Brochure Design with Adobe Photoshop, Illustrator and InDesign

1. Introduction: You want to design a brochure. No problem. You came to the right place. And, Martin, I have over 20 years of experience as a graphic designer, illustrator, and ADB certified instructor. I have worked with companies like BBC, Disney, Google, Ikea, and I cannot wait to share my best practices with you. This is a streamlined hands on course focusing on a real life design project. I will be walking you through everything step by step, and you will get all the exercise files so you can follow along. In case you prefer not to copy me. You can also follow my workflow using alternative assets provided and create something completely unique that you can showcase in your creative portfolio. I am pretty sure this course will inspire you to create something amazing. We will start by learning some important terms of print advertising, like the types of folded and unfolded handouts and brochure folding options. Then we will jump into dB in design and create a trifle brochure template, which we will be using for our project. Although in design will be our main tool, we will also spend some time in Adob photoshop, editing and masking photos, and in Adob Illustrator creating some unique vector elements. Besides all the technical stuff, we will also cover some important graphic design theory that you will be able to apply in any of your future creative projects. You can join this course without any prior knowledge in graphic design illustration or DOB applications. But to complete the project, you will need access to DOB Creative Cloud and the desktop or laptop computer. But now it's time to start creating, so I will see you in the next lesson. 2. Brochure Design Theory: A brochure is a piece of paper that is folded to create multiple pages, and it is distributed for advertisement and promotional purposes. They can be handed out in person, left outside for people to pick them up or sent out directly by mail to customers. Now, the two main categories of brochures that we normally talk of are the folded and the non folded ones. And here you can see a list of all the different ways of folding brochures. But when it comes to non folding brochures, normally, we would refer to as leaflets or flyers. This is a good format when you have less information that you need to present. And although the definitions, leaflets and flyers are not perfectly defined, normally, what I would refer to as a flyer is when only one side is printed, and when both sides are printed, that's what I would call a leaflet. In case of folded brochures, in general, there's also a couple of terms like leave behind, which would refer to those prints that you take to meetings and you give it to your clients. Direct mail brochures would be the ones that are sent via post. Point of sale brochures are the ones that are trying to get the attention of potential customers, and these are very often used in exhibitions, but also in stores. And pamphlet is another term worth remembering. So while in general, brochures are used for commercial purposes, a pamphlet would be used for educational or other non commercial purpose. Now, here on this board, you can see also a couple of creative examples showing the variety of ideas that you can use to make your brochures stand out and make them more memorable. And remember, most of the time with this type of print product, you want the customers to keep the brochures. So besides being informative, they should also be interesting or fun and maybe even playful in some cases. Take this creative example where an envelope folded out becomes the actual brochure or this brochure for a Ted event where you can see through all the pages through these die cut circles. All the way from the front of the cover, we can already see the last page, this red dot. This is for instance, how the first spread looks like with the die cut circle and the details that we can see behind. Just remember, whenever you are introducing this type of creative cuts or folds, they should always have a purpose or reason, and they should work well with the information and the design of the brochure. In this case, for instance, we can see how well the image was selected to work with that circle in the middle. And similarly, the theme of circles also works really well here on the left side with all those statistics. The University of the Arts London brochures also are very creative. Here, these folded details look like speech bubbles that once opened, turns into a flap on the side. But just like with the Ted example, this setup with the flap actually carries on and shows up in the rest of the composition in the brochure. Another really nice example is the design museum brochure where we can see all the pages having different colors. But by having each of the pages cut slightly differently, it makes it easy to access them and quickly jump to a specific page. And inside, this is how a spread would look like. What I also like here is that instead of using a colored print, it's actually a single color print on colored paper. But even without relying on special dies and trims on the pages, you can still be creative with a simple folded design like this one, but instead of having the pages fold out sideways horizontally, having them fold out vertically will also allow this side to read vertically, which once again makes this brochure unique and more memorable. And since brochures are all about folding, I wanted to show you in a separate video how I normally set up these projects in in design, because there are a couple of considerations and unique things that's worth keeping in mind. So in the next video, we'll see how to set up a trifold brochure template using in design. 3. Brochure Design Workflow: We will be working on a trifold brochure design using all three applications. First, we will start in in design to set up the template. Keeping in mind that for this type of brochures, one of the folds needs to be slightly smaller than the other two. To ensure perfect alignment, even if you are using thicker stock or thicker paper. Once we have our template ready, we will be preparing images in photoshop for both sides of the brochure, and then we jump into illustrator to create a couple of simple elements that we can use both in the background. Foreground. And then we will be back in in design to use a couple of the typographic features like how to set up bullet points, effectively using paragraph and character styles, and also how to place vector illustrations into a text frame as an anchored object. And finally, we will also learn how to get this brochure ready for print by adding all the necessary instructions on the slug like fold marks and trim marks. You can use the same images and assets, even the copy. Everything is prepared for you in the exercise files. You can download from below this video. And you can also find a separate board with the images and their original source. And although it is great if you follow along step by step and recreate exactly the same design that I am going to do, it is always recommended to be creative and maybe adjust a layout, maybe look for different images, create a slightly different composition as experimentation is a key skill for every graphic designer. Once you see me doing things, don't feel restricted by my techniques or choices. You should use it more as an inspiration or example instead of a restricted step by step guide. 4. Creating a Trifold Brochure Template in InDesign: In this video, we will be setting up a trifold brochure template. So we won't be doing the design. We are just going to focus on the setup because there's a couple of things that we need to learn about having different page sizes within the same document. Now, let's just start off by setting the orientation to landscape. Then the width is two 97 millimeters and the height is two ten, which is the default A four format. Now, this might not be familiar for people in the US, but you can still choose them from in design, so it should be easy to find this starting point. But what we are going to use is actually a different size. We need for the width to be 100 millimeters. That's close to the third of the original size, and you will see exactly why we are using this size. So 100 by 210, and we will need six pages, and we will be able to use the start page number to be at one. The margins can be reduced down to maybe 8 millimeters, and we will need the bleed. Plus, we will also need slug. So the slug I normally set to 10 millimeters more than my bleed. And a faster way to increase the size here would be to shift click on the arrow, and that way it increases 10 millimeters at a step. And I will also make sure that all the edges will have space for additional information because that's what slug is for. So I'm going to increase this up to 13. So three millimeter for bleed, 13 millimeter for slug, eight millimeter for margins, and we have our page size currently set to 100 by 210. The facing pages option can be on or off. It doesn't really matter at this point. I can even just turn it off for now. And as you can see, it doesn't really affect anything else. So then I can now click on create. So we have our six individual pages. Let me just zoom out so you can see them better. And each of these come with the black outline, which is the actual crop size, then we have the three millimeter bleed, and around that, we have the slug. But what I want is for these pages to be joined up together. Once again, if I want to do that, as you can see, currently, I cannot join them because they are forced to be independent from each other, due to the shuffling feature. So if I turn that off by right clicking on one of these thumbnails, you can turn the shuffle off, then you can immediately start attaching them to each other. So I'm going to attach the first three together, and then four, five, and six together. Now notice, because I didn't use facing pages, we don't actually have a spine within the spreads. So that's a good idea if you have the number of pages. Although it doesn't really make much difference, I still prefer to see my spreads for a trifold brochure without a spine. Having a spine in a book or a magazine is perfectly fine. But in these out page number formats, it would be weird to have the spine on the left or on the right, and it just gets in the way, even though technically it doesn't make a difference. Now, let's think about the size. We have 300 millimeters width on this. I can see it here in the rulers as well. And we will be talking about rulers later on, but I just want to mention that you can find them from the view menu. Command or Control R is the way you can reveal them, and I can see it clearly that this is 300 millimeters wide at the moment. Now, that is not an actual A four, it's 3 millimeters more than an A four size. What I need is to reduce it by 3 millimeters. But instead of setting each of these folds, which are currently set as pages to 99, which would result in 297, I will only change one of them, which is going to be the folded page. And the reason for that is because paper has density, and if you start folding pages on top of each other, that density builds up and it can result in the pages bulging, and you don't want that to happen. So what we normally do is that the folded side of the brochure, is usually reduced slightly in width, and that would allow for a perfect folding. What we need to make sure is that the other two folds are exactly the same size. So as long as I keep them at 100100, there shouldn't be any problem. But what we need to decide, first of all, is where we will have the cover of this brochure. I normally like to keep it here on this side. So if I create a frame using the type tool, and I'll just type in title, and I'm just going to increase the size of this a bit so we can see it better. So there we have our title, which means that this is the cover of the brochure. So we opened it up and we see the cover on the right side. That means that this is going to be the back of the brochure. So old click and dragging, I can duplicate this quickly, and it's just an annotation at the moment just so I can see where things are. So we have the back here, then what that means is that we have the fold on the left. So I could again just write that down. Make sure I remember it that this is the fold. So that means I need to reduce the size of the fold, as we already discussed, and the best way of doing that is by using the page tool. So there is a tool here with which I can select pages, and I would be able to start dragging one of the sides of this and resizing the pages. But what happens here, as you can see, is that it's changing all the size of these spreads or all the pages or folds within the spread. Now, instead of doing that, what I will do is I'm going to turn off the liquid page rule. When it says controlled by Master, it will affect all the pages. But as soon as I set that to off, now if I start dragging this page around, you can see it's not going to affect the other pages in the spread or within the document. But another thing you have to remember is that with this tool, when I let go, it always jumps back to how it was originally. There's a security feature that prevents me to changing the page size. To make sure that I change it, I have to also hold down the old key. So old option key will make sure it actually stays in that new size. 5. Setting up the pages in InDesign: Instead of changing with the page tool and dragging the corner points or control points around. I prefer to change it here in the options bar. So having the fault selected, I can see currently the width is 100 millimeters. But then I will make sure that the reference point is set to the right edge of the page, and then I can start reducing the sign. If I hold down the shift key, you can see how it can increase and decrease much faster, and we want to have this set to 97. So now the full page itself is 297. Thanks to the fact that this is 97 and this is 100 and hundred. We could even write this down here, just as a reminder once again. So 97 millimeters, and then I'm just going to reduce the size so we can see that you go. And then I'm going to put that down here that this is 100 and that's also 100 once again. I'm using the selection tool and old click and dragging. It's also good to use the page tool to double check. The sizes are correct. So this one is 100, that one is 100 and this one is 97. So let's do this on the other side. And if you think about having a trifold brochure in front of you, when you look at one side of it and you turn it around that actual fold will now appear on the other side. So if I want to put the same details up here, the fold, will be on the right side, so it will appear here. And that's why I'm going to use the page tool on that side, and I'm going to reduce the width. But before I do so, I set the reference point to the left, so that the left edge doesn't move around. And when I reduce the size, it will only subtract from the right edge. So now we have both spreads ready for print. So most of paper densities will work with the setup and that three millimeter difference allows for the fold to perfectly sit between two other folds. But there's one last thing that I would mention in this video, and that is if this trifold brochure needs to be turned around 90 degrees and have copy that way, instead of having these long vertical folds, you can also do that by selecting the spread, and once you right click on it, you will find an option. Under page attributes, rotate spread view, 90 degrees clockwise or counter clock pie. So if I select that, you can see that this spread is now previewed in a 90 degrees rotation. And there is a little icon that also tells us that this is what happened. So I can do the same thing for the other spread as well. I can go into page attributes, rotate spread view, 90 degrees, and now if I zoom out, you will see both of them being rotated. Not only you can have custom page sizes or difference between page sizes within the same document, but you can even control the orientation of your pages by using this rotation feature. By the way, if you only needed this for a temporary change in a document where you maybe had text written sideways, then you can always remove the rotation by right clicking on the page thumbnails and choose clear rotation. And just like that, I can also clear it from the other spread. Now, if you want, you can save a whole document as a template, which can help you to repurpose a more complex document setup without accidentally overwriting your original file. It happened to me quite often before I started using templates in in design that I had a document, and I had to create an exact same version of that. But for another client, or maybe it's just a slight and men but I still needed to keep the original one. So two separate versions. And because I opened up the original one and I started amending that, then at the end, accidentally, I just hit file save, and I completely lost the original version. So to avoid this mistake, if you ever have a setup that is necessary to reproduce a certain form at like a trifold brochure, all the settings that you saved in there, best repurposed by saving it not as an design document, but by saving it as a template file, which you can find from the format options. So that's the one we need. So instead of an IND D, this time it will be an NDT. Now we'll save it into the same folder. So let me just hit save, and then you can see the five format up here. If I now close this document and I go to file open and find the folder we need, so tri fold brochure NDT open. Once I open it up, It has everything that I had in that document, but it opens up as an untitled document, and that is the key. So this allows me to avoid overwriting the original file, the one that serves as a template. Because if I now go to file save, it will prompt me with a question. Where do I want to save it, and what will be the name? So it is much less likely you will overwrite the original file, and you will always have that IND t template file to start every similar project. 6. Preparing images in Photoshop: A crucial part of every graphic design project is to prepare the images for the design. And in this case, mainly, I am concerned about getting selections ready because I know that in the final design, I would like to have some elements coming out of the bounds of the image frames to create a more engaging and interesting composition. Here, I know that I am going to use a triangular frame, So it's going to cut into this image, but I want to avoid cutting people in half, especially chopping the heads off. So just to show you in the final design, you want to avoid creating stuff like this. So this is not a good way to crop an image. Instead, we want these details to be still visible. We can see even her hair is just slightly coming outside of the frame. And the good news is that it's very simple to do this in photoshop. What will work really well in this case, and almost in every example, we start with the selection, the subject option from the select menu. This is going to pick the three people in the image that we need to work with. And don't worry about missing details on the face or on her dress because we are mainly concerned about the hair and also her head and this lady here on the right. So I think this is going to work for us. I'm just going to click on the Mask icon here in the layers panel. And save this as a photoshop file. So I'm going to choose Save as. Make sure it is a photoshop file, and it's saved into the same folder where you have your in design file and the original JPEG image. Because in in design, we will be using both the masked photoshop file and the original JPEG to be able to create that out of pounds effect. But now that we've done this one, we can move on to the other image. Here again, I'm going to use select subject, which is saving us so much time. I remember before this feature was introduced, that would have been a long task to do these selections. So I'm just going to use the quick selection tool here to touch up this selection a bit. Holding down the alter option key, I am just tapping on a few details here on the right side, and maybe this part here needs to be fixed as well. But for this, we might not be able to use the quick selection tool because you start spreading the selection onto the people. So for this and whenever you can't solve selections or refine selections with the smart selection tools, just press Q on the keyboard to enter Quick Mask, where you can then use the brush tool to paint over details. And essentially what you want to achieve is to cover all of this little area here with red. That's basically anything that's red is outside of the selection. You can just paint over the edges. If you hold down the Shift key, you can draw straight lines with the brush tool. So that can be useful like here, If I just tap that once and then shift tap somewhere down here. It just creates a straight line, and I can fill up the rest. I feel like that works now. Maybe we can fix this part here as well. Again, I am just using the brush tool painting over these details. And by the way, I'm using black as my four gram color. And in case the red color of the quick mask doesn't give you enough contrast from the actual selection. In this case, the red coat clashes with the color of the quick mask. You can always just double tap on the quick mask icon here at the bottom of the toolbar. And you can change the color to whatever works better for the image you are working with. So now that I changed, I can press again. And as you can see, this is much easier to work with. So I can still see the separation and I can just paint over it. I'm not going to spend too much time on this. I just very quickly go closer here, and once again, just make sure that we have also this little detail captured. And if you ever go over details that you actually didn't want to paint over, press X on the keyboard, and then with white, you can paint over it, which will remove those bits from the selection. There's just one little corner again here. I press X once more, switching back to painting with black. We can remove that part. I feel like the rest is going to work for what we need. So I will press Q to go back to seeing my selection, and then click on the Mask icon here at the bottom of the layers panel and save this as a photoshop file like before. 7. Selecting and adjusting images in Photoshop: Moving on, we have a shot of the shard in London. This is the tallest building currently, and this is going to work really well for our composition because we will be using a lot of triangles, and this building is perfect because of its shape, and it will go really well with the rest of the composition. But I want to also make sure that this building can come out of the image frame. So for this, I am going to use the object selection tool and just make a quick rectangle around it, and it will snap to the edges of the building. And we can just turn this into a mask. Once again, don't worry about the details at the bottom. We only need a good selection on the top of the building. So once again, we can just save this as a photoshop file and then move on to our next image. Here, we don't actually need to create a mask because we will be using this image on white background. However, this is not completely white at the moment, so we will be adding an adjustment layer. This is something that we will discuss in much more detail later on. For now, all you have to remember is that the levels adjustment layer is a non destructive way of changing exposure of the image and selectively affect the shadows, mid tones, and highlights. In this case, we want the highlights, the brightest details in the image to be even brighter. So as you can see, when I'm dragging this slider, it is increasing the brightness mainly. On the background. So when I drag it back, you can tell it's not completely white. But as soon as I bring it somewhere around here, I feel like now it works well, and this is now pure white. But there is actually a way to test this. If you hold down the old or option key while dragging the slider, you will be able to tell if something is pure white or not. So whenever something turns actually white in this special view, that's when you know that those details are completely white, and there's no color information left. Now that we created this adjustment, we can save this again as a photoshop file, and we will be able to use this in in design. I intentionally want to keep this nice drop shadow here. I think that's going to work well with our composition. It's going to add some depth, which is always a good thing. And last but not least, let's make a selection of these lovely high heels. For this image, instead of the select subject option, I actually recommend using the object selection tool, First, let's just draw a rectangle around this part here, and it has done a fairly good job. However, we will need to fix a few details here in the Quick Mask view. But let's just add this other shoe as well, holding down Shift key. We include this in our selection. And here, it works much better. So let's zoom a little bit closer. Press Q on the keyboard. Again, I'm going to jump into changing the color of the quick mask to something completely different from the object that we're working with. And then I will use the brush tool to paint over some details. Here, this edge, we can quickly paint over also the bottom part here, we can hold down Shift key and tap to create a straight line. There maybe again, I will change the color to something different, green, and you can even increase the opacity of the mask just so you can see it even better. So I can then make sure that this part is visible. This is masked out, and then this part of the shoe should also be visible. And also this part here, and these flowers should also be included in the selection, and this little detail here. And now if we just zoom back, we can press que to go back to the normal selection view and then turn this into a mask like before. And finally, just make sure you also save this as a photoshop file, which we will be able to then use in in design. 8. Front of the Brochure Design in Photoshop: In this video, we will be working on the composition that will end up on the front or the cover of our brochure. And here we will start establishing the theme of our composition, which all revolves around working with triangles. This is something that we will be using for pretty much every element in the design, including image frames, decorative elements, and even for the bullets in our list. To get started, I recommend to open the file called Girl PSD, which will have the original photo as a smart object inside it, but also there will be two adjustment layers. These are gradient maps that I've set up already for you to save some time. You can turn them on and off to see how they affect the image. So we have an orange purple walton effect, and then we have another one, the blue green effect. And in a nutshell, a gradient map, alters the image by assigning colors to particular tones within the photograph. So in case of this adjustment, for instance, we have these dark navy or blue colors assigned to the darker parts of the photo. While this bright minty green color is assigned to the highlights. So the brighter parts of the image. The same with the other gradient map, we have purple assigned to the shadows and orange assigned to the highlights. Working with adjustment layers is completely non destructive, which means that we can always come back and make changes to them. But it will also help us to create this type of effect where parts of the image will be black and white, and some other parts will be colored with these adjustments. Besides working with adjustment layers, we will also be using clipping masks, which is another feature, later on, we will discuss in more detail. In case you find this particular lesson a bit too complicated and hard to recreate on your own in photoshop, you can just use the final version of it, which I also included in the exercise files. Again, by the end of the training, you can always come back to this example. And once you know more about things like adjustment layers, clipping masks, and working with smart objects in photoshop, it will definitely be a lot easier to do it. But let's get started by first creating a triangle. We will definitely need that. So this is something you can do with the polygon tool here in photoshop. Just make sure that you set this option here on the top to shape. And for this first one, we can just set the stroke to be none, and the field color we can set to black. Now, we can just draw the shape. And holding down the Shift key, we can make sure that the sides are completely equal. So it's like a perfect triangle. And I am going to reduce its opacity slightly from the layer spanel. That way, we will be able to see what's behind it and we will be able to align it similarly to the example that I have here on the right side. So this is a vector shape layer. We will be able to resize this without losing quality on it because even though we are in photoshop, it's like working in illustrator with shapes. So using commando Control T to access the free transform tool. We can drag one of the corner points and increase the size. So I am paying attention to the crop on this shape and probably set it up somewhere around here. When I'm ready, I'm just going to press enter to accept this transformation. Then let's hold down the to option key to duplicate this shape and drag this down here near the shoes or trainers. And again, we can resize this with the free transform command and just align it somewhere there. Now, as you can see on the other side, these two triangles will turn the image to black and white, so we can combine these into a single layer. And the way you do that is by selecting them first, either by command or control clicking on them, and then using the shortcut command or control E to merge them, or you can also use the dropdown or panel menu and choose merge shapes. Now, these two shapes are on the same layers. So whenever I select it, I can move them around. And also I can adjust that opacity at the same time. Let's set the opacity now to 100%. And here we will create our first clipping mask. So let's drag the image above this shape layer, and then by holding down Alt or option key, click between the two layers. So on that edge between the two layers, and this is going to create the mask. So the image will be cropped or clipped. Inside the shapes underneath it. So when you create clipping masks in photoshop, it's always the mask that you have at the bottom, which gets an underline. That's how you can recognize it. And then the contents of it or whatever is visible inside those shapes is going to be above and indicated with a little arrow pointing down. The good thing about this is that, again, it's completely non destructive, so we can always unclip them with the same shortcut alter option click between the two layers. And we can also move the image around or the shapes around without messing up the composition. Just going to undo these two last steps because I carefully positioned everything before, and instead, I am going to use another adjustment layer, which I can find from this icon here at the bottom. This is simply just a black and white adjustment, which makes the image black and white, as you would expect it. To make sure that this adjustment will be connected to these triangles. I'm also going to use the clipping option. From the properties panel, you can find this icon, which can create the clip, or again, you can use the option key to click underneath the layer and wait for the little arrow to show up. When you see the arrow, that means again that just like the image, this adjustment is now connected to this clipping mask or group of layers. Notice that the adjustment layer is created with a mask by default, and this is called a layer mask. And if you right click on this thumbnail, you can delete it just so it doesn't get in the way. 9. Shape layers Brochure Design in Photoshop: In other projects, we will be using these layer masks, but in this particular composition, we don't need it. So now that we have these triangles ready, maybe let's continue with the orange triangles. For this first of all, I'm going to select the shape layer and also the image layer, and holding down alter option key, I'm going to duplicate them and drag them here to the bottom. Then select that shape layer and switch to the black arrow tool. You can find this here in the toolbar. This is called the path selection tool. Let's select this triangle here first on the top. And drag it down. Just make sure that the tool is set to active layers and not all layers because in that case, it might accidentally switch to the other shape layer. But now that I have it selected, because in this clipping, we didn't copy the black and white adjustment. It actually shows the original colors at the moment. That's how we can differentiate them for now. But this triangle, I would like to rotate 180 degrees, so just flip it upside down. The fastest way to do that is by dragging a corner point. And while holding down the shift key, you can make sure that it's going to end up perfectly aligned. So it's exactly 180 degrees. Also, let's just make this slightly smaller and be careful when you are using the past selection tool. You will actually have to hold down the shift key to make sure that you don't accidentally distort the shape. So with the shift key, we can preserve the perfect triangle that we started with. So I'm just going to increase it slightly and keep it somewhere around there. I think that works well. And then let's just click on this other triangle here and drag that up. And again, we will have to rotate this around. Again, holding down the Shift key We can make sure it ends up in the right place, and then holding down shift key again, while resizing, I can make sure that it is a perfect triangle. I would like to see a little bit of her hair in this shape, and that's perfect. So now that we have these two shapes ready, we can use this gradient map adjustment that I prepared initially. So let's just turn that on. And notice when this is turned on, since this layer is above everything else in the composition, it will affect everything, even our black and white triangle details. So to avoid overriding what we've done so far, I am going to drag this adjustment layer just above the second instance of the image that we created. So the one without the black and white adjustments. As you can see, simply by placing it there it's already working the way it should be. However, I still recommend to use the clipping feature here as well. Holding down alter option key, you can connect this adjustment to that clipping group that we created. Now, I'm just going to repeat the same method for the green blue triangles. Once again, I select the image and the polygons, holding down alter option key. I make duplicates of them. Then selecting this polygon layer, I will switch to the black arrow tool and then select first triangle, drag that down, shift, rotate it around, and I will actually keep it the same size as the other one and just align it around the hand. So focusing on interesting details in the original image, that's perfect. And then let's just move this other shape. Again, rotate, holding down Shift key, resize, holding down the Shift key, We want to see these parts here. I'm happy with that. And then let's turn on the blue green adjustment and to make sure it doesn't overpower everything, we just drag it down in the right place where it should end up and then alter option key to join it into that clipping group there. 10. Additional Details Brochure Design in Photoshop: The good news is that we are done with the hard part. Now we just need to add a few additional triangles. So I am just going to click here on the layer on the top, and then switch back to the polygon tool. And let's draw another triangle again, holding down the Shift key. And we can place this here at the bottom. Just resize it a bit. This time you don't have to hold down the Shift key because it's the free transform tool and not the path selection tool can be a little bit confusing, but you will get used to it. So now we have that in place as just duplicate this holding down Alt or Option key and drag it up here. Again, Command or Control T with Free Transform, we can re-size it and we need this actually to be behind the image. So let's just drag it all the way at the bottom of the Layers panel, so that way it actually hides behind the image. Now, let's duplicate the triangle that is on top. So that's the black triangle here at the bottom. Drag it to the side while holding down Alt or Option key that created a duplicate. And this I would like to be changed in color. So I am going to double-click on the thumbnail and click somewhere on this image, maybe somewhere around here to get that lovely, bright, minty color. We can just resize this again and place it somewhere around here. Once again, you don't have to recreate the exact same composition. Feel free to experiment. You can even introduce different shapes if you want. So you're not restricted to only work with triangles and you can even use a different image, use this workflow more like an inspiration, not a restriction. So I'm going to duplicate this, drag it up here, and then duplicate it again for this shape, I'm going to switch back to the black arrow tool. And then from the top options, I will change the fill color to none and assign a stroke color, black and the thickness we can control by dragging the word stroke to the right or left. You can see how it's updating and we want it to be thin, not too bulky, but also not too thin. Otherwise it might be hard to see in the final composition. And let's just duplicate this shape and drag it down here. We size it and place it roughly where it is on the right side. And then let's just do one more copy and place it here on the left side. Again. I rotate it, resize it, and then switching back to the black arrow tool, we can come up to the stroke setting and we can use the same color that we used before and press Enter or click Okay to accept that change. Now, the copy of London Fashion Week is actually something that you can add later in InDesign. It's actually better to do it that way because that way you will have a bit easier access to it. However, if you want to edit here in Photoshop, you can of course do it with the type tool. And I would recommend to set it up as two separate layers. So I have one layer for London and then another one for fashion week. And just so you know, the font that I work with here is called the dean. But again, you're not restricted to using the same font by bus is another one that would work really well for this fashion brochure. And the good news is that we are actually done. You won't need a white background. However, if you want to see your composition without having this transparency behind it, you can add a shape layer. From the adjustments options. You will find solid color there and just set that to white and make sure you place it all the way at the bottom. So this way you can have a better look at it, but make sure to turn off this layer because in InDesign, it is better to use the one with the transparent background. So once you are ready, make sure you save this file as a Photoshop document together with the other images that we prepared in the previous video. In the next lesson, we will jump to Illustrator to create a quick composition with triangles before then finally ending up in InDesign, where we will put everything together. 11. Composition with Triangles in Illustrator: So now that we have all the images ready, there's one detail that we need to prepare steel, and this is best to do in Illustrator, since this is purely just shapes. So this detail here with the triangles behind the image and the bottom of the inside part of the brochure. And for this, simply just start with a blank document in Illustrator. And the first thing that you can do is to remove all unnecessary swatches. So go to the panel menu of the swatches panel, choose, Select All Unused, and then delete them. Next, let's bring in the swatches that I prepared. By going back to the panel menu, choose Open Swatch Library, other library, and then just locate the file from the exercise files called swatches. This is an Adobe Swatch Exchange file similar to what we use previously in another week. So once you click open, that will bring up this new panel from which we can just drag and drop these swatches in here. Now we are ready to get started. Similarly to what we've done in Photoshop, I'm going to use the polygon tool, and I'm going to click once on the canvas or art board and set the sides to be three. Radius, doesn't really matter what you said that because we will be resizing it anyway. Once you click Okay, there's going to be your first triangle. Now for this triangle, I am going to set the fill color to black, the stroke to be none. And I'm going to place this somewhere here in the middle. You can hold down the Shift key to re-size it and then alter option click drag to duplicate it. The fill color of this new one I'm going to set to green and then duplicate it. Again, holding down Alt or Option key, I changed the color to orange. Now that we have the three shapes ready, I will actually make the black triangles slightly smaller than the others and bring it closer here. Let's just bring this also closer. And I actually would like to have this black triangle in front of the others. So for this, I'm going to use the layers panel and just drag that black triangle on top. Now let's duplicate this triangle again. And this time I'm going to press Shift X to swap the colors. So whatever was the fill color and now became the stroke color. And then let's increase the stroke thickness to five points. Next, use the transform panel, which you can find in the Window menu. And make sure you have the Show Options. Select it from the panel menu. So when you go in, make sure you click on this. We'll bring up these important features here and make sure that the scale, strokes and effects is turned off when that is turned on while resizing shapes, the stroke size will also be affected. You can see that the original five points now ended up being like 15 points. So we want to avoid having that. So let's turn this option off. And no matter how big or small we make our triangle, It's always going to stay five points. That's better way of working most of the time. I'm going to increase the size of this. Place it somewhere here at the bottom. And don't worry about aligning them perfectly at the bottom. This section won't be visible in the final designing InDesign anyway, once this is ready, I'm going to duplicate this one more time. And then rotating it and holding down Shift key, so it goes completely upside down. Then let's duplicate this one more time. Place it here, and then switching to having the stroke color highlighted, I would change this to orange. And then let's duplicate one more time. Maybe make it a little bit bigger and change the stroke color to mint or green color. This can be slightly smaller and maybe slightly closer to the other triangles. Once again, you don't have to religiously follow the composition. You just need something similar to this. And you can see that all I'm trying to do here is to create a rhythm. So I'm using the three colors that we have here in a way that they nicely separate from each other. And also I vary. But steel repeat the sizes like there are two of these similar size triangles here. There's two of these smaller ones, or so, two of these larger ones. This is the odd one out. This is something in design theory we would refer to as repetition or rhythm, which helps to create harmony in your design. But we will talk more about these once we get to talking about composition in more detail. For now, all you have to do is to save this as an Illustrator document. So that's an AI file. And just make sure it ends up in the same project folder where you have all the rest of the files that we prepare so far. 12. Adding Images in InDesign: We return back to the trifold template that we prepared in in design. It already has the labels just to remind us which part of it is the fold, the slightly narrower page that we it here. And then, of course, on the inside, it would be on the right. Just so we can hide these labels easily. I'm going to rename this layer, and I am going to also create a new layer and call it images. Now, I can hide the labels and start placing in the images that we prepared. First, I'm going to start with the front image, that composition we created in photoshop. So I will use File Place and bring in that photoshop file, click and drag, and then we can find the right place for it. I'm using commando Control Shift. Drag corner points until it fits. And I don't mind some of the details going outside the frame. We can always press W on the keyboard to see the trimmed version. And it's worth mentioning that these black lines here won't appear in the final print. They are just there for us to mark the edges of the pages. For the final PDF, we will be adding some fold marks that will help printers find where to fold our brochure. Okay. So let's just reduce the size of this slightly and maybe move it to the side. I want her face to be roughly in the center of this fold. And now it's time to add the text. So I'm going to create another layer, call it text. And the title I came up with is London fashion week. You can, of course, change this as well, and maybe use the city or location where you are based. So I'm going to click and drag to create text frame and just type in London. I will select this text and change the font to Dan. I'm going to use Dan 2014 bold, and I will set this to all caps, and I will increase the text size. You can also use commando Control Shift full stop to do this quickly. I think that's about right that size. And I normally like to snap my text frame edges to the text itself when I'm ready, which you can do is simply just by double clicking on one of the corner points. Now, for the cover especially, I feel like it's important to do a little bit of urning on the text. So let's just double click inside and use alt or option left and right arrows to do a little bit of manual adjustment. Feel like L and D is to be slightly further away while the others can be closer. Yeah, I think that looks good. And I'm going to t or option click and drag to duplicate this text frame, and I'm going to change it to fashion week. This can be slightly smaller and I'm going to change it to light. All right. So let's just move this up slightly. I feel like that works really well. Now, next, let's bring in the image for the back of the brochure. I'm using the shortcut commando Control D, and we need the image of the chart here. So I'm going to click and drag to place that in. That's about the right size. Maybe slightly bigger, and then I'm going to draw a triangle over this. So using the polygon tool, click somewhere on the page and then type in for the width and the height, maybe 5050 and the number of sides to be three. So this is going to create an equal sized triangle. And this we can position. So it's placed somewhere around here. Remember, I want the tip of the building to come out of this frame. So now that I have the frame ready, I can select the image and cut it. That's edit cut or commando Control X, then select the frame. Make sure you click on the edge and then use the edit paste into option. There's also a shortcut here for it. That's Command Option V or Control Alt V on PC, which we'll remember the size and position of the image, but now it's going to be placed into the frame that we prepared. That looks great. Now, let's duplicate this triangle, that's alter option key and drag it out. Even though we will align them eventually together, it's always easier to see it side by side. So this duplicate, I want to use for the most version of this image that we prepared in photoshop. So while having it selected, I'm going to use file place and locate that masked version. Once I choose open, it's going to immediately place it into this frame. But notice that the sizing of the image is not the same as what we had here. So in these cases, if it happens, just press undo that commando Control Z, which will load that masked version back into your cursor. And in this case, all you have to do is to just hold down alter option key and click on the frame again. Notice how the cursor changes and shows a little bracket around the image icon. That means it's going to place it into this frame. And in these cases, it will definitely remember its position and scale as well. So now it's going to match the other triangle that we prepared. But here, I want to make sure that the top of the building is visible. So for this, I'm going to use the white arrow tool, the direct selection tool and make a quick marke selection of the tip, and then using shift up arrow, I can drag this out. By the way, when you are using the same size 50 points and 50 points in this case for the original triangle. It doesn't actually make the sides equal because if the height and the width is the same, then it is a slightly taller triangle than what would be a perfect triangle. So I'm just going to select the tip of this one and just bring it down a bit, maybe to somewhere around there. I want to still see the sky. I think that's important, but now it feels a little bit more equal on the sides. And now we can just align them to each other, holding down the shift key, but also relying on the smart guides. There is a perfect alignment there. 13. Masked Images in InDesign: Okay, Now moving on, Let's bring in the other image that we need on this side of the brochure. So I will use again the images layer. And by the way, if you accidentally end up placing images on the wrong layer, like here, I have this on the text layer. I can just select them and then drag them back down to images. Now, de-select these frames and I use Command or Control D. And now I'm going to bring in this image. So let's just open that. And I will make sure it's aligned to the red edge, which is the bleed edge, something like this. And by the way, here, you will be able to see exactly why bleed is necessary when this brochure is going to get printed. And we want to make sure that the edge is completely filled with the image that we are working with and there's no white gaps there. So if I press W, we can see this is going to be the trimmed version, but because there might be always subtle inaccuracies when it comes to printing, depending on the printing machine that's used. Also the trimming process, even the papers thickness can affect this. It is always recommended to have a little bit of extra space going outside of the final print size. That's why we normally use these three millimeter bleed, which you have to sacrifice from the image in order to make sure that the final print looks good around the edges. So obviously for images like this, it's very important, but also for colored backgrounds and even for small elements like this triangle here, we want to make sure that the edge is completely filled with that black and there's no white gaps showing up there. Now coming back to our image, remember we created also a master version of this, which I am going to bring in as a duplicate. So I will use the selection tool and Alt or Option click and drag to create that additional frame. And while this is selected, I will use Command or Control D and bring in this Photoshop version. And before aligning the two, I'm going to just move this to the side for a bit. I will select this other image and using the Pen tool, which you can find in the toolbar here. Or you can also select it by pressing P on the keyboard. We will be able to remove the top right corner of this frame. By clicking on that point, it's going to turn the frame into a triangle. And now you can see how the head gets chopped off. And also this model disappears completely. So we can now bring this frame here, the mouse version, and they perfectly aligns, allowing this lovely out-of-bounds effect. So the good news is that we are done with the images on this side of the brochure. So I'm going to switch to the inside now and here first I'm going to start by bringing in the shapes that we're going in the background. And for this, I'm actually going to create a new layer and just call it backdrop. Or you can just call it back as well and just make sure that you move it all the way at the bottom. So now let's use File Place. So Command or Control D, and there's my shapes illustrator file. I will open this and click and drag to place it here at the bottom. Now there's one thing worth mentioning whenever you bring in an Illustrator document into InDesign, it is going to use the original art board size instead of just the graphic itself. Also, you won't be able to select items individually. So I can access this triangle directly here in InDesign, I would have to go back into Illustrator to do that. But what's also a downside of doing it this way is that within the swatches panel, I want get the colors that I worked with in Illustrator. So these are still just a default InDesign swatches here. So instead of doing the place technique, I am going to actually open the original document within Illustrator, make a selection of all of these shapes, copy them, That's Command or Control C, jump back into InDesign and paste them in with command or control V. This way you can see that we have a perfect bounding box selection. It will make it much easier to align it at the bottom, I can hold down the Shift key when I'm resizing it, and I'm going to just drag it here to the side. And besides making it easier to scale this group, it is also possible to double-click on it and make selections of objects separately, or even select an object and duplicate it by holding down the Alt or Option key. And because we brought these in as individual shapes, we even have the swatches imported here, so I can change the swatch to the other color if I wanted to. Similarly to what we've done in Illustrator, it is actually recommended to get rid of any unused swatches here in InDesign. So I will just go to the panel menu, choose, Select All Unused. And I will even include this cyan color and just delete them. If you get a question like this, just say, Okay, we haven't actually used that cyan color. It was just select it before. That's why InDesign thought that we work with it. So now that we have these shapes plays in and we have our swatches, I can just quickly jump back to the other side of the brochure. And while we are still working on the background layer, I can draw a rectangular frame here in the center part of the brochure, making sure again that I go all the way to the bleed edges. And then y, this is selected. I am going to use the mint color to fill this in. Now we can go back to layers and lock the backdrop layer. This way we won't accidentally select this shape, but I can now come back to the triangle and we need the smaller triangle. So I'm going to use Command or Control click to make sure that one is selected. And for this, I'm going to use the white color on the stroke attribute and increase the point size a bit, which will create an even more interesting out-of-bounds effect. 14. Additional Images to the back fold in InDesign: Now, let's jump back to the other side of the brochure and now select the images layer and start bringing in the remaining images. So I will use Control or Command T, and let's bring in the models. We can click and drag. Press W. Make sure it's also a aligned to the bleed edge at the bottom. And I can just move them slightly to the side. Now, here's one consideration would be not to have either of these models on the fold that would just look awkward once the brochure is folded. So there's a nice gap in between them, which I'm going to use in this case, and I am going to unlock the background layer and just resize these shapes a little bit just to get a good alignment, something like that. Maybe we can move the shape slightly to the left. Yeah, that looks better. Now, let's bring in another image. Again, make sure that the right layer is first selected, then use the place command and bring in this image, which we will be using on the right corner. So let's just place this in. Once again, align it to the bleed edges. And like before, I'm going to use the pen tool to remove this corner point, and then we can just scale it around a bit. And it can even overlap these shapes. However, I actually prefer it when there's a bit of gap there. So I'm just going to resize this further down and also select those shapes once again and just resize them also slightly down. I think it has a better rhythm now having that subtle gap there. And moving on. Again, going back to the images layer, let's just bring in these final images. So we need this jacket, which I'm going to place here on the left, and to make sure that we won't overlap the other images, I am going to use the alter option key and crop more tightly onto this image, something like that. I will actually make it bigger and rotate it slightly. Another way that we can avoid this overlapping the images at the bottom is to move it to the back. So within the same layer, send it to the back, and we can still just crop it a little bit more tighter onto the image. That way, I will be able to make sure that this shape here, which we have on the backdrop is not going to be affected. Because now we will bring in yet another image, and this is the last one of the high heels. And once we have that, just click and drag to place it in. Once again, alter option key to get the frame a little bit more tighter on these shoes. You can just drag it in without holding down on the alter option key, and then I'll just going to resize it a bit. I want to make sure proportionally, it works with the jacket, so as if it was one flat lay and place them somewhere around there. Now, let's just try to select both the shoes and the triangle and maybe move them slightly higher. And also this triangle, I will move just ever so slightly higher. Now, there's one small issue by using the same shape that we brought in from in design. And that is, this is actually not a stroke anymore, so we won't be able to change its thickness. It is a field color. So we would have to create a triangle here in in design in case we want it to change the thickness. But that's very simple and easy to do. So I will actually delete this shape. And using the polygon tool, I'm just going to click and drag. Holding down the shift key, we can make sure this is a perfect triangle. And then for the stroke, I will use that mint color we brought in. And now we can easily adjust the stroke size. And I am going to also flip this upside down with this icon here on the options bar and then align it just. There. Now, zooming back. I feel like that works much better. And I will actually use another shape, so just copying this one, set to its side or rotate it to its side. And this will have to be on top of these images. So even though this is an element that we used in the background so far, this can come on top and be placed on the images layer. Then let's just increase its size. I want it to overlap and create a nice dynamic element here in the corner. I can now change its color to orange, which will have more contrast on top of that coat or check it, and I will increase its thickness just a little bit. Okay, something like that. Now, since we worked with these shapes, let's just take this shape onto the other side of the brochure, paste it in. And this one I'm going to set to white, also still keep it on top of the images, and I'll just bring it down here. So add another triangle, which is overlapping these details. And then we will use another copy of this. But now, instead of stroke, we will use the mint color as the feel and move this here to the side. Now, by the way, it's not an issue if you have elements going beyond the bleed as long as there's no printing instructions needed on this side. But if you want to avoid going beyond the bleed, of course, you can resize the shape. And align it perfectly to the edge. And now we just need one final shape. Again, I'm going to use this one and drag it out and actually going to move this onto the backdrop layer and change the color of the stroke to black and just reduce the size, flip it horizontally with the icon here on the options bar, and just align it behind this model. Maybe increase the thickness just slightly. Let's take a look. So this is all the shapes and images ready on both sides of the brochure. And now in the next video, we can concentrate on adding the text and formating it. 15. Adding and Formatting Text in InDesign: Before we get started, I will make sure that all of the layers are locked apart from the text layer. And this you can do with a very quick and easy shortcut that's Alt or Option key, clicking on this area here. So notice that only the text layer is now available to work on and all the others are locked. Now let's create a text frame using the type tool. And I'm just going to draw the text frame somewhere around here. And I will start by typing in the wrong way and press Enter and then use the type fill with placeholder text option. This will fill in the rest of the text frame with this placeholder text that I actually need more of it. So I'm going to resize this, make the text smaller and once again, use the type fill with placeholder text. So now we have more to work with and we will always be able to remove from this if we wanted to. But also before I make any formatting changes, I will come in and just change the first two words. So even if you are using placeholder copy for your designs, if you want to present them, It's always good to add some copy that has meaning at the beginning, especially if you are going to highlight it. I'm just going to type in opening ceremony like that. Now, we can select all of this text and use the Futura PT font. So I will use Book, which will work really well on the body copy. But for the heading, I'm going to switch to bold and all caps. Now while the heading is selected, I am going to also introduce space after this. So maybe three millimeters. This you will be able to find under the paragraph formatting options. So that's the feature space after. And then I will select the rest of the text. And for this I am going to use space between paragraphs. Maybe set it up for all three millimeters. This will nicely separate paragraphs. So if I break this paragraph, for instance, by introducing a line break automatically, we will get three millimeter space between them. Okay, so let's just increase the size of the text frame. And now we can just remove some of the text. I think that will be enough for us. And the remaining texts I can select and use Alt or Option down arrow to increase the lending. So that will make it feel a little bit more spacious, are spaced out. And also, let's just justify the text. Justified. The last line is aligned to left, and let's remove hyphenation as well while we're at it. So going into paragraph formatting options, remove hyphenation. Now let's just adjust the width of this text frame a bit and look for a good size. I feel like that works. I can just remove this text here and then maybe increase the size of the heading a bit. And for the heading actually, I would like to have a highlight similar to what we see here. And this is called shading in InDesign. It's a feature we haven't talked about yet, but it's very easy to find it within the paragraph formatting options. You will find it up here, just turn on shading and then select the mint color. Now you can see it filled it in, but not only the text, the whole line is filled with that color. So to adjust this, we can use the Alt or Option key and click on the icon for the shading. So that's this little swatch icon here where if you turn on the Preview option, you will see the changes that you're making. So the most important one is to change the width to text. So then the shading is only going to be across the actual copy, but I would like to have some margin or space around it. So I will introduce offsets. Probably one millimeter is enough. Maybe for the bottom, I'm actually going to change the setting. So I'm going to Unchained them and type in 0.5. I feel like that looks more even. Now we can click Okay, and the text itself, I'm going to change to white. So I go back to character formatting options and change the color of the text to paper. Alright, so that looks great. Now it's time to save both the heading and the body copy as Paragraph Styles. So we will be able to reuse them and also make adjustments to them if necessary. So why having my cursor up here, go back to paragraph formatting controls. Click on this icon and choose New paragraph style. I'll just call this heading and just type in Mint. So I remember that this already has the color for the shading and makes sure that the apply styles, the selection is on and preview is on and the ad to CC library you can remove. So let's click Okay. Then let's just highlight all the rest of the text and define this as a new paragraph style, which I will just call a body. Again, same settings apply. Click. Okay. And now we have these two styles ready in the Paragraph Styles panel. 16. Character Style and Text Wrap in InDesign: I would also like to have this part here set in bold. So I'm going to switch to the character formatting options, choose bold. And this I'm just going to save as a character style. So I will add that by holding down the Alt or Option key, click on this new icon here. Or you can, of course, also come up here and choose new character style. Just make sure you choose. Apply styles to selection again. And I'll just call this highlight and then click. Okay, so this way, if we want to highlight any words, we can just quickly choose this option without ever having to come back to the board setting, okay, So I only want it to use it here on the first two words. And now let's just zoom out a bit and see how this looks. Of course, we need to move it slightly up so it doesn't overlap the image. And I am careful not to go too close to the edges on the top. So maybe just come down a bit and just remove some texts from here. Of course, that's the beauty of working with placeholder texts that we can mess around with it. But if you have actual copy to work where you won't be as free as this, but I think this looks really good. We can actually use this text frame and copy it to the other side of the brochure where we will be using something very similar here on the right side. Again, I will try to align it to the center of that fold. Again, I'm relying on the smart guide to show up that purple line. And here I'm just going to change the text. So instead of the runway, I will call this the looks and maybe change this text here to best of season. The text itself can be the same. Maybe we can just use text wrap so it doesn't overlap this shape here. So for that, we just going to select that shape in the background, which is remembered on the images layer. Just temporarily unlock that, select the shape and then go to Window Text Wrap and choose the third icon, wrap around object shape and increase the offset to maybe five points. Yeah, I think that looks good. Let's take a closer look at this. Yeah, I think it feels quite balanced. Now we will actually use the same frame once again here in the center. And I'm just going to change the text to designers. But here I'm going to change the formatting slightly because I would like to use the other color for the shading. And once I've changed it, you can see that within the Paragraph Styles panel now there's a little plus sign, meaning that I made an override to the original style. I will actually save this as a new paragraph style. So that's Alt or Option key. Click on this icon and I will call it the same heading, but I will put a note in that it's the orange color. And notice that whenever you create a new style, by altering an original style in design will actually create this connection between the two where this new style is based on the original one. For the style settings, it is only going to include the difference. So it's going to use all the formatting from the original one. And it will just remember that we are using a different shading color. Now the advantage of using based on styles is that in case I go back and change something in the heading, mint paragraph style, like the font size or the typeface itself. Those will be reflected on this orange version as well, because those are shared attributes between these two styles. So you can almost think of the orange one being a child and the mint being the parent. So I highly recommend using the based on feature if you have variations of paragraph styles, character styles, however, if you want to have them completely independent from each other, you can of course, change this to no paragraph style. And the style settings will include all of the original formatting options. So this way, the two heading styles, one have any connections to each other, so it's completely up to you which one you prefer. I will use the base down Option and click Okay, so I'm going to align these two to each other. And just so you can see, if I come back and maybe right-click on the heading mint style and choose Edit. And then I go into basic character formats. This side to remove the all caps option, for instance, and set it back to normal. You see both styles are affected. So that is because I'm changing the parents style, which will in turn affect the child style. I didn't want to do this, I'm just going to cancel. And it was just a quick demonstration of this based on feature. 17. Paragraph Formatting Controls in InDesign: And for this text here, I actually have the copy prepared as a separate file. So we can go into File Place. And it's just simply the copy text file that you need to use, which already has the designers tax. I'm just going to remove that, but it also has all the names of the designers, which at the moment is a little bit hard to see. So I'm just going to move this up and maybe to the side. Now for these, I am going to define a new style. I will again use the Futura PT bold, and I will also use shading, but in this case I will keep it black. But still I'm going to make subtle changes by holding down Alt or Option key and clicking on the swatch icon here. So I am going to again set the width to text, increase the offset by one millimeters on all the sides. And then let's click Okay and take a look at this. Of course, we have to change the color of the text to white paper, so that looks much better already. But one very important feature that we will need here is to divide this into two columns, because at the moment, we would have a big empty space on the right of the frame. So by having selected all the names, I am going to switch to the paragraph formatting controls. And here you will find this option called split two. So it creates split columns, but you will only see this actually come to Effect once you start reducing the size of your frame, notice how the names are now organized into two columns. So this is a brilliant feature and I use it often in InDesign, but there's a few additional things that we need to do here. First of all, I would like to have a little bit more space between these two columns. So I will go back and select this text. And similarly to what we do with the shading, I'm going to hold down the Alt or Option key and click on this icon next to the split feature, which will bring up additional settings. And the inside the gutter is the feature I wanted to increase and maybe set it to 15 millimeters. So that way they add even more spaced out from each other. I will align this text frame in the center. And then I will also include bullets for this text, which you can find near the shading feature. So there's the bullets icon. We will turn this into a bulleted list, but these will add by default won't be visible because they inherit the color of the text and the text is set to white. So it just doesn't show on white backdrop. But if I move it outside of our page, we can see them there. Now in order to have these indifferent color to the text, we will have to create a new character style. So let's just Alt or Option. Click on here without having anything selected. That was started a blank new style, and I'll just call it bullet color and go into the Character Color option and choose the main color that we created. And now we can come back and select all of this text. And let's just define this as a new paragraph style. I will call it bulleted list. And then within these settings we can go into Bullets and Numbering. And here for the bullet, we can choose the bullet color style. And notice how the color now changed, but this will only change the bullet color, the text color. Just so we can go with the theme of triangles. I'm going to actually use also a unique bullet character, which we can add. And from the glyphs here, we can choose either this character or maybe we can go down and find this other arrow character that I quite like. So let's just add that one. And now we just have to select it and then click Okay. And now we can just move this text frame back in here again, align it in the center. Also align it to the other frame on the right. So notice how I use smart guides to align it here. And if I press W, we can see how this looks. When I zoom out, I feel like those bullets are a little bit too small, and this is where it is an advantage again, that we define the character styles specifically for the bullets. So we can just make sure nothing is selected. And then right-click edit the bullet color style, which we can actually just change to bullet because it won't be just affecting the color anymore. It will also affect the size of it. So we can just increase the size to maybe 14 points. I think that looks already better, maybe even 15 points. And then let's click. Okay, so that was before and after. Nice. I think this works really well. Now, there's only one thing here that I feel is a bit off the size of this image. I'm just going to reduce it a bit. I feel like it's a little bit too close to the text. I think that works better. And then also, I'm just going to use the backdrop layer and maybe make this triangle slightly smaller, or just put it somewhere here. And there's also another triangle there behind which I'm going to increase in size. I don't like to end up having these small details. It's always good to have more visible shapes than those small bits because they can feel more like a mistake. Even this one here can come in a bit more. Yeah. I feel like that's a better alignment. 18. Additional Formatting and Icons in InDesign: And now the last bit of texts that we need to add is on the back here. So I'm just going to make sure that we move first these images up a bit. We can actually group these two triangles together with command or control G to make sure that we move them always together and we don't accidentally move them apart. But now on the text layer, I am going to create a new text frame and type in the Shard. I will use the heading paragraph style for this. But in this case I'm going to remove the shading and set the character color back to black and also increase the size a bit. And then in a separate line, I will type in London. And then again in a separate line, I just type in date. It can be anything. And this text I will set in book formatting, so it is not as thick as the other text. I will set these two in white or paper. And I will also make London slightly smaller than the shard. And I have all of this selected and aligned to the center. Maybe it was still have this slightly smaller. So we're establishing hierarchy here. I keep the shard to be the most important information than London. He has a second and then the date is the third. So it's not only the order that I placed the text end, but also relying on contrast, size, and thickness. I am helping the viewer to go through the information in the order that makes the most sense. And finally, just to have a little bit of flavor here, I am going to place in an icon into this text frame. And it is completely up to you which icon you prefer out of the ones that I included in the exercise files, I will actually go with this hanger because again, it has that triangular theme to it, but feel free to use any of the other ones. And you can even just use them throughout the design in different places with different colors is completely up to you how you work with them. I only need this one, so I will copy it with Command or Control C. And then jumping back to InDesign, I will just paste it first command or control V. There's the hanger and we can make it smaller, holding down the Shift key and then cut it out, double-click inside the text frame, create an empty line here in the text, and then use Command or Control V to paste the icon n. This feature is called inline image, or nesting an image into a text frame. And the advantage of it is that the image will now move together with the text, so it will behave like text. And we could even select this line where we have the icon and we can control the spacing like the space after we can reset back to 0 millimeters. And we could even use things like text alignment on this icon, aligning it left or right, or put it back in the center if we want it to. So this is a neat little feature as well. Remember simply pasting images or illustrations into a text frame will turn them into nasty or inline images. And that is all we had to do in InDesign. So we can see our final work. I'm just going to press Shift W. This is the outside and this is the inside. I feel like we've done a good job. And now in the next and final video, we're just going to make sure it is ready for print. 19. Prepare Brochure for Print: When it comes to creating prints that will include folds besides the trims that we need around the edges. These always recommended to add some indication for the printers to show where you want the fold lines to be. And this is why in the initial template we added the slug area so that space between the red line and the blue line. This is where we will place our fold marks. For this, I'm going to create yet another layer. I'm just going to call it print marks. And also I'm just going to make sure that all the other layers are locked. And now we just simply have to select the Line Tool, zoom a little bit closer. Just draw a line here on the edge of these two pages. And then let's just drag this up, holding down the Shift key, you can drag it up there, doesn't have to completely fill in the space in the slag, something like that will work. And for the stroke color, I will choose registration color. This is something we normally use for print marks like this, which is show us that this will show up on all the printing plates. So instead of black, always use registration for fall marks and trim marks. But if we keep it as solid line like this, it would actually mean trimming. So we will have to change the style here, two dotted. This is a universal way of indicating that this is a fold. And all we have to do now is to repeat the same thing on the other side. So I'm going to Alt, click and drag again, align it to the exact center of this two pages. And then just drag it back up. And then zooming out. We can select these two and it's worth repeating them at the bottom as well just to make sure it will be more visible. So Alt or Option click and drag them down here. And we can zoom a little bit closer, use up and down arrows to adjust them, alright? And then you just have to simply repeat the same thing on the other, spread and be careful it won't work if you just copy and paste the full marks on there because the short term fold is on the different side of the spread. So we will have to do this again from the first mark. Just duplicate that, bring it on this side. Again, align it here first. Then we can come out and align it on the other folder as well. Always zoom closer, makes sure that it's perfectly aligned in the center. And then we can drag them up, and then we can also duplicate them at the bottom. Okay, that looks good. So we have our full marks in place. And the good news is that because we used bleed to set up the document and we also made use of it by adding the images already extending onto the bleed. We don't actually have to add the trim marks. Those can be generated by InDesign when we are saving this as a PDF. So we can just save this document first and then go to File Adobe PDF presets and then choose this one, which I would always recommend for a print job. This is a PDF Standard. I will keep it in my project folder and then in the print settings it is important to check that under marks and bleeds, you have the crop marks turned on and also use document bleed settings and include slug area. So these three settings should be checked. If you want. You can also add registration marks, color bars, and so on and so forth. But most of the time these are not necessary and it is always worth checking with your printer. Marks. They need, sometimes they would want you not to add anything and they prefer to edit themselves. While in other cases they would want you to include these marks. So it's good to know where you can find them. And before we export this, one final important thing to remember is that we want this to be kept as spreads. So instead of individual pages, we want them to be saved as spread. So it was useful for us to handle them as separate pages in InDesign, but for the PDF, they can be kept together as spreads. And then we can click on Export. And in Acrobat, we can see the final version. So that's the front and that's the back. And we can see the trim marks on the corners like this. And we can also see our full marks here on the top. Zoom a little bit closer. There's our dotted line. Indesign also edit trim marks here because that's the end of a page. But by having these dots here on the top steel showing, it will help printers to know that this is actually a fault in case you want to avoid confusion, instead of relying on InDesign to add the trim marks, you can do this manually again on the slug just using solid lines indicating the corners of both of your spreads. But this is again something you can discuss with your printer, what they prefer for you to include in the PDF. 20. Conclusion: Well done for finishing this course. I hope you had just as much fun going through it as I had recording it. And of course, don't forget about the class project. Because remember, practice makes perfect. I can't wait to see your work, so make sure to submit it. And in case you like this course, and you would like to learn more from me, then there's plenty of other courses that you can find here. Go and check them out now. I can't wait to meet you in the next one.