's a three options. Either skip this one instance, ignore all instances of this supposedly misspelled word but actually properly spelled or added to the dictionary. Another way to check spelling, though, is to actually see misspelled words in an article as we peruse through it and in design. And to be able to see that we'll go to edit and then spelling and then dynamic smelling, Let's check that. And then now it underlines in red words that it thinks are misspelled. So inner tubes winner Crest, they think, are misspelled. It's if you right click over it. It will tell us some suggestions, either inner tubes with the hyphen or inner tubes with a space. And if we select one of those, it will actually go ahead and change it. Have purposely put can twice here because we'll notice instead of a red underline that little squiggly underlying that's indicating, possibly misspelled word. But the green means that it's grammatically incorrect according to in design, at least so when a crest to spell correctly so we can ignore that. But can can. This is actually grammatically incorrect so we could right click over it and it can fix it for us. So that's something just to remember. Green means a grammatical air, and then red means a spelling error, at least according to in design, and we can ignore it if we know it's spelled correctly. Now I've added two more words at the bottom here. This just means welcome in Italian and thank you in Spanish and noticed these are indicated as being misspelled. They are technically, if we're using the English Dictionary, the Army's fault, of course. However there another language. So to fix that so we don't have the red underlying underneath feature those is to select one of them. So I've selected Majorino and up here on the control panel. Make sure we have the A selected here, meaning the character mode, and this gives us the character formatting controls and right here where it says English USA. Let's go ahead and go to Italian, and that's telling in design. This word that we had highlighted selected should be using the Italian Dictionary. Now it's correct, and then same thing with crosses. I'm going to set that word to use the Spanish dictionary. It would also have another explanation point upside down. I believe there, but you get the idea. So if you have a publication, that is all one language. That's typical. But sometimes you might have one like, say, you're designing a manual for a company and it's a manual. How to assemble a dresser, right? And so people get this manual, and it has English, French and Spanish in it, which often is the case in some areas in. So what you could do is select that entire you just control a and just tell it for this article. Use French, for example, and then, in design, knows to use the French dictionary for that article. If you have the same article repeating in different languages, we can assign different dictionaries. Two different stories in in design document. Now, if there are proper words like Winter Crest, we can select those and add them to the dictionary. When we're running spellcheck or we can click appear where it says English USA and just said it to no language that goes for any proper name or something that we know is spelled correctly, but it's coming up is being misspelled so we can set it to not use any dictionary. A swell. That's another way to set it. So in design is not highlighting certain words. We know where spelled correctly as being Miss Bell. Thanks, and I'll see in the next lesson. 26. Adding Effects to Objects in InDesign: while photo shop is the industry standard. Raster or photo pixel based image editing software and illustrators, The industry standard vector illustration designed software. Adobe in Design is the industry standard publication design software. It also does have some special effects that we can apply. There's not as many available compared to in Photoshopped as far as filters and so on. But there are a couple useful effects that we can apply here in in design to go up the window and then effects. And there are a couple different effects we can apply here, whether we're talking about a photo, a shape illustration and so on. So if I select this one right here, for example, and I just the A pass ity down that just makes it less opaque, so it has some transparency to it. One technique that some people use is drawing with a rectangle tool somewhere, and then when it has a Phil, I'll just set something really quickly for this example, and then they put a text frame on top of this, and then it pops out from the background. If we just had dark text on just a white or a light background there's enough contrast there for it to be readable. But oftentimes there's dark content and lighter content like that. And if we have dark text, we won't be able to read it there, and we have later tech. We won't be able to read it in this area, so a solution to that is just to draw. I'll just drag this down to keep a little bit simpler, draw a shape on top of another photo and then adjust the capacity a little bit if you want . I don't suggest overdue in the opacity effect, but we can use it. Teoh differentiate text from the background that it's above, like if this one was set to just white, and then we brought the A pass ity up a little bit more than you. We could put black text on top of that, and it would be readable because black text on top of this obviously would not be is readable. Stets opacity. There also some layer blending modes up here. So if you go to multiply, that kind of darkens and then screen kind of lightens and then there's overlay. It just overlays Ah, color or another photo on top of another photo and then soft, light and hard light notice that these are grouped differently than in photo shop and photo shop. We have a group of darkening, later blending modes and enlightening layer blending mood. So screen is a lighten layer. Blending mode multiplies a darken layer, blending mood. So keep that in consideration. So experiment with those different modes. If you draw shape on top of a photo, for example, let's just bring the opacity of this back up 200%. And if we change this, we can see what it does. It just adds, makes a little bit darker. Screen makes it more light for special effect, related, related that color. And then we have soft light Harley and so on. Darken is similar to multiply, but not quite the same thing. They're also affect shortcuts here, up on the control panel. So if I click this and add a drop, shadow and drop shadow can be useful. But it's one of those effects, kind of like bevel and emboss in that it can be overdone, so the production doesn't look as professional. That's just a quick shortcut for the drop shadow. You can also click this where it says effects and add a drop shadow here and that will give us more options so we could set the shadows and normal. Then we could adjust the distance and other options such as the side and the size of the spread and so on. And in this many, you can also do an inner shadow. You can see what that looks like there outer glow, and if we select it, highlight it and make it blue. That's when we can actually change the options over here. If we had the check mark there, that's just applying the effect. A feather just softens the edge. So it's not just, ah, hard edge. It's kind of feathered, kind of like in photo shop effect of feathering a selection, and you can do a directional feather. So I click. You can see that there and then we can also do a Grady in Feather. So click cancel. We can also hold down on a piece here, option on the Mac and click the drop shot other and that will bring us to the menu as well . Or we can go toe object and then effects, and then we've got all the effects right here. So if I just select one of these and we'll bring up that same menu, if we add a bunch of effects to on object and we want un apply those effects, we can click this effects shortcut and go to clear effects. Or, of course, we go to the usual effects dialogue box and uncheck them. They're so experiment with those we can apply those effects even to text. But for example, we would not want to add a drop shadow to text like this. But did that see how just does not look is professional. It's also not as functional because it's not as easily readable, says oftentimes. It's better to be nice and simple. Nice online to lay out. We can add a border if we wanted adding a stroke. We just don't want to overdo there's effects, but they can be helpful if there suddenly done thanks and I'll see in the next lesson 27. Using Color Swatches and CC Color Library in InDesign: We've been using color swatches throughout this course so far, and it is really important to use color swatches, especially if we're going to be printing later, because sometimes it will look a little bit different on the screen. Compared to on media such as paper, it's helpful to have a color swatch that you can look through, and then you can see what that color will look like when you're deciding what types of colors to use in a publication. But even if you don't have one of those, regardless, it's good to use the swatches panel here in in design. So go ahead and click that. And if you don't have that on the side there, of course you can get a window and then color and men's watches, and we have a couple swatches on here from earlier down here at the bottom. But let's go and add another one. So up in the top right hand corner, just go to new color swatch and we can use process color like seem like a the science magenta, yellow, black or key. And one of the publications I worked at, we would actually feed these plates that look like giant transparency is basically almost like when you would get photos back from the store back in the day. You would have the negatives. It would kind of look like that. It was just on Lee the percentage of science for that plate. And then we would feed in the magenta and yellow into the machine. And so the different percentages would add up to produce many different types of colors for photos and graphics. Now, instead of process, we can go to spot. And that's really helpful for printing presses because it uses preset. For example, Pantone colors specific inks that are consistent. So if I click here and we can add one from, Ah, Pantone Library, for example, Pantone solid coated and then we can go through here and actually of names. And we added some earlier with another group of Pantone colors. But I want to add something here painted orange 0 to 1 C click add, and it will add to your C C library as well. If we want, we can go to C C libraries here up in its own panel, and I'll show you how to organize those in a second. Let's add this yellow and this bright color just eject. Suppose with the blues, and I think this one's get here and there were you so adding a couple colors in there. After we've done that, let's go ahead and click done. And as I've been adding, these tourists watches. I've also been adding him to a C C library right here. No press, okay? And then in C C libraries. We have our colors here, and what's neat about this is you're going to photo shop illustrator other doping programs and access this in those programs as well. So it's not a library or Swatch panel that's unique or specific. Onley to you. Adobe in design. Now it's by default in my library. You can click down there and create a new library, and so I could call this Winter Crest look book and then click create and I'll go back to my library. And if I right click on it and I can say move to winner Crest, look, book what schools You can actually click, and then I'm gonna hold shift and click down here. So I slept all of them and then right click, move! Teoh winner Chris Look Book. So now when I go up here and go toe winner Chris, look, book, I've got some preset colors and they're still in our swatches panel over here. So if we wanted to add, for example, a stroke to this, I could select it up here and because we add it to the swatches panel, which right here So I can select this and adjust the stroke here by clicking on the color in the CC libraries right here. Or we can click here on the swatches panel. So that helps maintain consistency, because when we print, it will know what it should look like instead of just clicking on down here on the bottom of the tools panel and then selecting your color here. Now if we did do that and even added it as a swatch and just used it by clicking on the color picker, if we're designing for the screen, it's not that big of a deal. It has RGB levels. We can run into some problems, though, when we're designing for print, because it might look a little bit different on the paper than on the screen so you can see him like a is for print, and RGB is for screen as far as the color modes. Now one thing to consider is on. We're going to change it. But if we have something selected in the workspace and I just goto, add a swatch, for example, let's say Have some swatches here. I want to add one more. Got a new color swatch, and let's just say spot color and we'll get to you Pantone solid. And let's just say I want to add this color here. Panton, Dark Blue Sea and a click. Add a nurse. It applied it to that photo that we have selected, so the stroke was selected there in over the top, so it applied it. So be careful when we have photo selected. If we don't want a color applied to it, then we want to de select it so we can click off in the background if you want. With one of selection tools, for example, that's just something to consider. So I can still change color over here, and what's interesting is if I, right click and then go to Swatch options. And let's just say I change this watch in here to something else like that. It will replace it, and it will replace this object that we've applied it to, even if I have to. This one's only selected. This was not selected, and I go to Swatch options. Change this to blue Click. OK, notice. If I click up here, it actually changes to Blue. So do that one more time to show you what I mean. Let's say we apply this orange light color here. Click this and apply that one there as well. This one's not selected. This one is. So if I right click and go to Swatch options, let's just change it to something. It's obviously different. Just get Teoh pain. Turn solid coated, and I will change it. Teoh, this yellow it preview notice is changing both of them. So it's kind of like character styles and that we've have assigned this object a swatch. And so if I replace, that's watch. If I edit the options for it, then it will replace everything in that publication that has been assigned. That's watch even if it's not selected. Weaken save swatches. If we want, just click in the top right hand corner here and go to safe swatches. We can also load swatches that have been saved. We can organize them just like in various panels. We can click color group instead of folder. It's kind of like a folder where we could group them. And if for some reason there was a color in here in the swatches panel, but not in the Creative Cloud Library, we could select it and then click right here toe, add it. If we want Teoh saving loads, watches, we can click up here and do that. But another way is actually to copy and paste those objects into new document. So if I select both of these right here and let's just do another one just to show example , here had a stroke to that one, and I had a stretch that one as well. So I'm going to click and then hold, shift and click these four objects. I'm gonna file new document and I'll just 8.5 by 11 default document here. Now you know, star swatches are just the basic defaults. Watches the CME why and then rgb weaken. Goto edit paste in place, and it places them those objects that we had the force watches applied to and also imported . There's swatches that we have here into the swatches panel, so that's just two ways to save and load swatches. You could have a color scheme with just some rectangles or squares next to each other. You could copy and paste that and say, We had a color scheme that we liked. We could, of course, just save that s watches up here in the top right hand corner the swatches panel save swatches. See how it's great out, though. Let's just click this and then hold shift and click down here so we're selecting all these . Then we can click that and go to save swatches. Or we could just highlight all this because it has a swatch replied to each and a copy, edit pace and a new document. So in this one, we don't have any swatches, right? But if I goto load and then I load that one up from the untitled swatches, it's loaded them out there, I'll undo you can also again copy and then paste, and then now we've got our swatches in. The next lesson will go over even more color considerations, including some color harmony principles, as well as using color from a photo. Thanks 28. Other Ways to Add Color in InDesign: and this video will go over a few more ways to add colors and formula color themes for our publication. If we want to take some colors from some of the photos and use them in a color scheme, there a couple of ways to do that in photo shop. I have one of the photos from the support files open, and I also have the library open that has our Creative Cloud library here. Winner crushed Look book. So just open up photo shopping at a window and then libraries and make sure that one's open because then we can individually select colors if we want. For example, if we click the eyedropper tool on the tools panel, If you don't have that, just goto window and make sure tools is checked. And if I click here on that green area, I can click in the foreground. Color here and by default probably shows the picker the color picker, and we have RGB levels here seem like a but we can click on color libraries, and that will actually tell us that this is a Pantone color 346 c. So if we're using spot colors, for example, that's good. We know which Pantone color it is. So we could write down these lab levels or even the RGB, or seem like a H is be or the six digit Hexi decimal color code. And back in in design, we could draw on a shape here, double click on the fill color and then type this seem like a levels in there. But there's a much easier way to apply colors from a photo, and they're actually a couple of ways to play him. So in photo shop, what we canoes click Addis watches and make sure added, my current library is selected there and make sure we're in our correct library as well. So I'm gonna call this green ski because that's where we got it from. Then click. OK, all right. And then now it's in our winner Crest Look book and a creative cloud library right here. So now back in in design, in our winner Crest. Look book right here. It's right there, and if I hover over, it'll show the techs that I added greens ski. So now I could just apply that to the shape here so we could repeat that process to select some this blue and come up with some kind of color scheme by using colors from a photo. But another way to do that for over an in design. If I click and hold onto the color theme tool in the tools panel goto eyedropper tool, we could select colors as well from a photo like that. If I double click on it here and I will give me the levels, but I can easily add it to a library right here. We could add it to RGB Swatch, but another helpful tool is to go to the color theme tool. So if I click on that, it actually creates a color theme using some of the overarching colors here in the photo. So you've got this red and then various types of blue there. So if we wanted to use that, if I click this here, it gives me a couple different versions of it, and right here we can add it to a swatch, and if we all click or option click on the Mac, it will only add that specific color, and if I click, this will add that theme to our current library. That's open. So the CC library the winner crest Look book. Now we have a color theme down here, and yet another way toe Add a color theme is to use adobe color, so she's color dot adobe dot com. And so here we have analogous color scheme, which is adjacent to each other on the color wheel. And then we can also try monochromatic. Try ad complementary to primary types of color, harmony or analogous and complementary. Complementary is opposite the color wheel, and analogous is adjacent to each other on the color wheel. So if I came with some kind of color scheme here, analogous color scheme that we liked instead of having to write down these RGB levels here or the six digit hex decimal color codes if were signed in to Creative Cloud, we can click, save, and then we can call it something will say snowboarding feature story layout. So let's just say we had a specific feature story in there that we wanted this color seem to be used in and then make sure it's in the correct library. So there's an winner Crest Look book. If I click, save and then now in in design. We have it right there. So how do you apply something from a color scheme once we've actually created there so we can do instead of just clicking a color here? Like, say, if I click, this would make it a little larger so we can see here. We just go down here and just click the specific one in the color scheme that we want apply for the stroke of that photo. So I'm clicking on those individual ones. Speaking of Sisi libraries, in addition to colors, color themes, character styles, paragraph styles and so on, we can also add commonly used elements. So if we had a logo for winner Chris Resort, for example here and we had a graphic inside there, we could click this plus icon on the lower left hand corner of the CC libraries. Then we could look, add, and then we'll add it down here. So then you can just click and drag. You can click again, and it will place it. That's if we use something a lot like some branding logo. It's helpful to add it to the library as well. Hopefully, you've learned a lot about color and in design, so we're not just double clicking on the Phil and stroke to add colors. We can do that, but we can also add swatches and use preset colors such as Pantone spot colors and use adobe color for color schemes, and also use colors from photos and Photoshopped or in design with the color theme tool and the eyedropper tool. So thanks, and I'll see in the next lesson. 29. Adding Gradients Effectively in InDesign: to add some interest to publication. We can also add Grady INTs and creating subtle Grady ins can and some interest while keeping a publication still looking professional. So go ahead and go toe window and then color and the ingredient. And let's just draw out a rectangle here, the rectangle tool as an example. And let's just say we wanted to add ingredient to this. We can just click on the icon right here, and that will apply it now about default. It's just a black and white radiant and by default it's a linear Grady. And if we got a radio that just has a radio pattern from the center outward and then later is just from left to right or right to left. And we can reverse that if we click that button, the's radiant stops set what color are on each side of the Grady int, and we can also change the midpoint here with this diamond, and the default is 50% something. Click that and press enter. Have the default for now, and we can also change the angle. So if I typed in 45 degree angle or 90 degree angle and so on. And what if we wanted to add color toe? One of these Grady INT stops well, we can just click one and go toe window color and then color. Click this top right hand corner and make sure we have seemed like a for a print context. If we're designing for the screen, RGB is fine. But regardless, make sure this is selected right here and then go up here and select a color. If we don't have one of those selected, let's just say a click over here and nothing is selected. But we have this selected. Of course, it will apply just that color, not the Grady in. So it is important to make sure we have this grainy int stop selected when we're adjusting the color up there. There's another way to address the color, though, and that's the color swatches. So if we got a window and then color swatches or just click over on the dock there and I'll bring this up over here and while this grating stop is selected, I'll go over here, and if I click one of these, it doesn't work. It just makes this entire shape that color solid What we need to do is after selecting one of these Grady Int stops, press on the PCR option on the Mac and then click. And then there we go, so we can maybe only select a color. Or if we want to use a color from the swatches, we just need to alter our option. Click it from this watch while the Grady in Stop is selected. We can add stops to this if I just click somewhere, and then I'll set it to another color. So this is going from blue to green toe orange, and we can adjust the midpoint and also where this is along that area. Now, if you've been trying to follow along and it doesn't look like it's applied, you might have said it to the stroke. So if we have the stroke of the border on top here or on top up here, then that's what we're controlling. So just flip those click this double sided arrow or just make sure the Phil is on top here , and then we can apply it. Now let's do a subtle Grady and let's say, from one shade of blue to another, if want to remove agreement. Stop, Weaken. Just click and drag it off the panel there and for this green one here, going toe cult Click this one, and I might try this one. It's a more subtle effect if you do an analogous color scheme from one shade of blue to another, for example, but we could do complementary as well. Just depends on the branding of the client. Suffer wanted this to be a background color. I could click and drag that across the page like that and then press control shift left bracket to put it in the back. And what if I wanted to save this Grady in as a swatch? So not only can we save colors and swatches, we can also save Radiance to go the swatches panel. If it's not showing up over here, we can reset advanced workspace again. I'm gonna swatches, and with this selected, I can click New Swatch right there and then we'll add it right here. So if I double click on it, we can bring up some options. We can rename it. We can say its radial or linear, and then we can change even the colors as well. And then once we have it set, we can click. OK, we can't change the angle of the Grady in, but we can affect the colors and where they are on that slider there. I'll just name this blue radiant background and press OK, and if we had another page, you want to apply that to you? We could just select it right here. There we go now, when we have an object as a grating already applied. We can also go over here to the Grady INTs watch tool right here. And if I click and drag, it will change the angle of that. And if I hold shift, it'll be either 90 degree or 45 degrees style angles so we can change the angle of that Grady in after the fact with the Grady, it's watch Tool and I can also double click on the Radiance Watch tool, and that brings up the Grady in panel that we have opened from earlier. We can also apply ingredient to text. So if I have the swatches panel here and I have this text selected, if I click will grading background, it will only apply it to the back end of that text. So what we need to do is actually select it, for example, like that, and then blew Grady in background and they were going on. Lee applies it to that text that I selected so I could do that, that one as well. If I wanted to adjust this, let's say we want to adjust the snowboarding. I could also use grating. It's watch tool. So if I click and drag on diagonally like that, I can change the angle of that grating, but only for the selected text that we had. So that's a fun technique for adding subtle Grady INTs in in design. Now one more helpful tip. If we have a Grady INT that's selected like this, and we want to change the color of this Grady int stop, we can't double click it. But we can again go to a window color and then color. Or we can open up the swatches panel and apply it by pressing older option. Click on that's watch while at Grady and Stop is selected. So I press I only click. But another way is actually just click and drag it onto that stop so I can just click and drag this watch on top of this stop. And then there we go so I could click and drag and add a new and as well like that. So add ingredients to publication can be fun. Just depends on your client. If you want something more colorful like that for a snowboarding music festival, or you want something more subtle with an analogous color scheme, Thanks and I'll see in the next lesson. 30. Adding External and Internal Hyperlinks in InDesign: in design is a great program for creating print publications, including restaurant menus, posters, flyers, newspapers, magazines and so on. But we can also use in design for interactive content and online publications. For example, we can add hyperlinks to publication so that when people click on text or images in the publication, they can navigate that into either a website address, file a specific page in the publication or an email link. So I'm on the table of contents page. And let's say we wanted to make this an interactive table contents where the person clicks these titles that actually navigates to that section of the publication. So I'm going to just double click and here selection tools so it toggles to the type tool. And let's just click and drag over this name here snowboarding contest. And then we can go toe Window interactive. And then we have a few different options related interactive publications here, and the other option would be to instead of using that advanced workspace here, go interactive for pdf, and it's right here hyperlinks. So either way, as long as we navigate to the hyperlinks panel, and so while this is selected, we don't want to make this an external hyperlink, meaning we're linking to. Some Web page is not part of this document. We want to just navigate to somewhere in the publication, so it's an internal hyperlink. So let's go ahead and at the bottom of the hyperlinks panel, create new hyperlink instead of u R L. Let's go to you Page. And in this document that we have open will navigate to Page four and the zoom setting. We can have it so it fits in the window or fits the to the set view that the reader has. So what that means is, when it's a pdf after we navigate to this page, will it fit in the window? So I'll just keep it on fixed for this example and click? OK, now, the problem is that underlines. And maybe we want that because people are used to looking at Web pages and knowing that when something is underlined like that and Blue especially, it's probably hyperlink. But if we don't want that, what we can do is double click it over here and then right here, where says character style, we can assign a style from earlier like bold headline. But for this one, I actually just want toe set it to none, and then it won't apply a style like that. Another option would be to create a new character style that only had an underlying added. So then the color won't change Button underlined would be added. But for this son will just leave it as the default style that's already applied. In other words, no character style, but just some style izing that we manually added. So impressed. Okay, and you'll notice it has a page icon here. Click to go to destination. The tilt. It tells us something. Click that and then it goes to page four. And if we click here, it goes back to the source of where we have this hyperlink. So that's adding an internal hyperlink, and we can add that to images of, well, not just text. But let's just say we wanted to add an external hyperlink. Let's say we wanted this to be an external hyperlink, and let's say we wanted Teoh add hyperlink to this image here, or the image frame we can, instead of just clicking the create a new hyperlink icon on the bottom of the hyperlinks panel. We can just type something in here, so I'll just type in good creative academy dot com because this is a fictional resort. Someone going to Gouda Ah, winner crashed resort. You know that doesn't exist. I'm just type in one of my websites and then press enter. Annual knows has a green circle there. That just means that the website is up and we typed in correctly. So we have an internal link, an external link. Let's go to file export and then Adobe Pdf Interactive. We can also do e pub, and we have to do publish online, which will go over in this course. But for this example, we're just going to go toe adobe Pdf interactive, and we can set it to open in full screen mode if we want in the pdf. But I'll leave that to the default for this and click export, and it's saying that we're using a seem like a blend space, so colors are converted, RGB and interactive PdF files ending. And that's because RGB is for the screen and then see my K is for print so we could go to edit transparency. One space menu to adjust that. But for this example, I'm just going toe press OK, because I'm just showing the interactivity for now. Let's click. OK, so now we have our PdF. And if I click on this title here, it navigates to that page. And if I click on this image, it says, Do we want this local Pdf to be able to open Web pages? So if you're says that, just click allow. And then there we go. It opens up good creative academy dot com, which is the euro that we have in there as an external hyperlink. So that is how we add hyperlinks in in design files. It can be very helpful when we're creating content for the screen, for example, even a pdf that we would distribute via email to clients and they want to be able to navigate through that. Pdf really easily. We would add hyperlinks to all the stories in the table of contents, and we will be adding some master page elements such as page navigations. In a later lesson. Thanks 31. Adding Interactive Buttons in InDesign: besides internal and external hyperlinks, we can also add interactive buttons to Adobe in design documents. Let's go ahead and go to the master pages appear a master. What we want to do is add a navigation at the bottom. So whenever someone looks at this pdf file online, they can click the left and right buttons, and it'll navigate to the previous for the next page. So first we need to draw the arrow. So there are many ways we could do this. Of course, an illustrator has a lot more options. But even in design, for example, if you want to click and drag and hold shift, and we'll just set this Phil toe black there and then all click and drag another one. And if we took one and rotated it and we hold shift for that 45 degree angle, and then if we had this one on top of that, we can select around both of them with the selection tool and then goto window objects and layout. Pathfinder and the 2nd 1 subtract from the top. And then there we go. Or we can just draw really any shape out, and we can then convert it to a shape down here like we could convert it to you a triangle . And we could use that. So go ahead and use this one. Hover over the corner there and click and drag Hold shift. So we have a nice but in here. And if you don't want shift, you can distort a little bit. So it's flatter. So I'm gonna put it right along the bottom here. So it's outside of his margins, but still within the page border going to press control or command Plus to zoom in here so something like that. And so when we're printing this, we don't need these on here so we could talk a lose off when we're printing it to paper. But for the interactive version, we can keep them on there. So I'm gonna zoom out and it's right at the bottom There. Some of the zoom back in. Let's go ahead and press all on the PC or option on the Mac and click and drag, and that just duplicates another one over there and we'll flip this. We could use the transform tools to flip it horizontally. Just the rotate reflect, But I'm just going to click and drag. Instead of using the reflect or flipping techniques. Begin his click and drag. It's faster and just hold shift. So there's the back button and the four button. Let's go ahead and add. Those has interactive buttons. What we can do is over on the right hand side. You should have a thing called buttons and forms. If you don't have that, just set your workspace to interactive for PdF. Click reset if it needs to be a reset to the default, or just get a window interactive and then buttons and forms. So if we have this panel out here, if I click this and then down on the bottom, convert to Button. If I click that it converts the shape to a button and we can name it, I'll just say next page and this means on release or tap meaning on a tablet if we tap it or on release when we click and let go of the mouse, what kind of action should have? So it's at an action if you click this plus sign and we're going to go to the next page, all right, and then on this one Instead of clicking this down here, we can actually just go ahead and go toe button, and that will convert it, and I'll type in previous page and then on release or tap. Then we have the plus sign and go to previous page so we can add rollover states as well. So if you're familiar with Web design, this will probably be familiar to you. So if I click on this rollover state roll over here right now is the same color as the normal state. So we want to change that. So while this is selected up here or has the Phil, we can just select something from her color scheme over here, and we can even change the normal as well. We're going to do something like that, so just changes subtly. And there's another reason to have swatches we can remember That's the 1 16 and then that's the 1 20 So if I click over here, change it to 1 20 by default and then at a rollover state and we'll change it to 1 16 And so what if we wanted to add a button here that would go to the table of contents we could do that, say, a home icon or even the word even the letters T O. C or whatever. But if we did make it a button, for example, if we just went up here, said Button, and then on release or tap, go to a specific page right here. It will have an heir when we export this to interactive PdF saying that going to a specific page for the button will not work in PdF. So it might work in some other export settings published online and so on. But it will not work in pdf. Definitely. So instead of using a button to go to a specific page, what Weaken Dio? And if we want to turn it back to regular object, just click right here, convert toe object, then it's not a button anymore. What we can do is just make it a hyperlink, just like that earlier lesson. We can go toe window interactive hyperlinks and then added as a hyper link to a specific page and click the new here instead of a URL. Just go to page, and then you can link Teoh Page two, which is the table contents. I'm not going to repeat that process for this just to let you know if you want it to work an interactive pdf just use a hyper link to a specific page and said it using a button. These should work, though. The buttons that just go back a page and Ford a page. So let's go ahead and save this and we'll show you whatever looks like. What are we missing, though? Notice that's Onley in the left hand side. So if I go to page two, it's on page two. It's not on page three, so we actually want to fix that. So instead of re doing that entire whole method, we can actually just click and drag around it. So if we wanna have the same exact thing over here, we could go to edit copy and then edit Paste and just bring it over there. But a short cut is just to all our option, click and drag and duplicated over. I'm actually gonna put these on the inside. So there, away from the page numbers, someone aligned them holding shifts so it's level. Align them with the margin there. So now let's go ahead and save this and go to file export and then save as Adobe Pdf Interactive. And here's our pdf. So I printed these as spreads, so it's not showing one page at a time. We could adjust that. So only shows one page. We want to go through and see if you want to remove the page navigations from any page where it doesn't really work with the background or if the Texas too close like that. But let's just go ahead and show next page next page. Next page. Back page in. Someone noticed that the right hand side is blue by default and the other one's different blue. Let's go back to in design and check these out. So if I G o to the buttons and forms knows that's the default and natural over, all right, let's click on this one. See other flipped. That's okay. We can actually fix that. Just change that 2116 and then change. Roll over 2120. It just depends on what state were on, so it looks like they're the same like right here they look like they're the same, but that's because this normalised selected. Then I click over here the rollover selected, so they're flipped. So this one's correct, and then this one. We need a flip so I can click that 1 16 and then roll over will be 1 20 so I will go ahead and say that again and export it. And there we go there all the same color until you hover over them. Then they change with the rollover state, just like a Web page. He knows there's nothing on the front page. That's because we have a different master page us assigned to that. But these work fun. And if this was just one page by itself, we'd click next page and would actually navigate to this one. So I'll show you what I mean, if I get a file export and right here where it says pages all we do want to print all pages , but we don't want a primus. Spreads has gotten Primus pages for this example are so now we have one page at a time, so if I click right hand side, that's the same spread. But they're two different pages for its spread, So if we want to look at that ass spreads in Adobe Reader. But you just get a view page display and then due to page view. So then, if you go to the front page, it's one page and then this previous how it would print so it can still look at it as spreads. It's just exporting as pages instead of by default spreads. So thanks, and I'll see in the next lesson. 32. Publishing on the Web with Animation and Video in InDesign: Besides printing, we can export adobe in design documents to PdF form e pub form. And there are certain things that will work in PdF but not e pub and in a pub, but not pdf. But there's another way to share content created in in design, and that's to publish online. This is helpful because you can send, for example, magazine layouts, restaurant menu layouts to clients for them to look at online before you even think about printing it. Another use for publishing online is you could actually use as a presentation. So instead of using PowerPoint or keynote you could use, publish online. And then when you're doing a presentation, you could just feature the publish material on screen. So it's ad some or interactivity to this document. Let's go to file place and then under a video under the Look Book folder. So in design, sport files look book, video, there's a small video. They're called snowboarding. Let's click that and then just click in here. I just made this directing a little bit larger. Would you want to be able to see the bottom of it? Because if not, if it's clipped off something like this. For example, we won't have the video controls at the bottom, so that's problematic. So make sure we can see the entire content. This is just a low rez video I shot years ago when I was snowboarding at Crested Butte in Colorado. So we're just using it for this practice. Look book for this fictional ski resorts winner, Crest Ski Resort. It's low rez, and that helps because then it doesn't take his long Teoh upload to publish online or download via the support files. So that's there. And before we published, let's go ahead and add some animation and there's many different types of animations. Weaken Dio. Let's go ahead and just select all of these holding shift as we select all of them and go toe object than group. So the act is one object. Then we can go to Window Interactive and then animation, and from there we can go ahead and add an animation to to this. So for preset, let's just go flying from left so it'll come in from the left hand side because this is on the left hand side of the spread, and then when will it low while on page load. We could also have some photos that move when we roll over them with the mouse when we click or when we click somewhere on the page. But for this one is just whenever the page is navigated to when the page it loads, then this animation will happen. And if it's too fast, we can make it slower. We can make it two seconds, for example, and we can't have it playing a number of times or just loop. Or we can just have it play one time, which is the default. And you can also customize if you click this properties here and tell it toe animate to the current location it's in. And that's the default, and you can add some rotation effects, re sizing, effect scaling effects and so on. The animation also has fade in by default, and I'll keep that otherwise we could have none or fade out. Fade in is appropriate for this one because it's animating in from the left off the page, and then it's gonna fade in. See this at the bottom work, says Preview, spread E pub. You can click that, and this is what it will look like as an e pub was wait for that toe load up. So it gives us that previous, If I click play again, play it again. But this can be used not just in EPA but also published online. So let's go ahead. Now that we've added some animation, we inserted a video as well. If we export, this is a pdf. Some of these effects will not work. The video can work, but you need to have the flash plug in for pdf. LA Pill might not have that. So I would say, if we're adding a lot of interactivity tested on all your devices, make sure it works on tablets if you think people will be looking at on a tablet. If you're just doing this for a presentation and you'll have a desktop computer, we'll just make sure it works on this top computer. Of course, if you publish it as a pub, just test it in those e reader devices as well. So I'll go to file and then instead of export to Pdf. Because some of these things will not work for Santa animation. Let's go to publish online, and we're going to publish a new document. Let's just call it Winter Crest. Give Resort and we could add a description if we wanted and allow people to download as a PdF possibly. Then we'll click publish, and this will take a little bit of time if we have really large videos and photos. But that video is not too high. Rez. These photos are, but it shouldn't take too long. This is actually being uploaded to Adobe servers and Weaken Send this year, Earl then, and share it with clients and others so they can see the publication look it once it completely uploads, we can click View document. We can also copy this year, Girl that we can send to people and they can check out the publication. Well, let's take a look at it. It's good of you Document and our look book is not completely dead. Of course, we just have some sample text here. We have some of the photos that will be using, but let's go to navigate. We can use these buttons that we have from earlier, or we can use the built in buttons here. And then there's our animation, so I'll navigate back and showed again. Here we go. There's many different styles of animation that we can add. And here's our video noticed the controls right there front. So if you place a video in and you don't see those controls, click and drag the corner of the bounding box there and make sure that we have room for the controls there and so we can press play and there's our video playing, so that's published online. It's really useful, and we can go back to our document. If we make some changes and go to file, publish online again, we can tell it toe update that, in other words, kind of like updating a Web page where we're replacing an HTML file. We can go to update existing document and tell which one toe update. If you're not sure what documents you've published online, you can also go to file and then not just recently published right here but also the publish online dashboard. And from there you can delete. Or if I click this, we could embed it on a Web page right here with this embed code or right here, right click that it will give me the U. R L to send to clients. We could even go to analytics and see how many people have seen it. Now only two people look to that. This and that's May, because I've only just recently uploaded it. But you have analytics that will show how many times people have looked at it and so on. So that's published online. It's pretty useful for sharing documents with clients and also just for presentations of our publications. Thanks. 33. InDesign Printing Best Practices: We've been reviewing how to publish Adobe in design documents online. Export them as pdf's, for example. But sometimes we actually want to just print them to our printer. There are a couple considerations toe look at when we're printing to our printers. Go and go to file print. And on this dialogue we have PDF. I can change this to a person inkjet printer and by default has all. If you ever want to print just a couple of pages, weaken, set a range there and type it in, for example, five eight something like that. But I'll just have it at all. And this is important. If we print as pages and it fits on the page, that's great. If we go to spreads and the spreads are just too large for the set paper size that we have , then we need Teoh. Either send it back to pages or under set up go scale to fit. And that's only if we want Teoh, for example, print a proof for a client so they can look at a smaller version of the design. We don't want that to be our final product. Of course, if we've said at a specific size, whether it be postcard letter, a four tablet and so on. We needed to be the actual size if we're printing it as the final product but scaled, if it can be helpful if we're printing a smaller version of it, so client can look it over. We can also do thumbnails, and that's pretty helpful when we just want to look at a publication overall and have the different pages on one page. So that's thumbnails. I'll uncheck that on paper size. We have a letter. If we go to a four, then it goes to the specific land that we have here. But there are a couple other ones. Let's say we did legal, see how it runs off the edge there or if we did something like envelope. This design is not going to fit if we use a smaller size, unless you did something like scaled a fit, Of course, So we'll also go to marks and bleeds, and if we want the pressure marks on there, we can turn. There's on and we can increase. This is a little bit close when increased that to at least 0.1 to 5 inches just contact your printer. If you're dealing with a corporate or local business printer and see what they need, we can have the document bleed settings from our document that we set earlier. Otherwise we could set it here. But we should be using our default ones that we've set right here. Of course, our photos pages that have photos will go to the edge of that. We're gonna output for something like my inkjet printer. We're going to be using composite RGB. If we had a composite gray, we could check Texas black just to make sure the text is completely black. If you have ah, higher and printer or obviously a corporate printer they're going to use seem like a under advanced. If this is our final product, I do suggest having high resolution for all of our settings as faras graphics, transparency, Flattener, you want to look the bus, it can look. Then we have a summary. So if we have these settings that we've went through and customized him, we can say that as a preset when go to save preset and then type it in here. I'm just a local printer and for a four And then if we click OK, then it's set. Appears a preset we can also go to set up, and this will look different on the PC versus the Mac. But it's saying, Hey, if there's some settings we can set and here just go ahead and set him in here instead of their printer drivers. Dialog box, click OK, And from here we're gonna preferences and set things like printing on both sides of the paper, some quality settings and then overall layout. But we can set the landscape layout back in here, so I do suggest just using this dialog box for everything that's in here. So it went to set up and we have landscape there. If I did portrait orientation, see how it's not gonna fit on the paper. So by default, this is landscape, and that's correct. So once you're ready to print, go ahead and click print and see how it looks 34. InDesign Exporting PDF Best Practices: we've exported. Pdf's a few times in this course so far, but there are a couple more considerations to go over, so go ahead and go file export. And let's set this to Adobe pdf print instead of interactive. And so, of course, we can print all pages or a range, and we can print them as pages or spreads. So Page two and three lovely group together four or 56789 and so on. We can click this if we want to look at the pdf after we export it and optimizing for Fastweb view. I do keep that checked in case where distributing this online and it will load more quickly , creating a tag. Pdf can help as far as when people are searching online. And if the PdF is online, that will help with search engine optimization. But it also helps for people who have visual impairments and screen readers as well. So keep that checked. Now, If we do have hyperlinks in there or bookmarks, we can check that, and those actual will work in adobe pdf print. All the other interactive elements will not, but bookmarks and hyperlinks do as far as compatibility. It really depends on who is downloading this document. It's safe to assume that most people probably have a later version, so we could do acrobats. Six Acrobat seven or Later and under compression. This is really meant for print. So we have 300 pixels per inch if we're going to be putting this online as a PdF even as Adobe. PdF print non interactive pdf weaken Still publishing online almost like an online brochure . Besides bookmarks and hyperlinks, it won't have any interactivity, but it will work almost like an online magazine or brochure so we can set that toe 1 50 if he intended. Audience is going to be online now. Some printers that I've dealt with commercial printers. They require at least 150 pixels per inch or higher to print. But of course, 300 works as well. That's even more. I do suggest keeping it to maximum for image quality so it'll look the best it can. And there some presets up here where it says high quality print. This is really if we're printing a proof or we're printing to our local desktop printer. But if we go to say X one a x three x four. It depends on the commercial printer, so ask them, Do they want X one? A. Do they want? X three X, for the main difference between these? Is there more colors available in X four, then say high quality print or X one? A. If they say x four, that's great If they want just X one A. That's fine. If you're not sure the default really should be X one A for commercial printers in case they don't have the newer options. So if you select that, that's a preset or even get a high quality print again for a typical consumer desktop printer or a proof. And if we're printing to our local desktop printer, weaken, set this toe Hiram 50. If we want. We don't have Teoh. Set that to 300 for a You know, an inkjet printer, for example, and same thing we could set the gray scale as well toe 1 50 But it really depends on where we're printing it. And if it's a Web pdf, we can use a higher 50 pixels prints. That's fine. We don't really need 300 for that for marks and bleeds. Most printers are going to put this on the document themselves, but if they want you to put that on there, go and call them up and see what settings they need as far as the offset goes. And if this is for print, we definitely need to go use document bleed settings because we set it off to the side. But if this is an online pdf, we can actually uncheck that we do not want that document bleed. If this is an online, pdf because there's no risk of ah printer cutting the paper right here instead of right here, one veg of the document. When it's online, we know exactly how it will look. There's no printing in cutting in the paper process or printing it slightly off so that it's not perfect. When it's printing so online, we can look at it ourselves. We see what the pdf looks like under output under high quality print is not gonna have any color conversion. If I go to say X one, it's going Teoh, change it to seem like eight. We can see here, and if we get a security, we can even require a password and require password in order, print, edit and other tasks. So we have a summary of our presets here again, we can go to save, preset and save all of these settings so we could go to them later if we wanted. I definitely do not suggest using smallest file size because the quality of the photos and the layout will not be as good. And we don't need to worry about any interactive settings because we're on adobe pdf print . So animations, for example, don't really work when we export them. Even Teoh pdf Interactive. They have to be converted to SWF files, which are flash format. But those buttons do work in the interactive format, and the hyperlinks and bookmarks even work in PdF print version. But once you have the settings how we want them, we can click export, and you see this animation appear. That just means that it's rendering that PdF and there's our adobe pdf for print, and this could be distributed online as well. Of course, it just won't have interactivity, for example, on embedded video or anything like that. So what if we send the PdF to a printer and they really need the in design file as well. They edit some of the type for some reason, or the fonts are showing up correctly. What could be helpful is packaging the group of files, and we'll go over that in the next video lesson. 35. Packaging Files for the Printer in InDesign: The one way to send your files to the printer is to actually package the entire group of files that we've been working on. What I mean by that is not just the in design file, because if you just sent the in design file to the printer, they do not have those photos. Most likely that you've placed into the in design file. Unless you send them separately, they will not have those photos because again, photos air not embedded as part of the file itself. They're embedded and linked. Meaning there, there on the page but in design is looking to that folder where we've specified where those photos are. That's why, again, it's more than not to delete or move photos once we've placed them. If you did have an air earlier with printing and exporting to pdf with broken links, we went over the links panel previously. And if you have any problems, for example, images that were moved or images that are not available than you're going to get a air right there, and then you can click on what page they're located on. So I don't have any heirs because I didn't delete or move any of the images that we've placed. But that's just important to know. If you get an error about over set text that just means somewhere you have text that still needs to be threaded or flowed in a text frame. For example, with this one, if we just use the selection tool, click and drag up here. Now we have an error down here at the bottom, and that's because we have over set text now. Sometimes that will just be from someone pressing return or enter on the keyboard, and it will think there's oversight text. But it's just a space so we can get the backspace or delete so it doesn't have that air. For example, If I hit Enter here, notice now says over set text. That's just blank lines, though I will fix that, but I just want to show you an example. So here's how we package files. We need to include the in design file. Of course, we also need it include any fonts and also any placed graphics such as illustrator files, PSD files, JPEG and so on, and also helps to have the idea Mel file for earlier versions of in design and the pdf, so the printer knows what it should look like once printed. So let's go to file and then package and you'll notice. Here we have five fonts used, zero missing, so that's good. Stars are links and images. It's found 16 linked objects there, so these are all images and see where it says links images with layer overrides. That's because we place that PSD file, and we had it checked where we had the import options on so we could adjust one of those layers so that just that layer should. That's that one right there and even says non OPEC objects on Page four. We got a font, and it shows which funds were using and Lincoln images that shows all of our placed images . So this one's a PST file that was that one cause had layers and then J pegs for all the rest. And then there's the place to video, and it shows us where they are located where we've placed them from. We get a print settings and I'll give us some information as well. I don't have any external plug ins on this. Once we're ready when go ahead and click package, and I'll save it. And this is information for the printer. LA People don't use this, but you can if the printer requires it, but it's often better to email or call them on the phone. If there's some specific instructions you need to add to it, just click continue. And here it gives us some options so fonts can be copied into this package file, except it won't include type get funds. That's because that's from Creative Cloud. So if your printer has a creative cloud subscription, they should be able to access those fonts. If you used any type kit fonts, meaning the fonts downloaded as part of our creative cloud subscription that we can use with that and it will make copies of any graphics that we've placed because they're linked graphics, it will update the links in the in design file so it knows where these are. So when the people at the prayer the commercial printer download this in design package, they'll open. The end is on file in in design, and they won't have broken link Ares looking for the images on your computer, for example, it will be a correct reference to the image on their computer in that folder that it's specified as it packages it now we can tell it to. You include fonts and links from hidden and non printing content. I don't have any hidden or non printing content on there. It is important to point out that if you use this to archive for yourself or there's some important information off to the side, that could be problematic, because when you package these files in in design, if you've placed any content over here on the art board off to the side, that's not on the page itself. It will not be included. It won't copy that those link to graphics and be included in that ZIP folder. So that's just something to consider. We could send their separately if there some important images off to the side, if needed, include idea. Mel could be helpful in case the printer has an earlier version of in design. For some reason, they have CS four CS five CS six. That's short for in design markup language, so they should be able to open up that if they can't open up the i N d d default in design file, and then the PDF is helpful to include as well, because then they can see as a reference what is it supposed to look like when they print it? If they're printing from in design, for example, I keep high quality print just because it's a proof. This is not the actual PdF. They're printing. But if it is, if they want to X one format, for example, we get set it here. So if they have the X four, that's great. That's the most colors available. Or if they have X one, that's kind of a default, if you're not sure. But since it's just a proof if they're printing again from in design, then we could set that toe high quality print. It's once we're ready, we can just click package, and it just says, Hey, make sure you can copy these funds, so check the license of the fonts if you're allowed to make copies of them and send them along with the package file. But these air fine click. OK, OK. And then we've exported it right here. Look book folder, and if I navigate in there, we've got the document fonts and they're all listed right there. And then we've got links. This is the PST file. All the J pegs in the video that are placed in there, the instructions, text file that we didn't really add anything in there. And then the idea. Mel, file the in design file and then the pdf. What you can do, of course, is right. Click on that and go to send Teoh compressed Zip folder. We could compress that and send it to the printer through a server or email. And you can also do that on Mac. We just compress it, and it should create a Zip folder just like this that we can ford along to the printer. So that's how we package files. 36. Techniques for the Lookbook Example Project: The goal of creating this look book was not just to learn the technical side of in design with many more techniques, but also to produce something that you can add your portfolio. I went ahead and took a little bit more time, not too much, and created more of a finished product for the look book. So you can check that out in the support files Just called. Look, book example dot pdf Now, normally, if I'm turning this into a client, I would take a little bit more time to add a little bit more distinctness to this. I wouldn't have this coffee mug in there. I wouldn't have this actually just wanted to show you the method. I want to cover everything you need to know in in design in this course, even if we're not using it in our finished product, for example, in the look book. So open up the pdf. And if you want to look at this with spreads rather than just one page at a time, you can go to view page display and then to page of you. And then that has the first page. Of course, the cover page one on the front and then we have page two and three is a spread. Now, if you're looking in a pdf ever and it starts to pixel ate, for example, not this text, but maybe some of these photos. If you zoomed in way too much, you can tell they'll start to pixel ate. That's okay because these are raster images. As long as they don't picks late at 100% view. Ah, should be fine. So if you're gonna view and then zoom and then goto actual size, that'll show the actual size that it's at. I can still zoom out those so we can see both spreads at the same time. I added a couple more photos, added some borders around him under the table contents and just called it view from the peak. As far as this table contents use some photos throughout and I'll show you how I did this little quick technique here just for some consistency in the design thing. If I was turning this into a client, I would even ADM or consistency throughout. So there's more uniformity, but I think this looks fine. Just adding a couple more things in here that you can learn from. So I switch this up a little bit, added some different color coding. They're just more ideas for our publications. So the color overall is pretty consistent. We just have this blue and the yellowish color there, even in this photo here, kind of matches this great aunt in extent. But we're again applying alignment, effective proximity and spacing. Consistent color and consistency really relates to branding as well in a commercial project like this. So if you go to in design where we were working most recently, we had these front and back interactive buttons. Next page and previous page, I removed those for this because I think just the pdf navigation tools are fine for this project. I also don't have the video in there. I just wanted to show that in case you did want to create an interactive pdf with navigation and video multimedia content like that. So I fixed the Grady int there. We don't use, for example, this text here. In my example, I just want again show you that technique. All right, we do keep this in here. I don't think we have that in the final product just the example. PdF I'll show you a couple of techniques here that they used. Ah, one aspect of effective education is reiterating content principles, but without being unnecessarily repetitive or redundant. So if you don't need just kind of a reminder on a couple of these principles and techniques , you could actually zoom to the end of this video. If you want. However, I'll show you a couple techniques I used for this specific example. So this text up here wanted something that looked a little bit hand written, but without manually drawing it in and scanning in all that, I still wanted to use a fund. So I used something, and this is at 200 points and just regular. I didn't make it bold or anything like that, and then, for the slogan, just more than a ski resort and then right down here. This is one of the consistent elements throughout this example. It's kind of 123 diamonds, such as perfect squares, but at ah tilted angle there, Uh, so at a 45 degree angle, we can hold shift. And so once I drew that, I group them together. He's got object and group after a select him. And then we can duplicate that. So all on the PCR option on the Mac and click and drag them sold over that. Let me just turn this from preview. We can click down here and go to normal, where I confessed w on the keyboard and that will talk all that back and forth. So if I click and drag this over here, I'm going to zoom in. Just press control on the peace, your command, the Mac and the plus sign someone unknown. Group this so I'll goto object on group first and you'll see this is one shape here if I go to object and then effects and then transparency so they have 50% transparency. If I click on this one, it has the same thing. Another way toe. See if there's transparency up here on the control panel. Just got a window and control. Make sure that selected we have 50% right there and click right here 50%. All three of these have 50% transparency. So to draw something like this, all we have to do is click and hold on to the rectangle tool here or just click the rectangle tool. If it's already there is the default. So hold shift on the keyboard as we're drawing it. And then now we need to just set the fill toe white so we could click down here and sucked it, or a short cut up on the control panel and hero our colors. The Pantone colors that we have there's some seem like a process colors there as well, and our color scheme, or are swatches that show up automatically appear. But let's go and just select paper for white and then select. This selection tool is a black arrow in the top of the tools panel there, and click and drag the corner so we can rotate it just outside of the corner there, and we need to hold shift again so it will lock in at that 45 degree angle. Then we can all or option click and drag, and we can hold shift, and that will keep it level. All right, something like that. And then we can do that again and are smart guides. That green line there will show up, and we'll lock into that so it's consistent. We want this space right here to be the same exact space right here. And all that's left here is we can click and drag around it or hold shift and click all three of them and then change the transparency up here to 50%. Or we can again go to object effects. Transparency is, well, it'll show up there, too. So that's how it created this design here that is, in a couple different areas. I'll zoom out here and I'll use the handle to move around. See, we have a right here and right there. We want to make sure there's consistent spacing so they're inside the margins there. But also the distance between the right hand side of this shape and the edge of the page should be the same as this side as well. So we can use guides to do that. Or we can align them up like that with the smart guides. So I'll zoom out here now see, it's up here as well. About the top. Just add a little bit of distinctness and uniqueness and consistent branding here. Consistent look. So it's up there and it's right on the edge. Suffer press W We'll see what it looks like. We could put that right on the edge of the middle. Is there now, if I click and drag around all of this and if I wanted to select all that and go to edit copy and then I go into another page, say, down here and go to edit paste in place, it'll place it right there on a different page in case we wanted to make sure it was in the same exact spot. So if I get a copy, say, if I wanted to add it here, paste in place and place it right there. Now here's the same Look over here. I'm gonna un group this to show. Click right here. 50% all. I did those when I had it selected. Instead of it being white. I just changed it to this process Color. Here we could use a spot color like a Pantone. We can use to seem like a whatever we want for the design. I made sure this was right in the middle for symmetry here. If you make sure that's right in the middle of the page are smart guides can help out with that and so that they're lined with each other. Of course, we could press w click and drag off the ruler here, make sure they're aligned with a guide as well. If we wanted, I still have the page numbers in there From our example. I didn't remove that. This right here is just another idea to try out. So press w here. So it looks better with how the guides and all that there's some captions at the bottom of three different photos. The idea is that this would have different clothing that they sell at the ski resort. Another way to you, you know, add information is to use a color scheme like this. So if you have the orange, maybe you credit the photographer here or the title or the name of this clothing, whichever store it's at the ski resort and you can have information below there. All right. And then over here I kept this circular text, but then I added a shape. So I just went toe lips, tool hold shift to make it a perfect circle. And then when I placed the image in there, I clicked right on top of the circle. There all right, And then down here, I increase that text rap spacing just a little bit. So there's more breathing room, often as well. Want one pica at least in between. For example, text there, for example, the gutter in between columns. That should be at least one pica. And we just have that same design here with the three diamonds and then just some photos with a white border. So it looks like actual photos kind of thrown onto a desk. And then here we just have four images and what I did here instead of placing the images and then re sizing him and, you know, trying to make sure that the same exact width and height, I just took a rectangle we could use rectangle frame tool or the rectangle toll either way , a click and drag this in. So once I did. If I drew this right here and then you can also click and drag it over. Hold shift. So it's level, and then you know you have to that are the exact same size for this. Someone delete those. So we have those perfectly centered on the page and they're all aligned with each other. so if we drew a guide, we would know that they're aligned with each other. There you can see these are aligned. And below that, I just drew another rectangle like that. And because the photos actually placed inside here, I need to draw a separate rectangle that just has a white Phil and no border there. And then I just have a text box on top of it. So we have a text box or a text frame, I should say, and then we have that rectangle, and then we have the other shapes below it there. So that's all consistent and aligned, same width and height for everything. And they're all lined up. And when I placed these in, what we can do again is may bring this hot little bit. So we have more options so we can see it was this one right here, Phil frame proportionally is what I used. Because then, even though it might crop out some of the photo, it generally does a good job of taking a landscape or portrait orientation where the with or the height is larger than the other and re sizing it so it fits inside that frame pretty good. We can still again move it inside there if we want. If we use the white arrow can move it like that. We're just slightly adjust it the direct selection tool there and we can adjust that as needed. These were all larger than the shapes, though they're in the support files. So I knew that they want it picks a late, you know, if we click and drag them in and it's larger than the original size and in this one, the same idea here. I just rotated this here and then place one of the bottom there. So we have a consistent look and then in this Grady int and then this Grady in here coming analogous color scheme. Just one type of blue to another type of blue over there. So it looks more professional. It's not all over the place. Large photos, and then we have that. It looks like a mountain range. There's three diamonds and they're actually triangles here on the visible part. And then this one's air really high rez images with hi dimensions as far as within height so it could stretch all the way across the two page spread. So that works out. And then we have a photo on the back cover as well. So that's how we place that content in there. I'm not going to reiterate. You know how to place images. We can go back to those video lessons if you want to check that out again. I just wanted to go over how I created this example pretty quickly, just with a couple more looks and techniques to check out now, right here. This range. And here we do have this from earlier, but this one here all you have to do. We could draw that in illustrator and bring it in. Just go to file place and place it in. But in design again has the pen tool and what I did there is just click and then hold shift . So he notes that 45 degree angle and then just draw out this mountain range. All right, and then we just want to make sure it's below that bleed of the page. If we're ever going to print this as opposed to just being digital, all right, and then we have that there's well and a lot of these photos and the support files are very large. They had a high resolution. That's why they can fit across entire page or spread in this document somewhere off the page like that. And that's fine. If we're printing this, we'd want those photos to go to the edge of the bleed as opposed to the edge of the page, of course. And of course, when I added a background such as a Grady and I made sure it goes to the edge of the bleeding case, we printed this with the printer, as opposed to just digitally distributing it. So hopefully this overview of the example has just reiterated some of the techniques and principles, but also just in case you are curious about how I created some of those transparent shapes . Just want to go over that just show you those techniques. So thanks, and I will see you in the next lesson.