Affinity (by Canva) Level 2 - Type, Layout & the Art of Great Design

1. Text Layout - Intro to this Course: Text is such an important part of everyday life. In this course, I want to take you through how to create beautiful, amazing and eye catching text in Affinity. This course will help you bring your ideas to life through visuals that inform, inspire, and express your unique vision. We'll start from some of the basics and we'll work our way through to all those little bits of text that you probably never even noticed before. This is some of the amazing stuff that you're going to be doing with text. Have a look. Hi. I'm Tim. I live and work on a beautiful barge traveling the canals around London with my wife, Allie and our cat, Fuji. I've spent over 30 years working with design software and have trained some of the world's top companies like BBC, Disney, the Times newspaper, and many, many more. What are you waiting for? Start right now, and let's get creating together. Two. 2. Text Formatting Properties - Intro: In this section, we're going to be looking at the properties of text. So it could be moving your characters further apart, moving the lines further apart, the paragraphs further apart, indenting, all those type of things that you need to know for really good professional looking text. Let's get started. 3. Working with Frame & Column Breaks: Let's have a look at working with the text inside the frames. Now, what I want to do is I want to get this bit of text to flow from this frame into another one down here. And yes, we have done this in the past. But what I'm going to do is just show you again very quickly in case you've forgotten. You take your frame, you go along here, and what we're looking for is a little arrow. There it is over there. The little red arrow, and I can click on that red arrow, and then I can click drag over here, and the text will flow from one frame into another. Also, if we want to divide the frames into two or more columns, I'm going to click on the frame, and I can go up here to divide it up. Or we can also do it by going to the Window menu, going down to text, and finding the text frame panel. And in the text frame panel, we can do the same thing and we can divide that up into different columns and change the gutter in there as well. Now, what I want to do is look at how we can work with the text in those frames. You can see I've got some text in different frames. They're all linked from one to the next, no on to the next page. And I've also in here, got some headings for the various sections. So if we zoom in over here, you can see I've got the image as a document of existence. That's the first paragraph. Then tangible proof of presence is the next paragraph over here. The human element of imperfection, that's this grain is that unpredictable, is that one, and philosophy of intent is the last one in here. Now, this is okay, but it looks messy because we've got the heading over there, and ready we want it to be down here. Now, one of the ways that we can do this, let's start with this one over here is if I were to click there and put a return in, I can force it to go onto the next column. And same over here. I'll go to there, and I'll do a few returns to force that into there. Same with this one. And let's move that one across. And you can quite happily do this. To get everything to go into the appropriate areas. And you can see I've pretty much done that now. But having just done that, I've realized that I've forgotten to take the tangible proof of presence and move that down. So let's do that one now. So return in there, it moves it down. And then, of course, that messes up this one, which kind of can mess up that one, you can see how there's a bit of a gap and there's a gap there, and there's a bit of a gap at the top of that one, as well. So yes, you can do it this way, but it's not ideal. I'm going to undo this and go all the way back there we go. Back to where we were. So instead, what we can do is we can actually force text to go from one frame into another. Let's have a look at this one over here. So I've put my cursor just in front of the tangible proof of presence, and I'm going to go to text, and I'm looking for something which will allow me to push the text onto the next frame. And that's down here. We've got insert. I want to insert something which is going to push the text over, and that's going to be a break. And I'm going to choose a frame break, so it's going to break and push that from there into that one. Now, that's looking pretty good over there because that one's lined up perfectly. But let's go to the grain. And once again, the grain, I'm going to push as well, so I'm going to go back again to text. Down to insert breaks, and I'm going to do a frame break on that one as well, which pushes it in here. Next one, same again. We're going to go over here, go to text, insert breaks. Frame break. But now look what happens. With the frame break, it says, go to the next frame. It doesn't go to the next column. So I bet you can actually see what I'm going to do already. I'm going to go back and do that again, but this time, I'm going to go from text, insert, breaks, I'm going to use a column break, which will force you to go onto the next column. So again over here, I can then use the same. In this case, either column or frame break. So let's go over there breaks. We'll make that one go to the next frame. Over there, and that's all working perfectly now. So if I've got an issue in here and I decide to make some changes, it won't matter because these will always jump to the appropriate places. Anyway, I have included this little document so that you can try this out. I haven't I've gone back to where it was a problem. Have a go with this or try out your own as well. 4. Text Options Font, Font Family & Typefaces & Outlines: Now, I'm going to go and find my Character Panel, and obviously, you might find it up here. I can actually see mine there. The CH was just showing. But if you can't, you know where to find it, Window menu, down to text and the characters obviously in there. Let's pull that out. Now, let's have a look at some of the options in here. Now, if you've done the vector side of Affinity, you'll know quite a lot of these bits and pieces, but bear with me, there might be a few extra bits that you'll pick up this time, as well. Now, the first thing is the fonts over here. You can see this says A fonts, and I can choose from different subsets of fonts. So I could just go to my English fonts or my favorite fonts in their recent fonts that I've been using fun fonts. The list just goes on. I'm going to choose all fonts so I get all of them in there. I'm going to select some texts. I'm going to go to this bit of text over here. Let's zoom in a bit onto that bit of text. Just using my shortcuts, Control Command plus to zoom in a bit, and I'm going to select that bit of text there by clicking a few times with my Text tool. So we've got the first font over here, which in my case, it says Aerial. Now, when you come across fonts, sometimes you'll find that they're actually referred to as fonts. Sometimes they might be referred to as typefaces, sometimes font families. So what is the difference? Well, if I go to Aerial over there, aerial regular 12 points over there is a font. Whereas just aerial by itself is the font family. The font family includes regular, it includes italic, it includes bold, bold italic over there, and all the different sizes. Just bearing in mind when people talk about fonts, they use it as a generic term really to include the font families. It's exactly the same with typefaces. Typefaces are like font families where you can go to aerial and that includes all of the different styles and the sizes. If you just want to call them fonts, well, only the most uptight people will get excited about that. Anyway, I'm moving down a little bit over here. I'm going to go to the size because when you have a bit of text and you've got the size in there, the size comes in in points. Now, as far as points go, how big are points? Well, on a computer, there are 72 points in an inch. So if I selected this title over here and I put in 72 points in there, let's just go to 72. That would be 1 " high text on my document. But what about if you don't like to use points in there? And you thought, Well, you know what? I really want that bit of text to be exactly 8 millimeters. Well, you can type it straight in, so I can go in here and I can type in eight MM, press Enter, and it will convert it into points sizes for me, as well. Just a little bit of an aside here, I did say that there are 72 points on a computer, and that's because traditional typography, it's actually 72.27. So just in case anybody pulls you up on it and says, Well, actually, there are 72.27. You know what they're talking about. That's traditional. Was on a computer just 72. Now, let's move down a little bit over here, and we've got the usual little buttons that you see on all sorts of things. So over here, we have got underlining. We've got over here, double underlines in there. You've got strike throughs and you've got double strike throughs, and then you can remove them in there. You can also, if you wish, go in here and change the color, so I could make a red underline over there with this little color over here. I'm going to just get rid of the underline by clicking back on the U on the left hand side. Now, what is this one down here which says none? Well, I'm going to select this bit of text over here. I might make it a little bit bigger. So 22 points, I think I'm going to go 30 points in there, just so it's easier for you to see. I'm going to go over here. Click on that, choose a color. Let's go with something quite bright and vibrant and increase the size and you'll see exactly what it does. It's the line around the outside of the text. I could do that and get the line around the outside of the text in there, and I could then actually remove the center of my text. I can go to my text color and then say none, and that will just leave open text with just the outline. You'll see if I move it and let's pop it over the picture. I'm going to bring it to the front, so I'm going to go up over here to my layers, and I'm going to go to range and say, bring to front, and you can see how that text is actually transparent in the middle. So I'm just going to undo that so you can see that again over there. So if you've got some text, you can put a line around it. Let's just go to decorations over here once again, and I can then choose a color in there. And then I can go to the size, and I can change the size on that for the line around the outside. If I want to get rid of the fill color of the text, you can go up here, second one along, so it's, sorry, the first one long, some one on the left. Change the font color to none. That's a little red line. And now that is well, invisible text, but the line around the outside is visible. I'm going to go back again over here to the size of that, and you can see how I can adjust the size with the invisible text in there. I can also go along and use any of these other styles, so I could go and have it as a dotted line over there. Now, the other thing we can do is we can align that line, and we can either choose to have it on the line itself on the inside or on the outside. You pick which one you prefer. Have a bit of a go with that and particularly with the decorations, if you've never tried these line around the outside of the text or transparent text with the line. Have a go. 5. Character Position & Transform: I let's go to position and transform. If you can't see these options, just click on the little arrow over there to open it up. Now, the first one that we get to over here is something called kerning. Kerning changes the distances between individual characters. Let me show you. I'm going to go over here and I'm going to zoom in a bit over there to the AI, where it says generative AI, and I'm going to click so that my text tool is sitting between the A and the I. Now what I can do is I can go along to my kerning and I can either increase that distance you see takes a little while. It's very, very fine adjustments over there, or I could decrease that distance in there. Let's go to a minus figure so we can push it really close together if we need. Now, for most text, you don't need to change the canning very much unless you're trying to do some sort of an effect. But if you do download any interesting fonts, which maybe are not that well created in the first place or well designed, you might find that the conning doesn't look right and you might have to go in and manually cure it yourself. A lot of designers spend hours and hours just sorting out the conning on their text to make it just just so. And it's quite fun once you get into it. But if you just want to put in some text very quickly and you've got a well designed typeface, like Ariel, for example, you don't need to cone it unless you want to do a specific effect. Now, let's move on. If I go down here to this VNA over here. Now, for this VNA, we need to select the words. I'll select the word rather than actually just putting the cursor between the two characters. And over here, I can increase the distances between those characters or decrease them. You can see I can go to negative or I can go positive over there. And I'm going to click on that drop down and go back to zero. Now, do be careful with this one because if you put it on normal text like this, you might end up with your text being quite difficult to read if it's too far apart or too close together. A tiny little bit of this can help if, for example, you want to push a piece of text onto the next line, or if you've just got one word sitting by itself and you want to get that word to come back into the rest of the paragraph, you might want to select the entire paragraph and just adjust it very, very slightly. But don't go over the top with that. Now, there are times when you might want to put in a lot of kerning, but that would once again be for more of an effect. So let's say, for example, with this bit over here, I just want the word existence. So I'm going to remove this bit of text over there. I'll just put a E in there. And I would like to make this more cinematic so it's more important. I'm going to go down over here and I'm going to increase that to get more distances between them. So that gives it more of a cinematic feel. You'll find that people often use this when it comes to headings. Your large text looks really, really cinematic, looks very, very good like that. But for normal body text, I wouldn't use it unless you are looking to move something from one line to the next. Let's have a look at adjusting the distances between the lines. This is known as leading. So if I go down here, you'll see that I can either increase the distances or decrease the distances. If you're not sure what you should use, just click on this. It'll drop down and choose auto. And that will be the normal leading for that particular bit of text or that particular font. Now, we've got some other options in here. For example, you can take your text, and you can force it to get all italic. You can move down, and you can resize the text and make it so wide. You can make it tall. As well. And lastly, down here, we can then go in and we can use superscript or subscript, and that will take something and make it small and go up. So for example, after the word photography here, I've got TM trademark, and I can select that and then I can go and make that superscript, which makes it a little like that. If I use subscript, it'll do the opposite and make it small and go down. Choose none to get back to your original. Have a bit of a go with that. And in the next video, I'm calling it down the rabbit hole because I'll get into a lot more detail in here. You don't need all the detail. If you want to skip that and go on to the following video, that's absolutely fine. But if you're really interested in more typography, then look at the next one. 6. Down the Rabbit Hole: Position & Transform: So let's start to go down the rabbit hole. Hold onto a hat. What I'm going to do is have a look at some more of the options which are not quite as normal as the usual ones that one is used to. So let's start off with this one over here called the baseline shift. You see, your text sits on an invisible baseline. And what we can do is we can go along to the text and we can select characters, words, or entire paragraphs. And we can shift them, so I can move those up or I can move them down. Now, why would you want to do this? Well, let's say that we had something like a fraction. Now, I'm going to do a fraction of 1/34. So I could take the one, and I could make it subscript, and I could take the 34. No, sorry, superscript. And I can take the 34, and I can make it subscript over there. But you can see the 34 is far too low, so I can go up here and I can just push it up using baseline shift in there. It can also be used for all sorts of effects for text as well to be able to move it around. Now, there's a little option here called no break. If I go along and decide that this certain words that I want to keep together like too clean, for example, I don't want it hyphenation and one to be on one line and one to be on the other. What I can do is I can put in no break. But before I do that, let me just show you what would happen over here. If I push this closer together, there we go. You can see we've got two clean on two lines in there. Now, let me do that again. I'll select two and clean, and I'm going to put in a no break over there. Now, let's try that again. Push this in too clean, and there we go. You can see it's just pushed too clean onto the new line. It hasn't put two on one and clean on the other. So no break just stops you from splitting words. Once again, have a bit of a go with that, try it out. That one is useful, but the baseline shift is very, very useful. 7. Down the Rabbit Hole: Language, Optical Alignment, Hanging Punctuation: I'm going to go to the language and open that up very quickly because in here, we've got the language for spelling, and it's not just English. You can see there's variations on English in there, and the other one that I find quite important is hyphenation, where you're going to have hyphenation automatically on or none in there. Let's close that one down and go on to optical alignment. Now, when you choose optical alignment, you get this really weird little table of things down here. So let me show you how this works. What I'm going to do is I'm just going to go back to my last bit of text up here. And as you can see, there are some things in here like the word hallucinate. And hallucinate has got inverted commas round it. So I'm going to have a look over here at the type which is going to be font rather than none. I'm going to go over here to characters, and you can see this is how it controls different characters and what it does from the left and the right movement for certain characters. There's all sorts of different ones in here. I'll just scroll down a bit. But we're just going to look at the inverted commas, and then you can kind of figure out how the rest of them works yourself. Let me start with hallucinate. And if I do a return over here, I've put my cursor before the inverted commas and I've done a return, you can see that the two inverted commas are sitting outside, so the text is lined up perfectly. And that is because over here in the optical alignment, we've got the switched on for those characters. If I just choose none in there, just select that again and choose none over there. You can see it just goes back inside the text box itself. You can decide what you want to do. I'm going to select that again and over here, I'm going to choose font and it will push it outside. Now, this is where you can control it yourself. You can go in then you can say, Well, actually, you know what? I want to actually increase that a little bit, so it goes right out there or decrease it a bit. You can then do that with either the left or the right alignment. Then as I said before, we've got all sorts of other options for characters down there. If you're not sure what you want, just go to none in there it'll go back to normal text. So do have a little bit of a look at the language and the optical alignments in there. I'm trying not to fall too far down the rabbit hole with this. You can get it further into those if you wish, but I just want to give you a rough outline of how they work. 8. Down the Rabbit Hole: Typography Ligatures: Now, under typography, once again, if you can't see it, click on the little arrow over there. We've got this little FI in here. This is called a ligature. Now, ligatures, you'll see will work sometimes and not others. So I want to show you what it is, what it does, and why it appears and sometimes doesn't see, I've got a piece of text over here, and this text is aerial. And if I switch the ligature on and off, you can see all it's doing is ever so slightly moving the F and the I closer together. Like that. But where ligatures really come into their own is when you're using a typeface, which has got serifs, those are the little curls on the ends. So for example, if I went down here and I chose something with serifs, let's have a little look and see if we can find something down here. I'm just going to run all the way down and find Times New Roman, because that's a very traditional serf type of typeface. So times New Roman over there. So let's switch ligatures off. And what you find is that the F and the I without ligatures are very close together. And you've got the dot on the I and the little curly bit on the F. So what a liicature does is it takes those two characters and makes them into one like that. So it's still readable as FI, but it looks so much better. It also means that if you're doing printing, sometimes if you don't have a liicature on like that, those two being close together, the ink can kind of run between them and kind of create a big blob of ink in there, which looks really poor from a distance. So that's all liicatures do. It takes certain characters and makes them into a single character which is actually still two characters like that. Do try it out with different type faces, and you'll see the differences. As I said, it really only works properly on ones that have got little curly bit on the top, the serifs. Looking at a few more of these options over here, we have got all capitals. We've got small capitals over there. So if the F, for example, on Find was a capital and I did that, you'll see I'd have a large capital and then the smaller capitals down there. These two over here are superscript and subscript, and this one allows you to convert things into fractions. Now, this does depend on the font that you're actually using. I'm going to go and find a bit of text in here. This text is aerial and I'm going to go and put in a fraction in here. I'm going to do one slash four. I'm going to select it and then press that little button and it'll convert it into a nice looking fraction for me. Let me undo that. But if I did one, I don't know, 32, once again, select that and click on that. It doesn't have a single character to replace that, so you've got to do some of those manually. Likewise, things like S T and so first, second, ND, RD for third, if your font supports it, you can replace them very quickly with those little buttons in there. Otherwise, all you need to do is to select the characters that you want and use superscript and subscript and then maybe move them up and down using the baseline shift to get things correct. Do have a little bit of a go with that, particularly understanding what the ligatures are, and then we'll come out of the rabbit hole. 9. Paragraph Options - Alignment: Et's have a look at the paragraph options. Now, I put some text onto another page here just so it's easy for you to see without all the distractions, pictures, et cetera. And I'm going to go and find my paragraph panel. I'll close down the character panel. Now, obviously, if you can't find it, you know where to go, window menu, text, et cetera. So first of all, the little options along the top. Now, I know these seem obvious, but there's one or two things that I want to mention. Let's just select all of this text, and I've got left line or central line, right line over there. Now they make perfect sense. These next ones over here, this is where it aligns to both sides of the text frame, but the last line is aligned to the left. That one there, the last line is aligned to the right and this one to sorry, to the middle and this one to the right. But you can see because it's the headlines are just one line by themselves, it aligns those as well. So if you wanted to use those, I would make sure that you didn't do it on the headline. Of course, this is something you can set up and we'll see later with styles. So over there, I could just do one of those. There. Now, that's those three. This one here is all about getting the text to sit on all the lines and fill up all the lines, which might look really nice from a distance. But you can see what it's done with this last line is it's just pulled the words far apart, and it makes it look quite unreadable, especially if you do it over the whole thing like this. Look at how awful that looks at the moment. I mean, this one here relies on a photochemical reaction. Even in the paragraph, it looks really, really bad. But, you know, if you want to, go for it. Now, let's have a look at this one over here or these two, shall I say? Because this is slightly different. You can see we've got a line to the left and a line to the right there. But these look the same. That looks like the line to the right. Over then, if I click on it. Well, it works exactly the same as this one in there. So what's the difference between these two? Well, it's to do with having a double page spread. If you've got a double page spread like this, if I go to this write aligned option, I can move this, let's just get the move tool and move it across to this site, and it still remains write aligned. But let's say that I always wanted my text to be aligned to the center of the page. Well, if I choose this one here, let's once again, we'll just go and select all the text, and I'm going to choose this one over here, which says aligned towards spine. Now look what happens. If I take this bit of text and put it onto that side, it then aligns the opposite way. So it automatically just jumps and aligns itself to the spine. Then we've got this one over here, which aligns itself away from the spine. So once again, you can see how that moves, depending on whether you're on a left or right hand side page. Anyway, do you have a little bit of a play with those? It's interesting to know about those. You might or you might not ever need them, but it's good to know. Try them out. 10. Paragraph Space & Indentation: Let's have a look at a few of these the important ones. So first of all, starting up the top here, we can indent. So I'm going to go along to this paragraph over here and I can indent this from the left hand side, and I can also indent it from the right hand side. I'm going to go to the paragraph below, this one here. I'm just highlighting it, and below that on the left hand side here, we can indent the first line if we want. That's quite useful. If you're going to be doing instead of doing normal spaces between your paragraphs, you can just use this to denote a new paragraph. Now, let's have a look at these two over here, where we've got space before and space after. Now, what I'm going to do over here is I'm going to select this bit of text over there, select the whole thing so that you can see it easily between that heading and that heading there. I can then go along and I can increase the space after that. Now, I can also increase the space before over there. You might, by the way, if it's set to zero, you might have to go a little bit first before it actually starts moving it. Like so. So these two allow to more space before or after paragraphs. By the way, if this was two paragraphs in it works between paragraphs as well, it's not just about between headlines and the other and the paragraphs themselves. As you can see, I can just move those around like so. So once again, try out the important options here, which is the alignment over there or indenting, shall I say? And then also, this is very important, the spacing between the paragraphs. Oh 11. Paragraph Tab Control: I've got a few tabs on here. So what I've done is I've pressed the tab key and I've put in a number in there, then tab again another number, tab number tab number. And I'm going to select those over here. And we're going down to the tab stops. Now, if you can't see them, it's just clicking on the little drop down over there. And you can see with the tabs, I can actually change the distances of those tabs and move them across like that. We can actually go a bit further and click the plus, and then we've got more control over the tab. So here you've got things like alignment. And there's just so many more options. If you click on those three little dots in there, you can see the alignments, you can see the leader. That's what happens at the very front. So for example, if I clicked on the underscore, you'll see we get the leader right over there. And then once again, the position, which is that in there. Now, I'm just going to close that down because then if I want to go and add some moin, I'm just going to do a tab and then put in another number. And once again, a tab and then another number over there. And it's using those tab stops in there, that 20 millimeters. But you can always change it. You can select that, and you can go in and you can adjust the tab distances in there. Let's have a look at another way of working with tabs. I'm going to use my Text tool and I'm going to click in this little chemistry cost area where we've done the tabs already. And I'm going to go up to the View menu down to show and I'm going to show the text ruler. Now, on the text ruler, I can go along and I can just put in a tab somewhere. So all I've got to do is to click in there and you can see a tab has appeared in there. And I can move that little tab backwards and forwards independently. Let me go over here and click again. And once again, that one can be moved around wherever I wanted to go. I'll click another one over here, and that'll be for this one. And same again. So I can actually measure them out exactly on this ruler and just put little tabs in there and move them around. If you want to get rid of them, you can just click and drag upwards to remove those little tabs from the tab ruler itself. Try it out. 12. Down the Rabbit Hole: Widows & Orphans: Now, let's go down the rabbit hole a little bit here. And actually, this is something that's quite important. And you might hear in out that people talk about widows and orphans. It's not necessarily just affinity, it's publishing in general. So let's have a look at widows and orphans. I've got some text over here, and we've got this little bit of text, those two paragraphs, and then it flows from here into that text frame. Now, this could be on a different page or it could be on the same page. It doesn't make any difference. And I'm going to select all of that text there. And we're going to go to the flow options over here. Now, what is a widow? Well, over here, you'll see that this paragraph it says digital photography by its nature, blah, blah, blah, blah, blah, analog film, however, relies on the photochemical process or photochemical reaction, shall I say. So this is a paragraph from there down to there. There's the next paragraph over here. And this little line over here, because it's sitting all by itself is known as a widow. So what can we do? Well, we can actually down here, we can prevent widowed last lines. So if there's a line like that, we just click on prevent widowed last line, and it forces this line here to go and join that line there. So you don't have these lines at the end sitting by themselves. Now, an orphan, on the other hand, over here, let's go and have a little bit of a look at this. So I've got this bit of text. In here, I'm going to select all the text, so it flows from there onto that page over here. And this time, we've got the start of the paragraph up here, just the one line of paragraph before the paragraph continues in there. So this is an orphan. Let's go and we'll say prevent orphaned first lines. So we click on that and you can see how it forces that paragraph to go and join the rest of the paragraph in there. Of course, it has left the title over there, and that's something you have to look at separately. But it does mean that if it's in the middle of a lot of texts with different paragraphs, you won't just have one line sitting all by itself. Anyway, once again, do try that out. I've included all the options in this particular document so you can have a bit of a go with those yourself. 13. Down the Rabbit Hole: Bullets: Now, you've probably seen or you might have used the two little buttons at the top for bullet points. So I'm going to select the text. And as you can see, I can switch bullet points on and off. Let me just undo that. And I can do the same with numbering and switch that off, as well. But what about if you want to go deeper? And, first of all, if you've switched on bullets and you switch it off again, why do things go weird? So let's go down the bullets rabbit hole. I'm going to undo that. And get back to the original text. So I'm going to select this bit of text that I want to make into bullets. And when I switch bullets on here, what you'll notice in my paragraph options is, if I go down and find bullets and numbering over there, I've then got the type which is bullets in here. So I've got a tab stop so I can actually control where those bullets go. And the first line, shall I say, I can control that in there. But what about the rest of the text? How do I control that? Well, if you remember, and we go right to the top over here, our indent, we can control the rest of the text with the indent in there. So if you do get to the point and you switch that off and you go, Oh, my goodness, what on earth happened over here? We can Whoops. We can just select that bit of text over there. And we can take this down to zero in there. So our indenting is actually part of bullets as well. Let's do that again and take it on a little bit more. So if I click over there, I'm going to just, I think, push that out a little bit like that. So I've gone to 14 there. I'll go to my bullets and I'm going to put in 14 in there as well, so everything moves across. And I don't like these squares. You probably got dots in yours. So if you go to this little square over here and I click in there, I can get rid of that. And if I go to the drop down, I can choose a different type of bullet. And I'm going to go with this empty diamond shape over there instead. Dried out. 14. Down the Rabbit Hole: Numbering: I've removed my bullets, and I want to put in some number points in here now. So I'm going to select those paragraphs, and I can go along and just choose my numbers in there. Now, let's have a look at bullets and numbering down here because we've got different types of numbering, so I can go ABCD, I can go one, two, three, four. The list is endless as to what you can do. But we've got something else in here called levels. So, let's say, for example, that I've got this paragraph here, and then this one, I'm going to do a return. So actually, that's gone to two. But really, I want this to be part A of the first bullet point. So over here, if I select this, if I choose that one to be level two, you can see it just says one again. And now I can change that to A. And if I then do a return over here, that becomes B. So we've got one A and B, which are in level two, and then two, three, and four, which are level one. You can add different levels of numbers within number sets as well. Have a bit of a play with that and see what you can do. Don't forget, you've got things like the tab stop in there and also the left indent to play with at the same time. So, you know, we could take some of these and just indent them a little bit further, and we'll just move that back a little bit like so and change it in here as well. Have fun with that. 15. Down the Rabbit Hole: Drop Caps, Decorations, Hyphenation & Initial Words: Et's look at the last options in this paragraph panel. Oh, let me drag that out again. So we'll close down bullets numbering, and I'm going to close down spacing as well. And let's go down here. We've got hyphenation. So there's all sorts of options in hyphenation. If you say use auto hyphenation in there, you can choose, for example, the word length that you want. So if the number of characters is over a certain length, it'll auto hyphenate, or it won't hyphenate in there. There's so many options to try out in here. And honestly, if I went through all of them by the end of it, I think I'd have lost everybody because you'd be fast asleep. So we're going to leave that one. If you enter hyphenation, have a play, it makes sense once you get into it. Then we've got drop caps. Now, drop caps, and I'm going to select this paragraph over here so that you can see what I'm talking about is when you take the first character and make it bigger so that you can see this is three lines high over there. But I could make it two lines high if I wanted or four lines high. So you can just change the size of that first character. It's used quite a lot in books over there, and we can adjust more settings in there. Then we've got initial words. Now, I'm just going to take my drop caps off. And with initial words, we can then choose to apply a style to the first, however many words in a paragraph. So if I click Enabled, you can see it says maximum word count three. Now, why hasn't anything changed? Well, over here, I'm going to go and I'm going to change the style. So I'm going to say, I want this to be strong, so it'll make it bold. And you can see the first three words are bold in there, and I can then choose how many characters I want to effect in there. Lastly, let's just jump down to the decorations. The decorations allow you to do little lines or areas which are colored up. So over here, I'm going to click on that. I'm going to say, let's have a line on the left hand side and a line on the right hand side over there. So if I were to click off of that, you can see over there. We've got those little lines, one on that side, and one on that side. Let's select this again. Oops. Let's try that again, select that. I'll switch those two off. I could choose to actually just have the whole thing colored up, and we've got gray in there. And then down here, you can change the colors. You can change the transparency. I'm going to change that to a pale blue, I think, in there. Once again, have a bit of a play with these settings. You're not going to be using them every single day, but it's important to know where they are for when you do need them. 16. Glyph Browser: I now you've got all your paragraphs and your character options and you can control the text. But what about if you find that you need a specific character, and you can't see it? Well, the way around this is to use something called glyphs. I'm going to go to the window menu. I'm going down to text, and I'm going to show the glyph browser. Now, glyphs are all the characters in all the font sets. So at the moment, I'm in aerial, and these are all the different characters that are actually in aerial. You can see there's so many of them. I'll stop over there. Now, if I need to use a character, so for example, in this case, I might want to use a registration mark because maybe tangible proof has been copyrighted or has been registered. So what I do is I put my cursor after the word proof, and I go along and find the little icon that I want in the glyphs. So I'm looking for this little glyph over here. There it is the registration or the R. Sometimes you might need to search for a bit more. Double click that, and it pops it straight in. It's not quite in the right place, so I'm going to select it. And then we can go back to our character options and paragraph options and start working with these gliphs. Now, of course, I want to use the character options, and I can't see them, so I must have closed them down, so I got a window, text, character. I just want to change that particular character. And on here, I'm going to use superscript. I'm going to go down over there and choose superscript over there, which makes it small and go up. Now, let's say, for example, you didn't want to go that small. I'll use this copyright symbol. You can just select. Let me just select, Oh, come on. Select that little C there, and I could use something like baseline shift to shift it up into the right position in there. So with cliphs, all the character options will still work. And if you can't find what you're looking for in one font, you can just change to a different font. So I'm going to go into, well, let's try something else. Um, beyond the mountains. And you can see, those are all the characters from beyond the mountains. Or let's go to Bradley Hand. And once again, those are all the options over there. It's really useful, especially if you need to find things like registration marks, copyright symbols, and also characters that have little dots and lines above them. So over here, for example, with the document, maybe I didn't want that to be an O. I wanted to have little Tilda above it, so I can just go here and double click to get that on there. If you really want to see more details about these, at the moment they're showing all, but you can click down here and you can say, Well, I only want to see, I don't know, number forms over there so we can see the in this particular font aerial, those are all of the fractions that we've got, or maybe just currency symbols, and they're all the currency symbols in there. Anyway, do have a look at that. It's one of those things that you won't need every day, but when you do need it, you've got to remember where to find it. So it's Window text, and it's the glyph browser. Okay. 17. Project: Make an Exciting Document from Boring Text - Intro: It's project time. Have you ever looked at a document and just wanted to fall asleep when you see that word document with so much text on it? I want to show you how to take that and make it really exciting. First of all, by getting your text to look good, be really readable, but also to create some interesting backgrounds and bring in things that will make people want to continue reading. Let's get started. 18. Create a Document & a Gradient: For this brochure, we're going to do it just for screen use. So we don't have to worry about CMYK color. We're going to use RGB. So in my new document over here, I've got my page sizes which are going to be RGB. Now, I want four pages. So although we can put them in later, I'm actually going to go down to where it says multi page. Click on multipage, and in here, I can choose four pages in there. Now, do we want facing pages? No, we don't, so I'm going to switch that off because we just want these to be one below the other. Of course, yours, well, you might want to do them as facing pages, but for now, we're just going to use single pages. And I'm going to click on Create Document. Now, what we're going to do is we're going to create backgrounds, and each page is going to have a different background. So I'm in layout mode. I'm going to go across to my pages panel and I can see my pages over there. And I'm just going to start with this first page and create a interesting background. I want this to be really bright, very vivid, very modern looking. So I'm going to be using purples. A bit of blue, and then we may add in some pink or orange to counter that color later. But for now, I'm going to start off. I'm going to go along and I'm going to get a shape, so I'll use the rectangle tool and I'm going to put a shape over my page. Now, of course, we don't need to worry about bleeds for this because it's not going to be printed. It's only going to be on screen, so I'm just doing it the size of the page. Want to put in some color in the background here. So I'm going to go along to my foreground color over there to fill it. And, of course, with the foreground color, when you go to your colors over here, you've got standard colors. You go to the swatches. Once again, you've just got standard colors in there. So what about if I want to fill this with a bit of a gradient? Well, in that case, we go along to this little fill tool, and I can go to the top over here, there's a little contextual task bar that we've got over there. And instead of solid, I'm going to use a gradient. So I think I want a gradient that's going to be a linear gradient, so from one color to the other. Now that I've got that, I've got two colors from light gray to medium light gray. Of course, I want to change that, so I'm going to go and click on the little gradients up the top there. I'm going to pick my colors. So I think on this left hand side here, I'm going to click on that side. I'm going to go to the color and I'm going to choose a darkish purple over there maybe almost black in there. You can change these later on. It's no problem. Then I'm going to click on this side over here and I'm going to choose maybe a brighter purple like that. You can pick any colors that you like. We're just going for something which is very, very in your face and nice and bright for this. Now that I've finished with that page over there, you can see I've got my colors in my swatch and I can actually see that gradient in there. Let me just close this down. Just get rid of that little one over there. So I can actually see the gradient in there. What I can then do is I can add that to my swatches so I can use the on other pages. Now, I don't want to add it into this watch. I've got a swatch here called Cello. That's from a previous project. What I'm going to do is I'm going to make a new swatch. So I'll click at the top right hand corner over here, and we're going to go down, and we're going to make now, do we want a document palette or do we want an application palette if the palette that we're creating is just for this document, we'll do a document palette. If it's for, well, you're going to use it on other designs as well. We can use an application palette. I'm going to click Application palette in there. I'll give it a name and I'm going to call this vivid colors. Or vivid coal. Click Okay. Now I can add that gradient in by just clicking this little button here, and I've now got a purple to black or light purple to dark purple, little gradient in there. Now, you don't need to do the next bit, but I just want to show you if you do have a new document over there, that is still there, so you can always go in and choose that you've got the gradient going from black through to purple in there. And you can still edit it as well. So if I go along to the color in this heads up display, I can go and change that if I wished. In there as well. You can see I can just adjust it like that. Anyway, I'm going to go back to this document over here. So have a bit of a go with that. You create a new palette over there. You can choose whether you want it to just be for this document or for other documents as well. And don't forget use this little tool. Where is it gone? There we are. This little tool here, the fill tool, and you would choose linear in there. So it's just darker color to a more vivid color. Pick your own colors or use the purples like I'm doing. 19. Add Page Numbers: Et's do the other pages while we're at it. So what I'm going to do is I'm going to just use this page here and hold down the Alt or the option key, depending on whether you're on a macro PC and just drag a copy of that down onto that new page over there. And I think I'll do the same again over here. By the way, you can also copy and paste, if you prefer. I like this alter option key. I use it quite a lot. So I'm going to drag that down over there. So we've now got all the pages exactly the same. But we're going to go to the different pages and change them slightly. So this one here, I'm going to click on the little gradient at the top there, and I'm going to adjust the colors. So I think I'm going to change the color on this. I'll click on the left hand side, go to my colors, and maybe I'll try different color in here. Let's have a look. That's quite nice nice color there. I'm just going to darken it down just a little bit. We don't want it to be too bright because we're going to have white text on top of this in the end. So that green works quite well on there. Maybe an orange or a pink might work as well. It's entirely up to you. So I'm happy with that. So I think I'll just close that down and move on to the next one. Now, this one here, maybe I want to keep the purples, but I want them in a different at a different angle. So once again, I can go in there. I can adjust to the middle point if I need. Or using this little tool over here, I can actually just angle the colors around. Let's do dark over there, and the lighter side. Down here. I'm going to move on to this last one over here. Once again, I'll just click over there. I'm going to choose a different color for this. I think I'm going to choose some pinkish color. You can see these subtle greens and subtle pinks and subtle purples seem to work together very well. If you want something which looks a little bit more textured, you can actually add noise to this. You can see how we get that really interesting texture in the background. I want to keep mine smooth over there, though. Right, I might actually go over to this purple here and just choose that and maybe darken it down just a little bit. Now, when you are choosing colors in here, the default for RGB are the RGB sliders, but you can also choose from hex color. So you've got hex sliders in there. You've got HSL. Now, I quite like HSL if I'm going to go with a lighter or darker color. HSL, by the way, stands for hue, the color on the color spectrum, saturation and lightness, HSL in there. Sometimes it's known as HSB, hue saturation and brightness. It's exactly the same. But doing it this way means I don't have to mess around in this area. I can just change the lightness or darkness of a color in there, so I'm just going to darken that down a little bit on that side. So remember, if you're doing that, you can change it right up the top over there from RGB to HSL. Right, I think that's looking good for the background colors in there. No, that's fairly simple to do, so I'm going to move on to the next bit. To get the page numbers in here, we're going to make the page numbers a feature of the background. So we're not actually going to use any super duper add in page numbers very, very quickly. We're just going to put them in as numbers. Before you do that and I nearly forgot this, go along here to your colors, just make sure that nothing is selected and pick these ones which are recent colors and you can then add them in to your vivid or whatever you've called it, panel in there as well, just that you can always come back to those. If you need. Now, I'm going to do some numbers, so I'm going to go along, and I'm going to get my artistic text tool. I'm going to draw a number, and I want this to be really quite big. And I'm going to put in one in there. Now, you can choose any type face you like. I want mine to be fairly slab like or heavy duty. So I'm going to go in there and choose something like this Aerial black. You know, you can pick anything you like. Let me just do that again. So I'm going to go with Aerial bold or let me pick that again. Aerial black, see what that looks like. That's okay. B means use that if you wish. I've got tons of other ones in here. I'm actually going to have a look through them. That's a bit rounded. I want something which is just fairly flat like that. I'll actually end up using aerial Black, I think, in there. It only comes in regular. But you can pick any typeface you like. Now, to make this a bit more interesting, I'm going to push it over to the side. And just scale it down a little bit like that. And then I can change the color of that as well, so I could pick one of these existing gradients and look at that effect that we've got in here. We've got kind of the two gradients, but one of them happens to be the shape of the number. And, you know, just experiment with these, try out some different gradients, see what you get. You can even reuse an existing one, so you can just about see that. By the way, if you want to see this without all these lines in you should know this from earlier lessons, you can go to the view menu and go to preview mode in there. So I can see that's barely visible. Well, you know, if that happens, you just go back to your gradient tool and adjust it in there to get the text coming in in a slightly more subtle way. It's entirely up to you. There's no right or wrong with this. I think I'm going to use that one over there. So this is my first page. Let's go along to the second page over here. Now, I'm going to just drag a copy of this number down to there. Oh. And I'm going to change that to the number two. For my second page. Look at that. That's looking lovely, but if I move it across, you still get the idea that it's number two, but with those colors coming through in there. Let's do that again. So we'll drag that one down. I'm going to change that to the number three. That's kind of quite cool, but I think I want a different fill color for that. Just pick a different one, like so. Yeah, kind of quite like that. You know, you could even do it the other way if you wish. I'm going to go with that one. Oh, I think I've lost my last one. Let me undo that. I moved it by mistake without actually holding down the option key. So hold down the option key, make a copy, and then move it into the right position, select that. And that'll be number three. Over here, and let's try some different colors on there, different gradients. That's kind of quite cool there with those colors in there. I don't know how I've managed to do that, but I've lost my number two again. Oh, you know what I've done? I've got the wrong numbers on these pages. That's my fault. I will fix this and make sure that I haven't left out page two. I've got page two on page three. I will fix this while you tried out, but do have a bit of a go with that. You can get some really cool backgrounds, and you can make them less obvious, as well. So, for example, this number one might be very, very obvious as a background over there. So if I go to my color here, I could change the opacity so we can just get it to come through very subtly. We do the same with the number two, make that a lot more subtle. In there, remember this is a background. It's not the design itself. Anyway, do try that out while I fix mine. 20. Add Graphical Elements: Let's add a little bit more graphical design to this. So I'm going to use a square, and I'm going to go and just add in a little bit at the bottom over here, maybe about that size there, maybe a third. You can do whatever you want. I've filled that with a gradient, but I want the gradient to be the other way round. So if I go along to the gradient option here, we've got a reverse. Click on reverse, and you'll see now that it reverses that bit over there. Once again, it's giving us a really nice graphical type of shape. Now, same again. I'm going to hold down the alter the option key and make a copy of that. Or if you prefer, you can just click on it, copy it. Click on this page. So you're on the second page over there, make sure you're on that page and then paste, it'll paste it in the same place like so. Once again, do the same thing, try out some different color systems in here. I'm going to do the same thing over there, and I'm going to just reverse that and see what that looks like. That's looking pretty good, actually. Let's go to page three. I'll just paste that let's try that again. Make sure I'm on page three. Paste that into page three, and I'm going to do the same thing, reverse that around. You could also try maybe just, you know, getting it to go at 90 degrees if you want it. Last page over here, make sure I'm on page four. Paste that in and let's choose a color in there. Whoops. Try that one again. Sometimes I double click by mistake where I don't actually intend to do that. So I'll just go along to this heads up display, which I've now managed to get into the top, and I will reverse that like so. Let's have a little look at these pages. You can see they're all pretty graphical now. Really cool. They show the page numbers, but there's still an interesting background for us to put fairly bland text onto. Not the text should be bland. Anyway, try it out. 21. Add Front Page Title Text: Let's go and lock down these backgrounds. So you can either do that by going to your layers and selecting everything on that particular page and then clicking on a little padlock there, or you can go along. You can select the page like that and go to layer and lock down here. Whichever way you choose is absolutely fine. I'm just going to go over there and lock both of those very quickly together. Now, it really doesn't matter that they are locked because we can always unlock them if we find that we want to change the color later. Let's go along to our first page over here and I'm going to just zoom in to make it a little bit bigger like that. Now, this document is all about AI marketing, the pros and cons of AI marketing. So very simply on this cover, I just want AI in marketing in there. So I'm going to choose a typeface which is sympathetic to this whole document. Now, this document is about the pros and cons of AI. So we want something which is going to look like it could be AI generated. I know that AI can generate absolutely anything that you like, but we want something which looks kind of quite futuristic. Now, there's no right or wrong with choosing your fonts in here or your typefaces. I'm going to go along and I'm going to get my text tool. I'm going to click and drag over there, and I've chosen something called A Round Gothic. In there. So I'm going to just put in AI in there. Now, that's got quite a nice futuristic feel, but feel free to have a go with absolutely anything you might not have all round Gothic on your system. As I said. Just pick anything else that you want. Even something like Aerial Black still has a really good, interesting, um, futuristic feel to it. I would maybe stay away from something a little bit too handwritten because we want that machine look to it. Anyway, I'm going to go back to AI all round Gothic in there. That's going to be white, so I'll just change the color of my text over here very quickly. You can see I can click at the top. It says, Oh, there's a gradient on there. I don't want that. I just want to go back to my standard color and pick white. So it stands out. Look at how really nice it stands out from that background. Gonna make mine a little bit smaller over here. I'm just going to put in little words under there that says in marketing. Once again, I'm going to use my artistic text to click and drag over here. I'm going to zoom in. Oops. Let's try that zooming in again. Just using the keyboard shortcut to zoom in, which you should know by now, which is either command or Control plus and minus. I'm going to make that a little bit smaller so it matches the size of this just a little bit. Over here. Now, you'll notice when I did this over here, it kind of was linking itself to the top of the dot for the eye, whereas I probably wanted to line up with that line in there. So I might have to do that a little bit more manually because the auto setting aligns it with that. I kind of quite like the dot to be big like that, but if you want to change it. Well, you know that we've just been looking at all the tools. You can go to your character option. You can change the size of that, as well. But one of the things to be wary of when you're doing text is if you said, Oh, I'd like that I to be the same height as the A and you start to scale it down, the width of the I will change proportionately as well, so it'll actually be thinner than the A, and that might look a little bit strange. So do be careful of that. You might actually end up maybe just even using a capital I over here, making it the same width as the A and then using actual circular shape slightly further down if you wished. Anyway, do you have a bit of a play with that? We're just looking for something interesting on that page in there. Notice when I've lined this up, I've just done it by eye for the moment. I'm kind of getting a gap over here, similar ish to the gap there, similar ish to the gap, there's not quite right yet. I still might need to tweak it a bit, and once I've got both of them, I can tweak them together making that just a little bit smaller over there. When you do this, by the way, hold down the shift key, otherwise they will scale disproportionately. I'm sure you know that by now. I would just move that down a little bit. You can see over here when I was moving it that the distance scale came up to show me that they were both the same. Anyway, do try that out, Lock everything down, and then start to put a little bit of text on that front page, keeping it really nice and simple. 22. Add Margins & Text Box: Now, we're going to bring some text in onto these three pages, but we don't seem to have any margins around. Well, when I created the document and I went to new document over there, we added some pages over there in the multi pages, but we didn't add any margins. So can we change that? Well, absolutely. What I'm going to do is I'm going to go along to document set up document set up in there. And over here, I can just change it for the ones I want. Now, I don't want to margin on page one. I only want on selected spread, so select two, three, and four. So over here, I can just choose which ones I want. I've just clicked on one, held down the Shift key to get two, three, and four. If you put it on the first page, it doesn't actually matter. And in here, if you can't see it, over there, let's just switch margins off. If you can't see it, you just switch it on and then put your margins in. I want quite a big margin. I want 30 all the way around, and I'm going to click Okay. Now you'll see that I've got margins on these pages. So this one here, this one here, and this one there. If you can't see your margins, two things. First of all, make sure in view mode that you are not in preview mode because otherwise you won't see them. And the second thing is that make sure that your show actually has the margins ticked in there. Great. I've got my margins. I want to bring in some text. So I'm going to go along to my text tool over there. I'm going to click and drag a text frame in here. Now I'm going to do it to about halfway down. Over there. You can see as I get to the halfway point, I don't have to be exact because it shows me that I'm exactly halfway down in there. So I just want the text to be at the top for page number two. I'm on page three. Let me just get rid of that and go to page number two. So we'll try that again on page number two, Text tool, click and drag inside the margins up to roughly where the halfway point is, and then keep going until you see that red line to show you your halfway. And I'm going to go and find my text. Now, I've given you this document or you can do your own documents here. And this little document has got the benefits of AI and Marketing. We've got some paragraphs there and then the downsides of AI and marketing. I'm going to select the benefits of AI in marketing here and I'm going to keep going all the way down, select everything in there. So obviously, if you bring this in over 20 pages, you can select the whole lot and do it at once. I'm going to copy that, so it's either Command or Control C to copy that, go into affinity, click inside there and paste the text in. Now, my text is black on a dark background, so I'm going to select it all. Command A or Control A, will select all of your text over there. Now, it's selected this bit down too, if I do that. Even the invisible stuff that you can't see. So I've selected that. I'm going to go up to the text color and just make it white so we can see it properly. Now, back to my move tool. And if I poke that little eye over there, I can see all the text. Over there. Now, I just want some of this. I want this text to go up to well, let's go with just under automation over there. Then the next bit of text will go on to the next page. So don't worry about getting this exact for the moment because the text is going to change size very shortly and then it'll all be messed up. But I'm going to click on not on the eye, but next to the eye on that little arrow. Move down to my next page over here, and once again on this page, go down to the halfway point over there, and then once again, click on the little arrow onto my third page. This third page is going to have text all the way down to the bottom over there. It just so happened that the downside of marketing is common to page four over there that was not intended. So let me go up to my text. Once again. I'm going to select all my text, so Control or Command A to select all of it once you've clicked inside there. Make sure that you click inside there first. Otherwise, you're just selecting all the boxes. And I'm going to choose the font that I want to work on. So I'm going to use the same font that I had for my title. Normally, we'd use a different typeface in there, but I think I'd like to just use the same one for now. So I was using all Round Gothic over there. And you can at this point, do anymore formatting that you want. Now, don't forget all the stuff that we did in the first part of this course. All that formatting stuff, go and have a look at that. So for example, if I select all the text in here, I'd go along to the Window menu, down to text, find the character panel. And I might change some of these things in here in either Character panel or in the paragraph panel. Once again, Window menu, down to text, and paragraph in there. Now one of the things I would like to change in here is the space before. Over here where you've got all your spacing. If you can't see it, click the little word spacing and move across to the right hand side where we've got space before. You can then see how I can actually just adjust make sure all my text is selected first, and I can then adjust the space over there before paragraphs to change that. Now, I'll just take that back until I get it to where I think I'd like it to be. And I kind of like that as well. You can then work through and do the same on your titles. You can adjust the space after on your titles. It's up to you what you want to do with this. I'm not going to be prescriptive with it. You decide what you want. But that should affect all your pages over here. Now you can see that this is kind of a little bit offset. So looking here, I'm going to pull this down so I can get that first one over there. Now, over here, the first thing I've noticed is that there's a little word by itself over there, which I don't like, so we'll come and sort that out in a little while. Over to this page, that's looking quite good. I might pull this down I don't want the downsides in there. I'm just going to move up to there. We've got another little word there, which says value. It's sitting all by itself, which we'll fix soon. And we've got the downsides of a marketing, and that's all looking great in there. Consequence and oversight are sitting on their own. So we will deal with those in a little while. But for now, I'd like you to get your text in here over the three pages, just one textbox where the text flows from one into the next into the next. Then we'll come and do a few more options in here. If you want to change things like the space before space after, your paragraphs, by all means, do so. 23. Add Breaks & Change Tracking: Now, when I did this, as you can see, it was really easy for me to just go through and just pull the page down to exactly where I wanted to go and say, Okay, well, from that point on, I want that one to jump on to the next page. And that's because this is a three page, really simple document. But when you've got more of a difficult document, you might find it's not quite so easy, especially if you then think, Well, I've got to move this across and pull that down so I can get some more text to come in because I want to put a picture on the side, something like that. So what we can do is we can force the text. Without worrying about the size of the boxes, we can force the text to go onto the next page or the next frame. So after we've got the benefits of AI, after smarter insights, I'm going to click Next to results because I've pulled that right down because we've got automation and better targeting there. I'm going to go along to text I'm going to go down to insert, and I'm going to insert breaks, and I'm going to add a frame break. Now what that will do is will force this bit of text here. You can see there's the rest of my text frame in there. From that point on, it will jump down and go on to the next frame. You've got all sorts of breaks. Over here, we've got, if I go back to insert, we can get it to go to a different column. We can get it to go to a different page. We can go to odd pages or even pages in there, or even make sure it goes to a separate line. These little breaks are really very, very useful. I'm going to do the next one over here. So I'm going to go over here to, let's see, second page in there. I'll pull that down. Me get it right, pull it down. And before we get to the downsides of AI and marketing, I'm going to click there, and I'm going to go to Text, Insert breaks, and do a frame break on that as well. That'll push that next little bit of text, the downsides of AI marketing into this frame over here. Now, let's have a little look at what we've got. So this is looking okay. I can't see any particular issues in there. If you like to have your text aligned to the left with a ragged edge like mine, that's fine. If you want to change it and get it to line up on both sides, that's okay, as well. Whatever works for you. But just make sure you've got the correct text on the correct pages like so. But when I go into the second page, and I mentioned this in the previous video, I've got the word value, which sits all by itself. Over there. Um, it doesn't look good. It's really much better to have at least two or three words in there rather than a single word on its own. So what we can do, one of the ways we can do that, to get rid of that, to either force it back into this paragraph here or get more words to actually appear next to it, is to go to the character panel, and we can go down here and we can change. It's this little one over here. If you can't see it, click on position and transform. Move down a little bit, and this is tracking. So I can just increase the tracking. You can see it's moving the distances between those characters around, and I'm doing it for the whole of that paragraph, not just the word on its own. So I'll keep going until eventually the word most will go next to value. Looks a little bit better that way. Or we can go the other way, so I'll just take that back to zero, so that's where it started. If I go minus, I'll keep going minus until the word value jumps into there. Now, that minus five there is a minuscule amount. You shouldn't actually with the bear eye. If there's such a thing as a bear eye, you shouldn't actually be able to tell the difference between the tracking on that one and that one. Don't go over the top, though. Otherwise, it does look really weird, but just a little bit, absolutely fine. Let's go down here and have a little bit of a look. That's okay. There's three words on there. We've got the word consequence and oversight. There. Now, that's quite a long word, so it doesn't look too bad, but let's try and see what we can do with it. I'm going to select those lines there, and once again, we can pull that back. I didn't have to do too much just minus two, and it jumps in over there. And I'll go to this paragraph here. And once again, just pull that back until it goes into the paragraph above it. Now, if I've got to go too far, oh, that's quite a lot. That text is getting really close together just to get that word. Oh, to come in. And unfortunately, those words are really far too close together. So let's go back to zero, and we'll try it the other way. So if I keep going here, but there. I still looks okay. There we go. And we've got human oversight now, and that looks okay. You'll hear me talk quite a lot about how it looks, and that's really important with text because how it actually looks is the most important thing. Can people read it correctly? Well, it might look beautiful, but if they can't read it, remember, they'll stop reading and you've lost. Now, I've been changing these little things around here. So sometimes over there, I've actually got the text to move up a line, over here, I think. We got the word results as well. Let me do that one. What's going to happen is the text is going to be on four lines rather than five. Let's see if we can go back a bit and just get that. There we go. In there. Now, if I just did this and I had the frame right up against that, it might mean that the line over here jumps back to that frame, but having those breaks means that it won't. These will still stay exactly where they were put. Got a bit of a space there. Let's get rid of that one over there. You can do all sorts of other changes now without messing up your text, so I can go in here and say, well, actually, you know what? Over here, I've got a bit of a space there. We could do something like that, so we've just got this in there. The text is moved up, but it doesn't matter. The other one will still stay on the correct page. I'll just take that back to a new line. Anyway, do have a bit of a play with that and don't forget use those breaks so that when you do make any changes like this by changing the tracking or even putting in more spaces or returns, it won't actually change which text is on which page. 24. Add Images & Vectorize: Now, let's bring some pictures in. And I know we don't need pictures, but they just help people to. We'll see the text not just as a whole lot of text, but as something interesting in an article, even though the text might not be exactly what the picture is showing or vice versa, shall I say? Think about it, like if you're watching a PowerPoint presentation and it's just bullet point after bullet point, as soon as somebody puts in a little picture or a graph or a cartoon, it just brings it to life. You don't need it, but it improves things. Now, what I'm going to do is I'm going to bring in a picture here, and I just went and I searched various picture libraries. And the picture library that I used was actually the Adobe library. I know I shouldn't say that on an Affinity course, but I actually used the Adobe stock library. You don't have to pay for Adobe to use the stock library. So if you go along to Adobe stock or search for Adobe stock, um, when you search for a picture, just have a look in the menu at the free ones. You do have to have an Adobe free account. You can sign up for free, and then you'll be able to get the free pictures. Now, I've included these so you can try them out yourself. So what I'm going to do is I'm going to go to File and Place. I'm going to bring in one of these little graphics that I had. Let me go and find it. Over there. There we go. I thought that one was quite telling about AI and humans. So I'm going to bring that in. And I'm just gonna click and drag it down the bottom over there. Now, it's kind of in a box and it doesn't look great. So what I want to do is I want to get rid of this area in the background here. Now, you can do that in a number of ways. You can go over to Pixel and you can use some of the selection tools to try and select that background area and delete it, and there's nothing wrong with doing it that way. The other way with graphics, which are flat color like this is to use something in the vector menu called image trace. I'll click on Image Trace, and what it does is it traces that image into vectors because this image is actually pixels because I brought it in, it was either a PNG file or a JPEG file. It will be pixel based. So it's made up lots of little pixels like a photograph. Using the image trace converts it into editable vectors. You can see there's an image trace slider over here, and you can adjust this and have a look and see if it does make any difference to your picture with what you're doing in there. You can hardly see any difference here. Probably shows up more in photographs, to be honest. I'm going to click on Apply. Now, this is a ect. If I zoom right in over here, and I can keep going in. You can see those are smooth areas there. If I undo that image trace, now you can see all the little pixels in there. So I'll just do that again. I'm going to go to vector image trace, and straight away, you can see we get vector lines which are really nice and smooth, and this is fully scalable in there. Now, the other thing that we can do with a vector, I'm just zooming out a little bit. Over here is we can actually go into these individual shapes and adjust them. Now, I'm going to get rid of my character panel and my paragraphs, and you can see it's one shape over there. And if I click on that, it shows, oh, look, you've got all these different shapes inside that one shape over there. So, how do I actually get into those little individual shapes? Well, one way and a quick way to do it is to go to the and we're going to go up to the vector menu again. No, we're not. We're going to go to the layer menu, by mistake. And we're going to ungroup them. Now, look what happens in the Layers panel winner ungroup, it just releases all of those items. And then I can click on them, and I can actually move them around. You can see that little shape there. I can actually delete that shape if I don't want it. If I didn't want this white shape here, I should be able to click on that white shape, and I could move that out. Over there. I'll click on this white shape here and delete that one. Click on that one, delete that. Get rid of that little one over there, and that tiny bit over there. So just a quick way of getting a little graphic in there. Now, I want to select those and regroup them again so I can move them around because at the moment, I've got to select everything and move them. What's going to happen is if I try and click and drag over there, it's going to select all those plus the text, as well. So I'll go to my text frame and I'll just lock it. Click on the little padlock in the Layers panel over there to Is that locked? There we go. So it's locked. So now, when I select it, it only selects those items there, and I will go along to layer and group them together again. So I've done that, so now I can actually move them around quite easily. I think that one should actually go on that automation page. Let's do it again and put in another one. So I'm going to go to file and place. I'm going to choose the picture that I want over there. Click and Drag to bring that in. I'm going to have that as quite a nice big picture in there. You can see you really wouldn't want it like that because of that white background. Let's zoom right in so you can actually see that it is pixel based. There we go. You can see all those pixels there now. So I'll zoom out a bit more. By the way, if you've zoomed in, a quick way to zoom out is use Command and zero. That will fit your page to your screen. So, that's the bit that I want in there, I think, just like that. So I'm going to go to Vector, Image Trace. Once again, play with these, see if they do anything which looks exciting. You can see some of them just give me a bit more detail. There's no right or wrong here. Just move it until it looks good for you. I'll click on apply. Remember, that's one shape over there. I'm going to go to remove that layer and ungroup. Now, why hasn't that? Why is ungroup graded out? Looks like it's selected in here. Well, you need to make sure that you select it in your layers panel. Must look like that, have the selection on there. Now if we go back to layer, there we go. We can just ungroup that there. I can now work my way through this and go, actually, I don't want that and I can just get rid of some of these. I'm just pressing backspace or delete on the keyboard to remove the bits that I don't want. Maybe that bit can go. That bit there can go, and I don't want that white bit there as well. I'm quite happy with that. I think that's looking good. There's another little shape in there I'm going to remove, too. If you want to, you can zoom right in and get exact about this. Once again, I'm going to select all those shapes, go to layer and group. And there they are, you can see, looking really, really good. In there. You notice when I vectorize this, it's actually cut off the extra bit that I didn't want anyway. So I kind of like that one there. But if I don't like the size, I can always change the size and adjust it. Over there. I'll leave it pretty much as it was. So have a bit of a go with some shapes. I will give you these images so you can try it out with them. But if you want to go looking for other ones, as I said, if you register with Adobe, you don't have to have a paid for account, register for a username, and then you can go to Adobe Stock and search under the free tab and you'll find lots of vet images in there. Other place to look for images, although the quality is not as good is in pexels. There's a lot of illustrations in there, too. Try it out. 25. Add New Page & Image: Now, what have I forgotten? Well, I've forgotten to save as I go along, and this is so important. Please, please, please do as I say, not as I do. And remember to save. It will save you a lot of heartache in case your machine crashes. So file save as, and I'm going to call this AI theory. And now, I'd like to actually bring in one last page at the very end. I'm going to go along, and I want to use this page here, this background that I've created. So if I click on it in my pages panel, I'm going to go over here to the little icons. There's a bin there next to the bin is a duplicate button. If I click on that, it will make a second page for me. And now I can just go and take that second page and drag it down. To the end. So I've got it right at the end there. Of course, that's not page one. That's actually page five. So I'm going to have to change that. I will unlock it. You can see we've got the layers and the lock here. So I'll just unlock that and change the one to five. And that looks quite good with that little five in there, it's still readable. Finally, I want to bring in a little graphic here of an AI and have the credit for the document in here as well. So I'm going to use this same shape over here from that picture. So I'm going to go and get it. So file and place. Bring that in. So I just want that little AI about that size. Now, before I vectorize it, zoom in a bit here. I don't want to vectorize everything, so I'm just going to move it to the corner. This is kind of a cheeti method that I'm doing here, straight to the corner there. And now, when I vectorize it, image trace to vectorize it. I'll just apply that. What you'll see is that it's only taken that little bit over there to vectorize. We can now zoom in over here and I can just delete the parts that I don't want. So I will need to as before, just deselect everything. By the way, I'm going to lock everything else just in case I touch them by mistake. So I'm going to ungroup. And then I'm going to go in and just delete the parts that I don't want. If you click and drag over the areas you don't want to have, you can just select multiples at the same time if it's a straight line like that. Oh, gone a bit too far. There I managed to pick up some of the purple. Maybe I might have to do this one by hand. No. Alright, maybe that's part of that shape in there. Anyway, I'm going to just zoom out a bit, select that, and group it again. Oh, there's a little shape around the outside there. Let's get rid of that. You can spend hours just getting it perfect. I want to get it roughly right. I'm going to go along to layer and group, and we'll make that a little bit smaller. That's going to go kind of in the middle. And then under here, I just want a little bit of text with the people who created the document. I'm going to just get a little bit of text. I'm just going to use a text tool to draw in a text frame. I'm going to go to my Word document and copy this research by a real human with the help of an LLM, and I'm going to paste in there. I'm going to select all that text and go and just sort it out very quickly. So the typeface is my all round Gothic or whatever typefaces you're using. The size, I think I was using 14 points for that, and it's going to be white. So I'm going to go and just change the color of the text to white. A very, very simple. I think for this final piece over here, I might want the text to be centra lined. So selecting it over there, I can go up to the top here and just choose centra line. In there. Let's have a look at that page. Yeah, that's working quite well. 26. Export as PDF with Different Qualities & Resolutions: Now, first things first, make sure you've saved this. Do as I say, not as I do. I've saved, and I'm going to go down to Export, and I want to export this document. And we've got in the PDF, because that's how I want to export it, we've got two options for digital. Over there. These ones here are for printing. And one says small size and one says high quality. Well, what is the difference between these two, and does it make any difference? Well, because we've been working with images with vectors in them, this doesn't make any difference at all. Let me show you. I'm going to go with small size first, and over here, I'm going to choose a rusa DPI of 72. That's the lowest quality we can really think about. And down here, the JPEG under the JPEG compression, the quality, I'm going to choose a really low quality, so something silly like zero. Now, I'm going to click on Export over here and I'm going to just export this onto my desktop. So I'm going to call this AI Theory small. Now, some of you will already have noticed you can actually see the file sizes in that preview window. I'm going to go along once again to File, Export. And this time, I will use high quality. You can see the DPI is 300 and the quality, let's take that right up to 100% in there. This is where you can actually see that file size. But we're going to just click Export over here. I'm going to call this AI theory Big and I want you to notice the difference here. The difference is nothing. There is no difference between these two, one done at a high quality and one done to low quality because everything in here is either text or it's a vector shape. Let's have a look at the big one. The big one here, we go in and look at the quality on that. It's vector, so we can zoom right in. You won't see any pixels at all. If I go to the small one, once again, exactly the same. You won't see any difference on those images because we've converted them into Vtor. What about file size? Let's just close that one down again. Let's compare the final file size. So the big one is 93 K, and the small one is 93 K. If you're not using pixel images, there is no difference between those two file types whether it's big or small. But what about if we have a pixel image in there? If we go back in here and let's say, for example, on this front page, I brought in, and I'm going to just place this image over here. So I'll bring that right in. Let's pop that in like that. I haven't converted that into a vector now. I haven't used the image traced on it. I've just left it exactly as it is. Let's see what happens. Well, I'm going to go to File and Export and we'll start off with the small size. That's at 72. The quality here will take right down, and I'm going to click on Export in there and put that on the desktop, so this is going to be the Bitmap version or the pixel version. Let's call it pixel version. And this was the small one, I think, over there, and let's click on Export. And let's do the same with a large version. So export over here. This time we're going to go for the high quality says 300 in there. The quality is going to be up to 100%. We're going to click Export down here, and this will be pixel big. Now let's go and have a look at all of these. So first of all, we have got these two that we looked at before, and let's see those two there were the vector files. These two here are the pixel files. It's only that first picture, which is a picture. So let's see what the size is. Here's the big one. And it is 960 K. Remember, these vector ones were 93 K, so a tenth of the size. What about this pixel one, which is the small one? Well, that is 99 K. It's still bigger than those. What about quality? Well, we open that one up, and you can see, well, it looks right. If we zoom in, you can see the pixels if you really zoom in, but it looks okay. So let's close that down. What about the low quality or the small one? Look at that. That's awful. It looks dreadful. And this is why we tend to use vectors if we possibly can for graphics, because the file sizes are going to be much smaller, and also the quality can be much higher, as well. So bear that in mind when you're actually creating different documents. If you can possibly get away with vector, and it still looks good, go for it. So finally, we've got our files over here and just zoom out a bit. So this is the vector version in here. Imagine you're looking at a new document for the first time and you go through the document. Oh, it looks exciting and you start to read, you'd see the pictures, you'd read a bit more. You read onto that page there and onto the final page in there. Compare that experience to the experience of just going through a word document. It's exactly the same content, but you start to read over here, and by the time you get halfway through, you really start to lose interest. Well, maybe that's just me. I hope you get what I'm going for. If you can make something visually appealing, people are far more likely to read your document fully. Do have fun with that and try some different variations on it as well. 27. Type on a Path - Intro: In this section, we're going to be looking at getting type to go on a path. Now, it could be a wavy path like that. You could get it to go around a circle. You can get it to go under a circle, in a circle. I want to show you all the options and how to control it perfectly. Let's get started. 28. Type on a Path Controls: Let's start with a path. I'm going to go to the pen tool, and I'm just going to click click drag, click drag, click drag like that to make a Well, a little curve. Now, you might find that the tool is still following you around. So you can press the escape key on the keyboard to get out of it, or you can just go and choose the move tool. You might find that your tool has got your shape, shall I say, has got a fill on it. So it could be something which looks like that. If that's the case, all you do is go up to the top here, go to the fill and choose none, the little white circle with a red line through it. Now, I've chosen quite a thick path over here so that you can see what's going on, and I'm going to zoom in a little bit in there. I'm going to be using the text tool. The text tool that I'm using is this one called the Artistic Text Tool. Use the Artistic Text Tool, move over to the path and do one click. Now, watch what happens to the path. Firstly, it disappears. So the property on the path just becomes nun over there. The stroke becomes nun. And we've got this little flashing Iebeam here. Now, the size of that iebeam depends on what size you've got your text set up to in here. So I'm just going to choose 30 points for now. And there is a little green arrow on the opposite side of that, and over here is a little orange arrow on that side. Just watch those two they will become quite important soon. I'm going to put in my text now. So I put in some text that says, This is on a path. You can see that the spacing between individual letters is awful, but we're going to deal with that later. But my text is aligned to this green arrow here. So if I go along to my paragraph options, you can see I can choose left aligned or right aligned, and then it aligns it with the red one. Or centron line, and it lines up between those two. But we can move the text along the path using those little arrows. I'm going to go to left line, and you can see if I grab that little green arrow under there, I can just move my text anywhere along the path until I get to the orange one. Now, if I keep going on the orange one, you see it'll actually start going on the opposite side of the path. We'll deal with that later. Let's move it back again over there. Now it's exactly the same. If this was right aligned, I could move the orange one up to there. And if I get it to that green one, you can then see it goes to the other side, as well. So let's leave the text like that. Now, I'm going to delete that one, and I'm going to show you the same thing, but we're going to do it on a shape. So I'm going to go along. I'm going to get in ellipse. I'm going to draw in my lip whips. Let's try that again. I'm going to draw in my elliptical shape. Over here. I'm going to go and get my text tool. Move to the path. Now, this is slightly different. You see, if I click over here, not on the line, but just to the outside ever so slightly on the outside, over there. My text automatically goes to the outside. Now, the fact is that it's gone to that orange one across that side because my alignment is to the right. If I choose left aligned, it'll go back to that one in there. And once again, I can put in text. Like so, and I can move those around exactly the same as I did before. But let's undo that. So if I put the text on, but I click inside rather than outside of that line, my text will automatically go inside the shape. And once again, I can still move it around with little arrows over there. Takes a bit of getting used to, especially if you come from the Adobe world where things are slightly different with text on a path. I'm going to stop there so you can try that out, and then I'll take you through the options even further. 29. Type on a Path Using Both Sides: Let's take this on a bit further. What I'm going to do is I'm going to draw a little shape over here, click and drag, click and drag, click and drag, take a nice smooth path on there. I'll press Escape to get out of that tool. Go over to my Artistic Text Tool. Click on the path over here. Now, honestly, it doesn't matter whether you click on the top or the bottom. It's always going to go onto the top there. And now I'm going to put in my text. If Now, I've got my text in there, but what about if I wanted to get the text or some of the text onto the other side? What I can do is I can just put my cursor in front of the word text and press Return. And that'll then place that text on the other side over here. Now, look at the controls. Remember, our controls are underneath the line. So where it starts with this, the green control is over there underneath the line until it gets all the way to the end where the orange one is underneath the line as well. Remember, I do something like that to move the orange one around. However, what we have now, I'll just put that one over there. What we have now are a dark green and a dark orange or possibly red, it's quite difficult to tell exactly what that color is. And those two controls are for the text which is on the other side of the path. So if I take that little dark green one, I can move this underneath text around, either line to the left or over here. Aligned to the right. Once again, I'll just change the alignment on that so you can see aligned to the left, aligned to the right or centra aligned between those two. So you need to be careful of which ones are which. It can be very confusing when you first start out with these little funny arrows. But the light green and the orange are for the first one you've done. When you've done a return or the text on the other side, they are controlled by the dark green and the red. Remember, left or right, alignments on that. I'm going to do the same thing now on a circular shape, so I'll just take a little circle like that. Once again, I'm going to click on the outside over here, and I'm just going to type something straight in. And it's between those two because I'm on central alignment. Let's align that to the left. Now, before I do anything else, I want to get my text maybe to go exactly on the top. I might move this one over to that side there and that one to that side. I'm going to undo those last two because there's a slightly better way. If you go to one of these little colored arrows and hold down the shift key, now you can move them both at the same time so I can kind of line them up. See how it snaps? Line them up that way. And then if I use centra algement, my text is going to be lined up perfectly on the top. And then I can do a return and put in my other bit of text. So this bit will be, um, And also here. Once again, this bit of text is centra lined. If I left align it, it's up there. You can see that one. There's the dark red one. So I'm going to take this dark red one, sorry, dark green, hold down the Shift key and pull that around as well until they sort of get to that same position. So now this bit of text is over the top central lined, and that bit is underneath. And that's also centra lined, and I can't spell here, so I'll put in an E over there, so it doesn't say and also her. Anyway, do have a bit of a play with that and see how you get on, but do watch those little arrows. They are so useful but so fiddly. 30. Type on an Editable Path: Now, what happens if we change the shape? Well, if I grab one of these sides, I can change the shape, and the text will just move itself around on that shape. If I used this node tool and tried to select a node, it won't allow me to do that. And that's because this was originally a shape. So how do we get around that? Well, what we have to do is if you get your shape, I'll use the ellipse again, make my little ellipse. Before I put the text on, I'm going to go along to vector, and I'm going to say convert to curves. So it's no longer a text shape. It's just a standard curve. Now, let's try that again. So we get the text, click on here, put in my text. And I think I will just take this one, hold down the Shift key. Over there. And now I can use the node tool and I can select these points and I can move them around however I want, and the text will still stay on that line, and I can always go back to the Text tool and move the green and the orange little arrows around to control the text. Try that out. It's really simple. It's just knowing what the problem is, which is that if you do this is a shape, you can't adjust it afterwards. I 31. Fixing the Text Position: I let's do this again. I'm going to make my little shape over there. I'm holding down the Shift key so I'll get a perfect circle. Just in case I need to change it later on, I'm going to go along to vector and convert to curves. I'm going to put my text in some text on the top, some at the bottom. So I'm going to click on the outside of the shape there and put in my first word. And I want exactly the same thing on the underside, as well, so I'm going to do a return and type it over there as well. Now we need to move those around, so we go along, hold down the shift key and drag that one into place until it snaps, hold down the Shift key and drag this one into place once again until it snaps. Now, this bit of text is on the outside of the shape, and that's on the inside of the shape. We want them to both be either both on the inside or both on the outside or both on the line. So how can we do that? Well, I'm going to select this bit of text, and I'm going along to my Character Panel. So I'm going to go down to text, find the Character Panel over there. I'm going to be using baseline shift. So that's this option over here. It's called baseline or baseline shift. And this way, I can move things above the baseline or below the baseline. I'm just going to move that text down maybe a little bit like that. There we go. I think that's sort of sitting on the line, and so is that one in there. Now the next problem that we've got is that there's some big gaps between some of these. I'm going to select this. And I'm going to go over here and I'm going to use my tracking to just track that in a little bit, so it's slightly closer together. Now I'm looking at the WES. That looks okay. Oh, these two look a little bit further apart or too far apart, so I'm going to click between them. I'm going to use my kerning and just pull them in a little bit with some canning in there. Now, there is a shortcut that you can do for urning if you put your cursor between two items like that, and that's holding down the Alt or the option key, and you can use your left arrows to move things closer together or right arrow to move them further apart. So hold down your alt or your option key, depending on whether you Mac or PC, and then left arrow, click on that or right arrow and click on that. It just speeds up kerning text so much. Once again, I'm going to hold down the Alt or the option key and use the arrow to move those two closer together. I'm going to do the same over here, so I'm thinking kind of maybe that could be closer together, so we'll move that in. Let's move to that one. Come in a bit. I'm just using the arrows to kind of flick through between the different letters. Move that a bit, and maybe that one could come in a bit, as well. So there's no right or wrong here. You're doing it so that your text looks good and it's readable. Anyway, have a bit of a go with that, get some text on both sides, and then use your baseline shift in your character panel to move the text out or in. You can do either. Then use your kerning, click between the characters, hold down the Alt or the option key, and then click on the left or the right arrows while you're doing that on your keyboard to move things close together or further apart. And if you want to, you can also select a whole lot of text and then use something like the tracking to just move all the text at the same time. Have a go with that. 32. Project: Make a Vintage Logo - Intro: It's project time. We're going to be taking our type on a path and putting it round a circle and controlling it perfectly to make this amazing looking vintage logo. And you can put any text in there that you want. Let's get started. I love these projects. 33. Put Text on Top of Circle: To create this logo, what we're going to do is we're going to start with a circle. So I'm going to use the elliptical tool. I'm holding down the Shift que whilst drawing the circle out, and then I'm going to put my text on there. Now, the text itself is going to go on the line, but there's a gray fill in there and there's a black stroke on that line. That doesn't matter because both of those will disappear when I put the text on there. Oh, I'm going to go along to my text tool. I'm using the Artistic Text Tool here. I'm going to move until I get to the line over there, and I can see the little icon, and I'm going to click to pop the text in. Now, you can see the text is on the outside over there. We're going to have some text on the outside and some on the inside. So if your text starts on the inside, don't worry. You can always press return to get it to go to the other side. Do you see if I press return now? Over here. It's actually on the inside. If I type over there, it's on the inside. So we can just use return to go from one to the other. Also, when I put the text in, and let me just undo that again, I moved so the little dot on that crosshair was to the left of that line. If you're kind of on it or just slightly in it, the text will go and start on the inside. So I'm moving just to the outside over there so I can still see the line. Click over there, and it comes in automatically on the outside. So I want to put in a little bit of text now. Doesn't matter what you put in, we can change it later on. Um, clothes Company. Now, I want that bit of text to be across the top over there. So what I'm going to do is, first of all, make it a bit bigger. Now, you can see that my options bar along here. Sometimes I call it the heads up display or the option bar. It's all the same thing. It's actually attached to the top. If you double click somewhere, I won't double click on the word aerial, but just above it, double click there, it will detach it and put it in as a floating little bar in there. If you double click again, you can get it to go back into that area. So it doesn't matter which way you have it, I'm having mine along the top there. I'm just going to go along to my text, make my text a little bit bigger in there. Now, as I said, we'll change the text later on. I just want something in there. Now, we've got the two arrows, the green one or the light green, shall I say, and the orange arrow there. What I want to do is I want to get my text to go between those two, so it will be central line. I'm going to go up to the top over here and say central line, so it's between those two. Now, I can move to this little arrow here. I'm not going to click and drag yet. What I'm going to do is I'm going to hold down the Shift key first and then I can click and you can see they both move at the same time. I'm going to drag around until it snaps to the middle. Now I know that my text is perfectly in the middle over there. If you want to just do it by eye and fiddle with it that way, absolutely fine. Do have a bit of a go with that and get that bit of text in there, and then we'll put in the text underneath after that in the next video. 34. Add the Bottom Text: Let's get the other bit of text underneath now. So once again, I'm going to go to my Text tool. I'm going to click and put my cursor after the Y. So I'll just move it with the arrows on the keyboard. I'm going to do a return, so I'll click on the return or the enter key on the keyboard to get it to go to the other side. And this time, I'm going to put in, well, apparel for all. Now, once again, this is offset and I need to move it into the right position. That one there and that one there, remember, the outside ones affect the inside. The inside ones here affect the outside. So these are the darker, green, and the red. They're very, very sort of subtle. Now, I'm going to take one of those, and I'm going to hold down my shift key and drag that. So it's going to drag the two inner ones around until they snap to that middle as well. So I now know that that's perfectly lined up at the bottom. Let's stop there. So that was just a quick one. Get in your second bit of text and make sure it snaps into the right position. 35. Adjust Your Text: As you can see, I've changed my text a little bit to say the clothing company and classic apparel. Now, we need to sort these out because the spacing between the letters is not right. And also, this one's over the top, and that's underneath. I'm going to, first of all, before I do anything else, get the font or the typeface that I want to use. So I'm going to go up here to the top and I'm going to choose I need a typeface which is sympathetic to the feel that I'm going for. This is going to be very sort of old school, traditional. So I'm thinking something like Baskerville, really well known typeface, and it doesn't offend anyone. Let me go and get this one here, and I'm going to go along once again and choose Baskerville again if I can see it. And there it is. Okay. Now, of course, you might have brand guidelines which tells you what typefaces to use. You might be doing this for yourself. It's up to you. Anyway, I'm going to click on this bottom bit here and I want to move it so it's sitting underneath the circle. Remember what we did before. We go along and we change where this is sitting on the baseline. I'm going to go to the Window menu. I'm going down to text and my character, and we've got our position and transform over here. I'm going to move down to baseline over there and just adjust it a little bit until it sits just under that line like that. So those two are kind of matching, as well. Now, as far as the spacing goes over here, you might find this one at the top, because it's spread out, looks a little bit too far apart, you might be very happy with it, or you might even look at that and go, You know what? Let's give it more of a obvious or a cinematic look, so you can go in and you can change the spacing between all those characters and move them further apart like that. That's exactly what I'm going to do here. I've put in 66 in there. Let's do the same on this side, something to match it. Over there. I'm going by eye at the moment. Right, I'm happy with those two over there. Let's just click off of that and have a little bit of a look. Yeah, that's looking quite good. So sort out your text, make sure it looks good, and then we'll come and we'll start putting in some lines. 36. Add the Center Text: We do need a bit of text to go across the middle over here at a nice jaunty angle. I'm going to go and use my artistic text, and I'll just click and drag to the size that I want. I'm going to use the word vintage. You can use put in whatever you want. And I'm going to go and choose once again, a typeface which is sympathetic to the feel that I'm going for. Now I've got something in here called Beyond the Mountains. I quite like that. You might not have that. You might have some other ones. Just find something that you like. I love the look over here, we've got something which almost looks like it's done with a big old brush pen, and that's been printed on with an old typewriter, something like that. But you can do whatever you like. Now, I'm going to go and get my move tool. I'm going to just scale it down a little bit like that and rotate it like so. So that gives me kind of quite a nice sort of it's been scribbled on very, very quickly type of look. Now, I'm looking at a few things here when I'm doing this. I'm not just placing it anywhere. I'm looking for balance. Here. You see, there's the E which is sticking out and there's the G which goes round there. Yours might be different to this. I'm kind of balancing all that weight with this little line that sticks all the way out here. So although this goes further than the E, it works because of the balance. And having it at this nice little angle like that also helps to balance the big V with the G that goes down over there. Now, I might just move it down just a little bit. I'm using the arrows on the keyboard over there. Nice quick one, find some text, put in the text through the middle. I 37. Create the Circles & Break Them: Let's add in some lines. Now, I'm going to do that by using the elliptical tool, and I'm going to make another circle. I'm just holding down the Shift key so I'll get a perfect circle over there, and oh, that wasn't a bad guess at all. I want a line which is going to kind of go under that one over there. I'm just going to hold down the alter the option key to make a copy of that for my next one. What I'd like to do with this is to get rid of the fill, so we can do this in a number of ways. I'm just going to move that character panel out the way. I'm going across to the top over here. Click on the color and choose none. So it just shows that up. Now, where's my line gone? Well, let's make sure that it's got a stroke color and a stroke width in there as well. We'll make it reasonably thick to start off with. There it is in there. Um, I think it should actually be a little bit thicker. I'm going to zoom in a bit and I'm looking at the thickness of a lot of these characters. I'm going to try and match that just by eye over there. I think that'll work. I could always go a little bit thinner at a later stage. Now, this is still a shape. It's kind of an editable shape. You can convert to a pie, you can convert to a doughnute. So what I'm going to do is I'm going to go along and I'm going to convert it to curves. There's a little button over here. Remember this might be a heads up display across the top, so you can either do it there or you can go along to the menu. I can go to vector, and I can convert to curves in there. It's both It's exactly the same thing. So I'm going to convert that to curves, so you can now see I've got these nice little points around there. I'm going to be using my node tool and I'm going to go along to where I want to put a break. I'm going to put a break, I think, over here, and I'm just going to click on that line once and you can see it puts in a point for me. Now we can once again go along to this area, and there's a little button here. If you hover over it, it says break curve. I click on that and it breaks the curve there. Now, I'm going to go down here over to that side then I'm going to do it again over there, once again, just slightly north of the text, something like that. Click on that and once again, I can break that curve. What's happened if you have a look over here in my layers? I've now got two shapes. I've got this one around the outside and I've got that one there. Let's use the move tool over here and if I click on that part, I can select just that part and press delete or backspace on the keyboard. IG do the same on the other side. So once again, using the node tool. Moving across here, I'm going to just at the end of the text there. Click over here, and I think I wanted to kind of go down to about there. There. Oh, I nearly forgot. Let me do that first one while I've got it selected. I'll go back and break it. I often forget that one. And same over there, we'll just break that one, and that should now give us a separate shape which I can then delete. And we keep going with this. So I'm going to do the same thing on the outside. So that's why I've got a second circle here. In fact, I'm going to hold down the old key and make another copy of that. Let's move that to where that one is over here and I'm going to just scale it up. While I'm scaling it, I'm holding down it's the command key on the Mac, so I think that should be the control key on the PC and shift. So what happens is if you hold down the command or control key, it scales from the middle out. That's why I put it in the right position. And when you hold down the Shift key, it gives you a perfect circle. So let's go out a little bit over here, maybe to the middle of the text and do another one there. So, once again, I'm going to go over here, use my node tool. Oh, I'd better get rid of the fill on that, so I'll choose none for the fill and the stroke. I can't remember what I did with the stroke over there. I'll just do it roughly by eye. We can fix that in a moment. Using my Node tool, I'm going to click over here by the text or near the text. You can choose exactly where you want to do it. Now, why won't this work? Well, remember this shape is an editable object. Over there. So you have to click that button first or convert to curves first. Now I can go along with my load tool and I can click over there. I'm going to choose that one there. I think that's quite good and do a break. Go down here, that one there, and once again, do a break. Let's go to this side. Going to go over there, do a break, and this one and do a break there. So now this time we're going to remove the opposite area, so I'm going to click on this bit, delete that, click on that bit and delete that. That still doesn't look so good, so maybe I will need to have a bit more deleted in here. Let's do this again. Click over here, get my node tool and click up there. So we just have a tiny piece left. Je break. Let's click over here and break that and then we'll get rid of these overlapping pieces, that one there. I could actually, I'm going to just undo this. I could even go as far as maybe leaving that little bit there as well. Once again, there's no right or wrong here, have a look, see how it looks when you're doing this. I'm going to put a little click over there, I think, and another one over there. Let's try that again, but make sure we do the break every time. And break that one. And then I think that bit can be deleted, and that bit can be deleted. There we go. We've got something which looks like it's actually going around through that. Let's do this one here. So once again, we just need a break there and a break there. So I'll select that one. No tool, click, break. No tool, click. Break. Let's take that and delete that. That's probably a little bit too close to that area there. I can always still adjust that. Let's do one more, maybe take it to there, break that. And delete that section. You know, that's looking better. Now, because these are very similar, the line there similar to these lines here, it might look a little bit strange. So I might actually go along to these ones because they are going from the text and make them a little bit more delicate, so they match the text. So I'm going to just go along to my stroke and change the stroke width in there. I've selected multiple items, so I can't actually see the stroke in here. But of course, we can always still get to the stroke. I'll go to the stroke panel over there and just adjust them like that. Let's have a little bit more along that line. There we go. There's separate objects in one last one over here, and then you can try this out. I'm going to place that in the middle. You see how it snaps to the middle there. Hold down command or control and shift, and then drag it up to where you want it. Now, I will get rid of the fill from that very quickly so I can actually see what I'm doing because I want to make sure that distance and that distance are very similar. Yeah, that's not not too bad at all. I think something like that seems to work okay. Once again, I need to match the stroke to this middle one. I'll just click on that and check it. That's 3.5 and this outer one over here. Once again, that's going to be 3.5. You can just type it in if you wish. Of course, this is a nice easy one now. We click on that. We go Nellie forgot, we go along and we convert to outlines or to curves. Use my Node tool, click over there. And then break it. Click. Break. I'll do the other two really quickly. I think that one should actually go there. Break that. I'm not sure whether we need it in here. I'll do it anyway. So we just have a little bit there and one last break over there. You can have a look at the distances yourself and see what works or if you want to get the distances all the same. So now I should be able to go along and delete that and delete this and delete that over there. Right. Have a bit of a go with playing with these lines and deleting them as you go along. Try it out. 38. Change Artboard: I would like to do some variations on this. Oh, by the way, I just add a little bit of text saying Established 1962 New York, London, Paris, over there. But I want to do some variations. I want to take this and I want to make it smaller and I want to have four different variations for the client. The first thing I'm going to do is I'm going to go to my document setup because I don't like this being a square. What I want to do is just change the size over here and make sorry, I don't like it being portrait. I want it to be a square. And I want this to be the same on both of those. So instead of 297 by 210, I'm just going to change this one over here to 297 as well. Over there, would you make it square, click Okay. So I now need to take this and scale it down. Now, look what happens. Remember, this text is editable text. This text is editable text, and when I scale it, you could see a number of things happen over there. First of all, it's miss scaling, so I'd have to hold down the Shift key, but the text remains the same size over there, and it just moves along the path. So, what can we do? Well, that's why we've got two dots here. The inner one will just scale the object but leave the text alone. This outer one here, if I go to the outer one there, now when I scale this, it scales everything. I'm just holding down the Shift key. Sorry, I'm not holding down the shift key this time. I was holding down the shift key before I'm not holding it down this time. And I can then scale everything down like that. So you can see the whole thing scales up and down over there. Now, what isn't scaling over here when I'm scaling this are the stroke weights. You can see as I'm doing this, the strokes remain the same over there. So we will need to do something about that and change it so that we can scale the stroke weight as well. Anyway, before we do that, have a go and just make this into a square and know about that little button over there. If you are scaling something over there and you don't hold down the Shift key, then it will miss scale. If you are on the outside one, don't hold down the Shift key and it will constrain the proportions because if you do it misscals. They're the opposites of each other, be very aware of that. Anyway, try that out, get the size right, and then we'll come back and we'll look at what we can actually do about these lines which are changing size or not changing size in proportion to the logo. 39. Make 4 Copies: Let's select this shape over here. Now, I'm going to go across to the stroke panel, and you can see scale with object is switched off. So that's why when I scaled this, the strokes didn't scale at the same time. If I switch that on, well, now when I grab this, you can see the strokes scale at the same time as the shape. So don't forget that little scale with object button there. Now I'm going to go over here and just make that vaguely a quarter of the size of the page. Let's put some boxes in here so we can have four of them in four separate boxes. I'm going to use this rectangle tool and I'm going to start to draw a rectangle. Doesn't matter where you're starting over there, draw a rectangle. And then I'm going to use the arrow key. Now I'm going to use the right arrow key and press that, and that gives me two of them. I can still keep scaling this over there. In fact, you can just keep going with the right arrow key or the left arrow key if you want less of them. I'm still holding down the mouse button, by the way, all the time I'm holding down the mouse button. And then I'm going to go to the bottom arrow key, and I can do the same thing that way as well. Now, you can see I've got these four shapes over here, but I want to constrain them to be perfect squares. So I'm going to hold down the Shift key now that I've got right number that I want. And I think that's going to be about it, so I can now let go of the mouse, and I've got those four shapes in there. Now, I don't want them to be too over the top. I want to maybe just reduce them a little bit. So I'm going to go along to my stroke color over here and maybe sort of pick a lightish gray for the stroke. We can adjust the stroke weight in here as well. We just look for something fairly delicate. I'm also going to put them at the back, so I'm going to go to the layer menu. I'm going to arrange and I'm going to say move to the back. I'll move it behind everything else. And lastly, over to the layers. Where are they? Right at the back there. I'm just going to lock those selected layers in there. So I can't move them by mistake, and that kind of gives me some very delicate little lines in there. Now, why are these not looking delicate? Well, because we're seeing the building lines, those pink lines that we get. If you go up to the top, there's a little button over there, and we can then just toggle that into preview mode. And you can see we've now got some very, very delicate lines. If you don't see that little button in there, you can go along to your view menu and preview mode is over there. Now I can take that one there and just move that into the right position like so. Hold down the old key. We'll make another copy of that. Over there, I'm holding down the Shift key as well as the old key or the option key this time. I'm going to select those ones. Once again, hold down the t or the option. Let's try that again. Ah, I'm going to select those. Hold down the alter the option key and the shift key and then move them down as well like so. So we've got four different logos or potential different logos in there. Anyway, do have a go with that. This is such a nice little technique. Being able to take a shape. Let's go and use an ellipse over there, and then once again, use the right arrows to make more copies and the down arrow to make them like so. Have a bit of a go with that. 40. Export to Other Software: As you can see, I've got some variations. I've done one with a black background, so we can see what it looks like on there. I've done two colors in here as well. Now, if I want to send this to a client, and they say, Well, could you send us the vector file? Now, they want the vector file because it will be fully scalable. Well, when we go to file and Export, by the way, I do hope you've saved your document at some time going along just in case the worst happens. But I'm going to go to Export over here. Now, at the top, we've got things like JPEGs and PNG files. Those will convert this into pixels so it won't be fully scalable. The ones we want are these ones here. The SVG file. That's a scalable vector graphic. And if you're putting something on the web, that's a great file format for that. EPS, which is encapsulated postscript, you don't need to know these are also great vector files in here. The problem with this, though, is that when you do an EPS file, you don't get the editable text anymore. It converts the text into shapes. They're still scalable because they're still vector shapes. But if you go to a PDF file, and I'm just going to use this digital high quality one, you'll see down here that it actually says embed fonts in there so it can keep the editable text. I'm going to export this, and I'm going to call this vintage file. And let's go into something that you might come across giving fast to somebody an Illustrator. So I'll just open up Illustrator over here and I'm going to go to file and open that PDF document. So there it is over there. And you can see it looks exactly the same. In fact, if I go to the word vintage here and double click, I can actually edit that text quite happily. I'm going to undo that. Over there. Now, what about the text which is on the path? That's slightly more problematic because if we zoom in here, you'll see that each of those is a separate character. It's not sitting on a path anymore. They are separate characters. I mean, that is an E, and if I could get hold of it, if I selected, I could change it into, I don't know, an R or something like that, but they have separated out. So just be aware of that. When you're sending it out to somebody else, particularly maybe another designer or something like that, and you've put text on a path, they might not be able to edit the text on a path in Illustrator. Anyway, have a good at exporting it out and try some different variations on this using text on a path and lines that you cut up and make some interesting logos and don't forget to share with me. I love seeing what people have done. Have fun. 41. Text Wrapping - Intro: In this section on text wrapping, we're going to be going through the basics, but we're also going to be looking at some other things that you can do, for example, making invisible shapes and getting your text to run around that. Let's get started. 42. Wrap Text Basics: I've got some text over here, and I've got two photos. I've got this little one here of some mountains with some snow, and I've got this one here showing another mountain. And I want to put this together. Now, I'd like to have my picture over here. And I'd like to have the mountain kind of in the middle in there. Now, what can I do with all this text? Well, one of the things that I could do is I could actually make that a lot smaller like that, and I could start the text over there, and then I could click over here and drag another box there, and then click on that one, drag another box there to kind of break the text up a little bit. But the other way that we can do this is actually instead to wrap the text around the pictures. Now, the way this works is you select the picture first, so I'm going to click on this one here. I'm going to go to the text menu down to text wrap, and I'm going to say show text wrap settings. You can pretty much see we've got all these options for different types of wraps. This one here starts the text at the top and continues it under the picture. This one here puts the text around in a square, and this one will do exactly the same thing there. This one puts the text inside the picture. It's a bit strange. And we've got another one here, which gives a bit of an edge in there as well. No, I'm going to go back to the square one for the moment. I remember, I've selected my picture over here, not the text that's really important. And I'm going to go over here and I'm going to adjust the distance that the text is from the picture. So left is not going to do anything because it's a side there. But if we go to right, I can just move the text and force it away from the picture like so. Now, if I move the picture around, the text will flow as well. If I go to this side, once again, but if I put it in the middle in there, let's just go down a little bit like that. Over there. You'd see it's just having a few problems. It hasn't got enough room to put any decent text in there. If the picture was smaller, though, it would actually run on both sides. But this is a big butt. I would never ever do that because it's impossible to read. Over here, it says, quads and hamstrings simultaneously, building functional strength that transfers. You can't read like that. So if you do have a picture in the middle, what you can do is you can say wrap to the larger side, and it will pick one side, whichever is slightly bigger and wrap only on that side. You can see as I move this now. It makes a lot more sense when you're doing something like that. I'm going to make this picture a little bit bigger again and pop it on the side. So I'm going to stop at that point there so you can have a bit of a play, do it on a square picture. And once you've done that, try a circle. So I've used the circular till here I've placed a picture inside the circle, and then once again, I can choose to either have it wrapping as a square or wrapping around the picture itself. Once again, you can see that this is not ideal because it's going to wrap around both sides. So over here, if I moved it to the side, it would look a lot better. Anyway, let's have a look at that first. So try those out, and then we'll do a few more options on this. 43. Make the Text Readable with a Split: Now, what can we do about this picture because we do want it in the middle? Well, what I would do is I would pull this text up over here, then go along, click on the little link, bring another text box in over there. You can see it's on both sides. That's still a bit of an issue. But what about on this text if we went up to the top here and just split that into two columns, so the text will run down one side and then down the other, making it a lot easier to read. Now I think what I'll do as well is I'm going to click on the picture to select the picture. Now, to get to the picture over here, if I click over there, it keeps selecting the box itself. What you can do is you can actually go in and you can use let's get back to the little arrow tool over here. So what you can do is you can use your Alt or your option key with your arrow and click, and that will select the object underneath the text frame. So I can select that quickly. I'm going to go along to text, once again down to my text wrap, show the taped text wrap settings. And then over here, I'm going to because this is a tight circle, I'm going to just increase the size on the left and on the right, a little bit as well. Anyway, do have a bit of a go with that and split your text into two columns. 44. Invisible Frames: Let's go make a new page. I'm going to go over here to my pages, click on the New Page button to get a new page up. And this time, I'm going to bring in that same picture. You can do this with any picture you like. I'm going to bring in the same picture, so I'm just going to put a frame over my whole page. I'm going to go to File and Place. Find the picture that I want, which was the mountain is the one I'm going to be using. Over there. And now that I've got the mountain, the mountain in, I'm just going to see if I can move it around a little bit like that because I kind of just want the side over there. And then I want to put my text in this area here. Now, there's different ways of doing that. One way is that you can actually use a shape. So I could put a shape over that side there, and then I'm going to bring in my text. So I'll use a text frame over here and say, right, let's have it. Let's try that with a correct tool. We'll have a text frame over there with just one column there. So I've got a text frame here. That's a text frame, and I've got this kind of invisible box on the right hand side. So on my text frame, I'm just going to paste my text in and then you can see what I can do is I can actually go along. I can select the text box, the invisible one, and I'm going to make it completely invisible now by taking off the stroke, so you won't actually be able to see it. And then I can go along to Text. Well, let's make sure it's selected. I can go to Text, down to Text Wrap, show text wrap settings, and I can actually wrap up to that box. Now, this means I've got an invisible box here that I could move around like that and get it roughly in the right position. Let's have a look and see what this looks like when we preview it, so I'm going to go to the view menu in preview mode, and you can see there's my text in there. That's still not right. I think I want to make it a little bit more interesting. So I'm going to go to my invisible box, and I'm going to show the box just so that you can see exactly what's going on with this. Now, I'm going to go up to Text, text wrap. We haven't looked at this yet, and I want to edit my outline, wrap the outline. Now, let me just make sure it's selected again. Text, edit, rap outline. Look at this. I grab a corner of that, still keeps the box exactly as it is, but I can move around the outline like so. Now, obviously, you don't want to do this with a square like this because it's just a whole lot of work. I've only done this to show you that you can manually move the shape that the text wrapping to without actually going in and changing the shape itself. So how else could we do this? Well, let's get rid of that. I'm just going to delete the text for the moment. What I would do is I would use something like this pen. So I can use a pen tool. And I'm going to just start at the top here, and I'm just going to click. It doesn't have to be perfect over there. If you do want to use sort of kind of clicks and drags to get a curve like that, that's absolutely fine. And I think I'll just go down here over there and up to the top. Now, this is the shape over here that the text is going to wrap around. So let me bring my text in again. Once again, I'll just bring it in in a rectangle over there, paste it in and I'm going to go to this little shape here. Click on that shape. I'm going to go to Text, text wrap, show text wrap settings, and do a tight wrap over there. So it'll actually wrap around this shape over here now. And I think that's looking pretty good. Actually, I'll go to this little shape, and I'll get rid of the stroke over there, and we can just remove the stroke and there it is. Now, if I want to adjust this shape here, if I can find it, this is where kind of things get a little bit interesting. I'm just going to click over there until I select it. There we go. There are other ways to find it, by the way. I was kind of doing this a silly way around. What I can still do is I can go to Text, Text Wrap, Edit Text wrap outline, and I can move this around over here. So I can just change that in there, you can see how the text will just flow as I'm pulling this around over there. I'm happy with that. I think that looks pretty good with the text going down. Maybe there's a bit too much text at the bottom over there, but in fact, I've got a big space in there anyway. Do try that out. So using your pen tool to make a shape and then wrapping around that invisible shape. This is a lovely way of working, especially if you have a picture in the middle of a document that you want to wrap around. So I'm going to do this one more time with slightly different to show you again, and this is going to be very, very quick. So I'm just going to go and find another picture here. Right, I brought my picture in, and I want to put in some text on here, so I'm going to just take a little shape over there, put my shape in over here. Let's move that into the right position over there. And I want the text to run everywhere except on those feet. So it's a really strange picture, isn't it? So let's get the text in here. Once again, I'll just paste my text in. I'm going to just make the text a little bit bigger. Over there. And now I've got to select that little shape in here. Now, if I can't see anything because I've got an invisible shape in there, what I tend to do is I tend to go to my layers, and I will find my layers over there. It says they're showing, so there they are. Up here, and this is the easiest way to just start to select things because I can just click on the various parts to select them. So I can select that now. Once again, I'm just going to go to Text, Texrap, show Text wrap settings, and just get it to wrap around that shape in there. Now, obviously, we've got a bit of a problem there because text is going on both sides when we pull this in and tighten it up like that. So I would probably end up making that into two columns so I can get something along that line there. Anyway, do try it. I promise I won't do any more now, so have a bit of a go with that. It's really useful and can create some amazing layouts. 45. Project: Make a 4 Page Brochure - Intro: It's the big project time. Another one that I absolutely love. We're going to be creating a brochure. Now, as you can see over here, we've got this brochure, multi page, and this is all about skiing. If you don't like skiing or you want to try something else, that's absolutely fine. But we're going to do covers for it. We're going to bring in text. We're going to be using text wrapping on invisible objects. We could do so many things with this particular document. I hope you enjoy it as much as I did. Let's get started. 46. Add 4 Pages and Hero Picture: Let's start this four page brochure. This is going to be digital only, so we're going to be using RGB. And I'm going to go down to multi pages in here. I don't want facing pages. I just want them to be one, one, one, one. So individual pages not next to each other, so I'm going to switch that off, and then I'm going to go and put in my four pages over there. And let's create the document. Now, the first thing we're going to do is to bring in a background picture. This is going to be really simple, and I'm sure you'll be able to do this without even telling you, I'm going to go along to file and place and find the image that I want. And I've provided these images for you, and I'm looking for this one. No, not that one. That's the finished result. I'm looking for this one over here. So we're going to use that. I'm going to make it a bit bigger, and I'm going to move up a little bit. And maybe just onto the side over there. So, when it comes to actually putting a picture in like this, think about what the most important part of this image is. So it's pretty much going to be her and particularly it's going to be her face. So I've put it on the third. You've got the third there. Those are the most powerful parts of a composition. But the other thing that I've got to take into account, as well, is that I want to have a strap along the top with the and logo name on there. I also want to have another name down the bottom there. I'm making sure that I've got plenty of room for those without too many details in the background. Now, to go along the top, over here, I'm going to make a shape, so I'm going to take a little shape and I'm going to pop it on there, like that. But I'm going to make that shape black and I'm going to reduce its opacity. I color, I'm just going to go down to the opacity and reduce the opacity it still shows the picture through, but it gives you that nice dark background, so our logo can show through very, very well. And then we're going to have some text at the bottom here. But have a bit of a go, get your four pages in, get your background picture. If you don't like my pictures, by all means, use other ones and get a little shape over there to darken down the top. 47. Color Palette & Text: Now, the color palette that I want to use for the whole feel of this is going to be yellow and blue over there, the blue for the sky and the yellow from her top. So I'm going to help the colour scheme along by just popping in some shapes. And I'm going to have two shapes. One at the top over here. Remember, this particular brochure is not for printing, so you don't need to worry about bleeds. It's only going to be available on screen. And let's take that right up here. What I want to do is I want to use this little eyedropper to go and sample a bright yellow over there from her top. There. Now, also, and I'm going to use my move tool to do this. I want to take a copy of that, so I'm going to hold down the lt or the option key and drag a copy down to the bottom. I'm holding down the Shift key as well. That's going to go right to the bottom there. And I'm going to choose another color, the blue for that. So we're going to have the yellow on her and the yellow at the top, the blue in the sky, and the blue at the bottom to balance it all out. But I'll use this little eyedropper to sample the blue over there. I don't actually like that blue, so I'm going to go in here and just make it a lot brighter over there so it's a bit more vivid. And then we've got these two sort of bright vivid colors. Don't go over the top with too many colors, but two of them like that looks great. The next thing we want to do is put some text in. So I'm going to use my Artistic Text Tool. I'm going to click over here and drag that out to roughly the right size. And I'm going to put in the name of this brochure. So it's going to be snow and style. I'm going to use an ampersand. Over there, and we'll sort the text out in a moment. I'm just going to make it a little bit smaller, pop it in there, change the color for now. We haven't chosen a typeface or a font yet, but I'm going to just take that and use the same yellow. Sorry, I'm going to take the ampersand, use the same yellow that I had. So there it is over there, and then I'm going to take the snow and make that white and the style and make that white. As well. We want another bit of text over here as well. So once again, using the artistic text, I'm going to click and drag over there. We're not sure what the brochure is going to be called yet. The company is maybe called Snow in Style. We're not sure about this, so I can just put in a bit of filler text in here. So I'm going to say boarding. Issue. Sounds like you're having trouble boarding the plane. What I mean is snowboarding, and this is issue number one or something. Anyway, once again, I'm going to take that go with yellow, but maybe darken down that yellow a bit so it's not quite so bright. In there. Anyway, we'll fix the typefaces and whoops and sizes on these very shortly. I'm just going to make it a little bit smaller and move it into the right position over there. And that bit of text, I want the issue to be on the right, so I'm going to go up to the top here and I'm going to choose write a line like so. Right, if you'd like to get up to that stage there with some colors, some color bars top and bottom, and the text in there, and then we'll make the text look a little bit better in the next video. I. 48. Baseline & Kerning: Let's change the typeface on here. Now, you can pick any typeface that you like. I'm going to go and find something, well, fairly plain, but it's nice and rounded. You can do, as I said, whichever typeface you want. So I'm using this Carson Pro. Now, that looks good, but what I want to do is I want to take the ampersand and make it a lot bigger. So I'm going to increase the size of the ampersand. There may be about that size there. I'm also going to select it and then move it down. So it's kind of between the snow and the style to once again, give it a bit more style. Now, we're going to go to the winter menu. I'm going to go down to text and find my Character Panel. And over here, what we've got is position and transform, and I can then use this option to move things up and down, so I can just move that up or down like so. This is called the baseline shift. So I'm going to shift it down a little bit like that. Kind of like that, but I want to move it a bit further down. There's no right or wrong here. So that when I pull this closer together, the S can move over that area. So I'm going to click between these two between the ampersand and the style, and I'm going to go over here once again in position and transform. I'm going to use my conning to pull that over to the left. So you can see how it's moving over there like that, maybe not quite so much in there. And then between the snow and the ampersand, I might move that once again with a bit of coning slightly closer together as well. Once again, there's no right or wrong with this, have a look and see how it works for you. In fact, I'm thinking that is too close, so I might move it out just a little bit, like that. And there is my snow in Style done. The boarding, I'm going to call this the downhill edition. So I'm going to select that, do down and then hill below that. But I'd like to actually keep these pieces individual so I can move them around and play with where the words go. So I think I'll even remove Issue over there. Let's get rid of that one. So we just have down. I'm going to choose the typeface that I want for this before I start making copies. So I'm going to go up here, once again, pick the style that I want. I want something fairly plain for this because we've got this really cool looking style up the top. So I'm going to go with something pretty plain, and I think I will use either aerial or Helvetica. So I'm just going to go down and find Helvetica in there. Nothing special about it or Helvetica Nu. I like Helvetica u. So I've got that. Do I want it to be thicker? Well, if so, I could then choose, say, medium to thicken it up. Let's just make sure that's selected, medium in there. Now, I've got the word down in there. I'm going to hold down the Alt the option key and drag a copy. This is going to be hill and I'm going to do one more over here. I'll move the hill in there a little bit. And when you're moving these things around, don't forget. You can always use the arrows on the keyboard, as well, downhill and addition. So I'll make another copy of that. Hoops. Let's make sure I select Hill. Hold down the alter the option key. Do that. And this is the addition. Over there without a capitol. And I'm going to make that a bit smaller over there. That's going to be the yellow that I had up the top there, and we'll move that into position. I keep hitting the background. Now, to get around that, if I select the background, you know how to do this. I'm going to go to layer and lock it down so I don't keep touching the background by mistake. So it'll be downhill addition, and let's have that lined up with the down or we can even move it across to here so we kind of get that downhill going over there. There's no right or wrong here. Just experiment, see what works for you, and I might even make it a little bit smaller. In there. Now, all of these have got pink outlines, but if we go to preview mode, we can see what it looks like. Oops, I thought I'd made that yellow. Let's try that again, so I'm going to just pick the yellow. In there. The down, maybe it's a little bit too far across. We can sit and play. Honestly, I can sit and play with these for hours just getting things absolutely spot on exactly where I want them as well. Anyway, do try that out, get your snow in style, but use the ampersand or whatever two words you've got. Use the ampersand between them, make it bigger, move it down, and use some of these position and transform options to do that. And then this page we'll be done. 49. Create the Page 2 Layout: Now, a few little design tips over here. Certainly the first one I've shown you already, and that is to use colors from the image in order to sort of highlight the colors and keep it all consistent. The second thing is, if you're going to be putting bits of text together like this, watch how you actually line them up. So although the H doesn't actually line up very well with the W and the N, I can line up with the N over there, and it just gives that line all the way down with the two little Ls on the side. It looks a lot better than if they were just ever so slightly offset, like that, for example. So, the other thing that I did was I made the word addition, the same size as the hill and then put the one out there. There's no right or wrong with this, by the way. You can do whatever you like with it. But if you can line things up, it looks like it really was intentional. Now, I'm going to take this yellow bit here and this blue bit over there, and I'm going to copy them. So I'm using Command C or Control C to copy. I'm going to go to page two, and I'm going to paste them in over there. And if you want, you can go through the other pages and paste them in there as well. I'm not sure that we'll need them because we're going to be doing a full screen thing, so we might not need both of them. But this page here, I'm going to have that. I'm also going to have the snow in style. Now, you can copy and paste that or you can hold down your optional old key and just drag a copy over to that page. And I'm going to change this. So this is going to be probably in black, I think, might look rather nice with that yellow and once again, black with a yellow. Obviously, if this was somebody's logo, you couldn't just change the colors. Like I'm doing, you've got to keep within their brand style. But I'm going to take it down and move it across over to there. You notice that I've just lined it up with the halfway point. As I'm doing this, the green line pops in to show me that I'm on the halfway point. Once again, to keep things looking good. Now we need a picture over here. We're going to have some text going around it, and then another color at the bottom. Let's do the color shape first. So I'm just going to draw in my color shape over there. Make sure I use the same blue that I've got at the bottom. I'm going to bring in a picture now, so I will use one of these little picture frames, and I'm going to just click and drag where my picture is going to go. So I think I'm going to have it to about halfway. Once again, you can try this, you can change it. If you think, Oh, I'll have it right up to the word snow there, that's fine, too. And I'm going to then go and place an image inside there. So let's go and place, and I'm going to find a picture of the snowy area and place that in. Now, if it's not in the right position, remember, you could always using your move tool, just go over there. You can move it around inside the frame. I'll pull that up a little bit like that, and you can scale it if you want to zoom into various areas. So maybe I just want the mountain over there. In fact, I quite like those log cabins. I think it gives it a nice homely feel. So that's what I'm going to go with. We're gonna pull this down a little bit like that. Pull that down a bit as well. Once again, you can see I'm just roughly putting them into the right place. And we're going to put some text which is going to wrap around those log cabins or the photograph. Anyway, if you'd like to get up to that stage on the second page, just bring in some of these shapes. If you wish, you can switch these around now, so I could select both of these pages. Now I'm going to use a little trick here. I'm going to go to the top. I'm going to rotate them around, hold down the Shift key, and they'll just snap into the right position, like that. So why have I done it that way around? Well, because I've got yellow there, I'm going to have blue there and because I've got blue here, I'm going to have yellow there. It's the only reason. Once again, this one, I've got yellow there, so I have yellow at the top, blue there, blue at the bottom. You want to keep them the other way around for consistency, once again, that's okay, too. Have a go with that. 50. Add Margins & Text Wrap: Let's bring in some text. I'm going to go along to my Text tool over here. Now, I really want some sort of margin on either side, so I know what the distance is going to be. So to do that, before I bring my text in, I'm just going to click back on a little arrow, go to Documents Setup, and down here, I can go to margins. I will switch on margins in there, and I'm going to put in a margin size. I'm going to go with 25 millimeters all around, it'll do top bottom as well, and click Okay. Now, why can't I see it? Well, if we go up to the top here, we've got the little preview button which we can toggle on and off. Now that I've done that, what I might think about doing is actually moving this. So instead of aligning it to the middle, I'm going to align it to the right. Over there, so it's lined up to the margin. Let me bring in some text. So over to the Text tool, I'm going to click and drag a text frame in here and I'm going to go and find the text. Now, I've given this to you as a Word document, and we're going to keep we're going to select this first bit. So two paragraphs in there and the title, copy that, go back in here, and I'm going to paste that in there. Now, you can then choose whatever typeface you want for this. Now, on this first page, I used Helvetica there, so I'm probably going to continue on with Helvetica in here. So I'll just select all that. I'm going to go into Helvetica. Oh, Helvetica new, I think it was that I'd used over there. And this top bit over here, that's bold. That's absolutely perfect. Now I need to get the text to wrap around the photo. So once again, I'm going to click on the picture on the picture, not on the text, remember, go to Text, text wrap, and show text wrap settings. And then over here, I can just use the square to get to wrap around the square, and I'm going to increase the size. So on the right hand side, I will increase that. And I think on the top, I'll increase that just a little bit as well. Now, you can see it's gone from skiing most enduring quality down there, and the words enduring quality have dropped down underneath it. So I think what I'll do is I'll just take that back again or move the whole thing up. It depends on what you want to do. So you can either move your distance from the text or in my case, if I just move this picture down ever so slightly, that'll then go up to the top over there. That's not bad and pretty quick to do as well. Let's go over to here and bring in the next bit of text. So Text tool. I will bring the text in. I've done my text frame over there. I'm going to go to the Word document, and this is going to be bullet points, so I'm going to copy that, go back in there and paste them in. And once you've tried that and you've got to this stage, I'll then take you through making those bullet points, and we can have custom bullet points with photos in the bullet point instead of dots. 51. Bullet Points with Photos: I let's sort out the bullet points here. What I'm going to do is first is select all this text. Now it's very difficult to see that it is selected because it's on a blue background, but I've selected those three lines, not the bowl but at the top. And I'm going to go to the window menu down to text and find Paragraph. So here's my paragraph options, hoops over there. And under bullets, let's go down here again. Bullets and numbering. Here we go. It says Type. Oh, let's make sure that I've selected all three of those lines. It says Type, and I'm going to choose bullet, which puts in my bullet points over there. Now, that's a little bit dull. So firstly, I'm going to select all of this text and increase the size. So I'm going to go over here to my options to make it a bit bigger. I think that looks right. I'm also going to make all of this white rather than blue text. I'm going to have white text on that blue background. But lastly, with this or these three lines here with the bullets, I'm going to go along here and I'm going to click on this little icon over here and it says, select an Image. So I'm going to click on that and says, Which image do you want to use? Now, I've already created an image for you. It's what I've done is I've taken this image here and I've cut him out. Now, you could do that in Affinity pixel. You can cut it out, and you can save it as a PNG file. My cutout was very rough. You can see over there, there's still bits of blue in there that I didn't get rid of, but that's absolutely fine, because it's going to be very small and it's on a blue background. So now that I've got that, I'm going to click on Open. And you can see it's just replaced those little dots with the little icons of the snowboarder or skier, whatever he might be. In here, we can always go in and make more changes in there. I'm just going to move this tab stock stop along a little bit over here. We can maybe scale him up a little bit. And then if you want to change the distances between those lines, don't forget. You can go over here to your character, and you can adjust the I'll get there in the end, adjust the leading over there. So we'll just increase the leading over here. Anyway, have a bit of a go with that and have a look at how you can use a little image in there instead of an icon. It's that little button over there and then scale it up and change the tab stop if you want. There's also an offset here. You can just offset it slightly. Let's just select those three again and we can just do an offset to move it up or down if we need. Try it out. 52. Page 3 Layout: Let's bring in another background picture on page three. So what I'm going to do is go and place an image. So file and place. And I'm going to find this picture over here and I'm going to click and drag it right in like so. So what I want is him to be quite big. Maybe it's a her, I don't know. I want them to be quite big over there kind of coming into the frame like so. And then I'm going to bring in some text. Oh, just before we bring in the text, what about bringing in a copy of this snow in style? So let's do that. I'm going to go to the snow in style, copy that, go back to this page here and paste it in so just make sure I'm on that page. Paste that in over there. And then I think I'll do the same with this yellow. So I'm going to copy the yellow, go to this page, and paste it in over there. And I'm going to take the yellow from the top over there, once again, go back to this page and paste that in at the top. Now, I forgot to copy that, didn't I? Let's click on that. Let's copy that one. And over here, let's paste it in up there. So we've got the yellow at the top. And then we're going to bring some text in over here and get the text to wrap around the skier. Oh, here is a skier, not a snowboarder, the skier and the skis. Get that far. 53. Wrap Text Around Photo: Let's bring in the text. I'm going to go back to my word document, and I'm going to take this bit of text here. I might not need all of it. I'm going to do that bit, I think. Over there, I'm not worried about that last paragraph. I'm going to copy this, go back in here, use a text frame, and let's go from here all the way down and paste straight into that. Now, the first thing is I'm going to select the text. I'm using Control A or Command A to select all the text, and I'm going to change the color to white. I want to get the text to wrap around the skier. So I'm going to use a shape, so I'm going to make an invisible shape. Now, to help me get everything right without changing things, I'm going to click on the photo background. I'm going to go to layer and I'm going to lock the photo in the background so I can't move it by mistake. And then I'm going to use a tool to go around there. I'm going to use the Pen tool. Now, if you haven't used the Pen tool before, have a little bit of a look at some of my other lessons when I did the vector area of Affinity, and that'll help you working with the pen. But honestly, it's really easy. I'm just going to click. I'm just going to click drag, click drag. You don't have to be accurate. Let's zoom in so you can see what I'm doing over here. Click and Drag just roughly around like that. So as I'm clicking and dragging, I'm making little curves over here. If you want to do them as straight lines, that's fine, too. It'll work just the same. I'll go back to the beginning. Now, this shape, I don't want to fill and I don't want a stroke, so I'm going to choose none for the fill and none for the stroke over there. And then with this shape, I'm going to go up to Text, text wrap, show text wrap settings, and I'm going to use the tight option, and you can see how it's pushed the text out like that. And we'll just close that down. Now, let's zoom out a little bit, like so. Sometimes you might end up with funny words over there, and that's really difficult to read. So if I click on my text and I make it into two columns, that makes a whole lot easier to read because we're reading down that side and then down this side here. I will just shorten this up a little bit. I think that's about it. So we've got two lines of text in there. Let's have a look in preview mode. There we go. It's looking pretty good. Actually, I'm quite pleased with that, and I hope you are with yours as well when you do that. Have a go. 54. Create a New Sky on the Final Page: On our final page, we're going to bring in a picture, and we're going to remove the background. So what I'm going to do is I'm going to go to Oops. Let's try that again. I'm going to go to File and Place, find the image that I want, and That's the one that I'm looking for there. Let's open that. And on this last page here, I'm just going to click and drag. Now, I want him to be quite small and at the bottom. So I'm going to just move him down like that. Over there. So how do I get rid of the background? Well, what we do is we make sure that we go to pixel mode. If you're still in out mode, go over to pixel mode over there, and we can use some of these tools over here. I'm going to use the Object Selection tool over there. You see the little watch comes up while sort of thinking about which bits to do and which bits not to do. And I'm going to select the skier, him or her. And then I'm going to make sure I'm on the add option. That's the second button along, and I'm going to add in the snowboard, and I'm going to add in the snow as well. Now, there's a few other bits that haven't been added in yet. I'm going to click on this bit of snow. If I zoom in, you can see, I'm going to go over there and click on that bit of snow to select it and that little bit over there. And if you get to this stage, you think, Oh goodness, I can't get those other bits. Use a different tool. So if I go in Oops. If I go in here to where the rectangular marquee tool is, I could use the freehand selection tool. Now, the freehand selection tool, if you've done the pixel, of course, you'll know this. But if you haven't, you've got the poly I can never pronounce this. Polygonal. There we go. I always say polygonal. The polygonal tool over there, which is straight lines. I'm going to use Add. I'm going to say, let's add in this bit here, so I'll just click, click, click, click, click back to the start to add that bit in. Let's add in this bit here, click click, click. Click. All those bits need to be added in as well. And this needs to be added in. So I'll click over here and do a straight line down to there all the way back. Add that in. And one last bit over here. This is going be so small that, honestly, people won't really see it. You don't have to be too accurate, but it'd be nice to have a few of these bits in. I think that's close enough. Over there. So I've got the bit that I want to keep selected, so I can just copy and paste over there. And you'll see what it'll do is it'll paste in as a new layer. Now, if I hide the one underneath, that's what will be left over. So we don't actually need this bottom layer. I can pop it in the bin if I don't want it. By the way, we need to deselect this now. So if you go along to pixel into the selection area, so pixel pixel selection, and you can say deselect to get rid of that. Now, of course, what we want to do is we want to have a nice blue background like we've got there. So you can just, if you go back to Layout mode, use the rectangle tool, draw in a square, choose whatever color you want. I'm going to use our sort of key color that we've been using throughout. And I'm going to go to layer, arrange, and I'm going to send it, move, and send it to the back. There we go. So we've got our skier now or snowboarder against a really nice blue background. Now that we're here, we can bring in some other things. I'm going to hold down the lt or the option key and copy that in. I'm going to put that right in the middle. I'm going to take these two yellow lines, select both of those. I'm holding down the shift key to select both of them, copy them, and paste them. Onto that page, like so. And that said, I think our document is looking pretty good. One last thing that I want to mention here, and that is when you're putting something in the middle like this, there are two types of putting things in the middle, for want of a better word, two types of centre alignment. And one is the true alignment where the things are exactly in the middle. It's exactly halfway between the top and the bottom. Other thing is something called optical alignment where it's slightly above the center, but it actually looks better. So I've moved mine just above the center over there, so it looks better than if it's right in the middle. Have a look at your document using the little preview mode over there and go make any changes that you need to that. We're going to just save this now so don't forget file and save. You should have been saving as you go along. As always, do as I say, not as I do because I forgot to save. So I'm just going to save that now. I'll call this S and S, and I'm saving it as a Affinity file. Let me go and save that out. Have a go, and then we'll export this. A 55. Export & Preflight: Lastly, and this is really simple because you've done it so many times before. Go to file, go to Export and choose how you want to export this. So, it says, You document has unresolved preflight errors. So let's open up preflight over here. You might or you might get them. And you see over here, there's a spelling mistake over there, which is really cool that it actually brings it up for you, slope style and Murin whatever Murin is. Um, and also, we've got missing fonts over there. I suspect that was when I copied and pasted that in, I didn't update. I can't remember which one I forgot to check. But it's a great way that it can just check your document now and sort things out. Now, I'm going to leave those spelling mistakes as they are because I think that might be a name of something. I don't know. And I'm going to go back again. So file, I'm going to go down to export. Over here. And I'm going to ignore that mistake, and I'm just going to say, ignore and continue. And now we can export this out as we wish. I'm probably going to do it as a PDF. I'm going to use a digital PDF for high quality. If you remember from the course earlier where we looked at the qualities of vectors. Now remember that this has got a lot of photos in, so we want to keep the quality high. I'm going to have the DPI, the Rusa DPI, which is the resolution of the images itself at 300. And I'm also going to say, downsample images. If I've got a huge image that I've brought in, but I've used it very small, that image would actually have quite a high resolution. What this is going to do is it's just going to look at any images which are above 375 DPI and it will downsample those, and we'll get back to 300. Now, over here, we have got our Allow JPEG compression, and then the quality we're going to keep that really nice and high over there. When you start to go to that side, you saw on that other project how bad that can be. We're going to take this out as an RGB file, and the ICC profile is going to be SRGB. Using SRGB or standard RGB because that seems to work quite well on most devices. If you choose a really weird profile, you might find that other people's machines don't support that profile, and they get weird colors in your document. Right, I'm going to click on Export over there. I will click on Save. That's almost done. We go, that's done. And now that should be over here where I've saved it to, which is on my desktop, and we can have a quick look at that, make sure the quality looks okay. And we go, that's looking great. Over there. Everything seems to look okay. Then we've got our little photos of the skier. We've got the text going around. Rid of that over there. The only thing about this that I find is a bit of a problem is that the way the text is working gets it beginner and then on one line, I might have to go in and change that. I could do a return, or I could change the shape of the line that goes around the skier in there. That's done. And as you can see, all those little details that I was mentioning before, they're so small, you can barely notice when something is selected and something's not selected. Anyway, try that out, have a lot of fun with it, have a go with any other brochures that you want, and um share your work. 56. Generic Outro for Skillshare affinity: Congratulations. You've reached the end of this course. I'm sure you're creating amazing work. Now, don't forget to leave us a review. It really helps us to help to build more courses for you. I also do courses in Adobe, as well as Canva and Procreate. Don't forget to follow me and have a look at my profile. I'll see you in the next one. A